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Summary of Development Approved Applications February 2014 Summary of Development Approved Applications February 2014
Summary of Development Approved Applications February 2014 Summary of Development Approved Applications February 2014 Printed - 11/03/2014 10:13:47 AM Application 1: DA / 543 / 2013 / A / 1 Lodged: 21/02/2014 Description: Vary previous authorisation to carry out internal and external alterations and change the use from office to licensed premises with entertainment including signage - VARIATION - To permit the development to be undertaken in stages - Stage 1 - building modifications and use of premises (without music entertainment after 10pm)Stage 2 - Use of premises with music entertainment after 10pm **STAGE 1 ONLY** Property Address: Mr Goodbar Applicant : FUNDAMENTAL FLOW P/L 12-16 Union Street ADELAIDE SA 5000 Owner : Ms E Duff-Tytler Estimated Cost of Dev: To Be Advised Private Certifier : PBS AUSTRALIA P/L Consent: Development Approval Decision: Development Approval Granted Authority: Delegated to Administration Date: 27/02/2014 CITB Reference: 52739 Application 2: DA / 133 / 2014 Lodged: 21/02/2014 Description: Tenancy fitout (Chinese BBQ cafe) Property Address: 29 Field Street Applicant : BOCLOUD INTERNATIONAL ADELAIDE SA 5000 Owner : Mr C Karapetis Estimated Cost of Dev: $11,500 Private Certifier : BUILDING CERTIFICATION APPROVALS (SA) P/L Consent: Development Approval Decision: Development Approval Granted Authority: Delegated to Administration Date: 25/02/2014 CITB Reference: Application 3: DA / 132 / 2014 Lodged: 19/02/2014 Description: Shop fitout Property Address: La Vie En Rose - G.06 Applicant : CHECKPOINT Ground 77-91 Rundle Mall ADELAIDE SA 5000 Owner : ALTEMAN (SA) P/L Estimated Cost of Dev: $200,000 Private Certifier : PBS AUSTRALIA P/L Consent: Development Approval Decision: Development Approval Granted Authority: Delegated to Administration Date: 21/02/2014 CITB Reference: 52617 Application 4: DA / 131 / 2014 Lodged: 20/02/2014 Description: Erect wrap around temporary fencing 24/2/14 to 1/3/14. -
A-Z ACRONYMS SA 2015 a Guide to Acronyms and Abbreviations in South Australia
A-Z ACRONYMS SA 2015 A guide to acronyms and abbreviations in South Australia A-Z Acronyms SA 2015 Published by Connecting Up Inc. Level 1, 25 Leigh Street, Adelaide 5000 GPO Box 11017, Adelaide 5001 Tel. 1300 731 844 | Fax 08 8212 2788 Email [email protected] Web www.connectingup.org Twitter @sacommunity © Connecting Up 2015 Cover photo: Pink Tag alphabet by Leo Reynolds via Flickr OTHER CONNECTING UP SERVICES Connecting Up Technology donations and discounts - from companies such as Microsoft, Symantec, Sophos and Cisco to eligible income tax exempt (ITE) Australian nonprofits - www.connectingup.org/donations, www.connectingup.org/discounts Connecting Up Conference – annual national conference focusing on social media, technology, marketing and communications for nonprofits - www.connectingup.org/conference Connecting Up Directory – Australian nonprofits and charity organisations – www.connectingup.org/directory SAcommunity – Connecting Up’s community services directory available online - www.sacommunity.org Connecting Up Level 1, 25 Leigh St, Adelaide SA 5000 Tel. 1300 731 844 Email [email protected] www.sacommunity.org 2 A-Z Acronyms SA 2015 AA Alcoholics Anonymous Address: Central Service Office, 120, 38 Gawler Place, Adelaide 5000 Phone: 08 8227 0046 Email: [email protected] Web: www.aa-sa.org AACQA Australian Aged Care Quality Agency Address: Level 5, 26 Flinders St, Adelaide 5000 Postal: GPO Box 620, Adelaide 5001 Phone: 08 8217 6000 Email: [email protected] Web: www.aacqa.gov.au AARD Aboriginal Affairs & Reconciliation -
The Concert Hall As a Medium of Musical Culture: the Technical Mediation of Listening in the 19Th Century
The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century by Darryl Mark Cressman M.A. (Communication), University of Windsor, 2004 B.A (Hons.), University of Windsor, 2002 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the School of Communication Faculty of Communication, Art and Technology © Darryl Mark Cressman 2012 SIMON FRASER UNIVERSITY Fall 2012 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for “Fair Dealing.” Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Darryl Mark Cressman Degree: Doctor of Philosophy (Communication) Title of Thesis: The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century Examining Committee: Chair: Martin Laba, Associate Professor Andrew Feenberg Senior Supervisor Professor Gary McCarron Supervisor Associate Professor Shane Gunster Supervisor Associate Professor Barry Truax Internal Examiner Professor School of Communication, Simon Fraser Universty Hans-Joachim Braun External Examiner Professor of Modern Social, Economic and Technical History Helmut-Schmidt University, Hamburg Date Defended: September 19, 2012 ii Partial Copyright License iii Abstract Taking the relationship -
ANDERTON Music Festival Capitalism
1 Music Festival Capitalism Chris Anderton Abstract: This chapter adds to a growing subfield of music festival studies by examining the business practices and cultures of the commercial outdoor sector, with a particular focus on rock, pop and dance music events. The events of this sector require substantial financial and other capital in order to be staged and achieve success, yet the market is highly volatile, with relatively few festivals managing to attain longevity. It is argued that these events must balance their commercial needs with the socio-cultural expectations of their audiences for hedonistic, carnivalesque experiences that draw on countercultural understanding of festival culture (the countercultural carnivalesque). This balancing act has come into increased focus as corporate promoters, brand sponsors and venture capitalists have sought to dominate the market in the neoliberal era of late capitalism. The chapter examines the riskiness and volatility of the sector before examining contemporary economic strategies for risk management and audience development, and critiques of these corporatizing and mainstreaming processes. Keywords: music festival; carnivalesque; counterculture; risk management; cool capitalism A popular music festival may be defined as a live event consisting of multiple musical performances, held over one or more days (Shuker, 2017, 131), though the connotations of 2 the word “festival” extend much further than this, as I will discuss below. For the purposes of this chapter, “popular music” is conceived as music that is produced by contemporary artists, has commercial appeal, and does not rely on public subsidies to exist, hence typically ranges from rock and pop through to rap and electronic dance music, but excludes most classical music and opera (Connolly and Krueger 2006, 667). -
South Australia Got It Right When They Kindled the Talent by the Name of Steve Hart. Embracing the Combination of a Superior
http://www.stevehartmusic.com/ http://soundcloud.com/steve-hart http://www.facebook.com/stevehartmusic South Australia got it right when they kindled the talent by the name of Steve Hart. Embracing the combination of a superior appetite for the studio and over a decade of sophistication behind the decks of the nation’s hottest nightclubs and festivals, it’s no doubt Steve Hart has his energy in the beat. With a wealth of adoration for house music in all its kinds, this robust musical character prides himself on the mission so well conquered; making headway in the Australian dance music industry. Drawing potent inspiration from the carefully crafted talents of fellow industry professionals Denzal Park, Hook N Sling and Tommy Trash; Steve Hart endears local success with immense pride and motivation to further his dance-provoking career in the studio and in the clubs. Combining local talent and infamous assets from lands far away like Axwell, Adelaide’s ARIA Club Chart artist contributes a worthy platter of class in the musical department. Inheriting praise from Australia’s leading dance music label Vicious Recordings, In The Mix’s #50 (2011 & 2012) Steve Hart encapsulates the epitome of house glamour showcasing more than an album’s worth of thriving tracks. From chart hitting ‘Change’ feat Melinda Appelby to an immense multitude of officially released remixes including that of Dizzee Rascal’s ‘Dirtee Cash’, ‘Everybody Be Somebody’ by Thomas Gold & Mattias Menck, 'Tell Your Story Walking ' by Sarah Mcleod, 'Love is Crazy' by Dirty Laundry and ‘Into The Light’ by J Cannons, Adelaide’s gem is surging through milestones with force. -
Techno-Punk and Terra-Ism
Making a Noise – Making a Difference: Techno-Punk and Terra-ism GRAHAM ST JOHN UNIVERSITY OF QUEENSLAND Abstract This article charts the convergence of post-punk/post-settler logics in the techno-punk development in Australia. Exploring how punk would become implicated in the cultural politics of a settler society struggling for legitimacy, it maps the ground out of which Labrats sound system (and their hybrid outfit Combat Wombat) arose. It provides an entry to punk through an analysis of the concept of hardcore in the context of cultural mobilisations which, following more than two centuries of European colonisation, evince desires to make reparations and forge alliances with Indigenous people and landscape. To achieve this, the article traces the contours and investigates the implications of Sydney’s techno-punk emergence (as seen in The Jellyheads, Non Bossy Posse, Vibe Tribe and Ohms not Bombs), tracking the mobile and media savvy exploits of 1990s DIY sound systems and techno terra-ists, aesthetes and activists adopting intimate and tactical media technologies, committing to independent and decentralised EDM creativity, and implicated in a movement for legitimate presence. Keywords techno, anarcho-punk, hardcore, sound systems, postcolonialism, Sydney techno-punk scene Figure 1: Outback Stack. Photo by Pete Strong Dancecult: Journal of Electronic Dance Music Culture 1(2) 2010, 1-28 ISSN 1947-5403 ©2010 Dancecult http://www.dancecult.net/ 2 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 2 Making a Difference “Why do they keep calling our generation, generation x, when actually we’re genera- tion y?... Why? Because we’re the one’s asking the questions”. -
Subject: Pill Testing – Russian Roulette As Drug Policy
Political Briefing Media Briefing Community Briefing Subject: Pill Testing – Russian Roulette as Drug Policy :::: DRUGADVISORYCOUNCILAUSTRALIA :::: @DACAUSTRALIA :::: WWW.DACA.ORG.AU DRUG ADVISORY COUNCIL OF AUST. Subject: Pill Testing – Russian Roulette as Drug Policy. Subject: Pill Testing – Russian Roulette as Drug Policy Tragically, the last few months of music festivals repeatedly resembled scenes from a hospital emergency ward, witnessing this season’s highest number of drug related hospitalisations1 and the deaths of predominately young adults ranging from 19 to 25 years-old. In the aftermath of these heart wrenching events, harm reduction advocates have taken to media on mass advocating for pill testing as the next risk minimisation strategy that could potentially save lives. Often, supporters are quick to highlight that pill testing is “not a silver bullet”,2 just one measure among a plethora of strategies. But the metaphor is a false equivocation. Rather, pill testing is more like Russian Roulette. Similar to Russian Roulette, taking psychotropic illicit drugs is a deadly, unpredictable high stakes ‘game’. It’s the reason they’re illegal. There is no ‘safe’ way to play. But arguments and groups supporting pill testing construct this false perception, regardless of how strenuously advocates claim otherwise. Organisations such as STA- SAFE, Unharm, Harm Reduction Australia, the ‘Safer Summer’ campaign all exploit the context of harm and safety within an illicit drug taking culture. To continue the metaphor of Russian Roulette, it’s rather like insisting on testing a ‘bullet’ for velocity or the gun for cleanliness and handing both back. It’s pointless. The bullet might not kill at first, but the odds increase exponentially after each attempt. -
Ceremony Opens Plaza Art Exhibit Committee to Pick Grad Speaker
Volume 3, Number IS College At Lincoln Center, Fordham University, New York November 16-December 6,1983 CLC Blood Drive Nets SSA IS .«, » i irw" ^;:-:- 100 Pints By Marie Reres More than 100 pints of blood were collected in the CLC Blood Drive, held on November 7, 8 and 9 in the Pope Auditorium, according to Registered Nurse and Unit Manager of the Blood Drive, Alex- •^? : *i. *. ' • Win ander Mamon. The Blood Drive was sponsored by members of The Greater New York Blood Program. Studen! clubs Circle K and Res Ipsa Loquitur organized the event. "I was surprised to see such a good turnout, con- sidering the lack of student involvement in other events," said Bill Finneran, Vice President of Circle K. As donors came into the auditorium, they were greeted by a member of the Greater New York Blood Program who filled out an information sheet for each person. Next, a registered nurse took a Judith Brown's "Steel Images" will remain on exhibit for one year Photo Bv Doris Suen short medical history from each donor which in- cluded questions concerning hepatitis, malaria and general health. A blood sample was taken from the donor's finger to test for iron. Temperature and Ceremony Opens Plaza Art Exhibit blood pressure were taken, as well. Donors each gave one pint of blood and were then led to the can- By Doris Suen teen, where they were able to relax and have Judith Brown's metallic and menacing sculpture exhibition on the CLJC Plaza has been the talk refreshments. ' The official opening of artist Judith Brown's of the school lately. -
Concert and Music Performances Ps48
J S Battye Library of West Australian History Collection CONCERT AND MUSIC PERFORMANCES PS48 This collection of posters is available to view at the State Library of Western Australia. To view items in this list, contact the State Library of Western Australia Search the State Library of Western Australia’s catalogue Date PS number Venue Title Performers Series or notes Size D 1975 April - September 1975 PS48/1975/1 Perth Concert Hall ABC 1975 Youth Concerts Various Reverse: artists 91 x 30 cm appearing and programme 1979 7 - 8 September 1979 PS48/1979/1 Perth Concert Hall NHK Symphony Orchestra The Symphony Orchestra of Presented by The 78 x 56 cm the Japan Broadcasting Japan Foundation and Corporation the Western Australia150th Anniversary Board in association with the Consulate-General of Japan, NHK and Hoso- Bunka Foundation. 1981 16 October 1981 PS48/1981/1 Octagon Theatre Best of Polish variety (in Paulos Raptis, Irena Santor, Three hours of 79 x 59 cm Polish) Karol Nicze, Tadeusz Ross. beautiful songs, music and humour 1989 31 December 1989 PS48/1989/1 Perth Concert Hall Vienna Pops Concert Perth Pops Orchestra, Musical director John Vienna Singers. Elisa Wilson Embleton (soprano), John Kessey (tenor) Date PS number Venue Title Performers Series or notes Size D 1990 7, 20 April 1990 PS48/1990/1 Art Gallery and Fly Artists in Sound “from the Ros Bandt & Sasha EVOS New Music By Night greenhouse” Bodganowitsch series 31 December 1990 PS48/1990/2 Perth Concert Hall Vienna Pops Concert Perth Pops Orchestra, Musical director John Vienna Singers. Emma Embleton Lyons & Lisa Brown (soprano), Anson Austin (tenor), Earl Reeve (compere) 2 November 1990 PS48/1990/3 Aquinas College Sounds of peace Nawang Khechog (Tibetan Tour of the 14th Dalai 42 x 30 cm Chapel bamboo flute & didjeridoo Lama player). -
Music Reading Read the Passage, the E-Mail and the Festival Guide. the Glastonbury Festival Is an Unforgettable Sight. for Three
Music Reading Read the passage, the e-mail and the festival guide. The Glastonbury Festival is an unforgettable sight. For three days, 280 hectares of peaceful farm country in the beautiful Somerset Valley become a vast, colourful tent city. The Glastonbury Festival is Britain's largest outdoor rock concert, and it attracts crowds of more than 100,000 people. It has six separate stages for musicians to play on. It has eighteen markets where fans can buy things. It has its own daily newspaper and is even broadcast live on television. It also raises large amounts of money for several charities, including Greenpeace and the Campaign for Nuclear Disarmament. Glastonbury is just one of many events on the international music festival calendar each year. For dance music fans, there's Creamfields, the Essential Festival and Homelands - all in the UK. Rock fans have Roskilde Festival in Denmark, Fuji Rock and Summer Sonic in Japan, and the Livid Festival and the Big Day Out in Australia. And the crowds just keep getting bigger. In fact, the size of some of these festivals is causing problems. Since the deaths of nine people at Roskiide in 2000 and the death of a young woman at the 2001 Big Day Out, festival organisers and local police have been working together to make sure festival-goers stay safe. Despite these tragic events, festivals are more popular than ever. And it's not just about the music. It's about making new friends and partying non-stop for days at a time. It's about dancing till you can't stand up anymore and then crashing in someone else's tent. -
1489596882 BL Festivals Guid
WE’RE FESTIVAL VETERANS Getting value for money from your festival branding activity requires research, planning, creativity, and an appreciation that you’re venturing into an environment where brands can be welcomed, tolerated, ignored or vilified. We have a long history of helping clients win cut through at festivals around the world, these include: R ECOVE FESTIVALS NOT RIGHT F OR YOU? THINK AGAIN With younger festival goers increasingly priced out of the game, today’s festival audience largely comprises Millenials, people in their thirties. This also explains the increasing number of festivals catering for families, cultural, literary and culinary enthusiasts. It also means an opening of the way for brands that previously might have never thought about investing in a festival. And a growing number are realising this is an environment that can yield results; there’s a lot more to festivals than mud, booze, rock and roll. KNOW YOUR FESTIVAL HEDONISTIC Global Gathering, Big Chill, Exit, Tribal Gathering, Tommorowland, Boom Town, 2000Trees MAINSTREAM Glastonbury, V Festival, Big Day Out, Tea in the Park, Oxygen, Isle of Wight, Wireless, Reading & Leeds Festivals FAMILY FRIENDLY/ CULTURAL Secret Garden Party, Sonar, Green Man, WOMAD, Camp Bestival, Big Feastival, Wilderness, Somersault Brands that can work their way into the festival environment in a natural, creative way can engage this audience while they’re in a highly receptive state. To do this, there are a couple of simple principles we employ: 1. IDENTIFY ‘WHY’ Identifying your ‘why’ is all about finding a festival with which your brand can legitimately demonstrate a shared purpose, common ethics and values. -
SFX Entertainment
MediaTainment FINANCE Issue No. 23 For Decision-Makers and Strategists Who Value Creativity and Appreciate the Value Creativity Brings to Business www.mediatainmentfinance.com Facebook: MediaTainment Finance; Twitter: @MediatainmentMT; @JayKayMed NEWS … 3-14 film: Pinewood regains Shepperton Studios in £37m buyout; China Star raises HK$134m tv: Viacom buys Channel 5 to take on UK; Hearst pays $81m for AwesomenessTV stake music: 10 highest-earning music stars amass $1.36bn games: Gfinity introduces eSport to UK stock exchange; Vivendi settles $275m lawsuit fashion: Advent seeks IPO for fashion retail giant architecture: Thomas Heatherwick Studios designs London, New York river gardens books/prints: HarperCollins launches New Age imprint; Vox Media raises $46.5m ads/marketing: Dentsu Aegis’ $48m Fetch Media acquisition; Brands embrace new tech sport: UK Premier League rights to top $7bn copyright: US Supreme Court tackles Spider Man toy; IP worth $14.5bn to the Philippines live entertainment: Dalian Wanda’s $1.3bn theme park; global music tours valued $20bn photography/art: Iceland government slashes arts funding FEATURES & REPORTS THE UNSEEN: —the London design studio that is taking fashion and innova- tive creative industries by a storm with a magic fabric that changes colour in response to the invisible substances in our environment. See more on … page 15 SFX Entertainment Inc: — why on earth use stock exchange cash to fi- nance electronic dance music festivals starring DJs with names like Avicii, Deadmau5 and Afrojack ? CEO Robert Sillerman