ARIA Music Awards of 2005
The 19th Annual Australian Recording Industry Association Music Awards were held on 23 October 2005 at the Sydney Superdome at the Sydney Olympic Park complex, thus continuing the previous year's innovation of televising the awards on Sunday evening. A varied cast of presenters included Merrick and Rosso, stand-up comic Dave Hughes, Gretel Killeen and David Hasselhoff. On 14 July 2005 ARIA sought to create a separate standalone'ARIA Icons: Hall of Fame' event as only one or two acts could be inducted under the old format due to time restrictions. Six acts were inducted into the Hall of Fame in July with an additional act inducted at the following ARIA Music Awards in October. Winners are highlighted in bold, other final nominees are in plain. Album of the Year Missy Higgins – The Sound of White Ben Lee – Awake Is The New Sleep Evermore – Dreams Keith Urban – Be Here Sarah Blasko – The Overture & The Underscore Single of the Year Ben Lee – "Catch My Disease" Evermore – "For One Day" Missy Higgins – "The Special Two" Thirsty Merc – "Someday, Someday" Wolfmother – "Woman" Best Male Artist Ben Lee – Awake Is the New Sleep John Butler – "Something's Gotta Give" Keith Urban – Be Here Lior – Autumn Flow Paul Kelly – Foggy Highway Best Female Artist Missy Higgins – The Sound of White Kylie Minogue – "I Believe in You" Mia Dyson – Parking Lots Natalie Imbruglia – Counting Down the Days Sarah Blasko – The Overture & the Underscore Best Group Eskimo Joe – "Older Than You" Evermore – Dreams Grinspoon – Thrills, Kills & Sunday Pills Powderfinger – These Days Thirsty Merc – "Someday, Someday" Highest Selling Album Missy Higgins – The Sound of White Anthony Callea – Anthony Callea Casey Donovan – For You Delta Goodrem – Mistaken Identity Guy Sebastian – Beautiful Life Highest Selling Single Anthony Callea – "'The Prayer" Anthony Callea – "Rain" / "Bridge Over Troubled Water" Casey Donovan – "Listen With Your Heart" Delta Goodrem & Brian McFadden – "Almost Here" Missy Higgins – "The Special Two" Breakthrough Artist – Album Missy Higgins – The Sound of White Evermore – Dreams Lior – Autumn Flow Little Birdy – BigBigLove Sarah Blasko – The Overture & the Underscore Breakthrough Artist – Single End of Fashion – "O Yeah" Joel Turner and the Modern Day Poets – "These Kids" Kisschasy – "Do-Do's & Whoa-Oh's" The Veronicas – "4ever" Wolfmother – "Woman" Best Adult Contemporary Album The Go-Betweens – Oceans Apart Architecture in Helsinki – In Case We Die John Farnham & Tom Jones – Together in Concert Renée Geyer – Tonight The Church – El Momento Descuidado Best Blues & Roots Album Mia Dyson – Parking Lots Ash Grunwald – Live at the Corner The Beautiful Girls – We're Already Gone Jeff Lang – You Have to Dig Deep to Bury Daddy The Waifs – A Brief History...
Best Children's Album The Wiggles – Live: Hot Potatoes Bananas in Pyjamas – Sing and Be Happy Hi-5 – Making Music Sean O'Boyle – Hush Little Baby The Hooley Dooleys – Super Dooper Best Comedy Release Tripod – Middleborough Rd Jimeoin – Third Drawer Down Rodney Rude – Twice As Rude Shane Dundas & Dave Collins – The Umbilical Brothers Various Artists – Classic Skithouse Best Country Album Keith Urban – Be Here Adam Harvey – Can't Settle For Less Audrey Auld Mezera – Texas Paul Kelly & the Stormwater Boys – Foggy Highway Sara Storer – Firefly Best Dance Release Infusion – Six Feet Above Yesterday Bodyrockers – "I Like the Way" Deepface – "Been Good" Dirty South – "Sleazy" Rogue Traders – "Voodoo Child" Best Independent Release Ben Lee – Awake Is the New Sleep Architecture in Helsinki – In Case We Die Joel Turner and the Modern Day Poets – Joel Turner and the Modern Day Poets Lior – Autumn Flow The Waifs – A Brief History... Best Music DVD Jet –'Right! Right! Right! Hoodoo Gurus – Tunnel Vision Powderfinger – These Days: Live in Concert The Dissociatives – Sydney Circa 2004/2008 Various Artists – WaveAid Best Pop Release Missy Higgins – The Sound of White Ben Lee – Awake Is the New Sleep Kylie Minogue – I Believe in You Sarah Blasko – The Overture & the Underscore Thirsty Merc – "Someday, Someday" Best Rock Album Grinspoon – Thrills, Kills & Sunday Pills Evermore – Dreams Little Birdy – BigBigLove Shihad – Love Is the New Hate The Cat Empire – Two Shoes Best Urban Release Daniel Merriweather – "She's Got Me" Butterfingers – "Figjam" Jade MacRae – "So Hot Right Now" Joel Turner and the Modern Day Poets – Joel Turner and the Modern Day Poets Weapon X and Ken Hell – "Otherman" Best Cover Art Ben Lee, Lara Meyerratken, Dan Estabrook – Ben Lee – Awake Is the New Sleep Cameron Bird – Architecture in Helsinki – In Case We Die Cathie Glassby – Missy Higgins – The Sound of White David Homer & Aaron Hayward, Debaser – Kisschasy – United Paper People Reg Mombassa – Paul Kelly & the Stormwater Boys – Foggy Highway Best Video Ben Quinn – End of Fashion – "O Yeah" Adrian Van De Velde – Thirsty Merc – "In the Summertime" Ben Joss, Tribal – The John Butler Trio – "Something's Gotta Give" Ben Quinn – The Cat Empire – "The Car Song" Sam Bennetts, Mad Angel – Rogue Traders – "Voodoo Child" Engineer of the Year Matt Lovell – The Mess Hall – Notes from a Ceiling James Ash – Rogue Traders – Voodoo Child Paul McKercher – Little Birdy – BigBigLove Paul McKercher & Eskimo Joe – Eskimo Joe – "Older Than You" David Nicholas – Drag – The Way Out Producer of the Year David Nicholas – Drag – The Way Out Chris Joannou & The Mess Hall – The Mess Hall – Notes from a Ceiling Harry Vanda & Glenn Goldsmith – The Wrights – "Evie Parts 1, 2 & 3" Paul McKercher – Little Birdy – BigBigLove Paul McKercher & Eskimo Joe – Eskimo Joe – "Older Than You" Best Classical Album Australian Brandenburg Orchestra – Sanctuary Elena Kats-Chernin – Wild Swans Michael Kieran Harvey – Rabid Bay Sara Macliver & Sally-Anne Russell – Baroque Duets Slava Grigoryan – Afterimage Best Jazz Album Paul Grabowsky & Katie Noonan – Before T
Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particularly in the United Kingdom and in the United States. It has its roots in 1940s and 1950s rock and roll, a style which drew on the genres of blues and blues, from country music. Rock music drew on a number of other genres such as electric blues and folk, incorporated influences from jazz and other musical styles. Musically, rock has centered on the electric guitar as part of a rock group with electric bass and one or more singers. Rock is song-based music with a 4/4 time signature using a verse–chorus form, but the genre has become diverse. Like pop music, lyrics stress romantic love but address a wide variety of other themes that are social or political. By the late 1960s "classic rock" period, a number of distinct rock music subgenres had emerged, including hybrids like blues rock, folk rock, country rock, southern rock, raga rock, jazz-rock, many of which contributed to the development of psychedelic rock, influenced by the countercultural psychedelic and hippie scene.
New genres that emerged included progressive rock. In the second half of the 1970s, punk rock reacted by producing stripped-down, energetic social and political critiques. Punk was an influence in the 1980s on new wave, post-punk and alternative rock. From the 1990s alternative rock began to dominate rock music and break into the mainstream in the form of grunge and indie rock. Further fusion subgenres have since emerged, including pop punk, electronic rock, rap rock, rap metal, as well as conscious attempts to revisit rock's history, including the garage rock/post-punk and techno-pop revivals at the beginning of the 2000s. Rock music has embodied and served as the vehicle for cultural and social movements, leading to major subcultures including mods and rockers in the UK and the hippie counterculture that spread out from San Francisco in the US in the 1960s. 1970s punk culture spawned the goth and emo subcultures. Inheriting the folk tradition of the protest song, rock music has been associated with political activism as well as changes in social attitudes to race and drug use, is seen as an expression of youth revolt against adult consumerism and conformity.
The sound of rock is traditionally centered on the amplified electric guitar, which emerged in its modern form in the 1950s with the popularity of rock and roll. It was influenced by the sounds of electric blues guitarists; the sound of an electric guitar in rock music is supported by an electric bass guitar, which pioneered in jazz music in the same era, percussion produced from a drum kit that combines drums and cymbals. This trio of instruments has been complemented by the inclusion of other instruments keyboards such as the piano, the Hammond organ, the synthesizer; the basic rock instrumentation was derived from the basic blues band instrumentation. A group of musicians performing rock music is termed as a rock group. Furthermore, it consists of between three and five members. Classically, a rock band takes the form of a quartet whose members cover one or more roles, including vocalist, lead guitarist, rhythm guitarist, bass guitarist and keyboard player or other instrumentalist. Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four.
Melodies originate from older musical modes such as the Dorian and Mixolydian, as well as major and minor modes. Harmonies range from the common triad to parallel perfect fourths and fifths and dissonant harmonic progressions. Since the late 1950s and from the mid 1960s onwards, rock music used the verse-chorus structure derived from blues and folk music, but there has been considerable variation from this model. Critics have stressed the eclecticism and stylistic diversity of rock; because of its complex history and its tendency to borrow from other musical and cultural forms, it has been argued that "it is impossible to bind rock music to a rigidly delineated musical definition." Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes, including romantic love, rebellion against "The Establishment", social concerns, life styles. These themes were inherited from a variety of sources such as the Tin Pan Alley pop tradition, folk music, rhythm and blues.
Music journalist Robert Christgau characterizes rock lyrics as a "cool medium" with simple diction and repeated refrains, asserts that rock's primary "function" "pertains to music, or, more noise." The predominance of white and middle class musicians in rock music has been noted, rock has been seen as an appropriation of black musical forms for a young and male audience. As a result, it has been seen to articulate the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, "rock and roll implies an identification of male sexuality and aggression". Since the term "rock" started being used in preference to "rock and roll" from the late-1960s, it has been contrasted with pop music, with which it has shared many characteristics, but from wh
Cranhill is an inner city district and housing scheme in the north east of Glasgow, Scotland. Cranhill was developed from public funding in the early 1950s and was chiefly composed of four-storey tenement blocks surrounding a patch of grassland, which became Cranhill Park. Development saw the building of three tower blocks, surrounded by rows of terraced maisonettes. In more recent years, a number of semi-detached and detached homes have been built; the area hosts some shops, two primary schools and nurseries, a community centre and the Cranhill water tower. Cranhill was built in the early 1950s on the eastern outskirts of the city to alleviate the post-war housing shortage, like other similar publicly funded housing estates. Unlike the much larger housing schemes of Castlemilk, Drumchapel and Pollok, Cranhill was compact, yet still dense, due to the large number of tenements and tower blocks; these maisonettes were demolished in the late 1990s. Cranhill is compactly located in the north east of the city with High Carntyne to the west and Carntyne to the south, Queenslie to the east and Ruchazie to the north.
Most of the streets are named after Scottish lighthouses and include Crowlin Crescent, Gantock Crescent, Lamlash Crescent, Monach Road, Skerryvore Road, Startpoint Street, Strone Road and Toward Road. Longstone Road is an exception, Longstone being located in the Farne Islands off the coast of England; the main street, running east-west through the entire estate, is Bellrock Street. The housing stock consisted of four-storey tenement blocks divided into common'closes', each with eight flats with the end close in each street called a "T" close with 4 flats; the gap between two adjacent "T-closes" was known as a'gable-end', which in essence was a gap between two buildings and led to a communal area to the back of the buildings and was the common location for storing rubbish bins. Other types included three tower blocks, locally known as'the multis' or the'high flats', a number of terraced maisonettes and a variety of pseudo sandstone four-in-a-block cottage flats. Most of the flats were typical family accommodation of the time, containing a kitchen, bathroom/toilet, two or three bedrooms and a living room.
Many of them had balconies or verandas overlooking the street and all were a vast improvement on living conditions in the old Glasgow slum tenements. For many of the families who moved in, this was their first access to green fields and nearby farms, the playing areas were paradise compared to the rat-infested back-courts which the children had suffered. A favourite play area was the'Sugarolly Mountains', substantial hills made from chemical tailings dumped by the side of the canal on the site now occupied by the high flats. No-one knew what they were made of, but the rainwater puddles were green! The canal itself was an attraction, given that the next-nearest'recreational' water was either at Alexandra Park or Hogganfield Loch; as the scheme became established and the community grew, amenities were put in place. Bus routes were extended through the scheme to make it easier for people to travel for work or pleasure, to the City Centre or the nearby shopping areas of Shettleston and Dennistoun.
Other basic needs were served with the establishment of three local shopping parades. As well as the shops, local people were served by mobile street traders with vans and lorries selling foodstuffs and paraffin oil and soft drinks, ice cream and fish and chips. In the evenings one could hear the cry of Dalzeil's Bakeries van man shouting "roells!". Candy apples and'whelks' could be obtained while rag-merchants would shout'any old rags' or'Delft for rags' from horsedrawn or hand carts. Today, the only surviving mobile service is the'ice cream van'; the first primary schools to be erected were small metal constructions but, at its peak, Cranhill had five primary schools: Lamlash, St Giles RC, St Elizabeth Seton RC, the larger brick-built Milncroft and St Modans RC. Milncroft was demolished in 2006 and St Modans RC in March 2007. All five original primary schools are now demolished; the two original nursery schools, Bellrock Nursery and Lamlash Nursery, are now closed. Two new primary schools, Cranhill Primary and St Maria Goretti's RC Primary, were built in 2005/2006, the former on the site of the demolished Milncroft.
Lamlash nursery school is now located within St Maria Goretti's Primary school and Bellrock nursery school is located within Cranhill Primary School. As the children grew older, local secondary schools were needed, the first being Lightburn Secondary across the Edinburgh Rd in Torphin Crescent, Greenfield. With the construction of Cranhill Secondary in Startpoint St, the Torphin Crescent building became St Gregory's RC Secondary to meet the needs of the Roman Catholic population; some time a new St Gregory's was built on waste land at Crowlin Cres in Cranhill and the Torphin Crescent was renamed again, as St Andrews RC Secondary. At its peak, Cranhill Secondary had a roll of some 1300, but both secondaries in Cranhill were razed in the early 1990s and replaced by private housing estates. Two churches were built: Cranhill Parish Church and St Maria Goretti's RC Chapel. There were two Boy Scout troops, the 68th Glasgow and the 158th Glasgow, a Boys' Brigade troop, the 15
Stiff Upper Lip (album)
Stiff Upper Lip is the 14th studio album by Australian hard rock band AC/DC. It was the band's thirteenth internationally released studio album and the fourteenth to be released in Australia, it was released on February 29, 2000. The album was produced by George Young, older brother of Malcolm and Angus Young and this was the last AC/DC album that he produced before his death in 2017; the album was re-released in the US on 17 April 2007 as part of the AC/DC Remasters series. It was re-released in the UK in 2005; the Young brothers began writing songs for what would become Stiff Upper Lip in the summer of 1997 in London and the Netherlands with Malcolm on guitar and Angus on drums, by February 1998 the songs were completed. The band had planned on recording a new album with Canadian Bruce Fairbairn, who had produced the enormously successful The Razors Edge and AC/DC Live, but Fairbairn died in May 1999; the Youngs turned to their older brother George, who had produced 1988's Blow Up Your Video as well as the band's early albums with Harry Vanda, Mike Fraser, who had co-produced 1995's Ballbreaker, to complete Stiff Upper Lip.
The album was recorded and mixed at Bryan Adams' Warehouse Studios in Vancouver, British Columbia, Canada between September and November 1999 with a total of 18 songs recorded in all. In 2000, bassist Cliff Williams remarked to VH1's Behind the Music: "It's a killer album, it was a easy-to-record album in as much as Malcolm and Angus had everything ready to go, so we just had to come along and perform as best we could." According to Arnaud Durieux's memoir AC/DC: Maximum Rock & Roll, Malcolm takes a rare guitar solo on "Can't Stand Still" while Angus does the backing vocals on "Hold Me Back". The album delves deeper into the band's blues roots than its predecessor Ballbreaker and features a remarkably clean sound. In an interview with Alan Di Perna of Guitar World, singer Brian Johnson commented on working with George Young: In the past he's always worked with Harry. Not detracting from Harry, but it was kinda streamlined this time. You had no one to discuss things with except Malcolm or Angus.
We were working pretty hard this time from about 11 in the morning until one the next morning sometimes. Saturdays as well, it was good, though. George always had a game plan. I hate it. George always had it all worked out. Angus Young explained in interviews that the album title occurred to him when he was stuck in traffic and began ruminating on how vital lips were in rock and roll culture, citing icons Elvis Presley and Mick Jagger, carried a certain sneering defiance, he noted that he had contributed to this tradition himself: There was a bit of that and with us there's always been a bit of humour, too. When we started, I used to always say, "I've got bigger lips than Jagger and I've got bigger lips than Presley when I stick them out." If you look on the Highway to Hell album, there's my lip stuck up there like this. I remember when I was a kid I saw an early black-and-white movie of Brigitte Bardot and she had those pouting lips and you go, "Well, yeah! I like what she's serving!"The video for the title track – directed by Andy Morahan, – starts with the band driving down the street in a red 1997 Hummer H1 and being caught in a traffic jam.
They pull into a back alley, get out, begin to play the song on the street. The song that the band listens to before the car jam is "It's a Long Way to the Top", released when the late Bon Scott was a member. In the wake of the 9/11 terrorist attacks, the song "Safe in New York City" was included in the 2001 Clear Channel memorandum, a list of "lyrically questionable" songs. In a May 2000 interview with Alan Di Perna for Guitar World – just over a year prior to the tragedy – Angus Young was asked if he felt safe in New York City: "That song is a little tongue in cheek. Last time I was in New York, that's all people were talking about: how safe it was, how it was gonna be such a great place to live. For me, New York has always been a city of unpredictability. You can never guess what's going to happen next." The album cover features a bronze statue of Angus. The three singles from it were the title track, "Safe in New York City", "Satellite Blues"; these three plus "Meltdown" were played live on the subsequent world tour.
In Australia, New Zealand and Europe, a two-disc tour edition of Stiff Upper Lip was released by Albert Productions in January 2001. This includes Stiff Upper Lip plus a disc comprising: a non-album track, five tracks from a concert at Plaza de Toros de Las Ventas, Spain in 1996, as well as three videos. Songs recorded for the album that went unreleased were: "Let It Go", "R. I. P, it Up", "Whistle Blower", "Rave On" and "The Cock Crows". Stiff Upper Lip rose to #7 on the U. S. Billboard peaked at # 12 in the United Kingdom, it hit #1 in Finland, Sweden and Austria. It was considered lacking in new ideas. All tracks written by Malcolm Young. Stiff Upper Lip Live is the name of the live video released in 2001 by AC/DC, recorded on 14 June 2001 at the Olympiastadion in Munich, Germany, on their Stiff Upper Lip Tour; the track listing is as follows: "Stiff Upper Lip" "You Shook
A Nissen hut is a prefabricated steel structure for military use as barracks, made from a half-cylindrical skin of corrugated steel. Designed during the First World War by the engineer and inventor Major Peter Norman Nissen, it was used extensively during the Second World War. A Nissen hut is made from a sheet of metal bent into half a cylinder and planted in the ground with its axis horizontal; the cross-section is not semi-circular, as the bottom of the hut curves in slightly. The exterior is formed from curved corrugated steel sheets 10 feet 6 inches by 2 feet 2 inches, laid with a two-corrugation lap at the side and a 6-inch overlap at the ends. Three sheets cover the arc of the hut; these are attached to five 3 × 2 inch wooden purlins and 3 × 2 inch wooden spiking plates at the ends of the floor joists. The purlins are attached to eight T-shaped ribs set at 6 feet 0.5 inch centres. Each rib consists of three sections bolted together using splice plates, each end is bolted to the floor at the bearers.
With each rib are two straining wires, one on each side, a straining ratchet. The wires are strained during construction; the straining wires do not appear in the original Nissen patent. The purlins are attached to the ribs using a "hook" bolt, which hooks through a pre-drilled hole in the rib and is secured into the purlin; the hook bolt is a unique feature of the Nissen design. Interior lining could be horizontal corrugated material like hardboard attached to the ribs. Sometimes corrugated asbestos cement sheeting is used; the space between the lining and the exterior may be used for insulation and services. The walls and floors rest on foundations consisting of 4 × 4 inch stumps with 15 × 9 inch sole plates. On these are 4 × 3 inch bearers and 4 × 2 inch joists at 2 feet 10 inch centres; the floor is made from groove floorboards. At either end the walls are made from a wooden frame with weatherboards nailed to the outside. Windows and doors may be added to the sides by creating a dormer form by adding a frame to take the upper piece of corrugated iron and replacing the lower piece with a suitable frame for a door or window.
Nissen huts come in three internal spans — 16 ft, 24 ft or 30 ft. The longitudinal bays come in multiples of 6 ft, allowing the length of the cylider to be any multiple of 6 ft; the corrugated steel half-circles used to build Nissen huts can be stored efficiently because the curved sheets can be cupped one inside another. However, there is no standard model of Nissen huts, as the design was never static but changed according to demand. Between 16 and 18 April 1916, Major Peter Norman Nissen of the 29th Company Royal Engineers of the British Army began to experiment with hut designs. Nissen, a mining engineer and inventor, constructed three prototype semi-cylindrical huts; the semi-cylindrical shape was derived from the drill-shed roof at Queen's University, Ontario. Nissen's design was subject to intensive review by his fellow officers, Lieutenant Colonels Shelly, Sewell and McDonald, General Clive Gerard Liddell, which helped Nissen develop the design. After the third prototype was completed, the design was formalized and the Nissen hut was put into production in August 1916.
At least 100,000 were produced in the First World War. Nissen patented his invention in the UK in 1916 and patents were taken out in the United States, South Africa and Australia. Nissen received royalties from the British government, not for huts made during the war, but only for their sale after the conflict. Nissen received some £13,000 and was awarded the DSO. Two factors influenced the design of the hut. First, the building had to be economical in its use of materials considering wartime shortages of building material. Second, the building had to be portable; this was important in view of the wartime shortages of shipping space. This led to a simple form, prefabricated for ease of erection and removal; the Nissen hut erected by six men in four hours. The world record for erection was 1 hour 27 minutes. Production of Nissen huts waned between the wars, but was revived in 1939. Nissen Buildings Ltd. waived its patent rights for wartime production during the Second World War. Similar-shaped hut types were developed as well, notably the larger Romney hut in the UK and the Quonset hut in the United States.
All types were mass-produced in the thousands. The Nissen hut was used for a wide range of functions. Accounts of life in the hut were not positive. Huts in the United Kingdom were seen as cold and draughty, while those in the Middle East and the Pacific were seen as stuffy and humid. Although the prefabricated hut was conceived to meet wartime demand for accommodation, similar situations, such as construction camps, are places where prefabricated buildings are useful; the Nissen hut was marketed by Nissen-Petren Ltd.. The standard Nissen hut was recycled into housing. A similar approach was taken with the U. S. Quonset hut at the end of the war, with articles on how to adapt the buildings for domestic use appearing in Home Beautiful and Popular Mechanics. However, the adaptation of the semi-cylindrical hut to non-institutional uses was not popular. Neither the Nissen nor the Quonset developed despite their low cost. One reason was the association with
Villawood Immigration Detention Centre
Villawood Immigration Detention Centre is an Australian immigration detention facility located in the suburb of Villawood in Sydney, New South Wales in Australia. It caters for people who have overstayed their visa permit or those who had their visa cancelled because they have failed to comply with their visa conditions, some adult male and female asylum seekers who have arrived by boat without visas, whom the Australian government refer to as "Illegal Maritime Arrivals". Though, over the decades since the'50s, various Australian federal legislatures have ratified into law many of the provisions of the 1948 United Nations Universal Declaration of Human Rights, which grants a right for refugees to apply for asylum - with or without identifying documentation). People refused entry into the country at international airports and seaports may be detained there; the centre has been the focus of much controversy, with accusations of human rights abuses. As of April 2016 it was managed by a private prison company Serco Group.
The site of the Detention Centre was known as the Villawood Migrant Hostel, built in 1949 to house migrants from post-war Europe to work in local industries. The centre was run by a non-profit company. By 1964 the centre housed 1,425 people from Britain and Europe. By 1969 it was the largest migrant hostel in Australia, was at that time housing migrants from Britain, The Netherlands, West Germany, Czechoslovakia and Turkey. In 1968 the centre was divided into two sections, one named the Villawood Migrant Hostel and the other named the Westbridge Migrant Hostel, which operated until 1984. In 1976 a small section of the hostel was converted to provide security accommodation for persons awaiting deportation; this new section was named the Villawood Immigration Detention Centre. In 2001 the Villawood Immigration Detention Centre was the subject of controversy when 40 asylum seekers escaped. A month a Four Corners documentary, "The Inside Story", revealed the plight of six-year-old Iranian refugee Shayan Bedraie, refusing to speak or eat.
Shayan and his family had been detained at Woomera IRPC for 11 months and Villawood IDC for at least 6 months, had witnessed a number of riots and self-harm incidents. He was periodically taken to hospital to be drip-fed and rehydrated, returned to detention; as of 20 October 2004, the centre accommodated 551 people. This number comprised 105 adult women and 41 children. In January 2008, the Human Rights and Equal Opportunity Commission said the high-security section of Villawood Detention Centre was the "most prison like" of all Australia's immigration detention centres, demanded it be closed immediately; the HREOC described the infrastructure as dilapidated, conditions inside the detention centre as "harsh and inhospitable". In December 2010, a 29-year-old British man wanted for a number of criminal offences in the UK, was due to be deported, was believed to have committed suicide at Villawood IDC, his death was the third suicide at the Villawood centre since September 2010 Early in the morning of Thursday 21 April 2011, the centre was set alight by detainees.
The centre is located at 15 Birmingham Avenue, Villawood NSW 2163. List of Australian immigration detention facilities ChilOut We Can Be Heroes: Finding The Australian of the Year Department of Immigration and Multicultural Affairs – Villawood Immigration Detention Centre Four Corners – The Inside Story Villawood - Notes from an Immigration Detention Centre
Albert Productions, a division of music publishing and recording company Albert Music, is one of Australia's longest established independent record labels to specialise in rock and roll music. The label was founded in 1963 by Ted Albert, whose family owned and operated the Sydney music publishing house J. Albert & Son. During the 1960s, Albert Productions operated like other similar companies, such as those founded by producers Joe Meek, Phil Spector or Shel Talmy; these companies discovered and signed new pop performers and groups, produced their recordings independently leased the finished product to established record labels, who handled their release and promotion. Ted Albert signed two of the most important Australian groups of the mid-1960s, Billy Thorpe & The Aztecs and The Easybeats, their recordings were released through a deal with EMI's subsidiary label Parlophone and included some of the biggest Australian hits of the decade, most of which were produced by Albert himself and Shel Talmy.
The company curtailed its recording activities in the late 1960s but was revived in the early 1970s, when Albert Productions established its own record label and a state-of-the-art recording studio in central Sydney. Early Alberts acts included Alison MacCallum, Ted Mulry, John Paul Young and Bobbi Marchini, many of their recordings were produced by visiting British pop svengali Simon Napier-Bell, but the label's greatest success came in the mid-1970s, following the return to Australia of former The Easybeats' members, Harry Vanda and George Young. In the last years of The Easybeats the duo had become both a powerful songwriting team and skilled producers, upon returning to Australia in early 1973 they became inhouse producers for Albert Productions, which became one of the most successful labels in Australian music. In the early 1970s they produced 20% of the music on the Australian charts, had three or four tracks in the top 20 simultaneously. Working in collaboration with engineer Bruce Brown, Vanda & Young produced a string of successful singles and albums for acts including former band mate Stevie Wright, John Paul Young, AC/DC, The Angels and William Shakespeare.
In the late 1970s and early 1980s, Vanda & Young enjoyed their own successful career as Alberts recording artists, releasing a string of regarded albums and singles under the ironic pseudonym Flash and the Pan. These included the Australian hits "Down Among the Dead Men" and "Hey St Peter" and "Walking in the Rain", covered by Grace Jones; the Albert Productions label is known internationally through its association with hard rock band AC/DC. Vanda & Young produced all their albums recorded in Australia between 1974 and 1978, two mainstay members of the band and Angus Young, were George's younger brothers. In 2003 Albert Productions established operations in the United Kingdom and added the Northern Ireland rock band The Answer to its recording artist stable. Albert Productions does not only specialise in rock and roll, Australian R&B singer, Paulini signed to Albert Productions in 2009. Alberts serves at the local sub-publisher for Famous Music UK, EMI Virgin, Bug Music, Irving Berlin, Imagem, among others.
AC/DC Cheetah Rose Tattoo Paulini Megan Washington Minus The Bear Acidtone The Seabellies The Basics Shelley Harland Eulogies Bad Veins The Dears Darker My Love Sea Wolf Billy Thorpe & The Aztecs Breed 77 Dallas Crane George Young Graham Lowndes happylife Harry Vanda Red Top Matches Aleesha Rome John Paul Young Oblivia Skybombers Stevie Wright The Choirboys The Answer The Easybeats The Marcus Hook Roll Band The Missing Links The Throb The Angels San Cisco William Shakespeare Noel McGrath. Australian Encyclopaedia Of Rock. Published by Outback Press Australia. 1978. Clinton Walker. Highway To Hell. Published by Pan Macmillan, Australia 1994, & Picador 2002.. Glenn Goldsmith. Hard Road. Published by Random House Australia, 2004.. Peter Wilmoth; the Countdown Years. 1974-1987. Published by McPhee Grible, Australia, 1993. Murray Engleheart. Blood Sweat & Beers. Published by Harper Collins, Australia, 2010.. John Tait. Vanda & Young, Inside Australia's Hit Factory. Published by UNSW Press. Australia, 2010.. Jane Albert.
House Of Hits. Published by Hardie Grant Books, Australia, 2010. List of record labels milesago.com amo.org.au Official website