DOCSLIB.ORG

7 Empire Success Continued from Page M -O

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
7 Empire Success Continued from Page M -O 7 Empire Success Continued from page M -O ment after Skyhooks disbanded in 1980, the Mushroom Rec- ords building houses management offices for a great many of the label's acts. At the forefront is Ray Evans Management. Evans, Gudinski's partner in Mushroom and a director of all the various "arms," represents Renee Geyer and Russell Mor- ris, as well as Ian "Molly" Meldrum (kingpin of the hugely powerful "Countdown" national rock tv forum) and radio tele- Festival Records vision personality Derryn Hinch. Loud & Clear Management Continued from page M -8 (Jo Jo Zep & the Falcons, Sports) is run by Michael Roberts, "Allan Hely has been a father figure to me. He freely shares Geoff Skewes' Downunder Management represents Wendy & his vast experience and gives me unlimited backup. He's sup- the Rockets, Adrian Barker's Beat Management looks after ported us with a lot of money at times -even when other the Models and the Swingers, and MEO 245 are covered by people in the company weren't all that sure about us. There Sandra Robertson Management. have been times when he's convinced me to pass on deals Up in Sydney, Premier -Harbour Agency/ Frontier Touring that I was determined to accept because he knew a better one director Michael Chugg manages Mushroom act Kevin Borich Michael Gudinski presents a rare gold would come along, and he was right." 1980 (also Stars until their disintegration). single award to pop chart champion Festival and Mushroom are kindred spirits because both Liberation Records Christie Allen for her 1979 national are independents. Festival is the only "major" that is not a A new label, distributed through EMI (so as to avoid any top three hit ' Goosebumps." branch office of a multi -national record company. It is part of Festival), to carry carefully conflict of interest with designed Rupert Murdoch's News Limited organization and has sur- selected international rock repertoire from such artists as vived since 1952 by securing a vast number of international Greg Kihn Band, Mink DeVille, the db's, 999, Hazel O'Connor, powerful section of Australian media and entertainment. and domestic labels. Though denied a steady stream of prod- Ian Gomm and Joe Cocker. As with Frontier Touring, Little "This is one of the few countries where this can be done" says uct from a parent company, it is rarely beaten for chart su- River Band manager and Tumbleweed Music owner Glenn general manager Gary Ashley, but it's nowhere as sinister as premacy year after year, by passionately working repertoire Wheatley is an active participant, thus roping in yet another some people would have you believe. from such fellow indies as Stiff, A &M, Chrysalis, Mushroom, We put no pressure on our acts to go with either our book- Regular, Arista, Jive and Avenue. ing agencies or publishing companies and will even put that in "Festival and Mushroom have worked together as a family their contracts if it bothers them. There have been Mushroom since our first release almost a decade ago," says Allan Hely, acts, such as the Aliens, who have signed with Nucleus (the Festival's managing director. "Mushroom has had our total "other" major booking firm), but most of them willingly use support in exactly the same measure as our many inter- Premier or Harbour for obvious reasons. national licensors. "Ten years ago, I considered Michael Gudinski to be one of By controlling all the loose ends we know exactly what's the most promising a &r talents in the business and the past going on with an act, where it needs to be built and what prob- decade has proved my judgement totally correct and beyond lems it has. We can make promotional expenditures go a lot my highest hopes. I feel I've taught him some business acu- further by co- ordinating its application and sharing the bur- men which has contributed to his remarkable ability to recog- den over record label, publisher, management and booking nize and develop talent. There is a lot of value in having everything centered agency. - "Since inception, Festival has actively supported local tal- when a band or manager comes in the building they can usu- ent, so I was willing to take on a new label that was prepared ally attend to all their business in one visit and there is no lack to seriously represent Australian artists and producers. I felt it of communication between the various areas. was worthy of our support and strength to enable it to survive "Of course, having the whole package helps immeasurably and eventually flourish, both here and on the international in tieing up international deals for acts. For example, not hav- market. ing Greg Macainsh's publishing really did hinder Michael's at- "The most personally satisfying aspect of our decade to- tempts to get an American deal for Skyhooks. But, to be com- gether has been the success and recognition of sc many Aus- Michael Gudinski, left, backstage with pletely honest, we don't like to give away too much to tralian performers outside of this country. Michael has Renee Geyer and Skyhooks /Sports /Jo outsiders. Who does? If Mushroom Records works hard to worked unceasingly toward that goal and I know this is only Jo Zep & the Falcons drummer Freddie break an Australian act, why should some ancient old publish- the beginning of what will unfold during the eighties." Strauks. ing company collect heaps of money ?" Billboard Billboard MUSHROOM RECORDS TOO GOOD C r . J1 /t i /t /i /i ir i í STIFF RECORDS FROM AßrM RECORDS U.K. CONGRATULATES MUSHROOM RECORDS www.americanradiohistory.com.
Load more

Recommended publications
  • The Victorian Music Business Career Life Cycle
    Career Paths The Victorian Music Business Career Life Cycle The Victorian Music Business Career Life Cycle PREPARED BY DR CATHERINE STRONG, DR FABIAN CANNIZZO AND DR IAN ROGERS FOR THE VICTORIAN MUSIC DEVELOPMENT OFFICE Contact VMDO Level 2, 77 Southbank Boulevard Southbank VIC 3006 (03) 9686 3411 [email protected] Dr Catherine Strong School of Media and Communication RMIT University GPO Box 2476 Melbourne VIC 3001 [email protected] Suggested citation: Strong, C., Cannizzo, F. and Rogers, I. (2020) The Victorian Music Business Career Life Cycle, RMIT University, Melbourne for the Victorian Music Development Office 2 Foreword A message from the VMDO The music industry will always evolve and so will career prospects. This study provides a genuine insight into how change can be managed in an uncertain industry. The skills, knowledge and experience demonstrated by passionate Victorian music industry professionals and businesses are imperative – they solidify and bind so many possibilities for musicians and artists in the music sector. It’s also evident that this extensive and nimble skillset is transferable across many sectors – creative, corporate and non-for-profit. These unsung heroes could include artist managers, record label owners, promoters, publicists, agents, marketing and publishing practitioners (amongst others) who may work for organisations or within their own small or micro music businesses. The Victorian Music Development Office (VMDO) co-designed the Victorian Music Business Career Life Cycle study with RMIT University and Doctor Catherine Strong from the School of Media and Communication, which looks at gaining a deeper understanding of what skills and strategies people need to be successful as a music professional.
    [Show full text]
  • The Future of Copyright and the Artist/Record Label Relationship in the Music Industry
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Saskatchewan's Research Archive A Change is Gonna Come: The Future of Copyright and the Artist/Record Label Relationship in the Music Industry A Thesis Submitted to the College of Graduate Studies And Research in Partial Fulfillment of the Requirements for the Degree Of Masters of Laws in the College of Law University of Saskatchewan Saskatoon By Kurt Dahl © Copyright Kurt Dahl, September 2009. All rights reserved Permission to Use In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other use of material in this thesis in whole or part should be addressed to: Dean of the College of Law University of Saskatchewan 15 Campus Drive Saskatoon, Saskatchewan S7N 5A6 i ABSTRACT The purpose of my research is to examine the music industry from both the perspective of a musician and a lawyer, and draw real conclusions regarding where the music industry is heading in the 21st century.
    [Show full text]
  • Full Music Credits
    Music Supervisor Chris Gough Mana Music Mushroom Licensing Ann-Marie Meadows Music Mixer Robin Grey Alan Eaton Studios Original Music Recorded at Hot House - Craig Harnath Original Music Mix Ross Cockle FX & Music Editor Craig Carter Original Music Composed by Martin Lubran David Bowers "Jackson" (Wheeler/Rodgers) EMI Music Publishing Australia, Performed by Catherine Wearne and Andrew Travis, Produced by Jim Bowman, Recorded at Electric Avenue "Don't It Get You Down" (Kennedy/Palmer/Jones) Mushroom Music, Performed by Dead Star, Courtesy of Mushroom Records "Goldfinger" (Wheeler) PolyGram Publishing, Performed by Ash, Courtesy of Infectious/Mushroom Records "Fun For Me" (Brydon/Murphy) Chrysalis Music/Mushroom Music, Performed by Moloko Courtesy of Echo/Liberation "Puppy Love" (Anka) Chrysalis Music/Mushroom Music Performed by Banana Oil, Courtesy of Mushroom Records "Cruise Control" (Matthews/Lawry/Nevison/Fell/Sweeny/ McDonald) Flying Nun Music/Mushroom Music Performed by Headless Chickens Courtesy of Flying Music/Mushroom Records "Help Yourself" (Donida/Mogol/Fishman) Mushroom Music Performed by Tom Jones, Courtesy of PolyGram "No Reason" (Salmon/Perkins) PolyGram Publishing, Performed by Beasts of Bourbon, Courtesy of Red Eye/Polydor Records "Lemonsuck" (Handley) Mushroom Music, Performed by Pollyanna, Courtesy of Bark/Mushroom Records "So Long Marianne" (Cohen) Chrysalis Music/Mushroom Music Performed by The Stone Cold Boners & Hugo Weaving "Rock and Roll" (Reed) Oakfield Avenue/EMI Music Ltd Performed by The Stone Cold Boners & Hugo
    [Show full text]
  • Hard Knocks Music Credits
    (Cast) Maple Leaf Jazz Band Drums Roger Kennedy Bass Gary Dunbier Banjo John Withers Trombone Don Santin Trumpet Rob Green Alto sax Kim Rushworth Music Editor Zbigniew Friedrich Music Consultant Greg Pickhaver Hard Knocks Performed by Paul Kelly & the Dots Written by Kelly Published by Mushroom Courtesy of Mushroom Records Evie Part 1 Performed by Stevie Wright Written by Vanda/Young Published by Alberts Courtesy of Albert Productions Most People I Know Performed by Aztecs Written by Thorpe Published by Rock of Ages Courtesy of Havoc Records Who Listens To The Radio Performed by Sports Written by Cummings/Pendelbury Published by Antipodes/Mushroom Courtesy of Mushroom Records My Little Angel Performed by William Shakespeare Written by Vanda/Young Published by Alberts Courtesy of Albert Productions Take A Long Line Performed by Angels Written by Brewster/Neeson/Brewster Published by Alberts Courtesy of Albert Productions Where The Action Is Performed by John Paul Young Written by Vanda/Young Published by Alberts Courtesy of Albert Productions Birmingham Performed by John Paul Young Written by Vanda/Young Published by Alberts Courtesy of Albert Productions High Voltage Performed by AC/DC Written by Scott/Young/Scott Published by Alberts Courtesy of Albert Productions I Remember When I Was Young Performed by Matt Taylor Written by Matt Taylor Published by Mushroom Courtesy of Mushroom Records Breakfast at Sweethearts Performed by Cold Chisel Written by Walker Published by Rondor Courtesy of W.E.A. Records When The Heat's Off Performed by Richard Clapton Written by Richard Clapton Published by Gypsy Courtesy of Infinity Records High Class Women Performed by John St.
    [Show full text]
  • Melbourne Suburb of Northcote
    ON STAGE The Autumn 2012 journal of Vol.13 No.2 ‘By Gosh, it’s pleasant entertainment’ Frank Van Straten, Ian Smith and the CATHS Research Group relive good times at the Plaza Theatre, Northcote. ‘ y Gosh, it’s pleasant entertainment’, equipment. It’s a building that does not give along the way, its management was probably wrote Frank Doherty in The Argus up its secrets easily. more often living a nightmare on Elm Street. Bin January 1952. It was an apt Nevertheless it stands as a reminder The Plaza was the dream of Mr Ludbrook summation of the variety fare offered for 10 of one man’s determination to run an Owen Menck, who owned it to the end. One years at the Plaza Theatre in the northern independent cinema in the face of powerful of his partners in the variety venture later Melbourne suburb of Northcote. opposition, and then boldly break with the described him as ‘a little elderly gentleman The shell of the old theatre still stands on past and turn to live variety shows. It was about to expand his horse breeding interests the west side of bustling High Street, on the a unique and quixotic venture for 1950s and invest in show business’. Mr Menck was corner of Elm Street. It’s a time-worn façade, Melbourne, but it survived for as long as consistent about his twin interests. Twenty but distinctive; the Art Deco tower now a many theatres with better pedigrees and years earlier, when he opened the Plaza as a convenient perch for telecommunication richer backers.
    [Show full text]
  • Martin Foley MP
    Martin Foley MP Minister for Mental Health GPO 8ox4057 Minister for Equality Melbourne Victoria 3001 Minister for Creative Industries Telephone: +61 3 9096 7500 www.dhhs.vlc.gov.au Ref: BMIN1800492SR Mr Luke Howarth MP Chair of the House Standing Committee on Communications and the Arts CANBERRA ACT 2600 Dear Mr Howarth INQUIRY INTO THE AUSTRALIAN MUSIC INDUSTRY Thank you for your letter to the Premier of 16 August 2018· about the Parliamentary Inquiry into the Australian Music Industry. Your letter has been referred to me for my consideration and response as the matter you raise falls within my portfolio of responsibilities. On behalf of the State Government of Victoria, I am pleased to make a submission to the Inquiry. The Victorian Government "".'elcomes this inquiry and supports a national, coordinated approach to sustaining the growth of the Australian music industry. Victoria has a demonstrated reputation as a centre of music, with more live music than any other state in Australia and a diverse array of iconic cultural music institutions, as well as supportive music·related laws and strategies. The attached submission describes the Victorian Government's significant investment in the music industry, in particular how Music Works, the Victorian Government's major program commitment, has successfully addressed challenges and opportunities affecting the growth and sustainability of the music industry in this State. Thank you for inviting a submission from the· Victorian Government's and I look forward to hearing the outcomes of this inquiry. ~ rtin Folf MP ~ inister for Creative Industries Date: ~/. {2 .. t_o(r PARLIAMENTARY INQUIRY INTO THE AUSTRALl~N MUSIC INDUSTRY FACTORS CONTRIBUTING TO THE GROWTH AND SUSTAINABILITY OF THE AUSTRALIAN MUSIC INDUSTRY VICTORIAN ,.
    [Show full text]
  • Sum of Us the Music Credits
    Original Music Dave Faulkner Music Production Charles Fisher for Minute Productions Mixing/Engineering Charles Fisher Jim Bonneford Music Supervisor John Hopkins for Screensong "Sister Madly" and "Better Be Home Soon" (Neil Finn) Mushroom Music, performed by Crowded House coutresy (sic) of Capitol Records and EMI Music Australia "Can We Get Closer" (Diesel) Lizard Songs/EMI Songs Australia performed by Diesel, courtesy of EMI Music Australia "Ain't That The Way" (Dave Faulkner) performed by Formula One, featuring Tina Harrod produced by Charles Fisher "Baby Let's Wait" (Collette Roberts, Charles Fisher, Dave Faulkner) Warner/Chappell Music and Trafalgar Music performed by Collette, produced by Charles Fisher "Will I With You" (Gyan) Trafalgar Music, performed by Gyan courtesy of Trafalgar Records, produced by Charles Fisher "Sh-Boom" (Feaster/Keys/McRae/Edwards) © 1954 Hill & Range Songs & J. Albert & Son performed by The Chords, courtesy of Atlantic Recording Corp. by arrangement with Warner Special Projects "It Will Be Alright" (Jimmy Barnes/Jeff Neill) Dirty Sheet Music/EMI Songs Australia/Mushroom Music performed by Jimmy Barnes, courtesy of Mushroom Records "Frozen in Time" (Dave Faulkner) performed by Dave Faulkner, produced by Charles Fisher "Rockin' Christmas" (Jim Manzie/Glen A Baker) Mushroom Music, performed by Ol '55 courtesy of Mushroom Records, produced by Charles Fisher "Sh-Boom" (Feaster/Keys/McRae/Edwards) © 1954 Hill & Range Songs & J. Albert & Son performed by Margaret Urlich, courtesy of Sony Music Australia arranged by John Stuart, produced by Charles Fisher "Love Explosion" (Dave Faulkner) performed by Formula One, featuring Tina Harrod produced by Charles Fisher "The One and Only You" (Mark Seymour/Hunters and Collectors) Human Frailty/Mushroom Music performed by Hunters and Collectors, courtesy of Mushroom Records "I've Learned to Cope" (Maxwell/Ferris/Russell) Sony Music Publishing Australia/Warner Bros.
    [Show full text]
  • Kylie Minogue Kylie's Remixes Volume 2 Mp3, Flac, Wma
    Kylie Minogue Kylie's Remixes Volume 2 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Pop Album: Kylie's Remixes Volume 2 Country: Australia Released: 1993 Style: Europop, Hi NRG, Synth-pop MP3 version RAR size: 1310 mb FLAC version RAR size: 1808 mb WMA version RAR size: 1629 mb Rating: 4.1 Votes: 528 Other Formats: ASF AHX VOX VQF MIDI WMA MP3 Tracklist Hide Credits Better The Devil You Know (U.S. Mix) A1 –Kylie Minogue 6:06 Remix – Keith 'KC' Cohen* Step Back In Time (Walkin' Rhythm Mix) A2 –Kylie Minogue 8:01 Mixed By – Phil Harding & Ian Curnow What Do I Have To Do? (U.K. Remix) A3 –Kylie Minogue 7:10 Remix – Pete Hammond Shocked (DNA Mix) A4 –Kylie Minogue 6:16 Remix – DNA Word Is Out (12" Version) A5 –Kylie Minogue 5:53 Mixed By – Phil Harding If You Were With Me Now (Extended Version) A6 –Kylie Minogue Duet With Keith Washington 5:11 Mixed By – Phil Harding Keep On Pumpin' It (12" Version) B1 –Visionmasters* Featuring Kylie Minogue 7:25 Mixed By – Phil Harding Give Me Just A Little More Time (12" Version) B2 –Kylie Minogue 4:36 Mixed By – Dave Ford Finer Feelings (Brothers In Rhythm 12") B3 –Kylie Minogue 6:51 Remix – Brothers In Rhythm Do You Dare (NRG Mix) B4 –Kylie Minogue 7:07 Mixed By – Dave Ford Closer B5 –Kylie Minogue 6:47 Mixed By – Dave Ford Companies, etc. Phonographic Copyright (p) – Mushroom Records International BV Copyright (c) – Mushroom Records International BV Credits Producer – Stock And Waterman* (tracks: 5 to 11), Stock Aitken Waterman* (tracks: 1 to 4) Written-By – Wayne* (tracks: 8), Washington* (tracks: 6), Minogue* (tracks: 6, 7, 10, 11), Dunbar* (tracks: 8), Stock & Waterman (tracks: 5 to 7, 9 to 11), Stock, Aitken & Waterman (tracks: 1 to 4 ) Notes This Compilation ℗ © 1993 Mushroom Records International B.V.
    [Show full text]
  • Puberty Blues Music
    (Head credits) musical director theme song "Puberty Blues" Les Gock By Tim Finn (Tail credits) Songs 'Puberty Blues' 'I Hope I Never' 'Nobody Takes Me Seriously' Tim Finn 'Girl With Stars in Her Eyes' James Manzie and Jarryl Wirth 'Lipstick and Leather' James Manzie and Kim Fowley Tim Finn, who composed the title song, is well represented on the internet. He has an official site here, and a relatively detailed wiki here, and the bands in which he and his brother were leading members retain devoted cult followings, with frenz.com possibly the most detailed of the fan sites. (Below: Tim Finn in his Split Enz days and in later life) James ("Jimmy/Jim") Manzie, who contributed a few songs to the film, was well known as a member of the revival band Ol' 55. He has a relatively short wiki here. Manzie went on to write a number of feature film scores, mainly in the horror genre and a limited edition of his film music was released in two volumes: The DVD provides this bit of trivia: Manzie was a member of The Breakers, which ran over the years 1979-1982, which weren't credited in the film (in fact in one line a cast member hopes the Sunnyboys are playing). (Below: performing Lipstick and Leather in the film) (Below: performing Girl with Stars in her Eyes for the film) The title song by Tim Finn runs over the head and tail credits. The version in the film is sung by Sharon O'Neill, though she isn't given a screen credit.
    [Show full text]
  • Split Enz the Best of Split Enz - History Never Repeats (30Th Anniversary Edition) Mp3, Flac, Wma
    Split Enz The Best Of Split Enz - History Never Repeats (30th Anniversary Edition) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Pop Album: The Best Of Split Enz - History Never Repeats (30th Anniversary Edition) Country: New Zealand Released: 2002 Style: New Wave, Pop Rock MP3 version RAR size: 1729 mb FLAC version RAR size: 1984 mb WMA version RAR size: 1122 mb Rating: 4.5 Votes: 386 Other Formats: APE XM AA RA VOC MP2 MMF Tracklist Hide Credits History Never Repeats 1 2:58 Engineer – David TickleProducer – David Tickle Dirty Creature 2 4:03 Producer – Hugh Padgham, Split Enz I See Red 3 3:14 Producer – David Tickle, Split Enz My Mistake 4 3:01 Producer – Geoff Emerick, Split Enz I Walk Away 5 3:49 Producer – Jim Barton*, Split Enz I Got You 6 3:29 Engineer – David TickleProducer – David Tickle Shark Attack 7 2:58 Engineer – David TickleProducer – David Tickle One Step Ahead 8 2:53 Engineer – David TickleProducer – David Tickle Pioneer 9 1:30 Producer – Hugh Padgham, Split Enz Six Months In A Leaky Boat 10 4:21 Producer – Hugh Padgham, Split Enz Poor Boy 11 3:26 Engineer – David TickleProducer – David Tickle I Hope I Never 12 4:31 Engineer – David TickleProducer – David Tickle Message To My Girl 13 4:02 Producer – Eddie Rayner, Hugh Padgham Strait Old Line 14 4:00 Producer – Eddie Rayner, Hugh Padgham Late Last Night 15 4:02 Producer – Phil Manzanera Give It A Whirl 16 2:52 Producer – Mallory Earl, Split Enz Charlie 17 5:46 Producer – Eddie Rayner, Nigel Griggs Companies, etc.
    [Show full text]
  • At Last Bullamakanka the Motion Picture Music Credits
    (Cast) Senators Aide (sic) Angry Anderson Great Barrier Reefers Rose Tattoo The Expression "Present Communication" Haran/Dowling - Mushroom Music, Mushroom Records Wendy & The Rockets "Play the game" Stapleton - Mushroom Music, Mushroom Records Sunnyboys "Discipline" Oxley - Mushroom Music, Mushroom Records Skyhooks "B-B-B-Boogie" Strauks - Mushroom Music, Mushroom Records Uncanny X Men "How do you get your kicks" Macainsh/Briggs - Solid Music, Mushroom Records Australian Crawl "Downhearted" Higgins/McDonough - Wheatley Music, EMI Records Moving Pictures "Back to the streets" A. Smith - Wheatley Music, Wheatley Records The Radiators "You" Nichol - Warner Bros., EMI Records Rose Tattoo "We can't be beaten" Anderson/Riley - Alberts Music, EMI Records Rose Tattoo "Branded" Anderson/Wells/Royall - Alberts Music, EMI Records Tony Catz Band "Bullamakanka" Macainsh - Solid Music, Mushroom Records Jo Jo Zep "Taxi Mary" Camilleri, Burstin & Faehse, Loud & Clear/Mushroom, Mushroom Records Soundtrack Co-ordination Michael Gudinski Robbie Williams Soundtrack available through Mushroom Records and Tapes Brass Band at racetrack University of NSW, Regiment Band Lyrics: The song Bullamakanka runs over the head and tail credits. Over the head credits, it runs in a shortened version, with just the first verse, fading out on the line ‘for nothing at all’. Over the tail credits, it runs longer. The song was written by Greg Macainsh and performed by the Tony Catz Band. The lyrics that follow are provisional - the band’s singer screeches as much as sings, in the approved Jimmy Barnes hard rock style (that’s not a criticism, just an observation). Question marks at the end of lines indicate uncertain lyrics. Any suggested improvements welcome: (The music over the tail credits begins with a guitar-driven instrumental) A guy fakes the limits, he’s along the way (?) I like riding the bus when I don’t have to pay Give me a woman who’s a little bit tough Show me the way to the nearest bar… Bullamakanka! I just wanna thank you..
    [Show full text]
  • Songs in the Key of Melbourne; Melbourne in the Key of Song
    Songs in the key of Melbourne; Melbourne In the Key of Song. Research assignment SRA744 - Urban Patterns and Precedents Matt Novacevski, 2013 “Representations of a city and its life in the arts can be narrative ‘portraits’, local or ‘synoptic’ descriptions, ac- cording to Shapiro. Choosing a particular city—[...your A1 city ?...]— as the object of such representation, examine and discuss what can be learned about the nature of that city from any of those descriptions. Use specific examples for you inferences to give them credibility.” It has been claimed that Melbourne is the subject of popular song more than any Australian city (1). Since the 1970s, the city has been an incubator for the Australian music scene, growing some of Australia’s biggest artists and music industry players (2). In this context, it is natural that this music would that tell us much about the nature of Melbourne. Melbourne has been a muse to musicians and songwriters, which have in turn left to the city a series of cultural portraits in their songs that have not only described Melbourne; they have shaped its reality. Melbourne and its songwriters can be seen to have developed a symbiotic relationship where songwriters are inspired by the many faces of the city, while their songs are cultural documents that influence the way people view and interact with the city. As Keeling says, music acts “as a mirror to and for society, and it plays a very important role in shaping both our social identity and the identity of places” (3). While this project demonstrates the importance of popular music in reflecting and shaping the Melbourne’s sense of place, it does not seek to provide a comprehensive account of all this material - partly because songwriting focused on and inspired by Melbourne has been so prolific.
    [Show full text]