Tagged with “australian” (65)
I am a 16 year old unsigned EDM producer from the Northern Beaches of Sydney. I write and produce electronic music, then I do the artwork for it and independently release it, then I share it on the internet and hope that people will listen to it. Currently have two albums self-released on iTunes/Bandcamp: http://jaysways.bandcamp.com/album/surrogates-part-ii-closed-eyes Follow me on Soundcloud: http://www.soundcloud.com/jaysways Like me on Facebook: http://www.facebook.com/jayswaysofficial
Deakin University researchers say they have identified the three critical elements of success They are one meaningful intimate relationship a minimum yearly income and a pursuit in life that motivat
In Defeat We’ll Always Try: the death of the Fitzroy Lions - Hindsight - ABC Radio National (Australian Broadcasting Corporation)
This is a story all about the game, and the hardcore business, of the code once known as Aussie Rules. It may have slipped from public memory, but it remains a bitter pill in the hearts of some followers of one football team. In 2011, the AFL signed a $1.25 billion television rights deal—so it’s hard to imagine that, a little over a decade ago, a debt of a few million dollars was enough to send one of Australian football’s foundation clubs under. But that’s what happened to the Fitzroy Football Club.
In the early days of the Victorian Football League, Fitzroy was king of the code—they were known as the Maroons, and in the early decades of the 20th century, they won seven premierships. Between the wars, they came to be known as the Gorillas, and in 1944, they snatched another premiership.
But since that last wartime victory, Fitzroy’s prowess began to dwindle—and even with the moniker ‘the Lions’, they finally became known as the ‘lovable losers’.
And so it was, in 1996, that the Lions of Fitzroy were no more. In their wake, a new football team emerged, up in the steamy northern city of Brisbane.
This story charts the events of that year, which involve debt, treachery, betrayal and cold hearted business pragmatism. One-eyed Fitzroy fan Jack Kerr documents the demise of Fitzroy, and the rise of the Brisbane Lions.
The program features passionate fans and veteran players, as well those inside the club, whose fight to keep Fitzroy alive is embodied in the team’s old anthem ‘In Defeat We’ll Always Try’.
RareCollections: Pioneering Indigenous Australian Vocalists - ABC Canberra - Australian Broadcasting Corporation
Jordie Kilby and David Kilby feature some pioneering Aboriginal and Torres Strait Island singers.
In the 90’s Yothu Yindi’s hit albums and singles greatly assisted in attracting national and international interest in Indigenous Australian music and performers. Yet, in some ways, the path that the group trod had been walked before. But by whom? Here are a few of the pioneers.
Harold Blair - Jabbin Jabbin - Score Records 1956.
Harold Blair was blessed with a beautiful tenor voice and it took him from Murgon mission in Queensland to the concert halls of New York. His first release appeared in 1956 on Melbourne’s Score record label and was the first commercial recording by an aboriginal Australian singer. What makes the record really interesting is that even though Blair made his name performing in productions like The Messiah, his first official recordings were of songs that the discs’ liner notes call traditional aboriginal Australian songs.
Georgia Lee - Downunder Blues - Crest Records - 1962.
When her album "Sings The Blues Downunder" was released it created a place for Georgia Lee in the history books. It was the first blues album ever recorded in Australia and only the second album, of any kind, recorded by an Australian female artist. Alongside covers of blues standards sit two original compositions, Yarra River Blues and Downunder Blues, both penned by Crest producer King Crawford and very early examples of what you might call Australian blues.
Vicki Simms - Yo Yo Heart - Festival Records - 1961 & Stanger in My Country - RCA Records - 1973.
Vicki Simms career began before he was a teenager singing Little Richard covers at Sydney dances in the late 1950’s. His first single Yo Yo Heart was released in 1961 when he was thirteen. Even though his records and TV appearances were geared toward the pop market he was a rock and roller at heart and one of the first aboriginal singers to make his name in that field. After struggling with alcohol he was sent to gaol where he began writing verse and learning guitar. "Stranger in My Country" comes from his 1973 landmark album The Loner which documented the feelings of many indigenous Australians at that time.
George Bracken - Turn Me Loose - W&G Records - 1959.
Before Cassius Clay or Lionel Rose combined boxing with a pop recording career there was George Bracken. George got his start with Jimmy Sharman’s boxing troupe in Queensland and soon moved to Victoria to begin training. He’d always been a social singer and was approached by W&G records to cut a couple of singles in the early 60’s. In the end George had more hits in the ring that on the charts but he was there before anyone else. He later went back to school and dedicated his life to liaising between police and the indigenous community in Redfern, Sydney.
Warumpi Band - Jalanguru Pakarnu - 1983.
Probably most famous these days for songs like My Island Home and Blackfella/Whitefella the Warumpi band hold the distinction of being the first band to record a rock song in an indigenous Australian language (Luritja) . Neil Murray was working as a teacher in Papunya in the central desert region of the Northern Territory when he formed the band with brothers Sammy and Gordon Butcher and George Burarrwanga. Initially covering the likes of Chuck Berry they soon began developing their own unique style of outback rock. The song was named after a phrase common with locals on the street and means "out from jail".
Little Davey Page - Happy Birthday Sweet Sixteen - Atlantic Records - 1975.
The Page brothers Stephen and David are best known for their groundbreaking stage and theatre work over the last 20 years. However long before finding lasting national fame David was spotted performing in a talent quest and signed with the iconic American label Atlantic Records - the first Australian to do so. He was groomed as Australia’s answer to the young Michael Jackson and released a couple of singles under the name Little Davey Page. Happy Birthday Sweet Sixteen made the top 10 on the Brisbane charts in July 1975 and the follow up We Like Music Together went top 15 early the following year. There were no more after that and Australia had to wait a little before being exposed to David’s talent once again.
In the late 1970s Brisbane was known to the rest of Australia as a big country town, and on the surface it was a citadel of conservative rural Australian values.
The Country Party had been in power for nearly two decades, and the premier, Sir Joh Bjelke-Petersen, ruled the state with an iron fist, never hesitating to use the Queensland police force to stamp out any resistance to his notoriously corrupt regime.
It was in this context that a smouldering culture of rebellion was born among the students and other residents in the city’s inner suburbs, which manifest in public protests, acts of civil disobedience, and — in defiance of a legislated ban against them — in sometimes violent street marches. This growing wave of dissent also found expression in the energetic and distinctive music which began to emerge from Brisbane at this time, and which kick-started Australia’s wider punk and alternative rock scenes.
The Saints, the Go Betweens and the Riptides, the Laughing Clowns, the Hoodoo Gurus and Gangajang all had their roots in the Brisbane punk scene of the 1970s, and would go on to have a huge influence on Australian music, paving the way for some of Australia’s most successful later acts, including Savage Garden, Powderfinger, Screamfeeder and Regurgertator.
The 2004 book Pig City by Andrew Stafford was the first serious attempt to tell the story of Brisbane’s coming of age through this potent mix of music and politics. The opening of the city’s first community radio station, 4zzz, in 1975, became a vehicle for the emergence of this powerful nexus between music and politics in Brisbane during this era. It’s been argued that, at the time, 4zzz offered the only alternative and articulated voice of opposition to the prevailing state government of the day in Queensland.
Tony Collins recalls his own experience of Bjelke-Petersen’s Queensland, during the years that he spent living in Brisbane, working as a young broadcaster at 4zzz.
This is an edited extract from the original ‘Pig City’ feature, first broadcast on Hindsight in 2008. See link below for the full program, available online as an mp3 audio file.
Further Information: Link: Pig City webpage, with audio available online (http://abc.net.au/radionational/programs/hindsight/pig-city/3225990)
Scott Spark was on your radio for the last Sundaysin 2013 and in the New Year’s resolution spirit he was asking, "how can we make the world a better place?" A lot of us think we know how to make the world around us a better/safer/more sensible place to live in but, not many of us actually do anything about it enacting the change we want to see. Well, not usually much more than grumble to friends and family. By contrast, TRISTAN COOKE and TOM NELSON are two young lads who are living on different sides of the world and…
Against Me!’s Laura Jane Grace speaks to Michael Atkin about ditching Tom Gabel, punk rock as a cover story and writing lyrics and living as a woman. Hack - Shoving the J into journalism, Hack is triple j’s half hour program covering current affairs, music, politics and culture with youth in mind. triple j is the place for the best new music from around Australia & the world. Listen via radio or stream triple j online
From Latika Bourke’s Twitter: Whoa. Greg Sheridan goes nuts about the Abbott punch on NewsRadio this morning: http://latika.me/R0pW76 (you really must listen to this)