The Dead Heart Free
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Into the Mainstream Guide to the Moving Image Recordings from the Production of Into the Mainstream by Ned Lander, 1988
Descriptive Level Finding aid LANDER_N001 Collection title Into the Mainstream Guide to the moving image recordings from the production of Into the Mainstream by Ned Lander, 1988 Prepared 2015 by LW and IE, from audition sheets by JW Last updated November 19, 2015 ACCESS Availability of copies Digital viewing copies are available. Further information is available on the 'Ordering Collection Items' web page. Alternatively, contact the Access Unit by email to arrange an appointment to view the recordings or to order copies. Restrictions on viewing The collection is open for viewing on the AIATSIS premises. AIATSIS holds viewing copies and production materials. Contact AFI Distribution for copies and usage. Contact Ned Lander and Yothu Yindi for usage of production materials. Ned Lander has donated production materials from this film to AIATSIS as a Cultural Gift under the Taxation Incentives for the Arts Scheme. Restrictions on use The collection may only be copied or published with permission from AIATSIS. SCOPE AND CONTENT NOTE Date: 1988 Extent: 102 videocassettes (Betacam SP) (approximately 35 hrs.) : sd., col. (Moving Image 10 U-Matic tapes (Kodak EB950) (approximately 10 hrs.) : sd, col. components) 6 Betamax tapes (approximately 6 hrs.) : sd, col. 9 VHS tapes (approximately 9 hrs.) : sd, col. Production history Made as a one hour television documentary, 'Into the Mainstream' follows the Aboriginal band Yothu Yindi on its journey across America in 1988 with rock groups Midnight Oil and Graffiti Man (featuring John Trudell). Yothu Yindi is famed for drawing on the song-cycles of its Arnhem Land roots to create a mix of traditional Aboriginal music and rock and roll. -
The Ithacan, 1990-10-04
Ithaca College Digital Commons @ IC The thI acan, 1990-91 The thI acan: 1990/91 to 1999/2000 10-4-1990 The thI acan, 1990-10-04 Ithaca College Follow this and additional works at: http://digitalcommons.ithaca.edu/ithacan_1990-91 Recommended Citation Ithaca College, "The thI acan, 1990-10-04" (1990). The Ithacan, 1990-91. 6. http://digitalcommons.ithaca.edu/ithacan_1990-91/6 This Newspaper is brought to you for free and open access by the The thI acan: 1990/91 to 1999/2000 at Digital Commons @ IC. It has been accepted for inclusion in The thI acan, 1990-91 by an authorized administrator of Digital Commons @ IC. • ~ I :ii Ithaca. wetlands' construction Fairyland shattered by adminis Midnight Oil gives held Up tration indecisiveness anticlimactic performance .•• page 6 ... page 7 ... page 9 ,, ... ,,1,'-•y•'• ,,1. :CJ<,·')• ..... The ITHACAN The Newspaper For The Ithaca College Community Vol. 58, No. 6 October 4, 1990 24 pages Free Arrests. conti:n-ue despite warning lcm." 'crackdown' on parties on South neighborhoods. 75 student arrests over--past three weeks Dave Maley, Manager of Public Hill. McEwen said that he needs at "I expect students to think of this By Joe Porletto Holt, head of the IC office of cam Information for IC, said that when least one additional officer, but there area as their home," McEwen said. The weekend of Sept. 28 resulted pus"' safety, addressed the party students are off-campus they must isn't room in the city budget for it McEwen said that studcn ts wouldn't in 26 arrests of college students on proolem. -
Australian Elegy: Landscape and Identity
Australian Elegy: Landscape and Identity by Janine Gibson BA (Hons) Submitted in fulfilment of the requirements for the degree of (Doctor of Philosophy) Deakin University December, 2016 Acknowledgments I am indebted to the School of Communication and Creative Arts at Deakin University (Geelong), especially to my principal supervisor Professor David McCooey whose enthusiasm, constructive criticism and encouragement has given me immeasurable support. I would like to gratefully acknowledge my associate supervisors Dr. Maria Takolander and Dr. Ann Vickery for their interest and invaluable input in the early stages of my thesis. The unfailing help of the Library staff in searching out texts, however obscure, as well as the support from Matt Freeman and his helpful staff in the IT Resources Department is very much appreciated. Sincere thanks to the Senior HDR Advisor Robyn Ficnerski for always being there when I needed support and reassurance; and to Ruth Leigh, Kate Hall, Jo Langdon, Janine Little, Murray Noonan and Liam Monagle for their help, kindness and for being so interested in my project. This thesis is possible due to my family, to my sons Luke and Ben for knowing that I could do this, and telling me often, and for Jane and Aleisha for caring so much. Finally, to my partner Jeff, the ‘thesis watcher’, who gave me support every day in more ways than I can count. Abstract With a long, illustrious history from the early Greek pastoral poetry of Theocritus, the elegy remains a prestigious, flexible Western poetic genre: a key space for negotiating individual, communal and national anxieties through memorialization of the dead. -
Punk Aesthetics in Independent "New Folk", 1990-2008
PUNK AESTHETICS IN INDEPENDENT "NEW FOLK", 1990-2008 John Encarnacao Student No. 10388041 Master of Arts in Humanities and Social Sciences University of Technology, Sydney 2009 ii Acknowledgements I would like to thank my supervisor Tony Mitchell for his suggestions for reading towards this thesis (particularly for pointing me towards Webb) and for his reading of, and feedback on, various drafts and nascent versions presented at conferences. Collin Chua was also very helpful during a period when Tony was on leave; thank you, Collin. Tony Mitchell and Kim Poole read the final draft of the thesis and provided some valuable and timely feedback. Cheers. Ian Collinson, Michelle Phillipov and Diana Springford each recommended readings; Zac Dadic sent some hard to find recordings to me from interstate; Andrew Khedoori offered me a show at 2SER-FM, where I learnt about some of the artists in this study, and where I had the good fortune to interview Dawn McCarthy; and Brendan Smyly and Diana Blom are valued colleagues of mine at University of Western Sydney who have consistently been up for robust discussions of research matters. Many thanks to you all. My friend Stephen Creswell’s amazing record collection has been readily available to me and has proved an invaluable resource. A hearty thanks! And most significant has been the support of my partner Zoë. Thanks and love to you for the many ways you helped to create a space where this research might take place. John Encarnacao 18 March 2009 iii Table of Contents Abstract vi I: Introduction 1 Frames -
Brand New Cd & Dvd Releases 2006 6,400 Titles
BRAND NEW CD & DVD RELEASES 2006 6,400 TITLES COB RECORDS, PORTHMADOG, GWYNEDD,WALES, U.K. LL49 9NA Tel. 01766 512170: Fax. 01766 513185: www. cobrecords.com // e-mail [email protected] CDs, DVDs Supplied World-Wide At Discount Prices – Exports Tax Free SYMBOLS USED - IMP = Imports. r/m = remastered. + = extra tracks. D/Dble = Double CD. *** = previously listed at a higher price, now reduced Please read this listing in conjunction with our “ CDs AT SPECIAL PRICES” feature as some of the more mainstream titles may be available at cheaper prices in that listing. Please note that all items listed on this 2006 6,400 titles listing are all of U.K. manufacture (apart from Imports which are denoted IM or IMP). Titles listed on our list of SPECIALS are a mix of U.K. and E.C. manufactured product. We will supply you with whichever item for the price/country of manufacture you choose to order. ************************************************************************************************************* (We Thank You For Using Stock Numbers Quoted On Left) 337 AFTER HOURS/G.DULLI ballads for little hyenas X5 11.60 239 ANATA conductor’s departure B5 12.00 327 AFTER THE FIRE a t f 2 B4 11.50 232 ANATHEMA a fine day to exit B4 11.50 ST Price Price 304 AG get dirty radio B5 12.00 272 ANDERSON, IAN collection Double X1 13.70 NO Code £. 215 AGAINST ALL AUTHOR restoration of chaos B5 12.00 347 ANDERSON, JON animatioin X2 12.80 92 ? & THE MYSTERIANS best of P8 8.30 305 AGALAH you already know B5 12.00 274 ANDERSON, JON tour of the universe DVD B7 13.00 -
M7, 7 Records and Powderworks 1970-1987
AUSTRALIAN RECORD LABELS M7, 7 Records and Powderworks 1970-1987 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, JUNE 2019 M7 / 7 RECORDS BIRTHED DURING THE 1970 RECORD BAN, M7 WAS A SYDNEY-BASED LABEL SET UP AS A JOINT VENTURE BETWEEN THE MACQUARIE BROADCASTING SERVICE, THE HERALD AND WEEKLY TIMES LTD. AND FAIRFAX SUBSIDIARY AMALGAMATED TELEVISION SERVICES, OWNERS OF ATN-7. IN JULY 1970, WORLD BROADCASTING SYSTEM CHANGED ITS NAME TO M7 RECORDS PTY. LTD. M7 WAS DISTRIBUTED BY THE PAUL HAMLYN RECORD DIVISION (FROM JUNE 1971), THEN BY TEMPO (1974-1976), AND THEN ORGANISED ITS OWN DISTRIBUTION (1976-1978). ALLAN CRAWFORD WAS THE FIRST GENERAL MANAGER (1970-1972), FOLLOWED BY RON HURST (1972-1975). KEN HARDING JOINED M7 RECORDS IN 1973, BECOMING C.E.O. OF 7 RECORDS IN 1978, THE SAME YEAR HE SIGNED MIDNIGHT OIL TO THE LABEL. M7 RECORDS BECAME 7 RECORDS PTY. LTD. IN MAY 1978. AT THIS TIME, SALES AND DISTRIBUTION PASSED TO RCA. CATALOGUE PREFIXES MS M7 / SEVEN BGMS BLUE GOOSE MSA ARTIST OF AMERICA CHS CHAMPAGNE MSB BRITISH ARTISTS EUS EUREKA MSD SEVEN - 12” DISCO FSP FROG MSH HICKORY LRS LARRIKIN MSP PENNY FARTHING LW, LN M7 MSPD PENNY FARTHING – 12” DISCO RNO CREOLE MSS SPIRAL SAC AUSTRALIAN COUNTRY MST TRANSATLANTIC SS SATRIL MSY YOUNGBLOOD SUS STOCKADE M7 / 7 RECORDS 7” & 12” SINGLES LW 4512 C.C. RIDER / TRAVELLER S.C.R.A. 1971 LW 4522 HOUSE IN THE COUNTRY / LUCCA GREG BONHAM 6.71 LW 4532 IN VAIN THE CHRISTIAN / WHAT YOU’LL DO NOLAN 7.71 LW 4542 FRASER ISLAND / AUSTRALIA REVISITED REISSUED 1975 BY ‘TONI & ROYCE’ THE MEEPLES 6.71 LW -
The Dead Heart Midnight Oil
Musik der Welt The Dead Heart Midnight Oil Walfgang Martin Stroh Das Jahr 2000. In Sydney werden die Olympi- Ihrem Goldmedaillensieg die (verbotene) Aborigines- schen Spiele durchgeführt. Wohl zum ersten Mal Flagge gezeigt. In der Abschiedszeremonie durfte die wird die Welt mit dem Schicksal und der aktuellen australische Gruppe „Midnight Oil“ einen Song aus Situation der australischen Aborigi- ihrer 1987 veröffentlichten CD „Diesel and Dust“ nes konfrontiert. Wegen erwarteter singen. (und auch durchgeführter) Proteste der australischen Ureinwohner orga- „THE DEAD HEART“ ALS MINIMALIS- nisiert die Festspielleitung zahlreiche TISCHE ROCKMUSIK symbolische Aktionen, um den Abo- Die originale Musik von „The Dead Heart“ ist in rigines entgegenzukommen und die vieler Beziehung elementar und minimalistisch. Gut Olympischen Spiele als eine „power- 50% der Musik bedienen sich eines simplen „du- ful healing statement for Aboriginal dup, du-dup“ über einem Achtel-Ostinato (s. Abb. Australia“ (Geoff Clark, Gründer der „NB1 – Thema Moll“ auf S. ??). Cover der CD „Aboriginal and Torres Strait Islander Einzige Abwechslung in diesem minimalistischen „Diesel And Dust“ von Commission“) zu inszenieren. Die legendäre Abori- Spiel ist der gelegentliche Wechsel von Moll nach 1987 gines-Spitzensportlerin Cathy Freeman hat nicht nur Dur mit kurzer Unterbrechung des Ostinatos (s. die Olympische Fackel entzündet, sondern auch nach Abb. „NB2 – Thema Dur“ auf S. ??) 44 Musik der Welt Praxis des Musikunterrichts 136 Midnight Oil In den Videos der 2017er-Tour sieht man, dass der Die 1971 gegründete Rock-Band The Farm 1987er-Minimalismus von einem Sound gewohn- aus Sydney gab sich 1976 den Namen Mid- ter Rockmusik – durch akustische und elektrische night Oil in Anspielung auf eine Redensart Gitarren, E-Bass, Schlagzeug, Synthi und Gesang – „burning of the midnight oil“ für „Arbeiten bis abgelöst worden ist. -
Midnight Oil „The Dead Heart“
Midnight Oil „The Dead Heart“ Das Jahr 2000. In Sydney werden die Olympischen Spiele durchgeführt. Wohl zum ersten Mal wird die Welt mit dem Schicksal und der aktuellen Situation der australischen Aborigines konfrontiert. Wegen erwarteter (und auch durchgeführter) Proteste der australischen Ureinwohner organisiert die Festspielleitung zahlreiche symbolische Aktionen, um den Aborigines entgegen zu kommen und die Olympischen Spiele als eine „powerful healing statement for Aboriginal Australia“ (Geoff Clark, Gründer der „Aboriginal and Torres Strait Islander Commission“) zu inszenieren. Die legendäre Aborigines-Spitzensportlerin Cathy Freeman hat nicht nur die Olympische Fackel entzündet sondern auch nach Ihrem Goldmedaillensieg die (verbotene) Aborigines-Flagge gezeigt. Und in der Abschiedszeremonie durfte die australische Gruppe „Midnight Oil“ einen Song aus ihrer 1987 entstandenen CD „Diesel and Dust“ singen. Cathy Freeman zeigt neben der australischen auch die verbotene Aborigines-Flagge 2000 im Olympiastadion in Sydney 2 Das Jahr 1987. Die 1971 gegründete Rock-Band The Farm aus Sydney gab sich 1976 den Namen „Midnight Oil“ in Anspielung auf eine Redensart „burning of the midnight oil“ für „Arbeiten bis in die Nacht hinein“. 1986 wurde „Midnight Oil“ von der Aboriginales-Band „Warumpi“ zu einer gemeinsamen Tour „Blackfella/Whitefella“ („Schwarze und Weiße Kerle“, auch ein Songtitel von „Warumpi“) durch einige Homelands eingeladen. 1987 wurde unter dem Eindruck dieser Begegnung mit der Welt der Aborigines das Album „Diesel and Dust“, das sich mit der Ausbeutung von Aborigines-Land durch „Mining Companies“ und - kurz gesagt - den „White Man“ beschäftigt. „The Dead Heart“ ist das in dieser Beziehung wohl deutlichste Lied der CD. „Diesel and Dust“ verhalf „Midnight Oil“ zu ihrem internationalen Durchbruch, der bis heute - mit Unterbrechungen - anhält: Nachdem der Leadsänger Peter Garrett 2002 die Band verlassen hatte, um Berufspolitiker (u.a. -