Do That Dance! Australian Post Punk 1977-1983 - Hindsight - ABC Radio National (Australian Broadcasting Corporation)

Part two of the series explores the evolution of post punk in Melbourne.

The years 1977 to 1983 saw an explosion of musical creativity in inner city Sydney and Melbourne. Following the do-it-yourself revolution of punk, young Australians were inspired to make challenging music without boundaries, to form bands, start independent labels, and to run live music venues, all outside the commercially driven confines of the mainstream industry. This groundbreaking activity laid the foundation for contemporary music in Australia. The vital output from Australian post punk has gained an international reputation.

Sydney’s inner-city post-punk music scene revolves around a social set based in the terrace houses and industrial spaces of then run-down Darlinghurst and Surry Hills. Bands shared living spaces, rehearsal rooms, equipment, and band members, forging sounds without precedence. And for the first time, women were taking their place as equal and integral players. Inner city pubs and clubs, faced with a dwindling clientele of working men, opened their doors to the art-punk bands and an enthusiastic audience soon followed. Iconic venues included the Sussex Hotel and the Trade Union Club. By 1980, the burgeoning scene also gave rise to the independent labels M Squared and Terse Tapes.

Melbourne’s post punk scene is defined by distinct locations, and ideologies — the North Fitzroy Beat; St Kilda’s Crystal Ballroom; and the Clifton Hill Community Music Centre. Led by Melbourne’s most infamous band the Primitive Calculators, the North Fitzroy Beat gave rise to the anarchic Little Bands movement, with the Calculators inviting anyone to step up and use their music equipment. Meanwhile, ‘south of the river’, St Kilda was the decadent playground of larger-than-life groups such as The Birthday Party, the Moodists, and the touring Go-Betweens. The Clifton Hill Community Music Centre was an experimental space for a strange mix of Melbourne intelligentsia, music academics, and precocious post punks, giving rise to the groups Tsk Tsk Tsk and Essendon Airport.

http://www.abc.net.au/radionational/programs/hindsight/do-that-dance-australian-post-punk-1977-1983/3658650

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  1. Do That Dance! Australian Post Punk, 1977-1983 - Hindsight - ABC Radio National (Australian Broadcasting Corporation)

    The years 1977 to 1983 saw an explosion of musical creativity in inner city Sydney and Melbourne. Following the do-it-yourself revolution of punk, young Australians were inspired to make challenging music without boundaries, to form bands, start independent labels, and to run live music venues, all outside the commercially driven confines of the mainstream industry. This groundbreaking activity laid the foundation for contemporary music in Australia. The vital output from Australian post punk has gained an international reputation.

    Sydney’s inner city post punk music scene revolves around a social set based in the terrace houses and industrial spaces of then run-down Darlinghurst and Surry Hills. Bands shared living spaces, rehearsal rooms, equipment, and band members, forging sounds without precedence. And for the first time, women were taking their place as equal and integral players. Inner city pubs and clubs, faced with a dwindling clientele of working men, opened their doors to the art-punk bands and an enthusiastic audience soon followed. Iconic venues included the Sussex Hotel and the Trade Union Club. By 1980, the burgeoning scene also gave rise to the independent labels M Squared and Terse Tapes.

    Melbourne’s post punk scene is defined by distinct locations, and ideologies - the North Fitzroy Beat; St Kilda’s Crystal Ballroom; and the Clifton Hill Community Music Centre. Led by Melbourne’s most infamous band the Primitive Calculators, the North Fitzroy Beat gave rise to the anarchic Little Bands movement, with the Calculators inviting anyone to step up and use their music equipment. Meanwhile ‘south of the river’, St Kilda was the decadent playground of larger-than-life groups such as the Birthday Party, the Moodists, and the touring Go-Betweens. The Clifton Hill Community Music Centre was an experimental space for a strange mix of Melbourne intelligentsia, music academics, and precocious post-punks, giving rise to the groups Tsk Tsk Tsk and Essendon Airport.

    http://www.abc.net.au/radionational/programs/hindsight/do-that-dance-australian-post-punk-1977-1983/3658556

    —Huffduffed by theJBJshow one year ago

  2. RAZORCAKE PODCAST #217

    A zine supporting independent and underground punk. We do our part.

    http://razorcake.org/punk-music-podcast/razorcake-podcast-217-with-liz-prince-and-mitch-clem

    —Huffduffed by nateb 10 months ago

  3. Pig City - Hindsight - ABC Radio National (Australian Broadcasting Corporation)

    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)

    http://www.abc.net.au/radionational/programs/hindsight/pig-city/4412392

    —Huffduffed by theJBJshow 3 months ago