Cooking At #36 is a new series launched today from kitchens around Australia, eventually the world.
This innovative, jerky-handed phone camera series takes you, the poor, ignorant, unclassy, unclassified, joke of a wretched wastrel, awash in a sea of processed mediocre food, TV dinners, and fast food that’s slowly filling you up with salt and plastic — we take your sorry arse pics…
I’m sorry, I’ll read that again.
We take your sorry aspic, and sauce a better way to cook.
Episode One (Shredded Wheat/Blowing Mayo aka Resilience Is Useful).
The pilot was produced in a secret Holsworthy kitchen. Another pilot was picked up in a Moorebank Sports Club – she was either Randy or Chastity; such a fine line betwixt and between, I find.
Road-tested on six selected Overheard Productions friends and strangers who all were unanimous in their reviews:
Greek Fetta Chorus: “We’re calling the Critical Assessment Team. Put down the phone and step away from the maple syrup.”
Actually, they said lovely things, but I’ll add the reviews later.
There’s time for one. “Alison from Athenry” says, ‘Show us your chips, Billgella!”
And another: “Axminster Al from Barking in Essex” says, ‘What’s with the fruity 80s English accent?’
Steve Tyson is doing what good, indy musicians do: hitting the road to tour a new album.
‘Green Side Up’ is the new record and from Byron Bay to Port Phillip Bay, returning via Wagga Wagga, Canberra and Wongawilli Wongawilli Wongawilli and Marrickville.
A lot of miles and a lot of different beds! And lots of new faces, new fans and the CD stocks starting to deplete as Steve Tyson and the band wend their back up past Taree, Forster, Tuncurry, and a thousand blanky roadworks.
As has been the case from time to time in the seven years plus of A Punter’s Perspective, ’tis the night before deadline and all through the house, not a creature was stirring, not even a half-decent idea for a folk music magazine article.
Realising my dilemma on the train to work today, I turned to the world’s font of most knowledge (and funny cat videos): Twitter. And I asked publicly to all, and pointedly to three or four music bloggers, what might a good topic be.
The answer came from a former radio presenter now blogger/vlogger (a kindred spirit, then) from the Netherlands who goes by the eponymous title of ‘The Dutch Guy’ (@DutchGuyOnAir), and he suggested:
“How about talking about some mistakes indie artists might make?”
By curious coincidence, this is a topic I’d considered before and only pulled back from it at the risk of causing offence.
Causing offence is a service I often provide — usually unintentionally.
I’ve put enough noses out of joint in the music world in the past nine years by commission, omission or at the very least, blind stupidity, and have no need to add to that score by inadvertent misadventure.
I often say that I can have intelligence insulted without watching certain TV programs or listening to certain radio stations. (And that I didn’t mention them by name is at least a sign that I’m learning — slowly.)
Similarly, I have no need to add to the great heaving morass of people I have annoyed by mistake or misinterpretation by going out of my way to rile them up. It’s just not how I’m wired and those who I run into who DO delight in this way of living, well, I just edge slowly away from them and run.
[UPDATE: This article was written at a time when I was pretty happy with life: working 6.5hrs a day at a very large multinational company — the one that never forgets that its THEIR money — bouncing between two locations (a girlfriend’s place in the south west of Sydney and a three-week on, three-week off arrangement taking care of a Tibetan Terrier and a three-level mansion of a place high, high up above the Pittwater on Sydney’s northern beaches.
I did not know it at the time, but all three were: mistakes. But maybe I had to have all of those fall and fail to embed the lessons of crowing too noisily about when things are going well. If you don’t know the parable about the bird that finds warmth and heat from a very unexpected place, then announces it to the world, ask me sometime. It’s not for here or I too could get covered in ship.]
Therefore, some disclaimers.
I am totally in awe of musicians, artists and singer-songwriters.
The concept of playing a three to 20-stringed instrument (or one you blow, slap or pump) while singing and possibly dancing (or at least a little light duck-walking), and then doing that from 20 minutes at a time, for up to three or four hours, leaves me absolutely breathless.
So any observations that I have about how musos ply their trade are made in that context. (See this is the fine print and early warning sign that so many miss and the next thing I’m being pilloried and people are jumping to conclusions so fast they strain their hamstrings.) Continue reading →
Lucie Thorne is doing one of the things that she does best — touring around Australia, making her way into major centres but also a few places off the beaten track as well.
After two successful runs in Australia in recent times with Pieta Brown, showcasing the ‘Love Over Gold‘ album, Lucie is back on the road solo, albeit with long time collaborator percussionist Hamish Stuart, and teaming up for a double bill in Bacchus Marsh with Liz Stringer.
I should stop mentioning that the locations for doing these interviews are a little weird because I can’t remember the last time I did a straight face to face interview in a studio. For this brief chat, I was located in the salubrious surrounds of the Brisbane City Youth Hostels Association dormitory room, finishing the interview just a tick before house-keeping arrived with the industrial leaf blower, while Lucie was relaxing on a friend’s property in South Australia complete with 3D cattle.
If you’re reading this on the day of publication (Tuesday 3 June 2014) you can tune in and hear Lucie live on air on ABC 774 Melbourne with Lindy Burns from around about 9pm AEST. You can listen online.
Wednesday 4 June – Melbourne Folk Club (Bella Union at Trades Hall), Vic Saturday 14 June – Baby Black Cafe, Bacchus Marsh, Vic Wednesday 18 June – Smiths Alternative Bookshop, ACT Thursday 19 June – The Grand Junction Hotel, Maitland, NSW Friday 20 June – 5 Church Street, Bellingen, NSW* Saturday 21 June – St Martin’s Hall, Mullumbimby, NSW Thursday 26 June – house concert, Blue Mountains, NSW* Friday 27 June – house concert, Kangaroo Valley, NSW* Sunday 29 June – Mudbrick Pavillion, Mallacoota, Vic
Taliska On Tour To Eurobodalla, Jenolan Caves, ACT and Victoria
Taliska is bringing a taste of Scotland to a taste of parts of New South Wales and the ACT this month, and then plying their Celtic trade closer to home in Ringwood and Portarlington (Victoria) and many steps beyond.
Hopefully they’ll be near you, and if they’re not, well, that’s just all the more reason to start loving their music and get them to your town next time they’re back this way.
OR get yourself on a Greyhound or Murray’s bus to one of the three venues, stat!
Definitely like them on Facebook and follow the trails, talents and travails of Taliska.
Who are Taliska?
Claire Patti has a voice that has to be heard to be believed and she plays the harp (the stringed one), french horn and piano accordion. Claire sings harmonies with the guitar-playing band leader Marcus de Rijk (note the strong Scottish influence in that name — mmm, maybe not so much), while Geoff Jones plays pipes, whistles and bodhran. Angus Downing makes the whole thing fly with his wonderful fiddle playing. Taliska’s traditional Ceilidh will have your feet pounding the tiles.
The mini tour will take in a gig at the always popular Merry Muse in their new home at the Burns Club in Kambah, a performance at the majestic Jenolan Caves plus a wonderful house concert in one of the best locations on the Eurobodalla Nature Coast at Congo (just south of Moruya).
[Insert dirty great big embedded link here with lovely contrasting orange, white and black — like Greater Western Sydney or Wests Tigers or that really professional-looking pumbing mob down in Sorrento — right here when it’s ready to rock. Scheduled to do it between 10.30am and 11.00am AEST. It’s 01:44am now so if it all goes to plan, will be up before midday.]
Oh, look. Ready at 11:32am. Always delight the publics, we say at Overheard Productions!
Gig for Taliska on their mini-tour of NSW and ACT plus upcoming Victorian gigs:
Friday 23 May — The Merry Muse, Canberra Sunday 24 May — Jenolan Caves, Jenolan (NSW) Saturday 25 May — House concert in the Congo area (email: email@example.com) 6-9 June — National Celtic Festival, Port Arlington (Vic) Tuesday 10 June — Vic FolkMusic Club, Ringwood (Vic) Saturday 21 June — Battle of Bannockburn promo event (Vic) Sunday 22 June — Battle of Bannockburn (Vic) 27 – 29 June — Camperdown Burns Festival (Vic) Thursday 21 August — Mamma Vittoria, Fitzroy (Vic) Friday 29 August — Conservatory Café, Wyreena (Vic)
### STOP PRESS. On Sunday 9 March 2014, I had a long chat with Wayne Richmond at Humph Hall about this epic saga.
There are two sides to every story, but this one’s more like a dodecahedron. Wayne was quick to acknowledge the positive input from Warringah councillors, mayor and even the personal attention of NSW planning portfolio.
Articles to come here and at Timber and Steel soon.
Humph Hall: An Open Letter to Warringah Council by Bill Quinn
Written on the E89 bus from Bilgola Plateau to Railway Square, Sydney NSW, Australia
Friday 7 March 2014
If a picture says a thousand words, here’s several million for you.
Go to Google Images — http://www.google.com/imghp — and search on ‘humph hall’ then scroll, view, scroll view, next page, etc. That will tell you the value of this venue more eloquently than I can. But do read on!
When it comes to angrily shaking my fists in a Peter Finch/Shaun Micallef ‘I’m mad as hell and I’m not gonna take it anymore’ style of protest, I prefer direct contact.
I just don’t online petition. I’m glad for you to do so, but don’t ask me to sign one.
So having read in The Manly Daily about the latest in the legal wrangle over fire and safety at Humph Hall, and the fact that Warringah Council is now dragging Wayne Richmond and Gial Leslie into court over the matter, I took time out from my morning ritual of staring inquisitively out the bus window along Barrenjoey Road to Haymarket, and tapped out the below, patiently navigating council’s rather confusing and limiting web-site to submit my two cents’ worth.
Interviewing Andrew Cronshaw is a bit like watching Waragamba Dam in flood.
There’s a mighty capacity, but the volume contained therein and the urge for it to surge out means there’s a fair old splashing and cascading over the spillway.
(This is a musical knowledge thing, not early-onset incontinence — just did want to clarify that one.)
Andrew Cronshaw (and the relatively more calm, still waters of Ian Blake) have been comrades in music of the world for many a year, and delighted audiences at the National Folk Festival in 2010.
A very salient memory is a packed performance in the Coorong on the Saturday evening when the MC (me) had been directed erroneously to the Budawang and ended up sprinting twixt venues, doing a slide into home base staying upright to collect a microphone and bounce on to stage to give a slightly breathy but knowledgeable intro courtesy of having seen them both at the National Library of Australia mid-week.
Andrew Cronshaw and Ian Blake were performing at a fantastic afternoon on Aspen Island, literally in the shadows of Canberra’s Carillon, on a balmy Monday afternoon in mid-March as Canberra celebrated a day before turning 100 years young. I grabbed a few minutes with Andrew and Ian as the zephyrs zephyred and the dragon boats came in and the sound guys eventually started to test the drums on stage.
*** THE AUDIO OF THIS INTERVIEW HAS BEEN DELETED FROM SOUNDCLOUD DUE TO SPACE LIMITATIONS ***
*** THE AUDIO OF THIS INTERVIEW HAS BEEN DELETED FROM SOUNDCLOUD DUE TO SPACE LIMITATIONS ***
Andrew and Ian will be performing with the new collective badged SANS: