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Page 1 CONTENTS - Acknowledgment of country and partnerships - President's Report - Treasurer's Report - Station Manager's Report - Year at a glance - The Stats - Financial Report - 2018 AGM Meeting Minutes Page 2 We would like to start my report with acknowledging the traditional owners of the land that we meet, the station resides, and that we broadcast from. We pay our respects to the Yugara and Turrbal people and recognise their continuing connection to land, waters and culture. We pay our respects to their Elders past, present and emerging. Page 3 PRESIDENT'S REPORT Hi everyone and welcome to our AGM. As you will have been aware there have been huge changes at the Station and I would like to just take a few moments to put things into perspective. We have lived through what is probably the fastest changing dynamic the world has ever seen and the momentum is growing. When I grew up all we had was radio and we listened faithfully to all the programmes as there was only one Station – the BBC in England and the ABC here. I worked at the BBC in the 50s and we had the huge tapes that I recognised when I came to 4RHP about 12 years ago. My first training on a computer was in the mid 70s and that was at one of the first companies to use computers. All very strange to us. The machines were big and bulky and the computer had a whole room to itself. We slowly got used to that and when I opened my own business in the early 80s we had home computers and can you believe it a mobile phone that was huge. -
Music on PBS: a History of Music Programming at a Community Radio Station
Music on PBS: A History of Music Programming at a Community Radio Station Rochelle Lade (BArts Monash, MArts RMIT) A thesis submitted for the degree of Doctor of Philosophy January 2021 Abstract This historical case study explores the programs broadcast by Melbourne community radio station PBS from 1979 to 2019 and the way programming decisions were made. PBS has always been an unplaylisted, specialist music station. Decisions about what music is played are made by individual program announcers according to their own tastes, not through algorithms or by applying audience research, music sales rankings or other formal quantitative methods. These decisions are also shaped by the station’s status as a licenced community radio broadcaster. This licence category requires community access and participation in the station’s operations. Data was gathered from archives, in‐depth interviews and a quantitative analysis of programs broadcast over the four decades since PBS was founded in 1976. Based on a Bourdieusian approach to the field, a range of cultural intermediaries are identified. These are people who made and influenced programming decisions, including announcers, program managers, station managers, Board members and the programming committee. Being progressive requires change. This research has found an inherent tension between the station’s values of cooperative decision‐making and the broadcasting of progressive music. Knowledge in the fields of community radio and music is advanced by exploring how cultural intermediaries at PBS made decisions to realise eth station’s goals of community access and participation. ii Acknowledgements To my supervisors, Jock Given and Ellie Rennie, and in the early phase of this research Aneta Podkalicka, I am extremely grateful to have been given your knowledge, wisdom and support. -
COMMUNITY RADIO NETWORK PROGRAMS and CONTENT LIST - Content for Broadcast on Your Station
COMMUNITY RADIO NETWORK PROGRAMS AND CONTENT LIST - Content for broadcast on your station May 2019 All times AEST/AEDT CRN PROGRAMS AND CONTENT LIST - Table of contents FLAGSHIP PROGRAMMING Beyond Zero 9 Phil Ackman Current Affairs 19 National Features and Documentary Bluesbeat 9 Playback 19 Series 1 Cinemascape 9 Pop Heads Hour of Power 19 National Radio News 1 Concert Hour 9 Pregnancy, Birth and Beyond 20 Good Morning Country 1 Contact! 10 Primary Perspectives 20 The Wire 1 Countryfolk Around Australia 10 Radio-Active 20 SHORT PROGRAMS / DROP-IN Dads on the Air 10 Real World Gardener 20 CONTENT Definition Radio 10 Roots’n’Reggae Show 21 BBC World News 2 Democracy Now! 11 Saturday Breakfast 21 Daily Interview 2 Diffusion 11 Service Voices 21 Extras 1 & 2 2 Dirt Music 11 Spectrum 21 Inside Motorsport 2 Earth Matters 11 Spotlight 22 Jumping Jellybeans 3 Fair Comment 12 Stick Together 22 More Civil Societies 3 FiERCE 12 Subsequence 22 Overdrive News 3 Fine Music Live 12 Tecka’s Rock & Blues Show 22 QNN | Q-mmunity Network News 3 Global Village 12 The AFL Multicultural Show 23 Recorded Live 4 Heard it Through the Grapevine 13 The Bohemian Beat 23 Regional Voices 4 Hit Parade of Yesterday 14 The Breeze 23 Rural Livestock 4 Hot, Sweet & Jazzy 14 The Folk Show 23 Rural News 4 In a Sentimental Mood 14 The Fourth Estate 24 RECENT EXTRAS Indij Hip Hop Show 14 The Phantom Dancer 24 New Shoots 5 It’s Time 15 The Tiki Lounge Remix 24 The Good Life: Season 2 5 Jailbreak 15 The Why Factor 24 City Road 5 Jam Pakt 15 Think: Stories and Ideas 25 Marysville -
Reclink Annual Report 2017-18
, Annual Report 2017-18 Partners Our Mission Respond. Rebuild. Reconnect. We seek to give all participants the power of purpose. About Reclink Australia Reclink Australia is a not-for-profit organisation whose aim is to enhance the lives of people experiencing disadvantage or facing significant barriers to participation, through providing new and unique sports, specialist recreation and arts programs, and pathways to employment opportunities. We target some of the community’s most vulnerable and isolated people; at risk youth, those experiencing mental illness, people with a disability, the homeless, people tackling alcohol and other drug issues and social and economic hardship. As part of our unique hub and spoke network model, Reclink Australia has facilitated cooperative partnerships with a membership of more than 290 community, government and private organisations. Our member agencies are committed to encouraging our target population group, under-represented in mainstream sport and recreational programs, to take that step towards improved health and self-esteem, and use Reclink Australia’s activities as a means of engagement for hard to reach population groups. Contents Our Mission 3 State Reports 11 About Reclink Australia 3 AAA Play 20 Why We Exist 4 Reclink India 22 What We Do 5 Art Therapy 23 Delivering Evidence-based Programs 6 Events, Fundraising and Volunteers 24 Transformational Links, Training Our Activities 32 and Education 7 Our Members 34 Corporate Governance 7 Gratitude 36 Founder’s Message 8 Our National Footprint 38 Improving Lives and Reducing Crime 9 Reclink Australia Staff 39 Community Partners 10 Contact Us 39 Notice of 2017 Annual General Meeting The Annual General Meeting for Members 1. -
Brisbane Used to Be Called the Deep North
Radical Media in the Deep North: The origins of 4ZZZ-FM by Alan Knight PhD Brisbane used to be called the Deep North. It spoke of a place where time passed slowly in the summer heat, where rednecks ran the parliament and the press, blacks died from beatings and the police thought themselves above the law. Even though Brisbane is situated in the bottom southeast quarter of the great northern state of Queensland, it's sobriquet represented a state of mind. Queensland was described as a cultural backwater lacking bookshops, political pubs, radio and television network headquarters and the publishing centres where Australian intellectuals could be seen and heard. It was fashionable, then as now, for many in Sydney and Melbourne to dismiss Queenslanders as naive, if not malignant conservatives. Yet in 1975, Brisbane created Australia's most radical politics and music station, 4ZZZ-FM. It broadcasts to this day. How did it come about and why? The Bitter Fight Queensland has a long, yet often forgotten history of conflict between conservatives and radicals. In a huge, decentralised state, the march to democracy has been signposted by demands for free speech expressed through a diversified media. ZZZ is an offspring of these battles, which were in part fought out in the state's mainstream and underground media. The bitter fight began in earnest in 1891, when Queensland shearers went on strike over work contracts. The strikers produced a flurry of cartoons, articles and satirical poems, which were passed around their camp fires. They joined armed encampments, which were broken up only after the government called in the military. -
Kahlil Gibran a Tear and a Smile (1950)
“perplexity is the beginning of knowledge…” Kahlil Gibran A Tear and A Smile (1950) STYLIN’! SAMBA JOY VERSUS STRUCTURAL PRECISION THE SOCCER CASE STUDIES OF BRAZIL AND GERMANY Dissertation Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Susan P. Milby, M.A. * * * * * The Ohio State University 2006 Dissertation Committee: Approved by Professor Melvin Adelman, Adviser Professor William J. Morgan Professor Sarah Fields _______________________________ Adviser College of Education Graduate Program Copyright by Susan P. Milby 2006 ABSTRACT Soccer playing style has not been addressed in detail in the academic literature, as playing style has often been dismissed as the aesthetic element of the game. Brief mention of playing style is considered when discussing national identity and gender. Through a literature research methodology and detailed study of game situations, this dissertation addresses a definitive definition of playing style and details the cultural elements that influence it. A case study analysis of German and Brazilian soccer exemplifies how cultural elements shape, influence, and intersect with playing style. Eight signature elements of playing style are determined: tactics, technique, body image, concept of soccer, values, tradition, ecological and a miscellaneous category. Each of these elements is then extrapolated for Germany and Brazil, setting up a comparative binary. Literature analysis further reinforces this contrasting comparison. Both history of the country and the sport history of the country are necessary determinants when considering style, as style must be historically situated when being discussed in order to avoid stereotypification. Historic time lines of significant German and Brazilian style changes are determined and interpretated. -
Dogs in Space Music Credits
THE BANDS 'Dogs in Space' 'Whirlywirld' Edward Clayton-Jones Arnie Hanna Michael Hutchence David Hoy Chuck Meo Johnn Murphy Nique Needles Ollie Olsen Glenys Osborne 'Too Fat To Fit Through the Door' 'Thrush and the C...S' Marcus Bergner Denise Grant Marie Hoy Marie Hoy John Murphy Danila Stirpe James Rogers Jules Taylor Ollie Olsen 'Primitive Calculators' 'Marie Hoy & Friends' Terry Dooley Marie Hoy Denise Grant Loki Stuart Grant Tim Millikan David Light John Murphy Ollie Olsen Musical Director Ollie Olsen Strange Noises John Murphy Music Research Bruce Milne Music Recorded at Richmond Recorders by Tony Cohen Music mixed at A.A.V. by Ross Cockle "Rooms for the Memory" Remixed by Nick Launay 'Shivers Video Clip' directed by Paul Goldman and Evan English 3RRR I.D. Written & Produced by Martin Armiger Sung by Jane Clifton THE MUSIC 'Dog Food' Performed by Iggy Pop, James Osterman Music (BMI), Administered by Bug Music Group, (P) 1980, Arista Records Inc., Courtesy of Arista Records 'Frankie Teardrop' Courtesy of Stamphyl Revega 'Dogs in Space' Written by Sam Sejavka and Mike Lewis 'Win/Lose' Written by Ollie Olsen, Performed by Whirlywirld, Courtesy of Missing Link Records 'True Love' Performed by The Marching Girls, Courtesy of Missing Link Records 'Sky Saw' Written by Brian Eno, Courtesy of E.G. Records Ltd. and E.G. Music Ltd. 'Skullbrains' Written by Marcus Bergner and Marie Hoy 'Shivers' Written by Roland S. Howard, Performed by Boys Next Door Courtesy of Mushroom Records 'Diseases' Composed by Thrush and The C...s 'Pumping Ugly Muscle' Composed by The Primitive Calculators 'Window to the World' Written by Ollie Olsen, Performed by Whirlywirld 'Happy Birthday' and 'Mr. -
ANDREW PENDLEBURY Biography
ANDREW PENDLEBURY Biography Frequently cited as one of the finest guitarists in the nation, Andrew Pendlebury has always seemed destined towards a career in music. From age four he studied violin under the auspicious direction of Nathan Gutman, and at an early age played Vivaldi and Bach with the prowess of someone far beyond his tender years. Andrew is the son of two celebrated Australian artists, Laurence Scott Pendlebury and Nornie Gude . It is little wonder that Andrew also possesses a great talent with the brush, and that his sister Anne was encouraged in her career as an actress with stage and TV credits. After leaving school Andrew set about forging a career for himself in the art world. He held a number of successful exhibitions of his impressionist style works, but music still held his attention. Exposed to Django Reinhardt by a friend of his father who was a dance band guitarist in WW2, and excited by the new sounds evolving from players like Jimi Hendrix bursting onto the scene, Andrew began to focus his creative energy into the guitar. Despite his early classical training, Andrew is a self-taught guitarist and he set about creating a voice for himself through the instrument. He was enthused by players like Lenny Breau, Les Paul, James Burton, Jimmy Bryant and Chet Atkins, but like the painter is inspired by other artforms, Andrew also finds inspiration in the work of many styles of music and instruments. He has broad tastes ranging from a great appreciation of trumpet player Miles Davis to his pop sensibilities towards the Rolling Stones and the Beatles. -
Studies in Contemporary Australian Film Music Sydney: Australian Film Television and Radio School, 1998 ISBN 1 876 35100 4, Pp
Reviews 87 Sweethearts of Rhythm, while not being an overtly feminist book or expressly placed by its author in a feminist tradition, ends on an indisputably feminist note. At the end of Chapter Four, Dreyfus confronts the issue of the sex discrimination which is evident in the lives, attitudes and events covered in all the chapters. The confrontation is brief but important. Women both benefitted from being women in a men's world, where they were a novelty, and suffered from their situation, especially from the projections of masculine sexual wishful thinking, not to mention the scornful denigration which some men felt the urge to express. Dreyfus implies that the male dominance of the music profession which continues even today means that there is a need for the inspiration provided by knowledge of intrepid women musicians of the past. I find this book extremely informative and very pleasing. The times of all-girls bands are brought alive for the reader by the inclusion of well-chosen quotations from musicians, managers and the media, as well as by quantities of photographs, newspaper cuttings and programmes scattered over the pages. Sometimes the effect can be a little confusing, as one searches for the appropriate caption to an illustration, but there is also a certain charm of authenticity about the pages that resemble those of a private scrapbook or photo album. While being popular in tone rather than 'musicological,' Sweethearts of Rhythm is well researched and the research is well documented, especially in the footnotes which are clear, concise and accurate. The Select Bibliography is less satisfying, not as regards content, but as regards accuracy in the section entitled 'Books and Chapters in Books.' This section is riddled with inconsistencies in the use of capitals in book titles. -
Selling Or Selling Out?: an Exploration of Popular Music in Advertising
Selling or Selling Out?: An Exploration of Popular Music in Advertising Kimberly Kim Submitted to the Department of Music of Amherst College in partial fulfillment of the requirements for the degree of Bachelor of Arts with honors. Faculty Advisor: Professor Jason Robinson Faculty Readers: Professor Jenny Kallick Professor Jeffers Engelhardt Professor Klara Moricz 05 May 2011 Table of Contents Acknowledgments............................................................................................................... ii Chapter 1 – Towards an Understanding of Popular Music and Advertising .......................1 Chapter 2 – “I’d Like to Buy the World a Coke”: The Integration of Popular Music and Advertising.........................................................................................................................14 Chapter 3 – Maybe Not So Genuine Draft: Licensing as Authentication..........................33 Chapter 4 – Selling Out: Repercussions of Product Endorsements...................................46 Chapter 5 – “Hold It Against Me”: The Evolution of the Music Videos ..........................56 Chapter 6 – Cultivating a New Cultural Product: Thoughts on the Future of Popular Music and Advertising.......................................................................................................66 Works Cited .......................................................................................................................70 i Acknowledgments There are numerous people that have provided me with invaluable -
Senate Standing Committee on Environment and Communications
Senate Standing Committee on Environment and Communications Answers to Senate Estimates Questions on Notice Supplementary Budget Estimates Hearings October 2012 Broadband, Communications and the Digital Economy Portfolio Australian Broadcasting Corporation Question No: 139 Program No. ABC Hansard Ref: Page 73 Topic: Mr Loewenstein Senator Abetz asked: Mr Scott: … I should point out that Mr Loewenstein is not an employee of the ABC. As you pointed out, he has appeared as a guest on our programs, but he is not an employee. Senator ABETZ: But he gets paid a fee from time to time for those appearances? Mr Scott: I would have to check on that. I do not know… Senator ABETZ: It was within the week of that column that the ABC took that decision. Compare Mr Milne's column to Mr Lowenstein's offensive comment, which remained in the ether for five weeks before an apology was finally dragged out of him. Is the ABC willing to continue to have Mr Loewenstein appear as a credible panellist on its programs? Mr Scott: That decision was made, I think, at the editorial level of Insiders. The first I have become aware of this incident was this afternoon. I can take that question on notice, but I understand this was a very offensive statement made— Answer: Antony Loewenstein is a freelance journalist, blogger and author and has appeared as a guest and commentator from time to time on various ABC Radio networks. In 2012 he has appeared on triple j’s Hack and Sunday Night Safran, on Radio National on Common Knowledge, on 702 ABC Sydney Afternoons and on 105.7 ABC Darwin Afternoons. -
Australian Film Productions, 1990-2016
AUSTRALIAN FILM PRODUCTIONS, 1990-2016 TITLE PRODUCTION CO. PRODUCERS SCRIPT DIRECTOR DOP PROD DESIGNER COSTUME DESIGN EDITOR SOUND DESIGN $9.99 * Feature (A) 2007 Sherman Pictures/Lama Amir Harel, Emile Etgar Keret, Tatia Tatia Rosenthal Susan Stitt Melinda Doring Caroline Sherman Dany Cooper Christopher Bowen Productions Ltd Sherman Rosenthal 02:37:00 * Feature 2005 Moon On A Stick Nick Matthews Murali K Thalluri Murali K Thalluri Nick Matthews Jeni Lee Murali K Thalluri, Mark Tschanz Productions Nick Matthews 10 TERRORISTS * Feature Andrea Buck, Dee Dee McLachlan, Dee McLachlan Peter Falk Jill Johanson Sam Davies, Doron Kipen 2011 McLachlan Lenny de Vries Dee McLachlan 100 BLOODY ACRES * Kate Croser, Julie Cameron Cairnes, Cameron Cairnes, Colin John Brawley Tony Cronin Chloe Spalding Joshua Waddell Emma Bortignon Feature 2012 Ryan, Bryce Menzies, Colin Cairnes Cairnes Jonathan Page 1001 NIGHTS * Teleseries 1001 Nights Productions Dan Fill, Frank Andrew Kunzel, Stephen 2016 Pty Ltd Verheggen, Luke Bristow Jurevicius, Melissa Sheldrick 13 GANTRY ROW * Robert Bruning Robert Bruning Tony Morphett Catherine Millar Mark Wareham Michael Bridges Jackline Sassine Mark Perry Chris Neal Telemovie 1998 Productions Pty Ltd 15 AMORE * Feature 1998 MTXM Movies Maurice Murphy, Brooke Maurice Murphy Maurice Murphy John Brock Emma Hamilton Lawes Kate Walker Dana Hughes Carlo Giacco Wilson 1500 STEPS * Feature Peter Cameron, Maurine Maureen Gibbons Josh Reid Daniel Kajardi Kate Bailey Kate Bailey Daniel Kajardi Luke Topic 2012 Gibbons, Josh Reid 2:22