Radio Monash are thrilled to announce that it will be sending four presenters to attend the 2016 Australian Academy of Cinema and Television Arts Awards in Sydney next week. Covering the event live from the Red Carpet on Wednesday the 7th of December, our presenters will be face to face with some of the most iconic and celebrated personalities of the Australian Film and TV Industry. Radio Monash is the first community owned and student-run media organisation to be invited to the event in the history of awards, which is an achievement we are both incredibly humbled and excited by. Read more …
Now available on Radio Monash; “RadMon Reacts: The 2016 US Election”
Join Vivek Thilkan, Avanti Oberoi, Connor Johnston, Ruari Shackleton and Sayu Umeda in one of the most passionate, analytical and engaging political podcasts of the year featuring cutdowns of RadMon’s day long coverage of Donald Trump’s victory as it happened live – followed by a feature length roundtable discussion exploring the most contentious topics of the result.
Featured below is both a highlights reel from the show and of course the entire podcast.
Ever since the Buggs and Elvis impersonators became popular, tribute bands have always been a staple in music entertainment. Tribute cover bands serve as a great way for bands who are perhaps getting too old to perform, or the more morbid side of it, for bands whose members are no longer with us, to be injected, to avoid a pun here, with more life. Unlike cheese, bands do not get riper with age but tribute bands are sort of a way to pick a rotting cheese off the shelf and repackaging it and calling it “blue cheese” and “decadent”. Many would argue the Strokes aren’t getting worse with age, despite being in the game for over a decade now, and people who’ve listened to their most recent Future, Present, Past EP would agree they are losing their touch a bit. But the Strokes are well into middle age now and have lost touch with their 2001, Is This It selves. The band no longer play dingy, and smoky, packed venues, nor do they indulge in on-stage antics with intense audience participation, tossing microphone stands like javelins. Luckily enough for us, The Smokes, pulled us into a time machine, said “where we’re going, we don’t need synthesisers!”, and took us back to a time around 2006 where The Strokes were in full swing and were filled with youth and energy.
What formula does a television show need to be successful; and more importantly: What aspects of a series do audiences reward?
Of course there is no standard answer for these questions, however in reflection of the current trends in the television industry some common elements naturally arise. Audiences reward accessibility, originality, energy and creativity – otherwise known as four aspects that seem to be embedded into the framework of the brand new drama from the BBC, “Class”, which marathon aired its first two episodes on ABC2 last night. Read more …
WARNING: DISCUSSION OF PLOT POINTS! SPOILERS!
Modern Television has been dominated by countless “quality” TV shows, with ongoing stories spanning multiple seasons, with plenty of inter-season cliffhangers, and numbers of characters names to memorise to keep up with continuity. With these epic tales like Game of Thrones, The Walking Dead and Breaking Bad being centre stage on our televisions, dramatic anthology shows are dearly missed. Anthology shows (anthology meaning a different plot and cast of characters between episodes and seasons), need no memorisations of which character is which and why that character is out for revenge and so forth. Shows like The Twilight Zone and Goosebumps scared us to death, and the more revolutionary and recent entry into this genre American Horror Story, spooked us and entertained us. But a new anthology series has arrived, albeit 5 years ago but its 3rd season has just premiered on Netflix, to change the way we view horror / sci-fi anthology series, and TV stories for that matter. This show doesn’t contain haunted houses, parallel universes or cursed masks fusing to someone’s face, nor are there supernatural beings, ghouls nor spirits, Black Mirror nosedives headfirst into the most terrifying thing in human existence: inevitability, and the future.
Walking into a CLOC show, one always expects something fairly impressive. Be it the atmosphere and grandeur of St Kilda’s National Theatre, or simply the company’s proven track record of staging consistently extraordinary examples of musical theatre: you know from the moment you take your seat something remarkable is about to happen. However, I think it is fair to say not even the CLOC loyal were prepared for something as unique and striking as this year’s October performance of Jesus Christ Superstar; in which director Shaun Kingma brought to life a show that exists on its own level among amateur and professional shows alike.
Round up your emos, it’s time for a crying sesh. Hailing from Melbourne, Tiny Little Houses may as well be sailing around the world in nothing but an ocean of their fan’s tears from the stellar release that is Snow Globe. I say this, because the EP holds no respite from the doom and gloom that surrounds our everyday menial existence. This EP however, differentiates itself from it’s predecessor, You Tore Out My Heart (2015) significantly through it’s intense deliberations with a darker side, both lyrically and sonically. Grappling with a heavier, fuzzier sound, singer, Caleb Karvountzis, swirls and twirls his audience through the pitfalls of humanity and the consequences of taking risks in relationships or in the wider society.
EDITOR’S NOTE: The editorial staff at Radio Monash would like to make it clear that the writer of this article was involved, in some capacity, with the pre-production of the musical. Though we trust that this does not influence the writers judgement, the team at Radio Monash feels as though this statement is needed for the sake of transparency and proper ethics.
William Shakespeare’s Twelfth Night is a classic tale of romance, scheming and mistaken identity. Twins Viola and Sebastian are separated in a shipwreck, both assuming the other to be dead. Viola dresses up as a boy and falls in love with Duke Orsino, who is in love with Olivia, who, thinking she is a man, falls in love with Viola.
The Monash Shakespeare Company’s production of the bard’s story was brave and creative. While it had some truly hilarious moments of physical comedy, homage to the text felt lacking at times. Although ultimately entertaining, many aspects of the performance didn’t quite “fadge.”
One may think that the story of Twelfth Night is complicated enough as is, which is possibly why the slightly misguided choice to introduce the concept of time travel into the narrative just didn’t work. Aside from making a play which is already difficult to follow at best of times more complicated, the set itself was poorly designed. The large time machine in the centre of the stage took up a lot of space, rendering a large part of the small performance area unusable. Considering the time machine was only used three times throughout the show, the restrictions its presence imposed makes it difficult to justify. Read more …
Alicia Keys has been an all-time favourite artist of mine since I was a young-un, and I’ve loved following her progress alongside my own musical endeavours. Her songs are heartfelt, raw and passionate, with this natural feel drawing both from her craftsmanship as a songwriter and a pianist. Hence, her latest release ‘Blended Family’ brought me great excitement, in anticipation for her new album being released November 4th!
The long-awaited sequel to Irish poppers Two Door Cinema Club’s 2012 smashing album Beacon, releases this Friday (14/10/2016). With 2010’s Tourist History obliterating people’s expectations for indie pop, and its follow-up, the aforementioned Beacon, solidifying the band’s consistent reputation for obliterations of the mould and listener’s assumptions, ensured the band’s restricted and small discography would be remembered as a placeholder for modern indie-pop and indie-disco.
For four years now a surreal horror story has been broadcast over the tangled nodes of the internet. The podcast Welcome to Night Vale has appeared in half-monthly installments since June 2012, making it one of the longest running fictional podcasts around. The podcast is free, with the writers and crew earning a living by touring live shows, selling related merchandise, and soliciting donations. There is even a published book out.
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Given his feature verses as of late have been as brilliant as they are sparse, I admit my interest in this record was piqued by the featured André Benjamin (better known as André 3000 of Outkast). Recent murmurs of a new Outkast album coupled with the aforementioned rarity of his musical output have rendered any André guest verse the hottest clickbait in hip-hop. But where most clickbait leaves you scrambling desperately to escape the browser tab, the song Decemba (Remix) had me engaged for its full 3 minute and 49 second duration. Read more …