“A Journey” by Tom McLeod

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Click On The Link To Go There Now !

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“A Journey”

by Tom McLeod
I always wanted more from life,
Playing it like a Fife,
This (naturally) just led me into strife !
My path became clear upon meeting you,
One rare, frightening,
And heart string tightening.
I searched unsuccessfully,
Discovering, quite accidentally,
My only need was you.
I bathed in your presence, a selfish crime,
One of which I became guilty off,
Much too much of the time.
When we were apart,
Even if just for a while,
My heart became sullen, and easily riled.
But, for your comfort,
I did what you think to be best,
I kept my distance, and gave you some rest.
Still, your spirit filled my soul,
Keeping my Heart under control,
Until our next moonlight patrol.
Besotted, I failed to consider you.
For you belong to no one,
Least of all “I.”
It became apparent,
All I felt were “I’s”,
Even the path I chose as “Ours”.
Now as I walk this path alone,
I thank you for giving me direction,
And cause for reflection.
Love is no longer a desire,
Love is not for me, but “Us”,
This I now acknowledge, thanks to you !
Copyright Tom McLeod 29/12/12

Triple J Timeline – Off the dial – January 12, 2005 / Sydney Morning Herald / Radio & TV Section.

Off the dial

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Click On The Link To Go There Now !

January 12, 2005

Blast from the past: Female presenters in 1986, from left, Angela Catterns, Gayle Austin, Jill Emberson and Annette Shun Wah.Blast from the past: Female presenters in 1986, from left, Angela Catterns, Gayle Austin, Jill Emberson and Annette Shun Wah.
Photo: Craig Golding

When Triple J launched 30 years ago as 2JJ, Gayle Austin was there. She looks back at that first crazy year.

It started with a flashback, a reference to the possibilities of the ’60s. “10, 9, 8, 7, 6, 5, 4, 3, 2, 1 … Houston, we have lift-off” exploded into You Just Like Me ‘Cos I’m Good In Bed by Skyhooks. That Double J’s first song was Australian was our first big political statement. The fact that it was banned on commercial radio?

Well, things were about to change.

It was January 19, 1975, and it seemed all of Sydney was glued to the radio that day. Over at 2SM, the undisputed leading station for young people, DJ Charlie Fox couldn’t believe his ears: “The actual outrage of it. But we loved it. JJ was so radical, because 2SM at the time was playing American formats, which were 20 records over and over again, and that was it.”

Dan Arthur, a listener who later became a record company rep, says: “From day one, Double J was an incredible signifier of hope. Counter-culture at that stage in Australia had really been unfocused, and all of a sudden we had a crucial and central gathering point.”

The idea behind Double J was to set up a collective co-ordinated by Marius Webb and Ron Moss. They were given the job after a meeting with ABC management in October 1974 during which it was explained that the ABC had been given two licences, one of which was for a “youth-style station”. Webb recalls an ABC executive saying: “You’ll be on the air by January. Thank you very much, I’ve got another meeting.”

Word was the Whitlam government wanted to set the station up to woo young voters. We also heard that the ABC was worried about its audience dying off and wanted a station for young people who would grow up to be ABC listeners.

Towards the end of 1974, the first recruitment ads appeared in papers, stressing that a sense of the ridiculous was required. Producer Ted Robinson says: “There was a bit of concern about breaking down what was considered to be ‘an announcer’ in terms of finding ways other than the traditional approach.” Staff were chosen from across the country, with Webb and Moss ensuring a good mix of ABC and commercial people.

I heard about the new station in November, from a colleague at 2UW, where, as the co-ordinator of the talkback callers for John Laws, I had hit the glass ceiling. Radio in those days was like secret men’s business and I was the only woman who applied for an on-air position at Double J. I was given one midnight-to-dawn shift a week, a move so radical that I was the cause of much negative comment after our first survey of listeners. “Why do you have a woman on air? What do women know about music?”

Art attack: The Triple J exploding head symbol (top), and an early Double J poster.Art attack: The Triple J exploding head symbol (top), and an early Double J poster.

On that first day, TV news cameras, photographers, well-wishers and staff crowded around what later became affectionately known as “The Bunker” – Studio 206 of the old ABC building in Forbes Street, Darlinghurst. A former bomb shelter, it was the perfect birthplace for the ABC’s alternative to Top 20 radio and the first Australian radio station to open in 43 years.

The location of the offices and production booths in William Street was ideal. We were down the road from the squatters, around the corner from the film-makers’ co-op, within walking distance of the inner city’s alternative community. We were in a building that already housed some of the most radical people working for the ABC: the feminists in the Women’s Unit and the radio current affairs show Lateline, headed by former Four Corners renegade Allan Ashbolt. They were generous with their advice on how to stay on the right side of the broadcasting guidelines and still push the barriers.

The aim of Double J was to put our own culture centre-stage. We wanted genuine dialogue with our listeners instead of talking at them in manufactured voices. Our station would be by young people for young people. We wanted to reject the cultural cringe that we had grown up with and which was still very much part of our national identity in 1975. The coffin had been nailed shut on the White Australia Policy only two years earlier.

Our brief was to provide an alternative to the mainstream, with a heavy emphasis on Australian content. We were to provide opportunities for live and recorded performances by young Australian musicians, and play (shock! horror!) album tracks from all the genres of music that weren’t being heard on commercial radio.

Colin Vercoe, who worked for two big record companies, CBS and Festival, before becoming one of Double J’s first music programmers, recalls going to radio stations in the early ’70s with American black music. “In those days it was the early disco stuff and if it was black they just wouldn’t play it.”

Chris Winter, Double J’s original on-air guru, recalls: “There was enormous breadth of music around at the time that one basically heard at parties, or if you scoured the new import stores, or you could read about it in import magazines, but you certainly couldn’t hear it on the radio.”

So we played everything we could get our hands on. We raided the ABC library for our back catalogue, played demo tapes from our listeners, brought records in from home, haunted the import stores and encouraged the ABC’s overseas correspondents to scour the back alleys of the capital cities around the world for treasures.

Double J’s eclectic playlist made the station appear radical, but it was in the talk area that the really radical work was done. Comedy acts such as Chuck Chunder and the Space Patrol, Captain Goodvibes, Nude Radio (Graham Bond and Rory O’Donoghue’s show, which launched Norman Gunston), Fred Dagg (aka John Clarke) and the legendary “anti-ads” informed future program-makers on how humour could be used on radio.

Our documentaries, under the guidance of first-class journalists and producers, made such an impact that at times they threatened to have us taken off the air. On February 23, the documentary The Ins and Outs of Love, by former 2SM producers Carl Tyson-Hall and Tony Poulsen, was aired to a barrage of press, religious and public criticism. We had dared speak about first sexual experiences and had apparently “breached community standards”.

A month later, after a Bulletin report by David McNicoll, the Broadcasting Control Board decided to talk to Aunty about her recalcitrant child. Webb spent a lot of his time in those first years shielding us from such attacks, arguing in this case that the station itself had received a request from a high school for the tape to help students in a personal development program.

It seemed we were always being threatened. In August, the NSW police commissioner, Fred Hanson, filed for $1 million in damages. He declared that a July broadcast claiming he had a financial interest in a gambling club near his home held him up to public hatred, ridicule and contempt. The case eventually went to the Supreme Court and in February 1976 he won the case. The terms were not disclosed but were rumoured to have run to tens of thousands of dollars.

One of my most bizarre memories of 1975 was discovering that our phones were tapped. We also noticed a van permanently parked out the front of the station with darkened windows and two men seated in the front. One of the news team approached them one night and asked who they were. Looking in the back of the van, he noticed a huge amount of recording equipment. The van disappeared the next day, but we still noticed strange clicks on the telephone whenever we rang out, and some of the more high-profile announcers noticed vans parked outside their homes. We were later told by a young person who worked at ASIO that there were files on all of us.

In that first year we had a station policy of access all areas. In early March, women took over the station as announcers to celebrate International Women’s Day. The listeners owned the station, too, and if they wanted to come to the meetings and join the debate, they were welcome. This attitude led to some interesting moments, such as when Holger Brockman’s shift was hijacked by three Aboriginal activists. They entered the studio and said they were armed and hijacking the station. Brockman said: “Oh, OK. Well, that’s the microphone there, and here you are, have my seat.” Brockman says they were really polite. “They said their bit, which took about five or 10 minutes, and then politely handed back to me – ‘And now back to Holger.’ Respectfully, like family.”

Two months after Double J launched, Bob Baeck, the general manager of 3XY, described it as “the lowest form of radio this country has produced”. However, by this time the station had already captured 5.4 per cent of the Sydney audience and 17 per cent of 18- to 24-year-olds. It was quite a feat, considering the station’s faulty transmitter meant it could not be heard in many suburbs.

The reception issue was taken up with ABC boss Talbot Duckmanton and officials of the Broadcasting Control Board, but they refused to fix the transmitter. As a result, Double J repeatedly broadcast a recording of Bob Hudson singing Roll Over Duckmanton to the tune of Chuck Berry’s Roll Over Beethoven (“I’m writing this letter, going to mail it to Double J. There’s a crackle in my trannie and it just won’t go away. Roll over Duckmanton, get a better transmitter today”). In July, staff threatened to strike unless the transmitter was strengthened but the BCB refused to discuss the issue with station representatives.

As it turned out, we had to wait until we went to FM in 1980 before we got a reasonable transmitter, and that was only about half the strength of those for the new commercial stations 2Day and Triple M. It was only when we were forced to go national, beginning with Melbourne in October 1989, that we were in a position to demand better reception.

By the ’90s, ABC management regarded Triple J as a loose cannon that could sink the struggling ship and rethought its approach to the station.

In 1990, Barry Chapman was brought over from Triple M as general manager and, on August 24, all senior announcers, myself included, were told they would not be keeping their jobs. There was a passionate public response, with protesters holding a 105.7-hour vigil outside the station. An independent inquiry was held, but to no avail. Triple J had moved on to a new chapter and we could only hope the foundations we had built would be strong enough.

Today the Triple J National Youth Network has, arguably, the largest reach of any radio station in the country (apart from Radio National.) It broadcasts to all capital cities and most regional areas, providing a lifeline for Australia’s youth.

Gayle Austin worked at the Jays until the purge of 1990. She has a BA in media, communications and culture studies and is completing an MA (Hons) at Macquarie University. Her thesis is an analysis of Triple J’s first 16 years; feedback from readers would be appreciated to gaylecat@optusnet.com.au

Triple J Timeline

January 12, 2005

January 19, 1975

2JJ launches in Sydney on 1540AM.

May 25, 1975

First free concert, at Liverpool, with Skyhooks and Dragon.

September 19, 1979

Marius Webb broadcasts live from Newcastle’s Star Hotel during the infamous riots.

1980

While on the run, prison escapee Raymond John Denning communicates via 2JJ.

August 1, 1980

The station becomes 2JJJ, at 105.7FM.

April 1, 1984

Triple J reports that Queensland has seceded from the rest of Australia.

January 13, 1985

Midnight Oil performs at Goat Island for the station’s 10th birthday.

November 1985

Triple J broadcasts questions from stolen HSC papers.

March 5, 1989

The Hottest 100 begins (Joy Division’s Love Will Tear Us Apart wins).

October 1989

Triple J launches in Melbourne, beginning the roll-out of the national network.

August/September 1990

Seven high-profile DJs lose their jobs. Protesters storm the building; a 105.7 hour vigil is held; 4000 people attend a protest meeting at Sydney Town Hall; benefit concerts are held.

January 1995

Regional roll-out begins. Unearthed kicks off, with the first winners being Lismore’s Grinspoon.

January 1997

Spiderbait becomes the first Australian band to win the Hottest 100.

September 1997

Pauline Hanson takes out an injunction against the ABC to stop Triple J airing Pauline Pantsdown’s satirical song I’m a Backdoor Man.

April 1, 2000

Breakfast duo Adam and Wil, with the help of NSW Premier Bob Carr, convince many that Sydney has lost the Olympics to Melbourne.

December 2001

Real Appeal for young refugees raises $405,000.

May 2003

Arnold Frollows, the last of the original 2JJ DJs, steps down as music director.

Click On The Link To Go To "Australian Music and Entertainment Scene Now !!!

Click On The Link To Go To “Australian Music and Entertainment Scene Now !!!

Ben TV !

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Click On The link To Go There Now !

Click On The Link To Go There Now !

Click On The Link To Go There Now !

BEN TV !!

What is Ben TV ?

Ben TV is an interactive Gig Guide and Promotional Tool for aspiring Artists. Collectively ran by Ben Howman (Melbourne, Vict., Australia), Paul Gregerson (Hokes Bluff, Alabama, USA), they promote Artist’s and Venues through the resources gathered by the collective on their fortnightly Program.
Mark Gardner, Angela Butler and Ben Howman cover Melbourne.
Mis Divine in Brisbane.
JuZ (The JuZ Show) has a Heavy Metal show also appearing on the channel.bentv@wiya.com.au Online TV show
The show airs every 2nd Tuesday of the month and is dropped in on our facebook page as well as our Wiya page ;

(Wiya stands for – ‘What’s In Your Area.’)

Mis Divine of Brisbane will be getting bands and solo artists out to her Studio’s, doing an interview, perhaps creating a song for her Mis Divine Music Challenge, and promoting one of your originals.

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Click Here To Go To Our facebook Page Now !

The Melbourne team is focusing a lot on going to live venues, talking to the entertainers, the crowd and the venue owners.

Mark Gardner, Angela Butler and Ben Howman cover Melbourne … Mis Divine covers Brisbane.

We welcome any interested artist on the show.

All you need do is send a message to either Ben Howman at his facebook page – http://www.facebook.com/messages/ben.howman.5

or

 

Paul Gregerson – Paul@wiya.com.au, – on his facebook page – http://www.facebook.com/paul.gregerson.3

Owner · Camberwell, Victoria · October 2010 to present
Wiya stands for the little guy, Wiya also stands for What’s In Your Area.
visit http://www.wiya.com.au/ for more info

Australian Music Business Management System.

Australian Music Business Management System.

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Independent Artists and Band Managers!

Wouldn’t you like to have a successful artist manager drive your music career? Hard to secure, aren’t they? Imagine if an experienced artist manager offered you all the tools, and the knowledge, and the contacts you required to succefully drive your own music career? Would that help you? Because that is exactly what’s on offer here. So why waste years unnecessarily, when this manual can give you everything you need today?

A revolutionary new subscription based, online platform, Australian Music Business Manual is an artist management, marketing and music release system that brings all the different sections of music business together in one place. Easy to understand, easy to implement, yet comprehensively detailed and to the point, now anyone can take advantage of the experience, knowledge and the tools of an industry professional and give your music career the best chance of success at an affordable price.

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Musicians and Managers 

Can Save Up To $6000 In The First Year !

Let me show you some of the savings we create for you in Australian music Business Manual.

The savings we list below are not the real value of this package. The real value is in the knowledge and understanding of the business that we supply. This alone is worth well more than the $450 price tag.

The savings listed below, we supply to our subscribers as they are what a great artist manager would pass down and save your career if you were signed to them. And so to make sure I deliver to you a complete management system, I deliver the same, to make sure subscribers gain full value for their investment. This is what makes this product the only complete self help Australian Music Business Management system available in this country.

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So in this section there is a minimum potential saving of $2540 + time

The list goes on because there are video marketing tools and Facebook and Twitter driver that work who are offering Australian Music Business manual subscribers double value and all sorts of great bargains from other companies. Not to mention the expert touring logistics we teach you which will save your tours thousands of dollars in mistakes and other savings. Value here worth is tens of thousands over a life-time.

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Good Music Business courses start at $4500 for 6 months and range to $12000 per year for a minimum 3 years. Australian Music Business Manual is $450+ GST for one year and $848 for 3 years. I can guarantee you I cover every facet of the industry. Courses cover certain topics. So if you are thinking of doing these courses there is at least $4000 saving in the first year without opening the pages.

Imagine what you could achieve investing in and growing your own business over three years using Australian Music Business Manual, instead of spending up-to $36000 over 3 years sitting in school and then having to spend the next 3 years developing your business in the real world.

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“I thought I had a handle on the music industry and my management skills. Until I subscribed and I read through your manual the first time. I felt like I was back at the drawing board. How do you know all this?” Dale Shrober – Relentless Management – Managing and performing in The Deep End.Dale has since established his management business and set up a national tour and CD launch for The Deep End. And he is growing his business contacts.

by Darrel Baird

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