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The Working-Class Experience in Contemporary Australian Poetry
The Working-Class Experience in Contemporary Australian Poetry A thesis submitted for the degree of Doctor of Philosophy Sarah Attfield BCA (Hons) University of Technology, Sydney August 2007 i Acknowledgements Before the conventional thanking of individuals who have assisted in the writing of this thesis, I want to acknowledge my class background. Completing a PhD is not the usual path for someone who has grown up in public housing and experienced childhood as a welfare dependent. The majority of my cohort from Chingford Hall Estate did not complete school beyond Year 10. As far as I am aware, I am the only one among my Estate peers to have a degree and definitely the only one to have attempted a PhD. Having a tertiary education has set me apart from my peers in many ways, and I no longer live on the Estate (although my mother and old neighbours are still there). But when I go back to visit, my old friends and neighbours are interested in my education and they congratulate me on my achievements. When I explain that I’m writing about people like them – about stories they can relate to, they are pleased. The fact that I can discuss my research with my family, old school friends and neighbours is really important. If they couldn’t understand my work there would be little reason for me to continue. My life has been shaped by my class. It has affected my education, my opportunities and my outlook on life. I don’t look back at the hardship with a fuzzy sense of nostalgia, and I will be forever angry at the class system that held so many of us back, but I am proud of my working-class family, friends and neighbourhood. -
49Th Country Music Awards Of
49th Country Music Awards of Australia 2021 Toyota Golden Guitar Awards Handbook 49th Country Music Awards of Australia AWARDS HANDBOOK Contents 1. ENTRY DATES ............................................................................................................................................................ 2 2. GENERAL TERMS & CONDITIONS .............................................................................................................................. 2 3. CURRENT ELIGIBILITY PERIOD ................................................................................................................................... 3 4. DEFINITIONS ............................................................................................................................................................. 3 5. ALBUM CATEGORY REQUIREMENTS ........................................................................................................................ 4 6. CATEGORIES & ELIGIBILITY ....................................................................................................................................... 5 A TOYOTA ALBUM OF THE YEAR ................................................................................................................. 5 B ALT COUNTRY ALBUM OF THE YEAR ........................................................................................................ 5 C CONTEMPORARY COUNTRY ALBUM OF THE YEAR .................................................................................. 6 D TRADITIONAL COUNTRY -
20Th Annual International Country Music Conference Nashville Tn
20TH ANNUAL INTERNATIONAL COUNTRY MUSIC CONFERENCE NASHVILLE TN K A S E Y C H A M B E R S: V O C A L S T Y L E A N D C U L T U R A L I D E N T I T Y L E I G H C A R R I A G E ‘You know things are going to hell when the freshest young voice in American roots music is an Australian.’ Rolling Stone (Sheffield, 2001: 73) Kasey Chambers is redefining the image and sound of alternative country music. Her style is challenging notions of cultural musical identity and the vocal characteristics that are associated with a particular environment. The ways in which Chambers approaches Country Music and the connection to the development of cultural identity is reflected in her music . The connection of what? In this paper I will touch on the phenomenon of her broad Australian-speaking accent and her American accented singing voice. The success of Chambers’ sound raises vital issues about the national character in Australian popular music. It is an interesting representation of the globalisation of international music culture that an Australian singer is being so highly regarded in the North American press as representing the latest (re-) incarnation of American roots/country music. In order to understand and comment comprehensively on the implications of foreign sources, cultural influences and their combined impact on new practices, in particular with Chambers, a thorough analysis must include music and industry marketing, musical fashion and tastes, lyrics and musical style, instrumentation, arranging and orchestration. -
Whiter Rock: Why the Easybeats Didn't Suceed In
Oz Rock and the ballad tradition in Australian popular music ‘While we are sitting here, singing folksongs, in our folksong clubs, the folk are somewhere else, singing something different.’ Quoted in Jeff Corfield ‘The Australian Style’1 Billy Thorpe and the Aztecs, and the Twilights, discussed in chapter one, were manifestations of an Australian popular music sensibility which was fundamentally European-derived, white. It was a tradition that valued melody, musical linearity and lyrical clarity. These bands, in particular Billy Thorpe and the Aztecs, and the Easybeats, laid the basis for the flowering of Australian rock in the 1970s and for Oz Rock groups such as Rose Tattoo, the Angels, Midnight Oil, Cold Chisel, Australian Crawl, and, in the 2000s, You Am I and Powderfinger among others.2 This tradition has continued to blend melody with strong guitar riffs and a big beat. Billy Thorpe’s self-penned ‘Most People I Know (Think That I’m Crazy)’, released in 1972, with its melody, driving beat and anthemic chorus combined with an emphasis on the lyrics, provided a template for Australian rock, for a tradition of bands—those Oz Rock bands that I mentioned above—whose success in Australia has, in the main, continued to be far greater than what they have achieved overseas.3 This tradition continues to privilege elements drawn from the white, European musical tradition over influences from African-American, and other Black musics. This hard rock development in Australia has another strand, the importance of the traditional ballad tradition and, along with this, the influence of American country music. -
Beyond the Bush Ballad: Authenticity in Australian Country Music
Beyond The Bush Ballad: Authenticity in Australian Country Music Amy Bauder Bachelor of Arts (Hons), Sydney University Macquarie University Faculty of Arts Department of Music, Media, Communication and Cultural Studies A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy August 2016 Table of Contents Table of Contents 1 List of Figures 3 Abstract 4 Statement of Authenticity 5 Acknowledgements 6 Part One: Contexts 9 Chapter One: Introduction 9 “Just Make Sure It Is Australian” 9 Defining Country Music: It Is About More Than the Sound 12 The Great Country Songbook: Ethnographic Fieldwork 13 “Distinctions” in the “Field”: Theoretical Framework 15 Contested Traditions and Mateship 20 “True Blue Bust-Up” 25 Thesis Structure 30 Chapter Two: Literature Review, Theoretical Framework and Methodology 33 Literature Review 33 Theoretical or Analytic Framework 59 Methodology 69 Fieldwork 78 Chapter Three: Roots and Heritage 89 “Honouring an Australian ‘Legend’”: Fieldwork Account 89 Slim Dusty as Touchstone for Australian Country Music 91 The Country Music Canon 92 Slim’s Life Story 95 Sources of the Legend 96 Part Two: People and RelationshipsWhat Are the elements? 10197 Introduction 101 Family 103 Coming Home: Fieldwork Account 103 Public Private Lives 107 Travelling Family Band: The Slim Dusty Family as Pioneers 108 The Family Business 112 Professionals and Stars 118 The Family Business Redux 119 Mateship 127 Troy Cassar-Daley & Friends: Fieldwork Account 127 “It’s Good to See You Mate”: Friendship in the -
These Albums Contain Worthwhile Lyrics
Love Songs * * from Elation Bliss SUB POP * Joy Peace Beauty Unity Divinity Hope -¥•-¥•**-¥-•¥- * *-¥--¥• * * Sebadoh » Come* Beat Happening • Unrest» Steven Jesse Bernstein Green River » Codeine » Afghan Whigs » Smashing Pumpkins • Seaweed » Vaselines » Rev. Horton Heat« BiUy Childish & Kyra • ************* CD/CASS Fuck alternative. KILL BRATMOBILE SOME VELVET SIDEWALK COURTNEY LOVE NATION OF ULYSSES UNWOUND MECCA NORMAL NIRVANA HEAVENS To BETSY JAD FAIR ROCK BIKINI KILL WITCHYPOO MELVINS KICKING GIANT FITZ OF DEPRESSION INFAMOUS MENAGEREE STEVE FISK STARS SEVEN YEAR BITCH KEfEVISS The International Pop Underground Convention happened in August 1991 in Olympia, Washington. It was presented by K Records and Sound Out Northwest. All of the bands on this compact disc performed at the International Pop Underground Convention or are from OLYMPIA, the birthplace of rock. DISTRIBUTED EXCLUSIVELY IN CANADA BY JlWM.JlJMfiffi ZEPPELI SOPHIE B.HAWKINS m FEATURING THE HIT SINGLE "DAMN I WISH I WAS YOUR LOVER" WITH SPECIAL GUEST SUNDAY, SEPTEMBER 20 EARLY SHOWTIME - 9PM COMMODORE BALLROOM • • • • • ^*9 U-____J Hm m \\W} _•• ^^J 0 WITH GUESTS THE UNSTOPPABLE SEX MACHINE • • Thursday October 1 # T-SHIRTS OF THIS AD, 100% COTTON, XL, BLACK OR WHITE. good news praise him halleluliah GOOD NEWSMl FREE SNOT OF JESUS H BOOGERS OF OUR LORD & MESSIAH SCIENTIFIC FACT! $jk BIBLICAL PROOF! JESUS L LORD OF 'CHRIST" LORDS! SCIENCE PROVEN! SCRIPTURAL PROOF! SEND FIVE DOLLAR LOVE GIFT TO INTERNATIONAL SECULAR ATAVISM IN CANADA: P.O. BOX 1776 STN.'A" VANCOUVER, B.C. -
The Australian Songwriter
The Australian Songwriter Issue 91, December 2012 First published 1979 The Magazine of The Australian Songwriters Association Inc. In this edition: Chairman’s Message Editor’s Message 2012 Australian Songwriting Contest Award Winners ASA Sponsors Profiles ASA Member Profile: Manfred Vijars ASA Member Profile: Taylor Pfeiffer New ASA Regional Co-Ordinator for Regional QLD: Melinda J Wells New ASA Regional Co-Ordinator for Brisbane QLD: Hugh Brown New ASA Regional Co-Ordinator for Newcastle NSW: Chris Whitington Festivals Round Up 2012 In Memoriam 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 1 Chairman’s Message I am writing this missive on the eve of the ASA’s annual National Songwriting Awards 2012. The date is Wednesday 12 December and to say I’m extremely excited would be a gross understatement. As we get closer to the evening itself, the extent of the amount of work that the Board does to put this occasion into place is evidenced by many sleepless nights and crowded days. The preparation for the event requires huge amounts of time and dedication, but the end result is always well worth it. Those of you who are attending this time around are in for a treat. It looks to be the biggest year ever for the ASA, with tickets now SOLD OUT . If you haven’t as yet experienced the night, I can only urge you to check out our website to have a look at Awards past and plan on coming along next year. -
(Banjo) Paterson
21 Best-loved Aussie Poems, Ballads & Songs 21 Best-loved Aussie Poems, Ballads & Songs Intelligent Australia Productions First published in 2007 by Intelligent Australia Productions © Ron Shaw 2007 ISBN 978-0-9804340-0-2 IAP 022 Intelligent Australia Productions PO Box 670 Hillarys, WA 6923 Australia Tel: (08) 9307 8365 Fax: (08) 9402 2339 Email: [email protected] Copying Instructions The contents of this publication may only be reproduced by the original purchaser for use within their own educational institution. The publisher prohibits the loaning or on-selling of this publication for the purposes of reproduction. Under the Australian Copyright Act 1968 a remuneration notice must be given to Copyright Agency Limited (CAL). For details of the CAL licence for educational institutions, contact CAL, 19/157 Liverpool St, Sydney NSW 2000, tel: (02) 9394 7600, fax: (02) 9394 7601, email: [email protected]. Acknowledgements The publisher wishes to thank the Australian Government through its Culture and Recreation Portal for allowing use of explanatory notes. Copyrights for poems, ballads and other songs are vested in their creators as named. Most graphics, photographs and illustrations, as well as small amounts of text here and there, were either obtained from the public domain or from rights holders whose permission was obtained. In a few cases copyright holders were unable to be traced. If you are the rightful copyright holder of any text or graphics in this publication and object to its use here please contact the publisher by emailing [email protected] . Dedicated to Lawrence 21 Best-loved Aussie Poems, Ballads & Songs Postal Address IAP PO Box 670 Hillarys, WA Australia 6923 Email [email protected] Telephone (08) 9307 8365 Int’l (618) 9307 8365 Fax (08) 9402 2339 Int’l (618) 9402 2339 Intelligent Australia Productions is committed to raising standards in Literacy and Numeracy in Australian schools. -
VOL 22.2 NEWSLETTER of April 2011 – May 2011 the ADELAIDE COUNTRY MUSIC CLUB INC
COUNTRY CALL VOL 22.2 NEWSLETTER OF April 2011 – May 2011 THE ADELAIDE COUNTRY MUSIC CLUB INC. www.acmc.org.au Club Patron …Trev Warner WITH CO-OPERATION FROM THE SLOVENIAN CLUB THE ADELAIDE COUNTRY MUSIC CLUB INC. PRESENTS SUNDAY April 3rd 2011 - show 12.30 to 4.30pm DOORS OPEN 11.00 am Norma O’Hara Murphy backed by Bernie & the Bandits Catering will be available 12 noon – 2pm Sandwiches - Cakes - Fruit Plates Entry:- ACMC members and other Country Music Club Members:- $5.00, all others $7.00 SUNDAY May 1st 2011 – Show 12.30 to 4.30pm DOORS OPEN 11.00 am Ian List & his Sidekicks plus Ian B MacLeod Catering will be available 12 noon – 2pm Sandwiches - Cakes - Fruit Plates, cheese and greens, pies and pasties Entry:- ACMC and other Country Music Club Members:- $5.00, all others $7.00 Coming Attractions June 5 2011 Brian Letton with Cactus Martens July 3 2011 City Cowboys + Billy Dee AGM and Charlie McCracken and Kindred Spirit plus Kalesti Aug 7 2011 Sept 4 2011 band + Melody Feder Butler and + Angela Easson Oct 2 2011 Tracey Rains and Claypan Nov 6 2011 Don Costa + Urban Sound Dec 4 2011 Peter Coad and the Coad Sisters President’s Report Wow this year has been a blast already with the bands and talent we’ve had. There is more to come. Lorraine has done well! We’ve packed the hall every month. It’s great to see a lot of new faces and some old coming back. Don’t forget if you haven’t renewed your membership which was due last month, this will be your last newsletter. -
YODELLING BOUNDARY RIDERS.Pdf
RARE BOOKS LIB. Jl,l The University of Sydney Copyright and use of this thesis This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright. may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author's mora/ rights if you: • fail to acknowledge the author of this thesis if you quote sections from the work • attribute this thesis to another author • subject this thesis to derogatory treatment which may prejudice the author's reputation For further information contact the University's Director of Copyright Services Telephone: 02 9351 2991 e-mail: [email protected] Yodelling Boundary Riders: Country Music In Australia, 1936-2010 Toby Martin PhD Thesis Department of History University of Sydney 2011 SID: 199608146 Supervisor: Richard White Table of Contents ' ',, Abstract i Introduction 1 Chapter One 24 Tex Morton: The Sentimental Cowboy Chapter Two 68 Sleepy Valleys and Lonesome Plains: The Boundary Rider in the Landscape Chapter Three 108 'Give It A Name': Making Hillbillies Respectable Chapter Four 157 From New South Wales to Nashville: Australian Performers and Fans in America Chapter Five 206 Country Music Capital: The Past In Tamworth Conclusion 252 Bibliography 260 Abstract Yodelling Boundary Riders: Country Music In Australia, 1936-2010 Country music has been recorded, performed and listened to in Australia since the early 1930s. -
The Gendered Voice of Australian Country Music
2011 © Graeme Smith, Context 35/36 (2010/2011): 27–38. The Gendered Voice of Australian Country Music Graeme Smith How do Australian country music singers sing, and why do they sing as they do? In his 1987 article ‘Why do songs have words,’ Simon Frith stresses that the words of a song constitute a very small part of the meaning of the musical act.1 The ‘voice’ of the singer, understood both as the sound produced and the discursive position that the singer occupies, is a complex vehicle for meaning, acting within musical, historical, stylistic and linguistic fields. As Australian country music emerged as a genre in the 1930s and 1940s, Australian singers produced versions of the musical styles of American performers like Jimmie Rodgers, the Carter family and others. Australian performers soon developed ways of performing localism within the music style. The genre has made persistent claims to be Australia’s authentic music and the true representation of Australian experience and national identity.2 For its practitioners and fans, Australian country music has become a voice of the nation. The national ideological and musical position occupied by Australian country music is not an unusual one. Many popular music genres around the world create in similar ways local mixes of nostalgia, nationalism, regionalism, address to rural and working-class audiences, and social conservatism. American ethnomusicologists Aaron Fox and Christine Yano have sketched out a field called Global Country, within which we might comfortably also include 1 Simon Frith, ‘Why do Songs have Words?’ Lost in Music: Culture, Style and the Musical Event, ed. -
7Th Annual Cmc Music Awards
For immediate release: Wednesday February 15, 2017 7TH ANNUAL CMC MUSIC AWARDS AUSTRALIAN COUNTRY MUSIC LEGEND LEE KERNAGHAN TO PERFORM & HONOURED WITH HALL OF FAME AWARD TICKETS ON SALE NOW Foxtel’s Country Music Channel (CMC) is thrilled to announce Australian music legend LEE KERNAGHAN will perform at the 7th Annual CMC Music Awards joining a stellar line up of artists all performing live including Little Big Town, Kip Moore, The MyClymonts and Travis Collins. The 7th Annual CMC Music Awards, Country music’s night of nights and the only fan voted country music awards in the southern hemisphere, gives fans the opportunity to vote for their favourite Australian and international country artists. The awards will take place for the first time at The Star Gold Coast (currently Jupiters Gold Coast and transitioning to The Star Gold Coast early 2017) and will be broadcast LIVE on Thursday March 23 at 8.30pm AEDT on Foxtel’s CMC. Music legend Lee Kernaghan has earned his place as one of Australia’s leading contemporary music artists who has made a huge impact on country music in Australia, creating a new musical landscape for the genre when he burst onto the scene in 1992. As a multi-platinum artist, Lee has dominated the charts with successive hit albums - including ‘Outback Club’, ‘Three Chain Road’, ‘1959’, ‘Hat Town’, ‘Electric Rodeo’, ‘The New Bush’, ‘Planet Country’, ‘Beautiful Noise’ and his most recent ‘Spirit Of The Anzacs’. Lee has sold over 2 million albums in Australia, 34 # 1 hits on the Australian Country Charts, 36 Golden Guitar Awards and four ARIA Awards including last year’s Outstanding Achievement ARIA Award and is a former Australian of the Year.