Podcasts about Divinyls

Send us a textIn this touching episode, the boyz go way down south and get down and dirty down under with Divinyls' classic hit "I Touch Myself." In their journey of self discovery, they learn that women have always led the charge when it comes to songs about self-pleasure, leaving men in the dark. Join Tommy Two Tones and Titillating Ty as they work hand-in-glove to put their finger on the reasons for this shocking discrepancy. Songs:The Reverb Syndicate - Better Dancing Through TechnologyThe Deep Dark Woods - RubyNick Cave - FrogsTilda - If We Were TwentyDivinyls - I Touch MyselfDivinyls - Pleasure and PainPrince - Darling NikkiCyndi Lauper - She BopOlivia Newton-John - I Touch MyselfPink - FingersRod Stewart - InfatuationAfroman - Because I Got HighTommy Tutone - 867-5309 (Jenny)Connect with us:Instagram

Clairsy & Lisa caught up with the one and only Cyndi Lauper where she told them why this current tour will be her last, her longevity in the music industry, her love for Chrissie Amphlett from Divinyls and she also gave the guys a peek behind the scenes of the We Are The World recording. See omnystudio.com/listener for privacy information.

Sean ‘Diddy' Combs lawyer quits, Eli Zaret joins us, American Murder: Gabby Petito, Kid Rock is single, Karen Read trail twist, Kevin Spacey v. Guy Pearce, Steve Smith adultery accusations put on blast, Hooters goes bankrupt, and the Rain City Jacks have too many rules. Hooters is about to file for bankruptcy. Gen Z ruined it. Anthony Cumia landed a radio gig at WABC 770. Eli Zaret drops by to chat MSU vs Michigan, USA vs Canada at the Four Nations Face Off, Connor McDavid AI post-game comments ripping the United States, the boring NBA All-Star Weekend, Detroit Tigers in Spring Training, Alex Bregman vs Rafael Devers, Carson Beck burgled, a disgraceful Allen Iverson interview, Eli's Beast Games review and more. Marc has thoughts on the winner of Beast Games. Marc now hates MrBeast thanks to his kids. Drew went on a Divinyls deep dive. An airplane bomb threat occurred today. Details are still murky except for the fact that the passengers spent a lot of time on that plane. An airport brawl went down in Atlanta… at the Spirit Airlines Gate. Dave Grohl's bastard's mother has been (self) identified. Kid Rock has moved on from his fiancé. Way to go, Lauren Boebert. Drew is intrigued by Family Feud's list of Best Rock Bands of All Time. Drew Crime: One of Diddy's 6 lawyers quits because he has a conscience. Luigi Mangione was arraigned and a lot of his sick “fans” showed up. Tyree Smith is a bad man who's about to be freed. Hopefully, he's had enough to eat. John Hinckley is still selling cat pictures. John Wayne Gacy paintings are worth a pretty penny. There been a twist in the Karen Read case that's so crazy everyone gets a week off. Kevin Spacey is so mad at Guy Pearce for talking about what a creep Kevin Spacey was during filming. Nancy Armour unloads on the unloader Justin Tucker. Daily Mail discovers nude swimming in Minnesota. NFL Network talking head Steve Smith Sr. busted nailing a married woman. Netflix > 20/20 when it comes to Gabby Petito. Belle Gibson: The Search for Instagram's Worst Con Artist covers yet another grift. How is Spencer Pratt spending all that dough? Karen Bass is asked the tough questions and throwing people under the bus. Drew found the Rain City Jacks. The code of conduct page shows how restrictive they are at events. Stacey Abrams just lost billions. Drake threw his slipper at a drone. Jessica Simpson dropped a new tune. Why you look different? RIP M.o.m. of The Notorious B.I.G. Elon Musk cranks kid number 13. It's become a battle of DMs. Holly Scarfone is dishing on Scott Disick because he wanted her to look better. Kanye West just keeps making appearances. Ye vs Dave Portnoy. Germany hates Hate Speech. NBC settles a lawsuit with a “uterus collector”. Joy Reid BLOWN OUT at MSNBC. Michael Strahan is looking to get BLOWN OUT of GMA. J Chris Newberg joins us Tuesday. If you'd like to help support the show… consider subscribing to our YouTube Channel, Facebook, Instagram and Twitter (The Drew Lane Show, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon).

Australian producer Charles Fisher's resume is all over the place. Two of his earliest producing jobs were with Australian punk legends Radio Birdman followed by Air Supply! That kind of diversity continued for decades working with everyone from Olivia Newton-John to Divinyls to Jimmy Barnes to Hoodoo Gurus to Deep Blue Something (as well as more Australian artists like Moving Pictures and Ol' 55). In the 90s he hit the jackpot when he did Savage Garden's debut album that went on to sell over 15 million copies. We often discuss the effect financial success has on an artist's desire to create, but here we hear it from the producer's perspective which is a fascinating story. Enjoy!  www.charlesfisherproducer.com www.patreon.com/c/thehustlepod

In this episode of Tunesmate, join Debbie Kruger, writer, author, and PR expert, as she dives deep into her book Songwriters Speak. The book features in-depth interviews with 45 songwriters from Australia and New Zealand, whose work spans rock, pop, and country music. Through these interviews, Debbie offers a fascinating look into how these songwriters made the hits that dominated the charts. During the conversation, Debbie shares unique insights into the lives and creative processes of some of the world's most cherished songwriters from legendary bands such as The Seekers, The Easybeats, Little River Band, Midnight Oil, Crowded House, Icehouse, INXS, Men at Work, Divinyls, and Savage Garden. Discover the stories behind the music and the people who made it happen. Learn more about Debbie's book at http://songwritersspeak.com.

This week on the Music Halls of Fame Podcast, we honor the year in music for 2003, along with Rock and Roll Hall of Fame class of 2003 inductees The Police. We also look at the case for putting Linkin Park into the Rock and Roll Hall of Fame, and our spotlight hall of fame is the ARIA Hall of Fame in Melbourne, Australia & inductees The Divinyls. Also, there's an announcement at the end of the podcast, so stick around to the end. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday Music Playlist for Podcast - youtube.com/playlist?list=PLSMDYrumQfYTC9tZkG8OfNa1nV5aSCFNf ARIA Hall of Fame - artscentremelbourne.com.au --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

LA HORA DEL ROCK N. 299 CON ZENON PEREZ FERNANDO NADALES Y PACO JIMENEZ 2024Arch Enemy (Sweden)2024 - Liars & Thieves (Single)1 - Liars & Thieves. 2024Delain - Dance With The Devil (EP) (2024)1. Dance With The Devil. 2024Esprit_DAir_-_SeasonsSerafine (2024 Version). 2024Casandra's Crossing - Garden Of Earthly Delights (2024)9. Run For Your Life. 2024Impellitteri (USA)2024 - War Machine6 - Hell On Earth. 2024Injector Path of the Wrathgod2. Path of the Wrathgod 2024Impellitteri (USA)2024 - War Machine10 - Gone Insane. 2024Nurcry RenacerNURCRY 06 SALVAJES 2024Azrael-NOCHE DE BRUJAS 2024WHITE TYGER NO FUCKS GIVEN. 2024RENDEZVOUS POINT Dream Chaser 01 Don't Look Up. 2024Tungsten (Sweden)2024 - The Grand Inferno1 - Anger. 2024TURBOKILL Champion2 - A Million Ways. HELLOWEEN EAGLE FLY FREE LIVE IN BUDOKAN.2024 2024Seventh Crystal - Entity (2024)2 - Thirteen to One. The Night Flight Orchestra - Aeromantic (2020)1 Servants of the Air.m The Night Flight Orchestra - Aeromantic (2020)2 Divinyls.m 2024invicti Jordi Castilla & Carta Magna Mírate12 La Ultima Cancion con Rafa Martin. Childrem of bodom Under Grass and Clover.mp3 2024Voodoo Circle - Hail To The King (2024)2 Let It Rock.mp3 SCORPIONS DISCOGRAFIAAlbums1990 - Crazy World10. Crazy Worl Serious Black - Rise Of Akhenaton (2024)9 - Virtual Reality.m STOP, STOP - TANGLED -20239 MTV Stop, Stop! Tangled. Velkhanos - The Vampire Of Alva Part.1Velkhanos - The Vampire Of Alva 3 - GUNPOWDER.

In Pt 2 of Rick Grossman's “How's That? – The Podcast” episode, the Oz music legend talks to the boys about : The Divinyls, his close friendship with Chrissie Amphlett, Chrissie & Divinyls guitarist Mark McEntee, touring with Aerosmith, Steven Tyler & The Cult, Men At Work paving the way for Oz bands in the USA, Comb & Cutter at Blacktown, Selina's at Coogee Bay Hotel, leaving The Divinyls due to heroin addiction, and much more….

Inside the rehearsal room to talk love, grief, healing and joy with Jimmy Barnes, Charley Drayton and Cold Chisel. Find out more about The Front podcast here. You can read about this story and more on The Australian's website or on The Australian's app. This episode of The Front is presented by Claire Harvey, produced by Kristen Amiet, and edited by Jasper Leak. The multimedia editor is Lia Tsamoglou, and original music is composed by Jasper Leak.  See omnystudio.com/listener for privacy information.

Welcome to The 80's Montage! (music, mateys and cool shit from the 80s) Your Hosts Jay Jovi & Sammy HardOn, singers from Australian 80's tribute band Rewind 80's. We take you back to living in the 80's: music, artists, TV commercials and video clips. Please rate, review and enjoy! Music licensed by APRA/AMCOS Theme music ©2019 M. Skerman. Produced & edited by Matty Ray. See Facebook for links to videos & songs mentioned in this episode! Email: Samantha@planet80s.com.auFacebook: the80smontagepodcast twitter: @the80smontage instagram: the80smontageRewind 80's Band - www.rewind80sband.comTickets - www.rewind80smixtape.com.auBookings - samantha@planet80s.com.auPlease Subscribe, Like, Share, Rate (Itunes please)You can join to for only $2 a month (Get On It)https://www.patreon.com/the80smontagepodcastLinks: A1 :Queen - One Vision (Official Video) https://www.youtube.com/watch?v=0_1IMZmJe-U #QueenA5: Jimmy Barnes - I'd Die To Be With You Tonight (Official Video) #JimmyBarneshttps://youtu.be/1sPLZ6AXIPE?si=FYrv4oPjzk9Eu4CPA6: DIVINYLS - Pleasure & Pain (1985) HD #Divinylshttps://youtu.be/5boYiMktOvs?si=KyiFIpgyjV0DNqZZA7: KIDS IN THE KITCHEN - Current Stand #Kidsinthekitchen #ScottCarnehttps://youtu.be/TASd9v4Tmnw?si=dJYs2rm8bUb7J0PiA8: Hoodoo Gurus - Like Wow - Wipeout! #HoodooGurushttps://youtu.be/vFnaNPGe4gQ?si=FiWZtZGABtJYY1DAA9: Real Life - Face To Face (1985) [HQ] #Reallifehttps://youtu.be/_e5boNYaMg4?si=O7eK2xltTcmFvPh8B3: Thompson Twins - Don't Mess with Doctor Dream #ThompsonTwinshttps://youtu.be/B9gdaY2GT3A?si=zAOpyCZPQEnHXZfaB5: Models - Cold Fever (Official Music Video) #Modelshttps://youtu.be/D6sf_UzutMw?si=1ipbD1gDmIfx0K7yB7: Tina Turner — One of the Living (Movie Version) [HD] #Tinaturnerhttps://youtu.be/slFNKgUZBzg?si=S9J8bhTq7UIkzOj_Thanks For Listening!The 80's Montage Podcast

Dynamic rock outfit HER have been steadily building a name for themselves on the Australian music scene, with their infectious blending of rock and blues-infused grunge goodness finally getting the band national recognition following the release of their latest EP, Toe Rag.With members having played with and shared stages with the likes of The Screaming Jets, Keith Richards, Divinyls and Billy Thorpe, HER most certainly have the pedigree for a career in rock, they just need the exposure.Which comes next weekend in the form of the Mitchell Creek Blues and Rock Festival, where HER have been given the honour of closing out the three day festival on September 15. Undoubtedly the heaviest act of the 120 artists asked to perform, HER are flying the flag for harder-edged music, and do so with pride and enthusiasm.HEAVY caught up with vocalist Mish Davie and bass player Jerome Smith to find out more."It just came out of the blue," Davie enthused about the opportunity to close Mitchell Creek. "I was contemplating where are we going? What are we doing with this band? It's such hard work, and I was really having a downer to the point of thinking I don't even know if it's worth keeping this band going. And then the phone rang, and it was Jimmy, and he said 'hey Mish how would you like to come and play at a festival I organise?' So it was totally out of the blue but he said he had been listening to us for a while, and he was really drawn to the single The Truth, and that's basically how it happened."Part of HER's appeal comes in the fact that they are continually pushing their musical boundaries in an attempt to break free from the mould of being another in a long line of run-of-the-mill rock bands that are a dime a dozen in music."It's such a process," Davie explains of HER's overall sound. "For me personally, I collaborate still with my old guitarist. We've got so much stuff on the shelf we have yet to release, so that has been interesting bringing that in. When I first started this band six years ago, that was all the songs I had with my back catalogue. That first album was quite eclectic. Including Jerome, there's four drummers on the first album, so it was all hired guns. Now it's been 18 months to two years with this line-up, and Mark McLeod (drums) is now on board, and he has a really distinct style, so that's been interesting melding that into what we do with the kind of stoner rock and slower, bluesy rock stuff. It's really amped up the style and pushed it - because Mark is quite a metal player - and he has pushed what we do heavier. But what has happened with Nelson (guitar), Jerome and Christian (guitar) as well is all of us write. It's just so good to get together with a creative and talented group of people who, in their own right, all write music and have their own style."In the full interview Mish and Jerome talk more about the sound of HER and how it came about, their upcoming show at Mitchell Creek Blues And Rock Fest and what it means to them and their music, what to expect live from HER, the EP Toe Tag and how it was received, pushing their limits musically, finding the balance of genres in the writing and recording stage and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Welcome to "The Overly Excited Podcast," where we bring you thrilling tales from the world of music and entertainment! We have a special guest in today's episode – the renowned photographer Tony Mott. Get ready for an electrifying journey through the Australian live music scene of the 80s as Tony shares captivating stories about legendary acts like ACDC, The Divinyls, and more.Join hosts Jack Watts and Dale Sidebottom, who are absolutely thrilled to be in the presence of Tony Mott and his incredible body of work. Listen as they delve into Tony's unexpected entry into photography and share some wild tales from the road, including unforgettable encounters with the likes of Ozzy Osbourne and The Rolling Stones. As Tony shares the highs and lows of his remarkable career, the hosts passionately discuss the importance of building relationships and the art of capturing the essence of music through photography.So, grab your headphones and join us as we dive into the fascinating world of live music, iconic performers, and the incredible journey of a photographer who found his true passion through the lens of rock 'n' roll. Get ready for an episode that's bound to leave you overly excited!https://tonymott.com/

192. Andy takes a step back into the 80's with a look at the Divinyls, what a time to be alive! Bob and I have a look at the news including the interim report on the level crossing disaster on the Barrier Highway last December and them old mate Trv Warner from the drivers advocate page on Facebook joins me on the phone for a chat.

Rick Grossman is an Australian rock musician renowned for his role as the bass guitarist for two iconic Australian bands, Divinyls and Hoodoo Gurus.Rick's rockstar journey has seen incredible highs and challenging lows. He shot to international fame with the Divinyls but faced a tough battle with heroin addiction, which led to his departure from the band in 1987. After a long and hard-fought recovery, Rick made a remarkable comeback with the Hoodoo Gurus, with whom he continues to tour with today.In our conversation, Rick shared insights into his musical beginnings, his experiences with Divinyls and Hoodoo Gurus, what makes Australian rock bands special, the drug culture in the rock and roll scene, his recovery journey, his passion for rugby league, and much more.It's been quite a ride, and Rick has a wealth of wisdom and stories to share. Enjoy.Follow Mark Bouris on Instagram, LinkedIn, Twitter & YouTube. You can subscribe to the newsletter here: https://lnkd.in/e7C8akgj. Hosted on Acast. See acast.com/privacy for more information.

A mix of Top 40 hits from May 1991. Artists include Black Crowes, Divinyls, Cathy Dennis, Huey Lewis and the News, Gerardo, Blackbox, Amy Grant and more!

On this week's episode, the hosts dive into a diverse array of topics that are sure to captivate listeners. First up, Professor Aubrey regales us with tales from her recent sun-soaked getaway to the picturesque Puerto Vallarta, sharing her experiences and adventures from this Mexican paradise. Then, Tim the Nerd unleashes his unbridled passion for professional wrestling, dissecting the highly anticipated Wrestlemania 40 Night 2 main event clash between Cody Rhodes and Roman Reigns. Brace yourself for a heated dissection of every high spot, false finish, and controversial moment. Professor Aubrey, a Wrestlemania newcomer, also weighs in with her fresh perspective on witnessing the spectacle live for the first time. But the real showstopper is the duo's deep dive into the iconic music of 1991. Over the next two weeks, they'll unpack why this year was such a pivotal moment in music history, exploring groundbreaking albums from a diverse range of artists, including the DiVinyls, Gerardo, Queen, REM, Bob Dylan, Lenny Kravitz, Michael Bolton, Boys II Men, Natalie Cole, Van Halen, Bonnie Raitt, and Tom Petty and the Heartbreakers. Get ready to reminisce, discover, and appreciate the lasting impact of these seminal releases. As always, we wish to thank Christopher Lazarek for his wonderful theme song. Head to his ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for information on how to purchase his EP, Here's To You, which is available on all digital platforms. Support our sponsor, Coffee Bros. Head to their ⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠ and when you make an order, put in promo code FTN10 to save 10% on your order. Head to our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Linktree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠for more information on where to find us online. Friends Talking Nerdy is a proud member of the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Deluxe Edition Network⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Head to their website to find out more information about all the shows available on the Network. --- Send in a voice message: https://podcasters.spotify.com/pod/show/ftnerdy/message

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.

This week, we honor the year 2004, along with Rock and Roll Hall of Fame Class of 2004 member Prince, we look at the case for putting Rick James into the Rock and Roll Hall of Fame, and our spotlight Hall of Fame is the ARIA of Fame in Melbourne, Australia & inductee The Divinyls. Podcast Music Playlist - https://www.youtube.com/playlist?list=PLSMDYrumQfYQe2FZA4-AYMbmr6R_TJyYf ALL MUSIC HISTORY TODAY  PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday Rock and Roll Hall of Fame - RockHall.com ARIA Hall of Fame - artscentremelbourne.com.au --- Send in a voice message: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

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.

We may have missed Halloween, but so what? On this episode we take you back to sunny Los Angeles for a look at the soundtrack to 1992's Buffy The Vampire Slayer, the feature film blueprint for one of the most iconic TV series of the 90s. This soundtrack is pretty typical of what you'd find on a movie soundtrack in 1992. You've got the requisite covers from artists like Divinyls and Mary's Danish, the sensitive guy rock from Matthew Sweet and Toad the Wet Sprocket, The Cult and Ozzy Osbourne giving us a couple of random metal tracks, and hey why not, have some C+C Music Factory! So throw on your leather jackets and sharpen your stakes, because it's time for some Buffy! SHOW NOTES FOR THIS EPISODE: Buffy The Vampire Slayer is available to stream here The LA Times: "A Look Inside Hollywood and the Movies" Nerf Herder's "Close Your Eyes and Dream" INTRO/OUTRO: "Dance Rocket" by Jesse Spillane MUSIC VIDEOS: "Keep It Comin' (Dance Til You Can't Dance No More)" by C+C Music Factory "I Ain't Gonna Eat Out My Heart Anymore" by Divinyls Have a soundtrack you'd like us to cover?  Follow us on Twitter @OSTParty and let us know! Or email us at OSTPartyPod@gmail.com 

This episode of the podcast was inexplicably brought to you by The Divinyls. Join Melissa, Tiffany and some questionable karaoke as they navigate their way through this episode of Station 19.

Rick Grossman is one of only a few musicians in the world who can say they have played with not one, but two iconic bands….with Rick being an essential part of the line up with The Hoodoo Gurus, and also The Divinyls… Rick is an in inductee into the ARIA Hall of Fame, twice….and has truly lived life onthe edge for many years, and as you'll hear in this chat Rick isn't shy about hisaddictions and his recovery. Help is available through LifeLine 13 11 14 Check out The Matty Johns Podcast YouTube channel here The guys on Insta here and TikTok here.  See omnystudio.com/listener for privacy information.

Tonight is all about that Land Down Under !   Australia has produced some amazing bands - many you know VERY well, many you don't - and we are about to introduce (or re-introduce) you to a whole bunch of great tunes...  give us a listen...     HEY !  Please comment on this one... If you were able to meet your favorite band ever... what are the Three Questions you would ask them... we will be interviewing many bands coming up this next year - and want your input... so do that please.   We went through the 70's (The Saints, AC/DC, Cold Chisel, Skyhooks, INXS, etc..) and the 80's briefly (Divinyls, Hunters & Collectors, Nick Cave, Crowded House) the 90's (Savage Garden, Regurgitator, The Vines, The Avalanches, The Sleepy Jackson) and after that... 2000 and beyond...  Jet, Cut Copy, Pendulum, Howling Bells, Wolfmother, and Empire of the Sun.   Look - you don't have to like all the music we discuss... but it's totally fine to appreciate the artists.  If there's something you liked hearing - go buy stuff directly from that band.      Thanks for joining in on this conversation between two buddies who love music, and love talking about it.     Support your local artist !

Memorial Day weekend 1983 was the second coming of the US Festival in Southern California, the brainchild of Apple co-founder Steve Wozniak who, after 1982's test run, continued the mission of creating a community event combining technology with rock.   With a 4-day festival over 7 days, the format commenced on Friday with the “new wave” acts as a theme. Australia was highly represented with The Divinyls, Men at Work and our very own INXS. Saturday was “heavy metal day” with Van Halen and Ozzie Osbourne spearheading, and Sunday “rock day” with a young U2 and Stevie Nicks paving the way for the main act David Bowie. The following Sunday concluded the event with Country Day.   The importance of this event cannot be underestimated in inspiring future festivals such as Lollapalooza and Coachella, with over 1,100,000 fans attending these 1982/83 shows despite the collective apprehension after the infamous Altamont gig and Woodstock events some 15 years earlier.   Despite losing millions of dollars, the US Festival gigs of 1982 and 1983 represented a true zeitgeist moment in time and created fan and artist experiences that are still eulogized 40 years later. Importantly for INXS, the festival represented a pivotal confidence boost where they went from the pubs & club gigs of 1000 people to 180,000 at said Festival.   With Mark Opitz recently remastering INXS' 9-song setlist performance, we urge you to check that out, plus sit back and dive deep into this nostalgic retrospective of an event that's still admired 40 years later.   You can now pre-order copies of 'Rooms for the Memory" on Vinyl and CD, using the link below. It is open for all international shipping  https://www.viciousthreads.shop/collections/public-opinion-music?fbclid=IwAR1KInpPmFEB9pZ06Nf0tAEothU_TVC_fcEfPYCnArBDF5jp0P7tvscAh8E   The Max Q Poll        https://www.inxsaccessallareas.com/post/inxs-podcast-poll   To become a Patron                 https://www.inxsaccessallareas.com/plans-pricing   Have you signed the petition?                     https://www.change.org/p/induct-inxs   Subscribe to our website and leave a comment. We always enjoy reading your feedback.                                                        https://www.inxsaccessallareas.com/

On the April 21 edition of Music History Today, Paul McCartney sets a record, S Club 7 calls it quits, & the world loses a Prince & a Divinyl, along with Nina. Also, happy birthday to Iggy Pop & Robert Smith of the Cure.   ALL MY MUSIC HISTORY TODAY PODCAST LINKS - https://allmylinks.com/musichistorytoday CHECK OUT MY OTHER PODCAST, THE MUSIC HALLS OF FAME PODCAST: LINKS - https://allmylinks.com/musichallsoffamepodcast YouTube link to THE MUSIC HALLS OF FAME PODCAST - https://www.youtube.com/channel/UCkyDaB5vuuEaagwnBHfvrOw/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

The Man of The Hour

This week's show welcomes special guest Rick Grossman to the Fire Up! Panel. Rick is a 2 time ARIA Hall Of Famer as bass player with the Hoodoo Gurus and The Divinyls, and as a lifelong Rugby League fanatic shares some amazing stories of encounters with King Wally, Choppy and Fatty through to Craig Tugger Coleman and Lou Reed. The boys also discuss such hot topics as Legroom at Trellianz, The Manly Mobile Recruitment Mini Bus, The Book Of Feuds, The Kestrel 54 Wind Speed Tracker, the Penrith Culture Conference and much, much more… With some original music as always from Denis Carnahan, and this week we give those floral shirt enthusiasts the Hoodoo Gurus some valuable airtime. Tune in for the full Fire Up! ExperienceSee omnystudio.com/listener for privacy information.

Get ready for a musical throwback on the latest episode of Song Swap Showdown! This time, the theme is all about guilty pleasures, and Chris and Amanda are sharing their most beloved tunes that they're a little embarrassed to admit they love.  From Ashlee Simpson's "Pieces of Me" to K$sha's "Tik Tok," Chris brings the pop-punk vibes while Amanda adds some classic tunes with "Then He Kissed Me" by The Crystals and the steamy "I Touch Myself" by diVinyls.  Join the fun as they rate and review each other's picks on a scale of 1-5 records and find out who has the ultimate guilty pleasure playlist.  Songs Featured Pieces of Me by Ashlee Simpson Tik Tok by Kesha Party in the USA by Miley Cyrus Young, Wild, and Free by Snoop Dogg, Wiz Khalifa, Bruno Mars Then He Kissed Me by The Crystals I Touch Myself by The diVinyls   SPONSOR: Campsite.bio A Blazing Fast Bio Link Made Your Way! Add Campsite.bio to any of your social sites now and CONVERT more followers into customers with a link in bio tool created just for you.   SIGN UP FOR FREE or get $10 off a prop plan by using this code 1LM1JTJD, at checkout https://campsite.bio/landing/thechrisandamandashow   Join our Facebook Community - https://www.facebook.com/groups/1161768424439762 Give us a call, leave us a voicemail at +1 973 506 8009 Listen to our Song Swap Showdown 2023 Playlist https://open.spotify.com/playlist/4282nflhL3RxbeiHdOma29... Connect with us at - http://campsite.bio/songswapshowdown Support the show over at Buy Me A Coffee - https://www.buymeacoffee.com/songswapshow Send us an email at thechrisandmaandashow@gmail.com ALL LINKS - https://campsite.bio/songswapshowdown   --- Send in a voice message: https://podcasters.spotify.com/pod/show/songswapshowdown/message Support this podcast: https://podcasters.spotify.com/pod/show/songswapshowdown/support

Welcome to the first episode of season 8 of The Danny Diess Show with music by Kate Bush, The Associates, The Police, Devo, The Cramps, Altered Images, David Bowie just to name a few. Also in this episode is brand new music by the one and only Peter Gabriel and Northwest recording artist Trace Gas Analyz3r. Recorded live at The She Shack Studio on Jan 6th 2023.© Copyright Danny Diess 2023.

In part two of this special live event at Secret Pour in Brooklyn, the gurls get interactive with their audience and dig deeper into the naughty corners of their sex and dating lives. Music by Barbra Streisand, Divinyls, and Salt & Pepa. Make sure to follow QSOM on Instagram and visit our website to get info on events, promotions, special episodes and more! QSOM is produced by QueerMinded and broadcast by Radio Free Brooklyn. 

We start off with our brand new segment... The Relistnenables! This week we re-listen to The Divinyls. Don't worry the segment won't last after this. We say thanks but hopefully not goodbye to our GOAT - Sue Bird. Also the WNBA Playoffs are must-see TV. As always, it's time for our NFL week 1 picks. We've got a system to start off the season. It couldn't possibly back-fire on us, right?

Rock and roll legend Rick Grossman joins Hoppo in the beach shack for this week's episode of Life's a Beach. Playing huge roles in massive bands such as the Divinyls and the Hoodoo Gurus. He talks about his musical history, the hardships and all the memories and relationships he's made along the way. Matt Colquhoun joins us for beach banter this week For all things Life's a Beach, visit our site at https://www.lifesabeach.co/ Instagram: https://www.instagram.com/lifesabeachau/?hl=enSee omnystudio.com/listener for privacy information.

Rick Grossman is an Australian rock musician who has played bass guitar for two iconic bands: Divinyls and Hoodoo Gurus. In Part 2, Rick delves more into his drug use on the road, tour stories and family life.Support the show: https://www.patreon.com/theclinkSee omnystudio.com/listener for privacy information.

Rick Grossman was living every young musician's dreams, he was a bass player for the rock bands Divinyls and Hoodoo Gurus. But his new life came with some dangerous temptations that took him down a dark path. See omnystudio.com/listener for privacy information.

Rick Grossman is an Australian rock musician who has played bass guitar for two iconic bands: Divinyls and Hoodoo Gurus. Rick talks about his addiction and life on the road with some of the biggest bands in the world.Support the show: https://www.patreon.com/theclinkSee omnystudio.com/listener for privacy information.

Episode Three point One kicks off our lengthy analysis of how the media is utilised or seemingly weaponised as an apparatus of control in public debates around workplaces. We cover ground on inaccuracies in reporting, how a company could use social media and traditional publishing media to “socialwash” or “Boris Bus”, and syndication and distribution methods that can tip the scales in matters of public debate defined by power dynamics and resources. We discuss the impacts this can have. Fanny & Kate discuss some of their experiences dealing with the media in the last year.More Information, Links etc.With this link, you can access all of our sourcing, transcripts and all podcast info:www.handandheart.eu/spcmCreditsHand & Heart extend our appreciation and gratitude to all who contributed to this podcast, and all who assisted in its production.The song “Back to the Wall” was composed and performed by AMUNDA, and produced by AMUNDA with Kyle Startup (Instagram). It is a cover of the 1988 song by the Divinyls. You can follow AMUNDA on Instagram or listen to their music on Spotify, Apple or Soundcloud. If you love AMUNDA's music, please consider buying it directly from BandCamp. Support indie, always.Additional music provided by Julia Laws, of Ronboy, and you can follow them on Instagram or listen to their music on Spotify, Apple or SoundCloud. If you love Julia's music, please consider buying it directly from BandCamp. Support indie, always.The artwork was created by Regina Schneider, of Van Velden Studios. Regina's work was featured in a billboard earlier this year as part of a Pussy Riot exhibition. You can follow Van Velden Studios on Instagram.Super Punk Corporate Meltdown was produced by Kate Bailey (H&H Instagram / H&H Twitter) and Fanny Wandel (Instagram / Twitter) for Hand & Heart Media, the publishing arm of Hand & Heart GmbH. For any enquiries related to this broadcast, please email: admin@handandheart.eu.

Episode recaps the story so far, as well as detailing the status of any matters related to the case study discussed through the podcast. We reflect deeply on the pillars of workers rights, institutional betrayal and corporate retaliation and strive to summarise these pillars into the ecosystem of behaviour we can anticipate in a Super Punk Corporate Meltdown.More Information, Links etc.With this link, you can access all of our sourcing, transcripts and all podcast info:www.handandheart.eu/spcmCreditsHand & Heart extend our appreciation and gratitude to all who contributed to this podcast, and all who assisted in its production.The song “Back to the Wall” was composed and performed by AMUNDA, and produced by AMUNDA with Kyle Startup (Instagram). It is a cover of the 1988 song by the Divinyls. You can follow AMUNDA on Instagram or listen to their music on Spotify, Apple or Soundcloud. If you love AMUNDA's music, please consider buying it directly from BandCamp. Support indie, always.Additional music provided by Julia Laws, of Ronboy, and you can follow them on Instagram or listen to their music on Spotify, Apple or SoundCloud. If you love Julia's music, please consider buying it directly from BandCamp. Support indie, always.The artwork was created by Regina Schneider, of Van Velden Studios. Regina's work was featured in a billboard earlier this year as part of a Pussy Riot exhibition. You can follow Van Velden Studios on Instagram.Super Punk Corporate Meltdown was produced by Kate Bailey (H&H Instagram / H&H Twitter) and Fanny Wandel (Instagram / Twitter) for Hand & Heart Media, the publishing arm of Hand & Heart GmbH. For any enquiries related to this broadcast, please email: admin@handandheart.eu.

Episode Four presents the results of matters that developed earlier in the timeline of our case study, and the nature and impacts of data breaches in anonymous surveys, and the implications that has for entities charged with independence from an embattled company.More Information, Links etc.With this link, you can access all of our sourcing, transcripts and all podcast info:www.handandheart.eu/spcmCreditsHand & Heart extend our appreciation and gratitude to all who contributed to this podcast, and all who assisted in its production.The song “Back to the Wall” was composed and performed by AMUNDA, and produced by AMUNDA with Kyle Startup (Instagram). It is a cover of the 1988 song by the Divinyls. You can follow AMUNDA on Instagram or listen to their music on Spotify, Apple or Soundcloud. If you love AMUNDA's music, please consider buying it directly from BandCamp. Support indie, always.Additional music provided by Julia Laws, of Ronboy, and you can follow them on Instagram or listen to their music on Spotify, Apple or SoundCloud. If you love Julia's music, please consider buying it directly from BandCamp. Support indie, always.The artwork was created by Regina Schneider, of Van Velden Studios. Regina's work was featured in a billboard earlier this year as part of a Pussy Riot exhibition. You can follow Van Velden Studios on Instagram.Super Punk Corporate Meltdown was produced by Kate Bailey (H&H Instagram / H&H Twitter) and Fanny Wandel (Instagram / Twitter) for Hand & Heart Media, the publishing arm of Hand & Heart GmbH. For any enquiries related to this broadcast, please email: admin@handandheart.eu.

Episode Three point Two continues our discussion around the media. We discuss the difficulty the media seems to have when it comes to workplace issues, and the complexities that are not accounted for in some reporting about workplaces. Citing examples from recent months, we also assess the impact these difficulties can have on certain stakeholders.More Information, Links etc.With this link, you can access all of our sourcing, transcripts and all podcast info:www.handandheart.eu/spcmCreditsHand & Heart extend our appreciation and gratitude to all who contributed to this podcast, and all who assisted in its production.The song “Back to the Wall” was composed and performed by AMUNDA, and produced by AMUNDA with Kyle Startup (Instagram). It is a cover of the 1988 song by the Divinyls. You can follow AMUNDA on Instagram or listen to their music on Spotify, Apple or Soundcloud. If you love AMUNDA's music, please consider buying it directly from BandCamp. Support indie, always.Additional music provided by Julia Laws, of Ronboy, and you can follow them on Instagram or listen to their music on Spotify, Apple or SoundCloud. If you love Julia's music, please consider buying it directly from BandCamp. Support indie, always.The artwork was created by Regina Schneider, of Van Velden Studios. Regina's work was featured in a billboard earlier this year as part of a Pussy Riot exhibition. You can follow Van Velden Studios on Instagram.Super Punk Corporate Meltdown was produced by Kate Bailey (H&H Instagram / H&H Twitter) and Fanny Wandel (Instagram / Twitter) for Hand & Heart Media, the publishing arm of Hand & Heart GmbH. For any enquiries related to this broadcast, please email: admin@handandheart.eu.

Episode Zero establishes the cultural landscape and chronological context required to tell the stories featured in the podcast. We address why we wanted to make the podcast, and our intention for those involved and those listening. We also speak with Ren Navvaro about her work as a DE&I practitioner, consultant and beer professional within the craft beer industry. You can follow Ren on Instagram or Twitter, or read more about her work and company via her website. Exclusive and superfluous interjections in this episode include Jordan Peterson (Lobster Daddy), Beyonce (CEO of the Cultural Zeitgeist), Elon Musk, Dashboard Confessional and Metal Gear Solid.More Information, Links etc.With this link, you can access all of our sourcing, transcripts and all podcast info:www.handandheart.eu/spcmCreditsHand & Heart extend our appreciation and gratitude to all who contributed to this podcast, and all who assisted in its production.The song “Back to the Wall” was composed and performed by AMUNDA, and produced by AMUNDA with Kyle Startup (Instagram). It is a cover of the 1988 song by the Divinyls. You can follow AMUNDA on Instagram or listen to their music on Spotify, Apple or Soundcloud. If you love AMUNDA's music, please consider buying it directly from BandCamp. Support indie, always.Additional music provided by Julia Laws, of Ronboy, and you can follow them on Instagram or listen to their music on Spotify, Apple or SoundCloud. If you love Julia's music, please consider buying it directly from BandCamp. Support indie, always.The artwork was created by Regina Schneider, of Van Velden Studios. Regina's work was featured in a billboard earlier this year as part of a Pussy Riot exhibition. You can follow Van Velden Studios on Instagram.Super Punk Corporate Meltdown was produced by Kate Bailey (H&H Instagram / H&H Twitter) and Fanny Wandel (Instagram / Twitter) for Hand & Heart Media, the publishing arm of Hand & Heart GmbH. For any enquiries related to this broadcast, please email: admin@handandheart.eu.

Episode Two looks at the concept of abrasive leadership, exploring the implications for all stakeholders when an individual starts exhibiting traits of abrasive leadership. The forensic detailing of Quotegate continues, and we hear the lengths the community went to trying to clarify the issue. We hear about an example of corporate retaliation, not dissimilar to tactics employed by Harvey Weinstein or Tesla, who have notably used private investigators with former workers. We also hear what happens when diplomacy falls apart when confusion and mistrust set in.More Information, Links etc.With this link, you can access all of our sourcing, transcripts and all podcast info:www.handandheart.eu/spcmCreditsHand & Heart extend our appreciation and gratitude to all who contributed to this podcast, and all who assisted in its production.The song “Back to the Wall” was composed and performed by AMUNDA, and produced by AMUNDA with Kyle Startup (Instagram). It is a cover of the 1988 song by the Divinyls. You can follow AMUNDA on Instagram or listen to their music on Spotify, Apple or Soundcloud. If you love AMUNDA's music, please consider buying it directly from BandCamp. Support indie, always.Additional music provided by Julia Laws, of Ronboy, and you can follow them on Instagram or listen to their music on Spotify, Apple or SoundCloud. If you love Julia's music, please consider buying it directly from BandCamp. Support indie, always.The artwork was created by Regina Schneider, of Van Velden Studios. Regina's work was featured in a billboard earlier this year as part of a Pussy Riot exhibition. You can follow Van Velden Studios on Instagram.Super Punk Corporate Meltdown was produced by Kate Bailey (H&H Instagram / H&H Twitter) and Fanny Wandel (Instagram / Twitter) for Hand & Heart Media, the publishing arm of Hand & Heart GmbH. For any enquiries related to this broadcast, please email: admin@handandheart.eu.

Episode One begins in January 2022, where our story kicks off with a company's actions that begin to ripple across the community, and those impacted directly. We revisit historical examples of cultural issues and then follow the public events from February 2022 onwards, culminating in listeners first touch point with the notorious calamity of Quotegate.More Information, Links etc.With this link, you can access all of our sourcing, transcripts and all podcast info:www.handandheart.eu/spcmCreditsHand & Heart extend our appreciation and gratitude to all who contributed to this podcast, and all who assisted in its production.The song “Back to the Wall” was composed and performed by AMUNDA, and produced by AMUNDA with Kyle Startup (Instagram). It is a cover of the 1988 song by the Divinyls. You can follow AMUNDA on Instagram or listen to their music on Spotify, Apple or Soundcloud. If you love AMUNDA's music, please consider buying it directly from BandCamp. Support indie, always.Additional music provided by Julia Laws, of Ronboy, and you can follow them on Instagram or listen to their music on Spotify, Apple or SoundCloud. If you love Julia's music, please consider buying it directly from BandCamp. Support indie, always.The artwork was created by Regina Schneider, of Van Velden Studios. Regina's work was featured in a billboard earlier this year as part of a Pussy Riot exhibition. You can follow Van Velden Studios on Instagram.Super Punk Corporate Meltdown was produced by Kate Bailey (H&H Instagram / H&H Twitter) and Fanny Wandel (Instagram / Twitter) for Hand & Heart Media, the publishing arm of Hand & Heart GmbH. For any enquiries related to this broadcast, please email: admin@handandheart.eu.

Join Mama J in some self exploration. We will learn how to self love... Suggested music to take away from today's podcast: 'I Touch Myself' by the DIvinyls

This is the 7th Episode of the my most listened to show. This weekend's drive time summer includes 41 songs and remixes from the following: Ed Sheeran, Enrique Iglesias, INXS, Fine Young Cannibals, Bananarama, Snap!, Bruno Mars, Michael Jackson, Jimmy Cliff, Puff Daddy, Daddy Yankee, Punjabi MC, The Divinyls, Jay Sean, Shouse, Rihanna, David Guetta, and this week's record of the week Corocito. An hour of 41 songs mixed back to back dj Sammy style. Don't forget to like and share and if you love this episode, you can listen to the previous ones on the following links:Episode 1:https://podcasts.apple.com/ae/podcast/dj-samd/id1136293924?i=1000563041754Episode 2:https://podcasts.apple.com/ae/podcast/dj-samd/id1136293924?i=1000564237124Episode 3:https://podcasts.apple.com/ae/podcast/dj-samd/id1136293924?i=1000565160122Episode 4:https://podcasts.apple.com/ae/podcast/dj-samd/id1136293924?i=1000566026205Episode 5:https://podcasts.apple.com/ae/podcast/dj-samd/id1136293924?i=1000566859996Episode 6:https://podcasts.apple.com/ae/podcast/dj-samd/id1136293924?i=1000567629203Mixcloud page: https://www.mixcloud.com/sammy789012/Made with Lovedj SamD

This week we have these artists which include a few songs from soundtracks of movies and/or tv shows sprinkled around the course of the show.  Here are the artists in this episode: Phoenix, Starcrawler, Fontaines DC, Blind Melon, Julia Jacklin, Big Thief, Shadowy Men On A Shadowy Planet, Medium Medium, Kate Bush, Big Country, Teddybears with Iggy Pop, Midnight Oil, Divinyls, Harold Faltermeyer with Steve Stevens.   On the Air on Bedford 105.1 FM Radio      * 5pm Friday *      * 10am Sunday *      * 8pm Monday * Stream live at http://209.95.50.189:8178/stream Stream on-demand most recent episodes at https://wbnh1051.podbean.com/category/suburban-underground/ Twitter: @SUBedford1051 Facebook: SuburbanUndergroundRadio Instagram: SuburbanUnderground And available on demand on your favorite podcast app!  

Today is the first episode of the new season with all your awesome request and a little bit of my spice in the mix. Today's post punk new wave set includes Plasmatics, The Sugarcubes, O.M.D. Kate Bush, The Creatures, Alien Sex Fiend, Kim Wilde, Tones On Tail, Visage, The Human League, The Cure, Ministry, Dead Or Alive, Soft Cell, David Bowie, Siouxsie & The Banshees, Billy Idol, Madonna, The Virgin Prunes, Divinyls, . The "Post Punk New Wave" mix is every Wednesday from 12pm-2pm(pst) on the Danny Diess Show. To see a full setlist of todays show see chapter list on episode page.© Copyright Danny Diess 2022.

Today is another fun filled episode of New Wave Post Punk Wednesdays. Today on the show is request for Siouxsie & The Banshees, Kraftwerk, Divinyls, Human League, O,M.D. Wire, Love & Rockets, Coil, The Cure and more. for a complete list of tracks played in today's show see the homepage chapter list.© Copyright Danny Diess 2022,

Today's broadcast is a combo of classic new wave rock and synth pop gems featuring Prince, Madonna, The Mission U.K. Berlin, David Bowie, PJ Harvey, Pat Benatar, She Wants Revenge, Heaven 17, George Michael and an artist block of Blondie and more sweetie, darling ,darling sweetie. In studio guest were Erik Shunn & JMoney. © Copyright Danny Diess

Lawrence & Matthew discuss: The best live gigs the fellas have ever seen (Chrissie Amphlett's Divinyls among them) The soon-to-happen live shows of this podcast, as part of the Melbourne International Comedy Festival, on April 2 & April 9 - Book tickets here - https://www.comedyfestival.com.au/2022/shows/saturday-afternoon-fever See omnystudio.com/listener for privacy information.

We're ranking songs of self-pleasure, which means that along with making terrible onanism puns, we're (ahem) giving a hand to songs by Cyndi Lauper, Billy Idol, the Divinyls, and more. Our intro is by Andrew Byrne, and our outro is by De La Soul. To contact us or buy our books, visit MarkAndSarahTalkAboutSongs.com. To become a patron of the show, visit patreon.com/mastas.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.