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An Interview with Megan Washington by Megan Spencer Australian Musician Magazine, November 2010
‘Fireflies in a jar’ - an interview with Megan Washington By Megan Spencer Australian Musician Magazine, November 2010. There are those among us whose minds work differently when it comes to storytelling. Rather than sit down and ‘tell a story’, they sit down and and ‘tell a song’. These people are ‘hardwired’ for song. When stories start spinning in their heads and hearts, poetry spills out (not prose) which, coupled with music, become ‘lyrics’. Spontaneously and simultaneously music generates from within their imaginations to accompany each word. Melody and rhythm entwine themselves around phrases, until they fuse to form verses, choruses, repeat; and then become… song. Megan Washington aka ‘Washington’ is one of these enviable ‘right-brained people’, a latter- day songstress or “chanteuse” as she is often referred to, not only in the media but by herself as well. (On Washington’s MySpace under ‘About Me’ you will find, “Chanteuse: noun (literary): a female singer, especially one who sings on the stage in a theatre or bar, where elegant people fall about in frantic and frenzied splendour.”) Since emerging onto the national stage just over 12 months ago, people have been swooning over the sound of Washington’s voice and music. But it is her songwriting that leaves its mark; strong, poetic, narrative, with a distinct emotional tone. It smacks of a discipline in advance of her 24 years and defines her presence within the Australian musical landscape. “Songwriting for me sits somewhere between therapy, memory and fantasy,” says Megan, fresh from her first stint at Splendour In The Grass, where she got to belt out songs from her just-released debut album, ‘I Believe You Liar’. -
Until the Late Twentieth Century, the Historiography and Analysis of Jazz Were Centered
2 Diasporic Jazz Abstract: Until the late twentieth century, the historiography and analysis of jazz were centered on the US to the almost complete exclusion of any other region. This was largely driven by the assumption that only the “authentic” version of the music, as represented in its country of origin, was of aesthetic and historical interest in the jazz narrative; that the forms that emerged in other countries were simply rather pallid and enervated echoes of the “real thing.” With the growth of the New Jazz Studies, it has been increasingly understood that diasporic jazz has its own integrity, as well as holding valuable lessons in the processes of cultural globalization and diffusion and syncretism between musics of the supposed center and peripheries. This has been accompanied by challenges to the criterion of place- and race-based authenticity as a way of assessing the value of popular music forms in general. As the prototype for the globalization of popular music, diasporic jazz provides a richly instructive template for the study of the history of modernity as played out musically. The vigor and international impact of Australian jazz provide an instructive case study in the articulation and exemplification of these dynamics. Section 1 Page 1 of 19 2 Diasporic Jazz Running Head Right-hand: Diasporic Jazz Running Head Left-hand: Bruce Johnson 2 Diasporic Jazz Bruce Johnson New Jazz Studies and Diaspora The driving premise of this chapter is that “jazz was not ‘invented’ and then exported. It was invented in the process of being disseminated” (Johnson 2002a, 39). With the added impetus of the New Jazz Studies (NJS), it is now unnecessary to argue that point at length. -
Marc Brennan Thesis
Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia Marc Brennan, BA (Hons) Creative Industries Research and Applications Centre (CIRAC) Thesis Submitted for the Completion of Doctor of Philosophy (Creative Industries), 2005 Writing to Reach You Keywords Journalism, Performance, Readerships, Music, Consumers, Frameworks, Publishing, Dialogue, Genre, Branding Consumption, Production, Internet, Customisation, Personalisation, Fragmentation Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia The music press and music journalism are rarely subjected to substantial academic investigation. Analysis of journalism often focuses on the production of news across various platforms to understand the nature of politics and public debate in the contemporary era. But it is not possible, nor is it necessary, to analyse all emerging forms of journalism in the same way for they usually serve quite different purposes. Music journalism, for example, offers consumer guidance based on the creation and maintenance of a relationship between reader and writer. By focusing on the changing aspects of this relationship, an analysis of music journalism gives us an understanding of the changing nature of media production, media texts and media readerships. Music journalism is dialogue. It is a dialogue produced within particular critical frameworks that speak to different readers of the music press in different ways. These frameworks are continually evolving and reflect the broader social trajectory in which music journalism operates. Importantly, the evolving nature of music journalism reveals much about the changing consumption of popular music. Different types of consumers respond to different types of guidance that employ a variety of critical approaches. -
A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. -
State Ed by Sue Smith
state ed by Sue Smith 2 3 Index .................................................................................................................................................................................................... 4 Cast & Creatives .............................................................................................................................................................................. 5 Writer .................................................................................................................................................................................................. 6 Synopsis ............................................................................................................................................................................................. 8 Plot ....................................................................................................................................................................................................... 9 Director............................................................................................................................................................................................ 11 Actor Profile ................................................................................................................................................................................... 13 Characters ..................................................................................................................................................................................... -
WO 2018/227358 Al 20 December 2018 (20.12.2018) W !P O PCT
(12) INTERNATIONAL APPLICATION PUBLISHED UNDER THE PATENT COOPERATION TREATY (PCT) (19) World Intellectual Property Organization International Bureau (10) International Publication Number (43) International Publication Date WO 2018/227358 Al 20 December 2018 (20.12.2018) W !P O PCT (51) International Patent Classification: TR), OAPI (BF, BJ, CF, CG, CI, CM, GA, GN, GQ, GW, C08G 18/10 (2006.01) C08K 5/02 (2006.01) KM, ML, MR, NE, SN, TD, TG). C08J 9/14 (2006.01) Declarations under Rule 4.17: (21) International Application Number: — as to applicant's entitlement to apply for and be granted a PCT/CN20 17/087997 patent (Rule 4.1 7(H)) (22) International Filing Date: Published: 13 June 2017 (13.06.2017) — with international search report (Art. 21(3)) (25) Filing Language: English (26) Publication Language: English (71) Applicant: HONEYWELL INTERNATIONAL INC. [US/US]; 115 Tabor Road, M/S 4D3, Morris Plains, New Jersey 07950 (US). (72) Inventors; and (71) Applicants (for US only): YUAN, Huijun-Park [CN/CN]; Room 201, Building 112, Lane 358, Heqing Road, Min- hang, Shanghai 200240 (CN). YU, Bin [US/US]; 185 Crest- mount Ave. Apt 5, Tonawanda, New York 14150 (US). LING, Yiu Keung [CA/CA]; 407 Emerson Drive, Apt #5, Amherst, New York 14226 (US). (72) Inventor: WILLIAMS, David; 115 Tabor Road, M/S 4D3, Morris Plains, New Jersey 07950 (US). (74) Agent: CHINA PATENT AGENT (H.K.) LTD.; 22/F., Great Eagle Center, 23 Harbour Road, Wanchai, Hong Kong (CN). (81) Designated States (unless otherwise indicated, for every kind of national protection available): AE, AG, AL, AM, AO, AT, AU, AZ, BA, BB, BG, BH, BN, BR, BW, BY, BZ, CA, CH, CL, CN, CO, CR, CU, CZ, DE, DJ, DK, DM, DO, DZ, EC, EE, EG, ES, FI, GB, GD, GE, GH, GM, GT, HN, HR, HU, ID, IL, IN, IR, IS, JO, JP, KE, KG, KH, KN, KP, KR, KW, KZ, LA, LC, LK, LR, LS, LU, LY, MA, MD, ME, MG, MK, MN, MW, MX, MY, MZ, NA, NG, NI, NO, NZ, OM, PA, PE, PG, PH, PL, PT, QA, RO, RS, RU, RW, SA, SC, SD, SE, SG, SK, SL, SM, ST, SV, SY, TH, TJ, TM, TN, TR, TT, TZ, UA, UG, US, UZ, VC, VN, ZA, ZM, ZW. -
State of Play, Julian Is Artistic Director of NORPA, Griffin Theatre, and Circa
CREATIVE TEAM JOSHUA LOBB, WRITER the commonwealth games opening ceremony, Who Will Save The Day, At 14, Joshua was the youngest FLiNG youth physical theatre, participant at Interplay ’88, the Second Krush for short works, Season 4 On International Young Playwright’s The Floor with ensemble members of Conference. His plays have been Legs On The Wall Physical theatre. performed by Canberra Youth Theatre, Kirk has worked in remote areas as Sydney Conservatorium of Music, a dance teacher/movement sharer Shopfront Theatre, Vancouver Youth with Croc festival youth dance Theatre and at the Harold Park Hotel. programme, ‘Nyinka Nyunyu’ arts He worked as writer and dramaturg centre in Tennant Creek and various for the Australian Museum’s Theatre outreach projects with ATYP. Education program and is a founding member of the cabaret group CARL POLKE, SOUND DESIGNER Massabanadeen. His plays include: Broadway Baby!, Shakespeare–the A circus runaway interested in Cabaret!, Daedalus, The Falling as well as all things tuneful and noisy, his Still At Aulis and Wilde Tales for State of work encompasses a large variety Play for whom he has been the writer of theatrical musicality and in residence since 2003. Joshua has a performance. Companies Carl has PhD in English from UNSW. worked with include Circus Oz, Legs on the Wall (2002 Canadian Jessie JULIAN LOUIS, DIRECTOR award for best original score), The Flying Fruitfly Circus, State of Play, Julian is Artistic Director of NORPA, Griffin Theatre, and Circa. 2006 Lismore and State of Play. He is Helpmann Award nominee, Carl is a graduate of the NIDA Directors interested in where music stops, and CRITICAL STAGES AND course and holds a BA in Theatre noise starts. -
VJAZZ 67 AUG 2015 Proactively Collecting, Archiving and Disseminating Australian Jazz
VJAZZ 67 AUG 2015 ISSN: 2203-4811 Proactively Collecting, Archiving and Disseminating Australian Jazz Distribution 650 QUARTERLY MAGAZINE OF THE AUSTRALIAN JAZZ MUSEUM. FOUNDING PATRON: The late WILLIAM H. MILLER M.A., B.C.L. (Oxon.) 15 Mountain Highway, Wantirna Melway Ref. 63 C8 (All correspondence to: PO Box 6007 Wantirna Mall, Vic. 3152) Registered No: A0033964L ABN 53 531 132 426 Ph (03) 9800 5535 email: [email protected]. Web page: www.ajm.org.au VJAZZ 67 Page 2 Letters to the Editor Contents 02 Letters to the Editor Dear Editor, 03 He’s the Drummer Man in the Band I am really overwhelmed about both articles, (Vjazz 66) the layout of it and how By Bill Brown you appreciate Coco Schumann. He will be very happy to read that he is not for- 04 The Museum’s 100-year-old Recordings gotten Down Under. As soon as I have the printed version I will forward it to him. I By Ken Simpson-Bull didn't know that you will use the photo with us, so I was flabbergasted to see this 06 Research Review - A Searing Sound young couple with Coco on p.7 :-) By John Kennedy OAM Well done, you did a great job, Ralph. 07 News from the Collection Jazzily By Ralph Powell Detlef 08 Visitors to the Archive 10 Instrument of Choice Dear Editor Oh So Beautiful Your members might be interested to know that Jack O’Hagan’s story and music 11 Two Studies in Brown is being brought back into focus. By Bill Brown I am near to completion of my grandfather Jack O’Hagan’s biography. -
Music K-8 Marketplace 2021 Spring Update Catalog
A Brand New Resource For Your Music Classroom! GAMES & GROOVES FOR BUCKET BAND, RHYTHM STICKS, AND LOTS OF JOYOUS INSTRUMENTS by John Riggio and Paul Jennings Over the last few years, bucket bands have grown greatly in popularity. Percussion is an ideal way to teach rhythmic concepts and this low-cost percussion ensemble is a great way to feel the joy of group performance without breaking your budget. This unique new product by John Riggio and Paul Jennings is designed for players just beyond beginners, though some or all players can easily adapt the included parts. Unlike some bucket band music, this is written with just one bucket part, intended to be performed on a small to medium-size bucket. If your ensemble has large/bass buckets, they can either play the written part or devise a more bass-like part to add. Every selection features rhythm sticks, though the tracks are designed to work with just buckets, or any combination of the parts provided. These change from tune to tune and include Boomwhackers®, ukulele, cowbell, shaker, guiro, and more. There are two basic types of tunes here, games and game-like tunes, and grooves. The games each stand on their own, and the grooves are short, repetitive, and fun to play, with many repeats. Some songs have multiple tempos to ease learning. And, as you may have learned with other music from Plank Road Publishing and MUSIC K-8, we encourage and permit you to adapt all music to best serve your needs. This unique collection includes: • Grizzly Bear Groove • Buckets Are Forever (A Secret Agent Groove) • Grape Jelly Groove • Divide & Echo • Build-A-Beat • Rhythm Roundabout ...and more! These tracks were produced by John Riggio, who brings you many of Plank Road’s most popular works. -
Issue 17 Ausact: the Australian Actor Training Conference 2019
www.fusion-journal.com Fusion Journal is an international, online scholarly journal for the communication, creative industries and media arts disciplines. Co-founded by the Faculty of Arts and Education, Charles Sturt University (Australia) and the College of Arts, University of Lincoln (United Kingdom), Fusion Journal publishes refereed articles, creative works and other practice-led forms of output. Issue 17 AusAct: The Australian Actor Training Conference 2019 Editors Robert Lewis (Charles Sturt University) Dominique Sweeney (Charles Sturt University) Soseh Yekanians (Charles Sturt University) Contents Editorial: AusAct 2019 – Being Relevant .......................................................................... 1 Robert Lewis, Dominique Sweeney and Soseh Yekanians Vulnerability in a crisis: Pedagogy, critical reflection and positionality in actor training ................................................................................................................ 6 Jessica Hartley Brisbane Junior Theatre’s Abridged Method Acting System ......................................... 20 Jack Bradford Haunted by irrelevance? ................................................................................................. 39 Kim Durban Encouraging actors to see themselves as agents of change: The role of dramaturgs, critics, commentators, academics and activists in actor training in Australia .............. 49 Bree Hadley and Kathryn Kelly ISSN 2201-7208 | Published under Creative Commons License (CC BY-NC-ND 3.0) From ‘methods’ to ‘approaches’: -
Songs by Artist
DJ Song list Songs by Artist DJ Song list Title Versions Title Versions Title Versions Title Versions -- 360 Ft Pez 50 Cent Adam & The Ants Al Green -- 360 Ft Pez - Live It Up DJ 21 Questions DJ Ant Music DJ Let's Stay Together We -- Chris Brown Ft Lil Wayne Candy Shop DJ Goody Two Shoes DJ Al Stuart -- Chris Brown Ft Lil Wayne - DJ Hustler's Ambition DJ Stand And Deliver DJ Year Of The Cat DJ Loyal If I Can't DJ Adam Clayton & Larry Mullen Alan Jackson -- Illy In Da Club DJ Theme From Mission DJ Hi Chattahoochee DJ -- Illy - Tightrope (Clean) DJ Just A Li'l Bit DJ Impossible Don't Rock The Jukebox DJ -- Jason Derulo Ft Snoop Dog 50 Cent Feat Justin Timberlake Adam Faith Gone Country DJ -- Jason Derulo Ft Snoop Dog DJ Ayo Technology DJ Poor Me DJ Livin' On Love DJ - Wiggle 50 Cent Feat Mobb Deep Adam Lambert Alan Parsons Project -- Th Amity Afflication Outta Control DJ Adam Lambert - Better Than I DJ Eye In The Sky 2010 Remix DJ -- Th Amity Afflication - Dont DJ Know Myself 50 Cent Ft Eminem & Adam Levin Alanis Morissette Lean On Me(Warning) If I Had You DJ 50 Cent Ft Eminem & Adam DJ Hand In My Pocket DJ - The Potbelleez Whataya Want From Me Ch Levine - My Life (Edited) Ironic DJ Shake It - The Potbelleez DJ Adam Sandler 50Cent Feat Ne-Yo You Oughta Know DJ (Beyonce V Eurythmics Remix (The Wedding Singer) I DJ Baby By Me DJ Alannah Myles Sweet Dreams DJ Wanna Grow Old With You 60 Ft Gossling Black Velvet DJ 01 - Count On Me - Bruno Marrs Adele 360 Ft Gossling - Price Of DJ Albert Lennard Count On Me - Bruno Marrs DJ Fame Adele - Skyfall DJ Springtime In L.A. -
Australian Story: Raise Your Voice
RELEASED: Wednesday, October 7, 2015 Australian Story: Raise Your Voice Airs Monday, October 12 at 8pm on ABC & introduced by Hugo Weaving What would you do if you lost something that’s been the essence of you for most of your life? Something that’s given you joy, a vocation, even fame – and then one day it starts slipping away... For singer Jenny Morris, that question recently became very real. The ARIA Award-winning performer makes a dramatic personal revelation in this week’s episode of Australian Story. She has been diagnosed with a life-changing medical condition. “It was evident that Jenny wanted to just play it down until she knew what was going on,” says her sister, singer Shanley Del. Jenny Morris first found success with New Zealand band The Crocodiles, before relocating to Australia in the early 1980s. After recording and touring with INXS as a backing singer, she established a successful solo career with hits such as Break in the Weather and She has to be Loved, as well as performing with Prince and Paul McCartney. About 10 years ago, she noticed something going on with her voice. “I’ve never talked about it publicly, and I think putting the word out there is going to give a sense of relief. That’s why I’m doing Australian Story because I think if you want to know what’s what, look at this program. Then I don’t have to explain it,” she says. KNOW THE STORY – AUSTRALIAN STORY Join the conversation: #AustralianStory Producer: Ben Cheshire Executive Producer: Deb Masters ___________________________________________________________________ For further information, please contact: Chris Chamberlin | News Publicist | ABC TV Publicity 02 8333 2154 / 0404 075 749 / [email protected] @popculturechris .