Category: Ω And much, much more!

Karen Conrad introducing ‘SHE RATES’ for female-driven PR campaigns

In an attempt to try and fix the gender pay gap still in effect in Australia, Melbourne publicist Karen Conrad has introduced ‘SHE RATES’ for female-driven PR campaigns until January 30th 2017. The gender pay gap currently sits at a high 18.8%, which has prompted many calls for the Federal Government to reverse the trend. Currently, men earn almost $300 more per week, based on weekly earnings for full-time employees.

If you’re a woman with a new arts, fashion, music or theatre project to promote, jump on this opportunity and book in with Karen Conrad – you can also advance book projects with an end date before May 30th 2017.

“Last year I ran a special for four months to offer quality PR campaigns for women at 20% off my regular fees,” Conrad has said. “It went over so well, I’ve decided to do it as often as I can afford to.”

http://music.theaureview.com/news/the-state-of-affairs-september-2nd-2016-karen-conrad-introduces-she-rates-justine-clarke-josh-pyke-team-up-for-charity-single-more/

DISCLOSURE:
I am a woman first. That means I am a feminist, because I have to operate within the confines of this sexist world and in particular the music/media industry.
It’s 2016 so I’m pretty annoyed that I still have declare that I’m a feminist. I mean, why do I have to even say that?
Instead, I think everyone who doesn’t believe in equality should have to declare “I’m a sexist asshole.” Then we’d know to stay clear of the idiots, right?
In recent days the Australian feminist/music community has been troubled by the national tour of a pack of sexist dudebros who happen to be in a band.
Long story short, their lead singer brutalised a woman (who used to work in this industry, too) and the band stood by knowing that and also allowed fans and one band member’s partner to participate in online bullying and threats to the survivor’s family and friends. Of course, the woman is no longer part of our community, out of fear. She lost her place here through no fault of her own, but because she was abused by a person bigger, stronger and in control.
Never mind. The band plays on, right?
So of course with this tour announcement, social media blew up and many venues cancelled performances. The band has issued two apologies. The first was at an industry event a few years before this tour was announced. If you weren’t an insider, you never heard about it. The second apology was issued a couple of days ago due to pressure via social media and venues cancelling their gigs.
It’s a pretty bad apology. I’d post it here but I don’t want to give the band PR and I am waiting to see how many other venues cancel their gigs. I can tell you that one of the lines the band included in the apology basically says it’s ok now because the abuser is sober.
Well, yes, because it’s hard to get hooch in prison and might it also be a condition of probation or something? I don’t know.
What I do know is I have been drunker than 1980s Tom Waits at his piano numerous times and I have never ever punched anyone, let alone my partner. So I don’t think it’s just an alcohol problem, guys.
Everyone knows these kind of abuses are rife in our industry and in the world – and they are shrouded in silence and that’s why they keep occurring.
In the end, the band has done nothing – zero – to address the issue except issue those lame ass apologies. They’ve continually stressed that the abuser is not offending now. And although it is true that he has served his time, I wonder if that means all is forgiven. Given that the entire band was complicit in this abuse, I think not.
Because as we all know “The standard you walk past is the standard you accept.” This is unacceptable.
I would be much more inclined to believe that they understood the seriousness of the crime if they had called this the I’m Sorry We’re Pigs Tour and/or gave at least part proceeds to a group that actually assists women fleeing intimate partner violence.
And by that I mean NOT White Ribbon. White Ribbon does nothing to assist women. It’s just a bunch of men talking to men and not listening to women.
The band, were they serious, might also might ask their fan base to simmer the fuck down and stop trolling everyone on the internet who suggests that it’s a good thing that these dudebros will not get a platform.
I believe in redemption and rehabilitation. I know that people do change. But I believe when a crime is particularly violent that the perpetrator(s) need to make genuine restitution. This has not happened in this case.
I am very glad the Melbourne’s Cherry Bar and others have cancelled this gig. I don’t think it was a simple thing to do. I’m glad for all the venues and media people who get it.
As a survivor of domestic violence I am very glad for your support, but I expect better in the future.
Thanks to all those who have done the right thing. x

Melbourne music landmark and iconic rehearsal studios, Bakehouse are turning 25. To celebrate this momentous occasion they are throwing a massive birthday party at the studios on Saturday 16th July in conjunction with Leaps and Bounds Festival.
From 6pm that day, Bakehouse will be laying it on with a free feast in the courtyard, bands performing throughout their signature studios, followed by The Drones headlining an intimate Birthday gig upstairs in the Scrap Museum.

 

When Quincy and Helen took over the derelict mansion and stables in Richmond to set up Bakehouse, they transformed the building into more than just a rehearsal studio. Bakehouse has been essential to the formation of S.L.A.M. and a vital incubator for some of the wildly talent artists to have come out of and through Melbourne.

Bakehouse love a good surprise and they know you do too, so the full lineup for the night will be released over the coming weeks but you can expect artists who have all cut their teeth at Bakehouse over this last quarter of a century.

Tickets to The Drones go on sale Monday 4th July and are strictly limited so this will sell out.
Date: Sat 16 July 2016
Free BBQ & Secret Bands: 6:00pm
The Drones Doors: 8:30pm
Venue: Bakehouse Studios – 27-29 Little Hoddle Street, Richmond
Ticket Price: $52 + booking fee
Ticketing link (embargoed until Mon 4th July)
https://corner.ticketscout.com.au/gigs/5724/DRONES

 

Saturday, 12th March, good people, Steve Boyd is back – Healing and Howling for your pleasure and mine at the Rainbow Hotel from 9.30, no cover charge.

Flashback to the late nineties/early noughties when Boyd was fast gaining a reputation as a singer, songwriter and performer of considerable substance.
Borrowing largely from the classic American roots music forms, his band Steve Boyd and The Preachers were festival circuit regulars sharing stages with the likes of Bob Dylan and Ray Charles. Their wildly impassioned performances drew a large, loyal crowd and their recordings were heard on American College radio and mentioned in prestigious UK music bible ‘Mojo’.

Changing the core line-up and the group’s name to The Steve Boyd Revue did not slow things down in the slightest. In fact, as the sound morphed into a bigger Gospel-Soul affair, complete with Hammond organ, percussion, brass and backing singers, the group’s credentials only grew. Steve was seemingly poised to ease into a long and successful career in music.

So what happened next?

Life happened.

A series of life-changing events, unexpected challenges and personal tragedies occurred and Boyd was hurled into an inward journey of epic proportions.
Through this period of soul-searching and healing, he established a new relationship with music.

For over ten years Boyd ran music and song writing groups for VincentCare Victoria. Primarily working with marginalised members of the community, He discovered music’s power to ease the hearts and minds of those struggling with poverty, mental health, addiction and homelessness.

Running song writing and music therapy groups, Boyd discovered he had a talent for drawing out the creative spark within a broad range of participants from all walks of life. Under his guidance these groups performed at various community festivals and even most memorable time at the Vinnies CEO Sleepout at Etihad stadium.

Upon occasion, Boyd enlisted additional music mentors to assist him. At one time none other than Spencer P Jones caught the bug and got on board Steve’s plight to soothe, challenge and inspire some of the folks who would otherwise miss out on the opportunity to make music altogether.

In actuality the entire process was cathartic not only for the participants but for Boyd himself. Over time he rediscovered his muse with a vengeance and began considering the next chapter of his musical odyssey. Now was the time to recommence writing and rehearsing new material for his own project. It simply felt right.

Time had done its job healing old wounds but a creative void desperately needed filling.

Enter Steve Boyd’s Rum Reverie.

Essentially the brainchild of both Steve Boyd and Paul Fiddes (long time friend and musical collaborator), the project came about over many nights of shared musings, quaffing of shiraz and listening to vintage vinyl records.

Much the same as Boyd, Fiddes had taken an extended excursion from music whilst focusing on exclusively on photography. It became apparent that both shared a yearning to return to the fold.

At the end of the day it was agreed that nothing else quite compared to the wild high of bashing out original tunes in the sweating bars of Melbourne. Both agreed it was time dust off the drum kit and restring the guitar.

There was new music to be made.

The influences are primal and instinctive; perhaps not schooled and certainly not slick. Initially starting out as a two-piece, the core group of Paul on drums and Steve on guitar and vocals was eventually augmented by upright bass and brass. This process occurred through many writing and recording sessions: Steve and Paul allowing the music to dictate what should happen next.

The sound is heartfelt and raw.

With a punk brain, a gospel soul, a blues heart and even hints of jazz trickling through its veins, Steve Boyd’s Rum Reverie may be something of a musical Frankenstein’s monster.

It’s a monster that will hoot, holler, growl and grind with all it’s might.

Check out the new EP and first single ‘Papa Likes It’ at this downloadable link:

https://soundcloud.com/steve-boyds-rum-reverie/papa-likes-it?in=steve-boyds-rum-reverie/sets/healers-and-howlers-ep

Only two more days to see artist Grant Gronewold’s (aka HTMLflowers) solo debut exhibition ‘No Visitors’ on view at Fort Delta from February 5th – 27th.

Gronewold’s long-form narrative comic work-turned-exhibition No Visitors consists of coloured drawings in the form of limited artist proofs and editioned prints. The work attempts to show the complex, painful and often isolating reality of living with a life threatening illness while still favouring and revealing this through a more intimate approach. Rooted firmly in real life experience, Gronewold uses his avatar, Little, to recount the embarrassing, demeaning compromises that often define the lifestyle of the disabled.

Drawing from his time as a chronically ill child visiting Ronald McDonald House, Gronewold uses the logic of insomnia to question the true function of corporate charity; often designed to aid the chronically and life threateningly ill, namely children.

Frequenting the exhibition are looming depictions of Ronald McDonald stalking wandering children in hospital gowns – revealing him as a kind of talent scout in search of new mascots to join him in McDonalds’ ongoing PR crusade to image themselves as a force of good. This major theme of the exhibition – the formation of corporate identity coercively appropriating the plight of others less fortunate – is presented alongside images of negligent doctors practicing paternal procedures on their patients – their faces hidden and disguised behind bright surgical masks.

Gronewold’s style and philosophy for the exhibition deceptively blends Injury, punishment and violation into colourful images, abundant with motifs and bright settings rendered in the waxy, porous textures of coloured pencils – a medium often associated with child’s play and bold imagination. Images of ripe, engorged strawberries being split with enormous razorblades, pop-up flying windows circulating the outskirts of hospital rooms, and wooded allotments appearing as feverish apparitions all ambivalently contribute to a fantastical and renewed picture of the sterile utilities and institutions; seemingly born from tides of contemplative, mindful insight and maddening boredom.

Fort Delta, Shop 59 Capitol Arcade (Basement Leevel) 113 Swanston Street. Enter via Howey Place, Melbourne.

Enquiries: info@fortdelta.com.au ‪#‎grantgronewold‬ ‪#‎htmlflowers‬ ‪#‎fortdelta

Scottish born Duncan Phillips will play his new single ‘The Wilderness’ along with other choice tunes with his crackin’ band The Long Stand on Sunday, 28th February at The Standard Hotel, 293 Fitzroy St, Fitroy VIC.  Free gig!  

Listen to ‘The Wilderness here:  https://soundcloud.com/duncan-phillips-music

 

Duncan has been playing his excellent alt-country Americana tunes all around town for the past few years after stumbling upon Melbourne during his holiday travels and deciding to stay and explore the massive music scene here.

Originally from the village of Scalloway in The Shetland Islands, Scotland, his accent is heavy in conversation, less so in song, but if you can understand him, you’ll love his songs.

“I was lucky to grow up in household where music was part of everyday life. My mother was the booker for the world-renowned Shetland Folk Festival and my stepfather was lead singer in a popular local blues/rock band.”

“I was constantly exposed to a wide array of musical styles. There could have been anything from traditional Scottish music to the Ramones blasting from the stereo. I also had the benefit of meeting and interacting with highly accomplished musicians from an early age.”

“The Wilderness came around shortly before pre-production for the album began. I’d been listening to a lot of Springsteen and that influenced the overall feel of the song. The Wilderness is metaphorical for being emotionally lost after watching friends fall victim to lifestyle choices, and ‘home’ in the song is symbolic of wanting to return to a healthy state of mind.”

Recorded and produced by Alics Gate-Eastley and Duncan Phillips at Appleby Studios, The Wilderness is the first single from his soon-to-be-released debut album of the same title.

Visit Duncan at https://www.facebook.com/duncanphillipsmusic.