Bed of Roses (TV series)
Bed of Roses is an Australian comedy drama television series which first screened on the Australian Broadcasting Corporation from 10 May 2008. It was created by Jutta Goetze and Elizabeth Coleman. Bed of Roses is about Louisa Atherton handling her life after she discovers her husband has died in the arms of another woman, leaving her broke, she returns to her home town of Rainbow's End to live with Minna. Rainbow's End is in a'growth corridor' with neighbouring town of Indigo. Besides problems with Minna, Louisa encounters trouble with her teenage daughter Holly and local residents. Louisa has few financial assets except "Mary Kelly's Shack". Louisa decides to build a new house to sell. Holly has taken the death of her father hard and insists on carrying around his ashes. Louisa's irresponsible driving results in numerous traffic offences; the first season contained six 50-minute episodes, with the $5 million production being shot over nine weeks in the South Gippsland towns of Foster and Meeniyan, it has taken six years from its initial conception to final screening.
It has distinct overtones of Armstrong's previous ABC-TV series SeaChange. Bed of Roses aired on Saturday night on ABC at 7:30 pm; the ABC ordered 8 episodes for season two, up from 6 episodes for season one. Bud Tingwell and Philip Quast have joined the cast for the second season. Season two of Bed of Roses was filmed over five months in regional Victoria, Melbourne and in the ABC TV studios, Ripponlea. “We knew whilst making series one that we had something special on our hands and so went straight into developing a second series. The audience response was terrific both on ABC1 and Podcast". Head of ABC TV Drama, Miranda Dear, on announcing season two of the hit drama: Season Two of Bed of Roses is the story of a woman's search – and a community's search – for a workable identity in the 21st Century, it is a love story. Because whether you're 80, 50 or 17, none of us is immune to that infuriating, heating, frighteningly vulnerable sensation that renders us smiling, crying and hopeful, all in the same breath.
When you're not sure which man you're in love with. Season Three began filming in May 2010; the program was filmed over five months in regional Victoria, Melbourne and in the ABC TV studios, Southbank. For the second time the number of episodes will increase, with Season 3 to have 12 episodes and will begin airing 4 December 2010. Kerry Armstrong as Louisa Atherton widowed, returns to Rainbow's End. Becomes editor of The Rainbow Echo, responds to problems with Tim and Nick. Julia Blake as Minna Franklin, Louisa's mother, member of the Heritage Society. Renews friendship with Sandy, fights redevelopments. Caroline Gillmer as Marg Braithwaite, estranged wife of Gavin Braithwaite. Now a marriage celebrant, tries to gain Tim's interest. Hanna Mangan-Lawrence as Holly Atherton, Louisa's daughter, Indigo High year 11 student, works at Lim's. Now in year 12, becomes involved in local issues, misunderstanding with Sean. Jay Laga'aia as Nick Pickering, Louisa's old friend who runs Nick's Tyre Service. Goes out with Louisa, helps Holly with driving lessons.
Andrew S. Gilbert as Gavin Braithwaite, hardware store owner, local councillor. Continues self-promotion, buys The Rainbow Echo, appoints Tim as manager. Kaarin Fairfax as Deb Mathieson, new friend, worked on The Rainbow Echo, looks after injured wildlife. Runs a wildlife sanctuary, because of conflicting work hours sees less of husband Trev. Tim Phillipps as Sean Smithwick, undertakers' son, has a crush on Holly. Misunderstanding with Holly, drives undertaker's van. Dina Panozzo as Gemma O'Reilly, gym owner, old friend. Intimacy problems with husband Pat. HaiHa Le as Rita Lim, Rainbow Inn restaurant & Happy Nuggett mini-market manager, Gavin's girlfriend. Involved in community projects, new boyfriend is Chin. Charles "Bud" Tingwell as Sandy Wilsoncroft, Minna's old friend, has Alzheimer's disease. Gareth Yuen as Chin Tsung Chi, trying to find an ancestor, Rita's new boyfriend. Philip Quast as Tim Price, new manager of The Rainbow Echo, Louisa's boss. Dave Thornton as Shannon Atherton, Louisa's 24-year-old son, plays Aussie Rules football professionally.
Cameron McKenzie as'Young Cop', books Louisa for traffic offences, returns run-away Holly. Books Sean for driving while intoxicated – ticket withdrawn by Sergeant. Kallista Kaval as Wendy Watt,The Rainbow Echo editor, Louisa's boss. Leaves newspaper for a better offer. Richard Davies as'Rooster' McIver, football team captain, makes an advance on Holly, Marty's'chippie'. Greg Stone as Jack Atherton, Louisa's husband, dies of a heart attack. Jaqueline Brennan as Anna, Jack's girlfriend. Amanda Ma as Lily Lim, Rita's mother, Rainbow Inn restaurant & Happy Nuggett mini-market co-owner, disapproves of Gavin. Lawrence Mah as Wayne Lim, Rita's father, business co-owner, friendly with Gavin, proposes expanding shopping centre. Frank Magree as Marty Mason, a builder, Rainbow Roos' coach. A taxi driver, continues building projects for Gavin. Brandon Burns as Macca, Marty's labourer, turns 21. Susie Dee as Vivien Dixon, Minna's friend, member of the Heritage Society. Works at The Rainbow Echo, runs'Caring Caroline' column.
Geoff Morrell as Tibor Havel, a psychiatrist, Louisa's widowed neighbour. Leverne McDonnell as Robyn, Louisa's friend in Melbourne, offers her a job. Ronald Boyter as Clem Blackwell, R
Rosina Ruth Lucia Park AM was a New Zealand–born Australian author. Her best known works are the novels The Harp in the South and Playing Beatie Bow, the children's radio serial The Muddle-Headed Wombat, which spawned a book series. Park was born in Auckland to a Swedish mother, her family moved to the town of Te Kuiti further south in the North Island of New Zealand, living in isolated areas. During the Great Depression her working-class father did various jobs: he laboured on bush roads and bridges, worked as a driver, did government relief work and became a sawmill hand, he shifted back to Auckland, where he joined the workforce of a municipal council. The family occupied public housing, known in New Zealand as a state house, money remained a scarce commodity. After attending a Catholic primary school, Park won a partial scholarship to secondary school, but her high-school education was broken by periods of being unable to afford to attend, she completed an external degree course at Auckland University.
Park's first break as a professional writer came when she was hired by the Auckland Star newspaper as a journalist, but she found the assignments she was given unchallenging. Wishing to expand her horizons, she accepted a job offer from the San Francisco Examiner, but the tightening of United States' entry requirements after the bombing of Pearl Harbour forced a change of plan. Instead, she moved to Sydney, Australia, in 1942, where she had lined up a job with another newspaper; that same year she married the budding Australian author D'Arcy Niland, with whom she had been corresponding as pen pals for some years, whom she had met on a previous visit to Sydney. There she embarked on a career as a freelance writer. Park and Niland had five children, of whom the youngest, twin daughters Kilmeny and Deborah, went on to become book illustrators. Park had five great-grandchildren; the writer Rafe Champion is her son-in-law. In addition, Darcy Niland's brother Beresford married Ruth Park's sister Jocelyn.
When contracted in 1942 by Ida Elizabeth Osbourne to write a serial for the ABC Children's Session, she wrote the series The Wide-awake Bunyip. When the lead actor Albert Collins died in 1951, she changed its direction and The Muddle-Headed Wombat was born, with first Leonard Teale John Ewart in the title role; the series ended when the radio program folded in 1970. Such was its popularity that between 1962 and 1982 she wrote a series of children's books about the character, her first novel was The Harp in the South – a graphic story of Irish slum life in Sydney, translated into 37 languages. Though it was acclaimed by literary critics, the book proved controversial with sections of the public due to its candour, with some newspaper letter-writers calling it a cruel fantasy because as far as they were concerned, there were no slums in Sydney. However, the newly married Park and Niland did live for a time in a Sydney slum located in the rough inner-city suburb of Surry Hills and vouched for the novel's accuracy.
It has never been out of print. Sydney slum life recurs in her novel for children. Park built on her initial success with the 1949 publication of a follow-up novel titled the Poor Man's Orange. During the 1950s, despite the demands of raising a family, she wrote tirelessly. According to a 2010 tribute article printed in The Sydney Morning Herald and written by her literary agent Tim Curnow, she produced more than 5,000 radio scripts alone during this decade, as well as contributing numerous articles to newspapers and magazines and penning weightier works of fiction, she subsequently wrote Missus, a prequel to The Harp in the South, among other novels, created scripts for film and television. Her autobiographies, A Fence Around the Cuckoo and Fishing in the Styx, deal with her life in New Zealand and Australia respectively, she penned a novel set in New Zealand, One-a-pecker, Two-a-pecker, about gold mining in Otago. Park never remarried. Between 1946 and 2004, she received numerous awards for her contributions to literature in both Australia and internationally.
She was made a Member of the Order of Australia in 1987. From 1974 to 1981 Park dwelt on Norfolk Island, where she was the co-owner of a shop selling books and gifts, her years, were spent living in the Sydney harbourside suburb of Mosman. She died in her sleep on 14 December 2010, at the age of 93. 1946 Inaugural Sydney Morning Herald-sponsored writers' competition: Best Novel award for The Harp in the South 1954 Catholic Book Club Choice selected: Serpent's Delight 1961 Inaugural Commonwealth Television Play Competition: British award for television play won for No Decision, with D'Arcy Niland 1962 Children's Book Council of Australia: commended for The Hole in the Hill 1975 CBCA Children's Book of the Year Award Winners: commended for Callie's Castle 1977 Miles Franklin Award for Swords and Crowns and Rings 1977 National Book Council: commended for Swords and Crowns and Rings 1979 Children's Book of the Year Award Winners: commended for Come Danger, Come Darkness 1981 Children's Book of the Year Award Winners: won for Playing Beatie Bow 1981 [[New South Wales Premier's Literary Awards#Ethel Turner Prize for young people's literature: won for When the Wind Changed 1982 Parents' Choice Award for Literature: won for Playing Beatie Bow 1982 Boston Globe-Horn
Frankston is an outer-suburb of Melbourne in Victoria, Australia, in the local government area of the City of Frankston. It is located 55 km south-east of the Melbourne city centre, north of the Mornington Peninsula. Due to its geographic location, it is referred to as "the gateway to the Mornington Peninsula". European settlement of Frankston began around the same time as the foundation of Melbourne in 1835—initially as an unofficial fishing village serving the early Melbourne township. Prior to its settlement, the Frankston area was inhabited by the Mayone-bulluk clan from the Bunurong tribe of the Kulin nation; the official village of Frankston was established in 1854, with its first land sales taking place on 29 May. It has subsequently given its name to the broader Frankston local government area since 1893, serves as both its activity and administrative centre. Situated on the eastern shoreline of Port Phillip, Frankston has been a popular seaside destination of Melbourne since the 1880s.
Frankston Beach is still one of the most frequented in Victoria, is recognised as one of the cleanest in Australia. It is home to one of the largest exhibitions of sand sculpting in the Southern Hemisphere. Localities in the suburb include: Frankston Central Business District, Frankston East, Frankston Heights, Long Island, Mount Erin and Olivers Hill; the independent suburb of Frankston South shares the same postcode as Frankston. At the 2016 Census the suburb of Frankston recorded a population of 36,097; the demonym for someone from Frankston is a Frankstonian. The toponymic origins of Frankston are subject to conjecture, of which there are four popular theories. One of the earliest of these theories is that it was named after one of its early European settlers, Frank Liardet, who became one of its first official land owners; the Liardets were prominent pioneers of early Melbourne and arrived aboard the William Metcalfe from England in 1839. Liardet's father, founded what is now the Melbourne inner suburb of Port Melbourne and the family established and managed hotels around Melbourne as well as the first mail service of the early township.
Frank Liardet settled in the Frankston area in 1847, after taking out a 300-acre depasturing license for land, now the Frankston locality of Karingal. During this time, Liardet built the first wooden house in the Frankston area—which would become part of his Ballam Park estate after the formal land sales of 1854. Prior to settling in the area, Liardet had worked on the cattle run of the first Postmaster of the Port Phillip District, Captain Benjamin Baxter, located over what are now the City of Frankston suburbs of Langwarrin and Langwarrin South. By the time Liardet had taken out his depasturing license for the Frankston area in 1847 an unofficial fishing village was developing around its foreshore. Considering Frank Liardet's early presence in the Frankston area, his connections to the early mail services of Melbourne, it is plausible that "Frank's Town" became nomenclature for describing the area and its unofficial village; as a consequence it is possible that the name of "Frankston" was further adapted from it when naming the village for its formal land sales in 1854.
However, in a letter to the editor of The Argus newspaper a member of the Liardet family said that this was in fact not true. In the letter was excerpts of correspondence between the Liardet family and the Victorian state Department of Lands and Survey which refuted the theory. Instead, it puts forward the theory that Frankston was named after the Irish-born settler Charles Franks. Charles Franks arrived in Melbourne aboard the Champion from Van Diemen's Land in 1836 and made a squatter's claim to land on the western side of Port Phillip near Mount Cottrel. Franks' land neighboured that of the early Melbourne explorer and surveyor John Helder Wedge, managed by his nephew Charles Wedge—prior to him gaining a pre-emptive right to land license of his own for the Frankston area; the correspondence with the Department of Lands and Survey states that, at the time of surveying the area for the land sales of 1854, the name "Frankston" was suggested to honour the Wedge's deceased former neighbour. Another theory—that has become folklore—is that Frankston was named after a pub named "Frank Stone's Hotel".
In 1929 the author Don Charlwood, a student of Frankston High School at the time, compiled a history of Frankston using both local records and oral sources supporting the theory. The pub to which Charlwood refers was named the Cannanuke Inn and was the first permanent building in the Frankston area, it was built by the pre-emptive Frankston settler James Davey in the 1840s. The Victorian Heritage Database states that it was located on the present site of the Frankston Mechanics' Institute. According to Charlwood, it was purchased by a "Mr. Stone" in the early-1850s who, after the birth of his son, "Frank", renamed it "Frank Stone's Hotel" and around which the village developed and had its name adapted from for its formal land sales in 1854; as there appear to be no licensing records for the Cannanuke Inn, it is difficult to determine if this is in fact true. However, Charlwood does mention that Stone had purchased the Cannanuke Inn from "a man named Standring". Licensing records state that Benjamin Standring was the owner of the Frankston Ho
One Night the Moon
One Night the Moon is a 2001 Australian musical non-feature film starring husband and wife team Paul Kelly, a singer-songwriter, Kaarin Fairfax, a film and television actress, their daughter Memphis Kelly. Directed by Rachel Perkins and written by Perkins with John Romeril, it was filmed on Andyamathanha land in the Flinders Ranges, South Australia for six weeks in early 2000. Kelton Pell portrayed an Aboriginal tracker, Albert Yang with Ruby Hunter playing his wife, who searches for the missing child. Musical score was by Kelly, Kev Carmody and Mairead Hannan, with other artists they contributed to the soundtrack; the film won ten awards, including two Australian Film Institute Awards. One Night the Moon was inspired by the story of indigenous tracker, Alexander Riley as depicted in Black Tracker, a documentary directed by Riley's grandson, Michael Riley. Alexander Riley had worked for the New South Wales police in Dubbo in the early 1900s, finding wanted criminals, missing persons and hidden caches.
Composer/singer Mairead Hannan saw the documentary and formed a project with her sister Deirdre Hannan, Carmody, Alice Garner and Perkins. Aside from the search for a missing child, the film deals with the racist attitude depicted by the father's refusal to use an indigenous tracker; the film was Paul Kelly's cinematic debut, while his wife, Fairfax had a lead role in two related TV mini-series Harp in the South and Poor Man's Orange in 1987, roles in films Belinda and Young Einstein. Fairfax had her film debut with a minor role in 1982's Starstruck which had Paul Kelly and the Dots supplying a song for the soundtrack. Set in the 1930s Australian Outback, starring singer Paul Kelly as a farmer, Jim Ryan, newly settled in the area, he is the father of a girl, who climbs out the window of their farmhouse one night and follows the moon into the hills. Rose Ryan comes to check on her daughter only to find; the Ryans get the local police, led by a sergeant, to search for her, but when their Aboriginal tracker, Albert Yang arrives, the father says he does not want any blacks on his land.
Jim Ryan and the white police go searching for Emily, destroying evidence Albert could have used to find the girl. The white men cannot find her Rose goes to Albert's hut and together they go looking for Emily, they find her dead in the hills and bring her body back home. Jim commits suicide. Albert's wife sings the funeral song for the lost child. Paul Kelly as Jim Ryan Kaarin Fairfax as Rose Ryan Memphis Kelly as Emily Ryan Kelton Pell as Albert Yang Ruby Hunter as Albert's wife Chris Haywood as police sergeant David Field as Allman A 1997 documentary, Black Tracker on Australian Broadcasting Corporation TV, concerned an indigenous tracker called Alexander Riley from Dubbo, New South Wales. Singer-songwriter Mairead Hannan saw Black Tracker, she liked the story about a young boy who disappeared near Dubbo in 1932 and was tracked by Riley. Hannan wanted to tell the story as a musical for a project sponsored by ABC TV's Arts and Entertainment department. Mairead enlisted her sister and fellow composer Deirdre Hannan other composers/performers Paul Kelly, Kev Carmody and Alice Garner to help with the project.
Screenwriter John Romeril and director Rachel Perkins were approached and together wrote the screenplay. Garner was due to take the part of Rose Ryan, the mother, but became pregnant so Kaarin Fairfax undertook the role. Aside from the search for a missing child, the film deals with the racist attitude depicted by the father's refusal to use the indigenous tracker; the original story was about the tracker seeking a young boy who had gone missing, but Perkins decided a missing girl would have greater impact and shifted the focus to the despairing mother. Fairfax and Kelly volunteered their seven-year-old daughter, Memphis Kelly, for the part of the lost child. Location filming occurred on Adnyamathanha land in the Flinders Ranges and other sites in South Australia for six weeks early in 2000. Kelton Pell portrayed Albert with Ruby Hunter playing his wife. Musical score was by Kelly, Kev Carmody and Mairead Hannan, with other artists they contributed to the soundtrack. Awards and nominations received by One Night the Moon.
Track listing Songwriters according to Australasian Performing Right Association, with performers listed after track times. "I Don't Know Anything More" – Paul Kelly "Flinders Theme" – Mairead Hannan "One Night the Moon" – Kaarin Fairfax, Memphis Kelly "Moon Child" – M Hannan, Deirdre Hannan "The Gathering" – M Hannan "Now Listen Here: Introduction to This Land is Mine" – M Hannan, D Hannan, Alice Garner "This Land is Mine" – P Kelly featuring Kelton Pell "The March Goes On/The Gathering 2" – M Hannan "Spirit of the Ancients" – Kev Carmody "What Do You Know" – K Fairfax, K Pell "Carcass/The Gathering 3" – M Hannan "Night Shadows" – K Carmody, A Garner "Black and White" – K Carmody "Moment of Death" – M Hannan "Hunger" – M Hannan, D Hannan "Unfinished Business" – K Pell, K Fairfax "Spirit of the Ancients" – K Carmody "Moody Broody" – (0
Rachel Perkins is an Australian film and television director and screenwriter. She is known for her films Radiance, One Night the Moon, Bran Nue Dae, Jasper Jones. Perkins is an Arrernte woman from Central Australia, raised in Canberra by Aboriginal activist Charles Perkins and his wife Eileen. Perkins was born in Canberra in 1970, she is a daughter of Charlie Perkins and granddaughter of Hetty Perkins, has Arrernte and German ancestry. Her sister is an art curator, her brother is Adam PERKINS. For schooling she and her sister attended Melrose High School. At the age of 18 Perkins moved to Alice Springs and entered into a traineeship at the Central Australian Aboriginal Media Association. In 1992 Perkins founded Blackfella Films, a documentary and narrative production company creating distinctive Australian content for television, live theatre, online platforms, with a particular focus on Indigenous Australian stories, its productions have included multi-award winning seven-part documentary series First Australians, television film Mabo, TV series Redfern Now.
She served as Commissioner with the Australian Film Commission from 2004 to 2008, since 2009 has been on the board of Screen Australia. She was curator for the 2009 Message Sticks Indigenous Film Festival; this tenth anniversary of the festival held at the Sydney Opera House featured the premiere of Fire Talker, a documentary film about her father Charlie Perkins by Australian filmmaker Ivan Sen. Since 2015, Perkins has been the president of the AIATSIS Foundation, part of the Australian Institute of Aboriginal and Torres Strait Islander Studies. Perkins has a son, with her ex-husband filmmaker Richard McGrath. Blood Brothers – producer, writer Radiance – director One Night the Moon – director, writer Flat – producer Mimi – producer First Australians – producer, writer, narrator Bran Nue Dae – director, writer Mabo – director Black Panther Woman – director First Contact – producer Jasper Jones – director The Prospector – director Australian Film Institute 1998 – AFI Award Best Achievement in Direction: Radiance 2002 – Byron Kennedy AwardAustralian Writers' Guild 2001 – Awgie Award Television – Television Original: One Night the Moon 2001 – Major Award: One Night the Moon Canberra International Film Festival 1998 – Audience Award: Radiance Film Critics Circle of Australia Awards 2002 – Special Achievement Award: One Night the Moon IF Awards 2001 – IF Award Best Direction: One Night the Moon Melbourne International Film Festival 1998 – Most Popular Feature Film: Radiance New York International Independent Film & Video Festival 2001 – Genre Award Best Feature Film – Musical: One Night the Moon Tudawali Film and Video Awards 1994 – The Tudawali Award: Blood Brothers 2000 – Best direction: Radiance Biography of Rachel Perkins in The Encyclopedia of Women and Leadership in the Twentieth Century Article about Rachel Perkins and her movie Radiance in Urban Cinefile Rachel Perkins on IMDb
Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s. It takes its roots from genres such as folk blues. Country music consists of ballads and dance tunes with simple forms, folk lyrics, harmonies accompanied by string instruments such as banjos and acoustic guitars, steel guitars, fiddles as well as harmonicas. Blues modes have been used extensively throughout its recorded history. According to Lindsey Starnes, the term country music gained popularity in the 1940s in preference to the earlier term hillbilly music. In 2009 in the United States, country music was the most listened to rush hour radio genre during the evening commute, second most popular in the morning commute; the term country music is used today to describe many subgenres. The origins of country music are found in the folk music of working class Americans, who blended popular songs and Celtic fiddle tunes, traditional English ballads, cowboy songs, the musical traditions of various groups of European immigrants.
Immigrants to the southern Appalachian Mountains of eastern North America brought the music and instruments of Europe along with them for nearly 300 years. Country music was "introduced to the world as a Southern phenomenon." The U. S. Congress has formally recognized Bristol, Tennessee as the "Birthplace of Country Music", based on the historic Bristol recording sessions of 1927. Since 2014, the city has been home to the Birthplace of Country Music Museum. Historians have noted the influence of the less-known Johnson City sessions of 1928 and 1929, the Knoxville sessions of 1929 and 1930. In addition, the Mountain City Fiddlers Convention, held in 1925, helped to inspire modern country music. Before these, pioneer settlers, in the Great Smoky Mountains region, had developed a rich musical heritage; the first generation emerged in the early 1920s, with Atlanta's music scene playing a major role in launching country's earliest recording artists. New York City record label Okeh Records began issuing hillbilly music records by Fiddlin' John Carson as early as 1923, followed by Columbia Records in 1924, RCA Victor Records in 1927 with the first famous pioneers of the genre Jimmie Rodgers and the first family of country music The Carter Family.
Many "hillbilly" musicians, such as Cliff Carlisle, recorded blues songs throughout the 1920s. During the second generation, radio became a popular source of entertainment, "barn dance" shows featuring country music were started all over the South, as far north as Chicago, as far west as California; the most important was the Grand Ole Opry, aired starting in 1925 by WSM in Nashville and continuing to the present day. During the 1930s and 1940s, cowboy songs, or Western music, recorded since the 1920s, were popularized by films made in Hollywood. Bob Wills was another country musician from the Lower Great Plains who had become popular as the leader of a "hot string band," and who appeared in Hollywood westerns, his mix of country and jazz, which started out as dance hall music, would become known as Western swing. Wills was one of the first country musicians known to have added an electric guitar to his band, in 1938. Country musicians began recording boogie in 1939, shortly after it had been played at Carnegie Hall, when Johnny Barfield recorded "Boogie Woogie".
The third generation started at the end of World War II with "mountaineer" string band music known as bluegrass, which emerged when Bill Monroe, along with Lester Flatt and Earl Scruggs were introduced by Roy Acuff at the Grand Ole Opry. Gospel music remained a popular component of country music. Another type of stripped-down and raw music with a variety of moods and a basic ensemble of guitar, dobro or steel guitar became popular among poor whites in Texas and Oklahoma, it became known as honky tonk, had its roots in Western swing and the ranchera music of Mexico and the border states. By the early 1950s a blend of Western swing, country boogie, honky tonk was played by most country bands. Rockabilly was most popular with country fans in the 1950s, 1956 could be called the year of rockabilly in country music, with Johnny Cash emerging as one of the most popular and enduring representatives of the rockabilly genre. Beginning in the mid-1950s, reaching its peak during the early 1960s, the Nashville sound turned country music into a multimillion-dollar industry centered in Nashville, Tennessee.
The late 1960s in American music produced a unique blend as a result of traditionalist backlash within separate genres. In the aftermath of the British Invasion, many desired a return to the "old values" of rock n' roll. At the same time there was a lack of enthusiasm in the country sector for Nashville-produced music. What resulted was a crossbred genre known as country rock. Fourth generation music included outlaw country with roots in the Bakersfield sound, country pop with roots in the countrypolitan, folk music and soft rock. Between 1972 and 1975 singer/guitarist John Denver released a se
ARIA Music Awards
The Australian Recording Industry Association Music Awards is an annual series of awards nights celebrating the Australian music industry, put on by the Australian Recording Industry Association. The event has been held annually since 1987 and encompasses the general genre-specific and popular awards as well as Fine Arts Awards and Artisan Awards, Lifetime Achievement Awards and ARIA Hall of Fame – held separately from 2005 to 2010 but returned to the general ceremony in 2011. For 2010, ARIA introduced. Winning, or being nominated for, an ARIA award results in a lot of media attention and publicity on an artist, increases recording sales several-fold, as well as chart significance – in 2005, for example, after Ben Lee won three awards, his album Awake Is the New Sleep jumped from No. 31 to No. 5 in the ARIA Charts, its highest position. In 1983, the Australian Recording Industry Association was established by the six major record companies operating in Australia, EMI, Festival Records, CBS, RCA, WEA and Polygram replacing the Association of Australian Record Manufacturers, formed in 1956.
It included smaller record companies representing independent acts/labels and has over 100 members. Australian TV pop music show Countdown presented its own annual awards ceremony, Countdown Music and Video Awards, which were co-produced by Carolyn James from 1981 to 1984 and, in the latter two years, in collaboration with ARIA. ARIA provided peer voting for some awards, while Countdown provided coupons in the related Countdown Magazine for viewers to vote for populist awards. At the 1985 Countdown awards ceremony, held on 14 April 1986, fans of INXS and Uncanny X-Men scuffled during the broadcast and as a result ARIA decided to hold their own awards. Starting with the first ceremony, on 2 March 1987, ARIA administered its own peer-voted ARIA Music Awards, to "recognise excellence and innovation in all genres of Australian music" with an annual ceremony. Included in the same awards ceremonies, it established the ARIA Hall of Fame in 1988, it held separate annual ceremonies from 2005 to 2010, the Hall of Fame returned to the general ceremony in 2011.
The ARIA Hall of Fame "honours Australian musicians' achievements have had a significant impact in Australia or around the world". The first ceremony, in 1987, featured Elton John as the compere and was held at the Sheraton Wentworth Hotel, Sydney. There were no live performances at the early ARIAs, music for both walk on/walk off was supplied by a nightclub dj, Rick Powell. All subsequent ceremonies were held in Sydney except the 1992 event at World Congress Centre, Melbourne. For 2010, ARIA introduced. Winning, or being nominated for, an ARIA award results in a lot of media attention and publicity on an artist, may increase recording sales several-fold, as well as chart significance – in 2005, for example, after Ben Lee won three awards, his album Awake Is the New Sleep jumped from No. 31 to No. 5 in the ARIA Charts, its highest position. The first five ARIA Awards were not televised, at the first award ceremony on 2 March 1987, the host, Elton John, advised the industry to keep them off television "if you want these Awards to stay fun".
The first televised ARIA Awards ceremony occurred in 1992, all subsequent ceremonies were televised. They were broadcast on Network Ten from 2002 to 2008 and returned in 2010. Nine Network aired the ceremony on 26 November 2009, its digital channel, GO!, aired the 2011 ARIA Music Awards on 27 November 2011. At the 1988 ceremony a fracas developed between band manager, Gary Morris, accepting awards for Midnight Oil, former Countdown compere, Ian "Molly" Meldrum, presenting, they conflicted over visiting United Kingdom artist, Bryan Ferry, who had presented an award. Morris objected to Ferry's presence and insulted him, Meldrum defended Ferry and scuffled with Morris. In 1995 electronic music group, Itch-E and Scratch-E, won the inaugural award for "Best Dance Release" for their single, "Sweetness and Light". Band member, Paul Mac thanked Sydney's ecstasy dealers for their help. One of the sponsors of the awards, that year, was the National Drug Offensive. In 2005 Mac explained, his speech was bleeped for the TV broadcast.
During the 2004 voting process, former 3RRR radio DJ, Cousin Creep, published his user name and password on a music site, allowing public votes, before being removed from voting two days later. The 2007 ARIA Awards telecast was marred by controversy, after it was revealed by the ABC's Media Watch programme that Network Ten had used subliminal advertising during the course of the broadcast, which under the Australian Media and Broadcasting rules, such an activity is illegal. Network Ten disputed the finding, however their basis for defence was criticised by Media Watch, as demonstrating an ignorance of the rules; the 2010 telecast was criticised in media reports: Crikey's Neil Walker decried the "infamously shambolic Sydney Opera House fiasco", The Punch's Rebekah Devlin speculated on it being the worst telecast, "it felt like we’d stumbled into some raging A-list party and we weren’t invited Guests who were there said it was a great night, but it reignites the debate of what the Arias are all about… is it an event staged for the musicians and the people there, or is it for a TV audience?", while Daily Telegraph's Ka