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| For Cummings, small has to be beautiful. Pop music has diversified, making it harder for artists in the mature phase of their career, such as Cummings, to build on their success, but paradoxically easing the way for them to make a steady but unspectacular living. All the same, he is concerned about the capacity of technology and modern consumer culture to swallow up great music, thus rendering it less interesting. "It's not to say there haven't been interesting things, but as a worldwide thing it's kind of lessened. It's easy because it's used as other forms. Soul music, which was a fantastic, great, powerful thing, has become like the fast food of the late '80s and '90s. Everything gets sucked in by the system and used.
"Obviously, things lose power because Counting the Beat is now a Kmart ad. What might have been an incredible, exciting thing when it first came out is just another vehicle to sell things.'' (Cummings makes a distinction here: he was happy to take the Medibank jingle assignment, but would not want one of his songs to be used in a commercial.) "But while all this technology thing is happening, there will be a lot of other people who don't want to get on board all that. Just as you get blues buffs or rockabilly buffs, you get all these people who like sub-tribes and genres of music and that will go on for ever.'' Will that be enough to keep him going? "Yeah. There's not too many years to go, I don't think.'' Hopefully, he's better as a songwriter than as a futurist. * Puppet Pauper Pirate Poet Pawn & King (Polydor) and This is Really Something (Mushroom) are out now. AN
Document agee000020011005dtcr00m3o SE Property HD Title Deeds BY Jonathan Chancellor WC 1048 words PD 13 September 1997 SN Sydney Morning Herald SC SMHH PG 1
LA English CY Copyright of John Fairfax Group Pty Ltd LP Solicitor Carnegie Fieldhouse has officially listed his Tudor-style Exeter estate, Invergowrie, for October 14 auction through L. J. Hooker Bowral agent Phillip Barron, in conjunction with Richardson & Wrench agent Marcia Resch. Invergowrie, built in the 1930s by architect Geoffrey Loveridge for Sir Cecil Hoskins, replaced Headlands, which had been owned by the Yates seed family. The house sits in three hectares of Sorenson gardens, one of Australia's most beautiful estate, with an expanded 70 ha consolidated from 37 individual lots. More than $5 million is expected. Entertainment industry executive headhunter Janine Ashton has listed her renovated sixth-floor Highgate apartment for September 25 auction through Raine & Horne Sydney agent Andrew Cocks. More than $1.2 million is expected for the three-bedroom north-facing 20-square apartment with garden terrace. TD
Waugoola, the 1,100 ha Cowra-Woodstock property with classic Federation homestead, was passed in at $1.65 million when auctioned midweek through Meares & Associates. It's been owned by the Whitney family for 90 years. Bidding between entreprenuer Peter Neustadt and hotelier Peter Ryan took the midweek auction selling price of the MacFarlan family's Woollahra home to $2.93 million. Ryan won the duel. The Rosemont Avenue house had been announced on the market by Laing & Simmons selling agent Bart Doff at $2.8 million. Medicos Eva and Anthony Lowy sold their Bellevue Hill residence at its bullish on-site Blacket & Glasgow auction last weekend for $2.13 million. Potential buyers of a small Tamarama block have been bamboozled by the presence of a caveat on the title giving a neighbour first right of refusal to buy. Given the 1930s Pacific Avenue house has been listed for September 23 auction through Ray White Bondi Junction agent Donna Carr, it really is a case of caveat emptor. Title Deeds can't find any legal precedent, but no doubt the lawyers will be keen to set some. State Treasurer staffer Michael Coutts-Trotter paid $355,000 when he bought Moscow-based banker Glen Whiddon's Woolloomoolloo apartment. Title Deeds gathers the current tenant - on an expired $475 a week lease - is NSW Opposition chief of staff Jack Simos. Treasurer and inner-city property buff, Michael Egan, attended the auction, but not to collect the $11,469 stamp duty. Meanwhile Federal Treasurer Peter Costello and wife Tanya sold their Melbourne home for $412,500. They're upgrading to a house with better security in his Melbourne electorate. Headlands, the secluded Hardys Bay retreat of boutique lodge owners Garry Deakes and Greg Scott, has been listed for October 17 auction through Ray White Terrigal agent Scott Smith. The lavishly rustic, nature-based lodges, overlooking Brisbane Waters on the northern side of Broken Bay, accomodate four couples in separate split-level bungalows with private spas and heated pools. The Bouddi Peninsula property is on three hectares bounded on three sides by virgin coastal bush. It's been operating for almost a decade, so Deakes and Scott are thinking of heading to northern climes and starting again. But with their clientele, who've included Lachlan, Kylie, Leo and Baz, often booking 12 months ahead, it's business as usual in the meantime. Smedley Cottage, the 1928 Manly residence built by the Radford family, has been sold for a record $2.5 million by Elders Manly agent James Economides, the leading principal of Elder's 84 NSW offices, and second-highest salesperson throughout Elders' 330 Australian offices. The Addison Road residence was sold by Edmonds wind-driven ventilator manufacturer Norman McDonald and wife Margaret. McDonald, who introduced the Whirlybird roof ventilator to Australia in 1983, bought the house when it last traded in 1978 for $175,000. Of course the Radfords moved back to the eastern suburbs, building a larger version of the same style house, the now-bulldozed Paradis Sur Mer at Point Piper. Longtime property developer Keith Noble and his wife Mona have listed their Bellevue Hill residence, Fermanagh, for October 8 auction through Bradfield & Prichard's Double Bay agent Roy Walden, in conjunction with Richardson & Wrench. The Jurd family have listed a north-facing Byron Bay beachfront double block with views of Cape Byron and Julian Rocks. The 1,500sqm property, set for October 11 auction through Margaret Robertson First National agent Chris Hanley, is the best listing for two years, since hotelier Barry Wain bought a vacant single block for $470,000. The Childe Street block, with contemporary timber home, is expected to fetch well over $1 million. Sightings of Richard Ellis agent Keith Piggins at Babworth House, the art nouveau Darling Point mansion, seem to indicate that the Sisters of Charity are set to sell their redundant 1.4 hectare holding. The house - which has a grand ballroom, 24 bedrooms and elegant porte corche - was built by retailer Samuel Hordern in 1912 and sold to Major Harold de Vahl Rubin in 1957 for $145,000 in trust for the charity. Hotelier-cum-horse owner Mac Whitehouse sold his Rose Bay Wintergarden apartment through Laing & Simmons agent Bart Doff for more than $3 million. Author Elizabeth Fletcher sold her quaint 1850s Glebe shepherd's cottage for $277,000 through Ray White Glebe agent Christina Anthony. The spacious one-bedroom cottage, let for $250 a week, was purchased from rock publicist Gaynor Crawford in 1993 for $163,000. Steve Kilbey, lead singer of The Church, sold his Balmain peninsula terrace last weekend for $352,000 through Sarah Lorden Real Estate agent Sonya Hawes. After 94 years of daily spit and polish, the colonial Elizabeth Bay residence Tresco was sold mid-week through L. J. Hooker's Bill Malouf, in conjunction with Laing & Simmons agent Bart Doff. About $7 million had been expected. Vaynol, London-based director David Newby's Point Piper house has been listed for October auction through Sotheby's agent Martin Schiller. The Wolseley Road house, which cost 15,555 in 1955, when it was commissioned from Professor Leslie Wilkinson by General Sir Leslie Morshead, was last traded when bought by Newby, then Armstrong Jones's chief executive, from businessman David Archer for $4.1 million. The Michael Suttor renovations were done during Denis and Charlotte O'Neil's one-time ownership. IN
I85 : Real Estate Transactions | ICRE : Construction/Real Estate AN Document smhh000020011008dt9d00mzp SE NEWS
HD CD ROMP BY PETER HOLMES WC 306 words PD 15 October 1995 SN Sun Herald SC SHD
PG 139 LA English CY Copyright of John Fairfax Group Pty Ltd LP
KEV CARMODY IMAGES AND ILLUSIONS (Festival Records) TD
SURELY one of the most extraordinary collaborations of the past decade. Folk singer Kev Carmody has teamed up with Church leader and producer Steve Kilbey, and the result is a strangely coherent mishmash of powerful and angry songs wrapped up in ethereal arrangements. The opening track Some Strange, Strange People is quite stunning, with Carmody's double-tracked vocal floating over the top of bizarre rhythm noises and a series of randomly placed guitar stabs. Other highlights include the haunting Images Of London and I'm Still In Love With You, where Carmody proves life as a lounge cabaret singer is merely a plane flight from Vegas away. * * * * LOVE THIMBLE THE GOLD EXPERIENCE (NPG Records through Warners) DESPITE it doing little for his record sales and much for general confusion, Prince has maintained the Love Symbol moniker, insisting on a clear division between the past and the future. Names mean nothing, however, and this scans just like a Prince album, and a mighty funky one at that. Indeed, the former Purple one sounds as if he was listening to a steady diet of Parliament and Al Green while recording, such are the massive grooves and smooth soul of The Gold Experience. * * * BLUR THE GREAT ESCAPE (Food Records through Parlophone) AFTER the enormous success of their third album Parklife, Blur return with another set of bright pop tunes haunted by the ghosts of the Kinks, the Beatles, Madness and Bowie. Fact is, they do it better than most, boosted by singer Damon Albarn's ability to celebrate the mundaneness of suburban life, and a band capable of making good-time live music translate easily to disc. With an equally impressive new Oasis album on the shelves, which Poms will be taking your cash this spring? * * * AN
Document shd0000020011026draf005p1 SE NEWS AND FEATURES HD Changing Times In The Church WC 493 words PD 11 August 1995 SN Sydney Morning Herald SC SMHH
PG 16 LA English CY Copyright of John Fairfax Group Pty Ltd LP
Unlike peaches and cream, longevity and pop music are definitely not a perfect match. Pop music and disposability, on the other hand, might be -whichever band is flavour of the month will be doing very well if it is still flavour of the month a year from now. But as with every rule, there have been a few notable exceptions: David Bowie, U2, the Beatles. Groups that, for the most part, lived long through consistent reinvention. TD
The Church are another such band. They survived for 15 years as a four-piece, but only two members remain: Steve Kilbey and Marty Willson-Piper. "There is the thought that less is more," Willson-Piper says, England still thick in his voice. "I'm really happy with the last record we made (last year's Sometime Anywhere) - not only did everybody seem to like it but we liked it too." The musical metamorphosis achieved on Sometime Anywhere is almost as instantly obvious as the reduction to two members. The Church's earliest albums - Of Skins and Heart, The Blurred Crusade, Seance - consisted of ambient psychedelic lyrics superimposed on jangling electric guitars. A song such as Almost With You was the apotheosis of the form. These songs won the band a fiercely loyal local following in the first half of the '80s; and the next five years, when it further honed that sound, brought more pronounced commercial success at home and abroad. Sometime Anywhere, by contrast, embraces technology to create something thoroughly new. The guitars and psychedelic lyrics are still there, but Dead Man's Dream, for instance, is a haunting track written around a guitar loop replayed backwards and lower down the scale. "That song was just us messing about trying to do things in a different way, I suppose," says Willson-Piper. "But it wasn't like we got into the studio on the first morning of making that record and said, 'Right, God, it's only you and I, we really better do something different'. "The first song we wrote (for the album) was Two Places At Once, which is two acoustic guitars playing a C and a G." In other words, this is still The Church. Through 15 years, the common thread, the unifying adjective, is ... ethereal? "Ethereal, yeah," says Willson-Piper. "People are always trying to say to us, 'Well, it's time to throw in the towel, isn't it aye?' And we say, 'But we're still writing really good songs, don't you think?' "People went to see the Eagles' Hell Freezes Over tour and they were sitting there, all these 45-year-old people, going, 'Oh wow, isn't that fantastic?' But they're not saying, 'This is fantastic.' They're saying, 'This reminds me of when I felt fantastic.' You've got to be able to feel fantastic now." The Church play tonight at the Metro Theatre. AN
Document smhh000020011026dr8b00hfm SE Metro HD Sonic BY Jon Casimir Casimir@smh.com.au WC 1060 words PD 6 October 1995 SN Sydney Morning Herald SC SMHH
PG 10 LA English CY Copyright of John Fairfax Group Pty Ltd LP
Midnight Oil was slogging its way around the backblocks of the United States a couple of years ago, when drummer Rob Hirst first encountered the Internet. "We kept ringing up our publicist in New York from Seattle or Albuquerque or wherever," he recalls, "and she'd say, 'I've heard all about the show last night - I've already got the songs you played, the audience reaction and the number of people at the gig'." He laughs when he remembers it. Without the band's knowledge, American Oils fans, long denied a fan club, had set up a virtual community to trade information and gossip. Their home was Oil Base (http://cunnin.res.wpi.edu:80/ oilbase/), an expansive site, with 260 web pages of discographies, lyrics, live show lists and band minutiae. TD
"It turned out to be incredibly detailed and well researched," Hirst says. "We were quite taken by surprise by the amount of debate that was going on." Paul Kelly has a similar story. "Last year, I was doing a little tour of the States. I had done a show in Los Angeles and the next day went to San Francisco. I was arriving at the stage door of the theatre for my sound check and this fellow asked if I was going to play Difficult Woman. I had played it for the first time the night before in LA. "I said: 'How do you know about a song I have never recorded and I only played for the first time last night?' He found out about it on the Internet. He told me there were various discussions going on about concerts and he had spoken to someone that day who had given a little report of the concert the night before. "That was quite amazing to me at the time. I have since discovered that there's a site (http://www.st.nepean.uws.edu.au/~ezsigri/pk/pk.html). "I don't know much about it, because I'm computer illiterate, but there is a Paul Kelly site, where people talk about . . . whatever they want to talk about." More and more, bands are discovering that thriving fan communities have beaten them to cyberspace, establishing a presence, creating discussion groups and web sites that range from simple and concise to incredibly detailed and eerily obsessive. Boom Crash Opera is an example of another type. The Melbourne group maintains its own site, taking it seriously enough for bass player Ian Tilley to go to TAFE to learn hypertext mark-up language - the computer commands which allow a site to be created. The result can be found at http://werple.mira.net.au/~bco. Why do it themselves? "The main thing," says guitarist Peter Farnan, "was this feeling that with the way you express yourself expanding into new media, we were actually losing control of what we were. We got our own site up early this year. We didn't do all the multimedia authoring - we supplied the bits and pieces to the server and they put the thing up. Then we thought, 'That's ridiculous, we should be doing the work ourselves', so we pulled it down and redid it. "The thing is, it should have the feel of the artists doing it rather than somebody else. Otherwise, it's just the equivalent of hiring somebody to do a glossy brochure for you." On the other side of the equation is Brian Smith, a Melbourne contract analyst and programmer who runs a web site dedicated to The Church (http://www.rucc.net.auchurch). He says the feedback from the band about his efforts was not exactly what he had expected. "Steve Kilbey's attitude to publicity and the whole 'rock star' thing, where everyone wants to know everything about you, is that it stinks," Smith says. "He wants his music to be the only thing people see of him. As you'd expect, this puts a dampener on a page devoted to information about the band. So he's politely interested, but doesn't want to actively take part in the design or content of the page. He has, however, sent me a 'prose poem', which I've put on. "Marty Wilson-Piper, the other half of the band, hasn't said much about it yet. He and his fiance, Zoe, recently went to an Internet cafe in Sydney and saw the page. They sent me lots of information about Marty's current projects, which was really nice because we'd only heard vague rumours." Off the Web, in the bustle of the news groups, the age-old (read: two years) mythology is different. Here is where direct access to the star is the subject of discussion. Net lore has it that many of the famous borrow computers or don alternate identities and roam among their fans unnoticed, like fairytale royalty, participating in discussions or hovering in the background of conversations about themselves - ego-tourism. "Those who are worried about attracting kooks will keep their identities secret," Smith says, "but those who trust Internet users to be sensible aren't shy about it. Actress Sandra Bullock, for example, is known to use the Net a lot, doing all the things regular Net denizens do. But she keeps her identity hidden." The most famous and vocal Net star is the unstoppable media tart Courtney Love, who has inspired more sighting stories than Elvis in the past year. Troy, a New Zealand student who can regularly be found hanging out in the alt.fan.courtney-love news group, says Ms Love maintains a presence in the forum, without either reading or posting to it directly. "All relevant posts about Courtney, Kurt, Hole and Nirvana etc are collected by a woman named Carol from news groups and posted to Courtney in a digest form. When Courtney wants to reply to something she posts her answer to Carol, who then posts it to alt.fan.courtney-love and the other groups." But there are solutions for those who don't want to spend their whole lives monitoring the Net. "All of Courtney's posts are collected by Carol," Troy says, "and posted about once a month on alt.fan.courtney-love. So it is easy to get the whole lot if you want." AN
Document smhh000020011026dra600lor CLM PERFORMING ARTS SE STYLE HD Grant McLennan BY Mark Jenkins WC 192 words PD 4 April 1995 SN The Washington Post SC WP ED FINAL PG E08 LA English CY (Copyright 1995) LP
Since beginning a solo career, former Go-Between Grant McLennan has been unlucky in his Washington appearances. His erstwhile band had headlined several times at the 9:30 club, but since then the Australian singer-songwriter has played only an abortive show with a comically testy Steve Kilbey (on leave from the Church) and two hurried warm-up sets for other acts. The second of those came Saturday night, when an unadvertised McLennan opened for Graham Parker at the Bayou, promoting his lushly melodic new album, "Horsebreaker Star." Though his between-song comments indicated he was uncomfortable, McLennan was far from unsuccessful in his performance. Such songs as "Starting Fires" would have benefited from a full-band treatment -- actually, their principal lack was simply backing vocals -- but McLennan's voice and guitar were more than ample for such lovely tunes as "Simone & Perry" and "The Dark Side of Town." TD
His discomfort seemed best suited, however, to the edgier material he wrote with the Go-Betweens; strumming furiously, McLennan gave "Was There Anything I Could Do?" and "Bye Bye Pride" all the locomotion they needed. NS
GCAT : Political/General News | GENT : Arts/Entertainment IPD REVIEW Music Concerts and recitals @Slug: E08GR Grant Mclennan AN Document wp00000020011026dr4400cc6 HD Cruel Sea leads Oz's rock liberation. (Australian rock bands) BY Glenn A. Baker Thom Duffy WC 1028 words PD 11 June 1994 SN Billboard SC BBRD PG 8
VOL Vol. 106, No. 24, ISSN: 0006-2510 LA English CY COPYRIGHT 1994 BPI Communications LP
Wave Of Newcomers Challenges Vet Acts SYDNEY--Innovative, alternative, and undeniably cool, the Cruel Sea is at the forefront of a phalanx of new Australian bands that are liberating Oz rock from the grip of its long-established, homegrown superstars. TD
Largely unknown to the mainstream even a year ago, the band made Australian pop history this spring by receiving nominations in 10 categories of the 1994 ARIA Awards (including two in one category) and then winning five of those awards, including best group, best album, best single, and song of the year (Billboard, April 16). The sweep came in the wake of a top five success on the Australian album chart for "The Honeymoon Is Over," the band's third album on the independent Red Eye imprint. The album was recorded for just $60,000 Australian ($44,000) and is closing in on double-platinum sales of 140,000 units in Australia, according to the label. Along with other newcomers riding high on the Australian album chart--such as the Badloves at No. 6 with their Mushroom Records debut, "Get On Board," and Chocolate Starfish at No. 11 with a self-titled debut on EMI Records--the success of the Cruel Sea has signaled a new vitality in Australian rock'n'roll. The challenge to the old guard of Australian rock was evident at the March 30 ARIA Awards where stalwarts of the Oz scene such as INXS, Midnight Oil, and John Farnham came away empty handed. Moreover, via a deal between Red Eye and Polydor Australia, the Cruel Sea also has become a priority for PolyGram International affiliates throughout Europe, where the band has been on tour during May and June, opening dates for Nick Cave & the Bad Seeds and headlining club shows. At a sold-out show in late May at the Borderline in London, the Cruel Sea rocked through a set spiced by blues slide guitar, relaxed and funk-edged jams, and the gruff vocals of towering, tattooed, charismatic lead singer Tex Perkins. The European campaign for the Cruel Sea has been aimed at challenging preconceptions about Australian rock, says Loraine Trent, who oversaw the project as international marketing manager at PolyGram International in London (prior to leaving the company last month). "Instead of letting the repertoire owner in Australia push the band from there, and fighting against that Oz band prejudice, PolyGram International took it over for them. Over a period of six months, the Australian company has been feeding us information on how the band has been building up. And what we've done, territory by territory, is kept this information coming through so it didn't look like the band was being pushed down anybody's throat." Directory: files -> 2008 2008 -> Preparedness for the Health Consequences of Climate Change as a Potential Influence on Public Health Law and Policy 2008 -> Darryl Heller Dissertation Proposal Draft April 7, 2008 Law, Labor, and Politics: Street Railways in Brooklyn and New York, 1884-1904 2008 -> Anna Palladino Professor Calvert 2008 -> Jails replace schools in the mountain region of guerrero 2008 -> University of Arkansas at Little Rock Plan No 2008 -> This is a list of search engines we (Polson Enterprises) have found helpful from time to time 2008 -> Rnib centre for Accessible Information (cai) Literature review #2 2008 -> Anne louise cohen 2008 -> Time race# Download 1.73 Mb. Share with your friends:
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