MEGAscene Issue 17

MEGAscene • Issue 17 - 2019

. . . featuring music and lifestyle in Adelaide

Issue 17 2019

GET ROCKED! live gig review and photos Graham Bonnet & Alcatrazz Jenn Barrett & The Nightshift Just Another Hollywood Story Uncut Beeb Birtles gig review and photos Glittery Clittery Fringe Show Review Thin White Ukes Fringe Show review and photos 1

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IN THIS ISSUE 6 8 26

Features

Graham Bonnet & Alcatrazz Jenn Barrett & The Nightshift Just Another Hollywood Story - Uncut 4 10 14 20 30 38 36 38

24 25 29 34 48

Regular Columns

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Photos & Reviews

Mac Johnson Beth Hart Review Get Rocked Review Beeb Birtles Review The Thin White Ukes Glittery Clittery review John Corabi Photos War Of The Surf & Rock Guitars Iggy Pop Review

Live Sound Advice MEGAlocal MEGAlocal SA Paranormal MEGAmarkets

Darcee Fox @ RockFest: War of the Surf and Rock Guitars Photo: Sue Hedley

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Mac Johnson

Photo: Sue Hedley

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MEGAscene Editor: Sue Hedley Deputy Editor: Michelle McGoldrick Contributors this issue: Allen Tiller Frank Lang Jo Newman Linda Summer Writer On The Road: Michelle McGoldrick Photographer: Sue Hedley Layout: Sue Hedley Michelle McGoldrick Published by: Rising Star Media www.risingstar.com.au MEGAscene web address: www.facebook.com/megasceneoz Editorial and Advertising enquiries: rsm@risingstar.com.au Telephone: Sue - 0414 984 739 Postal address: PO Box 333 Greenacres SA 5086 © Rising Star Media 2019 All rights reserved

EDITOR’S NOTE Hi MEGAscene readers, Adelaide was abuzz with great gigs, performances and festivals over summer.

The Adelaide Fringe Festival and the Garden Of Unearthly Delights showcased some outstanding performances and MEGAscene was there to capture the magic of Beeb Birtles, the Hush-inspired Get Rocked, and The Thin White Ukes. This issue highlights the #MeToo movement with a Glittery Clittery live review and a story on sexism in Hollywood film and TV industry. It also features a review and photos of Beth Hart’s gig at The Gov, and an interview with Jenn Barrett and The Night Shift. Graham Bonnet is returning to Australia to tour in June and MEGAscene spoke briefly to Graham who is currently on tour in America. Hope you enjoy the photos from The War of the Surf and Rock Guitars event.

Next issue out in 2 months.

Ciao.

Michelle

Deputy Editor, MEGAscene

Front Cover Photo: Les Gock - Get Rocked!

Back Cover Photo: Chris Finnen Front & Back Photos: Sue Hedley

All materials published in MEGAscene are subject to copyright. No part may be reproduced without prior written permission from the publisher. The opinions expressed in MEGAscene are not necesarily those of the editors or publisher. No responsibility is taken for the contents or illustrations of advertisements. This linking to other sites within MEGAscene is provided strictly as a courtesy

by Rising Star Media for the convenience of its’ users and Rising Star Media is not responsible for the content of any site linked, or linked within a site, nor does it constitute the endorsement of the web sites or of their policies, products, services or delivery of goods.

Rising Star Media will not be held accountable for the content of any postings contained in any site linked or linked within a site, nor does it deem reliable any offers, expert advice, financial opportunities or otherwise that any such postings should imply.

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Graham Bonnet & Alcatrazz Hardline Media proudly presents Graham Bonnet with Alcatrazz playing Rainbow’s album ‘Down To Earth’ in full, plus hits from Alcatrazz, Michael Schenker Group and more. They will be performing in Australia in June this year.

Bonnet is renowned for his suave stage presence heading up the likes of Rainbow, Alcatrazz, Michael Schenker Group, Impellitteri and his solo band Graham Bonnet Band.

His first hit was with the duo The Marbles in 1968, with the single “Only One Woman”. The hit song was written by Barry Gibb, Robin Gibb and Maurice Gibb of the Bee Gees, and it marked the impressive start to an awesome and diverse career.

Embarking on the first leg of his solo career, Bonnet smashed the charts with a self-titled album that hit gold in Australia. The album was met with great praise with hits including “It’s All Over Now, Baby Blue”, a Bob Dylan cover, which charted in the top five in Australia in 1977. Further to the success of this release, the single “Warm Ride”, Bonnet’s take on a leftover track from the Saturday Night Fever sessions and written by the Bee Gees, went to number one in Australia.

Graham found his career taking a heavier rock and metal route when Ritchie Blackmore chose him to replace Ronnie James Dio on vocals for the band Rainbow. A hard act to follow, and a new genre to ignite, Bonnet proved his skill yet again, singing on Rainbow’s iconic album ‘Down to Earth’, which became his most successful release to date with two hit singles “Since You’ve Been Gone” and “All Night Long”.

After Rainbow, Graham joined the Michael Schenker Group in 1982 and recorded the ‘Assault Attack’ album, considered one of their best releases of all time.

Bonnet co-founded Alcatrazz in 1983 with Gary Shea on bass, Jimmy Waldo on keyboards (both from the band New England), Jan Uvena (former drummer for Alice Cooper), and legendary, Swedish guitarist Yngwie Malmsteen.

From 1983-87, the band released 3 highly revered studio albums (‘No Parole from Rock N’ Roll’, ‘Disturbing the Peace’, and ‘Dangerous Games’) and one live album ‘Live Sentence’.

In more recent years, Bonnet has toured consistently around the world with his Graham Bonnet Band. They released an album in 2018

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Alcatrazz

Photo supplied

called ‘Meanwhile, Back In The Garage’.

Bonnet is currently busy touring the United States with Michael Schenker Group on the 2nd leg of their ‘Resurrection’ North American tour before he embarks on the Alcatrazz tour.

“Along with three other singers who worked on albums in his career,“ says Graham. “I sing the stuff from the album I did with him and the other guys sing songs they did with him. It’s a three hour show.”

“I’m in the middle of a long trip and tired. Our days are full literally … photos, sound check, traveling and lack of sleep.”

The reformed Alcatrazz features original Alcatrazz members Graham Bonnet and Jimmy Waldo, plus new guitarist Joe Stump and joined by Graham’s band mates from the Graham Bonnet Band: Beth-Ami Heavenstone and Mark Benquechea.

Now, for the first time in Australia, you will hear Graham and band perform the iconic Rainbow album ‘Down To Earth’ in its entirety, as well as a slew of other hits from the melting pot of his career.

TOUR DATES: Thursday 6th June - @ ENIGMA, Adelaide Friday 7th June - @ THE CORNER, Melbourne Saturday 8th June - @ MANNING, Sydney Web: www.alcatrazzofficial.com/ Tickets: www.hardlinemedia.net/

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Jenn Barrett & The Nightshift

By Michelle McGoldrick

Music permeates Jenn Barrett’s waking life and dreams through explorations of folk ballads on electric backings. Eclectic musical fusions: art rock/progressive folk band with an 80’s touch, evocative of Kate Bush, layered with Bowie artistry and the progressive folk rock tempo of Jethro Tull and Genesis; the style of Jenn Barrett & The Night Shift has been described as “theatrical, romantic and inspired by the drama of nature whilst exploring the depths of the human heart and soul”.

Like many children of the revolution, Barrett’s folk roots meandered up many strange pathways not least the hedonistic 1980s. “In the 1980’s I was listening to a lot of pop music and somehow this aesthetic infiltrated my work. I love the synth sounds from that time, they seemed to create an atmosphere of coldness, detachment and mystery. Although my work probably is more rock than folk, there are still folky elements that come through in my work.”

Jenn’s musical roots and early influences were definitively folk, “I grew up surrounded by English traditional folk music with both my parents involved in the folk scene in Adelaide since the 1970’s. Folk music is in my blood and has influenced my musicality tremendously. Listening to my parents and their friends harmonising, singing and playing laid the foundations for my future music and writing.”

“I’ve come a long way since that first collection of folk songs 15 or so years ago.”

Despite being raised in a musical family Barrett’s original artistic passion was dance, but by her late 20’s she had began to look at music differently.

“I started as a folk singer on acoustic guitar (see my album ‘Curve Of The Earth’). I had no training except for the few chords my dad showed me on the guitar. My lack of [formal] training allowed me to be free to do what I thought sounded good or worked.”

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Jenn’s assembly of versatile musicians in The Night Shift supports the complexities of the band’s sound. “Night Shift consists of John Meegan who is classically trained on piano AMEB and he is a fellow conservatorium pop music student. John plays in cover band King Bill and other bands since the 80’s, including Eric Eruption & The Volcanoes. Damien Williams from Motown Soul cover band The Fabulettes and Pink Floyd tribute band Us & Them is on guitar.

Our drummer Craig Fenwick currently plays in cover band Yesterday’s Heroes. Craig also drummed for originals bands in Melbourne, including JJJ Unearthed finalist in 2000, Undertow City. Craig also played in various

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Jenn Barrett

Photo supplied

With a Bachelor of Music (Pop & Creative technologies) at The Conservatorium in Adelaide almost completed, Barrett’s sense of working intuitively has not wavered. “I have always written and played music intuitively, it works for my music. However, my degree has helped me in my song writing structures and development which has been invaluable.”

Jenn Barrett & The Nightshift Photos supplied

cover bands in Adelaide including Lush. Nigel Walters is on bass and Nigel plays in cover bands in Adelaide including the David Bowie Tribute band Ashes To Ashes, folk rock originals band Spiral Dance, The Pretenders tribute The Brass Pockets and rock cover band Mug Shot.”

“I absolutely love bringing a song to my band and each musician in the band adds their individual touch to the song through their respective instruments. I’m not attached to how a song must turn out. Once the song is with the guys it takes on its own momentum and that’s always exciting!

I also like the process of writing a song. I usually get a statement of lyric come to mind and I build on a song from there. Or a musical phrase might come through when I’m tinkering on the piano.”

A romantic at heart; Barrett sings, writes and communicates, bequeathing the elusive open heart. “I love any music that is romantic, dramatic, tells a story or takes me on a journey of some sort. My music has a sense of journey and theatrics. It is quite eclectic and I don’t set out to sound like any particular artist but I do love the work of Kate Bush, I love her inclusion of dance, theatrics and dedication to melody.”

“When I am on stage something moves in me and there’s nothing like connection with an audience.

I hope my songs and my performance move people in some way. I’m all about feeling, getting out of the head and connecting with the heart.”

Jenn Barrett and The Night Shift’s new album UPON A HILL out now.

Website: www.jennbarrett.com Listening: https://soundcloud.com/jenn-barrettmusic/flight-of-the-bees YouTube: https://www.youtube.com/ watch?v=Pu2v_wbeO0k Instagram: https://www.instagram.com/ jennbarrett_and_thenightshift/?hl=en Facebook: https://www.facebook.com/ jennbarrettmusic/ Email: contact@jennbarrett.com

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MEGAreviews live Beth Hart @ The Gov 17/02/2019

by Jo Newman

At the tender age of four years old Beth Hart began her first love affair with classical music. She began tinkling on the piano, eventually playing some tunes from two of the greatest classical pianists Beethoven & Bach. As Beth got older she learnt cello and at 13 yrs old she studied opera.

By 15 years old Beth was playing at clubs in South Central Los Angeles and making a name for herself. Her own music journey was influenced by artists such as Etta James, Otis Redding, Led Zeppelin and more.

During Beth’s childhood she experienced an unfortunate and terrifying experience where her family home endured a violent robbery and it triggered within her a mental illness. Unmedicated, bipolar sent Beth through a horrendous journey for years fighting drug and alcohol addiction, anorexia, and bulimia; she spent time in and out of some rehab centres and psych wards.

Bipolar was a curse but also a blessing for Beth as she had said in her own words “Its not a good thing that I have it but I can be thankful because it’s a big part of my creativity”. 1996 her first album IMMORTAL with the Beth Hart Band was released through Atlantic Records. In 1999, Beth found fame with the success of her song “Out Of This Town” going to number one and featured in an episode of the final season of Beverley Hills 90210.

Fast forward to 2019 … Beth began her 2019 Australian Tour on February 14th in Perth with her second concert three nights later in Adelaide at The Gov, her first time in Adelaide with another sold out show. I was so lucky to be there to see her and hear with my own ears the flawless tones of her powerful unique voice and the heart grabbing lyrics that transcend you into some kind of time travel experience where you feel her pain, her angst, her searching, her happiness, and her life’s journey.

Beth stormed the stage after some serious chanting of her name from the eager crowd, kicking off the night with her ballsy rendition of Tina Turner’s “Nutbush City Limits”, running up and down the stage engaging the crowd who were singing along and dancing on the spot.

The 90 minute set list was made up of some crowd favourites, such as “Bang Bang”, “Fire On The Floor”, “Bottle of Jesus”, amongst others. Taking up the acoustic guitar Beth began to play one of my favourites “The Ugliest House On The Block”.

Most songs were accompanied with a short story; some were funny, some thought provoking, some sad. There was laughter from the crowd, there were also tears, especially when Beth began to sing her closing number, an all-time favourite of mine and many others … “Leave The Light On”.

What a moment to behold when the crowd started singing the chorus. I got goosebumps as I closed my eyes and listened to what sounded like a choir of angels singing. The crowd were there in the moment with Beth.

I left the concert feeling somewhat closer to Beth Hart and with a new appreciation for her music, her songwriting and her life’s journey. Being a vocalist and songwriter myself I was inspired. I hope Ms Hart returns to Adelaide in the future.

Anyone who hasn’t seen her live is missing out.

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Beth Hart @ The Gov Photos by Sue Hedley 17/02/2019

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MEGAreviews live Get Rocked! @ The GC - Grand Central 21/02/2019

by Michelle McGoldrick Les Gock helped change the course of Australian rock music in the 1970’s with an attitude of “playing in a band - how hard could it be?” Not so hard it seems with Gock and Rick Lum, the original Hush guitarists, continuing to make rock music look easy. Get Rocked are not a Hush reunion original singer Keith Lamb and drummer Chris Pailthorpe rarely perform anymore. Get Rocked is an incarnation of Hush featuring Gock and Lum with Mark Gable from The Choirboys on lead vocals, Peter Northcote on guitar and Fabrizio Omodei on drums.

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The result is an act which chronicles 70’s and 80’s Australian rock as Gock and Lum experienced it featuring covers, funny stories and a slide show back drop showcasing music legends from the coming of rock age era in Australian music.

Les Gock (a self-confessed shysta offstage) strutted and strummed with high energy at Grand Central as he talked the crowd through his lifetime of rock and roll archives and stories. Gock recounted his first meeting with AC/DC where he discovered Malcom Young loved Marc Bolan from T-Rex. Gock admitted he originally thought that AC/DC “might not go anywhere”. The crowd at Grand Central almost fell over laughing at this disclosure whilst briefly entertaining imagery of a sequined AC/DC rather than the jeans and school boy shorts look. Then to further prove the point Get Rocked belted out a heavy version of “Highway to Hell” which was simply superb.

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The history kept unfolding. Gock recounted how he first met Angry Anderson in 1978 at the office of Albert Productions in King Street Sydney and how Anderson’s signature handshake was disarming at best. A mean version of “Bad Boy for Love” followed. Gock also described meeting The Angels who openly admired Hush’s groovy amps and Doc Neeson’s memory was honoured with a version of “No Secrets”.

Gock affectionately talked about his friendship with the late James Freud describing his musicianship as genius and said he was inspired by Freud’s song writing. Alice Cooper also got a nod in the Get Rocked set with a cover of “School’s Out”. Status Quo’s “Rockin’ All Over the World“ was given the magic Gock/Lum makeover and reworked into a hip swinging version: Gock recalled how Hush toured with Status Quo in 1973, and Hush’s original singer Keith Lamb wrote songs for Status Quo including the top ten hit “Ol’ Rag Blues”.

When a photo of a young Stevie Wright lit up the stage the fever in the venue rose considerably.

Get Rocked’s version of “Evie Part I” was

irresistible and Get Rocked desecrated it in the nicest possible way.

Get Rocked front man Mark Gable confidently entertained the audience and, surprisingly, Gable easily filled the big shoes of Keith Lamb as front man and lead vocalist when the audience rose to the highly anticipated Hush songs. Gock introduced their biggest hit single as ‘the song other people didn’t have a hit with – but we did” proving “Bony Maronie” is a timeless reminder of glam days gone by. An encore of “Glad All Over” left the audience happy and wondering where forty years had gone.

Nothing stays the same forever but after the gig the band patiently talked to fans and signed endless displays of Hush memorabilia including original posters, album covers and gig flyers from the 70’s. There was a lot of excitement around this show and ongoing interest in Hush and Gock/ Lum collaborations look set for resurgence if Grand Central’s reception to Get Rocked means anything.

Website: https://www.getrocked.com.au/

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Get Rocked! @ Grand Central Photos by Sue Hedley 21/02/2019

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Get Rocked! @ Grand Central Photos by Sue Hedley 21/02/2019

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MEGAreviews live An Evening With Beeb Birtles @ The GC - Grand Central 22/02/2019

by Michelle McGoldrick Beeb Birtles comes home at Grand Central

Jetting in specially from Nashville Tennessee, Beeb Birtles performed to a hometown crowd at this year’s Adelaide Fringe Festival.

Beeb’s performance at Grand Central mapped the romantic and evocative life journeys of a generation of fans who navigated defining life experiences to the heart-melting harmonies of Beeb’s songs. Beeb’s fans grew into his songs at pivotal times of their lives - leaving home, falling

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in love, having children. The mutual respect and connection between the fans and Beeb’s music made for a very sentimental gig.

Beeb’s Adelaide fans aren’t an average audience - they’re more like Beeb’s family. “I’m just an Adelaide boy,” he told the devoted crowd whose warm applause confirmed their revere for him.

The vibe at Grand Central felt rhythm and soul.

The set contained melancholy hits like “Happy Anniversary” and “Reminiscing” but the band’s unexpected launch into a reworked version of

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Little River Band’s “Night Owl” hit a definite rock high, lifted by the fabulous backing vocals of Nanette Van Ruiten. Beeb’s banter with the crowd was relaxed and intimate. He explained how he joined Mississippi in Melbourne before Mississippi became the foundation for Little River Band in 1975.

Hanging on every word, story and note; maybe the crowd weren’t singing out loud but the glow in their eyes suggested their hearts were singing with rapture.

Beeb honoured his former Zoot bandmate Darryl Cotton as a great friend and inspiration. Zoot songs in Beeb’s set included the big 1970 hit “Eleanor Rigby” which was the encore of the night.

Rob Pippan’s outstanding guitar work on Eleanor Rigby reminded the crowd why the song is a rock classic.

In addition to Beeb’s singing, Dino Jag rode lead vocals comfortably along with his jivey stage strut. Craig Holden joined the band on stage and charmed the crowd with his imposing vocals and relaxed dancing tempo.

Probably the most anticipated song of the night was Beeb’s post-LRB hit “I’m Coming Home” which easily peaked as the nostalgic moment of the performance. Beeb’s entire performance at Grand Central was a reminder why some musicians are born to write great songs. The gig was also a celebration of Adelaide as a longstanding centre of artistic talent and song writing brilliance.

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An evening With Beeb Birtles @ Grand Central Photos by Sue Hedley 22/02/2019

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Live Sound Advice

by Frank Lang

LEARN TO LISTEN As a live sound engineer I find a good musician easy to mix.

I may not really have realised it but I have learnt to listen.

A good bass player for instance is so easy to mix, whether DI or microphone or both if the players technique or let’s face it, his or her hands have got it, then it’s “in the room”, no hassle.

Maybe that is why when recently at a venue down the road from a big outdoor concert when I commented to my mate, (I was mixing his band that night), how loose and sloppy the subs and bass sounded and he piped in with “but Frank, some people like it like that”, and now on reflection I think, yes, but I’m sure if they heard a really tight accurate bass it would double their listening experience. They don’t know how good modern sound systems can sound, or even how good they go.

There is an old adage goes something like: ’S...

In S... Out’. And from my experience it’s true.

For a singer, it’s mic technique that will get them through, and might I add just a little knowledge about the mic they are using and its characteristics, or if it’s a radio mic how to set it up, and how it compares with other mics.

One singer I worked with had a mic the salesman had told her was very good, hmmm! Well any old SM58 would beat it let alone a beta, “but the salesperson said!”. And then after insisting on the less than desirable mic, “I need more foldback”.

Any old drum kit? Well if you don’t know how to tune a kit without a thousand things a drum shop want to sell you, then don’t play the drums. Or the gaffer tape skin damper, black strips all over the place and the result … a dead thuddy lifeless approximation of a kit.

What are you hearing?

There is a lot of misinformation out there, the latest gizmo the newest thing, and as far as sound goes who’s to say I’m right, “everybody hears things differently”; well I doubt that, and here’s a fine point but, some people have ‘learnt to listen’.

Over many years I have had some great guidance from people I respect and admire and perhaps because of their status I felt intimidated, and never had the idea to stand up and admit it but they have instilled in me the ability to listen.

In previous blurbs I have mentioned HIFI, good PA’s, better and best sound systems, clapping hands when entering a room to assess the sound characteristics, listening to a guitar unplugged and hearing it ring and sing and after plugging the thing in finding it was playing me.

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I love doing sound and urge anyone contemplating a career In sound to take all necessary steps to learn to listen, so as to put as much of what they hear into their work.

Attend rehearsals, listen to hifi, tune a drum kit, strum an acoustic guitar, listen from side stage, encourage your band to buy the best speakers they can afford.

The technology is sensational, at present, but with a monkey at the mixer even the best gear can’t help much.

Cheers, Frank

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MEGAlocal Send your local music news to: rsm@risingstar.com.au COLLARDS GREEN AND GRAVY ARBA Presents Autumn Blues with Collard Greens and Gravy at the Wheatsheaf Hotel on Friday 10th May, with special guest J.J Fields.

Aria award winning band Collard Greens and Gravy have been forerunners of the Australian blues and roots scene since their formation in 1995. Since that time the band have clocked up countless miles performing their gritty driving blues to thrilled audiences at major festivals across Australia as well as in the United States.

Tickets online: https://www.trybooking.com/ book/event?eid=490038 ARBA members $20; General public $25 At the door: $30 if available

LAZY EYE & CHRIS FINNEN AT LEFTIES IN WHYALLA Live@Lefties is back and their first show for over a year is going to be a belter with Lazy Eye and Chris Finnen on Saturday April 27th.

Live at Leftys is at 12 Dick St Whyalla.

KINGS & ASSOCIATES Kings and Associates U.S Tour Farewell Fundraiser at The Gov on Saturday 1st June.

In support of their ‘2019 U.S Summer Tour’ Kings and Associates will be hosting a farewell celebration at THE GOV on Saturday June 1st.

Ticket prices have been kept to a minimum so please come with some “change to throw in the bucket” and help the guys out as they embark on the next phase of their exciting journey.

For more info go to: https://www.facebook.com/ events/258183805057503/

ERIC BIBB TO TOUR AUSTRALIA Eric Bibb (USA) to tour Australia with his band.

He will be playing at The Gov on Sunday May 22nd with support Lazy Eye. Ever on the move, pursuing a career spanning five decades, never resting on his laurels, Eric Bibb has a full bag of stories to tell from around the world and here he comes, bringing his new album Global Griot with him.

A leading bluesman of his generation, two time Grammy nominated Eric Bibb will take to the stage with his sensational band for an evening of uplifting and inspiring folk and blues. Having previously wowed Australian audiences many times over the years, a fiery singer with true soul, gospel and folk roots, it will be an honour to welcome Eric back to Australia.

There is no doubting Eric’s status as an acoustic blues legend. Since his first album in 1972, Eric has released 37 albums and enjoyed a non-stop touring career spanning five decades. Carving his own musical destiny with honesty and power, Eric Bibb is a remarkable live performer who has performed for Nelson Mandela and with renowned artists such as Charlie Musselwhite, Toumani Diabaté, Glen Scott, Larry Crockett, Habib Koité, Jools Holland and many more.

Grounded in the folk/blues tradition, the Bibb sound is unique, no matter which direction he chooses. Never trend-led, never dictated to by commercial concerns, not chasing chart positions or volume sales. Eric follows his heart and it hasn’t steered him wrong yet, propelling the blues into a new century. His music rooted in tradition, but with a large helping of contemporary sensibility to make it both retro and relevant.

Doors open @ 7:30 pm Tickets $80 + Booking Fee www.thegov.com.au

PHAT STUFF Phat Stuff is at The Alma Hotel Willunga on Saturday 18th May.

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Just Another Hollywood Story - Uncut

by Linda Summer - www.lost-for-words.net

I recently shared some thoughts on Stage 32, an online global networking and education platform for creative folk.

The defamation cases involving Australian actors prompted me to share a memory from the 90’s about a likeable head honcho in television in Sydney who instructed me to include a specific boob shot in a movie promo. (Lest we forget that sex sells.) He even wrote down the exact timecode in-point to make sure I chose the right boobs.

In this #MeToo age, an incident like that would probably spark outrage and legal threats. Back in the day, I just laughed it off and interpreted the boob incident as a clear sign that the time was nigh to find a meaningful job. My tolerance for relentless idiot box workloads had also worn dangerously thin.

You Just Never Know Who You’re Gonna Meet

My comments led to a compelling response from American film director David Trotti and a refreshingly frank discussion about the bright and not-so-bright sides of Hollywood. I asked him for permission to share his recollections about the razzle-dazzle trade and he kindly agreed.

Bearing in mind that the following stories hail largely from the 90’s, echoes clearly still remain.

“Yeah. It’s always been a rough trade. I’ve heard stories of aspiring actresses in the early days performing favours just to get on the lot to have a chance to get hired as an extra for a day. Casting offices would stop putting out mintcandy in bowls because the starving actors would clean them out. In that sort of desperate power imbalance, a lot of people got taken advantage of.

It was bad enough that the wives of the studio executives raised money to build low-to-no-rent all-female apartment buildings to keep young women who’d flocked to Hollywood from sleeping in library basements.

In that sort of desperate power imbalance, a lot of people got taken advantage of.

I have been on shows where a producer cast an actress just to have a shot at her. I have been at a party where I had to keep my director from successfully seducing a prop girl who was too drunk to even say yes or no. Which should be an automatic no.

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On the other side, I have witnessed actresses stalking directors, producers and actors with the intent of seducing them for jobs, love, hero-worship or just another notch.”

Stars In Their Eyes, Dreams In Their Hearts “One of my darkest days in the business was when a buddy of mine was hired to direct a film and he asked me to sit in on the casting. It was a nude kickboxing movie they were going to shoot in the Philippines. Needless to say, there wasn’t a lot of ambiguity about what was required to be in it. 1) Nudity. 2) Kickboxing. I will also say my buddy was a stand-up guy, the casting director was a pro and I was a guest in the room.

So the casting session starts and I have to say that of the fifty so women who came and went that day, all of them could be broken down into three categories.

Category One: These girls were fresh off the bus from Iowa, Calgary, small-town beauty queens and high school musical Dorothys. They had no idea what they’d gotten themselves into, but they had stars in their eyes and dreams in their hearts. This was a job! In Hollywood! A SAG job that meant a Union Contract. Okay, maybe it might require some nudity, but it was going to lead to bigger and better things.

Unfortunately, most of these girls had been met at the bus stop by unscrupulous “agent” assholes who were really just camouflaged pimps. They’d drag these girls around to all sorts of cattle calls before us as well as stops at Playboy, Penthouse and Hustler.

One poor girl - and I’ll always remember this - when the casting director asked for her ‘headshot’, turned bright red and then reached into her backpack and produced a Polaroid beaver shot that she’d had taken at her first stop of the day.

We quickly gave it back to her and said that’s not what we meant.

These were girls you just wanted to hand bus money to and say “Go home. Save yourself. Please.”

Category Two: These were the gals who had been in town for a while and knew the score. But this was the job that was going to get them the next one that was going to get them a TV guest slot, that

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was going to turn recurring and pay the rent. They were jaded versions of the Category One girls, but they still had hope and dreams. And they weren’t going to go back to East Texas until they could show up, head held high and say they’d made it.

Category Three: Then there was Category Three.

And the decline from level two to three was so sharp and severe it was striking. These girls had been in town too long and they would do anything, and I mean anything, for enough scratch to score their drug of choice just to get them by.

You could see that these were Category One girls who’d had the dreams burned out of them by one of those asshole pimps who put cigarettes out on their skin nightly. They would walk in the door and flash flesh with the singular goal of selling the merchandise. They had no room for morals. I don’t even know if they considered themselves human beings anymore or if they, like their asshole pimps, found their only value as commodities of flesh and lip gloss.

I think the Director and I were shell shocked by the end. The Casting Director was a good guy, but I think he’d seen it so often he was numb to it. None of us did anything unprofessional, we certainly didn’t take advantage of the situation. But also, we didn’t hand out bus money. Heartless? Maybe, but we knew none of them would use the cash for bus fares. They’d use it to get by one more day in Hollywood.

Because tomorrow, it was going to happen.

Fame, Fortune and Stardom. Because no one believes they’ll hit Category Three. Till they do.”

Pimps, Hitmen & Heroin

And I will always remember her telling me this: “I ended up being taken to heaps of Sydney’s exclusive A-lister parties. You’d be really shocked at how many celebrities and even sports stars are recreational heroin users. Trouble is, heroin is a disease. The first high is so mind-blowing that you keep going back for more. But you never get to that place again. You just fuck yourself up.”

Turns out Australia and Hollywood ain’t so different after all. Her sordid story would probably make an eye-opening Australian gangster movie one day.

My conversation with David then moved on to the brighter side of Hollywood where he provided further insights and useful tips for aspiring stars.

One In A Hundred Thousand Shot

“I would never wholly dissuade someone who has the means and desire from making the pilgrimage and trying to make a go of it if that is their life’s dream. I also have examples of people who did make it and did not go down that dark path. Some people are fortunate enough to fall on the legitimate side of the business with professionals who do take their responsibilities as agents, producers and executives seriously.

The real problem lies in that shaky ground in between the extremes not just where physical and emotional exploitation can take place but also where lives and potential are wasted pursuing what is statistically a one-in-a-hundred thousand shot.

Even making it in Hollywood does not mean an actor can count on a sustainable career or a comfortable retirement.

After reading that, I felt far from magical. If anything, I worried about our Australian starlets and studlets with ‘stars in their eyes and dreams in their hearts’. And old memories resurfaced about losing my childhood best friend to pimps, hitmen and heroin in the 1980s. She could have been a Vogue magazine cover girl but her pimp boyfriend brutally killed that possibility. Instead, she swiftly spiralled to Category 3. Then Category 4 - drug mule.

And talent does mean a great deal. The problem is it gets lost in the sheer numbers. There are so many actors and actresses and so few paying gigs.

And sometimes you can be the best performer but just not have the right look that the director had in mind. It can all seem very random and heartless and cruel. But it can also be a hell of a fun ride.”

She eventually ‘confessed’ to her secret life of drugs, prostitution and mafia bosses in the mid-80’s after stupidly thinking I would believe her innocent ‘I’ve just had a 5-star holiday in Bangkok’ story. When I jokingly suggested she hire a hitman to get rid of him, she said: “I can’t do that. They’re all his friends.”

“If someone is young and attractive (male or female) with enough money to live for six months and wants to party in LA while making a go at acting, God bless them. Use a condom, don’t do anything that requires needles, travel with a posse you trust not to leave you behind in a gutter, don’t drink anything you didn’t see poured out of a sealed bottle, have enough money saved for airfare home and if you’re an actor, for God’s sake don’t get a tattoo.

I didn’t know whether to laugh or cry. From memory, we laughed.

“He hates your guts, Linda. He’s scared you’ll go to the cops.”

Sage Advice For Fledgling Dream Weavers

The rest you’ll figure out.”

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MEGAreviews live Glittery Clittery @ Adelaide Fringe Festival 23/02/2019

by Michelle McGoldrick Feminism Glittered in The Garden Of Uneathly Delights at Adelaide Fringe Festival - #GOUD19 The small stage in Le Cascadeur in The Garden Of Unearthly Delights was themed by pink and purple costumes and wigs for Glittery Clittery’s performance. It was a riotous performance which showcased the power imbalances women encounter every day as dominant themes in the feminist narrative of the show. Themes ranged from female pleasure zones to the creepiness of patriarchy. Shock value was in overdrive when the trio explained how correct female anatomy was not extensively included in medical science texts until 1998 and that it was Australian woman, Helen O’Connell, who pioneered this change.

Not for the morally squeamish, the trio performed an undulating song highlighting the inherent and perverse sexuality of modern dating where machismo and penis fetish masquerade as ‘he only hurts you ‘cause he likes you”.

The Fringe Wives Club: Glittery Clittery Photo supplied: Photo by Jacinta Oaten

A mock game show was created with audience member participants of two women and a man who hilariously guessed myths and truths about the female body offset by a cheery anatomical outfit flitting around the stage. Other topics explored included orgasm without physical stimulation, toxic masculinity and imitations of the not so adorable entitlement of ‘blokey Straya’.

It was fast paced, witty and political comedy theatre which showcased the multifaceted talents of the three artists in the group through high energy gags, singing, evocative dancing and songs on keyboard, banjo and guitar.

Whilst a small handful of people left the show early, the remainder stayed and hooked into the themes the trio explored including the grim statistical reality in modern Australia: two women per week are killed in gendered acts of violence. Glitter and info-attainment aside: Australian audiences love theatre but society has a long way to go to understand the full impact of misogyny.

The Fringe Wives Club: Glittery Clittery Photo supplied: Photo by Nicole Cleary

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The Fringe Wives Club use black humour offset by unashamed comedy in a high energy forum to deliver important feminist messages. The theme of the show seemed more clit than glit, but with a month of sell out shows at Adelaide Fringe Festival the clatter proved gold for the hit show.

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MEGAlocal Send your local music news to: rsm@risingstar.com.au

CALLING ALL SONGWRITERS

THE LACHY DOLEY Saturday May 11th The Lachy Doley Group is performing at the Gov.

ARBA MEMPHIS BLUES CHALLENGE 2019 Heat 1 of the ARBA Memphis Blues Challenge is at the Semaphore Workers Club on Friday June 21st. Artists performing are: Steve Gower The Justifires Tin Can Alley Kings & Associates Rusty Bonnet Lazy Eye Mojo Dingo Heat 2 of the ARBA Memphis Blues Challenge is at the Semaphore Workers Club on Sunday June 23rd. Bands performing are: Mick Kidd and Dave Blight Black Asprin Lily and the Drum Blackwood Slim & The Fat Cats The Keith Hall Blues Trio Kennett Honey Badgers Heat 3 of the ARBA Memphis Blues Challenge is at the Semaphore Workers Club on Friday June 28th. Bands performing are: Cobb & Co Holler and the Bones A.P. D’Antonio House Reckers Sam Clemente Fangin’ It The Matt Hawkins 4

Deadline extended for the 2019 Vanda & Young Global Songwriting Competition.

Get your song heard like past winners Amy Shark, Gretta Ray, and Kimbra. Cash prizes of $70k + full entry fee supports the work of Nordoff-Robbins Music Therapy Australia.

Entries close May 2nd, so submit your entry now.

http://apraamcos.com.au/ vandayoungsongcomp/

With thanks to Alberts, BMG, AON and APRA AMCOS, this year’s winning songwriter/s will take home a cash prize of A$50,000 and join the eminent company of past winners Megan Washington (2009), Kimbra (2011), The Preatures (2013), Husky Gawenda (2014), Gretta Ray (2016) and Amy Shark (2018).

Two runners up cash prizes are also on offer with second place receiving A$10,000 thanks to AMPAL (Australasian Music Publishers Association) and third place taking home A$5,000 thanks to Aon. An ‘Unpublished’ prize of A$5,000 is also up for grabs.

It’s easy to apply; all you need is:

Tickets online for $20 for single heat tickets or $45 for a ticket to all 3 heats (50 cent booking fee applies) Tickets from: https://www. trybooking.com/book/event?eid=481665&

• Your song/s in MP3 or M4a format • A digital photo of yourself (Max. 5MB) • Your biography (Max 300 words) • A scanned letter of authority from your parent or guardian if you are under 18

The Final of the ARBA Memphis Blues Challenge is at The Gov Saturday on August 24.

This is a global competition open to all songwriters – published or unpublished.

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MEGAreviews live Thin White Ukes @ Spiegeltent @ Fringe 23/02/2019

by Michelle McGoldrick Photos by Sue Hedley A Bowie Odyssey at The Garden Spiegeltent @ Adelaide Fringe Festival

Long before he floated out the cosmic door in 2016, the Thin White Ukes were re-working David Bowie songs across Melbourne pubs, clubs and David Bowie Is exhibition.

In The Garden Of Unearthly Delights this year these mama-papas came on stage loaded with attitude and easily licked the audience just by smiling. Performing in Adelaide in 39 degree heat threw a challenge for the trio with new Ukulele strings demanding improvisation at times. But the band managed to hit ignition in the Spiegeltent with Bowie songs that alternated from a funky “Let’s Dance”, to an achingly tender “Where Are We Now”, to “Space Oddity” with its’ crazed crescendo finish.

Described as a song Bowie never played live, “Lady Grinning Soul” had the audience transfixed: were our hearts breaking because of the lyrics, Bowie’s passing, or the melancholy of the strings? No denying the Thin White Ukes excel at atmosphere: there’s plenty of sadness and despair in many

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Bowie songs and this band manipulate audience emotion as skilfully as Bowie did. Gratefully, the encore of the set was a reprieve of “Queen Bitch” which cut through all the angst and delivered the dirty trashy rock feel of Bowie’s early mindset.

Bowie’s sang on “Fill Your Heart”, ‘gentleness clears the soul, and love cleans the mind and makes it free.’ And so it was at the Thin White Ukes Fringe gig where nostalgia came in the guise of a melodic love-in wrapped up in layers of clever musical arrangements and a playful dose of accessibility to the charms of the ukulele and Bowie’s endorsement of the instrument. The audience at Fringe looked bemused when Dwyer rightly revealed Bowie had composed songs on the ukulele when he lived in Berlin in the late 1970’s. But now we get it: the ukulele’s sweet and comforting sounds align with the ethereal hug Berlin gave Bowie as he healed and moved on from the toll fame and its’ excesses had taken on him.

Thin White Uke’s are neither tribute nor cover band, and the choice of ukulele as the band’s only instrument on stage has created much curiosity and comment amongst audiences. The band have been together for five years and in such time have perfected the art of immortalisation, theatrics, musical accomplishment, harmony and the magic ingredient that can’t be manufactured - likeability.

Undoubtedly, there’s a proliferation of requiem Bowie bands around the world, but the Thin White Ukes performance at Adelaide Fringe Festival reassured fans we’re in a post-Bowie era now.

In many ways, we’re heading into the best of Bowie times.

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Betty France

Betty France on soprano ukulele is a glamorous Lady Stardust who invites the audience to give her their hands and turn on with her. With her snow white screwed up hair doos Betty lays belief on us as she easily pushes ahead of the dames.

This lady’s grinning soul is up there for all to see and we love the feel of her musical caress.

Robert

Robert on baritone ukulele is a solitary candle from that old fashioned band of men who are awfully nice and really quite paradise, a wandering star who can really play guitar (aka ukulele). He’s not a prophet or a stone aged man, Rob’s expression might just be saying ‘look up here I’m in heaven’.

Michael Dwyer

Michael Dwyer on tenor ukulele is the special man who creates solos that make the audience jump into the air. Rockin’ a Blackstar jacket, Michael is an old-time ambassador of sweet-talking, night-walking games: the chameleon, comedian, corinthian and caricature. But hey, he’s only taking care of the room.

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SA Paranormal

By Allen Tiller THE TRUTH BEHIND THE INFAMOUS “SCHNEIDER’S ALLEY” Not far from Waterfall Gully sits Schneider’s Alley, a well-known local urban legend about an evil doctor that is alleged to have murdered people and put their bodies into a freezer.

Within the urban legend is the story of a blue ghost seen in the area that scares away visitors … but how much of this story is true?

Schneider’s Alley is actually a combination of a number of true stories, mixed together with mythology, misinterpreted eye witness accounts and misinformed whispers that turned into Adelaide’s greatest urban legend.

The “Alley” itself doesn’t exist, instead a small alleyway called Andrews Walk, which was once the main entrance of the residence of Clifton Manor has been appropriated as the haunted walkway as well as the large park behind it.

The good doctor in question, Dr Michael Schneider, was in fact not a GP, nor an experimental doctor.

He was in fact an optometrist, an “eye doctor”. Dr Schneider was very well loved in the wider Adelaide community for his charity work and for his animal and plant sanctuary, of which he would open for public usage. Local Adelaidean’s could enjoy the splendour of his estate at open days and events, his sanctuary featured native animals and birds, as well as a vast variety of plants, flowers and foliage.

Dr Schneider was a good man, a man who served for his country, the Empire and King George in World War One, and returned a hero. His name and legacy are now stained by the local urban legend that has grown out of hand off the back of curious thrill seekers and social media chat rooms.

Dr Michael Schneider acquired Clifton Manor in 1934. He lived in the house with his wife from this point on until his death in the 1970’s. Dr Schneider established a native wildlife and bird sanctuary on the 40 acres of land he owned behind Clifton Manor, which included a Koala enclosure. After enlisting in the Australian Medical Corps in World War 2, Dr Schneider closed the sanctuary and released the koalas back into the wild. His remaining animals were donated to the Adelaide Zoo.

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Clifton Manor

Photo: Allen Tiller

There is no record of murders, rapes or anything sinister ever happening on the grounds of Clifton Manor. It is reported Dr Schneider died at his home in the 1970’s. The house and land were then bought by T&G Mutual Life Society and subdivided into the current format of streets, parks and housing found today. I have spoken to former neighbours of the good doctor, and they themselves cannot believe his name could become so tainted in modern Adelaide.

I have investigated the site and surrounds myself on numerous occasions and could not find any evidence of a haunting (this of course does not mean it isn’t haunted). I tried every tactic I could think of, and got nothing, not even one simple EVP … If there is any kind of ghostly goings on here, it does not want to be found nor seen.

So where does the story originate from? Well, in my opinion, which is formed from countless hours of research, interviews and investigations locally, is that this story is a bastardisation and union of two other events that happened very nearby, twisted into an urban legend that spread through Adelaide like a wildfire. There was a notable death in the area, only two streets from the allegedly haunted site, where a man had been found, cut into pieces and stuffed into a chest freezer, this was during the early 1990’s, which is just enough time for the story to grow into what it is now.

Combine that with the 100-year-old story of the haunting of Waterfall Gully, where the ghost

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Manor are still standing and now mark the entrance to Andrews Walk on Halite Rd, Stoneyfell - Clifton Manors entrance being moved to Waratah Way. Dr and Mrs Schneider lived in the large house together and had two housemaids who also lived in the house, and a gardener. The gardener lived in a small stone cottage out on the grounds, near Dr Schneider’s zoo. Dr Schneider passed away in the early 1970s.

Park behind Clifton Manor 2010 Photo: Allen Tiller

of Constable Tregoweth is allegedly seen as a “blue glowing” man, which is almost the exact description of the ghost reported by many witnesses in the Schneider’s Alley area. There is also something else I would like to point about this story, the majority of the reports (but not all) come from people who were out to “scare themselves”, most were drinking, drunk or stoned, going into a location (some illegally) trying to scare themselves or the people they were with.

This leads to all kinds of stories, variations on the truth, and people witnessing things that were actually staged scarings meant for other groups of people, you can see where this is going right?

People wanting a thrill or a scare is an age-old thing, and what better way than to go somewhere allegedly haunted, I have done it myself, but I cannot stress enough that having respect for the location, the people that live around it and for other people who may be present, as well as the alleged ghosts, is paramount.

Close to Schneider Alley, and the actual crown of the original Doctor Schneider’s estate is Clifton Manor, a large, castle like structure that sits nearby the park and walkway that attracts all the attention – this is a private residence, so please, don’t go bothering its inhabitants looking to investigate, you will probably receive a hostile “go away!” or some other choice words.

Clifton Manor was built in 1850 by C.D. Sismey after acquiring the estate from Harry Osbourne.

The house was added to by Nathenial Cox in 1872.

The manor was passed on to a nephew, Mr Harloe Knox in 1926. Harloe Knox subdivided the large estate and sold off approximately 50 acres of land.

The manor then was sold (with approx. 40 acres of land) to Mr Hermen Hoeper - who in 1934 sold it Dr Schneider. Dr Schneider then established a wildlife sanctuary on the surrounding 40 acres (of which most is now a park). The original driveway and gates of Clifton

Schneider’s Alley in my opinion is an over hyped union of other local stories, It may indeed by haunted, but there was no experimental laboratory or deaths at the hands of Dr Michael Schneider, so you can count out that being the cause of the alleged haunting … however, this is an urban legend that just will not die, and surfaces from time to time in the local media. I implore the local media to investigate the case further and clear the name of the doctor and hopefully dispel some of the rumours and myths so that he may rest in peace and the people that live around this much visited site may also get some peace and quiet.

Allen Tiller (ALIAtech, DipFamHist) is Australia’s most recognised paranormal investigator, eminent paranormal historian, and star of the international smash hit television show “Haunting: Australia”.

Allen is also the founder of Eidolon Paranormal, South Australian Paranormal and the author of book and blog, “The Haunts of Adelaide: History, Mystery and the Paranormal”.

He is winner of the 2017 “Emerging South Australian Historian of The Year Award” as presented by The History Council of South Australia. Employed as “Historian in Residence” in 2016/2017 with the Adelaide City Council Libraries and employed by the City of Port Adelaide Enfield Council to write the popular, “Ghosts of the Port Self-Guided Walking Tour” You can find Allen online at: www.AllenTiller.com.au www.EidolonParanormal.com.au www.twitter.com/Allen_Tiller www.facebook.com/ AllenHauntingAustralia https://www.facebook.com/ TheHauntsOfAdelaide

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John Corabi @ Enigma Bar Photos by Sue Hedley 31/03/2019

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RockFest: War Of The Surf and Rock Guitars Photos by Sue Hedley 24/02/2019

ELECTRIC MARY

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RockFest: War Of The Surf and Rock Guitars Photos by Sue Hedley 24/02/2019

DIVA DEMOLITION

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RockFest: War Of The Surf and Rock Guitars Photos by Sue Hedley 24/02/2019

CHRIS FINNEN

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GAIL PAGE

MAC JOHNSON

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RockFest: War Of The Surf and Rock Guitars Photos by Sue Hedley 24/02/2019

ATOMIC RIOT

DARCEE FOX

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COSMIC BIKINI

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THE SWINGING SURF SEX GODS

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RockFest: War Of The Surf and Rock Guitars Photos by Sue Hedley 24/02/2019

SHEWOLF

MORAYGUN

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TIM GAZE BAND

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MEGAmarket Scene Here are some of the markets on in Adelaide.

Adelaide Central Market When: Tuesday 7am - 5.30pm, Wednesday & Thursday 9am to 5.30pm, Friday 7am - 9pm, and Saturday 9am - 3pm Location: Grote Street, Adelaide Shop at the Market with First hour free parking Tuesday - Saturday About: A huge range of fresh food, all under one roof - fruit and vegetables, meat and poultry, seafood, gourmet cheeses, bakery products, sweets, nuts and health foods. www.adelaidecentralmarket.com.au/

City East Market Location: 230 Flinders Street, Adelaide About: The market features a broad range of sellers and products from around Adelaide.

Bowerbird Design Market When: Twice a year Location: Adelaide Showgrounds Entry: $5 (Children free entry) Time: Fri 4pm – 9pm, Sat & Sun 10am – 5pm About: Adelaide design market. Talented designer makers from SA and around Australia http://bowerbird.net.au

Adelaide Showground Farmers Fisherman’s Wharf Market Market When: Every Sunday 9am -1pm Location: Adelaide Showground, Leader St Farmers markets are the best place to find healthy food direct from the source.

You will be supporting local industry, growers and farmers as well as getting the freshest produce.

Blackwood Craft Market When: 1st Sunday of the month 10am - 4pm Location: Blackwood Memorial Hall Cormandel Parade, Blackwood Entry: Free About: handmade craft items Contact: Kerrie Gould kgould6@bigpond.com

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When: Every Sunday from 9am - 5pm and Monday Public Holidays Location: Black Diamond Square, Port Adelaide www.fishermenswharfmarkets.com.au

Gawler Lions Station Market When: Every Sunday 8am - 12pm Location: Gawler Railway Station About: Arts and crafts, fresh local produce, bric-a-brac, tools and more.

Gepps Cross Treasure Market When: Sundays 7am - 1pm Sellers admitted from 5am Buyers admitted from 7am Location: Mainline Drive In @ 588 Main North Road, Gepps Cross Entry: $1.50 per buyer (under 14 years free)

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Gilles Street Market

Makers and Shakers

When: October to May the market is open on the 1st and 3rd Sunday of the month. From June to September over autumn/winter the market is held on the 3rd Sunday of the month.

Location: Gilles Street Primary School 91 Gilles Street, Adelaide 10am – 4pm About: a focused fashion & accessories market only www.gillesstreetmarket.com.au

10am - 3pm Location: Woodville Town Hall 74 Woodville Road, Woodville Entry: $2 (Kids under 12 free) About: Homewares, furniture, food, flowers, stationery and photography.

Also in Melbourne and Sydney. www.themakersandshakers.com

Labels Style Market

When: 1st Sunday of the month Time: 10am - 2.30pm Location: St Bedes Anglican Church 200 Military Rd, Semaphore Location: Druid Ave, Stirling Entry: Free

Time: 10am - 4pm Location: Plant 4 Bowden Third Street, Bowden Entry: Free Contact: labelsbuyswapsell@outlook.com Organiser: Katelyn Gabriel http://www.labelsstylemarkets.com

Lollypop Markets

Semaphore Community Market

Semaphore Twilight Market Friday nights during December January each year from 6-9pm

and

Wild At Hart Fresh Food Market, Time: 10am - 3pm Location: Morphettville Racecourse Port Adelaide About: It showcases unique, boutique and handmade, or of limited supply items for When: Open Sundays 9am - 2pm expecting parents, babies and children.

Location: The Harts Mill precinct http://lollipopmarkets.com.au About: A farmers market with fresh food and produce http://www.wildathart.com.au Market Shed on Holland When: Sunday, 9am - 3pm every week Where: 1 Holland Street, Adelaide (behind the Gilbert St IGA) Contact: marilyn@themarketshed.com.au About: One big bustling shed is filled to the brim with local food producers selling their wares. The market focuses strongly on organically and locally produced food.

Round She Adelaide

Goes

Market

Held in Adelaide 3 times a year check dates on website http://roundshegoes.com.au/ whenwhere/adelaide-dates/ Location: Woodville Town Hall 74 Woodville Road, Woodville Entry: $2, 10am-3pm About: Pre-loved Designer and vintage clothing, and handmade jewellery. Also in Melbourne and Sydney. http://roundshegoes.com.au 49

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MEGAreviews live Iggy Pop @ Festival Hall, Melbourne 21/04/2019

by Michelle McGoldrick Whilst Anzac Day celebrations loomed in Melbourne, General Dozer threw on his invisible battle jacket against conformity. Testimony to democracy’s war-won freedom, Iggy continues to shock rock fans in the free world.

The derision of the opening song “I Wanna’ Be Your Dog” heroically greeted the purveyors of rock rebellion and anarchistic expression at Festival Hall. This is what we’re talking about: once unimaginable, a 72-year-old grand daddy-o of punk reigns in post-70’s survivalist supremacy whilst the next generations watch and weep.

There’s plenty of acts around today who spruik anti-fashion, but Iggy Pop’s torso and hair harken back to the days when individuality was benchmark. Obviously stiff and limping at times, Iggy’s body at Festival Hall still radiated determination with occasional hip-flicking jigs, a little skip here and there, and impromptu physical contact with fans close to the stage. Image aside, the secret to Iggy’s success and longevity lies in the formidably good songs penned over the decades with “Skull Ring”, “TV Eye”, “Five Foot One”, and “Real Wild Child” re-jigged with keyboards, horns and garage punk rhythm.

Mentored to fame and distracted from heroin hell by his co-muse Bowie, the pair wrote, performed, produced and collaborated from New York to Berlin: “Nightclubbing” with its’ blood pumping drum machine beat immediately

Mosh pit VIP ticket

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roused the gift that was Iggy’s first solo album The Idiot. With words unspoken, Iggy thanked Bowie with a requiem version of “The Jean Genie”.

It’s hard to believe Iggy’s act was originally considered just that: etched in our minds is his train wreck 1979 Australian TV appearance on Countdown. But his performance on Easter Sunday reminded the conservatives how wrong they can be: sure, Iggy was a naughty boy but over 50 years he’s morphed into a messiah of punk, post-punk and God knows whatever next.

It’s no miracle or reprise resurrection either – the dance-punks were on the money when they started describing music as substance and the thrill and danger in Iggy’s songs has never dimmed.

At the end of the show Iggy gave the Melbourne audience a sincere bow of respect. The man was genuinely humbled by the turn out, the impromptu ‘happy birthday’ sang to him by the fans and the repeated calls for encores. It was a telling moment still; somewhat apocalyptic, perhaps a pending fade out from a born showman who became the original go-poseur.

From a lifetime of pushing boundaries, expect Iggy Pop to keep knocking ‘em down in the cities as age may weary but not stop this soldier. In the battlegrounds of punk this is an extraordinary story of an artist who will search and destroy to the last gasp.

The tour poster

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Photo: Sue Hedley

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