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The Dutch Piaf – Fif Lámour Dedication.

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the dutch piaf - fif lámour dedication.

the dutch piaf - fif lámour dedication.

THE DUTCH PIAF

A light went out on the Zeedijk, Hartjesdagen, de Nacht van de Romantiek, (the Night of Romance) Fifi Lʼamour, singer and bon vivant pur sang (= someone who enjoys life to the fullest, hedonist?) was always there, together with her husband Rodolfo Radissant.

She with her extraverted presence and impressive/commanding voice, him with his accordion or on the piano.

On Tuesday Fifi Lʼamour passed away, she was 58 years old. She left her life in a flash of lightning, just like she wanted. Getting old and falling ill were no options for her. She discovered recently she had oesophageal cancer. But that didnʼt get her down/she didnʼt give up.She was working hard on conjuring tricks – in case she lost her voice – with which she would still be able to perform with the illusionists of variety show restaurant Casablanca on the Zeedijk.

Casablanca was her living room where she performed for 10 years. On the 5th of July she performed for the last time. Ill, but full of dedication/devotion, her husband Ravissant said: “ If they offered her 5 euros for a performance she would still say yes. Then I would say: Add two more zeros.” Her friend Astrid Paulus, from Casablanca, said: “ If there were only two people in the audience, she sang like there were 80.” In honour of Fifi, 2 of her home made costumes are exhibitited in Casablanca. LʼAmours repertoire was extensive. From Piaf and Brel via the Yiddisch song to the Jordanian ʻchansonʼ.

Originally Lucienne Raphael, her real name, came from Australia. Her father was a documentary maker for ABC. Fifiʼs mother was still riding motherbikes with her girlfriends at age 70. When LʼAmour was on stage, she was a star. With her expressive eyes, her expressive face, her whole body in motion.

“She was the Dutch Piaf”, says violinist Lucas Amor, with whom she and Ravissant frequently performed. “ She sang brilliantly in French. They sometimes referred to us as cousins: LʼAmour and Amor.” Ravissant met her for the first time in Amorʼs car. It was love at first sight. They travelled and performed from Berlin – where Fifi once performed with soulmate Nina Hagen – to Australia.

Even in the smallest of theatres Lʼamour would sing the stars out of the sky. Ravissant: “Once we performed in a small theatre in Zwaagdijk: LʼIdiot Du Village. The owner asked:” What are you guys after?/What do you guys want? And we said: the same as here, but in Amsterdam.” It became The Palace and later Casablanca.

LʼAmour was someone with extensive knowledge (erudite). She studied history in India, she read a book every day and she sang in 9 different languages. Ramses Shaffy saw in her a kindred spirit. They spent a lot of time together. Next week Fifi lʼAmour will have her final performance in the tent of Casablanca on Tour. Itʼs going to be a party like she would have wanted, with Dolly Bellefleur as Master of Ceremonies and artists paying their last respects to her. She is laid out at home in one of her home made, extraverted creations.

A cold funeral home is not her style. Ravissant will show a film in which he and an American cellist play a piece shortly after her death. The sorrow is great, but music crosses all boundaries.

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Remembering Ruth Peterkin

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remembering ruth peterkin

I first met Ruth Peterkin near Xmas 1988, on the top floor of Nancy & Bill Burns B&B home in Back Bays Boston MA. She was staying in the room next door and we were doing the USA tour of 12 States/Cities to promote our B&B business. Ruth was visiting her mother in a local a nursing home. She strode up to us and gave us her card, and over that weekend and lunch we became friends. That was who Ruth was to us both for the next 24yrs, a great intellectual fun loving, exuberant, and sophisticated, new life-time friend. We accepted her offer to call on her when in NYC, and then again and again over the next 20+ years; every trip overseas became via NYC USA and Ruth’s apartment. We had the honor of her staying at our humble Melbourne (also top floor) large apartment inner-city B&B on her first trip to Australia. She arrived in Melbourne via New Zealand, as we were departing for Cairns for a weeks break.

Ruth unpacked her bags and was on her way to Ayers Rock (Uluru) next day so we planned to meet her in Cairns in a day or so. She wasn’t too wild about Northern Territory or climbing the giant rock it seems so we picked her up from Cairns airport in a garish pink convertible VW love bug. We stayed in a large low-rise 5th Floor apartment/hotel overlooking the sea in Cairns, doing driving day trips to Port Douglas and the Daintree Heritage National Forests, and Island hopping tours of The great Barrier Reef for about 4 days. Ruth decided she wanted to go back to the Melbourne apartment for a rest early (Australia is a long flight from NYC and we guessed she might be still jet-lagged).

remembering ruth peterkin
Ruth Peterkin and Janet Humphries-Grey penthouse St Kilda dinner party 1989
remembering ruth peterkin
Lionel Curtis at Ruth Peterkin’s 1989 Penthouse St Kilda Australia dinner-party 1989

When we arrived back home, to our amazement Ruth had called a dozen of our best friends, shopped for food in our local Jewish Quarter district Acland St. St Kilda and had organized a surprise welcome home “Typical NYC Jewish dinner” cooked by her with all our friends. She was a smash hit and all her new friends were converted. Not at all shy, she then went out alone, and with several of her new friends for coffee visiting and enjoying life in our small seaside suburb.

In 1991 we moved to San Sebastian Spain to live (via NYC and Ruth of course), Spain didn’t work out, so we returned to Oz via Kenya Africa to live in Perth, then to Canberra. Lionel secured a 3 month writing job covering the 1994 NYC Gay Games. Any excuse catching up with my best buddy Ruth I must confess. It then became Ruth’s turn to look after me in NYC. She arranged for her dear friend and physiotherapist George and his partner to house me for free in their W 96th & Amsterdam apartment for the duration of the games. Ruth and I had breakfast every morning, lunch & most times dinner together for the month(s) I was billeted. She even marched through Central Park in the Gay parade closing of the games. Once again Ruth became the grand organizer, compassionate caring friend and provider for me way back then, her friendship had become the most important of my entire life.

 

Throughout the next 2 decades we were in constant contact talking by phone each week and exchanging written material/letters regularly. I also recall after leaving my job in an art gallery in Pennsylvania, not having my airfare home, she loaned me several thousand dollars for the trip. Chance had it that was 10 days before the Sept 11 Twin Towers attack, and without her assistance I would have been stranded for months on Manhattan Island unable to leave.

remembering ruth peterkin
Ruth Peterkin and Tony Shepherd at her apartment NYC 2005

In 2005 with my partner Tony Shepherd  www.theoperaboys.com, we headed off to hear music around Europe, via naturally NYC & Ruth (we had just started our new internet opera/music review business). Sadly we were only to spend a few short hours with Ruth on this trip, which was to become our last time together. We only had 4 nights in NYC then 2 in London reviewing Les Miserable’s and Phantom of The opera and then Europe, La Scala, Rome, Venice, Paris, Monte Carlo for the remaining weeks.

As Ruth’s health deteriorated, we stayed in close communication weekly by phone over the next final years. The last conversation I had with her she professed sadly, that “all her old local friends had either passed away or were too ill to visit her; the only people I see now are doctors and helpers”.

Fiercely independent, Ruth was slowing down, her wonderful family were now her whole world, and her writings which she would never let me publish were put side for health issues.

Ruth had strong, modern, progressive opinions on the world, politics and her profession of teaching, sharing her life with devotion to her son David, wife Nancy, and their two sons. On behalf of her local newfound Aussie friends Les Greenhill, Eugene O’Rourke, Noel Richards, Janice Filipuzzi, Janet Grey, and Jane Harrison. Rest In Peace, safe journey our dear friend Ruth passed away on Fri 5th October 2012 aged 89.

remembering ruth peterkin

 

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Stars

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stars

These are personal anecdotes of important meetings over
the years with stars by Tony and/or Lionel.

starsRemembering Ruth Peterkin.
stars The Dutch Piaf – Fif Lámour Dedication.
stars Vivienne Westwood and Deborah Thomas in the 1990’s.
starsKylie Minogue.
starsNick Seymour, Crowded House.
stars Jesus Christ Superstar with David Hobson.
starsPolly Waffles with Bill Clinton, John Thwaites, and Steven Bracks.
starsJane Harrison, playright of Stolen, and Rainbows End .
starsGirls night Out !, based on an extract by Dolores of her upcoming book.
starsA Tribute presentation for Troy Davies.
starsstarsDr Cecil Burney, USA.
starsOpening nite, Lindsay Kemp, FLOWERS.
starsBrothers Mick and Stephen Prealongo.
starsJim Nicholls, an artist and Gentleman.
starsElton John, Molly Meldrum, Quentin Crisp, and Dame Edna Everidge !
starsClay Hawkins
starsJames Mollison.
starsPaul Kelly.
starsState Premiers other than at the opera
starsBob Dylan.
starsUpcoming Celebrity anecdotes by Lionel.

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Opera Companies

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opera companies

Melbourne, Australia

Opera Australia
Chambermade Opera
Melbourne Opera Company
Lyric Opera of Melbourne

The World

The Metropolitan Opera in New York HD
Palace Opera and Ballet in HD
The San Francisco Opera
Lyric Opera of Chicago
New Orleans Opera
The Royal Opera Covent Garden
Opera National de Paris
Staatsoper Unter der Linden Berlin
Teatro alla Scala
Teatro alla Fenice
Prague Opera
Moscow Bolshoi Opera
Mariinsky Theatre Opera – St Petersburg

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ARCHIE ROACH takes ‘Let Love Rule’ on tour and releases new video for ‘Get Back To The Land’

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archie roach takes 'let love rule' on tour and releases new video for 'get back to the land'

 

archie roach takes 'let love rule' on tour and releases new video for 'get back to the land'Not many artists get a standing ovation before they’ve sung a single note, but that is exactly what happened to Archie Roach at the launch of his tenth studio album Let Love Rule at the beautiful Melbourne Recital Centre late last month.

Released on November 11, Let Love Rule debuted at #24 on the ARIA Album chart (his highest charting album to date) and sees Roach backed by a brilliant band – bass player Steve Hadley, drummer Dave Folley, violinist Jen Anderson, piano man Bruce Haymes and vocalists Nancy Bates and Emma Donovan –and with guitarist and producer Craig Pilkington they have crafted an album of incredible understanding and passion.

At the core of the new album is the theme of love, which is exactly what Archie Roach sees at the heart of humanity.

archie roach takes 'let love rule' on tour and releases new video for 'get back to the land'

“On this album I wanted to explore the theme of love – what it is, what it means,” said Archie. “I wanted to write about love, or a willingness to love all people.” He was concerned by what he saw happening in the world and particularly in Australia. “We are closing ourselves off and not letting people in. And not just in the sense of not letting them into the country, but not letting them into our hearts, into our minds. This country was built on people coming here from other countries. That’s what made Australia what it is today.”

The new single ‘Get Back To The Land’ is about love of the land and, with a blues-country lilt, Roach describes finding solace in country when relationships break down.

archie roach takes 'let love rule' on tour and releases new video for 'get back to the land'

He sings:  

‘When you’re so called friends no longer want you around

You’re not up with the trends like the other friends they’ve found

If you don’t fit in to their plans

Oh just get back to the land

Cos it will never, never, never let you down…’

The song is accompanied by a live performance video shot at the Melbourne Recital Centre concert only 3 weeks ago, and featuring Archie Roach dressed sharply in a red shirt and grey suit, he looks in very good nick in the wake of several health problems in recent years.

The album release coincides with Archie Roach as the very special guest on the national tour by famed Sugar Man Rodriguez, and he will also perform at the prestigious Meredith Festival on December 10.

‘An Album which fair oozes soul and honesty’ – ROLLING STONE

‘Let Love Rule is a gift to the nation’ – STACK

archieroach.com.au | facebook.com/archieroach | twitter.com/archieroach

LET LOVE RULE album out now through Liberation Music

liberation.com.au

Part of the Mushroom Group | mushroom.com

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Moreland & Arbuckle (USA) announce first Australian tour

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is real too dangerous for australian audiences? 
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moreland & arbuckle (usa) announce first australian tour

“Deeply satisfying…gritty soul and blues with garage overtones and fire-and-brimstone vocals”  -Living Blues

“These guys have kegs full of talent. Their songs will keep you driving fast and long.” – No Depression

Guitarist Aaron Moreland—co-founder of the groundbreaking Kansas-based trio Moreland & Arbuckle—describes their music as “gritty blues and roots rock from the heartland.” Moreland, along with harmonicist/vocalist Dustin Arbuckle and drummer Kendall Newby, electrify raw Delta and Mississippi Hill Country blues, folk, and traditional country with unrelenting punk rock energy washed in hard-hitting Southern soul. Their songs are expertly executed with musical muscle and fifth-gear urgency. When they perform more traditional blues, they play with the same decisive command. With each of their six previous releases, the band has grown musically and lyrically, creating a signature sound while earning a large and loyal worldwide fan base.

Their legendary raw and raucous live shows are played with wild abandon. The New York Post says Moreland & Arbuckle have “a raw juke joint exuberance with a dirt-under-the fingernails garageband attack.” The group’s evolution continues with their Alligator Records debut Promised Land Or Bust, produced by Matt Bayles (Mastodon, Botch, The Sword). From the howling cosmic opener Take Me With You (When You Go) to the stomping Mean And Evil to the plaintive Mount Comfort, Promised Land Or Bust is a far reaching musical showcase.

moreland & arbuckle (usa) announce first australian tour

The instantly-memorable, slice-of-life songs paint scenes of double-crossed lovers, women meaner than the devil, and isolated loners beaten down by careless love. According to Moreland, “The new album is consciously traditional but still has the signature drive and power that we have crafted over the past thirteen years.” Moreland says signing with Alligator is a perfect fit. “One of our biggest influences ever, Hound Dog Taylor, was the very first Alligator artist. One of the reasons we have the non-traditional lineup of no bass player was inspired by listening to Hound Dog’s music as we were coming up.” According to Alligator president Bruce Iglauer, bringing Moreland & Arbuckle to the label known for its Genuine Houserockin’ Music was an easy choice. “I’ve watched this band grow from talented interpreters of raw, traditional blues into creators of fresh, original roots-based songs.

Live, the energy just pours out of them.” Aaron Moreland was born December 16, 1974. He played in a number of garage bands while growing up and was influenced by punk music before having what he calls his “Son House moment.” Hearing the blues legend’s Death Letter Blues for the first time at age 22, he changed course, focusing his playing on nothing but acoustic blues for the next several years. Dustin Arbuckle was born December 25, 1981. He first discovered blues in his mid-teens and received what he refers to as “a calling. Getting into blues made me want to play music,” he says. He played in blues-rock bands, inspired by Little Walter and Sonny Boy Williamson, while learning to sing with deep soul and honest authority.

The two met at an open mic session in their hometown of Wichita, Kansas back in 2001 and they quickly bonded over their mutual love of blues. Less than a year later, they joined forces, their raw and energetic approach to the music melding perfectly. Soon after coming together, Moreland and Arbuckle played both as an acoustic duo and as The King Snakes, a four piece electric band. Keeping a bass player proved difficult, and they soon found they made a better sound without one, as Moreland kept the rhythm thumping on his guitar while Arbuckle took the music into overdrive with his harmonica and vocals.

The band quickly became local heroes, filling clubs beyond capacity. It wasn’t long before they started touring larger cities around the country, earning new fans with every performance. From their 2005 self-release Caney Valley Blues to 2013’s 7 Cities on Telarc, Moreland & Arbuckle have grown from a fiery, crowd-pleasing duo to a genre smashing three-piece band. Together, Moreland’s simultaneous bass, rhythm and lead guitar work and Arbuckle’s emotionally-charged harmonica and edgy vocals—driven by Newby’s propulsive drumming— create a sound that is forceful enough to grab a listener’s attention and nuanced enough to hold it. American Songwriter says the group’s music is “swampy, sweaty and muggy…mixing a bluesy foundation with bits of country, folk and squawking American rock and roll.” WNYC’s Soundcheck says the band plays “gritty blues with a thoroughly contemporary bite.”

Over the course of their career, Moreland & Arbuckle have played hundreds of shows and have logged hundreds of thousands of road miles (recently replacing their van after driving it over 400,000 miles), performing in the United States, Canada and across Europe. In 2008 they spent 10 days in Iraq, playing for the troops. They’ve shared stages with ZZ Top, George Thorogood, Buddy Guy, Robert Cray and Los Lonely Boys. They’ll return to the road in support of the new album, with dates in the United States, Europe and beyond.

No Depression says, “These guys have kegs full of talent. Their songs will keep you driving fast and long.” Now, with Promised Land Or Bust, Moreland & Arbuckle are ready to bust it all wide open. Arbuckle calls the new album “our best yet,“ and says, “we continue to evolve musically outside of the box we started in, but the bedrock—the blues —is always there.”

Moreland adds, “We consciously went back to where we started and it took us to a brand new place.” That new place is clearly part of Moreland & Arbuckle’s never ending musical journey. And for them and their ever-growing fan base, there’s no turning back now.


MORELAND & ARBUCKLE AUSTRALIAN TOUR DATES

Saturday 18th February

Holler Roots Music Festival

Caravan Music Club

95-97 Drummond St Oakleigh VIC

Ph: 03 9568 1432

www.caravanmusic.com.au


Sunday 19th February

Spotted Mallard

314 Sydney Rd Brunswick VIC

Ph: 03 9380 8818

spottedmallard.com


Monday 20th February

Prince Bandroom

29 Fitzroy St, St Kilda VIC

Ph: 03 9536 1168

Dinner & show tickets also available

www.princebandroom.com.au


Wednesday 22nd February

Stag & Hunter

187 Maitland Rd, Mayfield NSW

Ph: 02 4968 1205

stagandhunter.com.au


Thursday 23rd February

Black Bear Lodge

322 Brunswick St Fortitude Valley QLD

www.blackbearlodge.com.au


Friday 24th February

Soundlounge

165 Duringan St Currumbin QLD

Ph: 07 5534 7999

soundlounge.com.au


Saturday 25th February

The Basement

7 Macquarie Place, Sydney NSW

Ph: 02 9251 2797

Dinner & show tickets also available

www.thebasement.com.au


Sunday 26th February

The Brass Monkey

115A Cronulla St, Cronulla NSW

Ph: 02 9544 3844

brassmonkey.com.au


Tickets to all shows available at

www.morelandarbuckleaustralia.com   

The beauty on Promised Land or Bust is that Moreland & Arbuckle approach their spiritual and carnal as inseparable, bound together in their rowdy, soulful, infectious sound; it’s all killer, no filler. What really sets this band apart from virtually every modern blues act is that their energy, rawness and virtuosic instrumental skill are matched by their songwriting. Brilliant…considerable firepower…roots inspirations of Mississippi Delta and Hill Country blues, electric roadhouse boogies and heartland hard rock. The emotional depth in Arbuckle’s vocal is underscored by his haunted harmonica and Moreland’s supercharged guitar breaks…Squalling, scorching slide…grungy, gritty, bluesy country-rock. Smoking and scorching. –AllMusic, May 4, 2016 by Thom Jurek
http://www.allmusic.com/album/promised-land-or-bust-mw0002928237
 
Blessed with an independent spirit and clear vision, Moreland & Arbuckle continue to walk the thin line between tradition and something yet to be defined. The band has created a stubbornly idiosyncratic musical blend that defies easy categorization. It has the grit and history of blues, replete with murder ballads, open tunings, slides and mouth harp. There’s an energy and sense of adventure that comes from the rock element of their sound. Dynamic, glimmering, insistent rhythms fire, Arbuckle emotes more deeply and passionately than in in the past. Moreland’s playing crackles with inventiveness. The trio’s wit, diversity and overall commitment to music that elevates, impresses and succeeds in giving the listener a good time. –Popmatters.com, May 4, 2016 by Jedd Beaudoin http://www.popmatters.com/review/moreland-arbuckle-promised-land-or-bust/
 
Raw, potent blend of roots rock …Droning stomps shot through with straight-ahead, Hill Country-style rhythms. Moreland pours molten, furious, bloodcurdling fretwork. Arbuckle’s lyrical harp licks and clear, full-throated vocals shine. –Living Blues, June 2016 by Melanie Young
 
Shamanistic guttural yet soulful and melodic and that is only a description of lead vocalist Dustin Arbuckle’s vocals. His grungy harmonica playing also adds to the no holds barred approach by this very talented three piece band. Aaron Moreland also plays mean guitars and can change the mood and tone of any track they play. Add thrashing percussion in form of Kendall Newby and that is the finished article and live performances at times are mesmeric. This eleven track release has it all…eclectic musical mix. Mississippi swamp howling vocals. Haunting…fueled with passion and rage. Raw with a traditional twist, this is a masterpiece of changing the rules. –Blues Matter, June 2016
 
Promised Land Or Bust makes it obvious the Moreland & Arbuckle are a natural for the genuine houserockin’ label. They have a huge sound, raw and dirty…hill country blues rooted with a deep, throbbing groove…storming down-home…plenty of wailing harp. A fine set, particularly if you like your music lowdown, dirty and loud. –Blues & Rhythm (UK), NO. 310, June 2016 by Norman Darwen
 
Hard charging, noteworthy, and satisfying…. Moreland & Arbuckle have ascended into top tier territory with this new and exciting release. Beginning with the very first track, they scorch a path to the last one. Song craft is their hallmark. Taste is another. Arbuckle’s yearning vocal and sinuous harp carry the melody wrapped in a low-down aural tapestry. Moreland plays imaginative, gritty slide-guitar. 
Throughout, Dustin Arbuckle and Aaron Moreland find a place between joy and pathos with beguiling songs and adroit performances. –Blues Music Magazine, July 2016 by M.E. Travaglini
 
For two guys, a drummer and some guests they hit extraordinary noise-levels; the unwary listener reels back as if struck in the face by a Marshall amp. Exhilarating. 4/4 Stars. –MOJO, August 2016
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MIJF and MSO announcement A CELEBRATION OF ELLA AND LOUIS 

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mijf and mso announcement  a celebration of ella and louis 

 

Featuring Patti Austin, James Morrison and the Melbourne Symphony Orchestra 

An exclusive opening night concert for the 20th Melbourne International Jazz Festival

2 – 3 June 2017

mijf and mso announcement  a celebration of ella and louis Melbourne will become home to jazz royalty in June when legendary Grammy Award-winning American vocalist Patti Austin and Australia’s own James Morrison join forces with the Melbourne Symphony Orchestra to pay homage to the landmark musical partnership between Ella Fitzgerald and Louis Armstrong.   

 
This special event – exclusive to the Melbourne International Jazz Festival – will mark the opening night of the Festival’s 20th year.  
 
Both jazz giants in their own right, the collaboration between Ella Fitzgerald and Louis Armstrong was the pinnacle of the 1950s jazz scene.  
 
Celebrating the centennial of Fitzgerald’s birth, Austin and Morrison will perform timeless hits from the Great American Songbook, unforgettably realised with the lush textures and rich colours of the Melbourne Symphony Orchestra conducted by Benjamin Northey.  
 
Few performers have the credentials to pull off a fitting and genuinely thrilling tribute to “The First Lady of Song” – Ella Fitzgerald – but Grammy Award-winner Patti Austin possesses the heritage, experience and voice to do so.   
 
Since debuting at the Apollo Theatre at the tender age of four and with the encouragement of her godparents Dinah Washington and Quincy Jones, Austin’s six-decade career has seen her work with artists as diverse as Randy Brecker, Michael Jackson and George Benson.  
 
Patti returns to the Festival after her sold-out “For Ella” shows in 2012.  
 
Australia’s James Morrison is an internationally-renowned virtuoso trumpeter who has performed, recorded and collaborated with the likes of Dizzy Gillespie, Cab Calloway, Ray Charles, B.B. King and Wynton Marsalis; and has performed at some of the world’s leading jazz clubs and venues.  
 
mijf and mso announcement  a celebration of ella and louis 
One of jazz’s most versatile artists, Morrison has performed at the White House for International Jazz Day and performed with artists as diverse as Phil Collins, INXS and the Berlin Philharmonic.   
 
Melbourne International Jazz Festival Artistic Director, Michael Tortoni, said, “I cannot think of better artists than Patti Austin, James Morrison and the Melbourne Symphony Orchestra to bring this wonderful celebration to life in the centenary of Ella’s birth – it is the ideal way to open the Festival’s 20th anniversary program.”
 
Melbourne International Jazz Festival melbournejazz.com
Melbourne Symphony Orchestra melbournejazz.com
 
A CELEBRATION OF ELLA AND LOUIS 
featuring Patti Austin, James Morrison and the Melbourne Symphony Orchestra 
An exclusive opening night concert for the 20th Melbourne International Jazz Festival
 

Venue: Arts Centre Melbourne, Hamer Hall 

Date: 8pm, Friday 2 and Saturday 3 June 2017 

Tickets: $50 – $125 (prices subject to change without notice) 

Bookings: mso.com.au or melbournejazz.com or 03 9929 9600 

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Book now 4DVERSE creative space For your Xmas Party

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Creative Xmas Party Venue for Hire

Celebrate the end of your work year together at 4Dverse Hub in St Kilda. Above Vegilicious Restaurant on Carlisle Street. 

DEALS STARTING FROM $770 !

Surrounded with amazing works of art from local and international artists, this creative venue holds a truly unique opportunity to treat your co-workers to something different this year around a good positive vibe. 

Want to take it to the next level? We can arrange DJ’s,waiting staff and live performers. The flexible space can be utilised in many ways to accommodate your needs from a fully seated dining event (up to 80 people), to a vibrant show and dancing extravaganza.

Beautiful food and drink catering options available from Vegilicious downstairs or bring your own. www.vegilicious.com

Dates are filling up, so for more information or to make a booking, contact us now!

info@4dverse.com.au Victor: 0437 427 608 or / 8395 7924

book now 4dverse creative space  for your xmas party

Unique Handcrafted Greeting Cards

Would you like to surprise your loved ones in this Christmas and New Year with a message of your best wishes on a very special card?

STARTING FROM $7

book now 4dverse creative space  for your xmas party

Would you like to surprise your loved ones in this Christmas and New Year with a message of your best wishes on a very special card?

AMANON® offers a new concept in greeting cards. Its unique handcrafted products explore paper beyond its traditional possibilities by magnifying and creating textures in artful geometric shapes and chromatic experiences.
 
ORIGINALLY PRODUCED at 4DVERSE HUB WITH LOVE AND DEDICATION 

CARDS STARTING FROM $7

CONTACT:  Pedro Holder: 0402 528 808
                       pedroholder@gmail.com 

JOIN FACEBOOK PAGE

4DVERSE CREATIVE CO-WORKING  SPACE

ST KILDA on Carlisle Street  

Opens in FEB 2017

Enquire now about an application.  info@4dverse.com.au
 
0437 427 608  /   8395 7924

book now 4dverse creative space  for your xmas party

ST KILDA CREATIVE CO-WORKING SPACE

In February 2017 4Dverse Hub St Kilda will be shifting it’s direction from a public gallery and lifestyle space to a creative artist’s co-working hub.

So whether you are a painter, designer (of any kind), architect or photography & film editor, we are inviting all creative professionals to apply to utilise this amazing space and call it home.

Primarily targeting full-time residents, the space will welcome creatives to establish themselves in an open environment surrounded by likeminded professionals.

There will only be a limited number of places available to ensure those selected are given the right space needed to produce their work as the exploration and learning continue.

Features:

  • Your own dedicated desk and working space, flooded with natural light
  • 24/7 access
  • Superb location for transport and good food
  • High-speed internet
  • Free tea and coffee
  • Meeting room access
  • Access to established professional creatives in other fields
  • Access to one cultural community event every two months

As places are limited, applications will close once the space is filled, so contact us now to apply. 

Dedicated Desk – $145 per week / $580 per month

Enquire now about an application.
info@4dverse.com.au 

0437 427 608 /  8395 7924

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Tripod Christmas Turkeys –

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tripod christmas turkeys -

tripod christmas turkeys -

Two big nights of Tripod at MEMO Music Hall  

Friday 9 and Saturday 10 December – 8pm

Christmas. We can’t avoid it. Not saying we want to. Well, sometimes we might. But it’s not going anywhere. Therefore, let’s hear some songs about it. Specifically, let’s hear Tripod poke their harmony-laden musical sticks at Christmas this year. They might even stealthily make you feel Christmassy.

Since their earliest shows Tripod have made a consistent habit of juggling comedy, music and narrative in endless exhilarating combinations, consistently evading neat definitions whilst always striving to stay worthy of their fans’ time.

 

Tripod continue to bring an insane level of craft in both comedy and music and combine them in a rich and satisfying way – an ability that has cemented them as a much loved cultural fixture in Australia.

tripod christmas turkeys -

Xmas Turkeys promises to be a hilarious mix of suburban whimsy and dark satire, the perfect Christmas gift for those that love or hate Christmas and everything in between.

“…there’s hardly time to catch your breath in between bouts of uncontrollable laughter… these guys are unbelievable musicians too. Sometimes five stars just aren’t enough” The Scotsman, Edinburgh

“Tripod could be a comedy trio or just a very strange, very talented rock band” Adelaide Advertiser

MEMO MUSIC HALL – 88 Acland Street St Kilda
FRID 9 & SAT 10 DECEMBER – 8pm
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Arts training is an essential part of an innovative nation

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More than 50 arts training programs across the nation, including circus, may no longer be supported by the federal government.

The past two years have not been happy ones for the arts sector in Australia. It all began in early 2014 with federal Ministers Brandis and Turnbull telling artists at the Sydney Biennale that they were ungrateful and selfish to protest about the role of Transfield in Nauru.

It then emerged that the Federal Minister for the Arts, George Brandis, believed he could do everything better in arts funding than the existing structures. He began his campaign by taking away a large portion of literature funding from the Australia Council in December 2014.

He then “trumped” this move by taking a third of the Council’s ongoing arts funding in May 2015 to set up his own ministerial fund for the arts naming it the National Program for Excellence in the Arts. Brandis’s concept of “excellence” though was tainted by a limited and élitist perspective of what constitutes the arts and by demonstrating overt favouritism and protectionism towards large arts organisations.

The arts sector protested and a Senate Inquiry was instituted. More than 3000 submissions were received by the Inquiry. The Coalition Government did not participate in the process and appeared to be ignoring the furore in the arts sector. However, with a new Prime Minister in place in late 2015, it was not long before a new Minster for the Arts emerged, Mitch Fifield.

In November 2015, Fifield announced he would give back a portion of the money taken from the Australia Council. However, he kept the rest and changed the name from Program of Excellence to Catalyst. Then there was an election in May 2016 and Minister Fifield’s Catalyst Fund played an interesting electoral role in allocating arts funding to some unusual recipients.

Further, with its reduced funding, the Australia Council cancelled project funding rounds for small groups and individuals in 2015 and then cut funding to over 60 arts organisations across the country in May 2016. There have been recent rumours that more of the Ministerial funds might be returned to the Australia Council but as yet there is no evidence of this.

But sadly this is not the only action that will harm and continue to damage the arts sector. The Federal Government is now considering cutting funding to students who wish to undertake creative arts training. Education Minister Simon Birmingham has said he believes training in the creative arts is a ‘lifestyle’ choice and cannot lead to a satisfactory career or any economic outcome. He says,

VET Student Loans will only support legitimate students to undertake worthwhile and value-for-money courses at quality training providers.
As the government’s priorities are related to demonstrating economic outcomes, they say that their preference is for technology programs and agricultural science courses related to the STEM educational model.

In this context creative arts training is perceived as irrelevant and Minister Birmingham intends to cut loan support for students to undertake this form of education and training. If this occurs, more than 50 arts training programs across the country will no longer be supported. These include programs in ceramics, photography, dance, acting, animation, all forms of design, circus, music, film, fashion and journalism.

To describe creative arts training as a “lifestyle” choice in my view demonstrates a lack of knowledge of what is involved and what is produced. There seems to be no understanding or recognition that artists/arts workers are trained professionals who are highly skilled, knowledgeable and adept. They are also highly employable in many industry sectors – not just the arts.

Australia talks constantly about supporting innovation and wanting to be seen as a “smart” country. Training people in the creative arts is a sure way of doing this. Confining education only to technology and the sciences does not create a nation that is necessarily clever or innovative.

Arts training provides the capacity to problem solve, think outside the square, be divergent and come up with new and untried solutions. These are skills that are essential for innovation and change. The arts are a basic foundation of the culture of this country.

Australia is presented internationally by its artists, by its films, by its literature – it is the soul of the country. If the arts training sectors are not funded by this Federal Government, there is a clear message that the government does not think that the arts matter in Australia and, ipso facto, Australian arts and culture does not matter to the world.

 

This article was written by Jo Caust [Associate Professor and Principal Fellow (Hon), University of Melbourne]
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