|IndyWatch Victorian News Feed Archiver|
IndyWatch Victorian News Feed was generated at Melbourne VIC IndyWatch.
Witty lad Ben Townsend, better known as super-fast flowing Melbourne MC Ivan Ooze, has unleashed a new single ‘Bills’, proudly features Wu Tang Clan member and original rap God Ghostface Killah.
2016 marked a hectic year for Ivan Ooze with the successful release of first single ‘Hooligans’ from March release 93 KFC Rotisserie slingshotting the Aussie grown rapper onto the stage as the direct support to Wu Tang Clan.
Seizing the opportunity, Ooze and his team put on a performance that took the legends by surprise, and over the course of the tour he and Ghostface cultivated this catchy collaboration to form the lead single for Ivan’s new EP.
In celebration of the success that can take some musicians a lifetime to build, he’ll will be embarking on a 7 date national tour, and dropping his now Wu-affiliated EP before the end of the year.
Tickets on sale Tuesday, 27th September
Friday, 11th November
Tickets: Official Website
Saturday, 12th November
Tickets: Official Website
Friday, 18th November*
Tickets: Official Website
Saturday, 19th November
The Plot, Sydney
Tickets: The Plot
Saturday, 19th November*
Plan B Small Club, Sydney
Tickets: Official Website
Friday, 25th November*
The Brightside, Brisbane
Tickets: Official Website
Do you love music and NYC? Well, what if we said you could spend a night in arguably New York’s coolest borough, Brooklyn, where you’d have unlimited access to music and a HiFi system, whilst enjoying a personalised minibar? Oh and did we mention it was FREE?!
Well. Airbnb, the popular accomodation booking service is giving two music lovers an opportunity of a lifetime by registering iconic Brooklyn record store Rough Trade on the company’s website as a room you can legitimately spend the night in.
Partnering with Sonos, two very, very lucky people will get the
opportunity to spend the night in the ‘Sonos Listening Room’ and
will be showered in music treats such as a selection of
out-of-print music zines, a personally customised playlist made by
the employees of Rough Trade, and are even
encouraged to invite their mates to come down and party in the
store (although they have to leave by 2am).
While it’s great to see the ways in which record stores are adapting to a 21st Century market, keeping them financially in the green – we’d love to see this kind of creativity coming out of Aussie record stores too.
Melbourne based store Polyester Records have taken the first steps with their in store live performances, but perhaps we’re still a few years away before we are able to give music lovers an experience like this.
BUOY is one of the most promising electronic talents in Australia right now, having dazzled us from early on with last year’s Immersion EP, but truly demanding everyone’s attention with the stark but stunning single ‘Clouds And Rain’.
She’s since released her second EP Break, winning us over completely and utterly, and is launching it in Melbourne tonight at Boney. As one of our favourite emerging acts in the country with an electronic bent, we asked her for some recommendations on other electronic artists that have inspired her own work.
Break is available to listen to below, and fits snugly in with BUOY’s selections of 9 works of electronic perfection that demand the attention of your eardrums.
This is sooo so stunning. I love the harmony and rhythm she builds using only synthesisers – the coolest sounds. Wow. I am way too excited have CORIN supporting me when I launch my EP in Melbourne this Friday, I cannot wait to see her live show.
Beautifully timbred layers and vocals in this. The harmony gets through to me, I love when the bass comes in.
When this came out back in May, I took myself to lay under the big trees in the park to listen. It was a windy day and the wind was blowing all the autumn leaves off the trees. It was a moment in time. Such a beautiful masterpiece created without any drums
Rhythm section in this is wholesome as and I am in love Sampha’s voice.
This one has been melting me since its release. Simon Lam from Nearly Oratorio is the also the vocalist here. Incredible. He is an amazing audio engineer as well; he mixed my ‘Break’ EP.
Beautiful build and mastered rhythms by Christopher Port. He is so good at this. His live show is mind blowing. He will also be supporting me this Friday in Melbourne, and worked on some production of my ‘Break’ EP. Such an honour working with and knowing such a skilled person.
Art exhibition to mark 60th anniversary of nuclear testing in Maralinga asks what has changed ABC Central Victoria By Larissa Romensky , 22 Sept 16, A national touring exhibition of artwork marks 60 years after the British government exploded an atomic bomb in South Australia’s outback.
On September 27, 1956 the British government conducted its first atomic test at Maralinga.
In total, seven nuclear bomb blasts were detonated between 1956 and 1967 in the southern part of the Great Victoria Desert in South Australia followed by more than 600 “minor tests”.
These were not the first nuclear tests to be conducted in Australia, but the term Maralinga, an Aboriginal word for thunder, became the name associated with this chapter in Australian history.
Black Mist Burnt Country, is a national touring exhibition that revisits the events and its location through the work of more than 30 Indigenous and non-Indigenous artists.
Curator JD Mittman said the title refers to the “mysterious” black mist that hovered over the country after the first test at Emu Field in South Australia in 1953 that “badly” affected Aboriginal families at Wallatinna.
“[Yankunytjatjara man] Yami Lester testified that people got very sick, some died, and he lost his eyesight,” Mr Mittman said.
Burnt country was in reference to the enormous heat generated by an atomic bomb blast, 1,000 times hotter than the sun.
“The blast melts the ground to glass, also called Trinitide, after the Trinity test ," he said.
Inspired by Jonathan Kumintjarra Brown
Jonathan Kumintjara Brown was a member of the stolen generation and later in life connected with his family in South Australia and found out about the atomic testing of his traditional land.
Mr Mittman said the exhibition was originally inspired by the artist's work entitled Marilinga before the atomic test.
"The question that came to mind immediately was: if there's a work that depicts the country before the atomic tests then surely there must be work that is also about the period after or during the tests," he said.
The work in the exhibition spans seven decades from across the globe from the first atomic test in Hiroshima to the present day, from both private and public collections........http://www.abc.net.au/news/2016-09-21/exhibition-to-mark-60th-anniversary-of-nuclear-testing/7865192
MADGE bake a birthday cake for our regulators, FSANZ, would
you eat it?
2) Threat to bans on growing GM and labelling.
3) MADGE out and about
4) GM canola planting falls in Australia
5) GM Golden rice and Nobel Laureate's Red Faces
6) New GM soy causes neighbouring plants to die
7) Would you trust a scientific body that takes money from GM companies?
8) Farming our future - an inspiration
Food Standards Australia New Zealand is celebrating their 25th Birthday. If you want to let them know how the foods/ingredients/crops they approve affect your health please add your story to this facebook pagehttps://www.facebook.com/events/305084833173576/ .Or email us email@example.com.
Lawyers are holding seminars for the food industry telling them how to get around labelling requirements. If you are heartily sick of this deception you may want to buy direct from farmers or from trusted shops. See item 3 and 8 for ideas.
If you disagree with this, you may like to put in a quick submission on their Inquiry into Regulation in Agriculture. It appears they forget people eat what farmers grow and many of us do not want to eat GM, pesticides and many other dubious substances. Even though our GM laws are so full of loopholes that almost nothing is labelled, their existence means they can be improved. Removing all ability to label is a huge backward step.
The inside story on how GM food is approved. Links at the end on
how to #EatGMOfree.
2) Join us and GM-Free Australia at this free event Monday 4th April.
Celebrate, network and cross-pollinate with people stopping GMO
and creating the local food, seed and community networks that
nourish us. Food, skits, GM-Free sing-along plus how to
#EatGMfree giveaways and Prize Draw.
When : 7-9pm on Monday 4th April 2016
Where : Friends of the Earth Food Co-op, 312 Smith St, Collingwood 3070
RSVP: Jessica 0407307231 or firstname.lastname@example.org
3) Open letter to stop climate disasters in the Pacific being used to introduce GM and hybrid seeds.
If you are a member of a group that would like to sign on to
this letter please contact email@example.com
4) What MADGE has been up to:
We have been quoted in the:
Huffington Post - “GMOs: What Are They, The Risks And Where Do We Find Them?"
Australian Financial Review - "GM Awareness Needs to be High on Food
According to a spokesperson from the Federal Department of Health, it is up to individuals to take responsibility for what they eat. Perhaps we could if it was fully labelled!
ABC - "Australian Food Regulator Deliberating Over
New GM Techniques"
In a related story, they also published a useful piece on GMOs and the policies of the big supermarket chains. However, MADGE feels they are let off lightly. Many companies are using the FSANZ definition of GMOs, which still means the food contains unlabelled ingredients from GM plants.
MADGE joined with the GM-Free Australia Alliance to run a 3-day stall at the Sustainable Living Festival in Melbourne. We ran a workshop, it was lovely meeting others who care for the planet and a GMO-free future. Welcome to everyone who signed up to receive this digest.
We were interviewed for 3CR’s sustainable breakfast series.
We sent two media releases:
1 - Farmers and eaters betra...
My article on the failure of for-profit competition in human services included a hook to the recently published Productivity Commission report recommending more of the same. I haven’t had time to go through the report in detail, but I was struck by reports that the PC mentioned the FEE-HELP fiasco in the VET sector as an example of the way not to go about things.
It’s good to see some recognition of this but what matters here
is foresight, not hindsight. So, I thought I’d check back to see
what the PC was saying a couple of years ago, when the disaster was
obvious, but was still being denied by those in charge of it.
Here’s a quote from their submission to the Harper Competition
The Commission’s study into the vocational education and training (VET) workforce (2011f) found that there had been a rising trend to harness market forces in the allocation of VET services, with principles such as user pays and user choice increasingly underpinning VET policy. The Commission suggested that, as the VET sector becomes increasingly competitive, a move towards greater managerial independence for public providers would give them the autonomy and flexibility they need to respond.
The Commission (2011f) also noted that opening up of the VET sector had not been a complete success, with some stakeholders raising concerns about quality assurance, monitoring and enforcement (especially in the international student sector).
Going back to the 2011 report, there is indeed a box referring to problems with international students, which drew a lot of attention at the time. But there’s nothing to suggest any awareness of the broader problems, which were already apparent*, let alone any capacity to predict them using the PC’s analytical framework.
* I wrote a report for the National Council on Vocational Education Research in 2012, making many of these points, and drawing on several years of evidence from Victoria. I was roundly derided for my pains by the private provider lobby.
You may have heard that Maynard James Keenan is bringing his Puscifer project back to Australia for the Money $hot – Round Under Tour this January, which will include a performance at Hobart’s MONA FOMA.
Best known as the frontman for Tool and A Perfect Circle, Maynard James Keenan’s Puscifer project dates back to 1995, back when it was a non-musical comedy concept.
Finally releasing the trip-hop heavy “V” Is For Vagina in 2007, Keenan’s Puscifer continued to impress audiences, with a descent into the theatrical aspect of rock following a debut of live shows in Las Vegas in 2009.
With the Australian tour just months away, Keenan has taken time out from his busy schedule of fielding questions about when the new Tool album is coming to address his Australian fans… in character and in a very bizarre fashion of course.
Friday, 20th January 2017
Mona Foma, Hobart, Tas
Saturday, 22nd January 2017
Plenary, Melbourne Convention & Exhibition Centre, Vic
ticketek.com.au or 132 849
Monday, 23rd January 2017
Thebarton Theatre, Adelaide, SA
ticketmaster.com.au or 136 100
Wednesday, 25th January 2017
Darling Harbour Theatre, Sydney, NSW
ticketek.com.au or 132 849
Thursday, 26th January 2017
Brisbane Convention & Exhibition Centre, QLD
ticketek.com.au or 132 849
Sunday, 29th January 2017
Vector Arena, Auckland, New Zealand
ticketmaster.co.nz or 0800 111 999
Listen Out is just about to kick off for another year, with Melbourne and Perth this weekend, and Sydney and Brisbane to follow.
As always, there’s a great lineup of varied acts, led by the likes of local electronic champs RÜFÜS and French house maestro Tchami – but there are plenty of other gems nestled amongst the lineups.
From some very annoying last-minute news, to the up-and-comers who demand your attention, here’s our list of must-sees for Listen Out 2016.
While he would have been on this list, in a very last-minute move, grime artist Stormzy has cancelled his anticipated Listen Out appearances, together with the rest of his gigs for the year. Festival organisers have said they’re doing what they can to tee up a consolation for punters, but it’ll be cold comfort for grime fans who are probably still smarting from another recent Aussie cancellation from Skepta.
Stormzy has provided an apology to fans, if not much of an explanation:
We can definitely recommend Sui Zhen’s opening DJ sets, as she’s a great act with killer taste in music, but if there’s one act that you need to get down early for, it’s the Melbourne addition of talented multi-instrumental producer Alice Ivy. She deservedly won her way onto the bill through triple j Unearthed, but it was her recent sets at BIGSOUND that really placed her firmly on her radar.
Sydney’s Unearthed act Wallace is also one to firmly keep an eye on, as is the Brissy catch of Midas.Gold, so there’s plenty of incentive to head down as gates open.
From busking and streaming from her home studio to massive international recognition, Tash has had one hell of a breakout year. Coming off a sold-out national tour and overseas shows, it’s bonkers that you’ll be able to catch her so early on in the arvo.
The wonky electronic duo have re-emerged with new music after a long time away, and that time off is sure to make for a great set. The Pilerats signing’s appearance at Splendour In The Grass last year drew a good crowd full of some very enthusiastic dancers, and we’re sure this time around will be no different.
While the later sets from the likes of RÜFÜS and Tchami are going to be plenty of fun, there’s no doubting that Anderson .Paak & the Free Nationals could potentially steal the show before they’ve even had a chance to take the stage.
A recent collaboration with Mac Miller has raised their profile significantly, and we reckon...
“We haven’t forgotten about Australia, obviously, we love to play here, but unfortunately because it’s so big over there, there’s millions more people over there, by the time we play a festival season over there and do our headline tour, it’s months and months and all of a sudden the year’s gone,” says Airbourne guitarist David Roads.
As Dave admits, nowadays Warrnambool-bred rockers Airbourne spend the majority of their time overseas and the lion’s share of that is spent in Europe, where the band’s quintessentially Aussie brand of rock and roll sees them billed at the top of festival lineups and playing in front of “anything from 70 to 100,000 people” by Dave’s estimate.
“Germany is the first big country that took us on board in Europe,” Dave recounts. “Then we sort of blew up in France. It’s sort of big all over the place there. Most of mainland Europe we do well in and we’ve even grown in eastern Europe.”
“We’re now starting to go to places like Serbia, Lithuania, Croatia, and Russia. We never used to go that far east, but we’re starting to do that now.” Back home things are admittedly quieter, but Airbourne are grateful for the reception the European crowds give them.
“We’ve had a few ups and downs throughout our career,” says Dave. “Our career was nearly doomed from the start, before we released our first album. Capitol Records got bought out by Virgin Records and just about every band on the label got dropped.”
“There were bands on tour that lost all their tour support and I think we were on tour with Dallas Crane, we’d just finished recording our first album, and then that happened and we thought that would really damage us but we had our lawyers fight for our album and we got it back.”
“We went back to America, showcased it as SXSW, and that’s when Roadrunner picked us up. We stayed with the Americans and being signed to Roadrunner made it easier to go to America a lot and that made it easier to make the jump over to Europe. That’s how we got our foot in the door in the Northern Hemisphere.”
Airbourne haven’t just got their foot in the doors, they’ve obliterated the door with battering ram force and proceeded mercilessly crush everything underfoot. The band’s manager, Gregg Donovan, who also takes care of Grinspoon and Josh Pyke, mused on the situation back in 2007.
“We’re doing really well with one of our acts, Airbourne, who we can’t get arrested in Sydney – we’re lucky to sell out the Annandale – but yet these kids from Warrnambool are selling 30,000 tickets in two weeks in the UK,” he told ABC News.
“They’re doing unbelievable business. They’ve been breaking all over the place, and that’s been really difficult.” Whilst the band’s American label proved the key to breaking into Europe, back home the gatekeeper, everyone seems to agree, is national youth broadcaster triple j.
Back in January 2014, Cherry Bar owner...
As far as debut singles went in 2013, Flyying Colours’ was close to ideal. Infectious in the play it again and again kind of way, ‘Wavygravy’ suggested the Melbourne quartet were a rare treat: sans growing pains or that adolescent awkwardness you get when your limbs feel too long for your body, they seemed fully formed right from the get-go.
The kaleidoscopic video (more lo-fi visual art collage than ordinary performance clip), the stripy t-shirts and floppy hair all fit together perfectly. And then there was their sound — airy, boy-girl vocals, pulsating bassline, tumbling drum fills, and, with guitars for days, an unashamed wall of sound. While later singles such as ‘Running Late’ were more jangly than gazey, it’s hard not to think Flyying Colours would have fit right at home in an March 1991 edition of the NME. “Move over Ride, watch out MBV!”, a typically over the top headline might have bellowed.
Listening to Mindfullness, in which the group continues its crusade against good spelling (yes, that’s two ‘L’s they’ve used), those hyperbolic, hypothetical music editors might have had a point. This debut offers 10 songs that are dynamic, at times ethereal, and often thrilling, including a few moments memorable enough to worm their way into your mind long after the first listen.
Take opening track and single ‘It’s Tomorrow Now’. More Swervedriver than Slowdive with its grunge-like guitar grind, it’s an aggressive whirl of a song that builds to a cacophonous crash of wah wah guitar and tumbling drums. If it weren’t for the fade out, you might almost hear an exhausted band falling in a heap at the end of the recording.
The shameless pop of ‘1987’ plays as a less morbid, more rapidfire take on Joy Division’s ‘Disorder’, while ‘Long Holiday’, with widescreen synth wails and jangly Byrds-like guitar lines, is so poised it seems to strut as it slides from verse to chorus.
At half-time things move to a slower, more beautiful place via the dreamy, otherworldly ‘Mellow’ and slow burning ‘ROYGBIV’. Save for the jammy ‘Sun, Hail and Rain’, the album remains content to stay there. This reprieve from the addictive rush of songs like ‘It’s Tomorrow Now’ and ‘1987’ is not unwarranted nor unwelcome, but the album is certainly at it’s most captivating when it’s moving at pace.
Like many shoegaze records, the lyrics here often feel more ornamental than pivotal; they hang in the background, and at times it’s as if they exist solely as something to attach to front-pair Brodie Brümmer and Gemma O’Connor’s saccharine vocal melodies. Their voices often work in tandem, melting together and serving as counterpoints to the chiming guitar lines that usually provide each song’s main hook. Brümmer takes production reins with the band’s manager, musician Marty Brown, and whether that decision was financial, logistical or artistic, it pays dividends.
For their efforts, Mindfullness sounds sonically focused, honest, and plays as a satisfying culmination of a journey that began for listeners with 2013’s ‘Wavygravy’, and for the band, well before that. It also leaves plenty of room for exploration when the time comes for album number two.
Brümmer has said that the jokey album title is meant to reflect his pre-occupied state o...
Camp Cope hit up the triple j studios this morning to tear through a rendition of their sterling single ‘Lost: Season One’ before absolutely blowing our minds with a powerful, heartfelt cover of the Yeah Yeah Yeahs’s timeless tune ‘Maps’.
The Melbourne trio stayed faithful to the original arrangement of the track, though they certainly beefed it up with the addition of Kelly-Dawn Hellmrich’s bass. But what really sends this cover into the stratosphere is Georgia Maq’s incredible voice.
The band completed a national tour earlier this month, following on from a very busy 12 months, which included sending their debut album into the ARIA charts, launching their own zine, and headlining a fundraiser to help women in music.
We recently ran through a few of our favourite Like A Version covers of the year so far, including Sarah Blasko’s incredible David Bowie cover, Guy Sebastian linking up with Paces, and Hey Geronimo mashing up Courtney Barnett and Regurgitator.
Check out our list of the best triple j Like A Version covers of 2016 so far!
Renowned Aboriginal troubadour, Kev Carmody, will headline the 15th annual Yabun Festival in Sydney on January 26, 2017. Other artists who will perform at Yabun Festival in 2017 include Red Ochre and Deadly Award winning country music artist Warren H Williams (joined by emerging artist Dani Young), Aboriginal rock ‘n’ roll icon Vic Simms, Sydney based blues artist Marlene Cummins, soul music performer and former The X-Factor star Rochelle Pitt, National Indigenous Music Award winning hip hop artist Philly, and popular reggae/dub band Oka.
Kev Carmody grew up in the Western Darling Downs area of Southern Queensland, his initial inspirations coming from the rural and oral traditions of his Irish and Aboriginal grandparents. Kev released his first album ‘Pillars of Society’ in 1988 and is among the most esteemed Australian singer songwriters and Aboriginal musicians. In 2009, Kev was inducted into the ARIA Hall of Fame.
“The music of Kev Carmody has impacted countless people over the past four decades, Indigenous and non-Indigenous alike, he is one of our most treasured and significant Australian artists and we are absolutely thrilled to have Kev as our headliner for the 2017 Yabun Festival,” said Yabun Festival Producer, Miah Wright.
Established in 2001, Yabun (meaning ‘music to a beat’ in Gadigal language) is one of the nation’s largest annual Aboriginal and Torres Strait Islander cultural gatherings, and Sydney’s biggest Aboriginal music event. Held each year on January 26 at Victoria Park in Camperdown, Yabun Festival is a free event that features live music, a bustling stalls market, panel discussions and community forums on Aboriginal issues, a wide range of children’s activities including art, sport and culture workshops, and traditional Aboriginal and Torres Strait Islander cultural performances staged at the Corroboree Ground. In 2016, over 20 000 people attended Yabun.
“As well as featuring some real legends of Aboriginal music, Yabun will be showcasing plenty of emerging talent in 2017, and the Corroboree Ground will once again bring traditional Aboriginal culture to the heart of Sydney, Yabun welcomes all people to join us for this one of a kind celebration of Aboriginal and Torres Strait Islander cultures,” said Ms Wright.
Former Yabun Festival headline performers have included Bart Willoughby, Archie Roach, Dan Sultan and Jessica Mauboy. The 2017 Yabun Festival will take place at Victoria Park in Camperdown, Sydney, on January 26, beginning at 10:00am and finishing at 6:00pm. Yabun Festival is supported by Australia Council, City Of Sydney, Arts NSW, Destination NSW, NSW Aboriginal Land Council, and the Department of Aboriginal Affairs.
The Port of Melbourne has been sold for $7.3 billion to Chinese and Australian sovereign wealth funds and other investors. It is Australia’s biggest container and cargo port where 3,000 ships dock annually.
This is one of the biggest privatization deals in Australian history, falling short of the sale of the electricity grid company Transgrid for $10.3 billion last November.
The Port of Melbourne was sold at a higher price than the Australian government had expected.
“The lease, worth in excess of $9.7 billion, reflects strong bidder interest and the port’s value, as the biggest container and cargo port in the country,” the government said.
The takeover may be seen as a sign that investors are seeking safe havens in times of turbulence on the markets.
“Equity markets are starting to realize that they’re going to live in an environment where returns are going to be lower for longer, and they’re looking for secure investments,” Australia’s Treasurer Tim Pallas told Reuters.
According to Pallas, China Investment Corp will get a fifth of the port. A similar share will go to Australia’s sovereign wealth fund, The Future Fund, and Canada’s Ontario Municipal Employees Retirement System.
The sale comes weeks after Australia stopped the Chinese buying a majority stake in the state-owned power network Ausgrid. At the time, China’s commerce ministry said the rejection “seriously impacts the willingness of Chinese companies to invest in Australia.”
“The Port of Melbourne has been sold for $7.3 billion to Chinese and Australian sovereign wealth funds and other investors.”
“This is one of the biggest privatization deals in Australian history”
selling the farm!
“According to Pallas, China Investment Corp will get a fifth of the port. A similar share will go to Australia’s sovereign wealth fund, The Future Fund, and Canada’s Ontario Municipal Employees Retirement System.”
I recently heard Dmitry Orlov speaking to Jim Kunstler regarding the Dunbar Number in which he came up with the term ‘Thermodynamic Trap’. As the ERoEI of every energy source known to humanity starts collapsing over the energy cliff, I thought it was more like a thermodynamic black hole, sucking all the energy into itself at an accelerating pace… and if you ever needed proof of this blackhole, then Alice Friedemann’s latest book, “When the trucks stop running” should do the trick.
Chris Martenson interviewed Alice in August 2016 about the future of the trucking industry in the face of Peak Oil, especially now the giant Bakken shale oil field in the US has peaked, joining the conventional oil sources. This podcast is available for download here.
Alice sees no solutions through running trucks with alternative energy sources or fuels. I see an increasing number of stories about electric trucks, but none of them make any sense because the weight of the batteries needed to move such large vehicles, especially the long haul variety, is so great it hardly leaves space for freight.
A semi trailer hauling 40 tonnes 1000km needs 1000L of liquid fuel to achieve the task. That’s 10,000kWh of electric energy equivalent. Just going by the Tesla Wall data sheet, a 6.4kWh battery pack weighs in at 97kg. So at this rate, 10,000kWh would weigh 150 tonnes….. so even to reduce the weight of the battery bank down to the 40 tonne carrying capacity of the truck, efficiency would have to be improved four fold, and you still wouldn’t have space for freight..
There are not enough materials on the entire planet to make enough battery storage to replace oil, except for Sodium Sulfur batteries, a technology I had never heard of before. A quick Google found this…..:
The active materials in a Na/S battery are molten sulfur as the positive electrode and molten sodium as the negative. The electrodes are separated by a solid ceramic, sodium alumina, which also serves as the electrolyte. This ceramic allows only positively charged sodium-ions to pass through. During discharge electrons are stripped off the sodium metal (one negatively charged electron for every sodium atom) leading to formation of the sodium-ions that then move through the electrolyte to the positive electrode compartment. The electrons that are stripped off the sodium metal move through the circuit and then back into the battery at the positive electrode, where they are taken up by the molten sulfur to form polysulfide. The positively charged sodium-ions moving into the positive electrode compartment balance the electron charge flow. During charge this process is reversed. The battery must be kept hot (typically > 300 ºC) to facilitate the process (i.e., independent heaters are part of the battery system). In gener...
CCTV of Jill Meagher (L), then Adrian Bayley (R) By Dee McLachlan Four years ago today (22nd September, 2012), Gillian “Jill” Meagher, a 29 year old Irish woman, was raped and murdered while walking home from a pub in Brunswick, in Melbourne. After she failed to come home, her husband, Tom, reported her as missing, and it soon became a homicide […]
Hey! Wait! Wait! Wait! Don't plug in that USB stick into your laptop. It could infect your computer with malware and viruses. Australia's Victoria Police Force has issued a warning regarding unmarked USB flash drives containing harmful malware being dropped inside random people's letterboxes in the Melbourne suburb of Pakenham. It seems to one of the latest tactics of cyber criminals to
On Thursday 22 September, there was a nice
triple treat of bizjets to call into Hamilton Island Airport,
including a nice American registered Gulfstream.
|Jean-Luc Altherr / https://www.flickr.com/|
MOBO Award–winning UK hip hop artist Akala is heading to Australia and NZ for a series of intimate shows, in celebration of a decade’s worth of work in music.
In addition to having five albums under his belt, the writer and poet has had a lot to celebrate throughout his ten years, from touring the U.K. with Nas and Damian Marley and supporting the likes of M.I.A., Christina Aguilera, and The Verve’s Richard Ashcroft, to appearances at every major festival on the U.K. circuit.
Thoughtful and outspoken, Akala has given a series of lectures on racial issues, and recently spoke to U.S. hip hop channel Vlad TV about racism in the U.K. and the U.K.’s role in slavery, continuing his commitment to social activism and thought-provoking art.
Interestingly, his song ‘The Edge’ was featured on the soundtrack for video game NBA 2K10, while his older sister and fellow rapper Ms. Dynamite was featured on the soundtrack for FIFA 2003.
Playing some of our favourite intimate venues in the country, we can’t think of a better evening for any fans of conscious lyricism delivered via sharp London flows.
Thursday Dec 8th – The Foundry, Brisbane QLD
Saturday Dec 10th – Newtown Social Club, Sydney NSW
Sunday Dec 11th – Nortcote Social Club, Melbourne VIC
Thursday Dec 15th – Whammy Bar, Auckland NZ
Friday Dec 16th – Edinburgh Castle, Adelaide SA
Sunday Dec 18th – Rosemount Hotel, Perth WA
Relationships Australia Victoria (RAV) is a major sponsor of the 2016 ECCV Statewide Conference “The Next Generation of Multicultural Victoria: Intergenerational Perspectives,” which is being held in Ballarat on Friday 11 November, 2016.
RAV is a leading provider of family and relationship support services. With 12 centres across the state and additional outreach locations, RAV offers a diverse range of services including counselling, therapeutic case management, family violence, group work and dispute resolution services.
RAV's core expertise is in supporting individuals, families and communities affected by social and wellbeing issues such as family violence, mental health difficulties and high conflict family law disputes.
ECCV 2016 Statewide Conference - "The Next Generation of Multicultural Victoria: Intergenerational Perspectives" - Ballarat Friday 11 November, 2016.
For more information about Relationships Australia Victoria call 1300 364 277 or visit www.rav.org.au.
Saturday, September 24th marks 25 years since Nirvana’s Nevermind was released, and Double J are celebrating.
Nevermind is undoubtedly one of the most popular, critically revered, and influential albums of all time. Heralding the start of the grunge explosion that dominated most of the ’90s, Nirvana’s sophomore album still continues to sell well and inspire countless musicians around the world.
To celebrate, Double J are holding a big series of commemorative events. Kicking off on Saturday at noon with the ‘Smells Like Teen Spirit’ documentary, the Double J crew will be looking at the album’s famous single, the impact it had on Australian and international music, and pop culture in general. Then, at 4pm, Double J will be replaying Nirvana’s famous concert from Melbourne’s Palais Theatre from their one and only visit to our fair country.
Between the events, Double J will be playing the best music of 1991 from all of the other important albums to have been released that year, including Pearl Jam’s Ten, Yothu Yindi’s Tribal Voice, Clouds’ Penny Century, and Public Enemy’s The Enemy Strikes Back. To cap it all off, Caz Tran will be playing the entirety of the album itself at 10am on Sunday morning, interspersed with rare archival interviews from the band.
Be sure to be listening to Double J on Saturday and Sunday when they go through one of the most comprehensive tributes to Nevermind that you’ll ever see.
Memory of Elements is a Perth based band which seems to be a cooperative without one particular leader with compositions being contributed by all members who are all leaders in their own right. They are Jamie Oehlers, saxophones; Carl Mackey, saxophones; Tom O’Halloran, piano; Simon Jeans, guitar; Pete Jeavons, double bass; and Ben Vanderwal, drums. However, on this, their second release the compositions are by Tom O’Halloran except for one written by Paul Grabowsky.
Tom is known mostly for his trio albums and tours the trio regularly. He has worked with many name jazz players both here and overseas, but has also worked with rock and pop artists. Tom O’Halloran leads the jazz piano dept. at WAAPA that’s the West Australian Academy of Performing Arts and is also a composer of Contemporary Classical music.
Saxophonist Jamie Oehlers is considered one of Australia’s most outstanding jazz musicians and I would think that any follower of Australian jazz would be well aware of his music by now.
Carl Mackey is another extremely talented saxophonist and leader of his own groups. He is also, like the others, an educator.
Another recording I will focus on this week is the latest in the Monash Sessions series. The two guest musicians invited to play with, and teach the students of the Sir Zelman Cohen School of Music at Monash University in Victoria are, Tony Gould and Mike Nock– veteran pianists, composers and educators.
The post Jazz Made In Australia- 26 September 2016- Memory of Elements+ Gould & Nock appeared first on 89.7 Eastside FM.
Leaving Melbourne via the Westgate Bridge on a Wednesday evening, clouds of steam cluster and dissipate into the darkening sky. It’s fair to assume these plumes are output from the factories and refineries dotting the coast like pins in a board from Port Melbourne to Geelong. It’s also possible that part of the component entering the atmosphere is a heady mix of CO2 and endorphins being exhaled by the Willin Wimmin of Williamstown, having their weekly sing.
Willin Wimmin past and present were reunited last month to celebrate 25 years of giving voice to women, and spreading the joy of singing and community to audiences in the west and beyond. By their reckoning, this amounts to roughly 1000 rehearsals, more than 200 performances, over 300 songs and 250 women who have been involved since the inception of the singing group.
Worthy of a knees up, by anyone’s standard. The room was filled with friends, partners and family, everyone brought their own dinner, there was support with sound and lighting from their mates at the Newport Community Choir: it was a community event in every sense of the word.
The group sprung from the John Bolton Theatre School which was based in Williamstown, back in 1991. John employed Bronwen Barton as his music teacher who, with John’s partner and a few friends started singing together. The seeds for Willin Wimmin were sown and interest quickly caught on among the community. The singers were not only Willin Wimmin, they were feisty women with a will and the current members continue to embrace this identity: They set out as sisters doing it for themselves, collaborating as a cooperative and proudly eschewing the committee way of doing things until more recently.
The increasing requirements of funding bodies and venues requiring insurance over the years created a gradual push to become incorporated and adopt a more formal arrangement. Willin Wimmin eventually (reluctantly) bowed to the external pressure, formed a management committee and became incorporated last year.
Back at the start, Bronwen was a great vocal coach whose philosophy that anyone can sing set the value of inclusivity which has underpinned the group ever since. There have never been auditions and the women make it clear that no singing experience or knowledge of music is necessary. A good sense of humour, the will to embrace and celebrate cultural diversity and a shared belief in supporting, and welcoming one another is what counts. Willin Wimmin sing with heart and choose their material from an eclectic selection of genres including world, folk, choral and contemporary.
Julie Merritt has sung with Willin Wimmin for 18 of its 25 years, joining when the youngest of her three children was around 12 months old. The social side of belonging to the group drew her in; she felt a sense of belonging and like she’d found her tribe.
A strong social justice theme runs throughout the choir, and Willin Wimmin have sung on demonstrations and rallies, at sport, art, health and women’s issues events. They’ve trodden the boards at a variety of venues, too: Deakin Edge Theatre, Melbourne Recital Centre, the NGV as well as Fairlea Women’s Prison and Maribyrnong Immigration Detention Centre, to name but a few.
Willin Wimmin have been helped along their journey by the commitment from their leaders:
“We have been fortunate with our directors – they have each been fabulous, feisty, fearless, sometimes fearsome. Each of them brought unique gifts and talents with warmth, patience and fun. Without them, there is............
Hailing from Sydney, Tom Stephens has been making the rounds for a couple of years now, bringing his genuine indie rock styling to audiences all over. Now, he’s releasing his debut album What Lies In The Difference.
Following on from the release of his sophomore EP Embers back in 2014, Stephens’ debut album is a loose, flowing journey into his psyche, backed with humble guitar and a smooth, inviting vocals.
Taking clear inspiration from artists like Wilco and AA Bondy, Stephens’ record feels like a close friend telling you a story that you share genuine interest in. Each track creates a mood which grows on you, beckoning you in, before leaving you with a sense of prevailing calm.
Tom will be taking his live show on the road to launch the album, kicking off in October – dates below.
Saturday, October 15th
(With Georgia Mulligan & Egoism)
Oxford Circus, Sydney (Free)
Saturday, October 16th
(With The Luke Brennan Trip & Forever Son)
The Old Bar, Melbourne
Holy Balm have had a great year so far, releasing their single ‘Fashion’ in May to significant acclaim and love from the music community, and following it up with their excellent new album Activity.
Now that the “wonky house” act are firmly on our radar, we thought we’d ask them to shed some light on the next wave of emerging Aussie talent we should be keeping our eyes on – and they certainly came through for us here, with eight new acts that definitely demand some attention.
You can give their selections a spin below, along with Holy Balm’s new record. If you like what you hear, you can catch them finishing off their album tour in Sydney this Saturday at the Newtown Social Club, and in Canberra the following night, dates below.
Sydney based group that create a tense thumping space to move or generally go deep & zone out! Distorted and shrill vocals create tension amongst the drum machines & sequences – they never fail to create a hypnotic soundtrack live. Always want them to play longer sets.
James Vinciguerra’s solo work – exploratory, textured songwriting nodding across a few electronic music eras, cultural references & approaches. Pieces feel realised whilst creating even more curiosity with every release. Deep knowledge of rhythm and dynamic is his composition & touch.
New directions of Stiles’ solo work always keeps us guessing – there is always an interesting treatment of vocals and rhythm, and risk taking with form, durations & song structure. Bringing in flavours of folk, pop, experimental & even outsider sounds, abstract narratives take you somewhere else.
Sydney / Melbourne duo, who are always moving towards a space synth cinematic paradise. Live – they really riff of each other and create a contemplative semi-instrumental space for listeners.
Originally Brisbane – now Sydney artist that has a curious approach to music making with others as ‘Cured Pink’ and solo as Enderie. Big sounds – samples of synth and vocals and drums, become a big, sweaty conversation. Sometime hard edge, always percussive – electric!...
The Centre for Multicultural Youth (CMY) is a major sponsor of the ECCV 2016 Statewide Conference The Next Generation of Multicultural Victoria: Intergenerational Perspectives, being held in Ballarat, on Friday 11 November 2016.
CNY is a Victorian not-for-profit organisation supporting young people from migrant and refugee backgrounds to build better lives in Australia.
Since 1988, CMY has worked to ensure that young people have every opportunity to succeed in Australia. CMY was the first organisation in Australia to work exclusively with migrant and refugee young people and through a combination of specialist support services, training and consultancy, knowledge sharing and advocacy, we are working to remove the barriers these young people face as they make Australia their home.
Young people can encounter significant barriers as they try to settle in Australia. Alongside the challenges of growing up, they are figuring out how things are done and adjusting to unfamiliar cultural, academic and social expectations.
Their sense of wellbeing and belonging can be considerably diminished by factors such as racism and discrimination. These barriers are often compounded and magnified by services and systems that are ill equipped to provide the specialist support needed.
Despite these complex issues, we know that young people have the enterprise, resilience and optimism to contribute to the continued prosperity of Australia. By engaging them as experts in their own lives and focusing on their strengths, they can be empowered to adapt and thrive.
ECCV 2016 Statewide Conference "The Next Generation of Multicultural Victoria: Intergenerational Perspectives".
To find out more about the Centre For Multicultural Youth visit their website at: http://www.cmy.net.au/
Jericco have been absolute stalwarts of Melbourne’s always-burning rock scene for the better half of a decade, but have announced that after a solid seven year run of pumping out some of Australia’s best melody and noise, they’re now calling it a day.
Having been fans of these guys for years now, we’re sad to see them go – and we’re certainly not the only ones, with fans traveling from interstate to catch their upcoming farewell show in November at the ideal hometown surrounds of the iconic Corner Hotel.
As the band bring this chapter of their lives to a close, we’ve had a chat with founding member Roy Amar about their achievements, the amazing times they’ve had, and the tough decision to leave Jericco behind.
Unfortunately life got in the way. Our singer has recently moved to Canada, which makes rehearsals and gigs pretty challenging. Our drummer is a very busy man and runs a large venue in Melbourne whilst pursuing a career in tour managing and teching. I’ve dedicated a lot of time recently to starting my own artist development and management company, which launched the same month that I became a father to an incredible little boy.
But without the excuses… There came a time when we thought that the band had reached its peak, and we would rather quit than stick around trying to relive the glory days. It was an extremely tough decision, but one that we’re confident with. Doesn’t make it any less sad though.
When I’m looking back at it all, everything was amazing. (laughs) Some of the festivals that we played in the early days were incredible. I remember the first one we played when we opened at Come Together Festival in Sydney at Luna Park. I think it was 2010, and that gig was so much fun as our band had never played on a stage that huge before. We absolutely killed it and left such an awesome impression that the promoter got us back on the lineup the year after in a later time slot where we played to a full house!
Pyramid Rock Festival over the new year was also an incredible experience. Meeting, chatting and partying with all those amazing acts backstage was not only so much fun but incredibly motivating… I just want to do it all over again! (laughs)
Touring with Karnivool, Mammal and Dead Letter Circus were also huge times for the band. We were on cloud nine, everything was easy and it just worked itself out. Wow, those were the days! Bands like Jericco, Twelve Foot Ninja, Circles and MM9 all cutting our teeth playing shows together, supporting huge bands that we looked up to – and my god the partying. I’m s0 happy that we took a camera everywhere, I have tons of crazy footage and the best pictures ever!
Selling out our first show at The Excelsior Hotel in Sydney, that place and that gig were amazing! Being interviewed on Triple J with John Safran and Father Bob is also something I’ll always remember.
Charting with our debut record and also our second was damn exciting, too. We were constantly getting updates from our publicist, and at the same time thinking to ourselves, “who the fark is buying this album we wrote?” (laughs)
Packing out the Prince Bandroom for our l...
“Put on the single, or the album, and it’s fuck the boss and fuck all the tax I owe,” frontman Joel O’Keeffe bluntly intones on the Victorian rockers’ fourth record. “I’m going out, I’m getting pissed and I’m going to listen to some hard rock ‘n’ roll. No ballads, no bullshit. I’m breakin’ outta hell!”
There’s certainly no bullshit when it comes to the album’s production; Breakin’ Outta Hell is the first Airbourne record put together on the band’s home soil, with the quartet also re-enlisting the legendary ear of American producer Bob Marlette (Alice Cooper, Sebastian Bach), who first propelled the group to massive international success with their debut effort Runnin’ Wild back in 2007.
That signature rawness definitely punches its way through Breakin’ Outta Hell – and with a resounding maturity – but the record isn’t a perfect one. While its initial drive carries the record through a strong start, the band’s creativity and unstoppable force does occasionally falter.
From the get-go, it’s clear just how tight the band is, with Ryan O’Keeffe’s sharp drumming and his brother’s adrenaline-fuelled screams driving the title track. The lead solo halfway through is also a complete face-melter, and sure to be a favourite during Airbourne’s Aussie summer tour next year.
The transition into the much slower ‘Rivalry’ is the best one on the record; low, dirty riffing allows the deliciously guttural quality of Joel’s vocals to resonate, and the layered yet never-cluttered sound is testament to Marlette’s production. However, while ‘Get Back Up’ has a stadium rock vibe reminiscent of AC/DC’s ‘Shook Me All Night Long’, ironically the band steps off the pace just a little here, limping towards the finish line and into the next tune.
‘Thin The Blood’, thankfully, is the absolute standout, and the four-piece really crank it up with a frantic, country rock-infused sound. A particularly bass-driven track, the mimicking nature of the vocals and guitar, combined with Joel’s gut-busting solo, renders it a must-play at their upcoming shows.
Airbourne also leave no holds barred on the next two tracks, elevated with a sexual energy that would again undeniably explode in a live setting. Justin Street’s dirty bass groove continues to permeate the record, a real strong point for the Warrnambool boys. In fact, the whole group really keep up the intensity in a sea of unapologetic lyrics, slightly syncopated rhythms and Joel’s dynamic vocal delivery, ranging from screams to growls and downright whispers.
It’s from here though that the album loses a little of its juice, unfortunately – although the next few songs would still make for solid additions dispersed throughout the rockers’ live show.
‘Never Been Rocked Like This’ and ‘Do Me Like You Do Yourself’ move quite a way from the record’s intense beginnings, but although the intensity dips noticeably, the latter demonstrates rhythmic flair from David Roads, as well as one of the best lead solos on the record.
The exception to the lull is ‘When I Drink I Go Crazy’, with some unexpected key changes adding a refreshing change in sound, and the band bring it home strongly with echoes of “All for one...
Triple M looks set to take on triple j’s status as Australia’s premier nationally branded broadcaster, with Southern Cross Austereo reportedly planning a new overhaul cum expansion that will see Triple M absorbing some 30 regional Austereo stations.
According to Noise11, a statement to Austereo shareholders indicated Triple M will expand next year as “30 of our regional stations currently under LocalWorks radio network will be brought into the Triple M family”.
The LocalWorks stations affected by the change include MIX 94.5 Perth, MIX 106.3 Canberra, 105.7 The River Albury, 107.7 2GO Gosford, KOFM Newcastle, 92.5 Gold Coast, SEAFM Mackay, HEART 107.3 Hobart, and stations in Rockhampton, Coffs Harbour, and others.
On the surface it seems as though Austereo is simply taking its scattered brands and placing them under the one banner, but the move will in fact make Triple M the first nationally branded commercial broadcaster in capital cities and regional areas.
Typically, major networks — your KIIS FMs and Novas — only brand within major markets, so you’ll hear Nova in Melbourne but if you venture out towards regional Victoria, your premier local station is something completely different.
As Noise11 notes, the move also pits Triple M against triple j, who’ve been particularly successful at sapping listeners in the 25-39 demographic from its commercial counterparts. triple j is of course a non-commercial, government-funded radio network.
Despite the absence of advertising revenue, triple j has been very successful in gaining a considerable market share, regularly rivalling that of commercial stations such as Triple M and Nova in the capital city markets and remaining very popular in regional Australia.
It’s not clear when the change will take place, but as Noise11 writes, Southern Cross Austereo are hoping the move will bolster the Triple M brand, give it a boost in ratings surveys, and return advertising revenue to the radio sector.
As readers may be aware, there is some bad blood between the stations, at least on one end, with Triple M previously hitting out at triple j for what they perceive as the national youth broadcaster’s “elitism” and for focusing on music that is “on trend right now”.
Speaking during the launch of Triple M’s digital radio station in 2014, Triple M Network head Mike Fitzpatrick said, “Unlike our Taxpayer-funded ‘youth network’, Triple M Modern Rock Digital isn’t elitist. We don’t care about ‘cool’ music or ‘on trend right now’ styles. If it’s a great song, we’ll play it.”
The iconic Sugar Mountain festival is set to return for its 2017 edition, and festival organisers have today announced that the boutique festival’s seventh outing will be held on Saturday January 21, at Melbourne’s Victorian College of Arts.
While the festival lineup is yet to be announced, announcers promise that this year’s bill is set to include “world premieres, exclusive collaborations, food and drink offerings to die for and more”, so that should get you pretty understandably excited.
With the “summit of music and art” always managing to bring some of the most eclectic lineups to ever grace Australia, we’ll undoubtedly be in for another huge day when the lineup drops in the coming weeks. Stay tuned.
Saturday, January 21 – Melbourne’s Victorian College Of The Arts.
Already one of the big draws on the Byron Bay Bluesfest 2017 lineup, three-time Grammy Award winners Zac Brown Band have now unveiled two very special all ages sideshows set to take place in Melbourne and Sydney next April.
The band were last in the country two years for their debut Australian tour, which received rave reviews from critics and fans alike. The band will be looking to capitalise on that momentum when they return next year.
They’ll be hot on the heels of their latest platinum-certified album Jekyll + Hyde, their fourth consecutive Number 1 debut on the Billboard 200 chart and another addition to their quickly expanding discography.
Zac Brown Band have had Number 1 singles, collaborated with the likes of Bruce Springsteen, Elton John, Bonnie Raitt, and Foo Fighters, and now they’ve set their sights on Australia where they’ll delight crowds once again.
Tickets on sale 10am local time Tuesday, 27th September
Wednesday, 19th April 2016
Margaret Court Arena, Melbourne (All Ages)
Tickets: Ticketek | 132 849
Friday, 21st April 2016
ICC Sydney Theatre, Sydney (All Ages)
Tickets: Ticketek | 132 849
It was just this week that the legendary Patti Smith announced she would embark on a headline tour of Australia to accompany her eagerly anticipated performance at Byron Bay Bluesfest 2017, and already the icon has been forced to add new dates to the tour.
It’s been eight years since punk rock icon, bestselling author, and acclaimed poet Smith graced Australian stages, so it’s no surprise that demand for the tour has been overwhelming. Smith has now announced additional dates for both Melbourne and Sydney.
The Godmother of Punk and two members of the original Patti Smith Group — Lenny Kaye and Jay Dee Daugherty — as well as bassist / keyboardist Tony Shanahan and Jack Petruzzelli will perform Smith’s landmark album, Horses, in its entirety.
It’s been 41 years since Horses exploded like a bombshell on the music scene, with its game-changing combination of vivid, poetic lyricism and ferocious proto-punk power. Seeing Smith and her band perform the album live is an experience not to be missed.
Sunday, 9th April 2017
State Theatre, Sydney
Monday, 10th April 2017 – NEW SHOW
State Theatre, Sydney
Sunday, 16th April 2017
Hamer Hall, Melbourne
Monday, 17th April 2017 – NEW SHOW
Hamer Hall, Melbourne
Also appearing at Byron Bay Bluesfest
Bring Me The Horizon have announced the cancellation of the remainder of their current Australian tour due to illness. The band are “fully committed” to returning to Australia in “early 2017” to complete their shows in Melbourne and Adelaide.
The band was forced to cancel an Adelaide performance earlier in the week due to frontman Oli Sykes’s viral throat infection, which has now been diagnosed as acute laryngitis. Doctors have advised Sykes to rest, meaning he cannot perform.
In addition to Tuesday’s cancelled Adelaide performance, the postponement affects Bring Me The Horizon’s two Melbourne performances at Margaret Court Arena (Thursday, 22nd September and Friday, 23rd September).
Ticket holders are advised to retain their tickets and await the announcement of new dates, details for which are to be announced shortly. Alternatively, fans can obtain a full refund from the point of purchase.
September 2016 — CANCELLED
AEC Theatre, Adelaide
September 2016 – CANCELLED
Margaret Court Arena, Melbourne
September 2016 – CANCELLED
Margaret Court Arena, Melbourne
The Vines are one of those bands that’s always coming back even though they never really went away. They recently unveiled the first taste of their forthcoming seventh full-length effort and they now embarking on a tour to celebrate.
The band have announced a rapid-fire, three-date excursion along the East Coast of Australia to celebrate the release of ‘In Miracle Land’. They’ll be hitting up Sydney’s Oxford Art Factory, Melbourne’s Corner Hotel, and Valley Fiesta in Brisbane.
‘In Miracle Land’ is the first taste of new music we’ve heard from The Vines since they released their 2014 album Wicked Nature. It was unveiled back in April alongside a string of a solo tour dates from Vines frontman Craig Nicholls.
The band’s new album is said to be dropping some time this year and was recorded at Sydney’s Hercules Studio and produced by Nicholls himself. If ‘In Miracle Land’ is anything to go by, it’s a return to the band’s classic mix of Kinks-esque pop melodies and grunge-like aggression.
26th October 2016
Oxford Art Factory, Sydney
27th October 2016
Corner Hotel, Melbourne
29th October 2016
Valley Fiesta, Brisbane
The more remote the area, the higher the rate of hospitalisations for mental illness.
That’s the finding of a new government report which reveals overnight hospitalisations for mental illness were almost six-times greater in some local areas compared with others in 2013/14.
Within major cities, rates were similar regardless of socio-economic factors but they began to increase with remoteness – hospitalisations in remote areas were 1,096 per 100,000 people compared with 856 in a high socio-economic area in a major city.
The most common reason was drug and alcohol use with more than 38,000 overnight hospitalisations, followed by schizophrenia and delusional disorders at 36,000, according to the Australian Institute of Health and Welfare report on Thursday.
The ACT had the lowest rate of overnight hospitalisations for mental health conditions overall while the NSW north coast had the highest.
For drug and alcohol hospitalisations, northwestern Melbourne had the lowest while western Queensland had the highest.
Country South Australia had the highest rate for depressive episodes while Central Queensland/Sunshine Coast had the highest rate for intentional self-harm.
The report says reasons for the variation between areas could be because of differences in the availability of community-based programs and support, differences in the availability of hospital beds, different hospital admission policies or differences in the prevalence of mental health conditions.
Overall, there were more than 213,000 overnight hospitalisations for mental illness in 2013/14, representing five per cent of all overnight admissions.
The number of nights spent in hospital for mental illness was three million, representing 14 per cent of all nights Australians spent in hospital.
Readers seeking support and information about suicide prevention can contact Lifeline on 13 11 14 or the Suicide Call Back Service on 1300 659 467.
The post Mental health rates worse in rural and regional Australia appeared first on Echonetdaily.
As CaribVic is a member of Multicultural Arts Victoria, we are pleased to pass on the invitation. Hope to see you there!
Dear MAV members,
We would like to invite you (and a guest) to a special one night concert “Musical Homage to Pablo Neruda” performed by International artists from Chile – Luis Saglie (composer/pianist) and Jose Luis Urquieta (oboe) on Thursday 29 September at 8pmat the South Melbourne Town Hall Auditorium.
If you would like to invite friends, a group ticket discount is being exclusively offered to MAV members. Call: 9188 3681 or email: firstname.lastname@example.org to make a purchase.
Individual tickets: $20/pp
Group of 2: $35 (save $5)
Group of 3: $50 (save $10)
Group of 4: $60 (save $20)
RSVP essential by Mon 26 September, for further enquiries
please call 9188 3681
VITS AUSTRALIA Interpreting & Translating has been serving the Victorian and Australian community since 1979 by bringing together interpreters and non-English speakers or those with low English proficiency, so members of the CALD (culturally and linguistically diverse) community can freely access and participate in every aspect of Australian life.
VITS is Australia’s leading omnilingual language service provider, with more than 2500 interpreters and translators covering all languages for State Government departments and agencies, Federal Government departments and agencies, non-profit and community based organisations, as well as small to large commercial entities.
A new omnilingual world: We are a creative and open-minded organisation that brings innovation to language services that help you make a real difference to the way you engage with non-English speaking clients.
Experience counts: VITS has been trading for more than 35 years. We are a Government Business Enterprise that competes in the open market to win our work. We are governed by an independent board of directors and audited twice yearly by the Victorian Auditor-General’s office. Our organisation works with documented policies, processes and procedures that produce reliable, repeatable performance.
Quality matters: We offer the largest pool of NAATI accredited interpreters & translators and actively adhere to the Government’s Language Services Policy to provide interpreters to the 4 million Australians who speak a language other than English.
Your ideal language services partner: VITS has always been a leader in the provision of language services and continues to be so with our development and utilisation of leading-edge technology. We have the systems, people, processes, technology, governance and ethical standards that produce quality outcomes.
Visit the VITS website at: www.vits.com.au
We’re happy to bring you Ultraviolet, the debut solo release from Melbourne singer-songwriter Oliver Downes. An impressive and eccentric work of baroque pop, it packs soaring melodies and sharp wit in equal measure, underpinned by intricate and eclectic chamber instrumentation.
The record’s unique sound is partially the product of his collaboration with instrumental art-folk trio The String Contingent, which includes the talents of Graham McLeod on electric guitar, Chris Stone on violin and Oliver’s sister Holly Downes on double bass.
Oliver has called upon a roster of talent for the album, which was recorded by Jimi Lloyd-Wyatt (Gossling), mixed by Richie Belkner (Sarah Blasko, Ngaiire), and features guest appearances from Sydney’s Elana Stone and Brian Campeau.
“I really wanted to navigate these ideas of constraint and escape,” he says of the record’s themes, “how much wriggle room we have within our circumstances, whether there’s any real way of escaping who we are and whether we should really want to.”
Downes is frank about where his work sits in a music scene dominated by two opposing poles.
“Although I’m not the only person making art music using pop forms, or making alternative with small chamber-style groups rather than a more traditional band, I think it’s an unusual thing to do in Australia, where rock and punk are such huge forces over one side of the table and sleek commercial pop weighs down the other.”
It’s evident that, despite a long process leading to the record’s release, working with this array of talent helped to reinvigorate Oliver and imbue the tracks with a new energy.
“Having spent such a long time living with some of the songs, they can become stuck in a groove far too easily. Inviting superb instrumentalists in to create their own parts was a good way to shine some new light on each track and render them somehow new to me.”
To bring the album to you in a live setting, Oliver will be launching it this Friday at the Wesley Anne, before heading out on a national tour with folk pop chanteuse Jess Locke in support, dates below.
Photo credit: Yana Amur
September 23 – Melbourne, Wesley Anne, w/ Jess Locke
October 16 – Katoomba, Hotel Blue, w/ Hinterlandt
October 20 – Sydney, Django Bar, w/ Hollie Matthew
October 21 – Canberra, Smith’s Alternative, w/ Hinterlandt
Visions recently solidified their reputation as Australia’s premier party starters with their King St Crawl in Sydney’s Newtown and their sold-out expansion into Melbourne, which kicked off at Fitzroy hotspot Yah Yah’s.
Now, they’ve announced the second instalment of their touring arm by welcoming a free tour from UK buzz magnets and NME and BBC 6 Music favourites Telegram, who’ll be playing three totally free shows along the East Coast next month.
The London four-piece come from the same circles that gave us the likes of The Horrors, Temples, and Palma Violets and released their eagerly anticipated debut album, Operator, earlier this year to rave acclaim.
Effortlessly combining a love of Roxy Music, Syd Barrett, kraut-rock, and late proto-punk, don’t miss your chance to see one of the UK’s most swiftly rising acts. Check below for all the dates, details, and awesome supporting acts.
Wednesday, 5th October 2016
The Foundry, Brisbane
w/ Tiny Migrants and Max Chillen
Friday, 7th October 2016
w/ Matrick Jones and Hair Die and Deep Sea Arcade DJs
Saturday, 8th October 2016
Yah Yah’s, Melbourne
w/ Matrick Jones and Deep Sea Arcade DJs
Taking Back Sunday recently announced they are set to return to Australian shores next March, and they’ve now been forced to add a second Melbourne show to meet the overwhelming demand.
The band’s seventh studio album, Tidal Wave, dropped earlier this month and is yet another reinvention for the band, who are currently at the peak of their powers.
The album marks the first time the band wrote in the studio as they recorded. “We could come up with an idea, perform it and then listen back to it immediately,” said frontman Adam Lazzara.
“We really can’t wait for you to hear it. Everyone is working hard to categorize where this music fits and all we can say is we wrote from the heart and did the best work we could.”
Meanwhile, Taking Back Sunday still remain a formidable force on the live stage. Check below for all the dates and ticketing details of the band’s upcoming 2017 Australian tour.
Friday, March 17th
Enmore Theatre, Sydney (Lic/Aa)
Saturday, March 18th
The Triffid, Brisbane (18+)
19th – SOLD OUT
170 Russell, Melbourne (18+)
Tuesday, March 21st – NEW SHOW
170 Russell, Melbourne (18+)
Wednesday, March 22nd
The Gov, Adelaide (Lic/Aa)
Thursday, March 23rd
Metro City, Perth (18+)
DMA’s have barely had a moment to catch their breath since dropping their highly anticipated debut full-length effort, Hills End, and they show no signs of slowing down.
Ahead of their latest Australian tour (see below for dates and details), they’ve unveiled their touching new music video, directed by Errol Rainey, along with a heartfelt note from guitarist Johnny Took.
“About two and a half years ago I flew back from Adelaide and wrote this song after my grandma’s passing. I’d like to share a very personal video beautifully directed by Errol Rainey. It, like the song, is a celebration as much as a reflection of life,” Took writes.
“Losing someone close to us is a very personal thing but something we all inevitably have to experience. This video is an honest collection of moments between a father and his two youngest daughters directed by his youngest son, for anybody who has lost someone.”
October 2016 – SOLD OUT
The Croxton, Melbourne (18+)
October 2016 – SOLD OUT
The Croxton, Melbourne (18+)
October 2016 – SOLD OUT
The Gov, Adelaide (18+)
Friday, 14th October 2016
Enmore Theatre, Sydney (All Ages)
October 2016 – SOLD OUT
The Triffid, Brisbane (18+)
Still from Each Other, LiveWorks Festival, Performance Space, October 2015.
“It’s like in Power Rangers. Our solo practices are almost unrecognisable from one another – but when we collaborate, it clicks into something much bigger and better.”
zin is the love child of Harriet Gillies and Roslyn Helper. At first glance, zin is a performance art duo that makes art about the internet. But just like the algorithm used to sort your news feed on Facebook, zin’s art is complex and directly affected by your actions. zin may very well understand you better than you know yourself.
zin is “life art,” according to Roslyn. The duo “interrogate, break down, question and play with the social forms and structures that we all participate in”. zin use the internet and computers as their medium; an inevitable consequence of making socially engaged art in 2016. But they don’t intend to be overly critical of the internet, since for all the bad online, there’s also good. “You know – like humanity,” says Harriet.
What is unique about zin is the way they activate their audience. This idea began when Harriet and Roslyn were at university, and the sense of political apathy inspired them to shake things up. zin cultivate a sense of ownership in their audience, resulting in works that are participatory and fun. As an audience member, each of your actions will have a consequence, and you’ll be forced to question existing social structures.
Take, for example, Party Mode (2013). You arrive at a party, where you can use your personal information as currency. You can exchange your birth date or your relationship status for a beer.
zin are currently focussed on festival works, working with Underbelly, Liveworks, Sydney Festival and more. Harriet and Roslyn also make theatre and art separately. “It’s like in Power Rangers,” says Harriet. “Our solo practices are almost unrecognisable from one another – but when we collaborate, it clicks into something much bigger and better.”
They were both drawn to this world of experimental performance art because it gives them room for expression and experimentation. Roslyn sums it up with a Yoko Ono quote: “Artists are like politicians, but they can say whatever they want.”
zin’s next project, The internet is where innocence goes to die and you can come too, explores surfing the web as a performative act. It kicks off at the Melbourne Fringe Festival next week. Be sure to click ‘attending’ next time you see zin pop up on your news feed.
Party Mode, Underbelly Arts Festival, 2013
barrangal dyara, Jonathan Jones, 2016
200 years ago, a palace that stood in the middle of the Royal Botanic Gardens burned to the ground, and was forgotten.
The Garden Palace was three times the size of the Queen Victoria Building, and home to Australia’s largest collection of indigenous artefacts. When it went up in flames, these culturally significant items vanished from our history. Over time, even the event itself has disappeared from our memory.
Artist Jonathan Jones is breathing new life into this forgotten moment of Australia’s history. He has created a mammoth sculptural installation titled barrangal dyara, meaning ‘skin and bones’.
The work is made up of thousands of bleached white shields that mark out where the enormous structure once stood. Unlike the ochre shields used in traditional celebrations, Jonathan’s shields are stark white. This is a reference to both the specific destruction of cultural heritage following the blaze as well as the larger, long term effects of colonialisation of Indigenous land.
Barrangal dyara shines light on the vulnerability of the Aboriginal community and what it means to have that literal and cultural shield of protection taken away from them. It is an acknowledgement of the past and a hopeful look at the future – Jonathan says he is “putting people back at the table to talk again.”
Importantly, the work is centred around the revitalisation of Indigenous language. As you move around the site, you hear singing, children chanting, and intricate spoken memories in eight Aboriginal languages. The exhibition looks at language as a way of knowing an object without having the object, emphasising how these memories are permanently ingrained within the land, its histories and its languages.
You can download the project 32 app and wander through the site to gain further insights from cultural leaders, historians, artists and writers, or you can catch Jonathan speaking about the work and the land every day at 12:30pm.
barrangal dyara, Jonathan Jones, 2016
Ariel shot of barrangal dyara, Jonathan Jo...
If you’ve ever wondered what it might be like if The Smith Street Band’s Wil Wagner fronted Fugazi (no disrespect to the legendary Ian MacKaye), you might get something that sounds like Melbourne outfit Bench Press.
The perfect combination of post-hardcore ferocity and Australian swagger, the band’s new single ‘Piece Of Calm’ is anything but. Make it the soundtrack for the next time you’re making a mad dash from the cops.
The band only played their first show back in March but are already a tight unit poised to stir up the local Melbourne punk and garage scene. You can check ’em out live on 22nd October with Overtime, Highschool Rivals, and The Curse.
Punk icon and all-round legend Henry Rollins has admitted to having more than a mild addiction to vinyl records. A self-described “vinyl cat lady”, Rollins buys at least one record every day and takes time out whilst on tour to hit up his favourite brick-and-mortar spots.
Apparently that includes Melbourne’s beloved Greville Records, which is also a haunt favoured by esteemed UK singer-songwriter PJ Harvey. Harvey recently hit up the Prahran record store with good mates Mick Harvey and Bruce Milne, founder of legendary Aussie label Au Go Go Records.
Rollins, meanwhile, stopped by Greville as he makes the rounds of his current Australian tour (check the dates below) to buy up some vinyl from two superb homegrown acts. In a photo shared by the Greville Records Facebook, Rollins stands with releases by Metronomes and Taipan Tiger Girls.
In a March instalment of his regular column for LA Weekly earlier this year, entitled ‘I Went All the Way to Australia to Get a Thee Oh Sees Record‘, Rollins not only detailed his visit to two of Australia’s best record stores, but described his ardent love for Australia.
“I was so happy to finally be in Australia,” Rollins, who’s made more than 30 trips here, wrote of his first visit Down Under back in 1989. “That afternoon, I decided I wanted to visit Australia as often as possible. I have never reacted to a country this way before or since.”
“The last few days here in Sydney, I feel like I have won the lottery. I am where I am supposed to be,” he said of his most recent trip, which saw him linking up with Rice Is Nice operative Julia Wilson and hitting the town for some “food, caffeine and vinyl”.
The duo first hit up Repressed Records in Newtown, where Rollins was introduced to the likes of “Nun, Tyrannamen, Thigh Master, Red Red Krovvy, Brando’s Island, Terry, [and] Cured Pink, to name a few” by store co-owner Chris Sammut.
The two spent the rest of the day “hitting store after store”, including “the very sturdy Red Eye Records”, which Rollins described as “Well stocked and assiduously curated, it is a mandatory visit”.
Thursday, 22nd September 2016
Adelaide, Thebarton Theatre
Tickets from ticketmaster.com.au, phone (08) 8443 5255 or in person at all Ticketmaster outlets.
Friday, 23rd September 2016
Perth, Regal Theatre
Tickets from regaltheatre.com.au or phone (08) 9388 2066
Saturday, 24th September 2016
Perth, Regal Theatre
Tickets from regaltheatre.com.au or phone (08) 9388 2066
Melbourne outfit City Calm Down have had a pretty big year, finally unveiling their debut album, the acclaimed In A Restless House, and they’re currently in the midst of a huge national tour which wraps up at the end of the month.
But according to the boys, they’re wasting no time in capitalising on the wave of momentum they’re currently riding. According to The Music, during a recent Perth performance, the band confirmed they’ve already begun work on album number two.
The band then treated the sold-out audience to a newly penned song, which will hopefully get an airing during the remaining shows of their national tour. City Calm Down still have stops in Sydney, Wollongong, and two shows in Melbourne on the agenda.
The tour comprises the band’s biggest capital city shows to date and continues the success the last 12 months has yielded for the group, who scored a triple j Feature Album spot earlier this year, as well as accolades from the likes of NME and Beats 1.
Buzz magnet Alex Lahey was one of the most talked-about artists at the recent BIGSOUND conference in Brisbane and naturally some of that talk amounted to comparisons between the 24-year-old Melbourne singer-songwriter and homegrown star Courtney Barnett.
Sure, both Lahey and Barnett are young, Melbourne-based singer-songwriters known for their wry and observational lyricism, or as Lahey herself puts it in an interview with Yahoo, “We’re both Australian women with brown hair who play Telecasters.”
But as far as Lahey’s concerned, it’s not only lazy but also sexist to compare the two. “I’m just not convinced that those comparisons would be happening if I was a guy. It’s just silly and easy,” Lahey told AAP. “I think it’s easy to lump girls in with each other and it’s just stupid.”
“I’m a huge fan of Courtney I think she’s one of the best songwriters in the world and her values and what she stands for are beautiful and brilliant, so I’m humbled to be compared to that. But I don’t think that it’s accurate, especially from a musical perspective, we play very different types of music.”
In fact, as Lahey told AAP, the guitar is not even her primary instrument. The songwriter studied saxophone at uni and works as a session saxophonist. She picked up a guitar at 13 and began teaching herself, writing songs because other people’s were too hard to learn.
“If I have half the career Courtney has now I will be very, very happy,” Lahey added. Having won triple j’s Unearthed prize as well as the Josh Pyke partnership and mentorship, Lahey’s certainly on her way to seeing the kind of success that Barnett has.
King Gizzard & The Lizard Wizard have only just completed their latest run of European tour dates, which saw them selling out venues across the continent and playing to absolutely savage crowds who lapped up everything the Melbourne psychedelic collective threw at them.
They’ve apparently hit the ground running, wasting no time in immediately getting to work on their next release. The band recently took to their official Instagram channel to share a photo of frontman Stu Mackenzie sitting happily in the studio with the words, “Here we go.”
Judging by that missive we can only assume that the band are getting to work on one of the four albums they plan on releasing in 2017. “We’re actually working on four separate projects at the moment, which hopefully we can release next year sometime,” Mackenzie previously told triple j.
“Four Gizzard albums, I guess next year, that’s the idea,” drummer Eric Moore added. “Stu’s been chipping away at this record that we’ve tracked all the music for and it’s just the stage of putting together a few overdubs and get it mixed.”
According to Mackenzie, “They’re all kind of distinct little ideas that we’ve been toying with for a little while.” Meanwhile, the eagerly anticipated Nonagon Infinity album movie, set to drop towards the end of the year, is still in the works, as is Gizzfest 2016.
The band announced the return of their acclaimed mini-festival earlier this month. It’s set to kick off in November and will feature appearances from Pond, White Fence, The Murlocs, and more. We’d say the band will probably like to get some sleep after that, but they still have four albums to make.
“Australia’s boat turn-back policy and indefinite detention of refugees is both inhumane and illegal.” – by Fadak Alfayadh, RISE Director
In the span of two days, Tony Abbott has urged European leaders to “stand guard” against the recent and ongoing movement of refugees seeking protection in Europe. Malcolm Turnbull alleges that Australia’s border protection policies are the ‘best in the world’, and our Immigration Minister claims that our offshore detention camps are “at least better” than refugee camps outside Syria.
As absurd as Turnbull and Abbott’s comments are, a number of things shock me to the core. Firstly, these men had been given platform to make such ludicrous comments, without a reality check. Secondly, they had an audience who listened to their bigotry, did not oppose or question it and possibly would adopt it as their own beliefs. It is one thing to be mistaken and heartless, but it is another to spread these sentiments with impunity.
Abbott’s recommendation of Australia’s turn-back policy is highly problematic. At a time when one of the most vulnerable groups in the world needs assistance, he is urging the world to turn their backs against those in need of protection. It is also ironic and unfortunate that nations such as Europe, who benefit from the stability that wealth and privilege bring, are urged to be “brave” against men, women and children who have left behind everything they know purely to survive.
The hysteria and fear created by politicians, such as Abbott, on first glance seem to be mere petty politics and statements that we are used to hearing from theatrical politicians. It is, however, statements such as this that in time turn hysteria into public opinion, and public opinion into legislation. Unfortunately, this is the situation Australia has come to regarding the refugee issue. It is an inhumane state reached through a historic chain of events resulting in unspeakable acts of state-sanctioned violence against refugees and asylum seekers. This is not a situation to be idolised or copied, much less recommended to other nations.
Australia’s boat turn-back policy and indefinite detention of refugees is both inhumane and illegal. Turning back asylum seeker boats that have reached Australian territory goes against the International legal obligation of non-refoulement, which Australia has been breaking for decades. Australia is sending people back to horrific situations where they are likely to face persecution, serious harm and in many cases, death. Not only does Australia have an obligation to all those who seek protection on its shores, but also an obligation (both legally and ethically) to those the government has decided to place in offshore detention centres. Thus, it is irresponsible of Malcolm Turnbull to speak lightly of the policies put in place by Australia against asylum seekers and refugees, claiming they are the “best in the world”. Off-shore detention and boat turn-backs are financially more costly to Australian taxpayers than settling people in the community, while the cost to asylum seekers pushed back into sea are immeasurable. Abbott’s drive to recommend Australia’s illegal and failed policies to other nations is, to say the least, unwise.
Abbott also referred to refugees and asylum seekers as “would-be economic migrants” who are “...
Join us on 20th September for a very special BuzzConf Night…
The Annual BuzzConf Technology Festival is just weeks away, so we’ll be bringing you a sneak preview of some of the amazing sessions to expect over the festival weekend. For the full festival lineup and more information check https://buzzconf.io/festival
Held in The Savoy Tavern in Melbourne, there will be plenty of options to eat and drink late into the night!
6pm – Drinks and socialising
7pm to 8:00pm – Technical presentations and demos
8:00pm until late – Music, drinks, and party
Previews of the following sessions…
Could blockchain technology enable a new model of media that shifts revenue from platforms to creators?
Despite numerous technological advances, space exploration is often viewed as an academic endeavour. Not any more! Paul Fenwick will lead a discussion on the future of not just space exploration, but also industry and habitation.
In a world where everything is happening online, how do we facilitate our youth to take control of their technology and become hackers
This talk will give you a walk through of some of the fascinating things that have come out of medicine in 2016.
3D modelling using Blender, then you’ll have the opportunity to print your model!
… and more to be announced soon …
The post BuzzConf Technology Festival Showcase – talks from the festival’s presenters appeared first on BuzzConf.
The annual Adventure Travel Film Festival in Victoria, in February, is offering adventure riders and travellers the opportunity to have their video professionally edited.
While hours and hours of video may be of interest to you, a sub-10-minute film would be more palatable to the public and could be seen on YouTube by millions.
To enter the filmmaker competition, adventure travellers have to submit a simple one-page synopsis of their travel video. A short list of entrants will be asked to submit up to a maximum of five hours of footage.
A winner will be selected and the footage will be professionally edited to under 10 minutes by Killafish Productions and shown at the 2017 Adventure Travel Film Festival in Bright from February 10 to 12, 2017.
The 2017 Sony World Photography Awards are accepting entries in the professional category until January 10, 2017, but these stunning images give us a preview of what's in store for the tenth anniversary of the competition. Entries from across the globe showcase the best in worldwide photography, with a record 230,103 photographs submitted to last year's contest. There are four sections for entry—Professional, Open, Youth, and Student—which allow for a wide range of photographers to expose their talents to the international photography community.
Zelda Cheatle, a UK-based curator chairing the professional competition, shares that in judging the work, "I will be looking for originality of thought and execution, clarity of vision—a clear concept that translates well into pictures on the wall or on the screen. Simplicity, good craftsmanship and sometimes its wit, or compassion, ingenuity, luck or good judgement—but a good picture always stops you in your tracks."
The winners will be announced at an awards ceremony in London on April 20, 2017. In addition, all winning and shortlisted images will be exhibited at the 2017 Sony World Photography Awards exhibition at Somerset House in London from April 21 through May 7, 2017.
Above Image: Equilibrium. José María Peréz,
Argentina, Entry, Open, Enhanced
The Midnight Blossom. Ellie
Victoria Gale, UK, Entry, Open, Enhanced
Politechnika Warszawska. Lorenzo Linthout,
Italy, Entry, Open, Architecture
Dinagyang Festival of the Philippines.
Raniel Jose Castañeda, Philippines, Entry, Open,
Bear Apartment Six. Alexandra
Cearns, Australia, Entry, Open, Enhanced
Soar in the blue. Zuorong Li, China, Entry,
Paper Mill. Jassen Todorov, US, Entry, Open,
A “frightening” rise in motorcycle thefts in Victoria in the past few years has offset decreases across the nation, according to National Theft Reduction Council executive director Ray Carroll.
In the past financial year, motorcycle theft across the nation has risen 3% to 8261 and is 4.9% in the past five years.
Victorian motorcycle theft is up 19.3% in the past year and 31.7% in the past five years, while NSW is down 6.7% last year and 12.6% over five years.
Ray says Victoria’s “frightening” rise is attributable to a crime wave across the state.
“There has been this rapid escalation of crime of all sorts in Victoria, particularly juvenile, and police are struggling to get on top of it,” he says.
“In some respects in the last 12 months it has been related to the introduction of a police no-pursuit policy after some bad incidences of high-speed chases up to 200km/h on the wrong side of the road.”
Ray says there has also been an “unprecedented level of violence in vehicle theft” including carjackings and home invasions to steal vehicle keys.
Meanwhile, he says NSW police and the judicial system seem to be “on top of it”.
“A senior NSW police officer told me they are in the happy position where, if they get a breakout of crime in an area, they can jump on it so quickly they can nip it in the bud.”
The Five Elements and the Bagua work together to holistically harmonious the environment of your home and your life. The Five Elements work in cycles. Cycles of the seasons and cycles of natural order – birth, death and rebirth. Each Element – Fire, Wood, Water, Metal and Earth has a nourishing and controlling cycle. Enhancement also correspond to the Bagua’s 9 Life Aspects. Each of the zones has a conforming element and when interrupting and balancing the energy map the two aspects work correspondingly. Sharon and Rosemary will talk you through these connections About Sharon: Sharon Breslin is an Interior Alignment Master Teacher in Melbourne Australia. She offers private consultations and certification courses from her studio in Albert Park. www.fengshuispaces.com orwww.sharonbreslin.com or www.lifestylejourneys.com About Rosemary: Rosemary Nelson is a Feng Shui Landscape Designer based in New Zealand and has practised as a landscaper designer for the past 30 years. Her website www.equate.net.nz For more information about Interior Alignment®, visit our webpage www.interioralignment.com
Keynote presented at Working History, the Professional Historians’ Association Conference, 19 August 2016, Melbourne.
Friends, I come bearing good news. For I have seen the future of history.
Indeed I saw it here in Melbourne in February. There it was in the exhibition hall of the VALA2016 conference…
THE FUTURE OF HISTORY
…is a very fancy book scanner.
It’s easy to get caught up in the hyperbole – to imagine that history has been swept up in a technological revolution.
I must admit, I’ve often argued that access to more than 200 million digitised newspaper articles through Trove has profoundly cha...
Moving Home is a big deal for most of us. Choosing an agent to work with who is understanding and compassionate to your feelings is important and having a list of "do's" and "dont's" to assist in creating an environment that aids in the sale is really helpful. Today we will share tips on how to make this huge process more successful and enjoyable. About Sharon: Sharon Breslin is an Interior Alignment Master Teacher practising in Melbourne Australia. She offers private Feng shui consultations, Space Clearing consultations and certification courses with the Interior Alignment School of Feng Shui from her studio in Albert Park. You can contact Sharon on www.fengshuispaces.com orwww.sharonbreslin.com or www.lifestylejourneys.com About Rosemary: Rosemary Nelson is a Feng Shui Landscape Designer based in New Zealand. Rosemary has practised as a landscaper designer for the past 30 years and during this time has gained a clear understanding and love of working with existing earths cycles and patterns. www.equate.net.nz For more information about Interior Alignment®, visit our webpage www.interioralignment.com
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