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Hosted by carol duncan
Hosted by carol duncan
8 episodes with carol duncan
2 episodes with carol duncan
19 episodes with carol duncan
Lost Newcastle founder, Carol Duncan, recorded this interview with Newcastle architect, Brian Suters, after he was awarded the City of Newcastle Medal in 2008. 2008 also saw Brian celebrate 50 years in architecture and in this conversation talks about studying at Newcastle University, the influence of seeing great cathedrals around the world, and his influence on the architecture of Newcastle, including working with Frank and Margel Hinder on the Civic Park Fountain, and his groundbreaking social housing project at Newcastle East - the project he was most proud of.
This episode features and interview with Dr. Carol Duncan who discusses her great grandfather's connection to surgical innovation. Dr. Simon Powell Sebastian was a renowned physician, surgeon, and the co-founder of two historic African-American hospitals in Greensboro, North Carolina.
The ACHR NEWS talked with SMACNA president Carol Duncan. She is also the owner of General Sheet Metal in Clackamas, Oregon and has nearly 40 years of leadership and expertise in the sheet metal industry. Duncan talked about the outlook for 2024 and how to bring more talent into the industry.
Carol Duncan interviews the compilers of the three volume Newcastle Family History Society publication - The People of Newcastle & the Hunter Valley, Maree and Ken Shilling. Maree & Ken recount just some of the 150 stories of individuals ranging from bushrangers and early settlers to civic leaders, military heroes, and business people in Newcastle and the Hunter Valley of New South Wales.
In June 2018, Ross Balderson shared a photo in the Lost Newcastle Facebook Group of a scale model scene of Newcastle 1899 that he was building. Not only did people not mind Ross sharing a photo of his incredible model work, the photos and conversations have continued ever since. Ross says he was inspired to build the scale model after seeing a Ralph Snowball photograph of the city - a labor of love that took ten years to complete! Ross has finally been able to bring his diorama of Newcastle in 1899 to Newcastle Museum, complete with operating scale model trains that work their way around the harbour and models of ships that are historically accurate and visitors to the port of Newcastle. Lost Newcastle founder, Carol Duncan, caught up with Ross Balderson at Newcastle Museum.
Ruth Cotton is well known to many in Newcastle for her huge body of local history work on the multicultural hub of Hamilton. Her Hidden Hamilton blog began as a way for her to find out more about the suburb she was moving to from northern NSW! Hundreds of stories and two books later, Ruth is still just as passionate about her adoptive home. But Ruth has released a new book, a memoir called A Fragile Hold which details her 1997 diagnosis with multiple sclerosis and the changes to her life from that point. In 2020, just as the pandemic locked us in our homes with huge uncertainty, Ruth's husband became unwell.
It's often rumoured that Little Richard - considered the founding father of rock music - suddenly found God while on tour in Australia in 1957 and threw his jewellery into Newcastle's Hunter River. But is it true? It is known that Little Richard, born Richard Wayne Penniman, came from a deeply evangelical background in Macon, Georgia, and that after his Australian tour he returned to the US and began studying theology. In this episode, Carol Duncan speaks with Dr Roland Bannister about his research in finding out the truth behind this amazing story.
It started with a brick and has led to a community of nearly 70,000 people connecting over a love of history and mystery. This is Lost Newcastle. A corner of the internet where you can have nice things! ABC Newcastle's Kia Handley spoke to founder Carol Duncan.
Listen in to the sermon from the Rev. Carol Duncan for the Fourth Sunday of Easter, May 8, 2022. Support the worship and ministry of St. Martin's by giving online: stmartinec.org/give Today's readings are: Acts 9:36-43 Revelation 7:9-17 John 10:22-30 Psalm 23 Readings may be found on LectionaryPage.net: https://lectionarypage.net/ The Good Shepherd The Rev. Carol Duncan May 8, 2022 Jesus Good Shepherd, as you call us each by name, open our minds, hearts, souls and inner being to respond to you in all your guises, visible and invisible. I make this prayer in your holy name of love. Amen. Dear flock, please be seated in this fruitful pasture. Today is Good Shepherd Sunday and you are all in the pasture. It is also the next to last Sunday we will have Jarrett with us. I want to consider what it means to be Jesus' flock, Jesus' people, at St Martin's when we are about to be without an appointed shepherd for quite a while. I find it a challenging and a bracing prospect. And I want to pay tribute to a faithful shepherd who has guided us for 11 years, very much by Jesus' compass leading him. Today's readings are meant to give us a sense of the rod and staff of our heritage. Four different settings, four versions of shepherd and flock. How do we find ourselves in these passages? I love the first scene of shepherding from Acts. A group of women disciples doing good works and acts of charity. So much like us: Tabitha and her friends would surely recognize Blessed Baking, Women Connecting, Stephen Ministry, Biblical Study groups and all the rest. We have been in their shoes, doing what we can to ease the suffering of our loved ones. When one of us is sick or dies, we call our pastor, our shepherd, just as the women of Joppa did. And we have known that Jarrett will be there instantly. I am not crediting him with raising the dead. But Jarrett does the next best thing. He conducts the most deeply moving funerals, consistently, of any priest I have ever known. The work of a good shepherd is to comfort, to discern and convey the deep abiding meaning of our lives. We honor and embrace this work. We are a church that values and practices being community in pain and in joy. Even when it is difficult. We have learned that. We follow the pattern set in Joppa. I think we can count on ourselves for that. The second scene of shepherdship: the 23rd Psalm - so moving and so comforting, it follows us all our lives. Its water and oil are redolent of baptism. Jarrett was so thrilled when he got to baptize a teenager by full immersion. He figured out the logistics of how to do it by obtaining a moveable trough big enough to submerge a sizeable body. We did it on the front patio. A space, by the way, that Jarrett envisioned as a way to enlarge our worship space so we could share the surrounding community with our worship. St. Martin's more typical baptisms are celebrated inside the church at the beginning of a Sunday service so the whole congregation can welcome and incorporate the newly baptized. After the baptism, Jarrett processes up the aisle joyfully, extravagantly sprinkling us all with baptismal water. The freshly baptized settle down with their families to bask in the newly recognized holiness of their members. The rest of us recall again that the Baptismal Covenant as Jarrett has come to help us understand is the source and root of all we are about at St. Martin's. Everything that we do. Everything. Now the hard example of how shepherds work, from Revelation. This is perhaps most Jarrettlike and most us. We do not take the easy just-go-to-church-on-Sunday version of Christianity. Under Jarrett's leadership, we have some sense of who it is who comes first in God's care. Those who hunger and thirst, who are kept from learning and thriving, who are refugees. These are the ones who come out of the great ordeal of our present world. We have learned to hear them guided by Jarrett through the work of POWER, of Beloved Community, of Supper, through St. James School, through Beyond Borders. We have changed how we respond. Now, rather than donating money toward scattered programs, we invest major funds and our energy to respond covenantally to the suffering we've learned to see in our world. We are learning to listen, rather than to assume we know how to fix the problem. When someone asks us "Who are these and where do they come from?" We say "Please tell us. We are listening." The church in these increasingly secular years needs a shepherd like those of the early church. We can't take faith for granted. We live in a world that engenders martyrs. We will need a shepherd like Jarrett who considers and acts to counter systemic injustice in the name of Jesus. The fourth scene of shepherding from the Gospel reminds me very much of Jarrett and how he has led us over these eleven years. In today's Gospel, Jesus answered his antagonists, "I have told you and you do not believe." So many times, most often in Community Engagement meetings, but other times too, Jarrett will say "I have said it, I have told you." Finally, at the eleventh hour of the eleventh year, Jarrett marshaled us to collect some of his shepherding guidance in a handbook. We wrote it down. The Community Engagement Committee has worked for years on the ideas and structure of this handbook. Community Engagement is the coordinating body of all the various outreach ministries of St. Martin's. The vision statement of the handbook says that we "engage as agents of Christ's love in the world by developing mutual relationships at the local, regional, national, and international levels that advance the mission and values of St. Martin's as we discern God's will as a Church, together.' This vision of doing Christ's loving work in the world together will serve us as a firm foundation from which to grow and thrive and we will thank Jarrett for it for years. Find it on our website in the Community Engagement tab. You should read it. There's beautiful writing in it. When you read it, you will recognize our voices in it, and Jesus' shepherding voice behind ours, long into the future. I know I speak for many when I say we are grateful. Amen. Permission to podcast/stream music in this service obtained from One License with license #A-701187 and CCLI with license #21234241 and #21234234. All rights reserved. Video, photographs, and graphics by the Church of St. Martin-in-the-Fields. Episcopal Church of St. Martin-in-the-Fields, 8000 St. Martin's Lane, Philadelphia, PA 19118. 215.247.7466. https://www.stmartinec.org
Carol Duncan music feature interview with Joe Camilleri (Jo Jo Zep, Black Sorrows) - July 2014
Carol Duncan music feature interview with Joe Camilleri (Jo Jo Zep, Black Sorrows) - July 2014
Listen to this week's sermon from LIFT Worship from the Rev. Carol Duncan for the Last Sunday after the Epiphany, February 27, 2022 Learn more about LIFT, Living in Faith Together, at stmartinec.org/lift Today's Readings: Exodus 34:29-35 2 Corinthians 3:12-4:2 Luke 9:28-36, [37-43a] Psalm 99Readings were taken from God's Word, My Voice: A Children's Lectionary Transcript: You all just heard the Gospel as I read it. Now let me tell you how our story rises out of the biblical story. You are in this story. I hope you will put your body into the story to make the story your own. So, here's how we're gonna do it. We are going up a mountain with Jesus, Peter, James, and John. I invite you to step out into the aisle to discover for yourself and to show others how it feels to climb this mountain. Take big steps in place as though you are climbing up a steep mountain. Take some deep breaths because you get out of breath as you climb. We get to the top. The climb has made us sleepy. Find a place to sit down and close your eyes, because you are so sleepy. Now with your eyes closed, try to see what is happening in our story. Suddenly the air around us changes. We are inside a glowing light. In a sort of dream we see that Jesus' clothes have become dazzling white. Now two other people come to stand next to Jesus. And somehow in your dream you know who these people are. One is Moses who led God's people for 40 years through the wilderness to the promised land. The other is Elijah who led God's people when a wicked king and queen worshiped idols instead of worshiping God. Moses and Elijah each put an arm around Jesus because they tell him his life on earth is coming to an end. Jesus is going to come and live with them in the realm of everlasting love. As you see this happen, a great love for Jesus swells up in your own heart. Can you feel that love and awe there on the mountain? And so you want to do something for Jesus because now you know he will be leaving you in this life. You want to keep Jesus with you. Maybe we could put the LIFT tent back up for Jesus. But now a cloud comes and covers you so you are afraid. Breathe in the cold dampness of the cloud with the light shining through it. A great voice like thunder surrounds you in the cloud. "This is my Son. He is the One I have chosen. Obey him." The voice fades but the echoes ring in your ears up on that mountain. And now you sort of wake up and you are back in your seat, or come and sit back if you have left it. And if you're very very much asleep you can just listen. So we are back on level ground at St. Martin's, here's where our story comes into the biblical story. You know that our priest Rev. Barb Ballenger has been with us for most of your lives, certainly for the whole time of LIFT. Now she is leaving us to go be a priest at St. Peter's in Glenside. I am as sad about this as Peter and James and John were sad to learn that Jesus was leaving them. But I am also as glad as they were to know that great person Barb and that great person Jesus. She has taught me to know more about Jesus. I wish she could be with us longer, forever. But I know that my life has changed and grown because of her. I will keep faithful to LIFT and to loving Jesus as she taught me. I hope you know what a light has shown on us because of Barb. You may come to know it more and more in your continuing life at St. Martin's. We have been blessed for sure. And that is the good news for today. Permission to podcast/stream music in this service obtained from One License with license #A-701187 and CCLI with license #21234241 and #21234234. All rights reserved. Video, photographs, and graphics by the Church of St. Martin-in-the-Fields. Episcopal Church of St. Martin-in-the-Fields, 8000 St. Martin's Lane, Philadelphia, PA 19118. 215.247.7466. https://www.stmartinec.org
Sermon from the Rev. Carol Duncan for the Fourth Sunday After the Epiphany, January 30, 2022. Today's readings are: Jeremiah 1:4-10 1 Corinthians 13:1-13 Luke 4:21-30 Psalm 71:1-6 Readings may be found on LectionaryPage.net: https://lectionarypage.net/YearC_RCL/Epiphany/CEpi... A Love Story The Rev. Carol Duncan January 30, 2022 Holy One, be with our hearts today so your words of infinite love break through this mortal tongue. Amen. I knew I should base today's sermon on today's exquisite Corinthians love passage when I saw love at work last weekend. This is a love story. My family gathered at my nephew's house in Lancaster for our Christmas celebration. We do a secret Santa exchange, so each of the 11 of us is assigned one gift recipient. My granddaughter Moxie drew the name of my daughter Kate's partner Bobb. Got it? Granddaughter Moxie, daughter Kate, partner Bobb. Bobb had a pretty rough time this past year. Both his dogs, Tucker and Gracie, succumbed to old age and died within months of each other. This is a love story about dogs. Long ago when Bobb was single, Tucker and Gracie showed up consecutively as strays in Bobb's working-class neighborhood in Pittsburg. He advertised, but no one claimed either of the scruffy dogs. Neither dog had any of the accepted gifts of dog beauty or capacity. Both just so obviously needed attention, care, and love. They became a huge part of Bobb's life. They took him for multiple daily walks, camped together with him, greeted him at the door going out and coming in, required nursing from various doggy mishaps. They were always at his side. For her part, Moxie is in her senior year at the School of Art at Carnegie Mellon University in Pittsburgh. Living so close to Bobb and Kate, she got to know those dogs pretty well. She has honed her innate talent and is becoming a real artist. She presented Bobb with his Christmas gift, a true to life portrait of Tucker and Gracie. In the painting, they look up at Bobb in eager expectation as they always did in life. Moxie accurately captured the love in those dogs eyes. I was sitting next to Bobb on the sofa, and I felt him quiver. He didn't speak. He couldn't. Tears were clogging his throat. Bobb's love for his dogs and the joy at their appearing in this painting nearly overpowered him. He tried to thank Moxie, but words were beyond him. He sort of strangle-whispered "I was hoping, I was hoping". This relationship of Bobb with his dogs seemed like a way to approach the amazing gift of love. A dog's love is so clear and simple. A dog is patient. Even if the dog wants to go out now, the love is patient. Dogs' love is not envious or boastful or arrogant or rude, unless you count barking as rude. It bears all things that its human clumsily imposes, hopes for all things delicious or exciting, endures all things it doesn't quite understand. Its love never ends because it doesn't get entangled with the concept of time. The self-involved limitations of human loving are invisible to dogs. I can't truly describe how a faithful dog loves its human, or how humans love their dogs. Words just get in the way. I ask you to consult your own gut level awareness for the constrictive, throat catching trembling impact that may envelop you when you are reunited after an absence with a dog, or a beloved pet, or child, or one who is more important to you than your own self. All of this is a prequel to talk about the even more indescribable love that is God. Indescribable, which is why Paul's words to the Corinthians are so compelling. Many, maybe most, of us live so heedlessly within God's love that we remain unaware of it. God dwells in the pull of gravity that holds us on the ground. The flow of blood in our veins and the breath in our lungs are God alive in us. Our Epiphany liturgy from the Anglican Church of Canada captures very simply what God does for us. In it we say "We give you thanks and praise, almighty God, for the gift of a world full of wonder, and for our life which comes from you. By your power you sustain the universe. You created us to love you with all our heart and to love each other as ourselves." This is still a love story. God not only created the universe, but God sustains it. I believe that the universe and all created beings are manifestations of God's love, indwelt by divine vitality. God's love is the energy that inhabits and drives everything that is and ever was, seen and unseen. We truly cannot imagine God's love except in little ways, like love stories about dogs and people and saints. I think this love story we have today is a call to us to lay down our fears of what's happening in the world, of Ukraine, of the pandemic, of a stock market correction. Fear stifles our willingness to live in love. There is terrible evil in the world. But there is also love. I'm inviting us to meditate on love as an antidote to the fear in the world. We can practice this right here, right now. The first practice (I have three) is to look around you and see that we are acting in love for each other by wearing N95 masks to protect us from Omicron. Even though distanced, we are together as members of St. Martin's here in this sanctuary and connected in the air by live stream. Feel with your eyes the love of the body of Christ surrounding you. Feel with your eyes the love of the body of Christ surrounding you. The second practice is meditative breathing. We can apprehend the Spirit through our breath, feeling the air fill our lungs while our hearts pump blood through our bodies. In becoming aware that each breath is God sustaining us, each breath then becomes a prayer. The third practice is to feel the gravity that is holding you in your seat. God imposes the gravity that holds you here and holds the earth in its circumnavigation of the sun, and the planets in their courses. Now take a leap of imagination beyond the sun and even beyond the Milky Way Galaxy. More than gravity sustains the unimaginable expanse of the cosmos. That more-than is God, in whom time and space conjoin. The infinite and the instant have equal regard to God. So take faith that you are held by God, have hope that you can live out God's will for you, and be assured that God's love for you is now and will be forever. Amen. Permission to podcast/stream music in this service obtained from One License with license #A-701187 and CCLI with license #21234241 and #21234234. All rights reserved. Video, photographs, and graphics by the Church of St. Martin-in-the-Fields. Episcopal Church of St. Martin-in-the-Fields, 8000 St. Martin's Lane, Philadelphia, PA 19118. 215.247.7466. https://www.stmartinec.org
Sermon from the Rev. Carol Duncan for the Last Sunday After Pentecost, Christ the King Day. Today's readings are: Daniel 7:9-10, 13-14 Psalm 93 Revelation 1:4b-8 John 18:33-37 Readings may be found on LectionaryPage.net: https://www.lectionarypage.net/YearB_RCL/HolyDays/AllSaints_B_RCL.html Intimations of Christ's Kingdom The Rev. Carol Duncan The Last Sunday after Pentecost, November 21, 2021 Happy New Year's Eve of the Church Year! Today is Christ the King, the last Sunday before we go to Advent and Year C in the lectionary. In anticipation, please be seated. You may be wondering, what is the kingdom that we celebrate on Christ the King Sunday? I expect you all know it is not a political entity or human territory at all. The Letter to the Romans says the kingdom of God is righteousness and peace and joy in the Holy Spirit. The Gospel of Mark says disciples were given the secret of the kingdom of God, but for us outside, everything comes only in parables. In today's Gospel reading, Jesus says the kingdom is Truth. I want to convey the truth and the dream of kingdom using imagination rather than analytical reasoning, because Christ's kingdom is not actually graspable by logic. I had a powerful experience of this otherworldly realm in my freshman year in college. This was in 1963, before Hippies, barely beyond Beatniks. I lived in a residence that was a converted manor type house, up a hill away from the main campus. The group of women who lived there that year were inching toward the new age. We wore black tights. We let our hair grow long. One night in the late fall I was feeling unusually exhilarated after reading from Genesis for my Western Civ course. I needed to do something expressive. I climbed out the second-floor window onto the forbidden fire escape. It was cold, but I had a coat. From where I was no house lights showed. I lay back and gazed up at the darkness. The stars were bright. Suddenly I was falling upward into those stars. The jolt took my breath away. I heard no words, but I entered a sort of meeting, a great presence. It was a night vision and a conversion. I had dropped into the holy. My imagination was kindled that night in my 19th year, and it glimmers to this day. You all get the benefit of it now. The kingdom of God is laid out before us today in three marvelous lessons. The vision in Daniel is like a psychedelic panorama of a celestial throne room, a fantasia of rippling color and splendor. To enter this kingdom space, it may help to close your eyes and breathe it in. The throne is fiery flames, and its wheels are burning fire. A stream of fire issues and flows out from the Ancient One's presence. A thousand thousands serve him, and ten thousand times ten thousand stand attending him. You can hear the music if you let your imagination go, as if Tyrone and the choir were giving their ultimate fanfare. This must be a real place because Ezekial saw it too, and maybe also Paul when he visited the third heaven, whether in body or out of body he couldn't tell. Into this throne room, coming with the clouds of heaven, enters one like a human being. Daniel couldn't have known, but we know this is Jesus. A human being like us blazes into the everlasting dominion that shall not pass away. Eternity doesn't pass away because it has no beginning and no end, no boundaries. It inhabits, surrounds, contains and interpenetrates our cosmic time and space. Sometimes on a deep blue-sky fall day, the blazing leaves can give us a feel for it. In the Revelation passage, we are ushered into that same throne room. Jesus enters it with the clouds of heaven just like in Daniel's vision. Jesus is now reverently known as the faithful witness, the firstborn of the dead, and the ruler of the kings of the earth. And Jesus is the one who loves us and freed us from our sins by his blood. In this throne room Jesus has made us to be his kingdom. He knows we can be priests to serve his God and Father. To Jesus in this throne room belong the glory and dominion forever. And in this throne room every eye will see him, no matter what their life has been. All who have pierced Jesus by denying that we have seen him hungry or thirsty or naked or in prison, and seeing, did not attempt to relieve his suffering. We will see him and wail. Then we fall into the divine loving arms of redemption. Yes, this will be. This is happening in God's time, which is all time. Time which is and was and is to come, without boundary or limits, eternal. In John's Gospel we arrive with a bump. You can open your eyes. This is a factual throne room with a factual king, Pilate. Into this throne room Jesus walks escorted by Roman guards clanking their spears. Jesus is on trial for his life. Are you the king of the Judeans, Pilate asks. The damning question is about Kingship, not about nationality. It is about earthly power. Finite power, although Pilate is incapable of grasping his own finitude. Instead of cowering before this earthly king, Jesus the ever empathic one wonders what Pilate is really thinking. Is he asking someone else's question or his own? If it is his own, Jesus is interested and wants to know more. But Pilate considers himself superior to a subject people. He says, I'm not a conquered Judean, am I? The authorities of your conquered nation want me to take care of their problem. What makes them think you are so important? Jesus replied that indeed Pilate is correct, his followers are not fighting to keep him from dying. His kingdom is not from this world. Pilate bears down on factual information. Are you a king? Jesus replies that he is in this world only to witness to the greater realm of truth. He gives Pilate a chance to catch a glimpse of Truth - everyone who belongs to the truth listens to my voice. Do you hear me Pilate? Do you hear me World? I am the way, the truth, and the life. Come to me. We must look now at our own lives and imagine what Jesus will ask us. May we seek the kingdom in this mortal life in which all have access to good schools, nourishing food, secure homes, satisfying work with adequate wages. Where when we come face to face with every other human, we convey dignity and respect as though we have just arisen from our baptismal immersion. And if we are fortunate, in our piece of the kingdom we will have music of the choir's greatest fanfares to rejoice us. Happy Christ the King Sunday, the threshold of a new year and an intimation of God's eternal realm. Amen. Permission to podcast/stream music in this service obtained from One License with license #A-701187 and CCLI with license #21234241 and #21234234. All rights reserved. Video, photographs, and graphics by the Church of St. Martin-in-the-Fields. Episcopal Church of St. Martin-in-the-Fields, 8000 St. Martin's Lane, Philadelphia, PA 19118. 215.247.7466. https://www.stmartinec.org
Sermon from the Rev. Carol Duncan for the Twenty-Third Sunday after Pentecost, Proper 26. Today's readings are: Deuteronomy 6:1-9 Psalm 119:1-8 Hebrews 9:11-14 Mark 12:28-34 Readings may be found on LectionaryPage.net: https://www.lectionarypage.net/YearB_RCL/Pentecost/BProp26_RCL.htmlTranscript Coming Soon.Permission to podcast/stream music in this service obtained from One License with license #A-701187 and CCLI with license #21234241 and #21234234. All rights reserved. Video, photographs, and graphics by the Church of St. Martin-in-the-Fields. Episcopal Church of St. Martin-in-the-Fields, 8000 St. Martin's Lane, Philadelphia, PA 19118. 215.247.7466. https://www.stmartinec.org
NJD: 1. Jess Asked Ducko for a Favour 2. What Scary Movie Changed You? 3. #RECLAIMTHENIGHTHUNTER Interview with Carol Duncan 4. Do Ya or Don't Ya: Open Your Partner's Mail See omnystudio.com/listener for privacy information.
Sermon by the Rev. Carol Duncan for the fourteenth Sunday after Pentecost, Proper 17.Today's readings are:Deuteronomy 4:1-2, 6-9 Psalm 15 James 1:17-27 Mark 7:1-8, 14-15, 21-23Readings may be found on LectionaryPage.nethttps://www.lectionarypage.net/YearB_RCL/Pentecost/BProp17_RCL.htmlTranscript: Please pray with me, and with that wonderful music. Holy One, You gave us birth by the word of truth. Help us be doers of the word, and not merely hearers. Help us look at ourselves in the true mirror of your love for us, so that we may be blessed in our doing. Amen. So you all know what to do now, everybody sit down. In the car, on the way to my family's summer birthday gathering, I read today's gospel out loud. It's a tough interaction with Jesus, and I wanted my daughter Christie's reaction to it. She is a deeply faithful Quaker with a close but occasionally disputatious relationship with God. They argue a little bit. My 19-year-old grandson was in the back seat helping his mom connect to Google maps on Bluetooth, so his ears were uncharacteristically available. He heard the part about purity rules and said, “You should preach about washing your hands all the time, and probably about wearing your mask too.” Christie wondered how many sermons today would be based on that counseling. This one will not, although it is good advice. This sermon will consider the hazardous activity of building faithful communities among competing viewpoints and note that even Jesus struggled with it. In today's gospel, the Pharisees have assembled to hear Jesus. They are checking out the crowds that formed because Jesus fed 5,000 and cured untold numbers. So here are two communities of faith, the traditional teachers on one side and the shepherdless curious crowd on the other, all seeking clarity. We at St. Martin's typically root for Jesus and the crowd, because we have inherited their dominant status. Today, I want to give the Pharisees' side a brief listen. The Pharisees began at the time of the Maccabean revolt in 160 BCE as a renewal movement. They advocated for restoration of the true observance of the law, and they espoused national independence. They believed in the twofold Law, the written and the oral Torah, and they considered the deep study of Torah to be true worship. They refined the purity rules of Leviticus to apply beyond the Temple, they applied to bring it to the people. Pharisees urgently reminded the Israelite community that it had been given different rules from the more powerful surrounding nations. Those laws are what preserved them as a people, and their God they knew as the true creator, ruler and judge of the world. Pharisees, unlike other sects, believed in eternal life and the resurrection of the body. They expected a future age in which God would act decisively to establish his rule of justice on earth. They thus originated elements of faith that Jesus also taught. Pharisees became a primary force that sustained the Jewish faith after Rome destroyed Jerusalem. They evolved into Rabbis and they changed Judaism from concentrating on animal sacrifice in the Temple to a religion centered in the home and the community synagogue. Through them, God is known in a large part of the world. The two opposing sides face each other with a lot at stake. Pharisees competed with Jesus for social and political control. As Mark tells it, Jesus responded acerbically toward the Pharisees' standards of cleanliness. Mark piles up examples of pharisaic practices in an exaggerated manner, as you heard, stacking one on top of the other. This Jesus makes me uncomfortable. Could he have been sleep-deprived and not thinking clearly? First, he calls the Pharisees hypocrites, a damning title. Then, he snubs their oral tradition by citing the unimpeachable Isaiah a little bit out of context. Isaiah had condemned Judah's leaders but ultimately, Isaiah revealed that God promised to restore them. Following this insult, Jesus addressed his own followers with an unfriendly and hostile list of sins, a belittling shortcut to summarize the law. The same law that the Pharisees try so hard to follow, the law that Moses gave in the first lesson. I mean, that's God's law. This is a family argument. Both sides worship and love the same holy God. Family disagreements are always painful to hear and to be part of. The Pharisees and Jesus both think that their side has the true version of building beloved community. Community is not simple or easy. Especially when you step back to take the God's eye view. The tendency that Jesus criticizes in the Pharisees and scribes appears in most religious groups. People attempt to hold on to merely human traditions as if they were divinely revealed. At the same time, the very basic virtues of love, reconciliation and the good news that God has come among us as savior get lost. We find it harder to think about the very real challenge posed to us by the gospel. It is easier to follow the familiar than to transform our hearts. This includes outward behaviors and the inner feelings that give rise to the behaviors such as slander, pride, folly. So here we are at St. Martin's right in the middle of this story. We too love God and want what is best for our community. We too may be thrown out of our best selves at times. Sleep deprivation gets to us, stress of the pandemic, immersion in different versions of our history, passion for our friends and our way of being. The question is, can we take a step back? What is the God's eye view of our current situation? I urge us to consider the way forward at today's parish meeting, which I hope you will all come to after this service. I hope we can consider the way forward using the tools provided by James in the Epistle. As he says, “let everyone be quick to listen, slow to speak, slow to anger. Welcome with meekness the word that has the power to save our souls. I hope we can each think slowly before we speak our heart. I pray that we may humbly invoke the God who holds God's children in our pain, God that mourns alongside all who love and suffer the anguish of being human, the God who became human and experienced the confusing pangs of building God's beloved community. Amen. Permission to podcast/stream the music in this service obtained from One License with license #A-701187. All rights reserved. Video, photographs, and graphics by the Church of St. Martin-in-the-Fields. Episcopal Church of St. Martin-in-the-Fields, 8000 St. Martin's Lane, Philadelphia, PA 19118. 215.247.7466. https://www.stmartinec.org
Sermon by Anne Alexis Harra for the twelfth Sunday after Pentecost, Proper 15. Today's readings are: Proverbs 9:1-6 Psalm 34:9-14 Ephesians 5:15-20 John 6:51-58 Readings may be found on LectionaryPage.net: https://lectionarypage.net/YearB_RCL/Pentecost/BProp15_RCL.html Transcript: At this time, I'm going to invite the young and the young at heart up to the front while I fix my mic, so my friends who were in VBS this week, if you want to come and sit, please join me so I'm not alone up here. Otherwise it's just Anne Alexis preaching in the middle of the altar. It is so wonderful to see all of you here this morning! Did we have a fantastic week? [applause from the congregation] I'm going to thank all of you for a wonderful week at VBS, to the staff, to the volunteers, but probably most importantly, to all of our children who “Came to the Table” this week with us. You have nourished and sustained me and you truly feasted on the living bread that came down from heaven. And to Gavin, thank you for sharing your baptism with us today. I'm going to tell you a story, I think God likes to hear our stories. I think He does. While I was at my parents' house last week, I got really bored. Even though they have a puppy, I was still bored. The puppy was biting, I had had enough. And I was digging through my old baby stuff and some of their old photo albums, and I found this ancient artifact. [Holding up a booklet] Does anyone want to guess what this is? It is a bulletin. It's very 90s. That's because this bulletin is from July 13, 1997. THat is the day that I was baptized. Oddly enough, the readings were from Track 2, Year B. We heard them in July, so I got to reflect a little bit. It was pretty cool to see. And it got me thinking about baptism. This leaflet, and this member of Christ's flock, are officially 24 years, 1 month, and 2 days old. God's sustaining love for us has lasted more than 24 years, lucky for us, but for me, it's lasted 24 years, 1 month, and 2 days. What I love so much about today is that we saw someone welcomed into Christ's flock. Gavin asked to join Christ's pasture, and he was baptized. I always get a little weepy at baptisms, always, always, always. I cried today. That's why I wore waterproof mascara. I get weepy because I am reminded of this unbelievable, crazy, unending love that God has for us. In baptism, we are reminded of the Covenant, or the promise that we make with God. Through Jesus, God's love was so powerful that noting, nothing, could separate God from us. Isn't that amazing? If your mom gets mad at you because you broke the vase that she loves so much, God still loves you. Your mom might be mad, your mom might be really mad, but God still loves you. And it all begins with baptism. But then, today, we get to make a connection from baptism to the scriptures. In the Gospel, Jesus makes a really special promise to us: if we feast on him, if we welcome Jesus into our lives, we will never, ever be alone. We will always feel loved, we will always feel connected to God. We will live forever. If we take communion, if we invite Jesus into our lives, if we pray, we will be connected to God forever. Isn't that so cool? That is Jesus showing us that he really is love. We are welcomed into the Body of Christ through Baptism, which is God's unbounding love, and then we stay in it through Eucharist, and prayer. And I learned that nobody seems to understand that more than children. They are the heirs of the Kingdom of Heaven, as you may see here [gesturing to altar with cloth that reads ‘let the little children come to me, do not stop them. For it is to such as these that the Kingdom of God belongs'] On Tuesday, Rev. Carol fantastically told the story of the Feeding of the 5,000. Now, friends, I gave Rev. Carol the challenge of telling this story to three audiences: our 4-5 year olds, our 6-8 year olds, and our 9-11 year olds. And why Carol didn't just walk away from me right on the spot is actually quite beyond me, but I'm so glad she didn't. It worked out beautifully in the end. Our youngest bunch took the story to heart. One of the activities with the story was a relay race with cheerios to demonstrate feeding of the 5,000. And now, 4 year olds, being who they are, wanted to have a snack after the story. And frankly, I would too, I like cheerios. So, when they were done, they wanted to have a snack, and Rev. Carol gave them each some cheerios, but instead of feeding themselves first, they began to feed each other. The living bread that came down from heaven was clear with our 4 and 5 year olds. They listened, they participated well, but the Spirit took over. And you'll notice on the pulpit behind me, we have a very colorful, not-Pentecostal-green pulpit frontal. Do you friends remember what that was? [speaking to a VBS camper] Pierce, what was it? It was a prayer chain! I like to think this is how God sees our prayers. Colorful, polka dotted, stripey. And this is how God responds to our prayers. God absorbs them, God thinks about them, and God just holds them so close to God's heart. Can I share with you guys some of the prayers that our children…[the audience responds affirmatively]... Okay! One of our friends prayed, “I want everyone to know that Black lives matter.” One of our friends prayed, “God, help me to be a better person.” Ane one prayer in big, scratchy preschool handwriting in purple crayon just said, “GOD.” Straightforward, it gets to the point. The context for this activity was in response to John 14:27, Jesus saying to his followers “peace I give to you, my peace I leave with you.” We told our kids that things are a little scary right now with the pandemic, and it's okay to be afraid. But God's love and God's peace are so much stronger than our fears. So our kids wrote down their fears, their love, everything they wanted God to know. And clearly, everything they had learned through the week resonated with them. I don't know, I think you guys made some important connections to God, and that fills my heart. Jesus' love through God's peace brings up the most pure, deeply rooted needs in all of us. But the thing is, children are honest about these needs. I think we learned that this week. Connecting to God with no reservations, children feast on the bread of heaven and live into their baptisms. There is a reason that we hear Jesus say in three gospels, “Let the little children come to me, and do not hinder them, for the Kingdom belongs to them.” Jesus offers his love for us unconditionally, with complete grace. The people who most willingly accept this love are children: open, curious, accepting, gentle, and so free with their own love. Today, we watched Gavin receive the Sacrament of Baptism. Jarrett asked a series of questions, called the Baptismal Covenant. And The Covenant calls on us to be the most faithful versions of ourselves. “Will you seek and serve Christ in all persons, loving your neighbors as yourself?” This is the second to last question in the Covenant. And it's just a fancy, church-y way of saying, “Will you look for and accept the love of Jesus in everyone no matter what, and love that person no matter what?” And it can be hard to do. You get in a fight with your best friend. Your best friend stole your favorite pencil. That makes me mad. Rev. Barb, she stole my favorite pen, I'm so mad at Barb, where did my pen go? I'm not interested in speaking to Barb for the rest of the day. The thing is, we get so caught up in our own “stuff” that sometimes we look into someone's eyes and fail to see Jesus looking back at us. This week, though, I have witnessed our most vulnerable population see Jesus in everyone, they did, they saw Christ in everybody and loved everybody. Gavin chose to receive the Sacrament of Baptism, and through the pure love and light of children, they are seeking and serving Christ in all persons. Jesus is the living bread which came down from heaven. The most nourishing, sustaining meals which connects us to God. Now don't get me wrong, I've had some nourishing meals in my day. My mom's spaghetti is something to die for. But nothing comes close to Jesus. We must learn from our children, we have to learn from all of you guys (because I think you're a heck of a lot smarter than I am) if we truly seek to truly feast on this heavenly banquet. But as we say in the Covenant, “I will, with God's help.” And that's the beauty in all of it, we are never alone. Now this is normally where I would drop the, “Amen,” but I know if I do that I'll lose all of you. So I need to acknowledge all of the people who made this week so great, so bear with me for a moment. Adam, who was filling in for James, our Sexton, has been marvelous. He lugged water, he cleaned up, he filled paper towels, he ran around. To all of our youth guides who shepherded our youth from activity to activity, and it was hot. To all the volunteers who shepherded kids, led activities, or helped in the kitchen, especially to Debby Schaaf who led bread baking, and again, it was hot. To Kelly and Jason Martin, fantastic, fantastic people. To Cathy Glazer, who miraculously ran the kitchen from afar. That was unbelievable. To Rev. Carol Duncan, who filled in for Bible story time, and who made the feeding of the 5,000 happen in 2021. To Tyrone Whiting, who is a fantastic colleague and a great friend, and who made Choir Camp happen and it was just fabulous. To Rev. Jarrett, who hired me and has given me quiet confidence in ministry again. To Barb, who is a living saint, a minister, a mentor. To Gavin who allowed us to share his day with you, thank you. And last but certainly not least, to Elliot, to Emerson, to Pierce, to Anna, to Lucy, to Lily, to Sam, and to every single child who came this week and reminded me that the living bread of heaven is right in front of us. Thank you from the bottom of my heart. I am so blessed to know you. And now I will say, Amen. Permission to podcast/stream the music in this service obtained from One License with license #A-701187. All rights reserved. Video, photographs, and graphics by the Church of St. Martin-in-the-Fields. Episcopal Church of St. Martin-in-the-Fields, 8000 St. Martin's Lane, Philadelphia, PA 19118. 215.247.7466. https://www.stmartinec.org
Sermon by the Rev. Carol Duncan for the ninth Sunday after Pentecost, Proper 12. Today's readings are: 2 Kings 4:42-44 Psalm 145:10-19 Ephesians 3:14-21 John 6:1-21 Readings may be found at https://www.lectionarypage.net/YearB_RCL/Pentecost... Transcript: This morning let us rejoice and pray using Paul's words: May we be rooted and grounded in love. May we comprehend, in the company of all the saints, what is the breadth and length and height and depth of holy joy. May we know the love of Christ that surpasses knowledge. May we be filled with all the fullness of God. Amen. I am still so delighted to be together with you in person. Only a few weeks ago we came back to the altar to receive communion after a long bitter year without it. As I put the wafer in your hands, I saw tears in many eyes. My own eyes blurred, and my throat tightened. I had to stop a minute and breathe. The joy in your faces I'm sure was mirrored in my own. At about that time Stephen ministers, our one-on-one ministry of pastoral listening and care for people going through difficult times, learned about collective effervescence. This concept describes the sense of energy and harmony people feel when they come together in a group around a shared purpose. … That joy had been missing during the pandemic. It came back at Easter on the football field as we praised God, celebrated Eucharist, and reveled in the company of our beloved St. Martin's. Eucharist brings me collective effervescence every week with you all. Today's lessons are all about Eucharist. Eucharist is old, older than the church. Eucharist is the sign that God feeds us and sustains us unceasingly. I love today's story from the Elisha cycle. Gehazi, Elisha's servant, derided the possibility of feeding a hundred people with 20 loaves. But Elisha prophesied “thus says the Lord, ‘They shall eat and have some left.'” He set it before them, they ate, and had some left, according to the word of the Lord.” Elisha prophesied that God wants people to be fed, and through faith it happened. Jesus was intimately aware of Elisha's act of faith. Jesus told and lived the stories of the ancestors. So, just like Elisha, but greater than Elisha, with five loaves Jesus fed 5,000 and had 12 basketfuls left over. Jesus feeds us as surely as he fed his followers on the mountain. He feeds us with the ancient sacrament of the Eucharist, which means “thanksgiving”. You know this of course. But I want to share with you what enthralls me every time I experience it. The original last supper was a Passover meal. In the Passover meal, participants pray saying “In every generation we must look upon ourselves as if we personally had come out from Egypt”. When Jesus took bread and wine he said “This is My Body; this is My Blood” as part of the Passover prayer. In the original Greek texts, Jesus went on to say, “Do this is in Anamnesis of Me.” Anamnesis is translated as remembrance. But it is more than remembering. Anamnesis means to actively participate in the power and presence of that past event here and now in our own lives. It means that the salvation provided for us in Jesus' life, death and resurrection changes us and makes us holy. When we receive the Body and Blood of Christ, we do it in eternal time. We do it with Jesus' disciples, at Jesus' eternal table. We become the Body of Christ in this world. I like Richard Rohr, a Franciscan Friar, priest and author. He describes Eucharist in this powerful meditation. “Mutual desiring and indwelling is the intended impact of the Eucharist… The Eucharist is an encounter of the heart, knowing Jesus' Presence through our own offered presence. In the Eucharist, we move beyond mere words or rational thought and go to that place where we don't talk about the Mystery anymore; we begin to chew on it. Jesus did not say, “Think about this” or “Stare at this” or even “Worship this.” Instead he said, “Eat this!” We must move our knowing to the bodily, cellular, participative level. We must keep eating and drinking the Mystery, until one day it dawns on us, in an undefended moment, “My God, I really am what I eat! I also am the Body of Christ.” A body awareness of this sort is enough to steer and empower our entire faith life. Merely assenting to or saying the words will never give us the jolt we need to absorb the divine desire for us.” I remember receiving my own jolt when I truly realized the immensity of the act of Eucharist. I was about to distribute the Eucharistic wafers on a Sunday to people I knew well. I knew everyone's name at St. Paul's in Canton OH where I had attended for decades and had served as Deacon for several years. Suddenly as I looked into the face of the person to whom I handed the wafer, it became the face of Jesus. It didn't physically change, exactly. My comprehension of what Jesus looks like changed. Radically. Here was now a holy face, a portrait of potential. I began smiling, and the person – a man who worked for Jet Blue, younger than me, slightly overweight, with a shaved head - smiled back. A bit dazed, I moved to the next person. A woman my age, a nurse, reddish hair losing its fire, lovely complexion – returned my smile of recognition. She also showed me the face of Jesus. Each face that day metamorphosed into a glimpse of the divine countenance. Like the sun appearing from behind a cloud. Now it doesn't always happen. But when someone feels the mystery, looks up and smiles, it may happen between us. You have become Jesus for me. We are immersed together in the wonder of the indwelling of Christ. I am grateful to worship with you. We are invited and accepted into the eternal supper at Jesus' table. It is happening now, always, in the mystical core of eternal presence. I'll meet you there. Amen. Permission to podcast/stream the music in this service obtained from One License with license #A-701187. All rights reserved. Video, photographs, and graphics by the Church of St. Martin-in-the-Fields. Episcopal Church of St. Martin-in-the-Fields, 8000 St. Martin's Lane, Philadelphia, PA 19118. 215.247.7466. https://www.stmartinec.org
After 194 years, a previously unknown album of drawings from 1818, including landscapes and portraits of Aboriginal people from the Newcastle region, returned to Newcastle for a brief exhibition by the State Library of NSW. In this episode, Carol Duncan speaks with Aunty Nola Hawken, descendant of 'Queen' Margaret and Ned of Swansea; and the Director of the Newcastle Art Gallery, Ron Ramsey. Recorded 2012.
After 194 years, a previously unknown album of drawings from 1818, including landscapes and portraits of Aboriginal people from the Newcastle region, returned to Newcastle for a brief exhibition by the State Library of NSW. In this episode, Carol Duncan speaks with Aunty Nola Hawken, descendant of 'Queen' Margaret and Ned of Swansea; and the Director of the Newcastle Art Gallery, Ron Ramsey. Recorded 2012.
On this Sixth Sunday of Easter, as we celebrate Mother's Day and Jesus's abiding love for us, the Rev. Carol Duncan leads us on a visualization into the “elemental love of parents for children and of God for us”. Today's readings are: 1 John 5:1-6 Psalm 98 John 15:9-17 Readings may be found on LectionaryPage.net for the Sixth Sunday of Easter, Year B. Transcript: [Introductory music] [The Rev. Carol Duncan] Please pray with me. Holy One, here we are to bask in the glow of your mothering love you have given us life. Open our ears and our hearts to your invitation to abide as your children in the endless outpouring of your love Amen. Please be seated. So nice to see so many people here; I just love it! Mother's Day gives us space to talk about love. Mothers may feel more freedom to talk about love than is generally considered polite in european heritage culture. Mother's Day is such a simple holiday. We sometimes diminish it to a greeting card, but all of us entered life through being born of our mothers. Our mothers bore us. Our God sustains our lives and gives us meaning and purpose. I want to celebrate the elemental love of parents for children and of God for us. This morning I am inviting us to revel in Jesus's love poured out in today's Gospel. Open your imagination to the invitation to join Jesus's disciples at their last gathering. The space and time of this morning is sacred and holy. Allow your mind's heart to enter the presence of Jesus the Eternal One. Take a deep breath and let it out. Let your shoulders fall. Close your eyes if that helps you imagine. Jesus's true words come to us in scripture so that with the company of saints we, in our time, and our children and our children's children can find the true vision faithfully over the years. Discover yourself now in your mind's heart. Discover yourself in a room whose thick walls block out any outside sound. We are seated at a table. It is night. Feel your clean, bare feet that earlier this evening Jesus has knelt down before you to wash. Feel your stomach satisfied from a simple meal with unleavened bread and several cups of wine. Hear the gentle interweaving of conversational threads. Mention of Jesus works of healing, mourning the rejection of him by some, a bit about the frantic Passover preparation that got us here, amazement at the throngs of worshipers in Jerusalem. Feel as well a backwash of discomfort from the sudden departure of Judas which reminded us how closely the authorities are tracking our movements. They want to accuse us of sedition, or worse. Lean in now, close up Judas's place. Lean in a little closer to hear Jesus's soft clear voice. His breath sweetly caresses your cheek as he speaks. The warmth of bodies surrounds you. Listen: “As my Father loves me, so I love you.” I love you. My love is your dwelling, your home. To know my love, to inhabit this home, practice loving as I love. As my Abba loves me. when you live in this love you will experience my joy, my complete joy, as I have felt with you. Breathe in my abiding love. Take in my joy. My simple, single commandment is that you love one another as I have loved you. I have loved you with my life. Being with you, showing you what it means to love the people we have encountered. You have been with me. You have served the crowds that we met. You are no longer servants, you are my dear ones, my friends. I chose you because I know that you will carry out this work of love. The work we've done and the words you've heard from me will endure. My Father's purpose and desire that generations will experience his love are planted and will bear fruit through you. I am speaking openly about how much I love you, so that you can hear it clearly. Love one another. Find ways to show your love. I am giving you these commands so that you may love one another. Breathe in, know I love you. Breathe out, know I love you. We are the ones Jesus has chosen. Ours is the joy of the Eucharistic feast whether they're taken physically or spiritually. We move now into the practice of love in the Eucharist. Keep breathing, keep loving, enjoy Mother's Day. Amen. Permission to podcast/stream the music in this service obtained from One License with license #A-701187. All rights reserved. Video, photographs, and graphics by the Church of St. Martin-in-the-Fields. Episcopal Church of St. Martin-in-the-Fields, 8000 St. Martin's Lane, Philadelphia, PA 19118. 215.247.7466. https://www.stmartinec.org
The arrival of spring is like an airlock in a spaceship, between the controlled climate inside and the unknown outside the doors. This moment in Lent, the Rev. Carol Duncan argues, and this moment in our pandemic lives is much the same - a space allowing us to prepare to step into new life. The readings for the Fifth Sunday in Lent, Year B are: Jeremiah 31:31-34 Psalm 51:1-13 John 12:20-33 Readings may be found on LectionaryPage.net.
In this episode we travel to Newcastle to kick off The 9pm Autumn Series 2021 with special guest Carol Duncan — journalist, multimedia producer and Newcastle City Councillor.We talk about many, many things including her career in radio both commercial and at the ABC, being cool in your life, social media, family tragedies, cheap chocolate, mangroves, and Australian rock legends including Vanda & Young and Midnight Oil.We're also joined by a surprise special guest, the Lord Mayor of Newcastle, the Right Worshipful Nuatali Nelmes. We spoke about all the changes in the city since I was last there in 2013, and about coal. She's also issued me a personal challenge, which I'm now stuck with.Full podcast details and credits at:https://the9pmedict.com/edict/00128/Support this podcast at:https://the9pmedict.com/tip/https://skank.com.au/subscribe/
On the Last Sunday after the Epiphany, the Rev. Carol Duncan offers us a sermon for Blessed Absalom Jones' Feast Day (Feb. 13 annually). Can you hear God's call to us in the story of Blessed Absalom Jones' life? (The Rev. Barbara Ballenger delivered the Rev. Carol Duncan’s sermon, due to icy conditions preventing her from being in person.) Today's readings are: Isaiah 42:5–9 Psalm 126 John 15:12-15 Readings may be found on LectionaryPage.net http://lectionarypage.net/LesserFF/Feb/AbsJones.html
John's creation story in the Gospel's prologue invites us to behold the universe God creates and loves, to recommit to living as God's own beloved children. The Rev. Carol Duncan's sermon for today is based on the day's readings: Isaiah 61:10-62:3 Psalm 147:13-21 John 1:1-18 Readings may be found on LectionaryPage.net for the First Sunday after Christmas. Photographs, video, music, and graphics by the Church of St. Martin-in-the-Fields. Episcopal Church of St. Martin-in-the-Fields, 8000 St. Martin's Lane, Philadelphia, PA 19118. 215.247.7466. https://www.stmartinec.org
As we enter a new liturgical year, the next turn in the constant spiral of time, the Rev. Carol Duncan reminds us that, in some ways, there is nothing new under the sun. The trials and apocalypses of today have been experienced throughout history. This brings us a measure of comfort as we know both that we will see these times end and that, if we watch for him, Christ who has come will come again and carry us through. Today's readings are: 1 Corinthians 1:3-9 Psalm 80:1-7, 18-19 Mark 13:24-37 Readings may be found on LectionaryPage.net for the First Sunday of Advent, Year B.
Carol Duncan Friday Music Show 20 August 2010 - Australian Rock. Features Zoot, Chain, Stevie Wright, TMG, Sherbet, AC/DC, The Ferrets, Skyhooks and a chat with Bob Spencer. Play it loud. Really loud.
Carol Duncan Friday Music Show 20 August 2010 - Australian Rock. Features Zoot, Chain, Stevie Wright, TMG, Sherbet, AC/DC, The Ferrets, Skyhooks and a chat with Bob Spencer. Play it loud. Really loud.
This is the first episode of new a podcast – hosted by Annie Parker and Kate Carruthers. The podcast is called Conversations with Annie & Kate. We were warned not to do this during a pandemic, but thought what the heck.So the premise of the show is simple, we find an interesting women and talk to her over a drink. We try not to ask the usual questions. And we try to have an interesting chat.Here is episode 1 – Carol Duncan she is a long time friend, Novacastrian and former radio personality. Enjoy
Sermon by by the Rev. Carol Duncan for Sunday, May 31, the Day of Pentecost. The Rev. Carol Duncan talks about her connection to the Spirit of God on this day when we celebrate the gift of the Holy Spirit. She reflects on the gifts that the Holy Spirit brings to us, and the ways she sees the Spirit working and speaking among us - through Women Connecting and Bible study, through our coming transition to Morning Prayer, and through the acts of generosity we've been witnessing and taking part in throughout the pandemic. Readings may be found on LectionaryPage.net for the Day of Pentecost, Year A. Opening bell chiming by the Philadelphia Guild of Change Ringers. Used with permission Photographs and graphics by the Church of St. Martin-in-the-Fields.
The Rev. Carol Ducan's sermon for the Second Sunday of Easter, Year A. Readings may be found on LectionaryPage.net. The Rev. Carol Duncan says that Easter is really all time, Easter is the center of eternity. The first Easter with the disciples locked in together feels very familiar in our current COVID-19 pandemic world. So, what are the gifts that we can find even in this time?
A joyous celebration of the Resurrection of our Lord Jesus Christ. Holy Eucharist with music including familiar Easter hymns; a song by parishioner, Scott Robinson, recorded by Mandala; and St. Martin's Treble Choir. The Rev. Anne Thatcher, Celebrant The Rev. Jarrett Kerbel, Preacher The Rev. Carol Duncan, Deacon Readers: Michael Blakeney and Michelle Williams. Psalm 118 sung by Carolyn Green. Intercessor: Marsha Blake. Krystiane Cooper, Adenike Webb, John Wentz, musicians. Jesus Christ Is Risen Today - EASTER HYMN. Words and Music - © OCP Alleluia No. 1 descant and harmonization - Betty Carr Pulkingham, Music - ©1979 Celebration. Sung by Molly Kanevsky. Everlasting Love by Mandala Interfaith Kirtan. Words from the Book of Isaiah. Music by Scott Robinson. From the CD Deep Mystery, available at CDBaby.com and iTunes. Used with permission. Joy is come! - Andrew Carter, Words and Music - ©1998 Oxford University Press. Sung by St. Martin’s Treble Choir. The Day of Resurrection - ELLACOMBE, Words and Music - © OCP Contributing videography by William Previdi. Contributing audio work and video for music by David Loewi. Permission to podcast/stream the music in this service obtained from One License with license #A-701187. All rights reserved. Photographs and graphics by the Church of St. Martin-in-the-Fields.
This liturgy combines music and prayer as we hear the Gospel of John's account of the Lord’s trial, suffering, and death. We will engage in intense intercessory prayer for the church and for the world. It was on the cross that Jesus made his full intercession for us, and we are united with him through Baptism in that intercession. The final portions of this liturgy take place before a cross, where we praise Christ for his love, which he demonstrated on the cross. St. John’s Passion, setting by Erik Meyer, sung by St. Martin's Choir. Soloists: Alyson Harvey, John Wentz, Krys Cooper, Matthew Vickers, and Lyndon McNall. Used with permission. The Rev. Barbara Ballenger, preacher. The Rev. Anne Thatcher and the Rev. Carol Duncan, solemn collects. Were you there (harmonization) (Hymn #172) - C. Winfred Douglas, Music - ©1961 Church Publishing, Inc. Permission to podcast/stream the music in this service obtained from One License with license #A-701187. All rights reserved. Photographs and graphics by the Church of St. Martin-in-the-Fields.
For Women in Construction Week, SMACNA president Angie Simon, CEO of Western Allied Mechanical, talks with Carol Duncan, CEO, and her daughter Ashley Duncan, mechanical division manager at General Sheet Metal. General Sheet Metal has grown from 25 people when Carol took over the company to 180 employees today. Ashley officially joined the company in 2015 and has taken more of a leadership role. Carol and Ashley speak about the culture at GSM and their belief in servant leadership and people first. “Relationships are the most important, “ says Carol, “and that is reflected in the growth of the company.”
Sermon by The Rev. Carol Duncan on the First Sunday of Advent. Text in image: "Today is the first Sunday of Advent it is a new beginning, a day to rededicate ourselves to fulfilling the utmost goal of our lives, living into our eternal lives until we are fully immersed in the holy. ...We must stay awake and aware that as we live our ordinary lives, we are living in God's realm, at this present moment. In ordinary life we're living in the not yet, until we enter the greater life."
Does the banquet table illustration in today's Gospel not convict you enough? How about a recent anniversary and a shared history? The Rev. Carol Duncan takes the Gospel story of the festival banquet and uses it to shine a light into the spaces of our own lives we may not even realize are there.
Christ sets us free, but the freedom offered is not to be wasted. Quoting the Rt. Rev. Eugene Taylor Sutton, Episcopal Bishop of Maryland, the Rev. Carol Duncan reminds us of the blessed responsibilities of our freedom, bringing together how bound up our freedom is with the freedom of others.
After 194 years, a previously unknown album of drawings from 1818, including landscapes and portraits of Aboriginal people from the Newcastle region, returned to Newcastle for a brief exhibition by the State Library of NSW.
Our Deacon, the Rev. Carol Duncan offers the good news of Christmastide and not being a "white" Christmas. This audio contains the lectionary readings for the day.
What examples do our readings this morning hold for us on what it means to become a beloved community? How does a beloved community act? What should we watch for? And how does our Becoming Beloved Community plan address these lessons? Rev. Carol Duncan guides us through these questions and reminds us that, "Whoever is not against us is for us." Sermon based on the lectionary readings from the 19th Sunday after Pentecost, with the Gospel text from Mark 9:38-50.
What examples do our readings this morning hold for us on what it means to become a beloved community? How does a beloved community act? What should we watch for? And how does our Becoming Beloved Community plan address these lessons? Rev. Carol Duncan guides us through these questions and reminds us that, "Whoever is not against us is for us."
How can this man give us his flesh to eat? Sit down and mull that one over anew with Rev. Carol Duncan in her sermon from August 19, 2018. Her understanding of the Eucharist has grown and deepened over the years and she invites you to consider where your understanding is today.
How does one engage in the work of social justice when one is a deep introvert? The Rev. Carol Duncan reflects on her feelings of scarcity and how today's Gospel reminds her to trust in God's abundance.
Brad Keeling is a man best known as the co-founder of One Tel. But he is also a dear and close friend of ABC broadcaster Carol Duncan. When she discovered Brad had been diagnosed with throat cancer she asked if he'd share his story with her.Throat cancer is often presumed to be the result of smoking, and while Brad had been a recreational smoker in his twenties, and been exposed to passive smoking, his cancer was the result of the Human Papillomavirus, HPV.In this feature produced by Carol Duncan we hear from Brad soon after diagnosis, travel with him through surgery and then check in with him as he undergoes treatment to help him recover. First aired June 2013.
Brad Keeling is a man best known as the co-founder of One Tel. But he is also a dear and close friend of ABC broadcaster Carol Duncan. When she discovered Brad had been diagnosed with throat cancer she asked if he'd share his story with her.Throat cancer is often presumed to be the result of smoking, and while Brad had been a recreational smoker in his twenties, and been exposed to passive smoking, his cancer was the result of the Human Papillomavirus, HPV.In this feature produced by Carol Duncan we hear from Brad soon after diagnosis, travel with him through surgery and then check in with him as he undergoes treatment to help him recover. First aired June 2013.
From St. Martin's Good Friday 2018 presentation of "The Seven Last Words of Christ on the Cross". Music and the third phrase from Christ on the Cross, "“Woman, behold your son! Behold your mother.” from John 19:26-27 reflected on by The Rev. Carol Duncan. Music composed by Franz Joseph Haydn, played by the Fairmount String Quartet.
What do we learn this Easter from Jesus, the teacher? Barb Ballenger gives the homily at Easter Vigil on March 31, 2018. Gospel reading by The Rev. Carol Duncan, deacon.
In 2009, I had the chance to interview the legendary Stevie Wright - lead singer of The Easybeats in the 1960s and trouble rockstar ever after. I was warned in advance that I should pre-record the interview as Stevie was 'a bit slow' after years of serious drug and alcohol abuse. Happily, I didn't find him at all difficult to chat with. Indeed, Stevie's openness about his heroin addiction and his desperation to shake it are incredibly moving.
In which Mark Tinson joins me to discuss terror alerts & Jimi Hendrix, Pat calls in to brag about having burgers with Led Zeppelin during their Australian tour, local artists Adam Miller and Jason Lowe.
2013 has given Australian music icon, Russell Morris, an unexpected hit record some 44 years after his first national number one smash with pop-psychedelic smash, The Real Thing. I produced this music feature with Russell in 2014, although I first met him in about 1992 when I interviewed him in Hobart. He's smart, funny, brilliant and has always been just bloody fabulous and generous to me. Except for that time he rang my show to wish me a happy birthday and I thought he was JPY! Sorry, Russell! xxAustralian music industry icon Russell Morris joined Carol Duncan's program while doing a series of performances in Newcastle and surrounds. (Carol Duncan:Carol Duncan)"This album (Sharkmouth) was done out of a labour of love because I like roots and blues music and I'd always wanted to do a roots and blues album.""I chose Australian history because I've always loved any type of history. You'd think the two kisses of death for a gold album would be blues and Australian history, so it wasn't done with the intention, it was just done as a labour of love which has proved to be really enlightening.""Producer Mitch Cairns' foresight was out of desperation of staying alive. At that stage, Brian Cadd who I was working with, had decided that he was going overseas and he dropped the bomb on us that he might not be coming back.""At that stage Jim Keays was very sick and Mitch said, "You've gotta do something or we won't have any work!" And I said, "Well, I've got the blues album," and he said, "Well, FINISH IT!""It is a great thing (the success of Sharkmouth) and I have to thank particularly the ABC because they ABC embraced it from day one and just went 'bang', but the commercial stations just didn't want to know. The ABC just broke it right across the country.""If anyone was going to have a gold record this year you'd have put me at the bottom of the list.""I think what happens with a lot of my peers, a lot of people will see a new record and whether it's from Joe Camilleri, Daryl Braithwaite - they pre-judge it and don't listen to it.""I remember when we first started in Melbourne, Ian Meldrum said to me, "We'll go and see Stan Rofe at 3AW." Stan Rofe was a big star to me, he was on air and I'd heard him on the radio station and I said, "Well how are we going to do that?" and he said, "We'll just go up to the radio station!""So we went up to the radio station and walked in and Stan came down and had a cup of tea with us. Ian said, "We've got this, what do you think?" and Stan said, 'Love it, I'll play it.'And that's what it was like.""Well, Mitch and I spoke about it (initial expectations of Sharkmouth) and I said if we're lucky we might sell 5,000 copies, if we can get an independent release.""We'd have sold them at gigs to try and get our money back and if we had a small deal with a company and sold 5,000 or 8,000 we'd have made the money back." Gold status is in 2013 is 35,000 and Sharkmouth is now creeping up towards platinum - it's around 60,000 now and platinum is 70,000.""When I did the unplugged album with Liberation it sold around 8,000 so it's been a great experience for both of us.""We signed to an independent record company and they took it and then rang me up, the first time it went in to the charts at about number 89, then it jumped to 49 and I was over the moon. I rang Mitch and we celebrated, and then the next week it jumped 20 places again and it just kept going right up into the top 10."Russell has continued a great tradition started by The Beatles of being turned down by every record company in the country and then having a success."I tell you what is ironic, The Real Thing was turned down as well. EMI hated it, they thought it was the biggest load of rubbish they'd ever heard.""EMI didn't want to release it, they were only going to release it in Melbourne to try and make their money back because I had a following in Melbourne, so Ian Meldrum and I got in a car and drove to Sydney to go and see all the (radio) program managers because at that stage you could knock on the door of these commercial stations before they became corporate and say, "Can I speak to the program manager," "Here's the song, what do you think, our record company think it's a load of rubbish, would you play it?" 'Of course we'll play it, will you sign that?'"So we signed a petition that came out to really stick it to the record company. Radio and record companies at that stage weren't getting along very well. It was just prior to the record ban where radio wanted to stop paying royalties to radio for playing songs on the air."Russell Morris is thought of as having lots of pop hits and a pure voice but he dabbled in blues back in the 1970s when he used musicians from Chain on one of his albums."They were my favourite band. I always use Barry Harvey and Barry Sullivan always, on everything, and I'd always used Phil Manning, so strangely enough it's actually Phil Manning playing all those licks in 'Sweet, Sweet Love' and you'd think, 'Who's this syrupy guitar player?' and it's Phil Manning!""It's (blues) where I wanted to head but I was painted into a corner once I had a pop hit and the record company saying, 'You've got to produce another hit!' and it became a factory after a while. You get caught in it.""I actually wished Chain had been my band because it would have taken me on a whole other direction. I don't think Ian, Molly, would have been too happy although at that stage we'd sort of split.""He's still my best mate but we'd had a couple of professional disagreements. He saw me as Australia's Davey Jones from The Monkees or some such thing and I wanted to go in a different direction completely as a singer/songwriter so we differed on the way we were going and the record company was pressuring for another single, but I really would have loved to be with a band like Chain.""But your fate is your fate. Whatever happens, those doors open and close for a reason and maybe if I'd started it earlier then it wouldn't have worked.""I was happy doing The Real Thing, I quite liked psychedelia. I didn't like pop a lot but I remember Ian (Molly Meldrum) had done a number of songs with me and we'd done 'Only A Matter of Time' which I absolutely loathe, it was on the back of The Real Thing, and a couple of pop songs and I said to Ian, 'This is rubbish, we're not going in the direction I want to go,' I said, 'I'm not John Farnham, I'm not Ronnie Burns and I'm not Normie Rowe. I want to do something that they wouldn't even contemplate thinking about doing. I want to go in that direction. Let's go psychedelia, let's go into something more band oriented than a pop single.'"Ian, to his credit, agreed and said, 'You're right, they're not different enough."Russell Morris actually had a whole album ready to go at one stage and decided it wasn't good enough and he wanted to re-record the whole thing."EMI had gotten a record producer and he'd gotten a head of steam up and away he went. I tend to go along with things and say to people, 'I don't know if this is the right thing ...' and they don't listen, they don't listen ... and all of a sudden they go, 'You know what? Scrap it.' And that's what happened. He went ahead and put strings and brass on everything and it just drove me insane. I said to him, 'I'm not releasing it."Russell Morris on recording The Real Thing."We used 8-track recording for The Real Thing. There was only two tracks for the effects, one for the vocals, everything just kinda got bounced down, I don't think we even slaved another machine to worry about generations. I think we did slave another machine for the effects.""I cannot take any credit for it. Ian Meldrum was the total architect, it was his concept from start to finish.""A lot of it was trial and error, experimentation, but giving Molly his dues he doesn't know what he wants in the studio but when he stumbles across it he knows instinctively that it's right. Everyone else will be nodding off at 3am and he'll have had some poor bloody guitar player out there playing the part over and over, 'No! Try it this way! Try something else! Make it sound like stars!' And that's what happens."In December 2011, Ian 'Molly' Meldrum had a serious fall while at home which for a while it seemed he wouldn't survive."He wasn't putting up Christmas lights. I was with him that day and I think that was a story that got fed around.""I was there that day, the reason he fell is because of him. We were doing a song for Jerry Ryan who was doing The Green Edge, the cycling team, and I was doing a duet with Vanessa Amorosi.""Ian had the master tapes and he said, 'Can you take these down to Sing Sing as you're going home?" So I left. "He was about to head to Thailand and he probably thought he'd catch some extra rays of sun. He's got a latter cemented into the side of his wall which goes up to a sun deck. He was climbing up there with his mobile phone, his cigarettes and trying to juggle those and lost his balance and fell.""He would have died except his gardener, Joe, happened to be there. It was real touch and go as to whether he was going to survive but he's great now.""It was funny. They (the hospital) said, 'Ian wants to see you in hospital. You cannot talk to him about mobile phones. If he asks for your mobile phone you cannot give it to him. If he asks for drinks you can't go and get him one. Do not talk to him about getting out of hospital.""It was horrifying. I thought I was going to get in there and expected to see Ian sitting in a wheelchair and drinking soup through a straw, but I got in there and there he is sitting with his baseball cap on and his tracksuit reading the paper!""I said, 'Ian, I expected you to be sitting here dribbling, everyone's given me such a hard time!' And he said, 'Oh they're all such pains in the ....' "And they'd said to me, 'You cannot stay any longer than 20 minutes and if he shows any aggravation you have to leave immediately.""My 20 minutes came up and I said I'd better go but he said, 'Don't be ridiculous!" "I ended up staying for two hours.""I was also off to Thailand and flew out the next day. I got to Thailand and I got an email from Amanda Pelman who is Brian Cadd's partner who's great friend of Ian's, and it says, 'What have you done? Where is Ian? You were the last person to see him and now he's disappeared?""After I left, Ian started to figure out how to get out of there because you can't get out of the ward without a special card and the nurses won't let you out.""He conjured this story and told told them, 'I've decided to do physio' which he'd been refusing to do, and they said, 'Oh that's great Ian, when do you want to start, Monday?""He said, 'I want to start now, if you want me to do physio I want to go over and have a look and do it now.'" So they took him.""They got a nurse to take him over and took him down the street and as they got to the street he turned one way and just kept walking.""They couldn't find him!"
Silverchair have been one of Australia's most successful bands for the last 20 years. Drummer Ben Gillies joined Carol Duncan in the studio for a chat about his solo project - Bento, and why he continues to call Newcastle home. Daniel Johns, Chris Joannou and Ben Gillies were just kids doing work experience at a Newcastle radio station when I first met them nearly 20 years ago. Those three boys have gone on to become strong and confident men and wonderful musicians - collectively and individually. I suspect the whole town is pretty proud of them.In 2012, the band have celebrated 20 years of Australian and international success, 21 ARIA awards from 49 nominations, 6 APRA awards, and all five of their studio albums have reached number one of the Australian album charts.Over the last few years the three members of the band have also gone out to do their own musical projects and drummer, Ben Gillies, came into the studios to talk about life, music, growing up in public, and taking the leap into solo performance.What was it like, being a kid, being thrust into that level of media interest and intrusion? "We were pretty unaware. Blissfully unaware. We were too worried about playing our music and running around and going to diners and just being teenage boys. We had good people around us, so we were fairly sheltered."The members of Silverchair studied at Newcastle High School when Peter McNair was principal. "He was a really good school principal. I remember a few times, the three of us would rock up to his office - in a good way, we weren't in trouble - but we had these grand ideas of putting concerts on at the school and we'd sell him on why we had to do it and how we could make it happen. He was really accommodating. I'm pretty sure he wasn't supposed to do some things he let us get away with. He let us put on concerts, we'd rehearse in the music room and do all kinds of stuff."It's often suggested that parents are the biggest obstacle to their children pursuing their dreams. Parents want their children to be secure, to 'have a good job', so convincing your parents you want to be a rock star, and then actually pulling it off, must be quite a coup! "We were young enough to just go with it. We were still just teenages running around so we were living in the moment. But we were setting ourselves up for a long-term career, we weren't thinking 'let's just go out and milk this for all its worth and then it's all over'. We were conscious of making long term things. And our parents were as well, all the people around us. We were very lucky."Ben Gillies late 2012 released his first Bento album, launched with the single Diamond Days and a fabulous video featuring a very interesting young actor. "He's a family friend of the producer. We did a bit of casting to have an l a few different possibilities but, the producer just said I know the young boy to do it. He gets right into character. His whole family really helped out, they were really accommodating. He's just seven.""It was a two day shoot, we did his stuff first then we did the performance stuff with me. He rocked out, there were a few moments he was on the performance stage and Holly, the producer, came up and said he'd been asking, "Why is it all about Ben today, it feel like this music video is all about Ben today. Why isn't it about me as much today!"Bento isn't Ben's first solo effort outside Silverchair, he's previously released music with Tambalane, "Tambalane was a stepping stone really. Kind of like a summer fling. I think I really wanted to write with another person, because I hadn't had that responsibility of writing on my own."" Outside Silverchair there isn't the infrastructure and the big budgets and all that. Doing stuff independently, it's almost a lot more pressure on the songwriter. Everything is you, there's no one else to take the load a bit. For me to do something outside of that with Tambalane was that step to get to Bento, to give me the confidence to do my own thing.""It's scary as hell but I think it's one of those things where I don't want to be a old man, sitting in a pub somewhere drinking a beer thinking, 'Why didn't I give that a crack back when I had the chance.""The thing with Silverchair as well is because it is such a big beast, and it's great, I love that side of what I do, but it does take up a lot of energy and time. So I've never really had enough drive to do my own thing. Silverchair going into indefinite hibernation has just given me the time and the freedom to be able to do it. Now I have that confidence to think, 'Bugger it, I'm going to do my own thing'. The confidence, the motivation, the time, the effort, it was the right time.""You do have to have that understanding that people are subjective. Everyone in the world isn't going to love your music. But you still want it to be received positively. The reaction has been amazing. It is you putting your neck out there. It's almost like you're standing in front of people, the full monty saying, 'Here I am, check it out. Here it is, I can't change it, and it is what it is."So. Silverchair's 'indefinite hibernation'. What gives?"Even if you do work with someone for 20 years, and you go to work from 9-5, you still have some time to yourself, and can do other things. It kind of feels like a business relationship with a marriage on top of it. You spend so much time with those people, not just the guys in the band, but management and crew. All these other things can come into it.""I think the reason Silverchair has had such good longevity is because we've been able to recognise when we all need to take a breather and go and do other things. The funny thing is, we've done it three or four times and every single time people say, 'What's happening, where you are going?'. We've done this before, and it's nothing new.""There's nothing worse than breaking up and deciding that all we really needed was time, then coming back to it and saying we're reforming. It's much better to say we're taking a breather and you come back and nothing's changed. We don't want to do a (John) Farnham 'final tour' several times. That's a genius move though, you've gotta admit."And on to Bento and selecting musicians to work on his new baby."We were in the studio in Sydney and the producer and I would clunk away on different instruments. We'd just get on the phone, if we were working on something and thought it's needed a nice piano part or whatever it was we'd call friends and it was whoever was close by. Whoever was within 10 minutes of the studio, they would come in. Out of that we actually got three guys who became pretty stable throughout the record. And they helped mesh the whole thing together.""It is a new project and I can't assume that Silverchair fans are automatically going to come to Bento. I just have to get beyond that and make other people aware of it. This is the first step in many, I have to keep making music and getting it out there. They way the music industry is these day, you really have to have that social media stuff in people's faces. And videos and photos. I love that stuff. It's so much fun. As long as you make it fun, I think people can connect to that and feel like they can have involvement and see behind the scenes.""I've always said creativity breeds creativity. The more you do it, the more ideas you get, and the more it snowballs. I've already got 20 songs ready for another record and I keep calling my manager and saying 'I've got this whole new concept for another record and it's going to be great and we can do this...' and she just laughs and says, 'OK, just slow down!"Success on the scale of that enjoyed by Silverchair over the last 20 years should mean that Ben Gillies could choose to live anywhere in the world, yet he remains based in Newcastle (as Daniel Johns often does, too)." I think Novocastrians all know it's a pretty special place. I've had some Sydney friends who have moved here purely out of necessity and after six months, they'll be like, 'I had no idea how good this place is!' and I say, 'What do you think I tell all my friends?!'. Its feels like (Newcastle) it's connected enough to the world, it's two hours to Sydney but it's just out of the way enough that it's quiet and you can relax."Will Ben Gillies be delivering another Bento album?"I think it will go off on a different tangent. It will still Bento, Bento is my baby. It will be a bento box but different, it might not be sushi, it might be a tuna sandwich!"
Iva Davies is one of Australia's most accomplished musicians and composers with a career spanning over 30 years with his band Icehouse, and as a composer for film and theatre. I produced this feature music show with him in 2014.The number one song on the Australian pop music charts in 1980 was The Buggles 'Video Killed The Radio Star', accompanied through the year by such gems as Michael Jackson 'Don't Stop Til You Get Enough', The Village People 'You Can't Stop The Music', Split Enz 'I Got You', The Vapours 'Turning Japanese' and Queen 'Crazy Little Thing Called Love'.In May 1980, Australian radio stations started playing a song by Sydney band, Flowers. 'Can't Help Myself' made it into the Australian Top 10 and was the first song from their debut album, 'Icehouse'. I think I was first in line at my local record store to by the single and was enormously envious of my older brothers who would regularly see Flowers playing at the local pub. IVA DAVIES: We came from quite a distinct stream of music which generated by the punk movement out of Britain, but then it morphed into a strange hybrid because of technology. There was an explosion of technology, especially synthesiser technology, at that period, so we were a kind of punk band with synthesisers which was a bit odd. But clearly, these other people were not, including Michael Jackson! There were all sorts of strange things going on, strange fashions; it was a very interesting time."The first song we put out was called 'Can't Help Myself' and we'd been playing all these classic punk venues for about three years before we put out that first record. I remember being told it had become a disco hit in Melbourne and I was semi-horrified. I was very pleased it was a hit, of course, but a disco hit - we weren't a disco band!By the time we got to 1980 we'd been playing quite a few of our own songs but still had lacings of the odd cover version of things not even particularly fashionable at the time, things like T-Rex songs, but by then we'd really turned into an original band and signed with a small independent label in Sydney called Regular Records and we'd recorded our first album, and although they constitute really the first 10 songs I ever wrote, they did have a certain flavour about them that I guess was, again, a hybrid of punk with synthesizers.CAROL DUNCAN: Iva, you mustn't have been very long out of the Conservatorium by this stage?IVA DAVIES: I dropped out of the (Sydney) Conservatorium when I was about 21, so I was about 23 or 24 by this point.CAROL DUNCAN: So how did you decide to steer your songwriting and music releases in that environment at that time?IVA DAVIES: It's a terrible admission to make considering that 'Can't Help Myself' made it into the Top 10, that I was probably fairly unaware of radio except for 2JJ. That's a terrible admission for somebody who's trying to break into getting airplay on radio!CAROL DUNCAN: Something like The Vapors 'Turning Japanese' would have been all over 2SM (in Sydney) at the time. 2SM would have been the number one commercial pop music station in the late 1970s.IVA DAVIES: Indeed, and I missed a great deal of that. I think we were pretty well buried in our own world and our own world had been dominated by what I'd listened to as I grew up, quite a lot of classics, psychedelic and heavy rock bands including Pink Floyd and so on. And then when Johnny Rotten (the Sex Pistols) arrived, the world was turned upside-down quite literally.He put all of those big bands out of business overnight and London was the place to be. I remember very clearly when Keith (Welsh) and I, our bass player and co-founder of Flowers, we'd been playing almost every night of the week, sometimes nine shows a week. There were clubs all over Sydney, there were clubs all over Melbourne, there were really great bands everywhere and on any given night down the road there'd be Midnight Oil and INXS and any number of bands.When we arrived in London for our very first international tour, we looked at each other and said, 'Let's get a copy of New Musical Express (NME) and go and see a band 'cause this is where it's all coming from!' And there was nothing on!I was absolutely gobsmacked that Sydney was a hundred times more active than London on a club scene. It absolutely mystified me. All the pubs shut early, there was nowhere to go!CAROL DUNCAN: Who did you admire at the time?IVA DAVIES: I didn't buy albums of anybody, I didn't consume music. I was very curious about music but most of what I listened to was via 2JJ. 2JJ was a very progressive station; I think it's been forgotten to some degree. 2JJ were playing things that had been bought on import - they hadn't even been released in Australia yet - and so it was fascinating.We were hearing things we thought before anybody else in the world had heard them, things like Elvis Costello, XTC, mainly British bands but the odd thing coming out of America. There was a real movement of punk and new wave.CAROL DUNCAN: So you and Keith have taken off to London, you're going to see all the bands, but there's no-one home?IVA DAVIES: There's no-one home! I remember thinking at the time, 'Well where did The Cure come from and where did The Clash and The Damned and The Jam come from? Where are they all'?I had imagined that London was heaving with little clubs with all those names playing in them every night but it was really something created through the tyranny of distance, I guess. We had amplified that whole thing that had started with Carnaby Street, The Beatles, and Rolling Stones; and in my mind, and I'm sure in the minds of many other Australians, this was the mecca that we were going to visit. But it turned out it was really as much a product of BBC1 and radio and record companies than it was of an active pub music scene which was exactly what we had in Australia.CAROL DUNCAN: So, what did you do, turn around and come home?IVA DAVIES: We went off touring. We went off touring with Simple Minds who were just starting to break through in Europe. They'd a quite successful album, and we did a reciprocal deal with them where we said, 'OK, if we are your support band in Europe, that will help us, and you come to Australia and be our support band there because nobody knows you. In fact, to this day, and I'm sure Jim Kerr from Simple Minds would take credit in saying that tour we did with them really broke Simple Minds in Australia - it was off the back of that tour that they started achieving success here. Of course, many many albums and many many successes later I still catch up with Jim Kerr quite frequently.CAROL DUNCAN: I remember seeing the two bands at the Manly Vale Hotel.IVA DAVIES: Very possible! That was one of many hotels in that northern beaches area, and I ended up living on the northern beaches by accident. It was quite tribal. There was a very big pub at Narrabeen called the Royal Antler and it was our first proper gig, I guess, and almost residency. At one point we and Midnight Oil were alternating weekends. We never met them, but there was this kind of unspoken rivalry for the same audience of mad, drunken surfies.CAROL DUNCAN: It was one of Sydney's great beer barns.IVA DAVIES: It was and they were mad, of course, mad drunken surfies and probably a few other substances, as well. But they were great nights. It was a big place; I think it held something like 1500 people. And you're right, we probably did attract slightly different audiences, and certainly we also had the other side of us which was playing the inner city hotels which, of course, were very driven by the punk movement, so we'd look out on a place like the Civic Hotel and there'd been a sea of black and safety pins.CAROL DUNCAN: Why did the name change come about? Was it as simple as swapping the band name and album title?IVA DAVIES: It was, but we actually had no choice. What we hadn't realised was that while we were happily going along as Flowers in Australia and New Zealand, as soon as we signed to an international record company and they said, 'We're going to release this around the rest of the world, we need to do a little check on the name. It hadn't even occurred to me that a band name is like a company trading name and, unfortunately, there were at least three other acts around the world trading on the name 'Flowers'. One of them being the very, very famous session bass player, Herbie Flowers, who you probably know best for being the creator of that wonderful bass line that introduces Lou Reed's 'Walk On The Wild Side'.So there were objections and we simply had no choice, we had to come up with another name. This has happened to a number of Australian bands. It happened to Sherbet who became Highway, and The Angels who became Angel City. Our logic was fairly simple - people here in Australia and New Zealand only know us by two things, that is the name of the band 'Flowers' or the name of the album 'Icehouse'. So, we became Icehouse.A band name becomes its identity in a far bigger way that just a set of letters. I've had this discussion with my 17-year old son who has got a collection of friends in a band and they haven't been able to think of anything. I keep asking what the band is called and they're called something different every day. I said 'you better get it right because it will end up owning you'.CAROL DUNCAN: Your son has actually played with you?IVA DAVIES: Yes, oh you know about this! I had a fairly mad idea last year, although the idea had been around since 1983. I remember we were touring in Europe and we had a number one song in Europe so there was a lot of pressure on me. I was doing millions of interviews and we were playing very big festivals of 30,000 people.We were playing on one and I was standing on the side of the stage next to my band and Peter Tosh's band was playing - Peter Tosh was the co-founder of Bob Marley's Wailers - and it was a big band, 9 or 10 people on stage, backing singers and whatnot, and I said to my bass player, "See the guy at the back going chukka, chukka, chukka on the guitar, the laziest job in the world? I want his job. I had a conversation last year with somebody about this moment and they said, 'Why don't you do it?'Our manager thought I was mad, a number of promoters thought I was mad, too, but what we did was completely re-invent Icehouse as an eight-piece reggae band. We added some extra guys from Melbourne to give us a brass section and we re-arranged every one of the hits that we'd been playing in the classic repertoire as reggae songs.We put two shows on - one in Melbourne, one in Sydney - as a kind of Christmas party because my feeling was that the reason we were doing it is because reggae makes you want to dance and smile and laugh, and we had the best possible time, it was just fantastic. We've just released the recording of the Sydney show and re-named the band DubHOUSE - the album is DubHOUSE Live.I wanted to get my children to come. My daughter is OK because she's 20 but my son was under age, under the drinking age, and the only way I could get him in was to put him in the band. So I said to him, 'Look Evan ...' he's17 and a very good guitarist, 'I'm sorry, you're not going to get a rehearsal, you're not going to get a sound check. Here's a recording of a rehearsal of Street Cafe done in this style, you've got the guitar solo, go home and learn it and I'll see you on stage."And so the poor guy was thrown on stage with absolutely no preparation whatsoever, but fortunately, he had done his homework and had a great night.CAROL DUNCAN: How do the kids see your career, Iva?IVA DAVIES: Well the strange truth is that they didn't. I finished the last tour that we did back in the day, as it were, when my daughter was six weeks old. Effectively, we didn't play again and my children grew up.In 2009, our long-time tour manager, Larry, who works for a very big audio production company - he'd been working for with us since 1984 - came up with the idea for Sound Relief (concerts held in Sydney & Melbourne for 2009 bushfire relief) and actually volunteered us, so we were the first band on the bill for Sound Relief.By that time in 2009, my daughter would have been 14 or 13, and my son 12 or 13, and that was the first concert they ever saw me play. So they'd grown up all those years not knowing anything about it, or relatively little.CAROL DUNCAN: Did they think Icehouse was cool or were you 'just Dad' and therefore couldn't possibly be cool?IVA DAVIES: Strangely enough, I seem to have breached the cool barrier into the cool area. A very strange thing happened, before that Sound Relief show and before my daughter really got to appreciate my association with it. She came home from school one afternoon, waltzed in the door and announced, 'I LOVE THE EIGHTIES! I love EVERYTHING about the eighties!'Strangely enough, the eighties are going through a whole new generation of cool at the moment. Except for the hair, and a lot of the clothes.CAROL DUNCAN: When you look at that part of your career, the pop/rock part of your career, what do you see, Iva?IVA DAVIES: I'm proud that we worked very hard, I believe, to maintain a kind of class and a quality. That went through everything, even the recordings themselves. I went through the graduation from vinyl to CD, which was a massive turnaround, and it happened incredibly quickly.I remember having a talk to a record company about it and they said, 'Last year we manufactured 80% out of vinyl and 20% out of CD, this year we're manufacturing 80% out of CD and 20% out of vinyl, and the following year we're not making any vinyl at all. That's how fast it turned around. But 'Measure for Measure', our fourth album is one of the first three fully digital recordings ever made in the world, which was a real milestone, so it's the first completely noiseless recording that was made for the new format of CD. It's moments like that that I reflect on and think, well, that's because we really put a lot of care and attention into these things.CAROL DUNCAN: Iva, you're also seen as one of the pioneers in Australia of bringing in synthesizers, computers, the Fairlight and so on. You mentioned an interesting word there, 'noiseless', and that's perhaps where the feud happens between the vinyl purists and people who are very happy to purchase their music in a digital form whether on CD or via digital download. How do you see the vinyl vs CD war when it comes to audio quality?IVA DAVIES: I noted with some amusement touched with horror a program that Linda Mottram did on 702 in Sydney where there was this discussion about vinyl, and she spoke with a so-called expert who was out of a university, and with due respect to that professor I desperately wanted to call in and say, "Can I just tell you about what actually happens when you're making pieces of vinyl and why they sound the way they do, and how it is absolutely possible to make CDs sound exactly like vinyl IF that were the endgame that you wanted to have in mind.I won't go into it now but the fact of the matter is it's all about a process called mastering. The way that tapes, mixes, were mastered for vinyl had to be very particular because of the intolerance of vinyl - vinyl can't carry very much big bass. I found that out with the Flowers album when I insisted to the co-producer that we put lots of bottom end into it and then realised a bit later on when the mastering engineer said to me, "I can't cut this to vinyl, it's got too much bass in it." They're the sorts of mistakes that you make when you're young.I'm a firm believer in anything that doesn't have moving parts and that is digital. I'm afraid I've moved on from anything old-school quite happily.CAROL DUNCAN: Did you call in?IVA DAVIES: No, I didn't, I just thought it's probably too difficult a conversation to have in detail over the radio but it does infuriate me because I'm sure if you got any mastering engineer on to the radio they'd say to you it's mainly because people don't understand how these things are made.CAROL DUNCAN: What gave you the confidence to leap into these new technologies?IVA DAVIES: Perhaps it was more out of ignorance than anything, I certainly didn't see any risk involved, but the main driver for me was that these were new toys. Every time something new was invented, my eyes would light up and I'd think, 'Imagine the possibilities!'I remember expressly that conversation I had with our management where, out of sheer co-incidence they'd moved offices from where they were in Bondi Junction to the top storey of a two-storey building in Rushcutters Bay and the ground storey was where they made Fairlights, believe it or not. Management were oblivious to this, they had no idea what was going on down there. But I did and I came to the managers one day and said, 'I desperately want to get one of these machines, they are amazing.'Of course, I was proven correct because they revolutionised music forever. I think apart from the technology of recording, the sampler - which is what a Fairlight was - was the single most influential piece of technology ever created. I said this to my management, that I was desperate, that I'd really like one, but the catch was they were $32,000. That was in 1981 or 1982 so you can imagine how much money that was then - it was half a small house.But I got one, and interestingly enough my management were quite philosophical about it. They said, 'Well, it's a lot of money, but according to our calculations you'll pay for this with the first two projects you use it on.' And they were right. The first project I used it on was my very first film score for Russell Mulcahy's 'Razorback', which is about 95% Fairlight.The great irony of that was that I kept producing bits of music, because Russell Mulcahy was out in the desert filming scenes and he kept dragging up Peter Gabriel's fourth album, the one with Shock The Monkey on it, and they were out in the desert with this blasting away on a ghetto blaster and I got it into my head that this was what Russell likes. So I kept producing Gabriel-esque soundscapes and so on, and the producers of the movie kept coming back to me and saying, 'No, no no - that's not what we want, we don't want this.' In the end I was getting various clues from them but didn't really know, but I had another go along the lines of Stravinsky's 'Rite of Spring' - a fairly mad piece of classical music. I constructed all this with the Fairlight, it was a quasi-orchestral thing. I took it back to them and they said, 'Yes! That's exactly it!' and I said, 'Well, if you wanted that sort of thing why didn't you go and get a classical composer.'In its day, 'Rite of Spring' was a controversial piece of music, and Iva Davies shares a birthday with Stravinsky.Considering that it was 1913 when that piece first hit the stage for Diaghilev's ballet company. It wasn't just the music; it was actually the subject matter of the ballet that I think was fairly upsetting to a lot of people. It's all about primal sexualism, basically, so you can imagine that to an audience of 1913 that sort of idea was fairly horrifying.CAROL DUNCAN: In 1984, you've got Razorback, also 'Sidewalk' - the third album from Icehouse, at this point did you consider that you didn't actually have to be a pop star?IVA DAVIES: No, I had a very strange life prior to that because I had a completely Jekyll and Hyde existence. I took up the guitar when I was 13, and taught myself, and it was probably also the year that I started taking oboe lessons. I had these two parallel lives and completely separate lives. I had a set of classical people - when I was in high school I played in a wind quintet and we used to rehearse every Saturday morning. We all had our first cars at that point. They were my friends and we went off and won the City of Sydney Eisteddfod and so on. They never, ever met the guys that I was in the acoustic band with. Ever! Because I just had these two lives. So my course was fairly accidental all the way through, it was probably always going to be accidental.To this day, I keep remembering things that I did. I remembered that I was in the orchestra that was primarily made up of members of the Sydney Symphony and the senior Conservatorium orchestra, of which I was a member, for the staging of the two first Australian ballets in the Opera House. I would have been about 19 and, of course, that's a fairly big moment for the Opera House to have a night featuring Australian opera in that building, and I'd completely forgotten about it. There are things from both lives that I've forgotten about.CAROL DUNCAN: 1985, your double life really starts to change as you start working with the Sydney Dance Company.IVA DAVIES: I have to give credit to our managers to some degree who recognised - Ray Hearn was managing us from the beginning. I think he considered himself to be a very erudite individual, he was very widely read, he'd seen every movie possible, and he had a huge record collection. He wasn't a musician but I think he spotted in me the potential that if I kept on that very two-dimension wheel of 'write an album, record an album, tour an album, write an album, record an album, tour an album ...', that I would burn out, that I needed something else to do. So it was he who went and pursued the soundtrack idea with Russell Mulcahy, and it was he who introduced me to the Sydney Dance Company who were a very dangerous company at that point. People forget that they did ballets entirely naked and this was quite revolutionary stuff in its day. They had a very young, hip audience. So it was a very smart move. But it was also a move that was good for the dance company. I had also forgotten until reminded about a month ago that in the Opera House's entire history this has never been repeated, but they did a very dangerous thing. They put two shows on a Friday and a Saturday night, one at a conventional hour and then a whole other audience would turn up at 10.30 at night and we'd do it all again. The staff at the Opera House thought this was going to be an absolute disaster, 'Nobody's going to go to the Opera House at 10.30pm to see a show', but they did and they were all my audience and they were coming to see what all the fuss was about. It was the most successful season the dance company has ever had.CAROL DUNCAN: Were you worried about your pop/rock audience coming over to see what you were doing and being disappointed?IVA DAVIES: I've always utterly failed to understand what the problem is between the various tribes of music. I started of as a bagpipe player when I was six, and although I went through that very, very particular stream of classical musicians, and they are, and they are a very exclusive lot - a lot of them, and they are a very intolerant lot - a lot of them, I think things have improved. But at that time they very much looked down their nose at 'popular music' and rock and roll, but by the same token it was equally prejudiced the other way around. I've never understood why. I don't get that you have to be one or the other but not all of them. In my head, there was absolutely no problem with my audience turning up to the ballet.CAROL DUNCAN: What gave you the confidence to follow both streams?IVA DAVIES: Only because I can kind of speak both languages. I had a discussion with somebody the other night about music and it is another language. It's certainly a language when you read and write it and I learned how to do that. But my dialogue with rock and roll musicians has to be completely different because most of the people I played with all these years don't read and write music. But rock and roll musicians communicate in a different kind of way. So because I'm comfortable in both of those languages, I can happily flick between the two of them, at whim almost.CAROL DUNCAN: Which is why I don't' let my kids drop out of their violin lessons - I want them to have that other language.IVA DAVIES: From my point of view, by miles, the single biggest advantage I've had in my work and succeeding in the broad framework of popular music is the fact that I was highly trained. That is the most sure, certain way to cut every corner you can - to actually know what you're doing.CAROL DUNCAN: December 31, 1999, and Icehouse is performing at the Millennium New Years Eve concert outside the Sydney Opera House and there is a moment on your face where it's just occurred to you how very special that moment is.IVA DAVIES: The penny really didn't drop, I mean, there was such a lot of pressure involved in that. The transmission, the TV director, Greg Beness, had synchronised a whole lot of footage to be running in parallel with shooting the performance. We had backups of backups because, of course, everybody thought that every computer in the world was going to blow up at midnight being the Y2K bug and so on. It was going out to about four billion people. It's not as if you can get to the end of it and go, 'Oh, we mucked that up, can we have another go?', 'Oh, they've already counted down; we're in a new millennium'. So I was incredibly aware of all of that and actually I've watched back some of the footage and it takes me a fair old while to settle down, it's (The Ghost Of Time) a 25-minute piece and it took me a number of minutes before I was, 'OK, we're up and running, everything seems to be working, everybody knows where they are, I can hear everything ....'I got to the end of it and stepped off the stage, Frank Sartor the Lord Mayor of Sydney gave me a glass of champagne, Richard Wilkins counted down from 10 and the fireworks went off directly over my head and I went, 'Wow!'CAROL DUNCAN: From this point, your other career really takes off and you head off to work on Master and Commander.IVA DAVIES: Yes, I've said to other young bands over the years, 'Just be aware - you never know who will be listening,' and so it was with thus that one person who was listening to The Ghost of Time on the millennium eve as it was going out, one of those four billion people, was one Peter Weir - an iconic Australian film director.This is how bizarre the next few years ended up being for me in terms of things just popping out of seemingly nowhere. I was sitting in my studio one day up on the northern beaches and the phone rang. A voice said, "Iva, this is Peter Weir. I'm filming Master and Commander on location in Baja, Mexico. I've fallen in love with The Ghost of Time. I want you to reassemble your team and give me a score like that."The whole experience was incredible, to go to Hollywood. I remember I had a colleague of mine, my music editor, had worked quite a bit in Hollywood on 'Moulin Rouge' and other things. He took me to the Fox lot and was very well recognised, but the thing that became immediately apparent was how incredibly well-respected Peter Weir is in Hollywood. Even though you don't necessarily associate him with massive blockbuster success time and time again, he's respected by directors and quality people in Hollywood and that's the difference.CAROL DUNCAN: Is it difficult to do this sort of work, to create something to someone else's demands?IVA DAVIES: I was very fortunate because Peter Weir has immense respect for music. He said to me not once, but twice, 'Music is the fountainhead of the arts,' that's how important it is to him. But having said that, he uses it very sparingly and in a very subtle way. So I had the great luxury to have three months to work on what equated to, in the end, not much more than 35 minutes worth of music. If you go and see a movie like 'Lord of the Rings', the composers had to write music from end to end of the film, so we're talking two and a half hours of music. Three months to produce that amount of music meant that it could be done with care but at a fairly unstressed pace, as it were. And that was fantastic. I have no doubt that Peter Weir quite deliberately planned the whole thing that way, so that it would be NOT a stressful operation. He's a consummate film-maker and he knows exactly what he's doing, so he schedules and plans things very well.Having said that, I always knew that the brief of a score writer is to write what the director wants to hear, not what the score writer wants to hear, so that was very apparent and so be it. Very often these films are the vision of a director and music is just one component of that. It should feed into their vision.CAROL DUNCAN: What are the professional moments that you hold dearest to your heart?IVA DAVIES: In terms of recording, I had a quite surreal moment. I was very influenced by one Brian Eno who was an absolute pioneer of synthesizers and electronic music, and in fact probably invented the term 'ambient music'. Of course, he was a founding member of Roxy Music but went on later to become incredibly successful in his own right and especially as a producer, he produced almost all of the U2 albums - massive albums. But I'd been following him since he was an early member of Roxy Music and especially been guided by his approach to synthesizers, which was very esoteric and completely at odds with a lot of the nasty noises that were being produced in the 1980s, for example. And I thank him for that because it probably stopped me from making a lot of bad sonic mistakes.The producer I was using at the time was a friend of his and I found myself having a conversation with the producer about the song we were working on at the time - a song called Cross the Border - I had in mind Brian Eno's backing vocal style. I knew that the producer, Rhett Davies, had worked with Brian Eno. I turned up to Air Studios, another very famous studio in London, to do the vocal session and in came Brian Eno. So there was a moment where I was standing in the studio, standing next to Brian Eno who was singing my lyrics and my backing vocal line. That was a real moment for me because he was a real hero of mine.CAROL DUNCAN: At what point did you realise that you had been successful enough to truly pursue anything that you wanted to do?IVA DAVIES: I spent most of my career not quite believing that things would work. In fact, I remember very clearly - we'd been working for years and years, working around these pubs, the first album came out, and I remember the first royalty cheque turned up. The accountant for the management company asked me into the office and said, 'Well, here's the cheque for the Flowers album for you,' and I looked at it and I'd been broke for years. My parents had to keep paying the odd rent payment for me and so on. We weren't earning any money at all, the album had only just come out, and I saw this cheque and it was for $15,000.I looked at Gino, who I had lunch with today - same accountant, and I said, 'Gino. This is amazing. This is incredible. I know I'm just going to fritter this away. I know I'll never get any more money out of this business. What's the deposit on the cheapest, cheapest, cheapest house in Sydney? Well, I bought the cheapest house in Sydney with that deposit, but of course, it wasn't the last cent that I made out of the music business.But for many years, for a long time, I really didn't consider that it was going to last, that I was going to make any money out of it. It's that classic thing where, luckily my parents didn't call me on the phone and say, 'When are you going to get a proper job?' they were very supportive. I think I was the one secretly calling myself and saying, 'When are you going to get a proper job?'CAROL DUNCAN: What are you still learning?IVA DAVIES: I'm still learning technology because unfortunately, it won't sit still! The industry standard for recording is a system called Pro-Tools, you very possibly use it in the studio there and it's certainly in every recording studio in the world. I've been working with Pro-Tools for a very long time but, of course, like any other software, there's a new release of it every five minutes. So I'm actually getting to the stage when I really am going to have to run to catch up! So unfortunately at my age, I'm still having to learn technology because it's the basic tool of my trade and that's never going to stop.CAROL DUNCAN: Are you still as excited by it as you were in the mid-1970s when you and Keith Welsh started 'Flowers' and when you went and harassed your management to allow you to buy that first Fairlight for $32,000?IVA DAVIES: I think I take it a bit more for granted these days because things have exploded in the way that they have. You can imagine the climate in which a piece of technology like the Fairlight came out; it was just mind-numbing. It was unlike anything anybody could ever imagine, whereas I suppose every time there's a new release of Pro-Tools, it's got a couple of lovely new features but it is a development of something which has been around for much more than a decade now.However, having said that, there seems to be a whole new generation of software writers who are incredibly interested in music and incredibly interested in playing with sound, and these are the people who are coming up with all the new noise generating bits - soft synthesisers and all that sort of stuff. That's kind of where the interesting new area is.CAROL DUNCAN: And Keith Welsh has been on this whole journey with you?IVA DAVIES: Indeed. In the music industry the whole time. He and I have been working closely over the past three years and we've started playing again and we re-released the entire catalogue. We put out a compilation called 'White Heat' which is about to go platinum.CAROL DUNCAN: What would you want the young Iva Davies to know?IVA DAVIES: That's a good question! I think I probably did seize most opportunities that came my way so I wouldn't necessarily say, 'just go as fast as you can with every opportunity that you can', I probably would have said, 'Put more attention to the money and where the money is going and who's getting it!' As a forensic accountant, I'm a kind of 'overview guy' as opposed to a 'detail guy'.
James Reyne - Friday Music Show feature interview 2014James Reyne has an enviable career in the Australian music industry - first appearing on ABC TV's Countdown in 1979 with both of his arms in plaster after being hit by a car in Melbourne.Australian Crawl held court around Australia's pub rock scene for just seven years, but the sound of the band and the themes of their songs are the story of numerous Australian summers.As a solo artist, James Reyne has released over a dozen albums, continued to tour Australia and internationally with audiences of up to 200,000 people.ABC Newcastle's Carol Duncan caught up with James Reyne ahead of his Anthology tour."I'm enjoying it more now than I ever have. I've developed an attitude over the many years that I've been doing this that it's amusing. You can't let most of it worry you. Certainly most of the people of my generation who were in it for the wrong reasons or the shifty ones have been weeded out. There are still a couple floating around and you run into them occasionally and think, 'How is this person still here?'Knowing my attempt to get James to name names will be rebuffed, I ask anyway.He laughs, "No, I'm not going to name any names because they're usually quite litigious people anyway.""I just think it's quite amusing. It's like a crash-course in human nature. You see a lot of extremes of human personality in quite a short time, and up close!""I've made some fantastic friends and there are some wonderful, wonderful people who work in this industry and most people are genuine with depth and credibility."James Reyne, particularly given the success and image of Australian Crawl, is perhaps seen by many as the quintessential sun-kissed Australian, yet like so many of his generation of peers he wasn't actually born here."The ten-pound Pom thing, and Adelaide - the ten-pound Pom into Adelaide. It astounds me. A little city like that, the amount of music that came out of there either British or Scottish-based. We owe Adelaide. But yes, I was born in Nigeria,""My father was an Englishman in the Royal Marines, he was ADC to the Queen, but he left. He didn't want to be a career soldier. He got a job with BP and he was posted to Nigeria. My (Australian) mother and he were not long married and they went to Nigeria when he was posted there. He'd be out in the field and she'd be sitting in a house in Lagos and my brother and I were both born there.""I was tiny, three or four, when we came to Australia. I have a really vague memory of one little thing in Nigeria, but I don't really have any other memories of it."James Reyne is heading toward 40 years in the Australian music industry with a career that has taken him to stages around the world with massive audiences, but names Creedence Clearwater Revival as one of the first bands he remembers hearing on the radio."There were probably things I heard before that but I remember hearing Creedence and thinking, 'Wow! What is that? I want to do that!' I'd have been 10 or 11 and it was probably Proud Mary or Born on the Bayou or something like that. I've been a total fan of John Fogerty ever since. I love all the Creedence stuff and some of his solo stuff. Like everybody, it was my formative years, I just love all that and that led me into other things and I was just hooked,""There was a great show on the ABC called 'Room to Move' and it was hosted by a guy called Chris Winter. I think it was a Sunday or Monday night, quite late; we used to listen to it on the radio under the bedclothes. A few years ago I did a show with Tracee Hutchison on ABC 2 and Chris was our producer, I remember going, 'Chris Winter WOW!'""He was brilliant, and I was hooked. His whole approach, his on-air style, his whisper - it was brilliant. So I fell in love with that, it was the first sort of album show. Then I started to get into albums with my friends at school. We'd collect albums and we had a little folk club - we got quite serious about"I remember really loving records from Creedence, Little Feat, Ry Cooder, Jerry Jeff Walker but I think Dan Hicks and his Hot Licks 'Last Train to Hicksville' - as a whole album there's not a dud moment on it. So if anyone can find it, get it. It's brilliant. The whole history of Dan Hicks and his influence - he was in a band with a guy called Robert Hunter who essentially invented the San Francisco scene. This is before The Grateful Dead and so on. I was really in to the sociology of it - the background of who influenced who,""I used to pore over the album covers and sleeves and read all the liner notes. I don't know that there's much you can put on liner notes now that would be as interesting as they were then. That was your only access because there was no Google or anything. Your only access to any information about the band is what was in the liner notes."By the time James Reyne was just 20 years old, his band with a group of art college mates had been renamed Australian Crawl and taken off on the pub circuit, and although James admits that although they had no idea what they were doing, they were having fun."I was never thinking, 'This will be my career' or 'this will be my job' or 'this will be something I'll do for another 30 or so years and keep doing',""We weren't very good. The first band was terrible! But you've got to do your apprenticeship and you start learning. But I wasn't aware of it, we were just doing it."James Reyne has always appeared to be a complex person; well-spoken, intelligent, thoughtful, possibly a bit feisty. What about the 20-year old James Reyne?"I was at the Victorian College of the Arts Drama School and it was about then that we all had to make a decision, are we going to do our tertiary courses or are we going to do this band thing? I guess it wasn't so much 'serious' but we figured, 'I guess you've got to make a decision and if you're going to do it you have to dedicate yourself to it'.""But the 20-year old was, I dunno, pretty happy-go-lucky. He had a big mouth."Was he confident?"I guess relatively confident, but if I saw what I thought was a 'real' band or anybody from a real band somewhere down the street, (I thought) they were a cut above me. I never thought I'd be breathing that rarefied air. I just thought 'those guys must have an extra gene'.""Joe Camilleri. I'd see The Falcons all the time, I'd see The Sports, I'd see The Pelaco Brothers and Joe and Steve Cummings were in The Pelaco Brothers.""Where we grew up on the Mornington Peninsula, in summertime they used to have bands come down and play in the boat clubs down there. Every club had a boat house that they'd put a stage in and bands would play in there,""In my last year of school I used to go to a place called Reefer Cabaret in Melbourne at a place called the Ormond Hall and I remember I loved Arial, I loved Spectrum, Chain - I loved all those great 70s Australian bands. I remember going to the Myer Music Bowl when Thorpey (Billy Thorpe) had 200,000 people there. I was a fan of all that stuff. I remember seeing Skyhooks before Shirley (Strachan) joined. I was aware of Shirley, I didn't know him, but I was aware of him because there was a surf band that played around where we grew up called Frame and Shirley was the singer of that band. He was such a personality, everybody was aware of him.""It was certainly a very unique time and a very formative time for Australian music, for Australian rock and roll and pop music. This is pre-Countdown and any of that stuff and there were so many great bands around; The Dingoes, Carson - I was a huge fan of Broderick Smith. What an incredible presence on stage, incredible singer and harmonica player. He was in a band called Carson, sort of boogie/blues band, and then they went and formed The Dingoes,""I used to see as many Dingoes shows as I could. There's a pub in Prahran called the Station Hotel, I used to go to the Station Hotel quite a lot and they'd have Saturday afternoon sessions where The Dingoes would often play. That would just devolve into fantastic mayhem."I've interviewed James Reyne a few times over the last 20-plus years and I've never quite felt convinced that he's entirely at peace with his back catalogue of wonderful work. I have often wondered if he perhaps underestimates the importance of his music to his fans. Is this why it's taken so long to get Anthology together?"Well, it's actually got very little to do with me! A record company merger meant that the new label realised that the Australian Crawl back catalogue wasn't available digitally, and although they can kind of do whatever they want because they own the masters, they asked if I wanted to do it and bring it up to date. I paid for my more recent solo records so I made a list of about 50 or 60 songs, cut it back down to about 40. And good on them. They've put the solo stuff on there, the ones that people would know, but it's a good cross-section of all of it right up to the most recent stuff. Why did it take so long? I never thought of it! It's just the story so far, I'll keep making records."But has he been dissatisfied with the big machine of the music industry?"I'm not so naive as to think that's just the nature of how it works. You're there as long as they need you and then you're not and that's fine and that's the way it works. No, it's not dissatisfaction, a lot of my amusement or ammunition I can get for song writing is just human beings. So aspirational but so easily impressed. People get so easily impressed with all sorts of things, not just the entertainment industry,""But I think we're all aware now with the media generally people are drip-fed what they're supposed to be hearing and seem to lap it up. And adopt these opinions! They read a crappy headline and that becomes their opinion and they know all about it! Well, no, you don't. You haven't studied the situation in the Middle East. You don't know.""In terms of the entertainment industry I find a lot of fodder in the way people are so easily impressed and so aspirational about all this silliness."In a time when independence is increasingly a healthy option for artists and creatives of all sorts, does James Reyne feel there is a disconnect between the work of an artist and what a corporate entity only sees as 'product'?"I think the role of the big, big record companies is getting less and changing. Certainly changing, they're less significant in the scheme of things. They're still there and still part of it but I think the disconnect between art and commerce is always going to be there."And yet independence is creating a healthy relationship between the artist and the audience, particularly via crowd funding - Kate Miller-Heidke being a good case in point. Kate says that crowd funding O' Vertigo cuts out the middle man and brings her back into a relationship with the people who love her music."That's right. I think the response was so good she raised more than she needed, which shows how loyal her fan base is. I didn't understand it when it first started happening, but I do now. I think it's a very viable development.""The last four solo records I've made I've paid for myself and then licensed them to a distribution company - it gets quite expensive and you're never really going to make your money back.""I still love writing, I write more now than I ever have and I think I write better because it's a craft and I've been doing it longer, I apply myself more to it now than I ever have.""I'd like to think I'm a songwriter who is always learning, trying to get better and trying to improve the craft. I'm quite self-critical. I've also written a few other things but I won't talk about them because I've learnt that you jinx them until these things get up and running!"James Reyne's career has also included varying degrees of success as an actor - harking back to his tertiary studies at the Victoria College of Arts Drama School. Is there more he wants to do other than music?"Oh plenty! I've got about five things bubbling along at the moment. A few times people have said, 'James, you've got to write the book'. I'm not going to write the book! The world doesn't need another rock autobiography and I think unless you can write the real book and name names," James laughs, "you're going to get the pasteurised version of something of nothing ...." Who wants to hear that stuff? It's boring. It's been done. That's not to say anything bad about anyone who has written a rock biography, because some of them I know and they're lovely people. Mark Seymour wrote a great one. I loved Mark's (book). He's a friend and a good writer."On a roll, the tongue remains firmly in cheek."I always wanted to do 'Australian Crawl The Musical' and you either do it as a really bad kids' play and get kids to play it with terrible home-made props or you do the most stonkingly gay thing you've ever seen with a chorus of boys in tight board shorts! We could do that!"I suspect I'd be happy to see either version and after interview number whatever over a couple of decades, James Reyne actually sounds more genuinely comfortable in his own skin than he ever has.
Megan Washington 2014 album There, there.22 September, 2014 3:45PM AEDTMegan Washington on choosing hopeBy Carol DuncanAustralian musician Megan Washington joined ABC Newcastle's Carol Duncan for a chat about her new album, 'There, There'.Megan Washington says that 'Skyline', one of the tracks on her new album 'There, There' is about 'choosing hope'."I think that's a choice we have to make daily. Choosing happiness and choosing positivity is something that you have to make a priority. For me, it's a daily thing.""That song was inspired a few years when I became very ill and woke up in hospital, figuring out how I felt in that moment and what it meant. Those moments can be extremely formulative? Is that a word? The highest of highs and the lowest of lows is when you galvanise your resolve to overcome things and that was one of mine."Whilst not new to the music industry it would be surprising if her audience hadn't increased substantially after her appearance on ABC TV's Australian Story and her frank discussion of growing up with a stutter. It was wonderful to watch the flood of support from many thousands of people sent to her via social media after the program aired."To be honest with you, I cried a lot after that. I watched the show - because I couldn't not watch it - with some friends and we made a dinner and watched it.""Afterwards, the overwhelming - you used the word 'flood' - and I think that's a great description of it, all these people ... it wasn't so much the goodwill that struck me, it was the resonance, the 'me toos', that I heard and I found really moving. I found it incredible that people could see some of themselves in what I had said.""You've got to understand, I don't know any other version of life than my life. It isn't like I never had a stutter and then I suddenly got one. This is how existence is. To see that brought so many other people together with each other, not so much with me, there was a real sense of us being on the same side, the same team. It's great.""I think it's universal. When I meet anybody the first thing they want to do is tell you their story. People like to tell each other who they are. It's not surprising to me when people do this and drop the act, stop acting out their role."The shortest song on Megan Washington's new album was written in just a few minutes and she says she had the aim of trying to describe a sensation."There must be a word for that like 'onomatopoeiac' but that describes the sensation, the sound reflects the sensation. There must a word for it, a German word!""I wanted to write a song about falling in love that was less about falling in 'lurve' than literally FALLING in love, falling down the stairs or something. The dizziness or giddyness that comes with that. That was the plan. It is the shortest song I've ever written."
Tony Robinson talks about how to encourage a community to care about its history.Tony Robinson is perhaps best known to an older generation of television viewer as Baldrick from Blackadder, but to younger generations he's known as the guy leading archaeological digs on Time Team or the poor unfortunate host up to his knees in a tank of urine in Worst Jobs In History (that story was about tanning hides for leather).In December, 2011, Tony was filming in Australia for his series Tony Robinson's Time Walks in which he visits cities to reveal their history.Carol Duncan caught up with him in Cathedral Park, what was Newcastle's first burial ground at Christ Church Cathedral, to find out how we can continue to encourage people to care about their local history.'I think the most important thing we can do is to talk to your kids about it. I know I have such a vivid passion for history is because my dad used to talk to me about his adventures in World War II,' said Tony.'Not that he had a glorious war or anything, he was just a fitter working on the Spitfires and Hurricanes, but he was a working class boy and it was probably his first time away from home for any extended time and he had so many adventures, his eyes used to shine when he told me about them.''I got this vivid picture of what it must have been like to be an ordinary aircraftsman in World War II, a time far beyond my ken as a little boy, so I've always - as far back as I can remember - had an understanding of things before I was born.'How does Tony Robinson perceive Australians and our feelings about our own history?'There's always a feeling that Australians, white Australians particularly, feel a bit embarrassed about the brevity of their history. I think the history of the last 200 years here has been quite extraordinary', he said.'This notion that a combination of a handful of free settlers and lots and lots of pretty hard-nosed convicts - a lot of them political dissidents remember, so these would have been people who dreamers, utopians, political activists in Britain who wouldn't have been able to get a look in, but here suddenly they had a whole continent they could take command of and the psyche of people here seems to be so different from what's happened virtually everywhere else in the world and I think it's remarkable and to be celebrated.''But the story of human life here prior to Captain Cook is absolutely fascinating and it's always tantalising to me with indigenous people that so much of their history and archaeology is so fragile.'
In this conversation with Carol Duncan, Catherine Britt talks about the pressures of growing up under the spotlight, life in the country music capital of the world, and 'growing up on 1233 ABC Newcastle'.After being plucked from obscurity as a 17-year-old by Sir Elton John, which led to a duet and a record deal in the United States, Catherine Britt spent six years growing up in Nashville.But after a difficult time personally the Newcastle-born country music entertainer has spent the last year at home, re-evaluating her life and her career.In this conversation with Carol Duncan, Catherine Britt talks about the pressures of growing up under the spotlight, life in the country music capital of the world, and 'growing up on 1233 ABC Newcastle'.
Silverchair have been one of Australia's most successful bands for the last 20 years. Drummer Ben Gillies joined Carol Duncan in the studio for a chat about his solo project - Bento, and why he continues to call Newcastle home. Daniel Johns, Chris Joannou and Ben Gillies were just kids doing work experience at a Newcastle radio station when I first met them nearly 20 years ago. Those three boys have gone on to become strong and confident men and wonderful musicians - collectively and individually. I suspect the whole town is pretty proud of them.In 2012, the band have celebrated 20 years of Australian and international success, 21 ARIA awards from 49 nominations, 6 APRA awards, and all five of their studio albums have reached number one of the Australian album charts.Over the last few years the three members of the band have also gone out to do their own musical projects and drummer, Ben Gillies, came into the studios to talk about life, music, growing up in public, and taking the leap into solo performance.What was it like, being a kid, being thrust into that level of media interest and intrusion? "We were pretty unaware. Blissfully unaware. We were too worried about playing our music and running around and going to diners and just being teenage boys. We had good people around us, so we were fairly sheltered."The members of Silverchair studied at Newcastle High School when Peter McNair was principal. "He was a really good school principal. I remember a few times, the three of us would rock up to his office - in a good way, we weren't in trouble - but we had these grand ideas of putting concerts on at the school and we'd sell him on why we had to do it and how we could make it happen. He was really accommodating. I'm pretty sure he wasn't supposed to do some things he let us get away with. He let us put on concerts, we'd rehearse in the music room and do all kinds of stuff."It's often suggested that parents are the biggest obstacle to their children pursuing their dreams. Parents want their children to be secure, to 'have a good job', so convincing your parents you want to be a rock star, and then actually pulling it off, must be quite a coup! "We were young enough to just go with it. We were still just teenages running around so we were living in the moment. But we were setting ourselves up for a long-term career, we weren't thinking 'let's just go out and milk this for all its worth and then it's all over'. We were conscious of making long term things. And our parents were as well, all the people around us. We were very lucky."Ben Gillies late 2012 released his first Bento album, launched with the single Diamond Days and a fabulous video featuring a very interesting young actor. "He's a family friend of the producer. We did a bit of casting to have an l a few different possibilities but, the producer just said I know the young boy to do it. He gets right into character. His whole family really helped out, they were really accommodating. He's just seven.""It was a two day shoot, we did his stuff first then we did the performance stuff with me. He rocked out, there were a few moments he was on the performance stage and Holly, the producer, came up and said he'd been asking, "Why is it all about Ben today, it feel like this music video is all about Ben today. Why isn't it about me as much today!"Bento isn't Ben's first solo effort outside Silverchair, he's previously released music with Tambalane, "Tambalane was a stepping stone really. Kind of like a summer fling. I think I really wanted to write with another person, because I hadn't had that responsibility of writing on my own."" Outside Silverchair there isn't the infrastructure and the big budgets and all that. Doing stuff independently, it's almost a lot more pressure on the songwriter. Everything is you, there's no one else to take the load a bit. For me to do something outside of that with Tambalane was that step to get to Bento, to give me the confidence to do my own thing.""It's scary as hell but I think it's one of those things where I don't want to be a old man, sitting in a pub somewhere drinking a beer thinking, 'Why didn't I give that a crack back when I had the chance.""The thing with Silverchair as well is because it is such a big beast, and it's great, I love that side of what I do, but it does take up a lot of energy and time. So I've never really had enough drive to do my own thing. Silverchair going into indefinite hibernation has just given me the time and the freedom to be able to do it. Now I have that confidence to think, 'Bugger it, I'm going to do my own thing'. The confidence, the motivation, the time, the effort, it was the right time.""You do have to have that understanding that people are subjective. Everyone in the world isn't going to love your music. But you still want it to be received positively. The reaction has been amazing. It is you putting your neck out there. It's almost like you're standing in front of people, the full monty saying, 'Here I am, check it out. Here it is, I can't change it, and it is what it is."So. Silverchair's 'indefinite hibernation'. What gives?"Even if you do work with someone for 20 years, and you go to work from 9-5, you still have some time to yourself, and can do other things. It kind of feels like a business relationship with a marriage on top of it. You spend so much time with those people, not just the guys in the band, but management and crew. All these other things can come into it.""I think the reason Silverchair has had such good longevity is because we've been able to recognise when we all need to take a breather and go and do other things. The funny thing is, we've done it three or four times and every single time people say, 'What's happening, where you are going?'. We've done this before, and it's nothing new.""There's nothing worse than breaking up and deciding that all we really needed was time, then coming back to it and saying we're reforming. It's much better to say we're taking a breather and you come back and nothing's changed. We don't want to do a (John) Farnham 'final tour' several times. That's a genius move though, you've gotta admit."And on to Bento and selecting musicians to work on his new baby."We were in the studio in Sydney and the producer and I would clunk away on different instruments. We'd just get on the phone, if we were working on something and thought it's needed a nice piano part or whatever it was we'd call friends and it was whoever was close by. Whoever was within 10 minutes of the studio, they would come in. Out of that we actually got three guys who became pretty stable throughout the record. And they helped mesh the whole thing together.""It is a new project and I can't assume that Silverchair fans are automatically going to come to Bento. I just have to get beyond that and make other people aware of it. This is the first step in many, I have to keep making music and getting it out there. They way the music industry is these day, you really have to have that social media stuff in people's faces. And videos and photos. I love that stuff. It's so much fun. As long as you make it fun, I think people can connect to that and feel like they can have involvement and see behind the scenes.""I've always said creativity breeds creativity. The more you do it, the more ideas you get, and the more it snowballs. I've already got 20 songs ready for another record and I keep calling my manager and saying 'I've got this whole new concept for another record and it's going to be great and we can do this...' and she just laughs and says, 'OK, just slow down!"Success on the scale of that enjoyed by Silverchair over the last 20 years should mean that Ben Gillies could choose to live anywhere in the world, yet he remains based in Newcastle (as Daniel Johns often does, too)." I think Novocastrians all know it's a pretty special place. I've had some Sydney friends who have moved here purely out of necessity and after six months, they'll be like, 'I had no idea how good this place is!' and I say, 'What do you think I tell all my friends?!'. Its feels like (Newcastle) it's connected enough to the world, it's two hours to Sydney but it's just out of the way enough that it's quiet and you can relax."Will Ben Gillies be delivering another Bento album?"I think it will go off on a different tangent. It will still Bento, Bento is my baby. It will be a bento box but different, it might not be sushi, it might be a tuna sandwich!"
Tony Robinson talks about how to encourage a community to care about its history.Tony Robinson is perhaps best known to an older generation of television viewer as Baldrick from Blackadder, but to younger generations he's known as the guy leading archaeological digs on Time Team or the poor unfortunate host up to his knees in a tank of urine in Worst Jobs In History (that story was about tanning hides for leather).In December, 2011, Tony was filming in Australia for his series Tony Robinson's Time Walks in which he visits cities to reveal their history.Carol Duncan caught up with him in Cathedral Park, what was Newcastle's first burial ground at Christ Church Cathedral, to find out how we can continue to encourage people to care about their local history.'I think the most important thing we can do is to talk to your kids about it. I know I have such a vivid passion for history is because my dad used to talk to me about his adventures in World War II,' said Tony.'Not that he had a glorious war or anything, he was just a fitter working on the Spitfires and Hurricanes, but he was a working class boy and it was probably his first time away from home for any extended time and he had so many adventures, his eyes used to shine when he told me about them.''I got this vivid picture of what it must have been like to be an ordinary aircraftsman in World War II, a time far beyond my ken as a little boy, so I've always - as far back as I can remember - had an understanding of things before I was born.'How does Tony Robinson perceive Australians and our feelings about our own history?'There's always a feeling that Australians, white Australians particularly, feel a bit embarrassed about the brevity of their history. I think the history of the last 200 years here has been quite extraordinary', he said.'This notion that a combination of a handful of free settlers and lots and lots of pretty hard-nosed convicts - a lot of them political dissidents remember, so these would have been people who dreamers, utopians, political activists in Britain who wouldn't have been able to get a look in, but here suddenly they had a whole continent they could take command of and the psyche of people here seems to be so different from what's happened virtually everywhere else in the world and I think it's remarkable and to be celebrated.''But the story of human life here prior to Captain Cook is absolutely fascinating and it's always tantalising to me with indigenous people that so much of their history and archaeology is so fragile.'
Malcolm Turnbull has been in Newcastle to deliver the annual Barton Lecture at the University of Newcastle. 1233's Carol Duncan spoke with him at length about the National Broadband Network, Tony Abbott, same-sex marriage and leadership.Malcolm Turnbull and Carol Duncan in the 1233 studios. If you want to know why Malcolm is holding a pomegranate, you will have to listen to the interview. (ABC Local:)On the eve of Malcolm Turnbull's visit to Newcastle, the New Zealand parliament voted to redefine marriage as a union between two people, becoming the first country in the Asia-Pacific region to do so.CAROL DUNCAN: Why do we still not have this right for Australians?MALCOLM TURNBULL: We can (do this here) but as you know the parliament considered the matter last year and voted against it. But it's open to coming back again.There is certainly much more rapid change in this area than many of us, including myself, had anticipated. In addition to New Zealand legislating, the UK is in the process of doing so, France has done so, there are now I believe 10 US states where gay marriage is legal so the trend is only going one way. I think the changes in New Zealand and the UK are going to have a very big impact (on same sex marriage legislation in Australia).If you go back to the 1850s when there was a case in England called Hyde v Hyde in which a judge gave what became the classic definition of marriage for a long time which is a permanent union between a man and a woman. He did so on the basis that this was what was accepted in what he described as 'all of Christendom'. We wouldn't use that term any more but if you were sitting in a court in London or anywhere else today and you had to ask yourself 'what is the accepted definition of a marriage in the western world, or in countries of a dominant Christian tradition, however you wanted to define it, you certainly couldn't say it is a permanent union betwewen a man and a woman because there are so many of those countries, very substantial and important countries, which recognise gay marriage, so there has been a big change.I would have said this was going to take a long time but I think it will happen sooner rather than later. It will become increasingly difficult for Australia to maintain opposition to arrangements which are accepted in countries with which we are so close, which we have so many people going to and from, so many people coming here from New Zealand. I think there has been a big seachange in this and it's happened incredibly rapidly, within the space of a couple of years."CAROL DUNCAN: It is often suggested that you don't actually believe in the policy on broadband that you are having to present for the coalition, or that you don't really believe it is the best option for Australians.MALCOLM TURNBULL: It is, I have absolutely no doubt about it. If I wasn't a politician, if I was back in my old job in the business world and the government, any government, asked me to advise on what the best course of action would be, I would describe exactly what our policy is because you get the right balance between the level of investment, affordability - being able to price the internet access at a price that people can afford, and speed, giving people the services that they need. So I think we've got the balance right."The problem with Labor's scheme, let's be quite frank about this, Labor has said they're going to run fibre optic cable into 93% of Australian households. We criticised it as being too expensive. We actually think this project will cost $94bn, taking a very long time, it's running way behind schedule. After four years they've got less than 20,000 people connected to the fibre and they'll be lucky by June 30 to meet 15% of their targets.CAROL DUNCAN: In 2003, Telstra executives told a Senate inquiry that the copper network had to be replaced, that it was 'five minutes to midnight' for the copper network. Should we be relying on the copper network at all for such a massive piece of infrastructure?MALCOLM TURNBULL: You've got to remember that under our scheme we are replacing almost all of the copper. The only copper that would remain in the customer access network is the last four or five hundred metres to the premise, and the reason for not replacing that is that as long as it is in good condition, as long as the length is short, you can deliver very high speed broadband - up to 100 Mbps - so you can deliver very high speed broadband, certainly more than fast enough for what people want and what people value, but you save a gigantic amount.The depressing thing about these networks is that it's really the last mile, it's actually less than a mile, that costs all the money because it's so labour intensive.CAROL DUNCAN: What about those areas where the existing copper network, in some cases up to 100 years old, will not be good enough for the job?MALCOLM TURNBULL: If that's the case, your area would be a candidate for either having that copper remediated at the time of the build, and we've taken account of that in our policy, or if you've got areas that have got endemic problems in terms of maintenance and water penetration then you may replace them with fibre and do so now.So you just have to be pragmatic and practical about it but the changes are literally, you're talking about saving $60bn."CAROL DUNCAN: In January 2013, Bloomberg's list of international internet speeds indicated that large parts of the world are already accessing speeds faster than 25Mbps, so is cutting the fibre at the node to save money now simply a false economy if over the longer term we have to continue to make very large investments in the very near future to upgrade the coalition's alternative NBN?MALCOLM TURNBULL: No, I don't believe you'll need upgrades in the very near future.Most people will get by 2016 on the fixed line upgraded network 50Mbps or better. We've said 25 Mbps is the minimum, that is the direction that we will give NBNCo as the minimum, so they have to do it on the basis that nobody gets less than that.Our goal, and our direction to NBNCo will be that by 2019 to ensure that at least 90% of the people on that network have not less than 50Mbps.CAROL DUNCAN: Singapore offers a download speed of about 50Mbps on average, Japan is rolling out a 1Gigabit (1000Mbps) network ...MALCOLM TURNBULL: Which is useless by the way, for a residential customer, it's a marketing gimmick.CAROL DUNCAN: Should we be building two networks, one for industry and research, the other for domestic users or simply investing one big network to cater for all needs?MALCOLM TURNBULL: If your question is 'should you be providing higher rates of bandwidth to industry and research and businesses than you do to residential consumers' the answer is obviously yes, because they've got market for it.You can spend a gigantic amount of money, $94bn, and connect every cottage, every flat and every townhouse in Australia to a fibre optic cable that's capable of running at 100 Mbps or ultimately at 1Gb, the vast majority of those customers have no use for, no value for and will not pay you for those very high speed services. So you're making a gigantic investment upon which you can get no return and as a consequence you end up having to charge people a lot more.You've got to remember that under Labor's plan, this is not my figure, this is what they have said in their own documents given to the ACCC and their own corporate plan 'wholesale prices will treble over the next 10 years for broadband access'. Now they've (prices) been coming down for the last 10 years and it's no wonder they'll go up because if you're investing so much money in the network then you've got to get a return on it."I think a very important thing to bear in mind is that we've got to be practical and hard-headed about this. This is serious money. We're talking about all the other infrastructure investments we need to make in Australia. The great virtue of telecoms networks is that, unlike a bridge, you can expand them incrementally, bit by bit."CAORL DUNCAN: Could it be expected that to delay the full roll out of fibre will increase future cost of completing the equivalent work as designed into the government's NBN? We often see major cost blow-outs with delays in major infrastructure construction across the country.MALCOLM TURNBULL: Let's assume that we can spend $900 on average to get a premise up to the most part 50Mbps but no-one less than 25Mbps, and we can do that now. And let's assume it's going to take us the best part of another $3,000 to get them up to 100Mbps and up to 1Gb with FTTP, but let's assume that there's not going to be any demand for that very high speed in those residential areas for, say, 10 years, I'm saying you would be better off postponing that investment, keeping that extra $3,000 in your pocket, earning a return on it somewhere else or not having to borrow it, and then when the demand is there making the investment then. It's just labour costs, labour costs will rise with the price of inflation but so will everything else.But the big difference is if you build a bridge you cannot build a bridge with demand just 10 years ahead because you can't just keep adding lanes every 10 years. You've got to think ahead 30, 40, 50 years.With a telecoms network, you've got the ability to build it for now and the foreseeable future, and you've got the ability to upgrade it progressively over time as demands change, and you don't really know what the demand's going to be, and above all as technologies develop. And so while postponing investment until it's needed may seem a bit hard-headed and sounding too much like a canny accountant than a visionary politician, it actually makes great sense because if you postpone that investment until it's needed the opportunity cost on the money that you haven't invested and that would have earned no return in that time, so you've got your investment in your pocket or doing something else, but also when you do come to invest you're using the latest technology and that's a powerful argument to take a more steady and businesslike approach to it."All politicians are susceptible to grand gestures, but this is a case where you can actually be heard-headed, pragmatic, make the network affordable for both the taxpayer and the consumer and have the advantage of the best technology when you need it.CAROL DUNCAN: Why do you think that a lot of social media commentators suggest that you don't actually believe in the broadband policy that you are having to sell as Shadow Communications Minister?MALCOLM TURNBULL: I have no idea. I think they're transferring their own views to me.I can assure you that I do (believe in the coalition broadband policy).I've been involved in the internet in Australia since it really got going, I was one of the co-founders of Ozemail. I'm digitally connected, I'm online a lot, I'm not a luddite, but I'm just saying to you that you can achieve everything you want to do, get everybody online quickly and affordably, I mean remember this - people in the bottom 20% of incomes are nine times less likely to be online than people in the top 20%."CAROL DUNCAN: Can those in the bottom 20%, however, afford the $5,000 being suggested to connect to the coalition's alternative NBN?MALCOLM TURNBULL: No, you don't need a fibre optic cable. This is the great fallacy you are labouring under is the notion that to have access to the digital economy you need to have a fibre optic cable into your house. It doesn't matter what the technology is as long as you have the speed that enables you to do all the things you want to do."Now, you talk about 25Mbps, and I say that as a minimum, with 25 Mbps you can stream, download simultaneously four high-definition video streams. That is a lot. You can do all of your e-commerce, all of your tele-conferencing ...CAROL DUNCAN: But there's been a television released this week that requires greater speeds than that.MALCOLM TURNBULL: The real issue is, are people prepared to pay for it. Are they prepared to pay for that investment.The answer is that you will never get a return, at least I don't believe, I cannot foresee a time when you can get a return from residential consumers for those very very high speeds. If I'm wrong, and it doesn't matter whether I'm right or wrong, because the flexibility is in the network.We will build it so it is capable of being upgraded to FTTP as and when demand requires it."CAROL DUNCAN: Do you believe there is a perception that women don't like Tony Abbott very much, that women aren't comfortable with him.MALCOLM TURNBULL: I'm not sure that's right. I think that's something that's asserted and I know one woman who doesn't like him very much - that's his opponent the Prime Minister - but you look at Tony, I mean there he is, he's got two lovely daughters and he's got his wife and he works with plenty of women in his office.The proposition that Tony Abbott is a misogynist I think is just wrong. You can make a lot of other points about him but the idea that he is a woman-hater is just nonsense.CAROL DUNCAN: I often see comments about the September federal election along these lines, "I wouldn't vote for the Liberal Party under Tony Abbott, but I would vote for it under Malcolm Turnbull."MALCOLM TURNBULL: That's very flattering and I'll always accept a compliment, you don't get a lot in politics. All I can say is that I am part of the Coalition collective leadership team. We are not electing a President. Tony Abbott is the leader, he will be Prime Minister if we win.CAROL DUNCAN: For better or worse a lot of Australians do actually vote on personality.MALCOLM TURNBULL: Yes but there is more than one personality in a government and there is more than one personality in an opposition, too, and so we are a team.So you might prefer Malcolm Turnbull to Tony Abbott or you might prefer Tony Abbott to Joe Hockey or Julie Bishop to all of us, but the fact is that we're all part of that group. We're a package deal.So all I can say to those people who say 'I'd rather have Malcolm Turnbull than Tony Abbott' is thank you, very much for that generous sentiment but I'd still urge you to vote Liberal because I will be there. I am part of the leadership team and it is a collective leadership team."CAROL DUNCAN: So for those people who aren't comfortable with Tony (Abbott) you'll be there to rein him and make him behave in the ways that perhaps they wish?MALCOLM TURNBULL: Well I'm not sure what they want me to rein him in on? When you ask people about that they keep on talking about his swimming attire. I don't know that that's my responsibility.CAROL DUNCAN: Are people perhaps concerned that his obviously strong faith will interfere with his policy-making decisions?MALCOLM TURNBULL: Well, I don't think there's any evidence for that. He's a very practical person. He recognises the Liberal party and indeed Australia is a very broad, diverse community.We use the expression 'a broad church' not to express that we're all religious but that there's a wide range of views, and as the leader you've got to accommodate all of those views and I sought to do that when I was leader.CAROL DUNCAN: There are lots of points that you two differ on, how hard is that?MALCOLM TURNBULL: Well we differ famously on the question of the republic but that is, in effect, a free vote issue in the Liberal party so there are plenty of Liberals who think we should be a republic, Peter Costello comes to mind, but there are plenty that don't - John Howard and Tony Abbott are staunch monarchists so the Liberal party survives notwithstanding differences of opinion.We have a common purpose in restoring capable, competent government that seeks to enable people to do their best rather than telling them what is best. So we've got a philosophy of government but we don't agree on every issue.
In this conversation with Carol Duncan, Catherine Britt talks about the pressures of growing up under the spotlight, life in the country music capital of the world, and 'growing up on 1233 ABC Newcastle'.After being plucked from obscurity as a 17-year-old by Sir Elton John, which led to a duet and a record deal in the United States, Catherine Britt spent six years growing up in Nashville.But after a difficult time personally the Newcastle-born country music entertainer has spent the last year at home, re-evaluating her life and her career.In this conversation with Carol Duncan, Catherine Britt talks about the pressures of growing up under the spotlight, life in the country music capital of the world, and 'growing up on 1233 ABC Newcastle'.
2013 has given Australian music icon, Russell Morris, an unexpected hit record some 44 years after his first national number one smash with pop-psychedelic smash, The Real Thing. I produced this music feature with Russell in 2014, although I first met him in about 1992 when I interviewed him in Hobart. He's smart, funny, brilliant and has always been just bloody fabulous and generous to me. Except for that time he rang my show to wish me a happy birthday and I thought he was JPY! Sorry, Russell! xxAustralian music industry icon Russell Morris joined Carol Duncan's program while doing a series of performances in Newcastle and surrounds. (Carol Duncan:Carol Duncan)"This album (Sharkmouth) was done out of a labour of love because I like roots and blues music and I'd always wanted to do a roots and blues album.""I chose Australian history because I've always loved any type of history. You'd think the two kisses of death for a gold album would be blues and Australian history, so it wasn't done with the intention, it was just done as a labour of love which has proved to be really enlightening.""Producer Mitch Cairns' foresight was out of desperation of staying alive. At that stage, Brian Cadd who I was working with, had decided that he was going overseas and he dropped the bomb on us that he might not be coming back.""At that stage Jim Keays was very sick and Mitch said, "You've gotta do something or we won't have any work!" And I said, "Well, I've got the blues album," and he said, "Well, FINISH IT!""It is a great thing (the success of Sharkmouth) and I have to thank particularly the ABC because they ABC embraced it from day one and just went 'bang', but the commercial stations just didn't want to know. The ABC just broke it right across the country.""If anyone was going to have a gold record this year you'd have put me at the bottom of the list.""I think what happens with a lot of my peers, a lot of people will see a new record and whether it's from Joe Camilleri, Daryl Braithwaite - they pre-judge it and don't listen to it.""I remember when we first started in Melbourne, Ian Meldrum said to me, "We'll go and see Stan Rofe at 3AW." Stan Rofe was a big star to me, he was on air and I'd heard him on the radio station and I said, "Well how are we going to do that?" and he said, "We'll just go up to the radio station!""So we went up to the radio station and walked in and Stan came down and had a cup of tea with us. Ian said, "We've got this, what do you think?" and Stan said, 'Love it, I'll play it.'And that's what it was like.""Well, Mitch and I spoke about it (initial expectations of Sharkmouth) and I said if we're lucky we might sell 5,000 copies, if we can get an independent release.""We'd have sold them at gigs to try and get our money back and if we had a small deal with a company and sold 5,000 or 8,000 we'd have made the money back." Gold status is in 2013 is 35,000 and Sharkmouth is now creeping up towards platinum - it's around 60,000 now and platinum is 70,000.""When I did the unplugged album with Liberation it sold around 8,000 so it's been a great experience for both of us.""We signed to an independent record company and they took it and then rang me up, the first time it went in to the charts at about number 89, then it jumped to 49 and I was over the moon. I rang Mitch and we celebrated, and then the next week it jumped 20 places again and it just kept going right up into the top 10."Russell has continued a great tradition started by The Beatles of being turned down by every record company in the country and then having a success."I tell you what is ironic, The Real Thing was turned down as well. EMI hated it, they thought it was the biggest load of rubbish they'd ever heard.""EMI didn't want to release it, they were only going to release it in Melbourne to try and make their money back because I had a following in Melbourne, so Ian Meldrum and I got in a car and drove to Sydney to go and see all the (radio) program managers because at that stage you could knock on the door of these commercial stations before they became corporate and say, "Can I speak to the program manager," "Here's the song, what do you think, our record company think it's a load of rubbish, would you play it?" 'Of course we'll play it, will you sign that?'"So we signed a petition that came out to really stick it to the record company. Radio and record companies at that stage weren't getting along very well. It was just prior to the record ban where radio wanted to stop paying royalties to radio for playing songs on the air."Russell Morris is thought of as having lots of pop hits and a pure voice but he dabbled in blues back in the 1970s when he used musicians from Chain on one of his albums."They were my favourite band. I always use Barry Harvey and Barry Sullivan always, on everything, and I'd always used Phil Manning, so strangely enough it's actually Phil Manning playing all those licks in 'Sweet, Sweet Love' and you'd think, 'Who's this syrupy guitar player?' and it's Phil Manning!""It's (blues) where I wanted to head but I was painted into a corner once I had a pop hit and the record company saying, 'You've got to produce another hit!' and it became a factory after a while. You get caught in it.""I actually wished Chain had been my band because it would have taken me on a whole other direction. I don't think Ian, Molly, would have been too happy although at that stage we'd sort of split.""He's still my best mate but we'd had a couple of professional disagreements. He saw me as Australia's Davey Jones from The Monkees or some such thing and I wanted to go in a different direction completely as a singer/songwriter so we differed on the way we were going and the record company was pressuring for another single, but I really would have loved to be with a band like Chain.""But your fate is your fate. Whatever happens, those doors open and close for a reason and maybe if I'd started it earlier then it wouldn't have worked.""I was happy doing The Real Thing, I quite liked psychedelia. I didn't like pop a lot but I remember Ian (Molly Meldrum) had done a number of songs with me and we'd done 'Only A Matter of Time' which I absolutely loathe, it was on the back of The Real Thing, and a couple of pop songs and I said to Ian, 'This is rubbish, we're not going in the direction I want to go,' I said, 'I'm not John Farnham, I'm not Ronnie Burns and I'm not Normie Rowe. I want to do something that they wouldn't even contemplate thinking about doing. I want to go in that direction. Let's go psychedelia, let's go into something more band oriented than a pop single.'"Ian, to his credit, agreed and said, 'You're right, they're not different enough."Russell Morris actually had a whole album ready to go at one stage and decided it wasn't good enough and he wanted to re-record the whole thing."EMI had gotten a record producer and he'd gotten a head of steam up and away he went. I tend to go along with things and say to people, 'I don't know if this is the right thing ...' and they don't listen, they don't listen ... and all of a sudden they go, 'You know what? Scrap it.' And that's what happened. He went ahead and put strings and brass on everything and it just drove me insane. I said to him, 'I'm not releasing it."Russell Morris on recording The Real Thing."We used 8-track recording for The Real Thing. There was only two tracks for the effects, one for the vocals, everything just kinda got bounced down, I don't think we even slaved another machine to worry about generations. I think we did slave another machine for the effects.""I cannot take any credit for it. Ian Meldrum was the total architect, it was his concept from start to finish.""A lot of it was trial and error, experimentation, but giving Molly his dues he doesn't know what he wants in the studio but when he stumbles across it he knows instinctively that it's right. Everyone else will be nodding off at 3am and he'll have had some poor bloody guitar player out there playing the part over and over, 'No! Try it this way! Try something else! Make it sound like stars!' And that's what happens."In December 2011, Ian 'Molly' Meldrum had a serious fall while at home which for a while it seemed he wouldn't survive."He wasn't putting up Christmas lights. I was with him that day and I think that was a story that got fed around.""I was there that day, the reason he fell is because of him. We were doing a song for Jerry Ryan who was doing The Green Edge, the cycling team, and I was doing a duet with Vanessa Amorosi.""Ian had the master tapes and he said, 'Can you take these down to Sing Sing as you're going home?" So I left. "He was about to head to Thailand and he probably thought he'd catch some extra rays of sun. He's got a latter cemented into the side of his wall which goes up to a sun deck. He was climbing up there with his mobile phone, his cigarettes and trying to juggle those and lost his balance and fell.""He would have died except his gardener, Joe, happened to be there. It was real touch and go as to whether he was going to survive but he's great now.""It was funny. They (the hospital) said, 'Ian wants to see you in hospital. You cannot talk to him about mobile phones. If he asks for your mobile phone you cannot give it to him. If he asks for drinks you can't go and get him one. Do not talk to him about getting out of hospital.""It was horrifying. I thought I was going to get in there and expected to see Ian sitting in a wheelchair and drinking soup through a straw, but I got in there and there he is sitting with his baseball cap on and his tracksuit reading the paper!""I said, 'Ian, I expected you to be sitting here dribbling, everyone's given me such a hard time!' And he said, 'Oh they're all such pains in the ....' "And they'd said to me, 'You cannot stay any longer than 20 minutes and if he shows any aggravation you have to leave immediately.""My 20 minutes came up and I said I'd better go but he said, 'Don't be ridiculous!" "I ended up staying for two hours.""I was also off to Thailand and flew out the next day. I got to Thailand and I got an email from Amanda Pelman who is Brian Cadd's partner who's great friend of Ian's, and it says, 'What have you done? Where is Ian? You were the last person to see him and now he's disappeared?""After I left, Ian started to figure out how to get out of there because you can't get out of the ward without a special card and the nurses won't let you out.""He conjured this story and told told them, 'I've decided to do physio' which he'd been refusing to do, and they said, 'Oh that's great Ian, when do you want to start, Monday?""He said, 'I want to start now, if you want me to do physio I want to go over and have a look and do it now.'" So they took him.""They got a nurse to take him over and took him down the street and as they got to the street he turned one way and just kept walking.""They couldn't find him!"
Malcolm Turnbull has been in Newcastle to deliver the annual Barton Lecture at the University of Newcastle. 1233's Carol Duncan spoke with him at length about the National Broadband Network, Tony Abbott, same-sex marriage and leadership.Malcolm Turnbull and Carol Duncan in the 1233 studios. If you want to know why Malcolm is holding a pomegranate, you will have to listen to the interview. (ABC Local:)On the eve of Malcolm Turnbull's visit to Newcastle, the New Zealand parliament voted to redefine marriage as a union between two people, becoming the first country in the Asia-Pacific region to do so.CAROL DUNCAN: Why do we still not have this right for Australians?MALCOLM TURNBULL: We can (do this here) but as you know the parliament considered the matter last year and voted against it. But it's open to coming back again.There is certainly much more rapid change in this area than many of us, including myself, had anticipated. In addition to New Zealand legislating, the UK is in the process of doing so, France has done so, there are now I believe 10 US states where gay marriage is legal so the trend is only going one way. I think the changes in New Zealand and the UK are going to have a very big impact (on same sex marriage legislation in Australia).If you go back to the 1850s when there was a case in England called Hyde v Hyde in which a judge gave what became the classic definition of marriage for a long time which is a permanent union between a man and a woman. He did so on the basis that this was what was accepted in what he described as 'all of Christendom'. We wouldn't use that term any more but if you were sitting in a court in London or anywhere else today and you had to ask yourself 'what is the accepted definition of a marriage in the western world, or in countries of a dominant Christian tradition, however you wanted to define it, you certainly couldn't say it is a permanent union betwewen a man and a woman because there are so many of those countries, very substantial and important countries, which recognise gay marriage, so there has been a big change.I would have said this was going to take a long time but I think it will happen sooner rather than later. It will become increasingly difficult for Australia to maintain opposition to arrangements which are accepted in countries with which we are so close, which we have so many people going to and from, so many people coming here from New Zealand. I think there has been a big seachange in this and it's happened incredibly rapidly, within the space of a couple of years."CAROL DUNCAN: It is often suggested that you don't actually believe in the policy on broadband that you are having to present for the coalition, or that you don't really believe it is the best option for Australians.MALCOLM TURNBULL: It is, I have absolutely no doubt about it. If I wasn't a politician, if I was back in my old job in the business world and the government, any government, asked me to advise on what the best course of action would be, I would describe exactly what our policy is because you get the right balance between the level of investment, affordability - being able to price the internet access at a price that people can afford, and speed, giving people the services that they need. So I think we've got the balance right."The problem with Labor's scheme, let's be quite frank about this, Labor has said they're going to run fibre optic cable into 93% of Australian households. We criticised it as being too expensive. We actually think this project will cost $94bn, taking a very long time, it's running way behind schedule. After four years they've got less than 20,000 people connected to the fibre and they'll be lucky by June 30 to meet 15% of their targets.CAROL DUNCAN: In 2003, Telstra executives told a Senate inquiry that the copper network had to be replaced, that it was 'five minutes to midnight' for the copper network. Should we be relying on the copper network at all for such a massive piece of infrastructure?MALCOLM TURNBULL: You've got to remember that under our scheme we are replacing almost all of the copper. The only copper that would remain in the customer access network is the last four or five hundred metres to the premise, and the reason for not replacing that is that as long as it is in good condition, as long as the length is short, you can deliver very high speed broadband - up to 100 Mbps - so you can deliver very high speed broadband, certainly more than fast enough for what people want and what people value, but you save a gigantic amount.The depressing thing about these networks is that it's really the last mile, it's actually less than a mile, that costs all the money because it's so labour intensive.CAROL DUNCAN: What about those areas where the existing copper network, in some cases up to 100 years old, will not be good enough for the job?MALCOLM TURNBULL: If that's the case, your area would be a candidate for either having that copper remediated at the time of the build, and we've taken account of that in our policy, or if you've got areas that have got endemic problems in terms of maintenance and water penetration then you may replace them with fibre and do so now.So you just have to be pragmatic and practical about it but the changes are literally, you're talking about saving $60bn."CAROL DUNCAN: In January 2013, Bloomberg's list of international internet speeds indicated that large parts of the world are already accessing speeds faster than 25Mbps, so is cutting the fibre at the node to save money now simply a false economy if over the longer term we have to continue to make very large investments in the very near future to upgrade the coalition's alternative NBN?MALCOLM TURNBULL: No, I don't believe you'll need upgrades in the very near future.Most people will get by 2016 on the fixed line upgraded network 50Mbps or better. We've said 25 Mbps is the minimum, that is the direction that we will give NBNCo as the minimum, so they have to do it on the basis that nobody gets less than that.Our goal, and our direction to NBNCo will be that by 2019 to ensure that at least 90% of the people on that network have not less than 50Mbps.CAROL DUNCAN: Singapore offers a download speed of about 50Mbps on average, Japan is rolling out a 1Gigabit (1000Mbps) network ...MALCOLM TURNBULL: Which is useless by the way, for a residential customer, it's a marketing gimmick.CAROL DUNCAN: Should we be building two networks, one for industry and research, the other for domestic users or simply investing one big network to cater for all needs?MALCOLM TURNBULL: If your question is 'should you be providing higher rates of bandwidth to industry and research and businesses than you do to residential consumers' the answer is obviously yes, because they've got market for it.You can spend a gigantic amount of money, $94bn, and connect every cottage, every flat and every townhouse in Australia to a fibre optic cable that's capable of running at 100 Mbps or ultimately at 1Gb, the vast majority of those customers have no use for, no value for and will not pay you for those very high speed services. So you're making a gigantic investment upon which you can get no return and as a consequence you end up having to charge people a lot more.You've got to remember that under Labor's plan, this is not my figure, this is what they have said in their own documents given to the ACCC and their own corporate plan 'wholesale prices will treble over the next 10 years for broadband access'. Now they've (prices) been coming down for the last 10 years and it's no wonder they'll go up because if you're investing so much money in the network then you've got to get a return on it."I think a very important thing to bear in mind is that we've got to be practical and hard-headed about this. This is serious money. We're talking about all the other infrastructure investments we need to make in Australia. The great virtue of telecoms networks is that, unlike a bridge, you can expand them incrementally, bit by bit."CAORL DUNCAN: Could it be expected that to delay the full roll out of fibre will increase future cost of completing the equivalent work as designed into the government's NBN? We often see major cost blow-outs with delays in major infrastructure construction across the country.MALCOLM TURNBULL: Let's assume that we can spend $900 on average to get a premise up to the most part 50Mbps but no-one less than 25Mbps, and we can do that now. And let's assume it's going to take us the best part of another $3,000 to get them up to 100Mbps and up to 1Gb with FTTP, but let's assume that there's not going to be any demand for that very high speed in those residential areas for, say, 10 years, I'm saying you would be better off postponing that investment, keeping that extra $3,000 in your pocket, earning a return on it somewhere else or not having to borrow it, and then when the demand is there making the investment then. It's just labour costs, labour costs will rise with the price of inflation but so will everything else.But the big difference is if you build a bridge you cannot build a bridge with demand just 10 years ahead because you can't just keep adding lanes every 10 years. You've got to think ahead 30, 40, 50 years.With a telecoms network, you've got the ability to build it for now and the foreseeable future, and you've got the ability to upgrade it progressively over time as demands change, and you don't really know what the demand's going to be, and above all as technologies develop. And so while postponing investment until it's needed may seem a bit hard-headed and sounding too much like a canny accountant than a visionary politician, it actually makes great sense because if you postpone that investment until it's needed the opportunity cost on the money that you haven't invested and that would have earned no return in that time, so you've got your investment in your pocket or doing something else, but also when you do come to invest you're using the latest technology and that's a powerful argument to take a more steady and businesslike approach to it."All politicians are susceptible to grand gestures, but this is a case where you can actually be heard-headed, pragmatic, make the network affordable for both the taxpayer and the consumer and have the advantage of the best technology when you need it.CAROL DUNCAN: Why do you think that a lot of social media commentators suggest that you don't actually believe in the broadband policy that you are having to sell as Shadow Communications Minister?MALCOLM TURNBULL: I have no idea. I think they're transferring their own views to me.I can assure you that I do (believe in the coalition broadband policy).I've been involved in the internet in Australia since it really got going, I was one of the co-founders of Ozemail. I'm digitally connected, I'm online a lot, I'm not a luddite, but I'm just saying to you that you can achieve everything you want to do, get everybody online quickly and affordably, I mean remember this - people in the bottom 20% of incomes are nine times less likely to be online than people in the top 20%."CAROL DUNCAN: Can those in the bottom 20%, however, afford the $5,000 being suggested to connect to the coalition's alternative NBN?MALCOLM TURNBULL: No, you don't need a fibre optic cable. This is the great fallacy you are labouring under is the notion that to have access to the digital economy you need to have a fibre optic cable into your house. It doesn't matter what the technology is as long as you have the speed that enables you to do all the things you want to do."Now, you talk about 25Mbps, and I say that as a minimum, with 25 Mbps you can stream, download simultaneously four high-definition video streams. That is a lot. You can do all of your e-commerce, all of your tele-conferencing ...CAROL DUNCAN: But there's been a television released this week that requires greater speeds than that.MALCOLM TURNBULL: The real issue is, are people prepared to pay for it. Are they prepared to pay for that investment.The answer is that you will never get a return, at least I don't believe, I cannot foresee a time when you can get a return from residential consumers for those very very high speeds. If I'm wrong, and it doesn't matter whether I'm right or wrong, because the flexibility is in the network.We will build it so it is capable of being upgraded to FTTP as and when demand requires it."CAROL DUNCAN: Do you believe there is a perception that women don't like Tony Abbott very much, that women aren't comfortable with him.MALCOLM TURNBULL: I'm not sure that's right. I think that's something that's asserted and I know one woman who doesn't like him very much - that's his opponent the Prime Minister - but you look at Tony, I mean there he is, he's got two lovely daughters and he's got his wife and he works with plenty of women in his office.The proposition that Tony Abbott is a misogynist I think is just wrong. You can make a lot of other points about him but the idea that he is a woman-hater is just nonsense.CAROL DUNCAN: I often see comments about the September federal election along these lines, "I wouldn't vote for the Liberal Party under Tony Abbott, but I would vote for it under Malcolm Turnbull."MALCOLM TURNBULL: That's very flattering and I'll always accept a compliment, you don't get a lot in politics. All I can say is that I am part of the Coalition collective leadership team. We are not electing a President. Tony Abbott is the leader, he will be Prime Minister if we win.CAROL DUNCAN: For better or worse a lot of Australians do actually vote on personality.MALCOLM TURNBULL: Yes but there is more than one personality in a government and there is more than one personality in an opposition, too, and so we are a team.So you might prefer Malcolm Turnbull to Tony Abbott or you might prefer Tony Abbott to Joe Hockey or Julie Bishop to all of us, but the fact is that we're all part of that group. We're a package deal.So all I can say to those people who say 'I'd rather have Malcolm Turnbull than Tony Abbott' is thank you, very much for that generous sentiment but I'd still urge you to vote Liberal because I will be there. I am part of the leadership team and it is a collective leadership team."CAROL DUNCAN: So for those people who aren't comfortable with Tony (Abbott) you'll be there to rein him and make him behave in the ways that perhaps they wish?MALCOLM TURNBULL: Well I'm not sure what they want me to rein him in on? When you ask people about that they keep on talking about his swimming attire. I don't know that that's my responsibility.CAROL DUNCAN: Are people perhaps concerned that his obviously strong faith will interfere with his policy-making decisions?MALCOLM TURNBULL: Well, I don't think there's any evidence for that. He's a very practical person. He recognises the Liberal party and indeed Australia is a very broad, diverse community.We use the expression 'a broad church' not to express that we're all religious but that there's a wide range of views, and as the leader you've got to accommodate all of those views and I sought to do that when I was leader.CAROL DUNCAN: There are lots of points that you two differ on, how hard is that?MALCOLM TURNBULL: Well we differ famously on the question of the republic but that is, in effect, a free vote issue in the Liberal party so there are plenty of Liberals who think we should be a republic, Peter Costello comes to mind, but there are plenty that don't - John Howard and Tony Abbott are staunch monarchists so the Liberal party survives notwithstanding differences of opinion.We have a common purpose in restoring capable, competent government that seeks to enable people to do their best rather than telling them what is best. So we've got a philosophy of government but we don't agree on every issue.
Iva Davies is one of Australia's most accomplished musicians and composers with a career spanning over 30 years with his band Icehouse, and as a composer for film and theatre. I produced this feature music show with him in 2014.The number one song on the Australian pop music charts in 1980 was The Buggles 'Video Killed The Radio Star', accompanied through the year by such gems as Michael Jackson 'Don't Stop Til You Get Enough', The Village People 'You Can't Stop The Music', Split Enz 'I Got You', The Vapours 'Turning Japanese' and Queen 'Crazy Little Thing Called Love'.In May 1980, Australian radio stations started playing a song by Sydney band, Flowers. 'Can't Help Myself' made it into the Australian Top 10 and was the first song from their debut album, 'Icehouse'. I think I was first in line at my local record store to by the single and was enormously envious of my older brothers who would regularly see Flowers playing at the local pub. IVA DAVIES: We came from quite a distinct stream of music which generated by the punk movement out of Britain, but then it morphed into a strange hybrid because of technology. There was an explosion of technology, especially synthesiser technology, at that period, so we were a kind of punk band with synthesisers which was a bit odd. But clearly, these other people were not, including Michael Jackson! There were all sorts of strange things going on, strange fashions; it was a very interesting time."The first song we put out was called 'Can't Help Myself' and we'd been playing all these classic punk venues for about three years before we put out that first record. I remember being told it had become a disco hit in Melbourne and I was semi-horrified. I was very pleased it was a hit, of course, but a disco hit - we weren't a disco band!By the time we got to 1980 we'd been playing quite a few of our own songs but still had lacings of the odd cover version of things not even particularly fashionable at the time, things like T-Rex songs, but by then we'd really turned into an original band and signed with a small independent label in Sydney called Regular Records and we'd recorded our first album, and although they constitute really the first 10 songs I ever wrote, they did have a certain flavour about them that I guess was, again, a hybrid of punk with synthesizers.CAROL DUNCAN: Iva, you mustn't have been very long out of the Conservatorium by this stage?IVA DAVIES: I dropped out of the (Sydney) Conservatorium when I was about 21, so I was about 23 or 24 by this point.CAROL DUNCAN: So how did you decide to steer your songwriting and music releases in that environment at that time?IVA DAVIES: It's a terrible admission to make considering that 'Can't Help Myself' made it into the Top 10, that I was probably fairly unaware of radio except for 2JJ. That's a terrible admission for somebody who's trying to break into getting airplay on radio!CAROL DUNCAN: Something like The Vapors 'Turning Japanese' would have been all over 2SM (in Sydney) at the time. 2SM would have been the number one commercial pop music station in the late 1970s.IVA DAVIES: Indeed, and I missed a great deal of that. I think we were pretty well buried in our own world and our own world had been dominated by what I'd listened to as I grew up, quite a lot of classics, psychedelic and heavy rock bands including Pink Floyd and so on. And then when Johnny Rotten (the Sex Pistols) arrived, the world was turned upside-down quite literally.He put all of those big bands out of business overnight and London was the place to be. I remember very clearly when Keith (Welsh) and I, our bass player and co-founder of Flowers, we'd been playing almost every night of the week, sometimes nine shows a week. There were clubs all over Sydney, there were clubs all over Melbourne, there were really great bands everywhere and on any given night down the road there'd be Midnight Oil and INXS and any number of bands.When we arrived in London for our very first international tour, we looked at each other and said, 'Let's get a copy of New Musical Express (NME) and go and see a band 'cause this is where it's all coming from!' And there was nothing on!I was absolutely gobsmacked that Sydney was a hundred times more active than London on a club scene. It absolutely mystified me. All the pubs shut early, there was nowhere to go!CAROL DUNCAN: Who did you admire at the time?IVA DAVIES: I didn't buy albums of anybody, I didn't consume music. I was very curious about music but most of what I listened to was via 2JJ. 2JJ was a very progressive station; I think it's been forgotten to some degree. 2JJ were playing things that had been bought on import - they hadn't even been released in Australia yet - and so it was fascinating.We were hearing things we thought before anybody else in the world had heard them, things like Elvis Costello, XTC, mainly British bands but the odd thing coming out of America. There was a real movement of punk and new wave.CAROL DUNCAN: So you and Keith have taken off to London, you're going to see all the bands, but there's no-one home?IVA DAVIES: There's no-one home! I remember thinking at the time, 'Well where did The Cure come from and where did The Clash and The Damned and The Jam come from? Where are they all'?I had imagined that London was heaving with little clubs with all those names playing in them every night but it was really something created through the tyranny of distance, I guess. We had amplified that whole thing that had started with Carnaby Street, The Beatles, and Rolling Stones; and in my mind, and I'm sure in the minds of many other Australians, this was the mecca that we were going to visit. But it turned out it was really as much a product of BBC1 and radio and record companies than it was of an active pub music scene which was exactly what we had in Australia.CAROL DUNCAN: So, what did you do, turn around and come home?IVA DAVIES: We went off touring. We went off touring with Simple Minds who were just starting to break through in Europe. They'd a quite successful album, and we did a reciprocal deal with them where we said, 'OK, if we are your support band in Europe, that will help us, and you come to Australia and be our support band there because nobody knows you. In fact, to this day, and I'm sure Jim Kerr from Simple Minds would take credit in saying that tour we did with them really broke Simple Minds in Australia - it was off the back of that tour that they started achieving success here. Of course, many many albums and many many successes later I still catch up with Jim Kerr quite frequently.CAROL DUNCAN: I remember seeing the two bands at the Manly Vale Hotel.IVA DAVIES: Very possible! That was one of many hotels in that northern beaches area, and I ended up living on the northern beaches by accident. It was quite tribal. There was a very big pub at Narrabeen called the Royal Antler and it was our first proper gig, I guess, and almost residency. At one point we and Midnight Oil were alternating weekends. We never met them, but there was this kind of unspoken rivalry for the same audience of mad, drunken surfies.CAROL DUNCAN: It was one of Sydney's great beer barns.IVA DAVIES: It was and they were mad, of course, mad drunken surfies and probably a few other substances, as well. But they were great nights. It was a big place; I think it held something like 1500 people. And you're right, we probably did attract slightly different audiences, and certainly we also had the other side of us which was playing the inner city hotels which, of course, were very driven by the punk movement, so we'd look out on a place like the Civic Hotel and there'd been a sea of black and safety pins.CAROL DUNCAN: Why did the name change come about? Was it as simple as swapping the band name and album title?IVA DAVIES: It was, but we actually had no choice. What we hadn't realised was that while we were happily going along as Flowers in Australia and New Zealand, as soon as we signed to an international record company and they said, 'We're going to release this around the rest of the world, we need to do a little check on the name. It hadn't even occurred to me that a band name is like a company trading name and, unfortunately, there were at least three other acts around the world trading on the name 'Flowers'. One of them being the very, very famous session bass player, Herbie Flowers, who you probably know best for being the creator of that wonderful bass line that introduces Lou Reed's 'Walk On The Wild Side'.So there were objections and we simply had no choice, we had to come up with another name. This has happened to a number of Australian bands. It happened to Sherbet who became Highway, and The Angels who became Angel City. Our logic was fairly simple - people here in Australia and New Zealand only know us by two things, that is the name of the band 'Flowers' or the name of the album 'Icehouse'. So, we became Icehouse.A band name becomes its identity in a far bigger way that just a set of letters. I've had this discussion with my 17-year old son who has got a collection of friends in a band and they haven't been able to think of anything. I keep asking what the band is called and they're called something different every day. I said 'you better get it right because it will end up owning you'.CAROL DUNCAN: Your son has actually played with you?IVA DAVIES: Yes, oh you know about this! I had a fairly mad idea last year, although the idea had been around since 1983. I remember we were touring in Europe and we had a number one song in Europe so there was a lot of pressure on me. I was doing millions of interviews and we were playing very big festivals of 30,000 people.We were playing on one and I was standing on the side of the stage next to my band and Peter Tosh's band was playing - Peter Tosh was the co-founder of Bob Marley's Wailers - and it was a big band, 9 or 10 people on stage, backing singers and whatnot, and I said to my bass player, "See the guy at the back going chukka, chukka, chukka on the guitar, the laziest job in the world? I want his job. I had a conversation last year with somebody about this moment and they said, 'Why don't you do it?'Our manager thought I was mad, a number of promoters thought I was mad, too, but what we did was completely re-invent Icehouse as an eight-piece reggae band. We added some extra guys from Melbourne to give us a brass section and we re-arranged every one of the hits that we'd been playing in the classic repertoire as reggae songs.We put two shows on - one in Melbourne, one in Sydney - as a kind of Christmas party because my feeling was that the reason we were doing it is because reggae makes you want to dance and smile and laugh, and we had the best possible time, it was just fantastic. We've just released the recording of the Sydney show and re-named the band DubHOUSE - the album is DubHOUSE Live.I wanted to get my children to come. My daughter is OK because she's 20 but my son was under age, under the drinking age, and the only way I could get him in was to put him in the band. So I said to him, 'Look Evan ...' he's17 and a very good guitarist, 'I'm sorry, you're not going to get a rehearsal, you're not going to get a sound check. Here's a recording of a rehearsal of Street Cafe done in this style, you've got the guitar solo, go home and learn it and I'll see you on stage."And so the poor guy was thrown on stage with absolutely no preparation whatsoever, but fortunately, he had done his homework and had a great night.CAROL DUNCAN: How do the kids see your career, Iva?IVA DAVIES: Well the strange truth is that they didn't. I finished the last tour that we did back in the day, as it were, when my daughter was six weeks old. Effectively, we didn't play again and my children grew up.In 2009, our long-time tour manager, Larry, who works for a very big audio production company - he'd been working for with us since 1984 - came up with the idea for Sound Relief (concerts held in Sydney & Melbourne for 2009 bushfire relief) and actually volunteered us, so we were the first band on the bill for Sound Relief.By that time in 2009, my daughter would have been 14 or 13, and my son 12 or 13, and that was the first concert they ever saw me play. So they'd grown up all those years not knowing anything about it, or relatively little.CAROL DUNCAN: Did they think Icehouse was cool or were you 'just Dad' and therefore couldn't possibly be cool?IVA DAVIES: Strangely enough, I seem to have breached the cool barrier into the cool area. A very strange thing happened, before that Sound Relief show and before my daughter really got to appreciate my association with it. She came home from school one afternoon, waltzed in the door and announced, 'I LOVE THE EIGHTIES! I love EVERYTHING about the eighties!'Strangely enough, the eighties are going through a whole new generation of cool at the moment. Except for the hair, and a lot of the clothes.CAROL DUNCAN: When you look at that part of your career, the pop/rock part of your career, what do you see, Iva?IVA DAVIES: I'm proud that we worked very hard, I believe, to maintain a kind of class and a quality. That went through everything, even the recordings themselves. I went through the graduation from vinyl to CD, which was a massive turnaround, and it happened incredibly quickly.I remember having a talk to a record company about it and they said, 'Last year we manufactured 80% out of vinyl and 20% out of CD, this year we're manufacturing 80% out of CD and 20% out of vinyl, and the following year we're not making any vinyl at all. That's how fast it turned around. But 'Measure for Measure', our fourth album is one of the first three fully digital recordings ever made in the world, which was a real milestone, so it's the first completely noiseless recording that was made for the new format of CD. It's moments like that that I reflect on and think, well, that's because we really put a lot of care and attention into these things.CAROL DUNCAN: Iva, you're also seen as one of the pioneers in Australia of bringing in synthesizers, computers, the Fairlight and so on. You mentioned an interesting word there, 'noiseless', and that's perhaps where the feud happens between the vinyl purists and people who are very happy to purchase their music in a digital form whether on CD or via digital download. How do you see the vinyl vs CD war when it comes to audio quality?IVA DAVIES: I noted with some amusement touched with horror a program that Linda Mottram did on 702 in Sydney where there was this discussion about vinyl, and she spoke with a so-called expert who was out of a university, and with due respect to that professor I desperately wanted to call in and say, "Can I just tell you about what actually happens when you're making pieces of vinyl and why they sound the way they do, and how it is absolutely possible to make CDs sound exactly like vinyl IF that were the endgame that you wanted to have in mind.I won't go into it now but the fact of the matter is it's all about a process called mastering. The way that tapes, mixes, were mastered for vinyl had to be very particular because of the intolerance of vinyl - vinyl can't carry very much big bass. I found that out with the Flowers album when I insisted to the co-producer that we put lots of bottom end into it and then realised a bit later on when the mastering engineer said to me, "I can't cut this to vinyl, it's got too much bass in it." They're the sorts of mistakes that you make when you're young.I'm a firm believer in anything that doesn't have moving parts and that is digital. I'm afraid I've moved on from anything old-school quite happily.CAROL DUNCAN: Did you call in?IVA DAVIES: No, I didn't, I just thought it's probably too difficult a conversation to have in detail over the radio but it does infuriate me because I'm sure if you got any mastering engineer on to the radio they'd say to you it's mainly because people don't understand how these things are made.CAROL DUNCAN: What gave you the confidence to leap into these new technologies?IVA DAVIES: Perhaps it was more out of ignorance than anything, I certainly didn't see any risk involved, but the main driver for me was that these were new toys. Every time something new was invented, my eyes would light up and I'd think, 'Imagine the possibilities!'I remember expressly that conversation I had with our management where, out of sheer co-incidence they'd moved offices from where they were in Bondi Junction to the top storey of a two-storey building in Rushcutters Bay and the ground storey was where they made Fairlights, believe it or not. Management were oblivious to this, they had no idea what was going on down there. But I did and I came to the managers one day and said, 'I desperately want to get one of these machines, they are amazing.'Of course, I was proven correct because they revolutionised music forever. I think apart from the technology of recording, the sampler - which is what a Fairlight was - was the single most influential piece of technology ever created. I said this to my management, that I was desperate, that I'd really like one, but the catch was they were $32,000. That was in 1981 or 1982 so you can imagine how much money that was then - it was half a small house.But I got one, and interestingly enough my management were quite philosophical about it. They said, 'Well, it's a lot of money, but according to our calculations you'll pay for this with the first two projects you use it on.' And they were right. The first project I used it on was my very first film score for Russell Mulcahy's 'Razorback', which is about 95% Fairlight.The great irony of that was that I kept producing bits of music, because Russell Mulcahy was out in the desert filming scenes and he kept dragging up Peter Gabriel's fourth album, the one with Shock The Monkey on it, and they were out in the desert with this blasting away on a ghetto blaster and I got it into my head that this was what Russell likes. So I kept producing Gabriel-esque soundscapes and so on, and the producers of the movie kept coming back to me and saying, 'No, no no - that's not what we want, we don't want this.' In the end I was getting various clues from them but didn't really know, but I had another go along the lines of Stravinsky's 'Rite of Spring' - a fairly mad piece of classical music. I constructed all this with the Fairlight, it was a quasi-orchestral thing. I took it back to them and they said, 'Yes! That's exactly it!' and I said, 'Well, if you wanted that sort of thing why didn't you go and get a classical composer.'In its day, 'Rite of Spring' was a controversial piece of music, and Iva Davies shares a birthday with Stravinsky.Considering that it was 1913 when that piece first hit the stage for Diaghilev's ballet company. It wasn't just the music; it was actually the subject matter of the ballet that I think was fairly upsetting to a lot of people. It's all about primal sexualism, basically, so you can imagine that to an audience of 1913 that sort of idea was fairly horrifying.CAROL DUNCAN: In 1984, you've got Razorback, also 'Sidewalk' - the third album from Icehouse, at this point did you consider that you didn't actually have to be a pop star?IVA DAVIES: No, I had a very strange life prior to that because I had a completely Jekyll and Hyde existence. I took up the guitar when I was 13, and taught myself, and it was probably also the year that I started taking oboe lessons. I had these two parallel lives and completely separate lives. I had a set of classical people - when I was in high school I played in a wind quintet and we used to rehearse every Saturday morning. We all had our first cars at that point. They were my friends and we went off and won the City of Sydney Eisteddfod and so on. They never, ever met the guys that I was in the acoustic band with. Ever! Because I just had these two lives. So my course was fairly accidental all the way through, it was probably always going to be accidental.To this day, I keep remembering things that I did. I remembered that I was in the orchestra that was primarily made up of members of the Sydney Symphony and the senior Conservatorium orchestra, of which I was a member, for the staging of the two first Australian ballets in the Opera House. I would have been about 19 and, of course, that's a fairly big moment for the Opera House to have a night featuring Australian opera in that building, and I'd completely forgotten about it. There are things from both lives that I've forgotten about.CAROL DUNCAN: 1985, your double life really starts to change as you start working with the Sydney Dance Company.IVA DAVIES: I have to give credit to our managers to some degree who recognised - Ray Hearn was managing us from the beginning. I think he considered himself to be a very erudite individual, he was very widely read, he'd seen every movie possible, and he had a huge record collection. He wasn't a musician but I think he spotted in me the potential that if I kept on that very two-dimension wheel of 'write an album, record an album, tour an album, write an album, record an album, tour an album ...', that I would burn out, that I needed something else to do. So it was he who went and pursued the soundtrack idea with Russell Mulcahy, and it was he who introduced me to the Sydney Dance Company who were a very dangerous company at that point. People forget that they did ballets entirely naked and this was quite revolutionary stuff in its day. They had a very young, hip audience. So it was a very smart move. But it was also a move that was good for the dance company. I had also forgotten until reminded about a month ago that in the Opera House's entire history this has never been repeated, but they did a very dangerous thing. They put two shows on a Friday and a Saturday night, one at a conventional hour and then a whole other audience would turn up at 10.30 at night and we'd do it all again. The staff at the Opera House thought this was going to be an absolute disaster, 'Nobody's going to go to the Opera House at 10.30pm to see a show', but they did and they were all my audience and they were coming to see what all the fuss was about. It was the most successful season the dance company has ever had.CAROL DUNCAN: Were you worried about your pop/rock audience coming over to see what you were doing and being disappointed?IVA DAVIES: I've always utterly failed to understand what the problem is between the various tribes of music. I started of as a bagpipe player when I was six, and although I went through that very, very particular stream of classical musicians, and they are, and they are a very exclusive lot - a lot of them, and they are a very intolerant lot - a lot of them, I think things have improved. But at that time they very much looked down their nose at 'popular music' and rock and roll, but by the same token it was equally prejudiced the other way around. I've never understood why. I don't get that you have to be one or the other but not all of them. In my head, there was absolutely no problem with my audience turning up to the ballet.CAROL DUNCAN: What gave you the confidence to follow both streams?IVA DAVIES: Only because I can kind of speak both languages. I had a discussion with somebody the other night about music and it is another language. It's certainly a language when you read and write it and I learned how to do that. But my dialogue with rock and roll musicians has to be completely different because most of the people I played with all these years don't read and write music. But rock and roll musicians communicate in a different kind of way. So because I'm comfortable in both of those languages, I can happily flick between the two of them, at whim almost.CAROL DUNCAN: Which is why I don't' let my kids drop out of their violin lessons - I want them to have that other language.IVA DAVIES: From my point of view, by miles, the single biggest advantage I've had in my work and succeeding in the broad framework of popular music is the fact that I was highly trained. That is the most sure, certain way to cut every corner you can - to actually know what you're doing.CAROL DUNCAN: December 31, 1999, and Icehouse is performing at the Millennium New Years Eve concert outside the Sydney Opera House and there is a moment on your face where it's just occurred to you how very special that moment is.IVA DAVIES: The penny really didn't drop, I mean, there was such a lot of pressure involved in that. The transmission, the TV director, Greg Beness, had synchronised a whole lot of footage to be running in parallel with shooting the performance. We had backups of backups because, of course, everybody thought that every computer in the world was going to blow up at midnight being the Y2K bug and so on. It was going out to about four billion people. It's not as if you can get to the end of it and go, 'Oh, we mucked that up, can we have another go?', 'Oh, they've already counted down; we're in a new millennium'. So I was incredibly aware of all of that and actually I've watched back some of the footage and it takes me a fair old while to settle down, it's (The Ghost Of Time) a 25-minute piece and it took me a number of minutes before I was, 'OK, we're up and running, everything seems to be working, everybody knows where they are, I can hear everything ....'I got to the end of it and stepped off the stage, Frank Sartor the Lord Mayor of Sydney gave me a glass of champagne, Richard Wilkins counted down from 10 and the fireworks went off directly over my head and I went, 'Wow!'CAROL DUNCAN: From this point, your other career really takes off and you head off to work on Master and Commander.IVA DAVIES: Yes, I've said to other young bands over the years, 'Just be aware - you never know who will be listening,' and so it was with thus that one person who was listening to The Ghost of Time on the millennium eve as it was going out, one of those four billion people, was one Peter Weir - an iconic Australian film director.This is how bizarre the next few years ended up being for me in terms of things just popping out of seemingly nowhere. I was sitting in my studio one day up on the northern beaches and the phone rang. A voice said, "Iva, this is Peter Weir. I'm filming Master and Commander on location in Baja, Mexico. I've fallen in love with The Ghost of Time. I want you to reassemble your team and give me a score like that."The whole experience was incredible, to go to Hollywood. I remember I had a colleague of mine, my music editor, had worked quite a bit in Hollywood on 'Moulin Rouge' and other things. He took me to the Fox lot and was very well recognised, but the thing that became immediately apparent was how incredibly well-respected Peter Weir is in Hollywood. Even though you don't necessarily associate him with massive blockbuster success time and time again, he's respected by directors and quality people in Hollywood and that's the difference.CAROL DUNCAN: Is it difficult to do this sort of work, to create something to someone else's demands?IVA DAVIES: I was very fortunate because Peter Weir has immense respect for music. He said to me not once, but twice, 'Music is the fountainhead of the arts,' that's how important it is to him. But having said that, he uses it very sparingly and in a very subtle way. So I had the great luxury to have three months to work on what equated to, in the end, not much more than 35 minutes worth of music. If you go and see a movie like 'Lord of the Rings', the composers had to write music from end to end of the film, so we're talking two and a half hours of music. Three months to produce that amount of music meant that it could be done with care but at a fairly unstressed pace, as it were. And that was fantastic. I have no doubt that Peter Weir quite deliberately planned the whole thing that way, so that it would be NOT a stressful operation. He's a consummate film-maker and he knows exactly what he's doing, so he schedules and plans things very well.Having said that, I always knew that the brief of a score writer is to write what the director wants to hear, not what the score writer wants to hear, so that was very apparent and so be it. Very often these films are the vision of a director and music is just one component of that. It should feed into their vision.CAROL DUNCAN: What are the professional moments that you hold dearest to your heart?IVA DAVIES: In terms of recording, I had a quite surreal moment. I was very influenced by one Brian Eno who was an absolute pioneer of synthesizers and electronic music, and in fact probably invented the term 'ambient music'. Of course, he was a founding member of Roxy Music but went on later to become incredibly successful in his own right and especially as a producer, he produced almost all of the U2 albums - massive albums. But I'd been following him since he was an early member of Roxy Music and especially been guided by his approach to synthesizers, which was very esoteric and completely at odds with a lot of the nasty noises that were being produced in the 1980s, for example. And I thank him for that because it probably stopped me from making a lot of bad sonic mistakes.The producer I was using at the time was a friend of his and I found myself having a conversation with the producer about the song we were working on at the time - a song called Cross the Border - I had in mind Brian Eno's backing vocal style. I knew that the producer, Rhett Davies, had worked with Brian Eno. I turned up to Air Studios, another very famous studio in London, to do the vocal session and in came Brian Eno. So there was a moment where I was standing in the studio, standing next to Brian Eno who was singing my lyrics and my backing vocal line. That was a real moment for me because he was a real hero of mine.CAROL DUNCAN: At what point did you realise that you had been successful enough to truly pursue anything that you wanted to do?IVA DAVIES: I spent most of my career not quite believing that things would work. In fact, I remember very clearly - we'd been working for years and years, working around these pubs, the first album came out, and I remember the first royalty cheque turned up. The accountant for the management company asked me into the office and said, 'Well, here's the cheque for the Flowers album for you,' and I looked at it and I'd been broke for years. My parents had to keep paying the odd rent payment for me and so on. We weren't earning any money at all, the album had only just come out, and I saw this cheque and it was for $15,000.I looked at Gino, who I had lunch with today - same accountant, and I said, 'Gino. This is amazing. This is incredible. I know I'm just going to fritter this away. I know I'll never get any more money out of this business. What's the deposit on the cheapest, cheapest, cheapest house in Sydney? Well, I bought the cheapest house in Sydney with that deposit, but of course, it wasn't the last cent that I made out of the music business.But for many years, for a long time, I really didn't consider that it was going to last, that I was going to make any money out of it. It's that classic thing where, luckily my parents didn't call me on the phone and say, 'When are you going to get a proper job?' they were very supportive. I think I was the one secretly calling myself and saying, 'When are you going to get a proper job?'CAROL DUNCAN: What are you still learning?IVA DAVIES: I'm still learning technology because unfortunately, it won't sit still! The industry standard for recording is a system called Pro-Tools, you very possibly use it in the studio there and it's certainly in every recording studio in the world. I've been working with Pro-Tools for a very long time but, of course, like any other software, there's a new release of it every five minutes. So I'm actually getting to the stage when I really am going to have to run to catch up! So unfortunately at my age, I'm still having to learn technology because it's the basic tool of my trade and that's never going to stop.CAROL DUNCAN: Are you still as excited by it as you were in the mid-1970s when you and Keith Welsh started 'Flowers' and when you went and harassed your management to allow you to buy that first Fairlight for $32,000?IVA DAVIES: I think I take it a bit more for granted these days because things have exploded in the way that they have. You can imagine the climate in which a piece of technology like the Fairlight came out; it was just mind-numbing. It was unlike anything anybody could ever imagine, whereas I suppose every time there's a new release of Pro-Tools, it's got a couple of lovely new features but it is a development of something which has been around for much more than a decade now.However, having said that, there seems to be a whole new generation of software writers who are incredibly interested in music and incredibly interested in playing with sound, and these are the people who are coming up with all the new noise generating bits - soft synthesisers and all that sort of stuff. That's kind of where the interesting new area is.CAROL DUNCAN: And Keith Welsh has been on this whole journey with you?IVA DAVIES: Indeed. In the music industry the whole time. He and I have been working closely over the past three years and we've started playing again and we re-released the entire catalogue. We put out a compilation called 'White Heat' which is about to go platinum.CAROL DUNCAN: What would you want the young Iva Davies to know?IVA DAVIES: That's a good question! I think I probably did seize most opportunities that came my way so I wouldn't necessarily say, 'just go as fast as you can with every opportunity that you can', I probably would have said, 'Put more attention to the money and where the money is going and who's getting it!' As a forensic accountant, I'm a kind of 'overview guy' as opposed to a 'detail guy'.
It's now 20 years since Pauline Hanson first entered the Australian parliament with her controversial views. Well now she's back. At last Saturday's federal election, Queensland voters propelled her into the Senate.Hanson isn't worried about just Asians these days. She's targeting the supposed threat of Islam. And there's more -- much more -- in the policy agenda of Pauline Hanson's One Nation. It's time to take a closer look.In this special episode of the Edict, we go inside the mind of Pauline Hanson's One Nation, as Stilgherrian reads their entire policy agenda -- live. Every single word. You'll also hear some of Pauline Hanson's political wisdom in her own words.Many thanks to this episode's special guest host Carol Duncan.Full program credits at:https://stilgherrian.com/edict/00061/
@carolduncan (Carol Duncan) Former ABC journalist, now automotive industry. Freelance writer & content producer. Once tickled Kerry O'Brien. Disrupted out of a job Find the new things Secretly very proud #NudieRuns4MarriageEquality Would our community miss us?
Commissioned by Greenpeace Canada in 2015 for their podcast. Link to original post https://soundcloud.com/greenpeace-canada/ep-29-what-to-say-climate-change-vs-global-warming-whats-at-stake-for-the-great-barrier-reef
Unlike the huge and elaborate mosques seen in the Middle East, Newcastle Mosque is a small and humble building in Wallsend, but just as Christ Church and Sacred Heart Cathedrals are central to their respective Christian faiths in Newcastle, so is the mosque to Muslims. This interview from Carol Duncan's Local Treasures program in 2014.
One of Newcastle's living Local Treasures would have to be lifeguard Warren Smith who is retiring after nearly 40 years of keeping a safe eye on the waves. ABC Newcastle's Carol Duncan dropped in to Nobbys Beach to chat with Warren before he hangs up his wetsuit.
One of Newcastle's living Local Treasures would have to be lifeguard Warren Smith who is retiring after nearly 40 years of keeping a safe eye on the waves. ABC Newcastle's Carol Duncan dropped in to Nobbys Beach to chat with Warren before he hangs up his wetsuit.
The French barque Adolphe is just one of many shipwrecks that litter the entrance to Newcastle Harbour, yet 110 years after the disaster, this vessel is still one of the most visible. Carol Duncan spoke with Deb Mastello of the Newcastle Maritime Centre.
The French barque Adolphe is just one of many shipwrecks that litter the entrance to Newcastle Harbour, yet 110 years after the disaster, this vessel is still one of the most visible. Carol Duncan spoke with Deb Mastello of the Newcastle Maritime Centre.
The Birdwood Flag is considered to be one of the most significant Australian artifacts from WWI. Now in thousands of pieces, it's hoped that the flag will be restored. (The Birdwood Flag has now been restored.)
The Chapel of St Michael, or 'The Warrior's Chapel', at Newcastle's Christ Church Cathedral was created as a local sacred place where people could go to mourn loved ones lost to World War One - The Great War.
Newcastle has a long maritime history, but sadly part of that history includes a coastline that is now littered with numerous shipwrecks that cost many lives. But sometimes, the hardworking lifeboat crews and rocket brigades were able to save the lives of passengers and crew of ships wrecked on our coast.
Artist Julie Squires was commissioned to build the Muster Point sculpture for the closure of Newcastle's BHP Steelworks in 1999. The sculpture reflects on the experiences of the tens of thousands of people who worked at the plant over the 84 years of operation. Interview with Aubrey Brooks - former BHP employee and member of the Newcastle Industrial Heritage Association.
One of Newcastle's many hidden places, not open to the public, is a remnant of the Shepherds Hill defence group. A tunnel underneath Memorial Drive enabled power to be supplied to the WWII No 1 Searchlight which was situated on the face of the cliff below Strzelecki Lookout. [2013 - Carol Duncan speaks with Newcastle City Council Heritage Strategist, Sarah Cameron, about the hidden WWII tunnel underneath Memorial Drive which provided power to the No 1 Searchlight.]
One of Newcastle's many hidden places, not open to the public, is a remnant of the Shepherds Hill defence group. A tunnel underneath Memorial Drive enabled power to be supplied to the WWII No 1 Searchlight which was situated on the face of the cliff below Strzelecki Lookout. [2013 - Carol Duncan speaks with Newcastle City Council Heritage Strategist, Sarah Cameron, about the hidden WWII tunnel underneath Memorial Drive which provided power to the No 1 Searchlight.]
Newcastle's City Hall is a sister building to the Civic Theatre. Built in 1928-1929, the building marks the civic centre of Newcastle and remains a building that bustles with events and activities.
Newcastle offers surfers plenty of world-class surf breaks, as recognised by the city's annual Surfest competition and the declaration of Merewether Beach as a National Surfing Reserve in 2009. But a lot of these breaks are known only by way of 'surf vernacular'. So what, and where, are these secret locations? Here's a guide.
Newcastle's original flagstaff represented both the existence of the early colony and communications between the colony and vessels off the coast.
Newcastle East Public School is the oldest continuously operating school in Australia having started in 1816.
The Obelisk in Newcastle stands on the site of the first windmill in the town which was built in 1820 to grind flour. The windmill itself became an important early navigational aid.
Newcastle's former Central Methodist Mission in King Street has been home to one of Newcastle's fine dining establishments - Bacchus Restaurant - and now to a new generation of bar and restaurant. It is beautifully ironic that the building that was once gave comfort to the Primitive Methodists of Newcastle has been renamed after the Greek god of the grape harvest, winemaking and wine, of ritual madness and ecstasy in Greek mythology.
The heritage-listed Regent Theatre, formerly Herbert's Theatre, was built in 1928 and is considered one of the few remaining 1920's 'picture palaces' remaining in Australia. Considered rare as there has been little adaption of the building's interior or exterior and it remains recognisable as a theatre.
Newcastle has its very own castle turret on top of The Hill in the form of the Leading Light Tower, or Beacon Tower. It was one of two built to assist captains in bringing their ships safely into the port. The coast around Newcastle is littered with hundreds of shipwrecks and the pair of towers built in 1865/1866 helped to increase the safety of vessels entering the Hunter River.
It's quite likely that your first thought when you see someone swearing uncontrollably, tic-ing or jerking is that perhaps they're drunk or using drugs. Hopefully you also then consider that maybe this person is perfectly fine - except for a neurological disorder like Tourette's Syndrome. Guy Francis is a UK father of three who created a YouTube channel to share his experiences of living with Tourette's. And his love of karaoke. Contains lots and lots of swears of all colours and flavours, so if you're a delicate little flower, fuck off.
28 February, 2012 3:02PM AEDTLearning history with Tony RobinsonBy Carol Duncan (Presenter - 1233 ABC Newcastle)Tony Robinson talks about how to encourage a community to care about its history.3Tony Robinson is perhaps best known to an older generation of television viewer as Baldrick from Blackadder, but to younger generations he's known as the guy leading archaeological digs on Time Team or the poor unfortunate host up to his knees in a tank of urine in Worst Jobs In History (that story was about tanning hides for leather).In December, 2011, Tony was filming in Australia for his series Tony Robinson's Time Walks in which he visits cities to reveal their history.Carol Duncan caught up with him in Cathedral Park, what wasNewcastle's first burial ground at Christ Church Cathedral, to find out how we can continue to encourage people to care about their local history.
28 February, 2012 3:02PM AEDTLearning history with Tony RobinsonBy Carol Duncan (Presenter - 1233 ABC Newcastle)Tony Robinson talks about how to encourage a community to care about its history.3Tony Robinson is perhaps best known to an older generation of television viewer as Baldrick from Blackadder, but to younger generations he's known as the guy leading archaeological digs on Time Team or the poor unfortunate host up to his knees in a tank of urine in Worst Jobs In History (that story was about tanning hides for leather).In December, 2011, Tony was filming in Australia for his series Tony Robinson's Time Walks in which he visits cities to reveal their history.Carol Duncan caught up with him in Cathedral Park, what wasNewcastle's first burial ground at Christ Church Cathedral, to find out how we can continue to encourage people to care about their local history.
When Dr Peter Hendry began his medical career, penicillin was still yet to be made available. As a member of the AIF he spent three years as a Japanese prisoner-of-war and spent about a year on the Burma-Thailand railway. Without penicillin. Dr Hendry died in 2017.
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