Issue 26 | October 01,2012 | Critic.Co.Nz
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State Coroner's Court
STATE CORONER’S COURT OF NEW SOUTH WALES Inquest: Inquest into the death of six patrons of NSW music festivals, Hoang Nathan Tran Diana Nguyen Joseph Pham Callum Brosnan Joshua Tam Alexandra Ross-King Hearing dates: 8 – 19 July 2019, 10 – 13 September 2019, 19 – 20 September 2019 Date of findings: 8 November 2019 Place of findings: NSW State Coroner’s Court, Lidcombe Findings of: Magistrate Harriet Grahame, Deputy State Coroner Catchwords: CORONIAL LAW – Manner of death, death at music festival, MDMA toxicity, harm minimisation strategies, policing of music festivals, drug checking, drug monitoring schemes, drug education, File numbers: 2018/283593; 2017/381497; 2018/400324; 2019/12787; 2018/283652; 2018/378893; 2018/378893. Representation: Counsel Assisting Dr Peggy Dwyer instructed by Peita Ava-Jones of NSW Department of Communities and Justice Legal Gail Furness SC instructed by Jacinta Smith of McCabe Curwood for NSW Ministry of Health, Ambulance NSW and Western Sydney Local Health District Adam Casselden SC and James Emmett instructed by Nicholas Regener and Louise Jackson of Makinson D’Apice for the Commissioner of Police and four involved Police Officers Simon Glascott of Counsel instructed by Fiona McGinley of Mills Oakley for Medical Response Australia Pty Ltd and Dr Sean Wing Patrick Barry of Counsel instructed in part by Erica Elliot of K & L Gates for the Australian Festivals Association (AFA) Jake Harris of Counsel instructed by Tony Mineo of Avant Law for Dr Christopher Cheeseman and Dr Andrew Beshara Ben Fogarty of Counsel for Simon Beckingham Peter Aitken of Counsel instructed by Summer Dow of DLA Piper for EMS Event Medical and Michael Hammond Laura Thomas of Counsel instructed by Melissa McGrath of Mills Oakley for HSU Events Pty Ltd and Peter Finley Michael Sullivan of Norton Rose Fullbright for FOMO Festival Pty Ltd Andrew Stewart of Stewart & Associates for Q-Dance Australia Pty Ltd Non-publication orders: This document can be published in its current redacted form. -
ANNUAL REPORT 2019 Revellers at New Year’S Eve 2018 – the Night Is Yours
AUSTRALIAN BROADCASTING CORPORATION ANNUAL REPORT 2019 Revellers at New Year’s Eve 2018 – The Night is Yours. Image: Jared Leibowtiz Cover: Dianne Appleby, Yawuru Cultural Leader, and her grandson Zeke 11 September 2019 The Hon Paul Fletcher MP Minister for Communications, Cyber Safety and the Arts Parliament House Canberra ACT 2600 Dear Minister The Board of the Australian Broadcasting Corporation is pleased to present its Annual Report for the year ended 30 June 2019. The report was prepared for section 46 of the Public Governance, Performance and Accountability Act 2013, in accordance with the requirements of that Act and the Australian Broadcasting Corporation Act 1983. It was approved by the Board on 11 September 2019 and provides a comprehensive review of the ABC’s performance and delivery in line with its Charter remit. The ABC continues to be the home and source of Australian stories, told across the nation and to the world. The Corporation’s commitment to innovation in both storytelling and broadcast delivery is stronger than ever, as the needs of its audiences rapidly evolve in line with technological change. Australians expect an independent, accessible public broadcasting service which produces quality drama, comedy and specialist content, entertaining and educational children’s programming, stories of local lives and issues, and news and current affairs coverage that holds power to account and contributes to a healthy democratic process. The ABC is proud to provide such a service. The ABC is truly Yours. Sincerely, Ita Buttrose AC OBE Chair Letter to the Minister iii ABC Radio Melbourne Drive presenter Raf Epstein. -
Soulwax from Deewee Mp3, Flac, Wma
Soulwax From Deewee mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: From Deewee Country: UK & Europe Released: 2017 Style: Electro, Synth-pop, Disco MP3 version RAR size: 1389 mb FLAC version RAR size: 1143 mb WMA version RAR size: 1332 mb Rating: 4.2 Votes: 218 Other Formats: APE AC3 MIDI WMA AHX MOD VOX Tracklist Hide Credits A1 Preset Tense 1:32 Masterplanned A2 4:07 Written-By – L. Thomas*, P. Sanders* A3 Missing Wires 4:48 A4 Conditions Of A Shared Belief 3:12 B1 Is It Always Binary 3:30 B2 Do You Want To Get Into Trouble? 4:26 B3 My Tired Eyes 4:17 B4 Transient Program For Drums And Machinery 6:23 C1 Trespassers 4:04 C2 The Singer Has Become A Deejay 3:21 C3 Here Come The Men In Suits 5:10 D1 Goodnight Transmission 4:07 Companies, etc. Phonographic Copyright (p) – Deewee Copyright (c) – Deewee Licensed To – Play It Again Sam [PIAS] Made By – The Vinyl factory Mastered At – The Exchange Mike Marsh Mastering Recorded At – Studio Deewee Mixed At – Studio Deewee Produced At – Studio Deewee Published By – Strictly Confidential Published By – Deewee Published By – Ferrell Sanders Music Published By – Copyright Control Credits Creative Director – Ill-Studio Engineer – Frederik De Witte, Phil Evans Engineer [Assistant] – Oliver Geerts Management – Karey*, Marc* Mastered By – Mike Marsh Performer – Blake Davies, David Dewaele, Iggor Cavalera*, Laima Leyton, Stefaan Van Leuven, Stephen Dewaele, Victoria Smith Photography By – Ill-Studio, Younes Klouche Recorded By, Producer, Mixed By – Soulwax Written-By – D. Dewaele*, S. Dewaele* Notes (P) & (C) Deewee under exclusive license to Play It Again Sam. -
North Byron Parklands – Trial Period Extension Modification Environmental Assessment
pjep. North Byron Parklands – Trial Period Extension Modification Environmental Assessment March 2017 Environmental Assessment North Byron Parklands Trial Extension Prepared for: North Byron Parklands 126 Tweed Valley Way Yelgun NSW 2483 Prepared by: pjep. pjep environmental planning pty ltd, abn. 73 608 508 176 tel. 02 9918 4366 striving for balance between economic, social and environmental ideals… In association with: PLANNERS NORTH | ABN 56 291 496 553 | p: 1300 660 087 | 3/69 Centennial Circuit Byron Bay NSW 2481 | PO Box 538 Lennox Head NSW 2478 PJEP Ref: North Byron Parklands_EA_Mar17.docx DISCLAIMER This document was prepared for the sole use of North Byron Parklands and the regulatory agencies that are directly involved in this project, the only intended beneficiaries of our work. No other party should rely on the information contained herein without the prior written consent of PJEP Environmental Planning, PLANNERS NORTH and North Byron Parklands. Environmental Assessment North Byron Parklands Trial Extension EXECUTIVE SUMMARY North Byron Parklands (Parklands) operates a cultural events site at Yelgun near Byron Bay. The site is home to two of Australia’s most iconic annual international cultural music festivals, Splendour in the Grass and the Falls Festival Byron. The Parklands site operates under a concept plan approval and project approval, granted by the NSW Planning Assessment Commission (the Commission) on behalf of the Minister for Planning on 24 April 2012 (MP 09_0028). The Commission granted the approvals subject to a 5 year trial period, up to the end of calendar 2017. The approvals allow up to 3 events each year (of up to 35,000 patrons), with a total of up to 10 event days per year. -
University of Southern Queensland Behavioural Risk At
University of Southern Queensland Behavioural risk at outdoor music festivals Aldo Salvatore Raineri Doctoral Thesis Submitted in partial fulfilment of the requirements for the Degree of Doctor of Professional Studies at the University of Southern Queensland Volume I April 2015 Supervisor: Prof Glen Postle ii Certification of Dissertation I certify that the ideas, experimental work, results, analyses and conclusions reported in this dissertation are entirely my own effort, except where otherwise acknowledged. I also certify that the work is original and has not been previously submitted for any other award, except where otherwise acknowledged. …………………………………………………. ………………….. Signature of candidate Date Endorsement ………………………………………………….. …………………… Signature of Supervisor Date iii Acknowledgements “One’s destination is never a place, but a new way of seeing things.” Henry Miller (1891 – 1980) An outcome such as this dissertation is never the sole result of individual endeavour, but is rather accomplished through the cumulative influences of many experiences and colleagues, acquaintances and individuals who pass through our lives. While these are too numerous to list (or even remember for that matter) in this instance, I would nonetheless like to acknowledge and thank everyone who has traversed my life path over the years, for without them I would not be who I am today. There are, however, a number of people who deserve singling out for special mention. Firstly I would like to thank Dr Malcolm Cathcart. It was Malcolm who suggested I embark on doctoral study and introduced me to the Professional Studies Program at the University of Southern Queensland. It was also Malcolm’s encouragement that “sold” me on my ability to undertake doctoral work. -
PREVIEW the 2013 OFF the COUCH TRAINING PROGRAM BARRIO SITE VISIT | WEEK 1 with Barrio Team from Adelaide Festival of the Arts P
PREVIEW THE 2013 OFF THE COUCH TRAINING PROGRAM BARRIO SITE VISIT | WEEK 1 with Barrio team from Adelaide Festival of the Arts Thursday 14 March at Barrio, 6pm - 8pm www.adelaidefestival.com.au/2013/club/barrio PUBLICITY | WEEK 2 with journalists, bloggers, promoters and venue bookers Thursday 21 March at Carclew, 6-8pm Sose Fuamoli | The AU Review www.theaureview.com/users/sosefina-fuamoli Sose’s career in the arts began in 2006, when she toured and performed with Darwin-based dance company, Sunameke. Relocating to Adelaide in 2009, Sose graduated with a Bachelor of Arts in English and classics from Adelaide University. Sose has been working as a music journalist and editor for a variety of online and press publications for the past four years. She is currently the South Australian Manager and Head News Editor of Sydney- based music and arts publication, The AU Review. Having worked with a variety of Australian and international artists, showcasing Adelaide’s talent has always remained a priority for Sose. Her work has been published Australia-wide and has more recently been featured by CMJ in New York. Luke Penman | play/pause/play www.playpauseplay.com A few years ago Luke came to the realisation that, despite living in Adelaide, he didn't know any bands from Adelaide. He also realised how much he hated working in dead-end office jobs and vowed to break into the music industry. Fast-forward a few years and Luke has dabbled in artist management and promotions while also running an Adelaide music blog and podcast and hosting Local Noise on Radio Adelaide. -
YEAR in REVIEW Australian Music Industry Based on a Strong the YEAR in REVIEW – Vision to Become a Globally Recognised Music Nation Powerhouse
YEAR IN REVIEW Australian music industry based on a strong THE YEAR IN REVIEW – vision to become a globally recognised music nation powerhouse. MESSAGE FROM CHIEF Financial Overview A record year for APRA AMCOS with group EXECUTIVE DEAN ORMSTON revenue breaking the $400m milestone, Brett Cottle AM retired as CEO in June 2018 after 28 rising by 8.7% from $386.7m to $420.2m, an years presiding over a period of extraordinary increase of $33.5m on the back of continued change and growth for the organisation. Over strong growth in consumer demand for music the past 6 months there have been many delivered digitally. ‘farewell’ events and acknowledgements For APRA, gross collections rose by 10.4% to of Brett’s contribution to APRA AMCOS, $323.3m (excluding AMCOS management the wider rights management and fees), while AMCOS revenue rose 3.3% to music industries, both locally and $95.9m. internationally. I would like to add my Operating expenses across the group – personal further thanks to Brett for comprising APRA pro forma costs, system being a leader unparalleled, and a development related costs, costs of generous mentor. administering AMCOS and stand-alone This year’s report highlights the AMCOS costs – were $57.1m, up 13.1% strength of the organisation’s from last year’s figure of $50.5m. economic performance, breadth of Despite the increased system member service, and commitment to development spend APRA Net improving our industry’s ecosystem. Distributable Revenue – the amount Critical to the health of our sector is available for distribution to a direct conversation and relationship members and affiliated societies – with Federal and State governments. -
With Fond Regards
With Fond Regards PRIVATE LIVES THROUGH LETTERS Edited and Introduced by ELIZABETH RIDDELL ith Fond Regards W holds many- secrets. Some are exposed, others remain inviolate. The letters which comprise this intimate book allow us passage into a private world, a world of love letters in locked drawers and postmarks from afar. Edited by noted writer Elizabeth Riddell, and drawn exclusively from the National Library's Manuscript collection, With Fond Regards includes letters from famous, as well as ordinary, Australians. Some letters are sad, others inspiring, many are humorous—but all provide a unique and intimate insight into Australia's past. WITH FOND REGARDS PRIVATE LIVES THROUGH LETTERS Edited and Introduced by Elizabeth Riddell Compiled by Yvonne Cramer National Library of Australia Canberra 1995 Published by the National Library of Australia Canberra ACT 2600 © National Library of Australia 1995 Every reasonable endeavour has been made to contact relevant copyright holders. Where this has not proved possible, the copyright holders are invited to contact the publishers. National Library of Australia Cataloguing-in-Publication entry With fond regards: private lives through letters. ISBN 0 642 10656 8. 1. Australian letters. 2. Australia—Social conditions—1788-1900. 3. Australia—Social conditions—20th century. 4. Australia—Social life and customs—1788-1900. 5. Australia—Social life and customs— 20th century. I. Riddell, Elizabeth. II. Cramer, Yvonne. III. National Library of Australia. A826.008 Designer: Andrew Rankine Editor: Susan -
ABC TV 2015 Program Guide
2014 has been another fantastic year for ABC sci-fi drama WASTELANDER PANDA, and iview herself in a women’s refuge to shine a light TV on screen and we will continue to build on events such as the JONAH FROM TONGA on the otherwise hidden world of domestic this success in 2015. 48-hour binge, we’re planning a range of new violence in NO EXCUSES! digital-first commissions, iview exclusives and We want to cement the ABC as the home of iview events for 2015. We’ll welcome in 2015 with a four-hour Australian stories and national conversations. entertainment extravaganza to celebrate NEW That’s what sets us apart. And in an exciting next step for ABC iview YEAR’S EVE when we again join with the in 2015, for the first time users will have the City of Sydney to bring the world-renowned In 2015 our line-up of innovative and bold ability to buy and download current and past fireworks to audiences around the country. content showcasing the depth, diversity and series, as well programs from the vast ABC TV quality of programming will continue to deliver archive, without leaving the iview application. And throughout January, as the official what audiences have come to expect from us. free-to-air broadcaster for the AFC ASIAN We want to make the ABC the home of major CUP AUSTRALIA 2015 – Asia’s biggest The digital media revolution steps up a gear in TV events and national conversations. This year football competition, and the biggest football from the 2015 but ABC TV’s commitment to entertain, ABC’s MENTAL AS.. -
Local Tv Guide Sydney
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Countdown and Cult Music Television Programmes
Giuffre, Liz Countdown and Cult Music Television Programmes Countdown and cult music television programmes: an Australian case study Liz Giuffre Abstract Music television programs, programs that focus on music for their core content, have been produced all over the world for all types of markets. However there remains little sustained work on them beyond studies of key production periods, franchise waves or biography-like narratives. This article shows that theories of Cult TV can be applied to music television programs to help explore this neglected form, as well as helping to expand Cult TV’s theoretical reach beyond its traditional fare of narrative driven, fiction series. This article offers 1970s and ‘80s Australian music television program Countdown as a prime example of Cult TV, first in the context of its initial production and consumption in 1970s and ‘80s Australia, and also in terms of its subsequent influence on contemporary audiences from a historical perspective. The Cult TV frame extends to the program itself in its original incarnation, as well as additional recontextualisations in new music television programs, and the continued work of its former host, Ian ‘Molly’ Meldrum. Introduction1 Music television is an unusual type of programming. It provides both regular entertainment that is watched intensely while on air, and produces key moments that survive well in audience collective memory. ‘Live’ music performance and interview series Countdown remains an icon of the Australian television and music industries.2 Created by the national public service broadcaster, the Australian Broadcasting Corporation (ABC),3 the show was broadcast from 1974 to 1987 on Sunday evenings and was highly influential with television audiences and the broader music industry.4 Countdown provided opportunities for music artists and audiences to engage with each other in a way that had not previously been possible. -
••TEE DIN 02.Qxp 12/12/08 17:07 Page 1
••TEE_DIN 02.qxp 12/12/08 17:07 Page 1 CYCLE DE CONFÉRENCES « TRANS EUROPE EXPRESS » LES MUSIQUES ACTUELLES EUROPEENNES EN QUESTIONS 30ÈMES TRANS CHRONIQUES EUROPÉENNES ••TEE_DIN 02.qxp 28/11/08 19:22 Page 2 Ces Trans sont exceptionnelles à plus d’un titre : nous fêtons la Certes, il y avait bien d’autres façons d’aborder la question de trentième édition du festival et nous y présentons le projet notre "européanité". Mais en matière d’art, y a-t-il autre chose "Chroniques européennes" dans le cadre de la Saison culturelle que des points de vue, autre chose que des partis pris ? européenne. Reconnaissons les nôtres : nous avons choisi une approche par l’exemple et qui plus est, une approche par artistes, quelques Europe et festival pouvant se ressentir par leur géographie et artistes. Festival connu pour ses choix hardis en programma- leur histoire, nous avons choisi de croiser en permanence ces tion, nous avons choisi d’accrocher le fil de nos interrogations deux territoires d’imagination et d’investigation et de déborder sur ces artistes qui nous ont marqués de leur singularité. largement du cadre habituel du festival pour entreprendre une Reconnaissons donc nos lacunes d’amateurs passionnés pour exploration des scènes musiques actuelles. qui l’émotion et la sensation priment sur la prétention à faire œuvre de science. Et le "Jeu de l’ouïe", projet d’éducation artistique des Trans et des Champs libres, s’est naturellement prêté à cette nouvelle Tous les artistes auxquels vous pensez, tous ceux là aussi font règle. Règle que nous avons respectée même quand elle écarte partie de notre histoire culturelle mais nous n’avions pas le de notre propos les pays non membres de l’Union Européenne temps.