Podcast appearances and mentions of chrissy amphlett

This week: new albums from Amyl and the Sniffers, Confidence Man and The Offspring. Also: Weird Al parodies, gluing the floor scrapings back on, what's ‘shameless fan service' in Portuguese, upsetting the ghost of Beeso, straying from the light, Protracker punk riffs, a very long run-up for a very obvious joke, the estate of Chrissy Amphlett is preparing legal papers, FIGJAM, where's the drop, where's the Vengabus, solid bops, burner accounts and pensioner naps. Next week: Maverick Sabre | Mr. Gnome | Jon SpencerSpotify playlists: Current albums | 2024 mixtape | All our playlistsThe database: Review albums since 2015 and year-end top 5 listsFind us on: Spotify Podcasts | Apple Podcasts | Omny StudioRSS feeds: Just sports | Just music | EverythingContact: Twitter | Facebook | EmailSee omnystudio.com/listener for privacy information.

Listen to Part 1 of this conversation via the link below. After over 30 years of a career in Rock n Roll Photography including touring with the Rolling Stones three times amongst others, British born photographer TONY MOTT is one of a kind. He's photographed Nicole Kidman, Bob Dylan and Fleetwood Mac… and even took some snaps of our host Bradley McCaw. Listen to Part 1 of this conversation hereWatch video of this episodeFollow the RC Music PlaylistCheck out Tony's photosFollow Brad everywhere @bradleymccawofficialBrought to by True Arts Podcast NetworkThis interview was originally recorded in late 2021. Created, produced, hosted & engineered by Bradley McCaw.Original sound design by Matt Erskine at Crosspoint SolutionsOriginal Video designed by Adam Shaw at Axis Productions Theme composed by James RyanAbout Tony Mott:After over 30 years of a career in Rock n Roll Photography including touring with the Rolling Stones three times amongst others, Tony decided to branch out into Film and TV Stills Photography commencing in 2005 with the feature, Suburban Mayhem.Tony has worked on numerous features and television series since and has become a sought after photographer in the field.A 30 year retrospective of Tony's work “What A Life” is currently touring Australia after opening at the State Library of NSW in Sydney .Tony lives in Sydney with his wife Libby and two children Harvey and Lucinda Mott and his cat “kitten caboodle”.Except from Tony Mott's website: Trainspotting… travel around the world… life as a Chef on the high seas, a passion for music and few photos along the way. Welcome to Tony's Mott's story – so far.I was born in April, 1956, (that makes me sort of old) and raised in Sheffield, England, quite normally by mum and dad, Mary and Brian Moulds. I was trained as a chef at Sheffield Polytechnic and in 1976 I left England, arriving in Australia for the first time. Using my training I worked in Sydney at the Opera House and the Gazebo before helping a friend open a restaurant in Armidale, New South Wales, called The Blackboard Menu, but I had to leave after six months because I only had a limited working visa. It was at this point that I realised I wanted to live in Australia permanently. I returned to England with the intention of securing a permanent visa, which didn't eventuate. Refusing to allow a little thing like a visa to stand in the way of escaping the UK, I managed to get a job on the SS Oriana as a chef, a wonderful job that lasted two years and took me to over 60 countries as diverse and interesting as Puerto Rico, Egypt, Panama, India, the Caribbean Islands, all around the Mediterranean, Nordkapp (where the sun never goes down and all its inhabitants are bonkers) and elsewhere. It was during this time I developed a strong sense of wanderlust, an affliction which has taken me to India seven times and helped me traverse the Himalayas on a number of occasions. In fact, to celebrate my 40th birthday I had to make a choice between getting pissed in Redfern or walking the Annapurna Circuit with my best friend, I chose the latter.Eventually my job on the ship came to an end and brought me back to Australia and in 1981 I finally managed to settle here permanently. I got my old job back at the Gazebo Hotel in King Cross, which, as it turns out was a perfect location to embark on the next stage of my life.I've often thought about my penchant for travel and trainspotting (that's a whole other story right there!) and always go back to my childhood in Sheffield. When I was about eight or nine years old my mum and dad used to visit the local pubs, including one called the Castle Inn. My sister and I used to sit on the wall outside with our crisps and fizzy pop watching the trains go by. From this point we could see the trains disappear into a tunnel and I always wanted to know what was on the other side of that tunnel. Eventually I got to the other side of the tunnel and just kept on going!! Finally I got to and settled in Sydney.In the early 1980s Sydney had a brilliant live music scene. Every night of the week you could see any number of excellent bands at any number of excellent venues, right across the city. Working as a chef meant I usually finished work around midnight, not a bad situation for somebody like me who loved music. I'd leave work and hop into any given venue. On Monday nights I used to go to the Piccadilly Hotel in the Cross to see the Divinyls play. They had a residency at the venue and at this stage they were unsigned and largely unknown. Singer Chrissy Amphlett didn't do a lot in those days. The stage persona she later became famous for was non-existent but, suddenly it seemed, she became a loony on stage wearing the schoolgirl uniform and gyrating about.During my days sailing the seven seas I'd developed a strong desire to document photographically the amazing places I saw. So every Monday night after work at the Gazebo I used to hone my fledgling skills by snapping away at the Divinyls. A lot of crap shots were taken but after four months the band's manager, Vince Lovegrove, who'd obviously seen me shooting away, asked to see the shots, one of which he chose and used as a tour poster. I was well chuffed! To top it off he paid me 20 bucks – my first foray into professional photography.I was very green in those days, typified when Vince told me that my name was on the door for the band's next gig. I had no idea what this expression meant and for the next two months I continued to pay my way into their shows. One night he saw me and said, “You know your name's on the door, don't you?” Not wishing to appear unsophisticated, I replied, “Yeah, I know. Isn't that great,” thinking that somewhere – perhaps the band's rehearsal studio – there was a door on which they'd written my name as a mark of respect. Just shows you how much I had to learn about the music industry.By 1983 the Divinyls tour poster had had a snowball effect on my career and before long other bands were asking me to shoot their gigs. One day I walked into the offices of the free paper On The Street, then in its infancy and long before the term street press had ever been coined. I started getting work through the paper.About a week before I went to “On The Street”, Margaret Cott, now publisher of “The Drum Media”, had just started as a layout girl and so began a professional relationship with her which lasts to this day. Within a year Margaret had become editor and I was photographing anything that moved, anywhere, anytime. All this and I was still working full-time at the Gazebo.It was 1985 and for a short period of time during that year I got married. My wife was Swedish (and to my knowledge still is) but I won't go into the topic any further other than to say she now lives in Sweden and I still live in Sydney. Anyway, she had suggested I head back to England and so I did, and with my few contacts in the industry I spent the summer of 1986 drinking a lot and generally having a good time going to music festivals. I went to Reading, Milton Keynes and so on, seeing tons of bands. I haven't managed to work out how to this day, but I managed to photograph Queen at Knebworth, which was a hell of an experience. I also went to Paris and New York that summer, purely as a drunken wanderlust thing as opposed to seriously pursuing anything professionally.When I got back to Australia, Mick Jagger was touring to promote his first solo album. While I was away, and unbeknownst to me, Jagger's manager, Tony King had been trying to track me down wanting to hire me as Jagger's tour photographer. To this day I have no idea who recommended me for the job but I'm extremely grateful. Eventually I made contact with Tony King and as it turned out they were not happy with whoever it was they had hired instead of me. By this stage the tour was in Melbourne so I went down and met Tony in his hotel room. I don't think I would be giving anything away when I say that Tony King is what you would describe as an effervescent gay man and when I met him he enthusiastically expounded the virtues of Sydney. “Oh I love Sydney,” he said, “so many sailors in the one city.” I thought, what have I got to do to get this gig? Tony King, it should be pointed out, is a lovely man and I have always gotten on extremely well with him on a professional basis. But that was the start of my relationship with Mick Jagger and eventually the Rolling Stones. It was an enormous break which has resulted in me touring with the Stones three times. As I've said, I have no idea how I got the gig because I was only reasonably well-known as a live photographer in Sydney at that point. And to think I nearly missed out because I was getting legless overseas!!To illustrate how absurd the music industry can be at times, at the end of tour party I could hear people behind me talking about the tour photographer and how “he's just come back from working in London, Paris and New York, don't you know”. I suddenly realised they were talking about me! Little did they know I was basically having a good time in these places and not doing the glamorous jobs they imagined.As a consequence of the Jagger gig I toured in the same year with Bob Dylan and Fleetwood Mac. I wasn't any better as a photographer but once I had gigs of that calibre in my CV I looked so much better. That period was the beginning of my first break.It was 1988 and with these three enormous gigs under my belt I was going out at least five nights a week just to see bands. I'd worked out by now what having my name on the door actually meant so I was saving myself a small fortune. The Sydney scene during this time was fertile. There were great bands in great venues happening every night of the week; a favourable environment in which to grow as a rock'n'roll photographer.More breaks came my way in the early 1990s. I did a book called Still Noise with four other photographers, the album cover photography for Tommy Emmanuel's Dare To Be Different and the Beasts of Bourbon's Black Milk. It was all moving along quite nicely in a relatively short period of time. I'm proud of both those album covers because they're so radically different. Tommy Emmanuel's album was so obviously mainstream and commercial while the Beasts of Bourbon was very inner city and independent, and that's one of the things I love about working in the music industry – one minute you can be working with somebody like Lucinda Williams and the next minute working with the likes of Slipknot. They're vastly different performers with vastly different personalities to be captured through the lens. But I digress.I guess the next major event that boosted my career was the start of the Big Day Out in 1992. In the late 80s and early 90s I'd been regularly heading over to Europe and the US every couple of years to check out the summer music festivals. I really couldn't understand why Australia didn't have its own version of the UK's Reading or Glastonbury festivals. Being staged in the UK, when those festivals take place, it's an added bonus when it doesn't rain, so why, with our weather and talented bands, why should we miss out??Enter Ken West. Obviously Ken had been to these festivals, too, and had some thoughts about doing an Australian festival, and so began the Big Day Out. He's now one of the most respected promoters in the country and the Big Day Out is highly regarded both here and overseas. It became very successful very quickly and in the space of four years was at the same level as the festivals in the UK. So the Big Day Out was a valuable break for me. Every year I go on the road with the Big Day Out as it tours around Australia. This means I get to build a rapport with the bands I shoot, which is a luxury not often afforded a photographer.It's always easier to work with people who you feel relaxed with and vice versa. I don't work like a fashion photographer – I've never treated a musician as a model. A lot of photographers do because they presume there's a lot of glamour involved. Musicians are not thespians and they're not models so you need to build a rapport with them. Musicians can often feel uncomfortable in front of the camera, so relaxing them is an imperative. Obviously I'm referring to session work here. Live is a completely different kettle of fish. The disadvantage of doing sessions is that the artist is doing something that doesn't come naturally to them. The advantage is that you as the photographer have complete control over the environment, things like lighting. The difficulty is getting the artist comfortable. The live situation is the opposite, the artist is in their natural environment but the photographer is not, you have no control over the lighting and so on. The quality of your shots is reliant on the lighting guy and the movement of the artist.Eye contact is vital in photography. If you take a photo of someone and their eyes are out of focus the whole shot lacks impact. That's how people look at photos, through the eyes of the subject. The eye is all important. In a live situation the subject is more than likely not looking at you, and there's also the bloody ever present microphone getting in the way. In total I've had over 30,000 photographs published, the result of some 2,500 sessions and countless live shows, which have become 400 posters, 450 cd or vinyl covers and over 800 magazine front covers, and I'm still counting. It seems an age has passed since Vince Lovegrove used my shot of Chrissy Amphlett as a tour poster. I guess it has been a long time. Certainly much has happened and I've managed to collect some stories that I think are vaguely intresting along the way – some are downright bizarre and I hope you enjoy them.Oh, and why did I change my name from Moulds to Mott? Well, when I first got a photo credit Moulds didn't look so groovy so I had to come up with an alternative. I looked to the most influential band in my life, Mott the Hoople. The next decision was Tony Mott or Tony Hoople. I went for the former.Everyone should have a Mott the Hoople. In my formative years in college they were the only band that I related to lyrically.They delved into social, political and more general matters, not to mention being a dynamic live act. They were punks before punk had happened, all that and glam rock as well.I've always felt music is an important medium, it can be a sanctuary when things are not so rosy, and a celebration of the joys of life, the two extremes of emotion. And that is why Mott the Hoople have been so important to me. A couple of examples of that are in 1976, when I first left England for Australia, I related to the Ian Hunter album All American Alien Boy, an album about an Englishman arriving in the US, feeling alien and yet loving it. I totally related to the sentiments. Thirty years later, when I lost my best friend who died at an early age and I was finding grief very difficult to deal with, I found solace in the Ian Hunter song “Michael Picasso”, a song about the death of his long-time best friend and David Bowie guitarist Mick Ronson. That's why I believe music is so powerful and important. Everyone should have a Mott the Hoople.

After over 30 years of a career in Rock n Roll Photography including touring with the Rolling Stones three times amongst others, British born photographer TONY MOTT is one of a kind. He's photographed Nicole Kidman, Bob Dylan and Fleetwood Mac… and even took some snaps of our host Bradley McCaw. Watch video of this episodeFollow the RC Music PlaylistCheck out Tony's photosFollow Brad everywhere @bradleymccawofficialBrought to by True Arts Podcast NetworkThis interview was originally recorded in late 2021. Created, produced, hosted & engineered by Bradley McCaw.Original sound design by Matt Erskine at Crosspoint SolutionsOriginal Video designed by Adam Shaw at Axis Productions Theme composed by James RyanAbout Tony Mott:After over 30 years of a career in Rock n Roll Photography including touring with the Rolling Stones three times amongst others, Tony decided to branch out into Film and TV Stills Photography commencing in 2005 with the feature, Suburban Mayhem.Tony has worked on numerous features and television series since and has become a sought after photographer in the field.A 30 year retrospective of Tony's work “What A Life” is currently touring Australia after opening at the State Library of NSW in Sydney .Tony lives in Sydney with his wife Libby and two children Harvey and Lucinda Mott and his cat “kitten caboodle”.Except from Tony Mott's website: Trainspotting… travel around the world… life as a Chef on the high seas, a passion for music and few photos along the way. Welcome to Tony's Mott's story – so far.I was born in April, 1956, (that makes me sort of old) and raised in Sheffield, England, quite normally by mum and dad, Mary and Brian Moulds. I was trained as a chef at Sheffield Polytechnic and in 1976 I left England, arriving in Australia for the first time. Using my training I worked in Sydney at the Opera House and the Gazebo before helping a friend open a restaurant in Armidale, New South Wales, called The Blackboard Menu, but I had to leave after six months because I only had a limited working visa. It was at this point that I realised I wanted to live in Australia permanently. I returned to England with the intention of securing a permanent visa, which didn't eventuate. Refusing to allow a little thing like a visa to stand in the way of escaping the UK, I managed to get a job on the SS Oriana as a chef, a wonderful job that lasted two years and took me to over 60 countries as diverse and interesting as Puerto Rico, Egypt, Panama, India, the Caribbean Islands, all around the Mediterranean, Nordkapp (where the sun never goes down and all its inhabitants are bonkers) and elsewhere. It was during this time I developed a strong sense of wanderlust, an affliction which has taken me to India seven times and helped me traverse the Himalayas on a number of occasions. In fact, to celebrate my 40th birthday I had to make a choice between getting pissed in Redfern or walking the Annapurna Circuit with my best friend, I chose the latter.Eventually my job on the ship came to an end and brought me back to Australia and in 1981 I finally managed to settle here permanently. I got my old job back at the Gazebo Hotel in King Cross, which, as it turns out was a perfect location to embark on the next stage of my life.I've often thought about my penchant for travel and trainspotting (that's a whole other story right there!) and always go back to my childhood in Sheffield. When I was about eight or nine years old my mum and dad used to visit the local pubs, including one called the Castle Inn. My sister and I used to sit on the wall outside with our crisps and fizzy pop watching the trains go by. From this point we could see the trains disappear into a tunnel and I always wanted to know what was on the other side of that tunnel. Eventually I got to the other side of the tunnel and just kept on going!! Finally I got to and settled in Sydney.In the early 1980s Sydney had a brilliant live music scene. Every night of the week you could see any number of excellent bands at any number of excellent venues, right across the city. Working as a chef meant I usually finished work around midnight, not a bad situation for somebody like me who loved music. I'd leave work and hop into any given venue. On Monday nights I used to go to the Piccadilly Hotel in the Cross to see the Divinyls play. They had a residency at the venue and at this stage they were unsigned and largely unknown. Singer Chrissy Amphlett didn't do a lot in those days. The stage persona she later became famous for was non-existent but, suddenly it seemed, she became a loony on stage wearing the schoolgirl uniform and gyrating about.During my days sailing the seven seas I'd developed a strong desire to document photographically the amazing places I saw. So every Monday night after work at the Gazebo I used to hone my fledgling skills by snapping away at the Divinyls. A lot of crap shots were taken but after four months the band's manager, Vince Lovegrove, who'd obviously seen me shooting away, asked to see the shots, one of which he chose and used as a tour poster. I was well chuffed! To top it off he paid me 20 bucks – my first foray into professional photography.I was very green in those days, typified when Vince told me that my name was on the door for the band's next gig. I had no idea what this expression meant and for the next two months I continued to pay my way into their shows. One night he saw me and said, “You know your name's on the door, don't you?” Not wishing to appear unsophisticated, I replied, “Yeah, I know. Isn't that great,” thinking that somewhere – perhaps the band's rehearsal studio – there was a door on which they'd written my name as a mark of respect. Just shows you how much I had to learn about the music industry.By 1983 the Divinyls tour poster had had a snowball effect on my career and before long other bands were asking me to shoot their gigs. One day I walked into the offices of the free paper On The Street, then in its infancy and long before the term street press had ever been coined. I started getting work through the paper.About a week before I went to “On The Street”, Margaret Cott, now publisher of “The Drum Media”, had just started as a layout girl and so began a professional relationship with her which lasts to this day. Within a year Margaret had become editor and I was photographing anything that moved, anywhere, anytime. All this and I was still working full-time at the Gazebo.It was 1985 and for a short period of time during that year I got married. My wife was Swedish (and to my knowledge still is) but I won't go into the topic any further other than to say she now lives in Sweden and I still live in Sydney. Anyway, she had suggested I head back to England and so I did, and with my few contacts in the industry I spent the summer of 1986 drinking a lot and generally having a good time going to music festivals. I went to Reading, Milton Keynes and so on, seeing tons of bands. I haven't managed to work out how to this day, but I managed to photograph Queen at Knebworth, which was a hell of an experience. I also went to Paris and New York that summer, purely as a drunken wanderlust thing as opposed to seriously pursuing anything professionally.When I got back to Australia, Mick Jagger was touring to promote his first solo album. While I was away, and unbeknownst to me, Jagger's manager, Tony King had been trying to track me down wanting to hire me as Jagger's tour photographer. To this day I have no idea who recommended me for the job but I'm extremely grateful. Eventually I made contact with Tony King and as it turned out they were not happy with whoever it was they had hired instead of me. By this stage the tour was in Melbourne so I went down and met Tony in his hotel room. I don't think I would be giving anything away when I say that Tony King is what you would describe as an effervescent gay man and when I met him he enthusiastically expounded the virtues of Sydney. “Oh I love Sydney,” he said, “so many sailors in the one city.” I thought, what have I got to do to get this gig? Tony King, it should be pointed out, is a lovely man and I have always gotten on extremely well with him on a professional basis. But that was the start of my relationship with Mick Jagger and eventually the Rolling Stones. It was an enormous break which has resulted in me touring with the Stones three times. As I've said, I have no idea how I got the gig because I was only reasonably well-known as a live photographer in Sydney at that point. And to think I nearly missed out because I was getting legless overseas!!To illustrate how absurd the music industry can be at times, at the end of tour party I could hear people behind me talking about the tour photographer and how “he's just come back from working in London, Paris and New York, don't you know”. I suddenly realised they were talking about me! Little did they know I was basically having a good time in these places and not doing the glamorous jobs they imagined.As a consequence of the Jagger gig I toured in the same year with Bob Dylan and Fleetwood Mac. I wasn't any better as a photographer but once I had gigs of that calibre in my CV I looked so much better. That period was the beginning of my first break.It was 1988 and with these three enormous gigs under my belt I was going out at least five nights a week just to see bands. I'd worked out by now what having my name on the door actually meant so I was saving myself a small fortune. The Sydney scene during this time was fertile. There were great bands in great venues happening every night of the week; a favourable environment in which to grow as a rock'n'roll photographer.More breaks came my way in the early 1990s. I did a book called Still Noise with four other photographers, the album cover photography for Tommy Emmanuel's Dare To Be Different and the Beasts of Bourbon's Black Milk. It was all moving along quite nicely in a relatively short period of time. I'm proud of both those album covers because they're so radically different. Tommy Emmanuel's album was so obviously mainstream and commercial while the Beasts of Bourbon was very inner city and independent, and that's one of the things I love about working in the music industry – one minute you can be working with somebody like Lucinda Williams and the next minute working with the likes of Slipknot. They're vastly different performers with vastly different personalities to be captured through the lens. But I digress.I guess the next major event that boosted my career was the start of the Big Day Out in 1992. In the late 80s and early 90s I'd been regularly heading over to Europe and the US every couple of years to check out the summer music festivals. I really couldn't understand why Australia didn't have its own version of the UK's Reading or Glastonbury festivals. Being staged in the UK, when those festivals take place, it's an added bonus when it doesn't rain, so why, with our weather and talented bands, why should we miss out??Enter Ken West. Obviously Ken had been to these festivals, too, and had some thoughts about doing an Australian festival, and so began the Big Day Out. He's now one of the most respected promoters in the country and the Big Day Out is highly regarded both here and overseas. It became very successful very quickly and in the space of four years was at the same level as the festivals in the UK. So the Big Day Out was a valuable break for me. Every year I go on the road with the Big Day Out as it tours around Australia. This means I get to build a rapport with the bands I shoot, which is a luxury not often afforded a photographer.It's always easier to work with people who you feel relaxed with and vice versa. I don't work like a fashion photographer – I've never treated a musician as a model. A lot of photographers do because they presume there's a lot of glamour involved. Musicians are not thespians and they're not models so you need to build a rapport with them. Musicians can often feel uncomfortable in front of the camera, so relaxing them is an imperative. Obviously I'm referring to session work here. Live is a completely different kettle of fish. The disadvantage of doing sessions is that the artist is doing something that doesn't come naturally to them. The advantage is that you as the photographer have complete control over the environment, things like lighting. The difficulty is getting the artist comfortable. The live situation is the opposite, the artist is in their natural environment but the photographer is not, you have no control over the lighting and so on. The quality of your shots is reliant on the lighting guy and the movement of the artist.Eye contact is vital in photography. If you take a photo of someone and their eyes are out of focus the whole shot lacks impact. That's how people look at photos, through the eyes of the subject. The eye is all important. In a live situation the subject is more than likely not looking at you, and there's also the bloody ever present microphone getting in the way. In total I've had over 30,000 photographs published, the result of some 2,500 sessions and countless live shows, which have become 400 posters, 450 cd or vinyl covers and over 800 magazine front covers, and I'm still counting. It seems an age has passed since Vince Lovegrove used my shot of Chrissy Amphlett as a tour poster. I guess it has been a long time. Certainly much has happened and I've managed to collect some stories that I think are vaguely intresting along the way – some are downright bizarre and I hope you enjoy them.Oh, and why did I change my name from Moulds to Mott? Well, when I first got a photo credit Moulds didn't look so groovy so I had to come up with an alternative. I looked to the most influential band in my life, Mott the Hoople. The next decision was Tony Mott or Tony Hoople. I went for the former.Everyone should have a Mott the Hoople. In my formative years in college they were the only band that I related to lyrically.They delved into social, political and more general matters, not to mention being a dynamic live act. They were punks before punk had happened, all that and glam rock as well.I've always felt music is an important medium, it can be a sanctuary when things are not so rosy, and a celebration of the joys of life, the two extremes of emotion. And that is why Mott the Hoople have been so important to me. A couple of examples of that are in 1976, when I first left England for Australia, I related to the Ian Hunter album All American Alien Boy, an album about an Englishman arriving in the US, feeling alien and yet loving it. I totally related to the sentiments. Thirty years later, when I lost my best friend who died at an early age and I was finding grief very difficult to deal with, I found solace in the Ian Hunter song “Michael Picasso”, a song about the death of his long-time best friend and David Bowie guitarist Mick Ronson. That's why I believe music is so powerful and important. Everyone should have a Mott the Hoople.

It's 2013. A pope resigns for the first time ever (he hated robes that hid his buff figure), the Boston Marathon is bombed by a couple of crazy kids, Grand Theft Auto 5 is published, Chrissy Amphlett dies, as does the last surviving member of The Andrews Sisters, Annette Funicello, and Lou Reed, ... and the robo-boys of Daft Punk release this groovy thang. What are the meanings, the messages, the attitudes, the life and times of this song? Our wide-ranging investigation includes: (00:00) Briefest ever introduction (00:41) Song details, writers and lyricist(s?) (02:09) How many time is "up all night to get lucky" repeated (02:30) Robot sounds, robot looks, robot news (05:40) Song meaning - "cycles" (06:21) Mixing legends/myths and science (11:34) Pheonix - myth? legend? Japanese cartoon? 80s video game? (19:20) Theories of the universe (22:59) Nihilism, limitations or infinite richness (24:36) Are we letting the universe down? Be Best? (28:02) Cups full or empty? (30:20) "Happy" songs (31:01) Human courtship and toxic men (33:20) Gambling addiction? (33:56) The odds of life in the universe (34:30) More toxic men (35:45) More cosmic gifts (37:10) A reminder of what girls do for fun (38:44) Vampires again? (41:15) Theories from randoms on the internet (47:18) A shock to new English speakers (50.07) Misheard lyrics in this song (52:03) Notable Trivia (56:55) The deceitful music video? (58:15) In conclusion Would you like to appear (well, vocally) on the show? Do you have a pop song or ear-worm from the SMOOTH FM genre that's infested your mind and needs to be investigated? Visit this page ⁠⁠⁠⁠https://speakpipe.com/lyrics⁠⁠⁠⁠ to record us your own voicemail hot-take on your specific smooth song of suckiness. You could be on a future episode! (you can always email sound files or text your thoughts to ⁠⁠⁠⁠poidadavis@gmail.com⁠⁠⁠⁠ if that's easier). Cheers! Find us on Twitter, Facebook, Instagram etc @LyricsPodast ... and we're on all your favourite podcasting platforms. Check out our ⁠⁠merchandise shop⁠⁠ just for a laugh! Sound clips are included for educational reference, criticism, satire and parody in fair use. Clips remain the property of the respective rights holder and no endorsement is implied. All information and opinion is performed and expressed in-character and does not reflect reality or genuine commentary on any persons (living or dead), bands or other organisations, or their works, and is not recommended listening for anyone, anywhere.

Behind The Hits remembers musical pioneer Chrissy Amphlett ten years on from her passing.As the attention-grabbing singer in Australian band Divinyls she topped charts around the world, and fiercely kicked down doors for women as she took on the male-dominated rock industry of the 1980s. Over the last decade, Chrissy's legacy has been firmly established and her songs continue to be discovered by new generations.We hear her story in her own colourful words plus bandmate Mark McEntee and their legendary producer Mark Opitz.Also music icons Missy Higgins, Pink, Ella Hooper and Lisa Veronica reveal how Chrissy inspired them.Hosted by Cat Lynch.See omnystudio.com/listener for privacy information.

Flannel to the Fallen– the rise & fall of 90s grunge plus how Michael Hutchence's death changed us.Dave Gleeson showcases the Aussie acts who ruled the 1990s, from The Divinyls to Ratcat, Living End to Killing Heidi and a couple of Newcastle teens called Silverchair.Featuring Bernard Fanning from Powderfinger, Kav Temperley of Eskimo Joe, The Living End's Chris Cheney, Missy Higgins, Paul Kelly, Jimmy Barnes, Lisa & Jess from The Veronicas, Simon Day from Ratcat, Killing Heidi's Ella Hooper, Sarah McLeod of The Superjesus, John Watson, Michael Chugg, Lee Simon, Mark Opitz and hear from Chrissy Amphlett.Episodes 1, 2 and 4 are also available on Behind The Hits.See omnystudio.com/listener for privacy information.

Flannel to the Fallen– the rise & fall of 90s grunge plus how Michael Hutchence's death changed us.Dave Gleeson showcases the Aussie acts who ruled the 1990s, from The Divinyls to Ratcat, Living End to Killing Heidi and a couple of Newcastle teens called Silverchair.Featuring Bernard Fanning from Powderfinger, Kav Temperley of Eskimo Joe, The Living End's Chris Cheney, Missy Higgins, Paul Kelly, Jimmy Barnes, Lisa & Jess from The Veronicas, Simon Day from Ratcat, Killing Heidi's Ella Hooper, Sarah McLeod of The Superjesus, John Watson, Michael Chugg, Lee Simon, Mark Opitz and hear from Chrissy Amphlett.Episodes 1, 2 and 4 are also available on Triple M Rock. Search ‘These Days'See omnystudio.com/listener for privacy information.

In this episode, we'll explore the phenomenon of particular Aussie songs becoming even more popular and significant, years after their release. I'm calling it “The Horses Effect,” after Daryl Braithwaite's 1991 hit, The Horses, which enjoyed a cultural revival more than 15 years after its release, and is today firmly entrenched as an unofficial Aussie anthem. Find the episode playlist on the Spotify Cara Diaria artist page.  Send questions or compliments to mykindofscenepod[@]gmail.com. Sources WikipediaCashmere, Paul. “Daryl Braithwaite ‘The Horses' Celebrates 25th Anniversary” noise11.com, May 18, 2016Jary, Marta. “Daryl Braithwaite reveals his classic song The Horses may have never have been released...” Daily Mail, Oct 23, 2020“The Enduring Appeal of Daryl Braithwaite's The Horses | What Is Music” ABC News, 2018Sewell, Eliza. “Hawthorn celebrates victory singing Daryl Braithwaite's pub rock anthem” Herald Sun, Sep 30, 2013“Hawthorn drop Daryl Braithwaite's hit song The Horses as its unofficial anthem” Herald Sun, Mar 22, 2017True, Everett. “Friday on my Mind by the Easybeats – bristling with pent-up frustration” The Guardian, Dec 8, 2014“Friday on my mind - YOU AM I ( easybeats tribute )” YouTube“Step Back / Cara-Lyn: JOHNNY YOUNG AND KOMPANY” Bang a Gong“I write the songs” Sydney Morning Herald, Jan 28, 2003.“The Sounds of Australia” National Film and Sound Archive of Australia.Broughton, J. “Jim Keays (Masters Apprentices) Interview 1999” Casey Radio via YouTube, 1999Port Adelaide Highlights “Never Tear Us Apart - Round 8, 2021 vs Adelaide” YouTube, 2021Carmen, Lo. “Riveting, terrifying, completely singular: how Chrissy Amphlett changed the game” The Guardian, Mar 1, 2022Amphlett, Chrissy. “Pleasure and Pain: My Life” Hodder Australia, 2005“TikTok Songs 2022 Australia – Most Used Music on TikTok 2022 (Australia Playlist)” Spotify, 2022“I Touch Myself Project”

Aussie Rock Legend Diesel Recalls One Of The Most Incredible Chrissy Amphlett Story About Her Spitting On His Chest See omnystudio.com/listener for privacy information.

Today marks nine years since we sadly lost Chrissy Amphlett of Divinyls at the age of 53. Never has there been a more fierce front-women, a more rounded performer, mixing theatre, costume, chaos, brash sexual energy, and incredible rock singing. She challenged the status quo, kept up with the boys and more, and was a totally unique performer.   See omnystudio.com/listener for privacy information.

Meet three Australian women pushing back on the expectations and stereotypes so often placed on them

You Am I frontman Tim Rogers Triple M Aussie's Matty O for a full show co-host. From remembering touring with the worlds biggest bands, almost leaving the band, the emotional impact of last year and  the new album from You Am I,  and more, catch the full special with music and subscribe to Triple M Rock on the LiSTNR app for the latest Rock Interview, News and specials. Subscribe: https://www.listnr.com/podcasts/triple-m-rock  If anything in this interview is triggering or you're struggling with mental health, conact: Support Act: https://supportact.org.au Beyond Blue: https://www.beyondblue.org.au/  See omnystudio.com/listener for privacy information.

Catch Triple M's Rosie's massive tribute to Chrissy Amphlett See omnystudio.com/listener for privacy information.

Catch the full special, with music by Triple M's Rosie Walton for International Women's Day. See omnystudio.com/listener for privacy information.

Two mighty singers to kick off Ausmusic Month: Emma Donovan on her brand new album Crossover and Divinyls' frontwoman Chrissy Amphlett from the archives.

Time for some long overdue uplifting, and constructively critical commentary from you. In other words, let us cross the border and enter the Nutbag City Limits - yessssssssss! Save thousands on any new car (Australia-only): https://autoexpert.com.au/contact AutoExpert discount roadside assistance package: https://247roadservices.com.au/autoexpert/ Did you like this report? You can help support the channel, securely via PayPal: https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=DSL9A3MWEMNBW&source=url Now look, I’m not above criticism. And that’s how you’ve gotta be on YouTube, because the comments feed is something of a cesspit. But, frankly, I just haven’t been getting the hate I deserve lately. And I blame you. Only one video in my past 30 sits below 90 per cent likes. And it’s at 89.8 - so it’s only technically hated. Where have all the haters gone? Now, the glace cherry on the icing of the nutty cake today, allegedly from the Grand Cherokee Owners’ Club of Shitsville Facebook page, from a dude I’ll call, simply ‘Trev’: “The guys an absolute flog with an agenda” - Trev. Goodness - I think he means me. My recent ‘Jeep/don’t buy’ report the other day: 97.3 per cent likes to dislikes. Trev was probably one of the 2.7 per cent. I do enjoy ‘absolute flog’ status these days - that’s quite true. Lifetime platinum, double diamond advantage flog. It’s awesome - straight into the Chairman’s Lounge at Club Flog. And yet, for so much of my life I was only a partial flog. And not for want of trying. But then I got ‘Dickhead Pro’ and my life changed. I went properly ‘next level’. I decided to become your next Pry Mincer and Make Australia Less Shit. It’s certainly audacious. But, together, I know we can do this. And let’s face it, ‘absolute flog’ is the minimum accepted qualification to be Pry Mincer these days. That’s in the constitution. You can tell I am qualified from my Linkedin profile, which I updated this morning, the better to reflect Trev’s assessment of my Pry Minsterial suitability. Clearly I do have an agenda, which I enthusiastically prosecute: To prevent as many people as possible from buying badly supported shitheaps. And I do find Grand Cherokee in particular so disappointing - because it looks so good and goes so well, and is so capable across a breadth of operating conditions, and the price is so right, frnkly. Pity about the reliability, the ownership cost, and (of course) the emphatically crap support. Trev, of course, was unfinished in the domain of critical assessment. He was on a roll: “I bet he hasn’t owned or even driven a Jeep … the only thing he drives is a b*tt plug all the way up.” - Trev. Trev, mate … I generally prefer dinner and a few drinks before we go for the plug. Perhaps we could pre-emptively discuss current events and have a few laughs. Get out on the dance floor. Sing some karaoke. Get to know one another first. There are social conventions here mate. Still, I do rather look forward to hosting the annual Grand Cherokee Owners’ Club of Shitsville convention to be held this year (at my suggestion) at iconic Sydney kink dungeon, Temple 22, where I sincerely hope Grand Cherokee club members will get a different taste of pain and denial - at a somewhat lower cost, and without the public humiliation they are so used to. So that’s nice. The late, great Chrissy Amphlett, of course, sang the haunting ballad of the Jeep owner, entitled so memorably: ‘I touch Myself’. And in Ms Amphlett’s own words, in respect of Jeep ownership, I think it’s fair to say there’s a fine, fine line between pleasure and pain.

This week Josh and Christina celebrate Guns 'n' Roses' Appetite For Destruction - 33 years on, arguably the most significant example of "all killer, no filler" in rock. We also speak to iconic rock photographer Tony Mott, who started out shooting a school uniform-clad Chrissy Amphlett in the Divinyls during Sydney's thriving rock scene, before spending 40 years shooting every rock star from the Rolling Stones to Midnight Oil. Subscribe on YouTube: https://bit.ly/30kEKLG Subscribe on Apple Podcasts: https://apple.co/2DvdEIK Subscribe on Spotify: https://spoti.fi/2PhbgrI  

DEEP DIVES & tiny curations Podcast Episodes Available Today: http://tinycurations.com Listen NOW on Pandora: https://www.pandora.com/search/tiny%20curations/ Hear the playlist on Spotify: https://open.spotify.com/playlist/3BoJqZnYlyDNLbMMtpbSaY?si=PmgTF0rFRpmP55xD80pLig 01 - Drugs Have Done Good Things - Bill Hicks 02 - Nobody Listens - Pariah Pariah Interview 03 - Chemical Imbalance (Edited) - Skatenigs 04 - Jesus Built My Hotrod - Ministry 05 - Who Was In My Room - Butthole Surfers 06 - Dave - Cheech & Chong Dave Prewitt Supports When We Were Live rAw TiMe Intro Dave Prewitt, he's been a local TV fixture for the past 30 years in Austin, with shows ranging from CapZeyeZ, to rAw TiMe to DAVETV on ACTV, Austin Community Television, Austin Access. In the early 90's access television really started to kick into high gear all around the country, as evidenced by the Saturday Night Live skit Wayne's World. And that became so popular that it spun off into 2 feature length films. Before Dave, there was Scott Spurlock. He first caught me and my friends attention on ACTV with his show Dull-a-Vision; where he showed music videos, something akin to Headbangers Ball. But one fateful night in 1991, he went too far and showed us kids something that blew our minds! It was his edited video for this song "Rivers" from Skinny Puppy. It was too far! This was also the time of censorship and anti- obscenity and decency issues, spurred by Luke Skywalker and 2 Live Crew in Florida. Also, in Florida, poor Pee Wee Herman was arrested for watching a movie, albeit a dirty move. And Tipper Gore, her group was busy putting Parental Advisory Explicit Lyrics labels on CDs and tapes. Heck, the Australian rock band, the Divinyls were warned not to play their hit song "I Touch Myself" at their appearance at the Austin Aqua Fest on Town Lake, but near the end of the set, they did anyway. Their mic was cut and lead singer Chrissy Amphlett was dragged off stage by security, yep that's about as far as they got, too. And here is how the crowed reacted. And here is what the police claimed, but it was not too loud. But back to ACTV, where you could pay like $50 bucks, sign some forms and take a couple classes and you too could broadcast live on Austin television sets. ACTV, it gave rise to Alex Jones and Infowars, as you can hear him sitting in on the show with Dave: Here is a conspiracy for you; some folks think that the comedian Bill Hicks didn't actually die in 1994, but instead became Alex Jones. There are some similarities in appearance and like mindedness of both tone and topic. Dave Pruitt who did the final interview with Bill Hicks. But Dave, not only would he play hard rock music videos, but he would also take the ACTV cameras and equipment to local shows and showcase mostly local, but also national touring bands. He has recorded so many, please go out and find him at DaveTV on Youtube. He recorded everybody, but back in the day it was the likes of Pariah, Agony Column, Dangerous Toys, D.R.I., deadhorse, Retarded Elf, FUCKEMOS, Harrem Scarrum, Little Miss Dangerous, Onyxx, the Bad Livers and Dancyr. Yeah, Nathan Olivarez, he was there, too. Dave's partner in crime! However, I read in the Austin Chronicle that Dave has left the building. We wish you luck Dave! --- Send in a voice message: https://anchor.fm/tiny-curations-deep-dives/message

Led by guitarist Mark McEntee with the vocal stylings of the late Chrissy Amphlett, Divinyls are Aussie rock legends of the 80s and 90s. Now, six years after Chrissy's passing,... LEARN MORE The post Mark McEntee – Divinyls [Extended Interview] appeared first on Tom and Warren.

Australia. We're not just known for kangaroos, stingrays, emus, drop bears and deadly killer magpies down here, we've also got a healthy collection of rock bands, some of whom have been going hard for decades and we've got the frontman of one of those bands on the show this week. Dave Gleeson is someone you'd describe as a typical Aussie bloke, but he's also an icon in the industry, having fronted both The Screaming Jets and The Angels and he's joining the show this week to chat about the Jets' new album Gotcha Covered which features covers of classic Australian bands like The Radiators, Goanna, You Am I, AC/DC, INXS, Hoodoo Gurus and more. He also takes us back through his life in the early days of playing in a band (when there were more venues accommodating) and even shares his thoughts on newer Australian bands like Tequila Mockingbyrd and Parkway Drive plus offers up his own "helping hand" for upcoming bands looking to make it big outside of Australia. Podcast host Browny also takes a look at the big news surrounding Divinyls frontwoman Chrissy Amphlett and plays a stack of classic rock tracks from AC/DC, Grinspoon, Jimmy Barnes, Men At Work and Flowers, New Music from The Living End and more... #WoSUATW #TheScreamingJets #ScreamingJets #DaveGleeson #AustralianBands #PubRock #AcDc #SickPuppies #Divinyls #ChrissyAmphlett #Grinspoon #JimmyBarnes #WorkingClassBoy #TheAngels #Superjesus #TheLivingEnd #Flowers #MenAtWork #WallOfSoundAU #Podcast #MusicPodcast

Sure, it started as a song about masturbation, that's true. (And, to be fair, a song about love and devotion). But what it became after the death of, Chrissy Amphlett, the lead singer of Divinyls, may suprise you. Come along as we do our best to keep our pants on as we get all touchy feely with Divinyls 1991 super hit, "I Touch Myself".  https://www.patreon.com/rss/earfoolpodcast?auth=YKLY39UqS8tlql2lQnxtsZs_d9jaVNkK

This week Julie, Miranda and Zane will chat about which of life's truths can be gleaned from The Boy From Oz!- FURTHER READING -Wiki - Musical, Peter Allen, Liza Minnelli, Judy Garland, - CELEBRITY SHOUTOUTS - Todd McKenney, Hugh Jackman, Olivia Newton-John, Frank Sinatra, Chrissy Amphlett, Mathew Waters, Isabel Keating, Stephanie J. Block

Chrissy Amphlett, the legendary lead singer of the Australian 80’s rock band, The Divinyls famously sang, “It's a fine, fine line between pleasure and pain.” And with your marketing content this is SO true… both of these emotional states can influence people in a big way to take action, click your link, buy your thing.  BUT way too many people are creating content that is bland and lacking emotion. In this episode, hosts Suzi Dafnis and Michelle Falzon talk about how and when you can use the emotions of pleasure and pain to make your content marketing more compelling and to build a stronger relationship with your community (and, importantly, get more sales).