Submission No 24 INQUIRY INTO LIQUOR AMENDMENT
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South Australia Got It Right When They Kindled the Talent by the Name of Steve Hart. Embracing the Combination of a Superior
http://www.stevehartmusic.com/ http://soundcloud.com/steve-hart http://www.facebook.com/stevehartmusic South Australia got it right when they kindled the talent by the name of Steve Hart. Embracing the combination of a superior appetite for the studio and over a decade of sophistication behind the decks of the nation’s hottest nightclubs and festivals, it’s no doubt Steve Hart has his energy in the beat. With a wealth of adoration for house music in all its kinds, this robust musical character prides himself on the mission so well conquered; making headway in the Australian dance music industry. Drawing potent inspiration from the carefully crafted talents of fellow industry professionals Denzal Park, Hook N Sling and Tommy Trash; Steve Hart endears local success with immense pride and motivation to further his dance-provoking career in the studio and in the clubs. Combining local talent and infamous assets from lands far away like Axwell, Adelaide’s ARIA Club Chart artist contributes a worthy platter of class in the musical department. Inheriting praise from Australia’s leading dance music label Vicious Recordings, In The Mix’s #50 (2011 & 2012) Steve Hart encapsulates the epitome of house glamour showcasing more than an album’s worth of thriving tracks. From chart hitting ‘Change’ feat Melinda Appelby to an immense multitude of officially released remixes including that of Dizzee Rascal’s ‘Dirtee Cash’, ‘Everybody Be Somebody’ by Thomas Gold & Mattias Menck, 'Tell Your Story Walking ' by Sarah Mcleod, 'Love is Crazy' by Dirty Laundry and ‘Into The Light’ by J Cannons, Adelaide’s gem is surging through milestones with force. -
Subject: Pill Testing – Russian Roulette As Drug Policy
Political Briefing Media Briefing Community Briefing Subject: Pill Testing – Russian Roulette as Drug Policy :::: DRUGADVISORYCOUNCILAUSTRALIA :::: @DACAUSTRALIA :::: WWW.DACA.ORG.AU DRUG ADVISORY COUNCIL OF AUST. Subject: Pill Testing – Russian Roulette as Drug Policy. Subject: Pill Testing – Russian Roulette as Drug Policy Tragically, the last few months of music festivals repeatedly resembled scenes from a hospital emergency ward, witnessing this season’s highest number of drug related hospitalisations1 and the deaths of predominately young adults ranging from 19 to 25 years-old. In the aftermath of these heart wrenching events, harm reduction advocates have taken to media on mass advocating for pill testing as the next risk minimisation strategy that could potentially save lives. Often, supporters are quick to highlight that pill testing is “not a silver bullet”,2 just one measure among a plethora of strategies. But the metaphor is a false equivocation. Rather, pill testing is more like Russian Roulette. Similar to Russian Roulette, taking psychotropic illicit drugs is a deadly, unpredictable high stakes ‘game’. It’s the reason they’re illegal. There is no ‘safe’ way to play. But arguments and groups supporting pill testing construct this false perception, regardless of how strenuously advocates claim otherwise. Organisations such as STA- SAFE, Unharm, Harm Reduction Australia, the ‘Safer Summer’ campaign all exploit the context of harm and safety within an illicit drug taking culture. To continue the metaphor of Russian Roulette, it’s rather like insisting on testing a ‘bullet’ for velocity or the gun for cleanliness and handing both back. It’s pointless. The bullet might not kill at first, but the odds increase exponentially after each attempt. -
Holidays in WA the World a Recipe to Try! 2 We Will Show You Some Places to Visit in WA
Perth InternationalEnglish College of Issue 5, 2011 October 2011 Inside this issue: Students sPICE of Perth International College of English Drinks from around 2 Holidays in WA the world A Recipe to try! 2 We will show you some places to visit in WA. There is Rottnest Island, Penguin Island, The Pinnacles, Fremantle, and Cottesloe Beach. Saving Money in 3 Rottnest island is one of the most famous places Perth in Australia. There are some Quokkas which are small and similar to rats. They are cute but you Finding a Job 3 shouldn't touch them because they are dirty. The views are absolutely beautiful. You can hire Students and 3 a bicycle and ride around the island, yet there Technology are a lot of hills, so it makes you exhausted. Be Some great Music 4 careful about snakes on the beaches. It costs Festivals in Australia around $100 including bicycle hire. You can catch a ferry to get there at Barrack St Jetty near Girls Generation 4 the bell tower or Fremantle Jetty. Penguin island is in Rockingham. You can go there by train at platform 2, it takes around 30 minutes. It costs about $30 for a return ticket to the island. If you want to see sealions, there are extra tours. I recommend you bring your own food and Special points of water, for it is interest: expensive there. Christmas is Fremantle and Cottesloe are the most famous and visited places in WA because many tour- coming! ists go to Fremantle to buy souvenirs and to eat Classes finish fish and chips. -
Copyright by Jessica Lyle Anaipakos 2012
Copyright by Jessica Lyle Anaipakos 2012 The Thesis Committee for Jessica Lyle Anaipakos Certifies that this is the approved version of the following thesis: Celebrity and Fandom on Twitter: Examining Electronic Dance Music in the Digital Age APPROVED BY SUPERVISING COMMITTEE: Supervisor: Shanti Kumar Janet Staiger Celebrity and Fandom on Twitter: Examining Electronic Dance Music in the Digital Age by Jessica Lyle Anaipakos, B.S. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin December 2012 Dedication To G&C and my twin. Acknowledgements This thesis would not have been possible without the guidance, encouragement, knowledge, patience, and positive energy of Dr. Shanti Kumar and Dr. Janet Staiger. I am sincerely appreciative that they agreed to take this journey with me. I would also like to give a massive shout out to the Radio-Television-Film Department. A big thanks to my friends Branden Whitehurst and Elvis Vereançe Burrows and another thank you to Bob Dixon from Seven Artist Management for allowing me to use Harper Smith’s photograph of Skrillex from Electric Daisy Carnival. v Abstract Celebrity and Fandom on Twitter: Examining Electronic Dance Music in the Digital Age Jessica Lyle Anaipakos, M.A. The University of Texas at Austin, 2012 Supervisor: Shanti Kumar This thesis looks at electronic dance music (EDM) celebrity and fandom through the eyes of four producers on Twitter. Twitter was initially designed as a conversation platform, loosely based on the idea of instant-messaging but emerged in its current form as a micro-blog social network in 2009. -
Think of the Children! the Decline of Big Day out and Mega Festivals
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Willsteed, John (2014) Think of the children! The decline of Big Day Out and mega festivals. The Conversation, June, 2014. [Article] This file was downloaded from: https://eprints.qut.edu.au/74838/ c Consult author(s) regarding copyright matters This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. https:// theconversation.com/ think-of-the-children-the-decline-of-big-day-out-and-mega-festivals-28498 “Won’t Somebody, Please, Think of The Children?” The Decline of Big Day Out and The Mega-festivals John Willsteed 26/6/2014 There will be no Big Day Out in 2015. -
A “Media Events” Perspective on Music in Mediated Life Les Vidéos De Festivals De Musique : Une Approche « Cérémonielle » De La Musique En Contexte Médiatique
Volume ! La revue des musiques populaires 14 : 2 | 2018 Watching Music Music Festival Video: A “Media Events” Perspective on Music in Mediated Life Les vidéos de festivals de musique : une approche « cérémonielle » de la musique en contexte médiatique Fabian Holt Electronic version URL: http://journals.openedition.org/volume/5702 DOI: 10.4000/volume.5702 ISSN: 1950-568X Publisher Association Mélanie Seteun Printed version Date of publication: 26 April 2018 ISBN: 978-2-913169-44-9 ISSN: 1634-5495 Electronic reference Fabian Holt, “Music Festival Video: A “Media Events” Perspective on Music in Mediated Life”, Volume ! [Online], 14 : 2 | 2018, Online since 01 January 2021, connection on 11 February 2021. URL: http:// journals.openedition.org/volume/5702 ; DOI: https://doi.org/10.4000/volume.5702 This text was automatically generated on 11 February 2021. L'auteur & les Éd. Mélanie Seteun Music Festival Video: A “Media Events” Perspective on Music in Mediated Life 1 Music Festival Video: A “Media Events” Perspective on Music in Mediated Life Les vidéos de festivals de musique : une approche « cérémonielle » de la musique en contexte médiatique Fabian Holt 1 FOLLOWING DEVELOPMENT of popular forms of house and techno music from clubs into the much larger “dancefloor” of festivals in the 2000s, the EDM festival industry further exploited consumer desire for this mass culture ritual through the new media environment of online social media video. Along with the musical orientation towards medleys of house music with various hit song elements rather than African American groove aesthetics in minimal techno, for instance, the industry developed the visual design of festival worlds and their digital mediation in the form of promotional videos. -
The Australian Songwriter
The Australian Songwriter Issue 90, November 2012 First published 1979 The Magazine of The Australian Songwriters Association Inc. In this edition: Chairman’s Message Editor’s Message Top 25 Category Winners in the 2012 Australian Songwriting Contest 2012 Australian Songwriters Hall of Fame Inductee: Don Walker (Cold Chisel) ASA Member Profile: Alec Raymer ASA Member Profile: Kaitlyn Thomas Ten Keys To Unlock Creative Songwriting: Final Members News Sponsors Profiles ASA Member Profile: Kylie Stephens ASA Member Profile: Kathy Prosser New ASA Regional Co-Ordinator for Western Australia: Mike Cardy Festivals Roundup The Load Out Official Sponsors of the 2012 Australian Songwriting Contest About Us: o Aims of the ASA o History of the Association o Contact Us o Patron o Life Members o Directors o Regional Co-Ordinators Chairman’s Message All ASA Members, Here we go! November will be the most hectic month on the ASA Calendar as we build to our 2012 National Songwriting Awards Night. Pretty soon our Finals Judges will come up with the Top Ten place getters in every Category of the ASA 2012 Song Contest. They will of course be announced and feted on our special evening in December. It will be huge. Between now and then there is just enough time to check out the ASA November 2012 e-mag. Our Vice Chairman/Financial Officer/Editor Alan Gilmour has been slaving away as usual to bring you lots of interviews and stories about Members, along with helpful hints from some of Australia’s best Songwriters. The 2012 Song Contest Finalists are also listed. -
Live Performance Industry in Australia 2013 Ticket Attendance and Revenue Survey Live Performance Australia
Live Performance Industry in Australia 2013 Ticket Attendance and Revenue Survey Live Performance Australia 29 July 2014 Ernst & Young Tel: +61 3 9288 8000 8 Exhibition Street Fax: +61 3 8650 7777 Melbourne VIC 3000 Australia ey.com/au GPO Box 67 Melbourne VIC 3001 Mrs Evelyn Richardson 29 July 2014 Chief Executive Live Performance Australia Level 1, 15-17 Queen Street Melbourne, Victoria 3000 Private and confidential Dear Evelyn Live Performance Industry in Australia: Ticket attendance and revenue survey Further to the agreement between Ernst & Young (EY) and Live Performance Australia, we are pleased to present you with the final report for the 2013 Ticket Attendance and Revenue Survey Report (the “report”). We understand that the information contained within the report is to be used by Live Performance Australia as part of its own annual publication. Restrictions on the report use The report may be relied upon by Live Performance Australia for the purpose of publishing the Ticket Attendance and Revenue Survey Report only. It should not be relied upon for any other purpose. EY disclaims all liability to any party for all costs, loss, damage and liability that the third party may suffer or incur arising from or relating to or in any way connected with the provision of the deliverables to the third party without our prior written consent. Any commercial decisions taken by Live Performance Australia are not within the scope of our duty of care and in making such decisions you should take into account the limitations of the scope of our work and other factors, commercial and otherwise, of which you should be aware of from the sources other than our work. -
Music Festivals) Regulation 2019 and Gaming and Liquor Administration Amendment (Music Festivals) Regulation 2019
LEGISLATIVE COUNCIL Regulation Committee Liquor Amendment (Music Festivals) Regulation 2019 and Gaming and Liquor Administration Amendment (Music Festivals) Regulation 2019 Ordered to be printed 28 August 2019 according to Standing Order 231 Report 4 - August 2019 i LEGISLATIVE COUNCIL Liquor Amendment (Music Festivals) Regulation 2019 and Gaming and Liquor Administration Amendment (Music Festivals) Regulation 2019 New South Wales Parliamentary Library cataloguing-in-publication data: New South Wales. Parliament. Legislative Council. Regulation Committee. Liquor Amendment (Music Festivals) Regulation 2019 and Gaming and Liquor Administration Amendment (Music Festivals) Regulation 2019 / Regulation Committee [Sydney, N.S.W.] : the Committee, 2019. [xii, 96] pages ; 30 cm. (Report no. 4 / Regulation Committee) “August 2019” Chair: Hon. Mick Veitch, MLC. ISBN 9781922258793 1. New South Wales. Liquor Amendment (Music Festivals) Regulation 2019. 2. New South Wales. Gaming and Liquor Administration Amendment (Music Festivals) Regulation 2019. 3. Liquor laws—New South Wales. 4. Music festivals—New South Wales. 5. Drinking of alcoholic beverages. I. Veitch, Mick. II. Title. III. Series: New South Wales. Parliament. Legislative Council. Regulation Committee. Report ; no. 4 344.9440541 (DDC22) ii Report 4 - August 2019 REGULATION COMMITTEE Table of contents Terms of reference v Committee details vi Chair's foreword vii Findings and recommendations ix Conduct of inquiry xi Chapter 1 Music festival licensing regulations 1 Background to the regulations -
It Was Back in 2004 When Miss Connie and Black Angus Started Making Beautiful Music Together
It was back in 2004 when Miss Connie and Black Angus started making beautiful music together. A series of singles at first then, in 2006, their self‐titled, 3 x platinum debut album. Spearheaded by a spectacular salvo of chart topping hits – UFO, Pictures and I Love It – Sneaky Sound System won ARIA Awards for Breakthrough Artist and Best Dance Release, the first of 14 nominations to‐date. Second long‐player and #1 album 2 arrived in 2008 with yet more dancefloor slayers in the form of Kansas City, When We Were Young and the #1 UK club smash It’s Not My Problem. In 2009 I Will Be Here, a collaboration with Dutch superstar DJ Tiesto, took Sneaky to the top of both the US dance airplay and UK club charts. In late 2011 album number three, From Here To Anywhere, arrived, the title referencing its creation in hotel suites, planes, and studios around the world from here (Sydney) to just about everywhere (London, Paris, Ibiza, Moscow). Accolades from critics around the world flowed: MTV called it “an incredible effort”, Rave magazine Brisbane deemed it “a minor pop masterpiece”, and Sydney’s Daily Telegraph said it’s “a delicious feast of world class dance‐pop songs”. A nomination in the prestigious 2012 International DJ Awards in the Live Performance category underscored their escalating international reputation. In the swirling midst of albums and tours, Connie lent her vocals and lyrics to albums from superstars Jay‐Z, Kanye West and Snoop Dogg, and in 2013 she was a guest mentor on Australia’s biggest TV show, The Voice. -
Australian Illicit Drug Policy Timeline
The Australian (illicit) drug policy timeline: 1985-2019 The Australian (illicit) drug policy timeline provides a list of key events, policy and legislative changes that have occurred in Australia between 1985 and 31 December 2019. Events are listed by jurisdiction, at the federal and state/ territory level. The first table includes events at the federal level. Events in the state and territories are split into two parts. The second table includes events from the Australian Capital Territory, Queensland, New South Wales and the Northern Territory. Events from South Australia, Tasmania, Victoria and Western Australia are listed in the third table. The timeline will continue to be updated bi-annually. Please email through comments or suggested inclusions. Suggested citation: Hughes, Caitlin. (2020). The Australian (illicit) drug policy timeline: 1985-2019, Drug Policy Modelling Program, UNSW and Centre for Crime Policy and Research, Flinders University. Last updated 15 January 2020. Retrieved from: https://www.arts.unsw.edu.au/sprc/research/drug-policy-modelling-program/drug-policy-timeline Year Federal 2019 Large increase in peak bodies – including the Australian Medical Association, the Royal Australian College of General Practitioners, the Royal Australasian College of Physicians, the Australasian College for Emergency Medicine and the Ambulance Union State Council - formally endorsing a pill testing trial (Jan-Feb). QandA host a special episode on pill testing, drug law reform and drug policy. Panelists included Dr Marianne Jauncey, Dr David Caldicott, Acting Assistant Commissioner Stuart Smith, Former AFP Police Commissioner Mick Palmer and Kerryn Redpath (Feb 18). New report released: “Alcohol and other drug use in regional and remote Australia: consumption, harms and access to treatment” in the aim of identifying trends in alcohol and other drug use in Regional and remote Australia. -
Melbourne Live Music Census 2017 Report
Melbourne Live Music Census 2017 Report Prepared By Dobe Newton & Rosa Coyle-Hayward April 2018 Contents Introduction 1 Foreword & Acknowledgments 2 Executive Summary 5 1 Census Context 13 2 Notes on Melbourne - Music City 17 3 Conduct of the Census & Notes on Methodology 26 4 Census Night - 25 November 31 5 The Big Picture - A Year in Live Performance 36 6 Audience Survey Findings 52 7 Musician/DJ Survey Findings 66 8 Venue Operator Survey Findings 79 Conclusion 88 Appendices Cover photo (The Forum) reproduced courtesy of the copyright owner Shellie Tonkin ii Introduction The 2017 Melbourne Live Music Census is unique. It updates the previous study conducted in 2012, providing a signifcant amount of comparative data to further inform the discussion on the economic, cultural and social value of live music performance in this city. From the time, over one hundred years ago, that the city lent its name to Australia’s frst global music superstar, Dame Nellie Melba, music creation, production and presentation has been at the core of the city’s social and cultural life. Our passion for music was on display in the 1967 when an estimated 200,000 gathered at the Myer Music Bowl to send The Seekers off on their quest for world domination. It was forcefully demonstrated again in 2010 when 20,000 fans, musicians and industry workers took to the streets for the Save Live Australia’s Music (SLAM) rally when ill-considered regulations threatened the viability of our small live music venues. It has been reported1, that live music performance returns $3 in benefts – commercial, civic and individual, for every $1 invested.