Mi-Sex is a New Zealand new wave rock band, active from 1977 to 1986. Led by Steve Gilpin as vocalist, Kevin Stanton as guitarist and songwriter and Don Martin as bassist, they provided top ten singles, "Computer Games" in October 1979 and "People" in 1980. Their first two albums both reached Graffiti Crimes and Space Race, they were known for dynamic live shows. Gilpin died in January 1992, two months after a serious car accident. Mi-Sex have periodically reformed, including in 2011 with Steve Balbi on lead vocals. Stanton died on 17 May 2017. Mi-Sex was formed in 1978 in New Zealand when Murray Burns on keyboards, Steve Gilpin on lead vocals, Don Martin on bass guitar and Kevin Stanton on lead guitar and backing vocals and were joined by Richard Hodgkinson on drums; the band name is adapted from an Ultravox track, "My Sex", from that group's debut album, Ultravox!. Gilpin had earlier performed as a solo artist in New Zealand, following his winning a TV talent quest, New Faces, in 1972. Invercargill-born Burns was influenced by progressive rock bands such as Yes, whereas Stanton's influences veered towards heavy metal.
During 1977 Gilpin met. Fragments of Time were influenced by British new pub rock bands, their line-up changed, with Moon replaced by Burns and Smart leaving, replaced by Steve Osborne and by Hodgkinson. Fragments of Time developed a quirky, paranoia-themed blend of new wave and pub rock, amalgamating some of the textures common to Britain's Ultravox with those more associated with The Stranglers, they blended this with a liberal dose of on stage theatrics. At around the same time, they changed their name – urgently needed for their demo. In a meeting in a room at the back of the Aranui hotel which they were playing in, they accepted the name Stanton had proposed. Mi-Sex released their first single for EMI New Zealand, "Straight Laddie", early in 1978. Early performances include the Wellington Institute of Technology and Dr Johns, on the same day with demo recording at Dellbrook studios in Tawa, the bus breaking a gearbox on the Ngauraunga Gorge section of motorway. In August 1978 the band relocated to Sydney, where they became the city's "fourth biggest drawcard" within six months.
They were signed to the Australian division of CBS Records by the label's A&R manager and house producer, who had produced "Straight Laddie". Their first single for CBS, "But You Don't Care", was released in Australia in May 1979, which peaked at No. 25 on the local Kent Music Report Singles Chart and No. 33 on their native Official New Zealand Music Chart. Their debut album, Graffiti Crimes was issued in July 1979 to coincide with their national tour supporting Talking Heads, they headlined their own tour of Australia. It reached No. 6 in the top 20 in Australia. It was produced by Dawkins at Studios 301, during April and May 1979. Added to versions of the LP is their biggest hit, the synthesiser-driven single, "Computer Games", co-written by Burns and Stanton, it was released in Australia on 1 October 1979. Dawkins had first heard the track at the album launch, in July, he asked Stanton, "'Why didn't you play me "Computer Games" when we were doing the demos for the album?'. Kevin answered in the most succinct way possible,'Because I hadn't written it yet!"
The single went to No. 1 in Australia, made the top 5 in New Zealand. In October 1979 Mi-Sex supported Cheap Trick, The Canberra Times' Jonathon Green caught their gig at Bruce Stadium, "The New Zealanders played one of the best sets I have heard from them, it was crystal clear and as tight as could be in a live performance... managed to deliver an uncluttered sound which throbbed with energy and power." In the following month they appeared at the Concert of the Decade at the Sydney Opera House – an edited hour of concert footage was broadcast by the Nine Network under the same name and a double-LP was issued on Mushroom Records that month. In January 1980, the band began recording their second album. In April and May 1980 they toured Canada for five weeks. Space Race was released in May 1980. In New Zealand it peaked at No. 1 and in Australia it reached No. 6. Space Race provided another top 10 single, "People", which reached No. 3 in New Zealand and No. 6 in Australia. The title track was the next peaked in the top 20 in New Zealand and top 30 in Australia.
Although Mi-Sex toured Australia and New Zealand through 1981 – performing 366 gigs in that year – the group "found its popularity in slow decline."Burns told The Australian Women's Weekly's Susan Moore that "When we arrived new wave was full-on and we had pretty much a street image. When we did Space Race, which we felt was an extension of what we were doing, I guess some people didn't like the idea of a concept album... we copped a lot of flack." Their third album, Shanghaied!, was co-produced by the band's members by Burns and Stanton, together with John L Sayers and Dave Marett. McFarlane described it as "argu
Countdown (Australian TV series)
Countdown was a weekly Australian music television show broadcast by the Australian Broadcasting Corporation from 8 November 1974 until 19 July 1987. It was created by Executive Producer Michael Shrimpton, producer/director Robbie Weekes and record producer and music journalist Ian "Molly" Meldrum. Countdown was produced at the studios of the ABC in the Melbourne suburb of Ripponlea, it was screened Sunday night from 6:00pm to 7:00. Countdown was the most popular music program in Australian TV history, it was broadcast nationwide on Australia's government-owned broadcaster, the ABC, commanded a huge and loyal audience. It soon exerted a strong influence on radio programmers because of its audience and the amount of Australian content it featured; the first half-hour episode went to air at 6.30pm on Friday, 8 November 1974, but for most of the time it was on air, it gained double exposure throughout the country by screening a new episode each Sunday evening, repeating it the following Saturday evening.
The majority of performances on the show were lip synched. Molly Meldrum, the program's talent co-ordinator, began appearing on-air in 1975, presenting the "Humdrum" music news segment and conducting interviews. Meldrum soon became the "face" of Countdown, he appeared on-air until 1986. Another attraction to the program was the local and international acts who would host an episode - performing as well. During the show, Meldrum would interview them or have a chat with them before the show went out with the number 1 single of the week. In October 2014, Meldrum published his autobiography, "The Never, Um, Ever Ending Story". Teen-oriented pop music still enjoyed strong popularity during the 1970s, although much of it was sourced from overseas, the proportion of Australian acts in the charts had hit an all-time low by 1973; that trend began to change around 1975, many credit that to the advent of Countdown. Much of the show's influence derived from its timeslot and the fact that each week's show was repeated the following Saturday at 5pm.
Because of this, Countdown was one of the first Australian TV series to be made in colour. Although it is not recognised, Countdown had a strong international influence, because it was one of the first TV shows in the world to promote the regular use of the music video as a major part of its programming; because of its receptivity to music videos Countdown proved to be instrumental in the worldwide success of a number of important overseas acts of the period. Madonna achieved her first hit single in April 1984. Subsequently, "Burning Up" reached the top twenty following repeated showings of the video clip on the show. Other international artists including Blondie, ABBA, John Mellencamp, Meat Loaf, Boz Scaggs and Cyndi Lauper achieved their first hits in Australia, thanks to their video clips being aired on Countdown, this in turn led to their records being picked up and becoming hits in America and/or Europe. Many international acts who would otherwise have gone unheard on Australian commercial radio, gained important exposure in Australia on Countdown through their music videos.
Above all, Countdown was crucial to the success of many leading Australian acts, including John Farnham, AC/DC, Olivia Newton-John, INXS, Hush, Kylie Minogue, I'm Talking, John Paul Young, Skyhooks, Ted Mulry Gang and the Boys, Marcia Hines, Mark Holden, The Angels, Mondo Rock, Men at Work, Australian Crawl, Mental As Anything, Little River Band, William Shakespeare, The Choirboys, Renée Geyer, Wa Wa Nee and Jon English. The program dominated Australian popular music well into the 1980s; the popularity of Countdown started to lose momentum by the mid-1980s. Music videos were shown, rather than the artists performing live in the studio, it was cheaper to produce with videos and this led to Countdown having no significant difference from any other music video program shown on TV during this time. The final episode of Countdown aired on 19 July 1987. Meldrum co-hosted with, interviewed, Carol Hitchcock and Jim Keays, it was followed by the last Countdown Awards ceremony. It was a sad night for many, yet a celebration of musical achievements in'86/'87.
Meldrum made his appearance at the end of the show wearing his well-known Stetson hat. Meldrum saluted the music industry and fans and bared his shaved head to the audience, it was well known that his shaved head was a statement to artists like Midnight Oil, who during their career and being one of Australia's favourite bands, never appeared on the show because they regarded Countdown as too industry/hit driven and appealed only to a young teenage audience. In March 2007, pay television channel Foxtel, its regional affiliate Austar, began screening hundreds of studio performances from the Countdown era. Themed Countdown specials have become popular and lost performances by John Farnham, drag queen Divine, a-ha, Pseudo Echo and the Countdown Dancers performing the Flashdance medley highlight the great music of the period. A well known segment of the show's run is an atypical studio interview Meldrum conducted with Prince Charles. Meldrum was nervous about interviewing the prince an
Ultravox! is the eponymous debut studio album by British new wave band Ultravox!. It was recorded at Island Studios in Hammersmith, London in the autumn of 1976 and produced by Ultravox! and Steve Lillywhite with studio assistance from Brian Eno. It was released on 25 February 1977 by Island; the songs "Sat'day Night in the City of the Dead" and "Dangerous Rhythm", alongside other songs from the album, were written while the band were named Tiger Lily. The former song pre-dated punk music, written over a year before the emergence of punk; the latter, a reggae influenced song, was released as the first Ultravox single in February 1977 to positive reviews. The bands early ambition to combine 1950's and 1960's pop music with the intensity of raw rock music and glam rock developed into writing longer and more intricate songs like "I Want to Be a Machine"; the song "My Sex" includes an early use of a synthesizer. Lyrically the album is about the band's environment, living in London in the mid-1970's, with lyricist John Foxx being influenced by the writings of J.
G. Ballard. Ada Wilson in The Rough Guide to Rock wrote that the album "failed to recapture on-stage energy". In his retrospective review, Dave Thompson, writing for AllMusic, opined "it was Ultravox! who first showed the kind of dangerous rhythms that keyboards could create. The quintet had their antecedents – Hawkwind, Roxy Music and Kraftwerk to name but a few – but still it was the group's 1977 eponymous debut's grandeur, wrapped in the ravaged moods and lyrical themes of collapse and decay that transported'70s rock from the bloated pastures of the past to the futuristic dystopias predicted by punk." Ultravox! Warren Cann – drums, backing vocals Chris Cross – bass, backing vocals Billy Currie – keyboards, violin John Foxx – lead vocals, acoustic guitar on "I Want to Be a Machine" Stevie Shears – guitarsTechnical personnelTerry Barham – assistant engineer Ultravox! at Discogs
Australian Recording Industry Association
The Australian Recording Industry Association is a trade group representing the Australian recording industry, established in 1983 by six major record companies, EMI, Festival, CBS, RCA, WEA and Universal replacing the Association of Australian Record Manufacturers, formed in 1956. It oversees the collection and distribution of music licenses and royalties; the association has more than 100 members, including small labels run by one to five people, medium size organisations and large companies with international affiliates. ARIA is administered by a Board of Directors comprising senior executives from record companies, both large and small; as of October 2010, the directors were Denis Handlin, George Ash, Mark Poston, Sebastian Chase, David Vodica and Tony Harlow. In 1956, the Association of Australian Record Manufacturers was formed by Australia's major record companies, it was replaced in 1983 by the Australian Recording Industry Association, established by the six major record companies operating in Australia, EMI, Festival Records, CBS, RCA, WEA and Polygram.
It included smaller record companies representing independent acts/labels and has over 100 members. By 1997, the six major labels provided 90% of all recordings made in Australia. ARIA is administered by a Board of Directors comprising senior executives from record companies, both large and small; as of October 2010, the directors were Denis Handlin, George Ash, Mark Poston, Sebastian Chase, David Vodica and Tony Harlow. Australian TV pop music show Countdown presented its own annual awards ceremony, Countdown Music and Video Awards, co-produced by Carolyn James during 1981–1984 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. Since 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 and has held separate annual ceremonies since 2005. The ARIA Hall of Fame "honours Australian musicians' achievements have had a significant impact in Australia or around the world". In February 2004, the Australian Record Industry Association announced its own legal action against Kazaa, alleging massive copyright breaches; the trial began on 29 November 2004. On 6 February 2005, the homes of two Sharman Networks executives and the offices of Sharman Networks in Australia were raided under a court order by ARIA to gather evidence for the trial. In 2006, ARIA formed sponsorship deals with Motorola and Nova and changed the appearance and conduct of the charting. Motorola took naming-rights sponsorship seeing the charts referred to in the media as the Motorola ARIA Charts. ARIA, have commented that as part of the same marketing printed charts would be reintroduced into media retailing shops and their website would be redesigned.
As part of the deal Nova began broadcasting the charted singles in reverse order on a Sunday afternoon show before it was released on the ARIA charts website. The ARIA Charts is the main Australian music sales charts, issued weekly by the Australian Recording Industry Association; the charts are a record of albums in various genres. All charts are compiled from data of both digital sales from retailers in Australia. A music single or album qualifies for a platinum certification if it exceeds 70,000 copies shipped to retailers and a gold certification for 35,000 copies shipped; the diamond certification was created for albums in November 2015 to mark 500,000 sales/shipments. For music DVDs, a gold accreditation represented 7,500 copies shipped, with a platinum accreditation representing 15,000 units shipped. Prior to ARIA taking on the role of certification authority in 1983, the music industry used the following certification levels: The ARIA No. 1 Chart Awards were established in 2002 to recognise Australian recording artists, who reached number one on the ARIA albums and music DVDs charts.
The ARIA Music Awards is an annual series of awards nights celebrating the Australian music industry. The event has been held annually since 1987. Like most recording industry associations, ARIA has been criticised for fighting copyright infringement matters aggressively, although in Australia this has taken the form of aggressive advertising campaigns in cinemas directly preceding movies; this criticism is stauncher in Australia due to the absence of an equivalent Digital Millennium Copyright Act or state crimes acts which establish copyright infringement as a crime. In February 2004, the Australian Record Industry Association took legal action against Kazaa, alleging massive copyright breaches; the trial began on 29 November 2004. On 6 Febr
The Canberra Times
The Canberra Times is a daily newspaper in Canberra, published by Fairfax Media part of Nine Entertainment Co.. The Canberra Times was launched in 1926 by Thomas Shakespeare along with his oldest son Arthur Shakespeare and two younger sons Christopher and James; the newspaper's headquarters were located in the Civic retail precinct, in Cooyong Street and Mort Street, in blocks bought by Thomas Shakespeare in the first sale of Canberra leases in 1924. The newspaper's first issue was published on 3 September 1926, it was the second paper to be printed in the first being The Federal Capital Pioneer. Between September 1926 and February 1928, the newspaper was a weekly issue; the first daily issue was 28 February 1928. In June 1956, The Canberra Times converted from broadsheet to tabloid format. Arthur Shakespeare sold the paper to John Fairfax Ltd in 1964, on the condition that it continue to advocate for Canberra. Soon after, in July 1964, the format was switched back to broadsheet and printing was moved to Fairfax's newly installed press in Fyshwick.
Offices remained open in the civic retail precinct until April 1987 when The Canberra Times moved its entire operation to the new office of The Federal Capital Press of Australia in Fyshwick. The paper was sold to Publishing and Broadcasting Limited, which in turn sold it to Kerry Stokes in 1989 for $110 million. Rural Press Limited bought the paper from Stokes in 1998 for $160 million; the Times rejoined the Fairfax stable in 2007. The paper first went online on 31 March 1997. In 2008, The Canberra Times printed a formal apology after the paper published an essay in which Irfan Yusuf falsely accused American historian Daniel Pipes of suggesting that Muslims deserved to be slaughtered as Jews were during the Holocaust. On 17 October 2008, The Canberra Times was distributed with a sticker advertising the ACT Labor Party on the front page. Complaints about the sticker prompted Ken Nichols, to issue an explanation. In October 2013, Fairfax Media announced that The Canberra Times would be restructured to join the Australian Community Media Group of regional and community newspapers, shifting from the metropolitan news division of Fairfax.
A new editorial leadership team was appointed in November 2015, with Grant Newton as editor of the newspaper and Scott Hannaford as deputy editor and news director. In March 2016, staff at the newspaper were told there would be a restructure at The Canberra Times and that the paper would move from a broadsheet format to a tabloid. Fairfax Media announced they would be cutting 12 jobs from the newspaper's staff; the paper's editors have included Jack Waterford and Michelle Grattan, the first female editor of a metropolitan daily newspaper in Australia. A recent editor-in-chief, Peter Fray, left in January 2009 to edit The Sydney Morning Herald, he was succeeded by Rod Quinn, who announced the formation of a new senior editorial team in 2012. Editorial cartoonists have included David Pope and Pat Campbell. List of newspapers in Australia The Canberra Times The Canberra Times at Trove
National Library of Australia
The National Library of Australia is the largest reference library in Australia, responsible under the terms of the National Library Act for "maintaining and developing a national collection of library material, including a comprehensive collection of library material relating to Australia and the Australian people." In 2012–13, the National Library collection comprised 6,496,772 items, an additional 15,506 metres of manuscript material. It is located in Parkes, Canberra, ACT; the National Library of Australia, while formally established by the passage of the National Library Act 1960, had been functioning as a national library rather than a Parliamentary Library since its inception. In 1901, a Commonwealth Parliamentary Library was established to serve the newly formed Federal Parliament of Australia. From its inception the Commonwealth Parliamentary Library was driven to development of a national collection. In 1907 the Joint Parliamentary Library Committee under the Chairmanship of the Speaker, Sir Frederick William Holder defined the objective of the Commonwealth Parliamentary Library in the following words: The Library Committee is keeping before it the ideal of building up, for the time when Parliament shall be established in the Federal Capital, a great Public Library on the lines of the world-famed Library of Congress at Washington.
The present library building was opened on 15 August 1968 by Prime Minister John Gorton. The building was designed by the architectural firm of Bunning and Madden in the Late Twentieth Century Stripped Classical style; the foyer is decorated in marble, with stained-glass windows by Leonard French and three tapestries by Mathieu Matégot. The building was listed on the Australian Commonwealth Heritage List on 22 June 2004. In 2012–13 the Library collection comprised 6,496,772 items, with an estimated additional 2,325,900 items held in the manuscripts collection; the Library's collections of Australiana have developed into the nation's single most important resource of materials recording the Australian cultural heritage. Australian writers and illustrators are sought and well represented—whether published in Australia or overseas; the Library's collection includes all formats of material, from books, journals and manuscripts to pictures, maps, oral history recordings, manuscript papers and ephemera.
92.1% of the Library's collection has been catalogued and is discoverable through the online catalogue. The Library has digitized over 174,000 items from its collection and, where possible, delivers these directly across the Internet; the Library is a world leader in digital preservation techniques, maintains an Internet-accessible archive of selected Australian websites called the Pandora Archive. The Library collects material produced by Australians, for Australians or about the Australian experience in all formats—not just printed works—books, newspapers, posters and printed ephemera—but online publications and unpublished material such as manuscripts and oral histories. A core Australiana collection is that of John A. Ferguson; the Library has particular collection strengths in the performing arts, including dance. The Library's considerable collections of general overseas and rare book materials, as well as world-class Asian and Pacific collections which augment the Australiana collections.
The print collections are further supported by extensive microform holdings. The Library maintains the National Reserve Braille Collection; the Library houses the largest and most developing research resource on Asia in Australia, the largest Asian language collections in the Southern hemisphere, with over half a million volumes in the collection, as well as extensive online and electronic resources. The Library collects resources about all Asian countries in Western languages extensively, resources in the following Asian languages: Burmese, Persian, Japanese, Korean, Manchu, Thai and Vietnamese; the Library has acquired a number of important Western and Asian language scholarly collections from researchers and bibliophiles. These collections include: Australian Buddhist Library Collection Braga Collection Claasz Collection Coedes Collection London Missionary Society Collection Luce Collection McLaren-Human Collection Otley Beyer Collection Sakakibara Collection Sang Ye Collection Simon Collection Harold S. Williams Collection The Asian Collections are searchable via the National Library's catalogue.
The National Library holds an extensive collection of manuscripts. The manuscript collection contains about 26 million separate items, covering in excess of 10,492 meters of shelf space; the collection relates predominantly to Australia, but there are important holdings relating to Papua New Guinea, New Zealand and the Pacific. The collection holds a number of European and Asian manuscript collections or single items have been received as part of formed book collections; the Australian manuscript collections date from the period of maritime exploration and settlement in the 18th century until the present, with the greatest area of strength dating from the 1890s onwards. The collection includes a large number of outstanding single items, such as the 14th century Chertsey Cartulary, the journal of James Cook on the HM Bark Endeavour, inscribed on t
Mullumbimby is an Australian town in Byron Shire in the Northern Rivers region of New South Wales. It promotes itself as "The Biggest Little Town in Australia"; the town lies at the foot of Mount Chincogan in the Brunswick Valley about 9 kilometres by road from the coast. At the 2016 census and the surrounding area had a population of 3,596 people. Locals refer to the town as "Mullum". Occupied by the Bundjalung people, by the 1850s Europeans had established a camp site at the junction of two arms of the Brunswick River; this grew to become a village and the township of Mullumbimby. Mullumbimby was a centre for the timber industry. Notably, red cedar was collected in great quantities from around the area, a part of the far northern New South Wales' "Big Scrub"; the town was a logical site for settlement by the timber hunters, as the Brunswick River is tidal in the town and navigable to that point, allowing logs to be floated down the river to its mouth at Brunswick Heads. The town's central location gave access to most of the catchment area, it provided the best position for bullock teams to cross the river with their wagons loaded with timber.
At low tide it is still possible to see the shallow region where the bullocks made the crossing of the Brunswick River, under the current "Federation Bridge" on Murwillumbah Road. The name "Mullumbimby", meaning "small round hill", was given to the district by Aboriginal people; the name is derived from the Bandjalung-Yugambeh dialect mulubinba. Although some sources claim this is because of the proximity of Mount Chincogan, Chincogan is too prominent in the landscape to fit the name. An alternative theory is that it refers to another rounder hill. Suggestions include a medium hill to the north of Left Bank road, on which the towns water tower is located, or a smaller hill on Coolamon Scenic Drive, situated on the Daly Family Farm, near the current golf course; this latter hill is supported by the abundant grass flats which surrounded it, known as Mullumbimby Grass. These open grass flats hunting grounds for the local Bundjalung tribes, were used by early European timber hunters to graze their bullock teams.
The significance of this area lay not only in the feed it provided, but that some grasses in the cleared area aided bullocks which had swallowed salt water when dragging timber into the surf for collection by nearby ships. Mullumbimby was a separate municipality from 1908 until 1980 when it was forced to amalgamate with the Byron Shire; the Byron Shire Council offices were relocated to Mullumbimby in the 1990s. Byron Shire, including Mullumbimby and nearby Byron Bay, became a centre of alternative or counter culture alongside the extant mainstream culture in the 1970s and 1980s, remains so today; the mixed male choir Dustyesky performs Russian-language folk songs and received major coverage on the Russian television broadcaster Channel One. Once the most notable specimens of the valuable timber trees had been collected, the Big Scrub timber trade collapsed and Mullumbimby became a farming community. Like many areas of the Big Scrub, allotments were given in Mullumbimby and the surrounding areas by the New South Wales government on the condition that the owner cleared the land for agricultural use.
Beef and dairy, along with bananas and sugar cane have traditionally been the notable products of the area. However, the subdivision of many of the larger farms and the emergence of numerous small scale farmers has led to a higher diversity of products. A weekly farmers' market has been developed to exhibit local produce. A static inverter plant of HVDC Directlink is located at Laverty's Gap near Mullumbimby; this inverter plant was the site of a 288 kW hydroelectric power scheme that powered Mullumbimby, Byron Bay and Bangalow from 1926, using water from a weir in nearby Wilsons Creek. The scheme was the fourth hydro electric power station in NSW and only the fifth on mainland Australia. Powering Mullumbimby for the first time in 1925, the scheme made Mullumbimby one of the first country towns in NSW to receive electricity. Although decommissioned in 1990, it is now of state heritage significance; the hydroelectric scheme was designed by William Corin. The site is being considered for pumped-storage hydroelectricity.
Mullumbimby has several heritage-listed sites and the controversial Slater mounds have been nominated as local heritage. The best known heritage sites include: Wilsons Creek Road: Mullumbimby Hydro-electric Power Station Complex Mullumbimby is about 4 kilometres west of the Pacific Highway, near where the now closed Murwillumbah railway line crosses the Brunswick River; the line opened in 1894 and was closed in 2004 because of an argument over funding between federal and state politicians, despite community resistance across the region. Closure of the railway line between Murwillumbah and Casino has reduced transport options in the region; the Brunswick River starts at the meeting of Main Arm and Mullumbimby creeks. Mullumbimby is close to the localities of Brunswick Heads and Wilsons Creek, its hinterland area includes the locales of Goonengerry, Koonyum Range, Main Arm, Palmwoods and Wilsons Creek and coincides with the postcode area of 2482 which has a diamond shape of around 35 km by 45 km.
The main geographical feature of Mullumbimby, Mount Chincogan, was a minor lava plug of the now extinct Tweed shield volcano. The nearby Mount Warning was the main plug. Reported stones arrangement on the Slater mounds on the western side of Saddl