Podcasts about bellbird

The next few months we'll be “in the dark” so to speak – the shortest days of the year puts us in front of the Low Emissions Burner, keeping warm while reading gardening magazines. What kinds of plants give us colour at this time? Go and visit your local Botanic Garden and take a note book with you – I often look at the stuff that Julie plants at our place. Tree Dahlia are huge plants that can grow up to 4 or 5 meters tall. They are true Dahlias, just a bit taller than your ordinary varieties. Their contrast with blue autumn and winter skies is remarkable. Easy to grow and easy to prune after flowering. They simply grow another lot of branches next autumn! Nerines are currently spectacular. Bright pink flowers delivered by a bulbous plant. Seeing we're in rather frost-free part of the Port Hills, they keep on flowering. They belong to the Amaryllidaceae (bulbs) and don't care about soil quality as long as it isn't too wet. Easy to transplant. Salvia leucantha (Mexican Bush Sage). Works well in full sun with well-drained soil and flowers up to a meter high even at this time of the year, visited by hordes of pollinators – especially Bumblebee Queens. Smoke Bush (Cotinus species) is an oldy but a goody. Many different varieties and colours, especially in the purple range (Royal Purple, “Grace” etc) but also in lime green or red. Flowers look like smoky patches, but right now smoke bush is a variable painting of artistic colours. Liquidambar leaves light up the lawn. Those autumn leaves can come in a wide variety of colours, creating patches of oranges, yellows, and purple. Leave them where they are! Birds will attempt to find food under those leaves (worms and hibernating insects) and when those leaves have slowly decayed, you can put them in the compost bin: free Nitrogen. We have a Eucalyptus tree that flowers profusely right now. No idea what species it is but the Tui and Bellbird, silver eye and bumblebees, winter moths and nectivorous flies, as well as huge Gum Emperor moths (in summer) love this tree for all its gorgeousness. LISTEN ABOVE See omnystudio.com/listener for privacy information.

Charley & Ken chat about the Costa Rica phototour that Ken recently guided, and Ken shares his top 10 sightings / photo-ops.Three-wattled Bellbird recording courtesy of Jelle Scharringa, XC608131. Accessible at https://xeno-canto.org/608131. License Creative Commons Attribution-NonCommercial-ShareAlike 4.0Please check out the website of our sponsor Tropical Birding: https://www.tropicalbirding.com/If you wish to support this podcast, please visit our Patreon page: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/naturallyadventurous?fan_landing=true⁠⁠⁠⁠⁠⁠⁠⁠⁠Feel free to contact us at: cfchesse@gmail.com &/or ken.behrens@gmail.com Naturally Adventurous Podcast Nature - Travel - Adventure

The sight and sound of the Bare-throated Bellbird—the national bird of Paraguay—inspires wonder and delight. Its presence as an indicator species and seed disperser also bodes well for ecosystem health in the Alto Paraná Atlantic Forests that stretch from Southeast Brazil through eastern Paraguay and into Northern Argentina. The loud, metallic call of the Bare-throated Bellbird also inspires music played on another emblem of Paraguay—the harp. The species is considered Near Threatened because of loss of forest habitat and poaching for cage birds.More info and transcript at BirdNote.org. Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks. BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible.

The entire Montreal-based band Bellbird sits down for our only 5-person episode ever! Reedists Claire Devlin and Allison Burik join Eli Davidovici and Mili Hong, who were influential on the Vancouver scene while they were based here and previously appeared on Will Chernoff's edition of the podcast as a duo. The members variously played four Infidels Jazz shows last week, including Jazz at the Bolt, the New Thing series, Frankie's After Dark (in my own band), and Knockouts at All-City Athletics. They continue with Hermann's Jazz Club in Victoria tomorrow night. Mili also plays in Gordy Li's Smurf 4 at the Painted Ship for Infidels Jazz tonight.Become a member for free today at rhythmchanges.ca. You'll get the free weekly email with upcoming events from the gig list, plus artists, events, or recordings for you to enjoy and share. Sent every Tuesday morning at 6:00 AM Pacific Time.Hosted by Chris Fraser. Edited and mixed by Will Chernoff. A Chernoff Music podcast. Theme music: "Lutin" by William Chernoff.

Ken and Charley chat about Brazil, a country that Ken recently visited for the first time. Spoiler alert: he loved it! Bare-throated Bellbird recording courtesy of Mateus Gonçalves Santos, XC776815. Accessible at https://xeno-canto.org/776815. License Creative Commons Attribution-NonCommercial-ShareAlike 4.0 If you wish to support this podcast, please visit our Patreon page at: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/naturallyadventurous?fan_landing=true⁠⁠⁠⁠⁠⁠⁠⁠⁠ Feel free to contact us at: ken.behrens@gmail.com &/or cfchesse@gmail.com Naturally Adventurous Podcast - Nature - Travel

In this Tech Speak minisode, the Science and Technology Directorate reports from a field in Mississippi where we tested a new type of drone system—the Bellbird Communications Platform—over the summer with first responders from across the country. With a microphone and a powerful speaker, the Bellbird facilitates important emergency messaging between responders and crowds. Maintaining clear communication without putting people at risk is something that could ultimately help keep everyone safe in challenging situations. Hear from some of the responder evaluators about how this technology meets their needs, as well as S&T Program Manager Brenda Long and National Urban Security Technology Laboratory Test Lead Bhargav Patel about how and why we conduct these types of field tests.    

Louise Philip had just scored her breakout role on Australian television, in Bellbird, when a horrific car crash threatened to derail the life she was forging for herself.Louise Philip was 15 years old when she convinced her parents to let her drop out of high school to become an actress.She had just scored her breakout role on Australian television, but within a few months a terrible car crash threatened to derail the life that she was forging for herself. Louise broke her back and permanently lost the use of her legs, and she was told that the silver screen was no longer a place for her.But Louise fought to get back to work, and thrived on Australian television sets for years until she did something else that people told her was impossible -- she became a mother.This episode of Conversations discusses disability, acting, paraplegia, wheelchair users, love, family dynamics, guilt, personal stories, origin stories, love, reflection,. motherhood, parenting with a disability, pregnancy with a disability, creativity, Bellbird, Cop Shop.

8 oktober. Ledarredaktionen fortsätter att utvärdera mandatperiodens första halva. Vad tycker väljarna om regeringens insats hittills? Kommer regeringen ta igen sitt underläge i opinionen? Johan Martinsson, opinionschef på Demoskop, och Per Rosencrantz, konsult på Bellbird, diskuterar med Andreas Ericson.

8 oktober. Ledarredaktionen fortsätter att utvärdera mandatperiodens första halva. Vad tycker väljarna om regeringens insats hittills? Kommer regeringen ta igen sitt underläge i opinionen? Johan Martinsson, opinionschef på Demoskop, och Per Rosencrantz, konsult på Bellbird, diskuterar med Andreas Ericson.

Sur les 9 000 espèces d'oiseaux connues, environ 5 000 sont classées dans le sous-ordre des oiseaux chanteurs, ou Oscines (songbirds en anglais), ou encore Passeriformes.   Les plus insolites et les recordbirds sont :   Le Ménure superbe et le Ménure d'Albert, qui vivent en Australie, produisent des sons beaucoup plus variés que la plupart des autres oiseaux. Ils sont capables d'imiter des bruits naturels ou d'animaux, voire des sons d'origine humaine.   L'Araponga blanc (bellbird en anglais) est l'oiseau le plus bruyant du monde. Son chant, très métallique, peut atteindre les 125,4 décibels.   Le cri de l'Araponga est trois fois plus puissant que les célèbres notes du Piauhau hurleur (Lipaugus). Son cri est le chant typique de la forêt amazonienne ET le jingle de Nomen! Vous entendez le chant du Piauhau au début de chaque épisode.   Le Colibri surnommé “la petite étoile équatorienne” vit en Équateur. Son record est de posséder le chant le plus aigu de tous les oiseaux, un “sssss” ténu longtemps confondu avec le bruit du vent.   Le Viréo aux yeux rouges est surnommé “le prêcheur”. Il chante de l'aube au crépuscule, il détient le record du nombre de chants en une journée soit 22 197.   Les imitations du Moqueur polyglotte et du Moqueur roux peuvent durer plusieurs minutes. Il possède un des plus vastes répertoire des virtuoses imitateurs. _______

Mili Hong & Eli Davidovici talk about touring as part of their band Bellbird with Claire Devlin and Allison Burik, the other Vancouver engagements in their 2024 jazzfest experience, and their move to Montreal. Mili and Eli are a drums-bass team who are arguably the eminent Vancouver jazz rhythm section of my generation going back to the mid-2010s.Become a member for free today at rhythmchanges.ca. You'll get the free weekly email with upcoming events from the gig list, plus artists, events, or recordings for you to enjoy and share. Sent every Tuesday morning at 6:00 AM Pacific Time.Credits: Hosted and produced by Will Chernoff. Edited and mixed by Justin Gorrie. Music: "Lutin" by William Chernoff.

A week away from winter – Everybody feels that – especially the birds in your garden.   Food is becoming scarce, unless you've planted a heap of trees and shrubs that provide nectar and honeydew to keep the nectivores happy.   Some species of Eucalypts are flowering right now; so do Tagasaste, some puriri and Banksia. Mexican Orange blossom does its best too, judging from the silvereyes that descend on those flowers.   Nectivores are often attracted by sugar water, delivered in all sorts of ways: bottle feeders are available in garden centres and can be filled with dilutions of that sugar water. Do NOT use honey water as that may spread bee diseases from hive to hive.    Be aware that we have heaps of Native Nectivores in Aotearoa: tui, bellbird, silvereyes to name a few.   A lot of people feed birds dodgy supplements such as stale bread and food scraps; yes – sparrows and starlings (as well as mynahs and the odd blackbird) might initially seem to appreciate your gestures, but so do rats and mice (who are also looking for fodder). A Bread meal is often quite detrimental to birds – if they drink water afterwards, the swelling of the bread can rupture their stomachs.   A number of bird species enjoy some seeds: sparrows greenfinches, gold finches and such introduced creatures; blackbirds don't mind some seeds covered in fruity stuff.   Julie has a different view on the matter: “Blackbirds are there to rip the mulch off the garden”, whether or not they want to catch worms or any other invertebrates…   Another point we need to consider about feeding birds in your garden is that you'll need to keep going till spring; Your generosity is something the birds rely on and when you stop, there will be consequences for the artificially-high populations created by extra feeding!   I tend to target nectar feeders in winter. The afore-mentioned Tui, bellbird and silver-eyes are beneficial species!  Silver-eyes are particularly useful insect eaters, specialising in scale insects, mealybugs, aphids, psyllids, whitefly and a heap more of those quite damaging garden pests.   I hate spraying systemic insecticides, so birds' help is always welcome.   And this is how I attract them to my garden from June onwards:   Lard blocks made from dripping and contained in an old onion bag or in a small, metal “cage” where the birds can hang from. This last contraption feeds a wide range of birds that over-winter in my garden.   Replenish frequently and remember to place the feeders in a spot out of reach from neighbourhood cats.    A source of water might also be handy as – even in winter – birds need water   My goal is to get the largest flocks of silver-eyes on the lard blocks and sugar-water stations throughout winter and right into spring, when the silver-eyes start to disperse to go breeding.  You might think you will have “lost” them from the garden... they are getting very secretive around nesting time, but they will remember your place as a heaven full of food, so...   In spring and summer they'll come and do the pest control business for you by scouting the scale insects and aphids from your plants, to feed their kids.   Tui and Bellbird will probably do a significant job of pollination in your garden.   What's not to like?  LISTEN ABOVE. Silvereyes on MeatballSilvereyes on lard blockSee omnystudio.com/listener for privacy information.

In this story from Aotearoa, New Zealand, a small bird who mysteriously loses her song, she wanders through the forest asking for help from her feathery friends. Will she get her song back? Listen to this beautifully told rhyming tale from Maori storyteller Eliza Bidois to find out. Learn more about your ad choices. Visit podcastchoices.com/adchoices

John Orcsik (born 3 May 1945), credited also variously as Jon Orcsik, John Orschik, John Orscik and John Crosik, is an Australian actor, screenwriter, director and producer of Hungarian descent, known for his television roles starting from the late 1960s, but also for the film version of the soap opera Number 96. He was married to actress Paula Duncan. Career Orcsik, made his debut appearing in the rural drama soap opera Bellbird, in 1967, subsequently he played various guest roles in the Crawford Productions police dramas Homicide, Division 4 and Matlock Police. He had a role in serial Number 96 in 1972, and subsequently reprised that role in the feature-film version of the serial filmed in December 1973. He later reappeared in that series late in its run, briefly playing a different character and this time credited as John Crosik. He also appeared in the film Petersen (1974) and played a brief role in action film The Man from Hong Kong (1975). After roles in other Crawford Productions programs Bluey (1976), and The Sullivans, and an appearance in Chopper Squad (1978), in 1978 he joined new Crawfords Productions police series Cop Shop early in its run as Det. Mike Georgiou, and quickly became one of the show's most popular cast members. He continued in the role until the end of the series in December 1983. He had married his Cop Shop co-star Paula Duncan in June 1982. They have since divorced although have subsequently worked together in fundraising activities, and later acted together in Paradise Beach. After Cop Shop ended Orcsik worked as a television scriptwriter, contributing several scripts to the series Prisoner. He also continued acting and through the 1980s played several roles in television movies and miniseries, including Harvest of Hate (1979), The Hijacking of the Achille Lauro (1989), Displaced Persons (1984), Dadah Is Death (1988), Kokoda Crescent (1989). Other roles of the 1980s include an appearance in television series Mission: Impossible (1988), and the film The Edge of Power (1987). With his swarthy, Mediterranean appearance, Orcsik was cast as Middle Eastern characters in many of these productions. He also had roles in such Australian television series such as The Zoo Family (1985), Home and Away (1992), Paradise Beach (1993), Lift Off (1995), Pacific Drive (1996), and Medivac (1997). He directed the TV movie Academy (1996). Orcsik's more recent acting appearances include a cameo role as a doctor in miniseries The Day of the Roses (1998), a recurring role in serial Neighbours (1999–2002), roles in Stingers (2000), Blue Heelers (2002), MDA (2002), The Saddle Club (2003), Always Greener (2002 and 2003), Scooter; Secret Agent (2005) and Underbelly – The Man Who Got Away (TV Movie) (2011). He played the gypsy leader Alexandru Draghici in "Sorrow Song", S5:E2 of The Doctor Blake Mysteries (2019). After a request by industry professionals in Queensland, John started film and television acting studio The Australian Film & Television Academy (TAFTA) in 1994. He has since expanded to Melbourne and Sydney and continues to run classes online and in-person.

Claudia Villela, Edward Simon, Veronica Swift, Donald Vega, Artemis, Harold Lopez-Nussa, Ethan Iverson, Vijay Iyer, Kris Davis, Sharon Minemoto, Bellbird, Allison Burik, Ruiqi Wang, Roxane Reddy, Esperanza Spalding and Cecile McLorin SalvantPlaylist: Claudia Viella - Cartas Ao VentoEdward Simon, featuring Magos Herrera, Reuben Rogers, Adam Cruz and Luis Quintero - FemininaVeronica Swift, featuring Luis Quintero - The Show Must Go OnDonald Vega, featuring Lewis Nash, John Patitucci and Luis Quintero - As I TravelArtemis - Balance of TimeHarold Lopez-Nussa - Cake a la ModaEthan Iverson - Who Are You, Really?Vijay Iyer, featuring Linda May Han Oh and Tyshawn Sorey - Prelude: OrisonKris Davis, featuring Terri Lyne Carrington, Val Jeanty, Trevor Dunn, Julian Lage - Nine HatsSharon Minemoto - As Luck Would Have ItBellbird, featuring Claire Devlin, Allison Burik, Eli Davidovici & Mili Hong - If You Can't Swim, DanceAllison Burik - Be the DragonRuiqi Wang - Fragments for Subduing the SilenceRoxane Reddy - WiltedEsperanza Spalding - Nao Ao Marco TemporalCecile McLorin Salvant - Fenestra

I have always loved travel, especially to great Natural Environments. We all have favourite destinations and I have been extremely lucky touring the world while filming for Discovery Channel and Animal Planet – But in New Zealand alone, there are plenty of places that are inspirational when you want to have a break for all sorts of reasons: Gardening Botanic gardens in Auckland, Hamilton, Christchurch, Otari (Wellington), Dunedin, Queens Park Invercargill, Napier and Waikereru (Just outside Gisborne). Most have their own botanical highlights: local plants, or a series of trees and shrubs from around the world – others focus on botanists and their historical discoveries. Otari/Wilton Bush: New Zealand's only public botanic garden dedicated solely to native plants – all because of a vision by Leonard Cocaine. Waikereru – Joseph Banks and Daniel Solander plants from Cook's Endeavour. If you want to get some inspiration for your garden, go and visit some of those places mentioned above. This is gardening on a huge scale. At the same time you'll find out what grows well in your region and often keep up on the latest plant releases. Stunning Natural Parks Mount Taranaki – great tracks in the National park: The Puffer Track going up steeply and showing you the spectacular botany as you climb higher and higher, ending up on the Round-the-Mountain track. You may have heard about the famous cloud forests (Moist air going upwards in Mountainous Tropical areas) – well, if you park your car at the lower end of the North Egmont carpark (down from the visitor centre) you can access the Connett loop track, which goes through New Zealand's cloud forest. This is the real deal in Aotearoa. The Lewis Pass (right at the top) has a fabulous, high altitude walk around wetlands (tarns) with orchids flowering and constantly on the edge of the tree-line: shrunken alpine versions of trees you might know from lower altitudes. If you like Lichens, this is the walk to make. Great insect life all over the place, especially in late spring and summer. (Alpine stone weta!) Further south, try to spend some time in the Catlins. Sealions, Southern rata flowering, deserted beaches and extraordinary forests in pristine landscapes. This is where you immediately get the definition of Biodiversity. This is the very first time in my life that I have mentioned the Catlins on the wireless – it should remain a secret place for ever and ever (ake ake). Milford track too long for you? I have a perfect alternative: Start the Routeburn track on SH 94 (the Milford Road, an hour north of Te Anau) and get to Key Summit. Pick a good weather day and get to the top: Alpine views, wetlands with magical wetland plants (a few Sundew species – Drosera); these plants eat insects – extraordinary! Key summit is the Natural History of Lord of the Rings. Oh yes… rock wrens !!! Ecological “Islands” These are bits of our Landscape that have been made predator-free. That allows the presence of pretty rare birds, lizards, aquatic critters and insects, to name but a few groups under pressure. Zealandia (Wellington) is a mere 20 minutes from down town. Predator proof fence keeps the nasties out; kaka,Tuatara, falcons, kiwi, tieke hihi etc etc. The noise can be deafening. Maungatautari near Cambridge, south of Hamilton is an impressive breeding ground for western brown kiwi: “kohanga kiwi”. After releasing some of these birds there, the numbers increased dramatically. Now these birds can be translocated to other sites with effective pest control. Good numbers of other endangered birds and bats. Brook Waimarama near Nelson where the predator-proof fence keeps the locals safe. It's a great valley with aquatic habitats and my favourite giant carnivorous snails (Powelliphanta) Orokonui EcoSanctuary North of Dunedin city. One of the few places where you can see the large Otago skink, sunning itself on warm rocks in the sun. With Kaka, Tui and Bellbird sipping nectar from native flowers and additional sugar water dispensers, the sounds are reminiscent of the concept of a cacophony This is what New Zealand sounded like when Maori arrived! Tawharanui Open Sanctuary is probably the most “summer Holiday destination”: North of Auckland on the Coast, not far from Goat Island. Kiwi, Takahe, brown teal, Kaka and bellbird, tui and some stunning (albeit small) areas with original forests. Puriri trees with puriri moth holes in the trunks, beaches with dotterels and rocky sea-shore sites with amazing marine rockpools with endemic Nudibrancs and endemic fishes. It's the place where we take teachers for the school holidays with the Blake Inspire sessions: Nature Nerd teachers, ready to teach Nature Nerd Kids! Finally: My environmental “home” in Aotearoa: Wingspan in Rotorua. This is the place where you can interact with falcons, harriers and owls, and learn about the people that rescue these raptors and teach them to fly and hunt for prey, using ancient falconry techniques and traditional methods in ornithology, language and culture.   LISTEN ABOVESee omnystudio.com/listener for privacy information.

Shannon Barnett Quartet, Tsuyoshi Yamamoto Trio, Fred Hersch & Esperanza Spalding, Melissa Pipe Sextet, Bellbird, Peripheral VIsion, The Titillators, Amaro Freitas, Dominique Fils-Aimé, Muriel Mwamba, and George ColemanPlaylist: Shannon Barnett Quartet - When Will The Blues Leave?Audrey Ochoa - Have A CryTSUYOSHI YAMAMOTO & Tsuyoshi Yamamoto Trio - Speed Ball BluesFred Hersch & Esperanza Spalding - LoroMelissa Pipe Sextet - In Due TimePeripheral Vision - Full Disclosure Comedy Vehicle (Live)The Titillators - Wigging OutAmaro Freitas, featuring Hamid Drake, Shabaka & Aniel Someillan - EncantadosDominique Fils-Aimé - To Walk A WayMuriel Mwamba - KALULUGeorge Coleman - Four

A forest in New Zealand rings with the sound of bellbirds, also known as Korimako or Makomako. Many bellbirds sing together, especially in the morning. Pairs sing duets. And a pair may counter-sing with its neighbors, perhaps letting them know that this patch of land is taken. It all builds to a brilliant, ringing dawn chorus.More info and transcript at BirdNote.org. Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks. BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible.

The four species of South American bellbirds can make a real racket, including this Bearded Bellbird. Hidden in the tree canopy, males cannot see one another as they sing — but they sure can hear each other! Their ear-splitting songs carry over long distances. The loudest of the species is the White Bellbird, reaching an ear-splitting 125 decibels — louder than a rock concert! It's the loudest bird song ever documented.More info and transcript at BirdNote.org. Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks. BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible.

Denise Drysdale began her career at GTV-9 when she was 10 years old, performing in the Tarax Happy Show. She has worked in and around television ever since, providing a host of magical moments through the live medium. The longevity and brilliance of her career in television confirms she is one of the best and few have replicated her golden talent. Her life has paralleled the growth of television. In the 1960's Denise appeared regularly on Graham Kennedy's In Melbourne Tonight as a dancer, and performed many comedy sketches on that popular late night show. Denise worked on The Ernie Sigley Show in the 1970's and won Gold Logies in 1974 and 1975 for the Most Popular Female Personality on Australian television. She is affectionately known as ‘Ding Dong', a moniker given to her by Sigley.  As well as appearing on The Ernie Sigley Show twice weekly throughout 1975, Denise also appeared on Celebrity Squares, Young Talent Time, Countdown, the Norman Gunston Show.Denise has worked all over Australia in radio, commercials and television, as well as various club work. From 1983-84 she worked in Sydney, appearing on Weekend Magazine and Beauty and the Beast.  In 1989 she teamed up once more with long-time friend Ernie Sigley, hosting a top rating national morning television show.She has also worked in regional television in Victoria with guest appearances on BTV-6 Ballarat and hosting a morning magazine show on GLV-8. Denise joined the cast of Hey Hey it's Saturday for a season and presented her own show, Denise, for channel seven. She was seen on The Circle for channel ten and can be seen as a guest host on Studio 10.She has also had extensive experience as an actress, appearing in the television stalwarts Division Four, Homicide and Bellbird. Most recently, she was seen as Ginger in Josh Thomas'  Please Like Me and the iconic soap, Neighbours. Her film work includes The Last of the Knucklemen, Snapshot and Blowing Hot and Cold.Her professional life began in the theatre with credits that include Dimboola, Grease (for Harry M. Miller),  A Funny Thing Happened on the Way to the Forum (JCW), Two Gentlemen of Verona (Aztec productions), Salad Days (St Martin's Youth Theatre) and Hello Dolly! (GFO).The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Charley interviews Angus Pritchard about his recent trip to Paraguay. Find Angus at: https://www.facebook.com/angus.pritchard.397 Bare-throated Bellbird recording courtesy of Guillermo Menéndez (gmmv80), XC448305. Accessible at www.xeno-canto.org/448305. License Creative Commons Attribution-NonCommercial-ShareAlike 4.0 If you wish to support this podcast, please visit our Patreon page at: https://www.patreon.com/naturallyadventurous?fan_landing=true Feel free to contact us at: ken.behrens@gmail.com or cfchesse@gmail.com Naturally Adventurous Podcast Travel Nature Adventure Birding --- Send in a voice message: https://podcasters.spotify.com/pod/show/ken-behrens/message

Screech into the weekend with the DATA boys this week as they cover the White Bellbird.

Search for the Three-wattled Bellbird at Corcovado NP, Costa Rica. Theme: La Boqueria (Sting version) by Loius Nichols. Courtesy of Epidemic Sound ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.epidemicsound.com/track/uWeGdACji6/⁠⁠⁠

Birds singing from silver beech trees in Abel Tasman National Park.Source: Department of Conservation (NZ).

From TV shows Bellbird and Cop Shop to a 10 year accidental career in politics, Terry Norris was known and loved by many Australians.  He reflects here with Bruce Mansfield and Philip Brady in this interview from 2010 See omnystudio.com/listener for privacy information.

We welcome Jeremy to the podcast to share the yowie encounter he and his friend had while out in the bush.Purchase Angry Yowie Coffee!Use discount code “believe” for 10% off your order! Shop here: https://bit.ly/cryptidcoffee Have a short story? Leave us a voicemailAustralia: 02 8405 7977International +61 2 8405 7977Or email it to believepod@gmail.comBecome a Believe+ Member for exclusive showsJoin here: http://bit.ly/2mh5qeW Have you had an encounter?If you have had an encounter get in touch with me. My email address is believepod@gmail.comFollow us on social mediaFacebook: https://bit.ly/38OwR4C Instagram: https://bit.ly/3hsHu23 Twitter: https://bit.ly/3yLEkMl Discord: https://bit.ly/3BFjRuG Hosted on Acast. See acast.com/privacy for more information.

Sur les 9 000 espèces d'oiseaux connues, environ 5 000 sont classées dans le sous-ordre des oiseaux chanteurs, ou Oscines (songbirds en anglais), ou encore Passeriformes.   Les plus insolites et les recordbirds sont :   Le Ménure superbe et le Ménure d'Albert, qui vivent en Australie, produisent des sons beaucoup plus variés que la plupart des autres oiseaux. Ils sont capables d'imiter des bruits naturels ou d'animaux, voire des sons d'origine humaine.   L'Araponga blanc (bellbird en anglais) est l'oiseau le plus bruyant du monde. Son chant, très métallique, peut atteindre les 125,4 décibels.   Le cri de l'Araponga est trois fois plus puissant que les célèbres notes du Piauhau hurleur (Lipaugus). Son cri est le chant typique de la forêt amazonienne ET le jingle de Nomen! Vous entendez le chant du Piauhau au début de chaque épisode.   Le Colibri surnommé “la petite étoile équatorienne” vit en Équateur. Son record est de posséder le chant le plus aigu de tous les oiseaux, un “sssss” ténu longtemps confondu avec le bruit du vent.   Le Viréo aux yeux rouges est surnommé “le prêcheur”. Il chante de l'aube au crépuscule, il détient le record du nombre de chants en une journée soit 22 197.   Les imitations du Moqueur polyglotte et du Moqueur roux peuvent durer plusieurs minutes. Il possède un des plus vastes répertoire des virtuoses imitateurs. _______

Sophie Green is a Sydney based author and publisher. She's written several fiction and nonfiction books, some under other names and writes about country music on her website, Sunburnt Country Music. Her debut novel, The Inaugural Meeting of the Fairvale Ladies Book Club was a top 10 bestseller and was shortlisted for the Australian Book Industry awards for general fiction book of the year (2018) and Sophie was also long listed for both the Matt Richell award for the new writer of the year, and the Indie Book Award for Debut Fiction. Sophie books are published is internationally and The Shelly Bay Lady's Swimming Circle and Thursdays at Orange Blossom House were also top 10 best sellers. Her latest release is The Bellbird River Country Choir and as you might guess by the title, it's very much in keeping with the tone and style of Sophie's previous books. Grab a cuppa and join Pam and Sophie on the Writes4Women Convo Couch as they chat about the new book, and about the intersection of her passions: yoga country, country music and writing.   SHOW NOTES: Writes4Women www.writes4women.com Facebook @writes4women Twitter / Instagram @w4wpodcast   W4W Patreon https://www.writes4women.com/support-us-on-patreon   Sophie Green Website: click https://sunburntcountrymusic.com/ Facebook: click here Instagram: click here Buy The Bellbird River Country choir here   Pamela Cook www.pamelacook.com.au Facebook: click here Twitter: click here  Instagram: click here   This episode produced by  Pamela Cook for Writes4Women.        Support the show: https://www.patreon.com/writes4women?fan_landing=trueSee omnystudio.com/listener for privacy information.

Three weeks ago Steven from Bellbird broke our hearts by sharing his mental health journey with us. For R U OK? Day, Tanya & Steve check back in with him to see how he's going.See omnystudio.com/listener for privacy information.

NZ Bellbird Korimako This show was broadcast on OAR 105.4FM Dunedin - oar.org.nz

Teacher and single Mum Alex is escaping the city in search of new start with her young daughter; Bellbird River matriarch Victoria finds herself at a crossroads when globe-trotting, opera-singing cousin Gabrielle moves back home; town baker and Bellbird River fixture, Janine is confronting her past and her present; and newcomer Debbie is trying to leave a painful past behind and create something new. Amid the melodies and camaraderie of the Bellbird River Country Choir each of these women will find the courage to put the past behind them and discover that friendship is much closer to home than they ever realised. In this episode Gregory Dobbs chats to Sophie Green about the cast of female characters that are at the heart of Bellbird River, the sustaining power of friendship and love, what's in and what's out of the Bellbird River Country Choir's choral repertoire, and how music can build bridges and bind communities.

Teacher and single Mum Alex is escaping the city in search of new start with her young daughter; Bellbird River matriarch Victoria finds herself at a crossroads when globe-trotting, opera-singing cousin Gabrielle moves back home; town baker and Bellbird River fixture, Janine is confronting her past and her present; and newcomer Debbie is trying to leave a painful past behind and create something new. Amid the melodies and camaraderie of the Bellbird River Country Choir each of these women will find the courage to put the past behind them and discover that friendship is much closer to home than they ever realised.In this episode Gregory Dobbs chats to Sophie Green about the cast of female characters that are at the heart of Bellbird River, the sustaining power of friendship and love, what's in and what's out of the Bellbird River Country Choir's choral repertoire, and how music can build bridges and bind communities. 

A respected and adored veteran of the Australian theatre, Geraldene Morrow began her professional career at the age of 16 as a dancer in the Bobby Limb Revue. Shortly after arriving in Melbourne from her home town of Perth, she was chosen to understudy Eliza in J.C. Williamson's My Fair Lady. One month later she played the role for a week and stayed with the show for two years.Other JCW productions to follow included Bye Bye Birdie and A Funny Thing Happened on the Way to the Forum. For Garnet Carroll she played the juvenile lead in Once Upon A Mattress.Other musical theatre work includes East Lynne, Lady Orderly's Secret, Caroline, Little Mary Sunshine, The King & I, 1776 and Brigadoon. In the U.K. she performed in plays, pantomimes and musicals including No, No, Nanette, My Fair Lady, The Girlfriend and the lead female role in the West End production of Cindy. She appeared in the film of Oliver and for BBC television she was featured in The Mikado and Iolanthe. Returning to Australia in 1969, she is remembered for her roles in Charlie Girl, Side By Side By Sondheim, Cowardy Custard, La Cage Aux Folles, Nunsense, Baby, Into the Woods, Big River and the original Australian production of The Phantom of the Opera as Madam Giry.Television credits include Bellbird, Water Under the Bridge, Young Ramsay and Prisoner. Geraldene was also one of the Glitter Sisters who toured the national cabaret circuit.STAGES spent a delightful hour with Geraldene reflecting on a prolific career and the immense joy it has brought her and audiences alike.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

In 2022, one station in the South Pacific remains on shortwave, to the great delight of shortwave listeners. That station is Radio New Zealand, which as of early 2022 could still be heard with good signals. Back in the 1970's Radio New Zealand was a prime DX target. Its sign on at 0600 UTC required staying up until 2:00 AM in summer months. For signs of good Pacific propagation, DX'ers often used VNG, the former time signal station in Australia, as a marker. If VNG was coming in well, then New Zealand and Tahiti were likely to be coming in well. It's hard to explain the feeling a new SWL got hearing Radio New Zealand in those days. At a power of 7.5 kilowatts, the station listed on its QSL card (shown here) 9 frequencies, including 9.54 mHz and 11.780 mHz where I used to hear them. Other frequencies in 1971 were 15.280, 17.770, 6.080, 9.620, 15.220, 6.020, and 15.110 mHz for ZL2/3/4/5/7/8/10/20 and 21 call letters. The verification signer was H. Taylor-Smith at NZBC Broadcasting House in Wellington. Hearing this 7.5 kilowatt signal, with its characteristic fading as the signal made its way the many thousands of miles to Pennsylvania, was a real thrill. Here is the 1971 recording of Radio New Zealand, from sign on with its “Bellbird” interval signal and BBC news relay.

Talking Prisoner EP 25 Interview with Alan Hopgood (Wally Wallace)Welcome to Episode 25 of Talking Prisoner. Hosts Ken Mulholland and Matt Batten sat down and spoke with Actor, Author, Producer, Writer and leading playwright Alan Hopgood who played Wally Wallace on Prisoner. We spoke in great length to Alan about his life growing up, how he got into acting from a very young age and about his time at the University of Melbourne and his first television play The Sound of Thunder. Alan spoke to us about his time on Bellbird in which he appeared in 872 episodes as Dr Reed and told us lots of behind the scenes information about Bellbird. Alan is a leading playwright and wrote a play called “And the Big Men Fly” which also starred Elspeth Ballantyne and was able to give us all the behind the scenes about this successful play. We spoke in great length about a movie Alan wrote called Alvin Purple which was a box office smash hit back in 1973 and where he got the idea to write it. We spoke in length about Alans time on Prisoner playing Wally Wallace and working alongside Betty Bobbitt and Gerda Nicholson and how he got the part of Wally and what he thought about his character Wally. Alan spoke to us about his time on Neighbours playing Lassiters Hotel owner Jack Lassiter and working alongside Stefan Dennis (Paul Robinson) We also spoke to Alan about him receiving an order of Australia for his services to the performing arts and raising awareness in Men's health through his book and plays. Please subscribe to our YouTube channel.#alanhopgood #prisoner #cellblockh #neighbours #bellbird

Talking Prisoner EP 19 Interview with Maggie Millar (Marie Winter)Welcome to Episode 19 of Talking Prisoner. Hosts Ken Mulholland and Matt Batten sat down with award winning artist and actor Maggie Millar who played inmate Marie Winter. Maggie spoke with us about her early life growing up, school, what subjects she enjoyed the most, her time at RADA (Royal Academy of Dramatic Art) In London with people such as Vivien Leigh, Alan Rickman, Anthony Hopkins, Joan Collins, Roger Moore and how she was accepted into this prestigious school. We also discussed some of the shows Maggie appeared on such as Bellbird and what it was like to work with her on screen husband Alan Hopgood, we then spoke about Prisoner and how she got the part on the ground breaking drama and shooting her first scenes with Val Lehman (Bea Smith) at prison Barnhurst and then what it was like to come back to Wentworth for a further 36 episodes. We broke down some iconic episodes such as the Sandy Edwards riot, working with Louise Le Nay in the riot episodes, Marie Winters riot, the amazing scene on the staircase during the riot where she pushed Reb Keane played by Janet Andrewartha over the stairs, and why they had to re shoot the great Marie Winter escape and what her thoughts were on her exit, we also discuss why she was not asked back as a series regular. Maggie also shared with us her memories working with Maggie Kirkpatrick who played officer Joan Ferguson. We managed to get through all the fan questions and Maggie even did the trademark Marie Winter laugh for us. #rada #maggiemillar #cellblockh #prisoner #mariewinter

Welcome to the twelve episode (Part 2) of Talking Prisoner. Hosts Ken Mulholland and Matt Batten sat down with actress, writer, producer Anne Lucas. We spoke to Anne about her life growing up, when she moved to Australia, How she met her husband Prisoner producer Ian Bradley, what it was like to work on the Tv show Bellbird with Shelia Florance and a story about Shelia coming close to losing her life on the set of Bellbird, What her thoughts on Prisoner were when Ian first told her about the show, Anne also discussed how she became a script writer and script editor on Prisoner and how the part of Faye Quinn was created due to another cast member having to leave the show, What it was like to work in the writing department of Prisoner, We also spoke with her about the iconic fire episode of Prisoner Season 5 Episode 1 that Anne wrote for, Anne also shared with us a special story about her life after the birth of her child Lucas. Lots of laughs, lots of behind the scenes talk about Prisoner and a funny story about Ian Bradley writing an episode of Prisoner on Annes Feet. #annelucas #prisoner #cellblockh #ianbradley

Welcome to the twelve episode of Talking Prisoner. Hosts Ken Mulholland and Matt Batten sat down with actress, writer, producer Anne Lucas. We spoke to Anne about her life growing up, when she moved to Australia, How she met her husband Prisoner producer Ian Bradley, what it was like to work on the Tv show Bellbird with Shelia Florance and a story about Shelia coming close to losing her life on the set of Bellbird, What her thoughts on Prisoner were when Ian first told her about the show, Anne also discussed how she became a script writer and script editor on Prisoner and how the part of Faye Quinn was created due to another cast member having to leave the show, What it was like to work in the writing department of Prisoner, We also spoke with her about the iconic fire episode of Prisoner Season 5 Episode 1 that Anne wrote for, Anne also shared with us a special story about her life after the birth of her child Lucas. Lots of laughs, lots of behind the scenes talk about Prisoner and a funny story about Ian Bradley writing an episode of Prisoner on Annes Feet. #annelucas #prisoner #cellblockh #ianbradley

It's that time again! USQ is heading back to school!Join Conor Chisell and Duncan Towner as they join the RUOK Day activities at Bellbird Park State Secondary CollegeProduced by Adrienne Versteegh and Mikaylah Wilke. Social Media by Brodie Irwin-Blunden. Panel Operator: Jamie Hine.For copyright reasons, commercial music tracks have been removed from the original broadcast.

Alex and Aaliyah are back to talk all things Bellbird, including a final farewell to Mr Murray.

What's up Bellbird Park? Welcome to Rise Radio, where we have many pathways and no limits. Hosted by Alex and Aaliyah, this is your bite-sized pocket guide to all things Bellbird Park State Secondary College.

What's up Bellbird Park? Welcome to the first ever edition of Rise Radio where we have many pathways and no limits. Hosted by Alex and Aaliyah, this is your new bite-sized pocket guide to all things Bellbird Park State Secondary College.

A forest in New Zealand rings with the sound of bellbirds, also known as Korimako or Makomako. Many bellbirds sing together, especially in the morning. Pairs sing duets. And a pair may counter-sing with its neighbors, perhaps letting them know that this patch of land is taken. It all builds to a

Join us for another week of laughter, TV shows, streaming, movies and all things entertainment. THIS WEEK We're talking about Godzilla vs. Kong, Zero Zero Zero, Falcon & The Winter Soldier, C.B. Strike, Unknown World, Bellbird, Fear the Walking Dead and so much more! Our movie review of the week, is the 2020 adventure comedy - Bill and Ted Face the Music. Starring, Keanu Reeves, Alex Winter, Kristen Schaal, Samara Weaving, Brigette Lundy-Paine, William Sadler and Jayma Mays. Directed by Dean Parisot. And finally our Peak Performance nominations are in for Maggie Smith. Come and have a listen. EPISODE TITLE This weeks episode title is dedicated to the Dora Milaje of Wakanda - In particular Florence Kasuma who plays Ayo. The Dora Milaje recently made an epic appearance in Marvel's Falcon and The Winter Soldier episode 'The Whole World is Watching' #WakandaForver RUNNING ORDER 02m21s | What we've been watching 26m46s | Bellbird Review - "The greatest New Zealand movie in years" 31m44s | Fear the Walking Dead - S6B 45m06s | Movie of the week: Bill & Ted Face the Music 53m10s | News 59m21s | Mailbag 01h01m10s | Peak Performance: Maggie Smith GET IN TOUCH Support us on Patreon Follow us on Instagram Tweet us @HalfMeasuresPod Talk to us on Discord Follow us on Facebook Visit our website halfmeasurespodcast.com This episode of Half Measures is brought to you by Time Travelling TeamP

It was raining mayoral minutes at this month's Ipswich City Council meeting – find out what went down from mayor Teresa Harding. Council appoints an acting CEO, the Smart City Program is perhaps not so smart after all, Cr Paul Tully clarifies he was not part of the USA and Japan trip highlighted in the Smart City report and privately owned land at Bellbird Park will not be included in the city's Enviroplan conservation plans. Published: 29 March 2021. Music: www.purple-planet.com Image: 1 Nicholas Street Ipswich Current and future council works and projects: maps.ipswich.qld.gov.au/civicprojects Council agendas and minutes: bit.ly/2JlrVKY Council meetings on YouTube: www.youtube.com/c/IpswichCityCouncilTV Ipswich Civic Centre: www.ipswichciviccentre.com.au/ Discover Ipswich: www.discoveripswich.com.au/

Tyler Brennan and Shannon Lewis present a special 'RUOK Day' program from Bellbird Park State Secondary College. For copyright reasons, commercial music tracks have been removed from the original broadcast.

“And today we’re talking about a bird with perfect projection for a passeriform. But more on that later…” In the bird world, it takes a lot to attract a mate. Some go for brilliant colorful costumes, other’s choreograph a complex dance, and a select few even dabble in architecture. But why do any of that … Continue reading Episode 111 – White Bellbird: The Avian Airhorn

Simon Morris looks back on 2019. It was a year of franchise endings - The Avengers, Star Wars, Toy Story and several others - and diversity. Certainly there were more movies starring women and directed by women than ever before. It was also a good year for New Zealand films and film-makers - Daffodils, Bellbird and Taika Waititi's hugely popular Jojo Rabbit.

A celebration of New Zealand's country values. The post Orlando Stewart – Bellbird #IFFAM2019 appeared first on Fred Film Radio.

A celebration of New Zealand's country values. The post Orlando Stewart – Bellbird #IFFAM2019 appeared first on Fred Film Radio.

A celebration of New Zealand's country values. The post Orlando Stewart – Bellbird #IFFAM2019 appeared first on Fred Film Radio.

A celebration of New Zealand's country values. The post Orlando Stewart – Bellbird #IFFAM2019 appeared first on Fred Film Radio.

A celebration of New Zealand's country values. The post Orlando Stewart – Bellbird #IFFAM2019 appeared first on Fred Film Radio.

A celebration of New Zealand's country values. The post Orlando Stewart – Bellbird #IFFAM2019 appeared first on Fred Film Radio.

A celebration of New Zealand's country values.Orlando Stewart – Bellbird #IFFAM2019 was first posted on December 12, 2019 at 9:44 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm

The white bellbird of the Amazon may be the loudest bird in the world.  

The white bellbird of the Amazon may be the loudest bird in the world.  

Told by Erina Daniels For Kids and Little Kids Staying with Nanny Mihi in the school holidays, her mokopuna get up early to whistle a tune to the birds. One bellbird learns the tune but when spring comes he is nowhere to be heard. What has happened? Book by Oratia Media Music by Akash Dutta and Gus Reece  Produced for RNZ by Prue Langbein Audio Ltd through the RNZ/NZ On Air Innovation Fund 2019

New Zealand film Bellbird is a sweet, rural dramedy about love, loss and life on a dairy farm. Stars Marshall Napier, Cohen Holloway and Rachel House.

Every Saturday morning, movie critic Francesca Rudkin joins Jack Tame to take a look at what is playing at the movies this weekend.BellbirdActor Marshall Napier (Came a Hot Friday) has played a good number of unsympathetic cops over his long career. In Bellbird he displays a gentler side, as a Northland dairy farmer who is unable to express himself after his wife's death. His son (Cohen Holloway) and friends try to help in various ways. Director and schoolteacher Hamish Bennett based his script on memories of growing up in rural Northland. The film expands upon his award-winning short film Ross and Beth (2014). The cast also includes Rachel House. Bellbird was invited to screen at the 2019 Sydney Film Festival. Last ChristmasA young woman, who has been continuously unlucky, accepts a job as a department store elf during the holidays. When Kate meets Tom on the job, her life takes a turn.LISTEN TO AUDIO ABOVE 

Phoenix Radio was invited to broadcasting live from Bellbird Park State Secondary College, to help the school shine a light on mental wellness and RUOK? Day. Conor Chissell is your host. Commercial music, originally part of the special program, has been removed from the podcast for copyright reasons. Remember, if you ask someone 'RUOK?', be ready for the conversation, especially if they say 'you know what, no, I'm not okay'. And keep the Lifeline number handy for yourself or anyone who might need it: 13 11 14.

Hamish Bennett, writer and director of the highly anticipated, soon to be NZ classic, Bellbird. It's a classic Kiwi story that will make you laugh, cry and feel great about what an amazing country we live in.Hamish takes a break from his primary school teaching duties to join us in our Dunedin studio to talk life, the universe and everything================Check out the audio only version of the shows via the links belowYoutubehttps://goo.gl/uLs7j5Spotifyhttps://goo.gl/zYQUhCiTuneshttps://goo.gl/rMFT7FStitcherhttps://goo.gl/GQkfpS

Hamish Bennett (Director of 'Bellbird') Interview by Henessey Griffiths on Radio One 91fm Dunedin

Hamish Bennett (Director of 'Bellbird') Interview by Henessey Griffiths on Radio One 91fm Dunedin

Recorded July 20 at The Civic in Auckland following the NZ premiere screening. Audience Q&A with director Hamish Bennett and producers Orlando Stewart & Catherine Fitzgerald in conversation with Dame Gaylene Preston. Presented in association with Script to Screen.

In twee maanden door Nieuw Zeeland. Een auto, een tent, en twee paar wandelschoenen. Het landschap, de vogels, het weer, en alle andere ervaringen.

Guy’s passion for wine started when working for vineyards in Australia which lead to an oenology degree at Roseworthy College, University of Adelaide. He also worked through Italy, Spain, California, Australia and South Africa learning about the culture, language, wine and cuisine, all of which influence Guy’s wine making. BellBird Spring Wines: www.bellbirdspring.co.nz NZ Wine Podcast - Podcasts NZ:  https://www.podcasts.nz/top-podcasts/nz-wine-podcast   

Reporting from The World Future Energy Summit in Abu Dhabi, taking place during Abu Dhabi Sustainability Week, host Naser Al Wasmi talks to two Paraguayan girls who have been honoured for their conservation efforts in their rainforest home. If not for young students Pamela Armoa and Analia Velazquez, the distinct, bell-like sound of the Bare-throated Bellbird risks fading away. We also spoke to H Harish Hande, the founder of the Selco Foundation and winner of the Zayed Future Energy for Prize best non-profit organisation. His group looks to empower residents of India’s slums. And we sat down with the recipient of the lifetime achievement award, Shuji Nakamura. The Japanese scientist is responsible for developing the LED. The technology is found in everything from the iPhone to lightbulbs that are ten times more efficient that traditional lighting. Beyond the Headlines is The National's weekly analysis and insight from the Middle East. Follow, subscribe and rate us at [Apple Podcasts](https://itunes.apple.com/ae/podcast/beyond-the-headlines/id1256040890?mt=2), [Audioboom](https://audioboom.com/channel/beyond-the-headlines), [Pocket Cast](http://pca.st/rMMR) or your favourite podcasting app.

Joe Camilleri is celebrating 50 years in the Australian music industry, has just released his 45th album (while working on 46 & 47), and has The Black Sorrows back on the road. But his career was very nearly derailed when he developed a fear of flying and now says his son saved his life.Joe Camilleri visits the ABC Newcastle studios (ABC Local:Carol Duncan)I've had the privilege of interviewing many of Joe Camilleri's Australian music peers and I've often remarked on how many of them were 'ten pound Poms'.Joe Camilleri says he was a five-pounder, but not a Pom, "We came on the five-pound scheme from Malta. There was only four of us when we came out - my Dad came out in 1949 and me and my two sisters and brother came out in 1950. I think for Mum it would have been an incredible struggle on that boat.""Four kids under six. Phyllis was six years old, Frank was five, I was three, and Maryanne was one.""I've never really had the opportunity to discuss it with them, but Malta was war-torn, it got a heavy beating, Malta. For Dad, he was going to go to Canada and I think someone who had just got back from Australia said, 'That's the place you need to go.'""So he chose Australia. They're both buried here. I think they gave up so much for their children, and their own life, because the thing you have most of all is you want to be around your friends, but you come to a foreign land and all you have is your family. Most of the time, it's not until years later that you connect, sometimes your friends come to Australia, and if they come to Australia, where do they go? It's a big place! Malta is 16 miles square so it's pretty easy to get around but if you're living in Sydney and your buddy's living in Perth - it's a long walk.""I think for us, the hardest thing for my Dad was he would work two shifts. He wanted to get ahead,""He was a baker at night and a metal shop worker by day, so that was his two gigs for a number of years. He was a good handy guy, Dad. He was a spray painter for a number of years, worked on the wharves for a few years, he was just able to do that.""I envy carpenters, really, because anybody who can do something out of nothing ... I forget that I do that with songwriting, too.""When I was working as a first-class machinist there was always some amount of pride in whatever it was I was finishing, they were one-off things whether it was for a big crane or a motorcycle, that was a nice feeling. Do I like putting nail in a wall? Yes I do!""I envy carpenters, really, because anybody who can do something out of nothing ... I forget that I do that with songwriting, too. It's an empty page and then it's a full page and sometimes it's really good, but there's nothing quite like a tradesman who can come in and whip up a kitchen. I'm still amazed by that. Or they can fix a bathroom. We get an IKEA thing and look at it like it owes you money.""What was great about Countdown was that people knew about the bands, someone like Jo Jo Zep and The Falcons did very well."Joe Camilleri first came to my attention through television music show like Countdown. I was still in high school and lived for Sunday night when Countdown was on the telly. It seemed to be a really interesting time in Australian music when the industry became really healthy."I think because we didn't have that information - the frontrunners like The Twilights and Johnny O'Keefe and all those people - you never got to hear about their successes or the hardship. If you won Battle of the Sounds, you didn't win anything because you had to work on that boat for four weeks before you got to England, and then you had to work your passage back. So they were the real frontrunners. Countdown just became something else,""Of course it was looking for stars because it was a popularity thing, if the kids liked something it would automatically go on the charts if you were on Countdown. It was exciting. But they were looking for bands that didn't necessarily have a record. And there were other shows that were like a fraternity of shows. The ABC had a 10 minute show just before Bellbird and they had lots of different acts, Billy Thorpe, The Pelaco Brothers - we didn't have a record but we were playing in Sydney and they asked us to come to the studio.""What was great about Countdown was that people knew about the bands, someone like Jo Jo Zep and The Falcons did very well. I remember going on that with a single called 'Run Rudolph Run' but I hadn't played as 'The Falcons' before that and they just put it on. One minute I'm playing and just having a lot of people come to see you play but no record, no anything, and the next thing you've got a record and no-one knows anything about it. They put you on Countdown and it's in the charts. It's amazing.""What was really great about Sounds was it went for a few hours on a Saturday morning. You could pretty much just ring them and say 'We're in town, can we pop in?' and they'd have you in. They'd have you in and you'd just sit there in your drunken state, as shabby as you can be from the night before, and if you had a video, they'd play it. If you didn't, you'd just have a chat.""You couldn't do that today, today you've got to go through the wringer. It's really tight. There was a beautiful time, not only because of Countdown but because there was something that was going on, I've always put it down to late night closing, the 10 o'clock close, it changed everything because instead of bands playing in halls, they were now playing in bars. So all of a sudden if you were half-decent, like The Falcons were, you'd have 700 people coming to a gig and getting on board a whole bunch of songs that nobody knows.""The word would get out, kind of like Facebook does today but with drums and smoke," laughs Joe."The live thing is healthy again, I think. I've played pretty much everywhere around the world and Australian bands can rock. I think it's because of the pub scene. The pub scene was a really hard scene because if they didn't like it they'd let you know pretty quickly. It was tough. You were kind of invisible, but not invisible. You would know what a good track was. You would play your repertoire, you would play your album, you would play it in, you would know pretty much how the audience reacted to it,""I remember 'Shape I'm In' at Croxton Park - I can remember it like it was yesterday. I said, 'I've got this song, it's called The Shape I'm In, and the audience started grooving to this half-finished song. The roadie came up to me and said, 'I think that's your single.'""Many a song got left on the road because you develop. If you did 10 shows to get to Sydney, by the time you got to Sydney you'd have a pretty good idea of what you were playing and what you thought was pretty strong, because the last thing you wanted to do was be downtrodden by the audience. It was tough, but it was good training. That's why I think when the (Black) Sorrows played in Europe for the first time, it didn't matter if we were two miles apart from each other on a stage, we could play together and it made a really big difference to us.""It can be stressful, there's peaks and valleys in all this stuff. You're always having a good look at yourself and you're always asking the question because no-one taps me on the shoulder to say 'Look, I think it's time to make another album'.""I was never a popstar. I don't know how people perceive me really, but I imagine have followed what I do on a different level, not just from the hit songs but because my audiences have liked what I've done as a collection of music on an album. Not necessarily the Shape I'm Ins or Hit and Runs or the Harley and Rose ... those things are valuable to you as a performer but maybe I realised kind of early that my whole thing would have to be (that) we're all in the same boat - the audience and the performer - so I'm more than happy to leave Harley and Rose out if it didn't work on the night. But there's nothing scheduled, there's nothing planned. I haven't had a song list unless doing something really small, or filming or something. With the APIA tour I had to actually do those songs because it wasn't my bad so I had to behave a bit. But when you're doing your own show it's more about the event of what you've got to offer.""Even though it's my 50th year (in the music industry) I didn't start recording really until 1975, or 1972 ... around that time ... so my whole thing is that if we can do it where there's no trigger points, each song belongs as part of the collection of the night rather than 'here's the songs, you can buy this'. My thing is to be as free as I can both musically and from a performance point of view. I think what I've been able to achieve is that people realise if they come and see me in a couple of weeks time it's not going to be the same. Some of the songs might be the same but there'll be different things.""It can be stressful, there's peaks and valleys in all this stuff. You're always having a good look at yourself and you're always asking the question because no-one taps me on the shoulder to say 'Look, I think it's time to make another album'. It's kinda good. I like being an independent artist on that level."Joe Camilleri is already up to album number 45 and working on another."I've got this new double album called 'Endless Sleep'. I've already got a title for it. When I was recording Certified Blue I was also recording other songs for what I just thought was entertainment value. I tried to get inspired by something so I'd play on the piano something like Hank Williams' 'I'm So Lonesome I Could Cry', and then I'd find another way of getting into that song and maybe we'd record it and just leave it. But then I realised it's the inspiration of these people, whether it's Gil Scott Heron or Lou Reed, so when I finished Certified Blue I had about nine of these songs and I realised that they (the artists) were all departed.""And I thought there's some kind of message here - I was just doing it because I liked the songs, I wasn't paying any attention to this, and so when I realised that most of them had departed I thought, 'Oh wow, this is what I need to do', even though I'm writing new songs, I need to make this record. The song from the 1950s by Jody Reynolds called 'Endless Sleep' came up in my head and I thought 'there it is, it's the title of the album and the reason I'm doing this record'.What's the first song Joe Camilleri remembers hearing?"There was this woman in Carlton. Some of the houses in Carlton had their windows right on the street, there was no front yard. There was this woman called Aunty Darcy, we used to call her that, I don't know why, but she was a music fan and she would open the window and just give us stuff,""She would say 'come and have a listen to this' and I remember her saying 'this is the new thing' and I guess I probably thought it was going to be Doris Day or something, but it was Rock Around The Clock by Bill Haley and The Comets. I remember hearing that.""I think those days everybody had a piano or some sort of musical instrument because that's what you would do at night, you'd sit around the piano and sing songs. My brother played the piano accordion and we would do that.""I used to love the radio and I loved to sing the songs of the day, but wasn't until about 1961, 1962 - it was when I heard The Searchers, I probably heard The Searchers before The Beatles because they all came out around the same time. There was this noise about this new thing, this British beat, and there was The (Rolling) Stones, The Animals, and The Kinks - all this music was coming out at the same time and that's when I got pretty much hooked on the whole idea.""I loved all the Elvis Presley things but I didn't have the money for that sort of stuff. The Shadows was the first record I bought, maybe it was the only album I could find at the time, but it wasn't until the sixties really that I went nuts and went back and found all those records that the Rolling Stones did great versions of, Otis Redding or Howlin' Wolf, that was a kind of secret, this thing that kind of came upon you and WOW! It was insane staff. It was dark and it was mysterious and it had something else. But it was kind of like the British beat going back 10 years and buying that stuff. There was an album called, I think, 'Fresh Berries' it had just Chuck Berry songs. It had 'Carol' on it and it had all these other songs that the Rolling Stones were playing, they did pretty good versions and they souped them up a bit, but you realise the depth of Chuck Berry playing those songs because he really was the Shakespeare of rock & roll.""I'd just had enough. I had this really beautiful 13-piece band and we went around the country and we had two hit singles, a pretty big record with a chart record but I wasn't very happy with the record."The early part of Joe Camilleri's career, the Countdown era, was one thing, but then in the 1980s Joe returned with The Black Sorrows which went huge."By accident of course! I was pouring coffees. I'd just had a hit with Taxi Mary and Walk On By - the great Walk On By which I think I ruined although it was an interesting verison of that song. I just gave up. I said 'I'm just gonna take some time out' and I got a job as a vegie roadie working at the Footscray market. It was just taking vegetables from trucks and putting them on other trucks, so that was my gig,""I'd just had enough. I had this really beautiful 13-piece band and we went around the country and we had two hit singles, a pretty big record with a chart record but I wasn't very happy with the record. It could have been so much better and it was my fault that it wasn't as good as I wanted it to be, but anyway, it yielded these two songs and we got to play and I got to do something that I wanted to do which was play with the cha band and six horns and high-heeled boots and gay cavalier and all that nonsense, but it just left me wanting. It was nice, but it wasn't what I wanted to do. So I thought, 'I'm just gonna get a job', it wasn't much of a job, it was three hours a day but you had to get up at 5am, done by 9am, and you had $20 a day and all the vegetables you can eat, so I got this other job by meeting a guy who loved Jo Jo Zep and The Falcons. He'd just opened a restaurant and he said, 'Why don't you come and work for me, I'll give you a job, you can pour some coffees', so that was my gig at this place called the Cafe Neon."So I did that and Chris said, 'Why don't you do something on a Sunday afternoon?' and that's how it all started.""I was in love with this music called zydeco music and no-one really knew much about it here, maybe some taste-makers might have known about it, it was an unusual connection. We had the piano accordion/violin sound, and then there was the clarinet and saxophone - we made up the horn section and the four of us made up this sound, it was kind of a nice sound,""I recorded an album of covers really, except for one song called Blow Joe Blow, and we did a couple of shows and people went nuts for it because it was different. It might not have been great but it was heartfelt. And of course it yielded a hit out of the weirdest thing,""Elvis Costello was in town, we toured with Elvis. Across the road from where he was staying was this place called 'Discurio' - somewhere like that. I would go to the record stores and actually sell them to the record stores. In fact next door to the Cafe Neon was a butcher shop and I sold him 10 copies, that was a new cut of meat!""But that's what you did. We made the record in a day, a guy I knew designed the cover, another guy could make a screenprint, so we screenprinted them and put them on the line, we did some t-shirts at the same time and got them out there,""But he (Costello) found this record and I swear to you that he spent more time talking about this particular record than talking about what he's doing on tour.""Most of this record was from an album called 'Another Saturday Night' and that's where I got to hear someone like Bobby Charles, and zydeco music was sort of like New Orleans music but they used it in a different way, they used those R&B songs where they went back to the fifties and sometimes sang in French. I did a song called 'Brown-Eyed Girl' and that particular song turned it around for this band,""We'd only done maybe two or three shows for this record. It was recorded in an afternoon and that was under circumstances - we weren't allowed to keep the tapes, we only had a day to record, it was a demonstration for the studio because they got a new desk in and wanted someone to try it out. That's how it happened. We recorded a couple of extra songs but I never got to keep the tape. Everything was just by chance,""I don't know if you run out of gas, but from the point of view of playing together it was so manic. You're doing 300 shows a year and you're playing all over the world and something had to go. Unfortunately for me I got a thing where I couldn't fly anymore.""But that led me to that point where we were a really big band and we were recording things like 'Chained To The Wheel' and we had the Bull sisters and we're playing all over the world and we're getting gold records in different parts of the world and platinum records in Australia and multi-platinum records. It took us on a wonderful journey,""But once again the bigger you get, the harder it is to stay there. I always ask, 'Why is it that Paul McCartney wrote so many songs but he can't have a hit record anymore?'. I don't know if you run out of gas, but from the point of view of playing together it was so manic. You're doing 300 shows a year and you're playing all over the world and something had to go. Unfortunately for me I got a thing where I couldn't fly anymore. I didn't fly for about four years so if I was touring I'd have to catch a train. If I was coming to Sydney I'd have to go overnight and it was kind of annoying for people.""It was just really tough. We had a hit in Germany and I just couldn't go. But I couldn't tell anyone I couldn't fly anymore. And flying really killed my overseas commitment to taking the band there, so if you can't go there ... today you can do different things. I remember I made a decision to go and live in England because if we were going to do it we had to base ourselves somewhere in Europe where we could jump off. I was with Sony at the time and they were trying to get me to go to Germany. They said, 'This is going to be a top single, top 10, it's already 18, get your keester down there and do it pronto!' They're not used to people saying, 'No'."" I'd only get on a plane under certain circumstances; I had to have valium, I had to be in an aisle seat, I had to have water, I had to have someone to talk to, I had to be allowed to get off if I needed to get off.""They think I want a business class ticket. I don't care what sort of ticket it was, I couldn't get on a plane, and I thought at the time that I was the only person in the universe who couldn't do this, I thought it was a real sign of weakness and that created a really bad thing in me. I was at a point where if the sky was grey I felt claustrophobic. I couldn't get outside the house unless it was a blue day. So I'm putting all these things in front of myself not knowing how to get any assistance,""It was Harlan (Joe's son) strangely enough who saved my life, because I decided I was going to fight it. I was ready to get off this plane. I'd only get on a plane under certain circumstances; I had to have valium, I had to be in an aisle seat, I had to have water, I had to have someone to talk to, I had to be allowed to get off if I needed to get off - all these different things. And then Harlan got sick on a plane and somehow everything changed. It wasn't about me anymore, it was about the things I really loved,""It was a small trigger and it took me another three years, but I was then able to slowly do things and strip away these things. It was all about fear of failure, I think.""Here I am, 66, and I'm still throwing it out, but you wouldn't have thought that at the time, you'd just think it's the end.""All those little things that I didn't have with The Falcons. When I was playing with The Falcons, even though I was the leader of the band I only ever felt like I was just one of the musicians because we're all in it together. It's a nice thing to know that nobody got anymore than anybody else. Sometimes these are the things that you struggle with. Even in a world where money becomes evil, some people will start making money and if you don't look after everybody else some of them don't make anything apart from their gig fee. All those things were able to be rectified but in those days we were all in it because it was all beer and skittles! Wagon Wheels and malted milks! There was NO money so it wasn't an issue!""We'd do 300 shows a year with The Falcons, or The Sorrows, we'd get $300 a week, or $250 a week, we'd have four weeks off, or six weeks off - two weeks making a record, and you'd get paid those six weeks. The roadies were being paid while we weren't working for those six week as well. So of course when the band finally broke up, we didn't have any money because everyone else had it. Everyone else that wasn't involved in the band made the bulk of our hard work. But no-one felt bad about it. We all felt, 'Gee whiz if you can hang out til you're 30 and you're in a band, are you crazy? There goes your rock & roll shoes!'""Here I am, 66, and I'm still throwing it out, but you wouldn't have thought that at the time, you'd just think it's the end.""Making those first four records independently with The Sorrows, it wasn't that hard, apart from the Dear Children album, which is my favourite record. Not because it has great songs on it, but because it was what I call my 'wedding album' - I must have played a hundred weddings to make that album. To get a gold record from Sony for that - it's the only record that I have anywhere in that house. I don't have any paraphenalia, nothing. Just that gold record. And I've had multi-platinum records and gold singles and all that kind of nonsense, ARIAs, but nothing belongs in my house. Nothing beats that 'wedding album'.""It was the struggle of that record. It was, 'I've got to make this properly, I've got to record it on two-inch (tape), I can't be muching around with that A-DAT stuff, I've got to make this on two-inch, I've got 24 tracks, I've got a limited amount of time, I'm going to run out of time, I've got $400 and it's like putting money in a machine. They gave me some liberties and I got it done and it was just beautiful to hear it on the radio.""Some people are really blessed and they have a beautiful voice - I don't have all those things. I have a different thing but I have things that other people don't have. Maybe it's called tenacity."So is Joe Camilleri a happy man?"Yeah. I am happy. I do believe that it's always half-full. As you get a bit older, you get a few barnacles and you struggle. With pain. I don't call it real pain because I imagine people with real pain, but I still have an upbeat concept and I still love doing the things that I like to do and that makes me good.""The really nice thing is playing music, I think that's the only time I can say I really get lost. I have responsibilities like we all have. I've got five children. I've got a whole bunch of things I have to deal with on a financial basis, I have a record label, I have to look after certain things, and I'm only good if people allow me to be that, if they want to hire me. If I don't have a job, I don't have a job.""On some levels I've been really fortunate, and I think some of that is because of the way I've navigated through things. Whether it's been a dumb way or not, I don't know. I don't worry about it. You're gonna get ripped off; I've been ripped off. I don't care for thinking about it. It doesn't put my stomach in a knot. There's been plenty of guys who haven't paid me. There's been lots of stuff where record companies have ... I mean, how do you know what your royalty rates are? Who cares? I'm interested in the day. I'm interested in what's going to be tomorrow. It doesn't take much for me to smile. I look forward to playing and it's kinda nice when people say nice things about you but also if they say nice things about your art, or your work, or whatever you want to call music.""I love having an idea and finishing it. That's my tradesman bit! I actually do love that and I'm working on four or five songs at any one time. Like we all are! Some people are really blessed and they have a beautiful voice - I don't have all those things. I have a different thing but I have things that other people don't have. Maybe it's called tenacity. Maybe it's a bunch of different things. I look forward to getting better at what I do, so that's good. I kick myself up the keester for being lazy - if I've got an idea and I can't finish it."I mention to Joe that having this conversation with him is a bit like watching an artist with six unfinished paintings on easels and is figuring out at which point they each become finished."Imagine Picasso doing that! Putting his brush in a bit of paint and walking past and just going 'splot' - that's done! As a producer I fight the struggle with songs because I know every note on there. So I can't listen to the record. I can listen to playing it live because it's happening, but I can't listen to the record.""Unlike The Falcons where you work through the song, with The Sorrows you don't have that opportunity to work through the songs, you have that time in the studio to work through the songs because it is a band, but it's not a band. It's a band of people that get together.""I'm just honoured to be part of the Australian musical landscape, really. Forget about the hits and stuff, although the hits made a big difference, but there's just something about people enjoying what you do,""The best drug you can have is when an audience is singing back something that you've written. It's an incredible feeling. I do it on a small scale but imagine what it's like for the Stones. People just going nuts and saying, 'I really dig this song and I don't even know what it's about.'"

Joe Camilleri is celebrating 50 years in the Australian music industry, has just released his 45th album (while working on 46 & 47), and has The Black Sorrows back on the road. But his career was very nearly derailed when he developed a fear of flying and now says his son saved his life.Joe Camilleri visits the ABC Newcastle studios (ABC Local:Carol Duncan)I've had the privilege of interviewing many of Joe Camilleri's Australian music peers and I've often remarked on how many of them were 'ten pound Poms'.Joe Camilleri says he was a five-pounder, but not a Pom, "We came on the five-pound scheme from Malta. There was only four of us when we came out - my Dad came out in 1949 and me and my two sisters and brother came out in 1950. I think for Mum it would have been an incredible struggle on that boat.""Four kids under six. Phyllis was six years old, Frank was five, I was three, and Maryanne was one.""I've never really had the opportunity to discuss it with them, but Malta was war-torn, it got a heavy beating, Malta. For Dad, he was going to go to Canada and I think someone who had just got back from Australia said, 'That's the place you need to go.'""So he chose Australia. They're both buried here. I think they gave up so much for their children, and their own life, because the thing you have most of all is you want to be around your friends, but you come to a foreign land and all you have is your family. Most of the time, it's not until years later that you connect, sometimes your friends come to Australia, and if they come to Australia, where do they go? It's a big place! Malta is 16 miles square so it's pretty easy to get around but if you're living in Sydney and your buddy's living in Perth - it's a long walk.""I think for us, the hardest thing for my Dad was he would work two shifts. He wanted to get ahead,""He was a baker at night and a metal shop worker by day, so that was his two gigs for a number of years. He was a good handy guy, Dad. He was a spray painter for a number of years, worked on the wharves for a few years, he was just able to do that.""I envy carpenters, really, because anybody who can do something out of nothing ... I forget that I do that with songwriting, too.""When I was working as a first-class machinist there was always some amount of pride in whatever it was I was finishing, they were one-off things whether it was for a big crane or a motorcycle, that was a nice feeling. Do I like putting nail in a wall? Yes I do!""I envy carpenters, really, because anybody who can do something out of nothing ... I forget that I do that with songwriting, too. It's an empty page and then it's a full page and sometimes it's really good, but there's nothing quite like a tradesman who can come in and whip up a kitchen. I'm still amazed by that. Or they can fix a bathroom. We get an IKEA thing and look at it like it owes you money.""What was great about Countdown was that people knew about the bands, someone like Jo Jo Zep and The Falcons did very well."Joe Camilleri first came to my attention through television music show like Countdown. I was still in high school and lived for Sunday night when Countdown was on the telly. It seemed to be a really interesting time in Australian music when the industry became really healthy."I think because we didn't have that information - the frontrunners like The Twilights and Johnny O'Keefe and all those people - you never got to hear about their successes or the hardship. If you won Battle of the Sounds, you didn't win anything because you had to work on that boat for four weeks before you got to England, and then you had to work your passage back. So they were the real frontrunners. Countdown just became something else,""Of course it was looking for stars because it was a popularity thing, if the kids liked something it would automatically go on the charts if you were on Countdown. It was exciting. But they were looking for bands that didn't necessarily have a record. And there were other shows that were like a fraternity of shows. The ABC had a 10 minute show just before Bellbird and they had lots of different acts, Billy Thorpe, The Pelaco Brothers - we didn't have a record but we were playing in Sydney and they asked us to come to the studio.""What was great about Countdown was that people knew about the bands, someone like Jo Jo Zep and The Falcons did very well. I remember going on that with a single called 'Run Rudolph Run' but I hadn't played as 'The Falcons' before that and they just put it on. One minute I'm playing and just having a lot of people come to see you play but no record, no anything, and the next thing you've got a record and no-one knows anything about it. They put you on Countdown and it's in the charts. It's amazing.""What was really great about Sounds was it went for a few hours on a Saturday morning. You could pretty much just ring them and say 'We're in town, can we pop in?' and they'd have you in. They'd have you in and you'd just sit there in your drunken state, as shabby as you can be from the night before, and if you had a video, they'd play it. If you didn't, you'd just have a chat.""You couldn't do that today, today you've got to go through the wringer. It's really tight. There was a beautiful time, not only because of Countdown but because there was something that was going on, I've always put it down to late night closing, the 10 o'clock close, it changed everything because instead of bands playing in halls, they were now playing in bars. So all of a sudden if you were half-decent, like The Falcons were, you'd have 700 people coming to a gig and getting on board a whole bunch of songs that nobody knows.""The word would get out, kind of like Facebook does today but with drums and smoke," laughs Joe."The live thing is healthy again, I think. I've played pretty much everywhere around the world and Australian bands can rock. I think it's because of the pub scene. The pub scene was a really hard scene because if they didn't like it they'd let you know pretty quickly. It was tough. You were kind of invisible, but not invisible. You would know what a good track was. You would play your repertoire, you would play your album, you would play it in, you would know pretty much how the audience reacted to it,""I remember 'Shape I'm In' at Croxton Park - I can remember it like it was yesterday. I said, 'I've got this song, it's called The Shape I'm In, and the audience started grooving to this half-finished song. The roadie came up to me and said, 'I think that's your single.'""Many a song got left on the road because you develop. If you did 10 shows to get to Sydney, by the time you got to Sydney you'd have a pretty good idea of what you were playing and what you thought was pretty strong, because the last thing you wanted to do was be downtrodden by the audience. It was tough, but it was good training. That's why I think when the (Black) Sorrows played in Europe for the first time, it didn't matter if we were two miles apart from each other on a stage, we could play together and it made a really big difference to us.""It can be stressful, there's peaks and valleys in all this stuff. You're always having a good look at yourself and you're always asking the question because no-one taps me on the shoulder to say 'Look, I think it's time to make another album'.""I was never a popstar. I don't know how people perceive me really, but I imagine have followed what I do on a different level, not just from the hit songs but because my audiences have liked what I've done as a collection of music on an album. Not necessarily the Shape I'm Ins or Hit and Runs or the Harley and Rose ... those things are valuable to you as a performer but maybe I realised kind of early that my whole thing would have to be (that) we're all in the same boat - the audience and the performer - so I'm more than happy to leave Harley and Rose out if it didn't work on the night. But there's nothing scheduled, there's nothing planned. I haven't had a song list unless doing something really small, or filming or something. With the APIA tour I had to actually do those songs because it wasn't my bad so I had to behave a bit. But when you're doing your own show it's more about the event of what you've got to offer.""Even though it's my 50th year (in the music industry) I didn't start recording really until 1975, or 1972 ... around that time ... so my whole thing is that if we can do it where there's no trigger points, each song belongs as part of the collection of the night rather than 'here's the songs, you can buy this'. My thing is to be as free as I can both musically and from a performance point of view. I think what I've been able to achieve is that people realise if they come and see me in a couple of weeks time it's not going to be the same. Some of the songs might be the same but there'll be different things.""It can be stressful, there's peaks and valleys in all this stuff. You're always having a good look at yourself and you're always asking the question because no-one taps me on the shoulder to say 'Look, I think it's time to make another album'. It's kinda good. I like being an independent artist on that level."Joe Camilleri is already up to album number 45 and working on another."I've got this new double album called 'Endless Sleep'. I've already got a title for it. When I was recording Certified Blue I was also recording other songs for what I just thought was entertainment value. I tried to get inspired by something so I'd play on the piano something like Hank Williams' 'I'm So Lonesome I Could Cry', and then I'd find another way of getting into that song and maybe we'd record it and just leave it. But then I realised it's the inspiration of these people, whether it's Gil Scott Heron or Lou Reed, so when I finished Certified Blue I had about nine of these songs and I realised that they (the artists) were all departed.""And I thought there's some kind of message here - I was just doing it because I liked the songs, I wasn't paying any attention to this, and so when I realised that most of them had departed I thought, 'Oh wow, this is what I need to do', even though I'm writing new songs, I need to make this record. The song from the 1950s by Jody Reynolds called 'Endless Sleep' came up in my head and I thought 'there it is, it's the title of the album and the reason I'm doing this record'.What's the first song Joe Camilleri remembers hearing?"There was this woman in Carlton. Some of the houses in Carlton had their windows right on the street, there was no front yard. There was this woman called Aunty Darcy, we used to call her that, I don't know why, but she was a music fan and she would open the window and just give us stuff,""She would say 'come and have a listen to this' and I remember her saying 'this is the new thing' and I guess I probably thought it was going to be Doris Day or something, but it was Rock Around The Clock by Bill Haley and The Comets. I remember hearing that.""I think those days everybody had a piano or some sort of musical instrument because that's what you would do at night, you'd sit around the piano and sing songs. My brother played the piano accordion and we would do that.""I used to love the radio and I loved to sing the songs of the day, but wasn't until about 1961, 1962 - it was when I heard The Searchers, I probably heard The Searchers before The Beatles because they all came out around the same time. There was this noise about this new thing, this British beat, and there was The (Rolling) Stones, The Animals, and The Kinks - all this music was coming out at the same time and that's when I got pretty much hooked on the whole idea.""I loved all the Elvis Presley things but I didn't have the money for that sort of stuff. The Shadows was the first record I bought, maybe it was the only album I could find at the time, but it wasn't until the sixties really that I went nuts and went back and found all those records that the Rolling Stones did great versions of, Otis Redding or Howlin' Wolf, that was a kind of secret, this thing that kind of came upon you and WOW! It was insane staff. It was dark and it was mysterious and it had something else. But it was kind of like the British beat going back 10 years and buying that stuff. There was an album called, I think, 'Fresh Berries' it had just Chuck Berry songs. It had 'Carol' on it and it had all these other songs that the Rolling Stones were playing, they did pretty good versions and they souped them up a bit, but you realise the depth of Chuck Berry playing those songs because he really was the Shakespeare of rock & roll.""I'd just had enough. I had this really beautiful 13-piece band and we went around the country and we had two hit singles, a pretty big record with a chart record but I wasn't very happy with the record."The early part of Joe Camilleri's career, the Countdown era, was one thing, but then in the 1980s Joe returned with The Black Sorrows which went huge."By accident of course! I was pouring coffees. I'd just had a hit with Taxi Mary and Walk On By - the great Walk On By which I think I ruined although it was an interesting verison of that song. I just gave up. I said 'I'm just gonna take some time out' and I got a job as a vegie roadie working at the Footscray market. It was just taking vegetables from trucks and putting them on other trucks, so that was my gig,""I'd just had enough. I had this really beautiful 13-piece band and we went around the country and we had two hit singles, a pretty big record with a chart record but I wasn't very happy with the record. It could have been so much better and it was my fault that it wasn't as good as I wanted it to be, but anyway, it yielded these two songs and we got to play and I got to do something that I wanted to do which was play with the cha band and six horns and high-heeled boots and gay cavalier and all that nonsense, but it just left me wanting. It was nice, but it wasn't what I wanted to do. So I thought, 'I'm just gonna get a job', it wasn't much of a job, it was three hours a day but you had to get up at 5am, done by 9am, and you had $20 a day and all the vegetables you can eat, so I got this other job by meeting a guy who loved Jo Jo Zep and The Falcons. He'd just opened a restaurant and he said, 'Why don't you come and work for me, I'll give you a job, you can pour some coffees', so that was my gig at this place called the Cafe Neon."So I did that and Chris said, 'Why don't you do something on a Sunday afternoon?' and that's how it all started.""I was in love with this music called zydeco music and no-one really knew much about it here, maybe some taste-makers might have known about it, it was an unusual connection. We had the piano accordion/violin sound, and then there was the clarinet and saxophone - we made up the horn section and the four of us made up this sound, it was kind of a nice sound,""I recorded an album of covers really, except for one song called Blow Joe Blow, and we did a couple of shows and people went nuts for it because it was different. It might not have been great but it was heartfelt. And of course it yielded a hit out of the weirdest thing,""Elvis Costello was in town, we toured with Elvis. Across the road from where he was staying was this place called 'Discurio' - somewhere like that. I would go to the record stores and actually sell them to the record stores. In fact next door to the Cafe Neon was a butcher shop and I sold him 10 copies, that was a new cut of meat!""But that's what you did. We made the record in a day, a guy I knew designed the cover, another guy could make a screenprint, so we screenprinted them and put them on the line, we did some t-shirts at the same time and got them out there,""But he (Costello) found this record and I swear to you that he spent more time talking about this particular record than talking about what he's doing on tour.""Most of this record was from an album called 'Another Saturday Night' and that's where I got to hear someone like Bobby Charles, and zydeco music was sort of like New Orleans music but they used it in a different way, they used those R&B songs where they went back to the fifties and sometimes sang in French. I did a song called 'Brown-Eyed Girl' and that particular song turned it around for this band,""We'd only done maybe two or three shows for this record. It was recorded in an afternoon and that was under circumstances - we weren't allowed to keep the tapes, we only had a day to record, it was a demonstration for the studio because they got a new desk in and wanted someone to try it out. That's how it happened. We recorded a couple of extra songs but I never got to keep the tape. Everything was just by chance,""I don't know if you run out of gas, but from the point of view of playing together it was so manic. You're doing 300 shows a year and you're playing all over the world and something had to go. Unfortunately for me I got a thing where I couldn't fly anymore.""But that led me to that point where we were a really big band and we were recording things like 'Chained To The Wheel' and we had the Bull sisters and we're playing all over the world and we're getting gold records in different parts of the world and platinum records in Australia and multi-platinum records. It took us on a wonderful journey,""But once again the bigger you get, the harder it is to stay there. I always ask, 'Why is it that Paul McCartney wrote so many songs but he can't have a hit record anymore?'. I don't know if you run out of gas, but from the point of view of playing together it was so manic. You're doing 300 shows a year and you're playing all over the world and something had to go. Unfortunately for me I got a thing where I couldn't fly anymore. I didn't fly for about four years so if I was touring I'd have to catch a train. If I was coming to Sydney I'd have to go overnight and it was kind of annoying for people.""It was just really tough. We had a hit in Germany and I just couldn't go. But I couldn't tell anyone I couldn't fly anymore. And flying really killed my overseas commitment to taking the band there, so if you can't go there ... today you can do different things. I remember I made a decision to go and live in England because if we were going to do it we had to base ourselves somewhere in Europe where we could jump off. I was with Sony at the time and they were trying to get me to go to Germany. They said, 'This is going to be a top single, top 10, it's already 18, get your keester down there and do it pronto!' They're not used to people saying, 'No'."" I'd only get on a plane under certain circumstances; I had to have valium, I had to be in an aisle seat, I had to have water, I had to have someone to talk to, I had to be allowed to get off if I needed to get off.""They think I want a business class ticket. I don't care what sort of ticket it was, I couldn't get on a plane, and I thought at the time that I was the only person in the universe who couldn't do this, I thought it was a real sign of weakness and that created a really bad thing in me. I was at a point where if the sky was grey I felt claustrophobic. I couldn't get outside the house unless it was a blue day. So I'm putting all these things in front of myself not knowing how to get any assistance,""It was Harlan (Joe's son) strangely enough who saved my life, because I decided I was going to fight it. I was ready to get off this plane. I'd only get on a plane under certain circumstances; I had to have valium, I had to be in an aisle seat, I had to have water, I had to have someone to talk to, I had to be allowed to get off if I needed to get off - all these different things. And then Harlan got sick on a plane and somehow everything changed. It wasn't about me anymore, it was about the things I really loved,""It was a small trigger and it took me another three years, but I was then able to slowly do things and strip away these things. It was all about fear of failure, I think.""Here I am, 66, and I'm still throwing it out, but you wouldn't have thought that at the time, you'd just think it's the end.""All those little things that I didn't have with The Falcons. When I was playing with The Falcons, even though I was the leader of the band I only ever felt like I was just one of the musicians because we're all in it together. It's a nice thing to know that nobody got anymore than anybody else. Sometimes these are the things that you struggle with. Even in a world where money becomes evil, some people will start making money and if you don't look after everybody else some of them don't make anything apart from their gig fee. All those things were able to be rectified but in those days we were all in it because it was all beer and skittles! Wagon Wheels and malted milks! There was NO money so it wasn't an issue!""We'd do 300 shows a year with The Falcons, or The Sorrows, we'd get $300 a week, or $250 a week, we'd have four weeks off, or six weeks off - two weeks making a record, and you'd get paid those six weeks. The roadies were being paid while we weren't working for those six week as well. So of course when the band finally broke up, we didn't have any money because everyone else had it. Everyone else that wasn't involved in the band made the bulk of our hard work. But no-one felt bad about it. We all felt, 'Gee whiz if you can hang out til you're 30 and you're in a band, are you crazy? There goes your rock & roll shoes!'""Here I am, 66, and I'm still throwing it out, but you wouldn't have thought that at the time, you'd just think it's the end.""Making those first four records independently with The Sorrows, it wasn't that hard, apart from the Dear Children album, which is my favourite record. Not because it has great songs on it, but because it was what I call my 'wedding album' - I must have played a hundred weddings to make that album. To get a gold record from Sony for that - it's the only record that I have anywhere in that house. I don't have any paraphenalia, nothing. Just that gold record. And I've had multi-platinum records and gold singles and all that kind of nonsense, ARIAs, but nothing belongs in my house. Nothing beats that 'wedding album'.""It was the struggle of that record. It was, 'I've got to make this properly, I've got to record it on two-inch (tape), I can't be muching around with that A-DAT stuff, I've got to make this on two-inch, I've got 24 tracks, I've got a limited amount of time, I'm going to run out of time, I've got $400 and it's like putting money in a machine. They gave me some liberties and I got it done and it was just beautiful to hear it on the radio.""Some people are really blessed and they have a beautiful voice - I don't have all those things. I have a different thing but I have things that other people don't have. Maybe it's called tenacity."So is Joe Camilleri a happy man?"Yeah. I am happy. I do believe that it's always half-full. As you get a bit older, you get a few barnacles and you struggle. With pain. I don't call it real pain because I imagine people with real pain, but I still have an upbeat concept and I still love doing the things that I like to do and that makes me good.""The really nice thing is playing music, I think that's the only time I can say I really get lost. I have responsibilities like we all have. I've got five children. I've got a whole bunch of things I have to deal with on a financial basis, I have a record label, I have to look after certain things, and I'm only good if people allow me to be that, if they want to hire me. If I don't have a job, I don't have a job.""On some levels I've been really fortunate, and I think some of that is because of the way I've navigated through things. Whether it's been a dumb way or not, I don't know. I don't worry about it. You're gonna get ripped off; I've been ripped off. I don't care for thinking about it. It doesn't put my stomach in a knot. There's been plenty of guys who haven't paid me. There's been lots of stuff where record companies have ... I mean, how do you know what your royalty rates are? Who cares? I'm interested in the day. I'm interested in what's going to be tomorrow. It doesn't take much for me to smile. I look forward to playing and it's kinda nice when people say nice things about you but also if they say nice things about your art, or your work, or whatever you want to call music.""I love having an idea and finishing it. That's my tradesman bit! I actually do love that and I'm working on four or five songs at any one time. Like we all are! Some people are really blessed and they have a beautiful voice - I don't have all those things. I have a different thing but I have things that other people don't have. Maybe it's called tenacity. Maybe it's a bunch of different things. I look forward to getting better at what I do, so that's good. I kick myself up the keester for being lazy - if I've got an idea and I can't finish it."I mention to Joe that having this conversation with him is a bit like watching an artist with six unfinished paintings on easels and is figuring out at which point they each become finished."Imagine Picasso doing that! Putting his brush in a bit of paint and walking past and just going 'splot' - that's done! As a producer I fight the struggle with songs because I know every note on there. So I can't listen to the record. I can listen to playing it live because it's happening, but I can't listen to the record.""Unlike The Falcons where you work through the song, with The Sorrows you don't have that opportunity to work through the songs, you have that time in the studio to work through the songs because it is a band, but it's not a band. It's a band of people that get together.""I'm just honoured to be part of the Australian musical landscape, really. Forget about the hits and stuff, although the hits made a big difference, but there's just something about people enjoying what you do,""The best drug you can have is when an audience is singing back something that you've written. It's an incredible feeling. I do it on a small scale but imagine what it's like for the Stones. People just going nuts and saying, 'I really dig this song and I don't even know what it's about.'"

High in the cloud forest of Costa Rica, Frank Gardner recalls for Tweet of the Day, a bird he has heard but never seen, the three wattled bell bird. Tweet of the Day has captivated the Radio 4 audience with its daily 90 seconds of birdsong. But what of the listener to this avian chorus? In this new series of Tweet of the Day, we bring to the airwaves the conversational voices of those who listen to and are inspired by birds. Building on the previous series, a more informal approach to learning alongside a renewed emphasis on encounter with nature and reflection in our relationship with the natural world. Producer: Tom Bonnett Picture: Feroze Omardeen.

Sup Guys... Hope you all been well, Just sharing my first mix in a while. It's a recording from my 2:30am Techno set from Bellbird Crescent at 24 Moons this past weekend. During the first hour I kicked off on a more House orientated tip before steadily increasing the pace track by track. Ending with some tougher more underground bombs perfect for a dusty warehouse. **Pls note.... I had to cut the last 30 mins from this mix as it was made up of all my own productions which are still unreleased. When mixing techno I really like to layer the tracks to create extra tension and gain more control of the sound and intensity given off. Without a third deck there's limit's on how far u can take it, but I hope you all dig vibes from the set. The tracks are a nice varied selection Of killer Techno from artists spanning all corners of the globe. **Pls note.... I had to cut the last 30 mins from this mix as it was made up of all my own productions which are still unreleased. Be sure to keep and eye out for Bellbird Crescent events. Their first event was a killer night and I"m looking forward to the next one already. Big thanks to the guys for getting me involved. I hope you all enjoy the mix. Pls Share and Repost if ya digging the vibes !! TRACKLIST -- - > 1. AWAY Soundsystem - Through The Pain (Joaquin Joe Claussell's Modulated Turtured Dub) 2. Wehbba - Mechanics Of Machines 3. Miguel Bastida - Moudness 4. Christian Smith - Initiate Sequence (Julian Jeweil Remix) 5. Ilija Djokovic - Delusion 6. Oliver Koletzki, Reinier Zonneveld - Cold Conquest 7. Timmo, Coyu - Back To Oblivion 8. Dave Sinner - Dave Sinner Zero 9. Eric Sneo - Sirens Of Titan 10. Slam, Mr V - Take You There 11. Industrialyzer - Track One 12. Secret Cinema, Reinier Zonneveld - Kickstreem 13. Pfirter - New State Of Consciousness (Pfirter Tool Mix) 14. Arjun Vagale - Klokwise 15. Dax J, Cleric - Lost in Bermuda 16. Dax J, Cleric - The Triangle 17. Last 30 mins cut off. Comprised of 5 or 6 Unreleased Harry Blotter productions

This weeks episode features Dan Larimer of Invictus Innovations discussing the shift from Proof Of Work to Delegated Proof Of Stake and the thought process behind the change. We go on to discuss pretty much everything else going on in the development of the bitshares platform. It was a great opportunity to tie up all the loose ends I could think of and Dan was happy to oblige. Then a fellow named Ian with the deepest knowledge of NXT of anyone I've met does pretty much the same thing. We began with Transparent forging and the scope of the interview just widened from there to cover the value of Javascript as a language, some of the frankly astonishing capabilities being developed in the NXT ecosystem and even NEM, a fork of NXT with aspirations of its own! CREDITS Music provided by Csus. Check them out on Soundcloud. Content provided by Dan Larimer - www.bitshares.org, and Ian - www.nxtcommunity.org. The recording of the Bellbird courtesy of Department of Conservation - http://www.doc.govt.nz. Any questions or comments? Email beyondbitcoinshow@gmail.com. Check out beyondbitcoin.fm for more material and recordings of developer hangouts