The first event of the semester is here!
Come along to Radio Monash on Thursday at 6:00pm to hear Michael Jackson’s Thriller on vinyl record.
Zombie dancing time!
The first event of the semester is here!
Come along to Radio Monash on Thursday at 6:00pm to hear Michael Jackson’s Thriller on vinyl record.
Zombie dancing time!
***Please be aware this notice is only for Semester One Presenters hoping to return to the station in Semester Two — New Presenter Applications will open later in the week**
This is the event for the Compulsory Meeting/Training Session for ALL PRESENTERS HOPING TO RETURN FOR SEMESTER on Friday the 22nd of July at 12:00pm. It is extremely crucial that any presenters hoping to return for the new semester attend.
With Semester 2 fast approaching, we are now offering all Semester One presenters the opportunity to express interest in our new timetable, before show applications open to new presenters next week. Read more …
Review written by Saskia Penn and Connor Johnston:
Edward Albee’s “Who’s Afraid of Virginia Woolf?” is an iconic piece of 20th Century Americana, often considered one of the greatest scripts in theatrical history. Winterfall Theatre’s current season of the classic play presents a raw, realistic, and compelling interpretation of the complex material and its utter success is owed, in no small part to the miraculous performances presented by the accomplished cast.
The three hour-long study in the dynamics of marriage is strung with an incredible, palpable tension throughout, the claustrophobic atmosphere thick with bourbon. At times highly absurd, at times strangely funny, at times genuinely frightening and at times truly challenging, this post modern giant dances like the wind on the edge between reality and illusion. Through the violent throes of breakdown, the deepest, darkest freudian truths and fantasies of the characters are revealed, allowing the audience a rare opportunity for genuine intellectual stimulation. Read more …
Mary Poppins is perhaps one of the most iconic, yet simultaneously underrated musicals of our time. The story of a family who, despite appearances, are thoroughly unhappy and the magical nanny who brings them together is one that has touched the hearts of many people all over the world. It is the beauty and warming nature of the Banks’ journey as a family that forms the heart of the production, which Director Chris Bradtke has brought to life in Babirra’s first show of 2016 playing at the Whitehouse Centre this week.
When casting a character whose brief includes being “practically perfect” in every possible way, a number of challenges arise. However daunting the task, Babirra have managed to hit the goldmine with Stephanie John who provided a performance that effortlessly met the expectations set by such an iconic character. For the entirety of the show’s duration, John captured the perfect balance of sternness and charm that is so integral to Poppins’ personality. Vocally, John never showed any sign of fatigue or exhaustion and produced a performance reminiscent of Julie Andrews’ original portrayal. Angelo De Cata’s portrayal of Bert was a standout as well, though did seem a little inconsistent at times. There were a few short moments in the first act where De Cata struggled, however his infectious energy and heightened enthusiasm for the role did well to disguise any difficulties. Read more …
Despite always being quite a strong fan of Shakespeare’s work in reading, there have been many moments over the years where I’ve struggled to fully connect to staged interpretations of his work to the same level as I had when reading and studying it privately. “Coriolanus” to me has never been one of Shakespeare’s “greats”, and despite seeing it performed twice in the past, it rarely managed to leave an impression. All these factors considered, it was with an open mind that I attended Burning House’s performance of “The Tragedy of Coriolanus” last week. Without question, what followed was one of the most intimate and rewarding theatre experiences I had ever been a part of.
After months of seeing shows performed in back alleys and hotel rooms (as great as that was), it was slightly refreshing to be back sitting in the rows of a more orthodox audience space, looking down upon a proper stage in an established theatre…however conventional the setting was, Burning House’s usage of it was anything but. Having the cast sitting visibly around the area while they were not on stage is a bold move – but an incredibly original and fascinating one. Somehow, my experience was not impacted, nor my suspension of disbelief ‘shattered’ by the staging – instead it was almost more enchanting then usual; watching the actors sit motionless, go through their costume changes before stepping into the space and becoming their characters so completely. Every aspect of the show and every movement carried out by its actors was incredibly stylized and choreographed, leading to an end result that felt remarkably polished.
A verbatim theatre piece performed Sunday the 24th April provided a striking snapshot into the tragedy of those involved in Bangladesh’s Rana Plaza Collapse three years ago.
The Rana Plaza Collapse on the 24th of April 2013, caused by the negligence of officials and lack of proper conditions for workers creating ‘fast fashion’, killed thousands and left many more injured. The third commemoration of the collapse involved a piece of street theatre depicting the stories of those involved in the collapse. I spoke to those involved with the production and performance of this piece. Read more …
Sending the Twitter trail blazing, the Victorian launch night of Women In Media attracted big names and established speakers alike to a Lonsdale Street venue on Thursday night.
Television pioneer and well respected radio host, Caroline Jones, spoke regarding the issues facing women in media, from breaking the gender mould to the struggles faced by regional reporters. Her position as one of Australia’s living treasures was reaffirmed, with the likes of Emily Angwin and Jessica Tracned commenting positively upon the wisdom and frank discussion promoted through Jones’ talk.
The Media, Entertainment and Arts Alliance (MEAA) has established Women In Media (WIM) as a mentoring and networking initiative to encourage female empowerment in an industry that has historically been saturated with sexism and subversive objectification of women. With figureheads in every state as mentors for younger journalists and reporters to network with, a strong and vibrant community is being established in previously unexplored fields.
— Alice Zaslavsky (@aliceinframes) April 28, 2016
Food columnist Alice Zaslavksy proclaimed the event as a night of ‘#WIMMING” – and indeed it was. With sold out tickets and a concrete union movement set in motion through the initiative, pivotal issues were brought to the table in the public domain. Issues that were published on the MEAA blog, such as the pay gap, parental leave, harassment, and discrimination, were debated and challenged.
The night allowed for the beginning of a movement to conceive change in the entertainment industry, and more rapid development and momentum is expected to gather in future to break stereotypes and change media dynamics. As hoped by Marcia Langton, here’s to the “world changing quicker”.
Come sing the night away with us at Charltons Entertainment Complex
2/2 Coverlid Place, Melbourne, 3000
Short walk from Melbourne Central and behind 170 Russell
Get those vocal chords and best rock star impersonations ready for the first big Radio Monash event of 2016 ….
That’s right, we are having a KARAOKE NIGHT!
If you would like to come to this event, all you have to do is message the Radio Monash Facebook page and send us your full name so we can add you to our guestlist. Names have to be given to us by 6.00pm on Thursday 28th April.
You definitely don’t want to miss what is going to be an absolutely hilarious fun night with your mates at Radio Monash!
With the release of the budget by the Coalition just over a month away, possible inclusion of the controversial policy of collecting student debts from the dead, as well as increasing student fees could find themselves to be on the table in an attempt to achieve savings.
Currently HECS debts of deceased estates worth more than $100,000 are written off by the government, recognising that these sums will never be recovered. If however such policy was to be implemented, it would lead to a potential $800 million in savings. This is something Education Minister Simon Birmnigham would very much welcome, due to the pressure the education sector is under to produce some substantial savings.
Although other options are under consideration to gather funds, a positive in recovering HECS debt from deceased individuals is that it would be mostly affecting wealthy households, ensuring that low-income graduates would not be affected due to the $100,000 basis.
While such a policy would see a small contribution to the deficit in the short-term, it would highly impact on the debt that the government still had outstanding in the long-term, meaning that future budgets and economic activity would benefit.
Additionally there is still the matter of a 20% cut in funding and increasing student fees without full deregulation of the system, options that still remain official government policy, and will apply with other reforms the government decide to adopt.
Such savings are important for the government in order for the budget to eventually come back into surplus, and furthermore to provide resources to fund other projects it has set on it’s agenda. What goes against such a death tax and its need to create savings is the fact that almost a third of large private companies paid no tax in the 2013-14 period. These figures would immediately make one believe that such companies were dodging their obligations, yet the fact that such companies are associated with a variety of entities, means that the aggregate of these private groups could result in no profit, or losses in previous years which are offset, and therefore no tax.
Oxfam Australia’s Joy Kyriacou said upon this instalment that “it’s time for the Australian Government to crack down on large companies…. [they] should justify their investments in tax havens, and be required to publicly report the taxes they pay- both in Australia and overseas.”
Such insight would clarify and ensure that companies operating in Australia are paying their fair share of tax, but then the question arises of where do we draw the line in terms of information that companies should report? AASB standards reflect the requirements and important information users need to make informed decisions. What is clear is that users will never be completely informed of everything going on in relation to a company, and publicly reporting taxes paid in various countries may not be of extensive use to such a point as to make it a requirement. But would it assist in getting rid of unfair tax breaks? Possibly, a matter that ultimately would need to be debated by the government and accountants in the industry.
What is imminently clear though is that voters will not warm highly to the idea of a ‘death tax’ where tax isn’t being contributed by large private companies operating in Australia. Tightening tax laws just might have to occur in order for other elements proposed by the government in their looming budget to be accepted by the Australian voters.
This weekend the newly-formed Melbourne Shakespeare Company are putting on their first production of A Midsummer Night’s Dream at the Testing Grounds in Southbank.
The show is going to feature live music, local and international artists and a contemporary reimagining of one of the Bard’s most popular plays, setting it against the backdrop of the Melbourne CBD.
‘This dick ain’t free’ and neither was his concert (with seated tickets beginning at a steep $99.90), but his energy, set-list and lyrical performance made every cent worth it, and proved once again why exactly Kendrick is king.
Sean: Tell us a bit about yourselves, a basic bio, where you’re from and how you guys met.
Blake: We are The Radics, we’ve been together for almost three years now and we wanted to make a band so we put some ads on Facebook. We’ve met these guys and I’m so happy that we get to make music with them. We are currently touring the east coast, trying to spread our music.
Sean: There are some obvious influences such as Stevie Wonder and Led Zeppelin (note Sean meant Pink Floyd and as the night progressed we learnt that if there is one thing he struggles with, it is band names). Are there any other things that influenced your music that might not be as explicit?
Blake: Yea behind the curtains there are some influences that are more subliminal like the 1975, Inxs, our drummer is a big pop rock fan so he loves a lot of those bands. That’s the most fun thing about making a song, bringing all these modern ideas and watching all those [classic] characteristics shape them.
Carey: So obviously you guys have a new E.P out and you guys kill it live. So, what’s it been like translating your stuff into the studio?
Blake: Well, we actually produced the E.P ourselves at home. So it was a very relaxed and time taken process. It wasn’t rushed or influenced by anyone other than us four so we love the fact that it came out exactly the way we wanted to. When you get into a studio and you bring in producers you find things get shaped and you lose main ideas and thing go out the window. But if you just sit around with the people making the music, who all know what they want, it’s easy then.
Sean: So what’s the writing process been like for the E.P?
Blake: We wrote the four songs over the three years that we’ve been together. Some of them are a lot newer like the single [slow down] while “Little Redress” and “Rules” are the older ones. My brother I and would just show our ideas to our band members and they would just put their little spin on things.
Sean: Hey guys, how did you think your set went?
Christine: It went great! The crowd was really into it and I think it went well.
Sean: So I was noticing all sorts of early 80s and 70s influences like early thrash and some female fronted glam metal. What would you say are your influences?
Christine: Sound Garden, Heart, Living Colour.
Leigh: A little bit of led Zeppelin and definitely some Iron Madden.
Sean: Do you guys have any releases coming up soon?
Leigh: We do. We are about to finish an E.P right now so just keep an eye out on our social media.
Sean: So you said you had a song about a beer coaster. What’s all that about?
Christine: It’s called “The Wrong Kind Of Mistake” and the coaster said “Losing is the wrong kind of mistake” and I though “That is so True!”.
Sean: How long have you been together?
Leigh: It’s been about two years together.
Christine: The main song writers anyway.
Leigh: Yea, we’ve been friends for many years while playing in different bands and thought that we should step out on our own for a change.
Christine: We really started getting it all on board since about February this year.
Leigh: And Ian, our bassist, is the newest member and has been around for about two years.
Sean: It sounds like you guys have a lot of experience. Are there any lessons you would give to younger bands? Things to look out for?
Leigh: Look out for? Definitely you finances and count the money. Also practice.
Christine: It’s just like going to the gym. You got to keep practicing to get it in muscle memory.
Sean: How did you think you set went?
Matt: Yea good, had a lot of fun and got a few laughs which is good.
Sean: It was fast and intense with plenty of short songs. It defiantly felt like punk rock. Aside from that though, there was some rockabilly vibes coming from you music. What else do you think is your main influences?
Matt: The Ramones are our biggest influences and a bit of tang bottle rocket I guess as well. That’s about it.
Joel: We all have very different styles that we listen to as musicians. I’m anywhere from punk, rock, metal, 80s glam metal any of that stuff. We all get influences from different stuff.
Sean: So you guys just dropped a new album. What has been your writing approach for this record?
Matt: I’ve written a majority of them. Luke, the retard, has written a few of them. I write the basic structure of it and the boys add their twist to it.
Sean: What’s it like being a punk band from Bendigo? Do you feel at home there or do you often see yourselves having to go out to get shows?
Matt: I think Melbourne is more accepting of punk. Bendigo is more of a metal and hard rock scene but yea, we fit in. We have a small pocket and we’re not too pop-ey so the metal bands don’t dislike us. We are aggressive and have some good subject matters so they like us.
Carey: You guys have got some quality banter going on. Do you guys ever practice that during session?
Joel: Nah, we just bounce off each other on stage. If you rehearse it people can tell if you have so you’re better off not. Plus we can’t act
Sean: Any plans after Uber Fest?
Joel: We have a few shows lined up in Melbourne, Bendigo and Ballarat. No actually tours but just a few shows to pump up the album and sell as many copies as possible.
Sean: What made you guys get into music? As most of you are family members, what was it that made you think that these were the guys to make music with?
Daniel: I just needed something to do.
Joel: Really what we were all looking at, because we were a part of a band in our church up in Queensland, we were wanting to go out and see other things, going to pubs and playing at pubs.
Sean: It’s a very Dream Theater meets Mega Death feel to your guy’s music. Was that intentional or are there other bands that influenced you?
Joel: Influences are Dream Theater, Petra, Decipher down, up beat rock bands that are out their having the time of their lives.
Sean: What is the reasoning behind the specific Bible verse as your name? Does it hold and personal meaning?
Joel: Pretty much, our old name was “The Way” and someone else had already taken that, so we decided to go through The Bible, as we are Christians, and the one that came to us, as he was the leader of pray in Israel, was the name Keneniah, which also means made by god. Later on we decided to tag on 15:22 which was the reference to the meaning of his name.
Carey: So you said you were originally based in Queensland but have now moved to Melbourne. What led to that change?
Daniel: It was a big turn of events. Our ex-drummer had some health problems and had to come down here. He said that if we came down here that we could get some work. So we decided to come down. But nothing happened, we didn’t get any work and he ended up leaving. So we’ve done it hard.
Sean: So how are you finding the Melbourne scene?
Daniel: It’s different. There are a lot more metal bands down here than there are up in Queensland. But it’s good being a band that is totally different to everything else out there. That Dream Theater vibe just came about us just trying to put keyboard into every single song and we though it sounded pretty good.
Sean: Any E.Ps or tours coming up?
Joel: At the moment we are in the process of recording our own stuff at home. I’m an audio engineer, not fully qualified yet but will be soon, so if anyone wants a recording just let us know.
Sean: Hey, guys how did you think the set went?
Nick: Good, everything went smoothly. Everything went well.
Yaz: Different crowd from what we are used to.
Nick: Yea, didn’t get as much banter out as we wanted to but its always good play.
Sean: You guys have a very obvious house and R and B influence. Who would you say are your main influences?
Nick: It’s a mixed back. I like all things electronic and chill like James Blake and things like that.
Yaz: I’m a bit more R and B fan myself.
Carey: Just wondering, with the name, if it’s a Niki Lauda reference?
Yaz: yea it is. Most people think it’s a play on words for louder.
Sean: So how have you guys found it being an R and B group in what is a mostly punk and metal scene?
Nick: Yea it’s an interesting mix being a house group that doesn’t DJ. Not many clubs will have sets with live music. So we have to sort of play in different venues. Obviously we can’t just play in pubs that mainly play cover songs because that’s the wrong crowd. So it’s an interesting challenge trying to find places.
Sean: Do you find that you have to venture out far to get gigs?
Nick: Yes and No. The gigs are obviously harder to find but we also just give everything a go. Obviously more inner city is where the scene is at though.
Yaz: Also getting help from other artists in the same genera and style is also important. So we have to stick together and help each other out.
Carey: So you guys had an E.P out recently?
Nick: Yea, an E.P in May. It’s called back beach. We didn’t play too much of it tonight.
Yaz: Yea mainly newer stuff.
Nick: The E.P is a little bit more chilled and laid back. It’s good to get an E.P out there so that people kind of know what we are about.
Sean: So what’s the song writing process been fo you guys?
Nick: So I usually do the music and Yaz typically does the vocals. So I’ll send him a raw mix of a track and He’ll send me a recording of some vocals. The E.P is called back beach because it was all recorded in my beach house. We just decided to get together and record it and get it all together.
Sean: You guys have a very strong pop punk and warped tour vibe about yourselves. What would you say is your biggest influence?
Ash: We’ve all got really different influences.
Scott: Yea, I’ve got a lot of Tool influences, a lot of prog-rock influences and alternative stuff like smashing pumpkins.
Ash: I love stuff like pop punk.
Bree: I like anything from Slayer to Hillary Duff.
Lucas: I’m a big 90s guy like Faith No More or Nirvana. But all of our influences all cross over. We all share a lot in common too.
Sean: So where are you guys based? Are you guys Melbourne or elsewhere?
Scott: Three of us are from Ballarat and our drummer and our lead guitarist are from Melton.
Sean: So how are you finding Melbourne compared to Ballarat or Melton?
Lucas: There is no Melton scene.
Ash: Ballart is pretty good. There really supportive of the locals. So for another band from Melbourne, for example, to get a gig in Ballarat is actually really hard.
Scott: Yea, they’ll give you the “You’re not from around here” vibe. Though if you’re from Ballarat they’ll be a lot friendlier.
Carey: We were talking to the Revengers from Bendigo. Their scene seems pretty receptive to them however it seems to lean more towards metal. So where do you think you fit in?
Scott: We are a bit more punk in Ballarat I’d say, compared to the Indie rock bands that just turn up on the main street all over café bars.
Sean: So you guys said that you are releasing an E.P in a month?
Lucas: Yea our self-titled E.P should be out in the middle of September.
Sean: What was the song writing process for that?
Lucas: A bit of everything. We’ve got some songs that our other guitarist would write and we would just add our bits to it. Sometimes Bree would write an idea and we would all finish it in an hour.
Bree: I write a lot of the lyrics generally.
Sean: Any tours or shows coming up?
Ash: Kind of. We have a few spread out shows to promote our E.P. September 19th we’re playing Ballarat, we’re playing Bendigo October 2nd and playing the rev sometime in November.
Sean: You guys definitely had one of the more visually engaging shows I’ve ever seen. I was telling Carey that if there was one band I had to see it was Morth. You’re sound is very classic Metal, like Iron Maiden or Judaist Priest. What bands do you think personally got you into making music?
Dylan: I’m into Wasp, Kiss, Motely Crew.
Billy: Same, Motely Crew or any other 80s act.
Sean: Do you guys have any E.Ps coming out?
Billy: We have a collector’s series singles coming out probably around Christmas time. Each single comes with a poster and if you buy all the singles then you get the compete poster.
Sean: So what’s your writing process been like for these singles?
Dylan: We do practices every weekend. When it comes to writing we all pitch in.
Billy: Yea, when somebody comes up with an idea we all usually jump in.
Dylan: We just fix them try to fit it together and make a song out of it. If someone writes lyrics I’ll have a read, fix them up and put them in a song. Everyone participates in the writing process.
Sean: How have you found Melbourne?
Dylan: It’s been great. The crowds are great and everyone is really into it.
Sean: Is Melbourne you main scene or do you venture elsewhere?
Billy: We do often travel for shows. Our music video that we are filming is being shot in Geelong. It’s free entry and we are doing a show afterwards(August 30 Barwon club,4pm).
Sean: What’s the Geelong scene like?
Billy: We’ve only played there a few times but we’ve had a good reception each time. But we play show in Bendigo and a lot of other places too.
Carey: So how do you go about getting your huge live show together?
Billy: One thing just led to another and everyone kept throwing in ideas and here we are. Whatever works, works and if it doesn’t it gets tossed.
Sean: So with your subject matter is there any over arcing themes?
Dylan: Usually someone just gets an idea of something to write about and we just pull it together.
Billy: As far as our songs go we don’t tend to stick to a certain theme. We’ve got party songs, horror songs and get into the crowd songs.
Brandon: Most of the songs start with a guitar riff and then we add lyrics.
Sean: You guys where crazy on stage. I was breathless the entire time I was watching you guys. Where are you guys from?
Tim: I’m from the south-east suburbs and these two guys [Brody and Alex] are from Narre Warren.
Sean: So you guys come from the Djent/metalcore scene.
Tim: Yea it’s fucking terrible!
Sean: I guess you guys thought “fuck this” then when forming your band?
Tim: We just though “let’s play punk”. It’s easy and it gets the message across. You get to scream as much as you like and you don’t have to be good at your instrument.
Sean: I love how blunt you guys are with your songs. For example “I want to fuck a red headed girl” as opposed to the genre trope of obscuring everything behind “poetic lyricism”.
Tim: Yea we don’t dance around bullshit.
Brody: Yea fuck that.
Sean: I see you literally cut yourself on stage. What inspired that?
Tim: Well Morth were promoting themselves as a shock rock band so we decide that we can take that one step further.
Brody: We thought that it would be a little bit more shocking.
Tim: We thought it was going to be hard to follow up Morth as they were really good. But everyone left after two songs so they missed out on some rad public self-harm.
Sean: Do you guys have any E.Ps coming out?
Tim: We just recoded a Demo in my mate, Gavin’s, bedroom and he still hasn’t sent me the final mixes yet. So if you just check out Dead on Acid on Facebook we’ll have a demo out soon.
Sean: What inspired you guys to make music and to perform the way you do?
Tim: We mostly just wanted to do it. Musically, my main influence is Nirvana. But the stage presence and lyricism is all me coming out.
Sean: Is there anything you want to say to your fans?
Brody: To all our potential fans out there, please kill yourself. That’s all.
Tim: You often hear musicians say that “If my music helps out one person then I’ve done my job”. Well if one person kill’s themselves because of Dead on Acid then we have completed our goal.
Sean: You guys definitely call back to the days of Glam metal and the L.A strip. Guys like Motely Crew and maybe even Steel Panther, is there anything outside that you lie?
Monroe: All sorts of stuff really. We are pretty diverse in our tastes. I like even some top 40s stuff.
Lipz: Anything that has a good melody.
Monroe: Yea, but most of it being Glam metal from the 70s and 80s with some 90s stuff too.
Sean: You mentioned that you’ve been touring Adelaide recently. How was it and how does it compare to Melbourne?
Monroe: Good. It’s a bit quieter. We played a show at bridge way hotel in Adelaide on Thursday and Saturday. Thursday was a bit quiet but the Saturday night had 150 people there. It was great. But the Melbourne scene is definitely boom with more venues.
Sean: You guys are now currently promoting a debut album? How was the writing process on that?
Monroe: One of us will come up with a part and everyone else will play with the idea. It’s a collaborative effort. Some person brings their own idea and we build on it from there.
Sean: You’re now going to release something early next year?
Monroe: We are hoping to start recording our next album early next year. But right now we are working on Vinyl releases for our debut album. Those should be due in September and you can pre order them off our Facebook page.