Rhumba known as ballroom rumba, is a genre of ballroom music and dance that appeared in the East Coast of the United States during the 1930s. It combined American big band music with Afro-Cuban rhythms the son cubano, but conga and rumba. Taking its name from the latter, ballroom rumba differs from Cuban rumba both in its music and dance. Hence, authors prefer the Americanized spelling of the word to distinguish between them. Although the term rhumba began to be used by American record companies to label all kinds of Latin music between 1913 and 1915, the history of rhumba as a specific form of ballroom music can be traced back to May 1930, when Don Azpiazú and his Havana Casino Orchestra recorded their song "El manisero" in New York City; this single, released four months by Victor, became a hit, becoming the first Latin song to sell 1 million copies in the United States. The song, composed by Moisés Simons, is a son-pregón arranged, in this case, for Azpiazú's big band featuring 3 saxophones, 2 cornets, guitar, violin and trap drums.
With vocals by Antonio Machín and a trumpet solo by Remberto Lara, the recording attempted to adapt the Cuban son to the style of ballroom music prevalent at the time in the East Coast. Soon, Azpiazú's style was followed by other Cuban artists such as Armando Oréfiche and the Lecuona Cuban Boys, which had extensive international tours in the 1930s, their style has been described as ballroom conga, since they used to borrow conga rhythms in songs such as "Para Vigo me voy". Among their numerous hits were boleros and canciones such as "Amapola" and "Siboney"; this music movement, which included many American big bands which covered Latin standards, was dubbed the rhumba craze. Notable bandleaders of the rhumba craze include Xavier Cugat, Jimmy Dorsey, Nathaniel Shilkret, Leo Reisman and Enric Madriguera. Rhumba was incorporated into classical music as exemplified by symphonic pieces by composers such as George Gershwin, Harl McDonald and Morton Gould; the kind of rhumba introduced into dance salons in America and Europe in the 1930s was characterized by variable tempo, sometimes nearly twice as fast as the modern ballroom rumba, developed as a dance in the 1940s and'50s, when the original music movement had died down.
Nonetheless, the rhumba craze would be the first of three Latin music crazes in the first half of the 20th century, together with the mambo craze and the cha-cha-cha craze. Two variations of rhumba with opposing step patterns are danced around the world. American style rumba was imported to America by band directors like Emil Coleman and Don Aspiazú between 1913 and 1935; the film Rumba, released in 1935, brought the style to the attention of the general public. American style rhumba is taught in a box step, known for its slow-quick-quick pattern danced on the 1, 3, 4 beats of 4-beat music. International style rhumba was developed in Europe by Monsieur Pierre after he compared the established American style with contemporary Cuban dancers. International style is taught in a quick-quick-slow pattern danced on the 2, 3, 4 beats of 4 beat music, similar in step and motion to the cha-cha-cha. Both styles were canonized in 1955. Rhumba is one of the ballroom dances which occurs in international competitions.
Of the five competitive international Latin dances, it is the slowest. This ballroom rumba was derived from a Cuban dance called the bolero-son; the modern international style of dancing the rumba derives from studies made by dance teacher Monsieur Pierre, who partnered Doris Lavelle. Pierre from London, visited Cuba in 1947, 1951, 1953 to find out how and what Cubans were dancing at the time; the international ballroom rumba is a slower dance of about 120 beats per minute which corresponds, both in music and in dance, to what the Cubans of an older generation called the bolero-son. It is easy to see why, for ease of reference and for marketing, rhumba is a better name, however inaccurate. All social dances in Cuba involve a hip-sway over the standing leg and, though this is scarcely noticeable in fast salsa, it is more pronounced in the slow ballroom rumba. In general, steps are kept compact and the dance is danced without any rise and fall; this style is authentic. The basic figures derive from dance moves observed in Havana in the pre-revolutionary period, have developed their own life since then.
Competition figures are complex, this is where competition dance separates from social dance. Details can be obtained from standard texts. There is a variant danced in the United States, with box-like basic figures. Son cubano Cuban rumba Conga Mambo / Mambo Cha-cha-cha / Cha-cha-cha
ABC Television is a service of the Australian Broadcasting Corporation launched in 1956. As a public service broadcaster, the ABC provides four non-commercial channels within Australia, a advertising-funded satellite channel overseas. ABC is one of five main free-to-air networks in Australia; the history of the ABC's television operations can be traced back to 1953, when the federal Television Act was passed, providing the initial regulatory framework for both the ABC and commercial television networks. Over the next three years, planning for the introduction of a national television service was put in place, land for studios and transmitters in Sydney and Melbourne was acquired, overseas tutors were brought to Australia to assist with training. Commercial station TCN-9 Sydney was the first to broadcast in Australia, soon followed by the ABC's own ABN-2 Sydney and ABV-2 in Melbourne. Six stations, three in Melbourne and three in Sydney, were in operation in time to cover the 1956 Summer Olympics in Melbourne.
The ABC's first television broadcast was inaugurated by Prime Minister Robert Menzies on 5 November, at the Gore Hill studios in Sydney, followed two weeks by transmission in Melbourne. Outside broadcasting was initiated on 5 November, from the ABC's first outside broadcast van; the van, now in the collection of the National Museum of Australia, was instrumental in the production of thousands of outside broadcasts. It was restored in time to be displayed at the Sydney Olympic Games and was used to film the visit of Queen Elizabeth II to the site of the National Museum in 2000. Although radio programs could be broadcast nationally by landline, television relay facilities were not put in place until the early 1960s; this meant that news bulletins had to be sent to each capital city by teleprinter, to be prepared and presented separately in each city, with filmed materials copied manually and sent to each state. A purpose-built television studio was built in Sydney, opened on 29 January 1958, replacing temporary sound studios used since the ABC's television services launched in 1956.
In the same year, technical equipment was moved to permanent locations, while main transmitters were introduced to Melbourne and Sydney in 1957 and 1958, respectively. Direct relays between Sydney and Melbourne, as well as Canberra, were established in 1961, replacing temporary microwave relays as a means of airing programs across multiple stations. Videotape equipment, allowing the sharing of footage with much greater ease and speed, was installed in each state capital by 1962. ABQ-2 Brisbane was the third ABC TV station to launch. ABC-3 Canberra opened a year with ABD-6 Darwin completing the ABC's coverage of every state in 1971. Teletext services were introduced to ABC in 1983 to allow hearing-impaired viewers access to closed captions. International television service Australia Television International was established in 1993. Australia Television was sold to the Seven Network in 1998; the ABC's television operations joined its radio and online divisions at the Corporation's Ultimo headquarters in 2000.
In 2002, the ABC launched ABC Asia Pacific, the replacement for the defunct Australia Television channel operated by the Seven Network. Much like its predecessor, companion radio network Radio Australia, the service provided a mix of programming targeted at audiences throughout the Asia-Pacific region. Funding cuts in 2003, led to the closure of Fly and the ABC Kid's Channel. ABC2, now ABC Comedy, a second attempt at a digital-only television channel, was launched on 7 March 2005, running on a budget of $3 million per year. Minister for Communications Helen Coonan inaugurated the channel at Parliament House three days later. Genre restrictions limiting the types of programming the channel could carry were lifted in October 2006. In the lead-up to the 2007 federal election, the Australian Government endorsed a proposal submitted to the Australian Communications and Media Authority by the ABC to launch a second digital channel targeted at children; the new channel, titled ABC3, was to aim to provide at least 50% Australian-made content.
At midday on 8 February 2008, ABC Television was rebranded as ABC1, complementing the existing ABC2 digital-only channel launched on 7 March 2005. ABC has four digital services; as of 2009, ABC announced an Australia-wide upgrade to its Digital service, that it would provide a seven-day Electronic Program Guide and give new logical channel numbers for all of ABC’s television services. The new ABC logical channel numbers are below; these services are available nationally through digital terrestrial television, all the digital TV services are available through the VAST free-to-air satellite service. Only the primary ABC channel is available on the Optus Aurora satellite platform. In June 2010, playout was moved to a new facility shared with WIN Television at Ingleburn. On 6 December 2016, ABC upgraded its HD format from 720p to 1080i. Within Australia, the ABC operates four television channels, all of them non-commercial. ABC, the Corporation's original television service, receives the bulk of funding for television and shows first-run comedy, drama and news and current affairs.
In each state and territory a local news bulletin is shown at 7 pm nightly. ABC Comedy, launched in 2005, shows comedic content in addition to some repeats from ABC TV of which the amount has decreased since ABC Comedy's inception, it is not a 24-hour channel, but is
The cha-cha-chá, or cha-cha in the U. S. is a dance of Cuban origin. It is danced to the music of the same name introduced by Cuban composer and violinist Enrique Jorrin in the early 1950s; this rhythm was developed from the danzón-mambo. The name of the dance is an onomatopoeia derived from the shuffling sound of the dancers' feet. In the early 1950s, Enrique Jorrín worked as a violinist and composer with the charanga group Orquesta América; the group performed at dance halls in Havana where they played danzón, danzon-mambo for dance-orientated crowds. Jorrín noticed that many of the dancers at these gigs had difficulty with the syncopated rhythms of the danzón-mambo. To make his music more appealing to dancers, Jorrín began composing songs where the melody was marked on the first downbeat and the rhythm was less syncopated; when Orquesta América performed these new compositions at the Silver Star Club in Havana, it was noticed that the dancers had improvised a triple step in their footwork producing the sound "cha-cha-cha".
Thus, the new style came to be known as "cha-cha-chá" and became associated with a dance where dancers perform a triple step. The basic footwork pattern of cha-cha-chá is found in several Afro-Cuban dances from the Santería religion. For example, one of the steps used in the dance for the orisha Ogun uses an identical footwork pattern; these Afro-Cuban dances predate the development of cha-cha-chá and were known by many Cubans in the 1950s those of African origin. Thus, the footwork of the cha-cha-chá was inspired by these Afro-Cuban dances. In 1953, Orquesta América released two of Jorrin's compositions, "La Engañadora" and "Silver Star", on the Cuban record label Panart; these were the first cha-cha-chá compositions recorded. They became hits in Havana, other Cuban charanga orchestras imitated this new style. Soon, there was a cha-cha-chá craze in Havana's dance halls, popularizing both the music and the associated dance; this craze soon spread to Mexico City, by 1955 the music and dance of the cha cha cha had become popular in Latin America, the United States, Western Europe, following in the footsteps of the mambo, a worldwide craze a few years earlier.
Cha-cha-chá is danced to authentic Cuban music, although in ballroom competitions it is danced to Latin pop or Latin rock. The music for the international ballroom cha-cha-chá is energetic and with a steady beat; the music may involve complex polyrhythms. Styles of cha-cha-chá dance may differ in the place of the chasse in the rhythmical structure; the original Cuban and the ballroom cha-cha count is "two, chachacha", "four-and-one, three" or "one, three, chacha". The dance does not start on the first beat of a bar, though it can start with a transfer of weight to the lead's right. Many social dancers count "one, cha-cha-cha" and may find it difficult to make the adjustment to the correct timing of the dance, "two, cha-cha, one"; the basic pattern involves the lead taking a checked forward step with the left foot, retaining some weight on the right foot. The knee of the right leg must stay bent and close to the back of the left knee, the left leg having straightened just prior to receiving part weight.
This step is taken on the second beat of the bar. Full weight is returned to the right leg on the second step; the fourth beat is split in two so the count of the next three steps is 4-and-1. These three steps constitute the cha-cha chasse. A step to the side is taken with the left foot, the right foot is half closed towards the left foot, there is a last step to the left with the left foot; the length of the steps in the chasse depends much on the effect the dancer is attempting to make. The partner takes a step back on the right foot, the knee being straightened as full weight is taken; the other leg is allowed to remain straight. It is possible it will shoot but no deliberate flexing of the free leg is attempted; this is quite different from technique associated with salsa, for instance. On the next beat weight is returned to the left leg. A chasse is danced RLR; each partner is now in a position to dance the bar. Hence the fundamental construction of Cha-cha extends over two bars; the checked first step is a development in the "international cha-cha" style.
Because of the action used during the forward step the basic pattern turns left, whereas in earlier times Cha-cha was danced without rotation of the alignment. Hip actions are allowed to occur at the end of every step. For steps taking a single beat the first half of the beat constitutes the foot movement and the second half is taken up by the hip movement; the hip sway eliminates any increase in height. In general, steps in all directions should be taken first with the ball of the foot in contact with the floor, with the heel lowering when the weight is transferred; when weight is released from a foot, the heel should release from the floor first, allowing the toe to maintain contact with the floor. In traditional American Rhythm style, Latin hip movement is achieved through the alternate bending and straightening action of the knees, though in modern competitive dancing, the technique is identical to the "international Latin" style. In the international Latin style, the weighted leg is always straight.
The free leg will bend, allowing the hips to settle into the direction of the weighted leg. As a step is taken, a free
Hip hop music
Hip hop music called hip-hop or rap music, is a music genre developed in the United States by inner-city African Americans in the late 1970s which consists of a stylized rhythmic music that accompanies rapping, a rhythmic and rhyming speech, chanted. It developed as part of hip hop culture, a subculture defined by four key stylistic elements: MCing/rapping, DJing/scratching with turntables, break dancing, graffiti writing. Other elements include sampling beats or bass lines from records, rhythmic beatboxing. While used to refer to rapping, "hip hop" more properly denotes the practice of the entire subculture; the term hip hop music is sometimes used synonymously with the term rap music, though rapping is not a required component of hip hop music. Hip hop as both a musical genre and a culture was formed during the 1970s when block parties became popular in New York City among African-American youth residing in the Bronx; however hip-hop music did not get recorded for the radio or television to play until 1979 due to poverty during hip-hop's birth and lack of acceptance outside ghetto neighborhoods.
At block parties DJs played percussive breaks of popular songs using two turntables and a DJ mixer to be able to play breaks from two copies of the same record, alternating from one to the other and extending the "break". Hip hop's early evolution occurred as sampling technology and drum machines became available and affordable. Turntablist techniques such as scratching and beatmatching developed along with the breaks and Jamaican toasting, a chanting vocal style, was used over the beats. Rapping developed as a vocal style in which the artist speaks or chants along rhythmically with an instrumental or synthesized beat. Notable artists at this time include DJ Kool Herc, Grandmaster Flash and The Furious Five, Fab Five Freddy, Marley Marl, Afrika Bambaataa, Kool Moe Dee, Kurtis Blow, Doug E. Fresh, Warp 9, The Fat Boys, Spoonie Gee; the Sugarhill Gang's 1979 song "Rapper's Delight" is regarded to be the first hip hop record to gain widespread popularity in the mainstream. The 1980s marked the diversification of hip hop.
Prior to the 1980s, hip hop music was confined within the United States. However, during the 1980s, it began to spread to music scenes in dozens of countries, many of which mixed hip hop with local styles to create new subgenres. New school hip hop was the second wave of hip hop music, originating in 1983–84 with the early records of Run-D. M. C. and LL Cool J. The Golden age hip hop period was an innovative period between the early 1990s. Notable artists from this era include the Juice Crew, Public Enemy, Eric B. & Rakim, Boogie Down Productions and KRS-One, EPMD, Slick Rick, Beastie Boys, Kool G Rap, Big Daddy Kane, Ultramagnetic MCs, De La Soul, A Tribe Called Quest. Gangsta rap is a subgenre of hip hop that focuses on the violent lifestyles and impoverished conditions of inner-city African-American youth. Schoolly D, N. W. A, Ice-T, Ice Cube, the Geto Boys are key founding artists, known for mixing the political and social commentary of political rap with the criminal elements and crime stories found in gangsta rap.
In the West Coast hip hop style, G-funk dominated mainstream hip hop for several years during the 1990s with artists such as Dr. Dre and Snoop Dogg. East Coast hip hop in the early to mid 1990s was dominated by the Afrocentric jazz rap and alternative hip hop of the Native Tongues posse as well as the hardcore rap of artists such as Mobb Deep, Wu-Tang Clan, Onyx. East Coast hip hop had gangsta rap musicians such as Kool G Rap and the Notorious B. I. G.. In the 1990s, hip hop began to diversify with other regional styles emerging, such as Southern rap and Atlanta hip hop. At the same time, hip hop continued to be assimilated into other genres of popular music, examples being neo soul and nu metal. Hip hop became a best-selling genre in the mid-1990s and the top selling music genre by 1999; the popularity of hip hop music continued through the 2000s, with hip hop influences increasingly finding their way into mainstream pop. The United States saw the success of regional styles such as crunk, a Southern genre that emphasized the beats and music more than the lyrics.
Starting in 2005, sales of hip hop music in the United States began to wane. During the mid-2000s, alternative hip hop secured a place in the mainstream, due in part to the crossover success of artists such as OutKast and Kanye West. During the late 2000s and early 2010s, rappers such as Lil Wayne, Soulja Boy, B.o. B were the most popular rappers. During the 2010s, rappers such as Drake, Nicki Minaj, J. Cole, Kendrick Lamar all have been popular. Trap, a subgenre of hip hop has been popular during the 2010s with hip hop artists and hip hop music groups such as Migos, Travis Scott, Kodak Black; the creation of the term hip hop is credited to Keith Cowboy, rapper with Grandmaster Flash and the Furious Five. However, Lovebug Starski, Keith Cowboy, DJ Hollywood used the term when the music was still known as disco rap, it is believed that Cowboy created the term while teasing a friend who had just joined the U. S. Army, by scat singing the words "hip/hop/hip/hop" in a way that mimicked the rhythmic cadence of soldiers marching.
Cowboy worked the "hip hop" cadence into a part of his stage performance, used by other artists such as The Sugarhi
The Seven Network is a major Australian commercial free-to-air television network. It is owned by Seven West Media Limited, is one of five main free-to-air television networks in Australia. Channel Seven head. Since 2007, the Seven Network has been the highest rated television network and primary channel in Australia; the Seven Network is the broadcaster of popular franchises and programs, including the AFL, the Cricket, the Olympics, Sunrise, My Kitchen Rules, The Chase Australia, Australia's Got Talent, House Rules and Away, Better Homes & Gardens and Seven News. In 2011 the Seven Network won all 40 out of 40 weeks of the ratings season for total viewers. Seven is the first to achieve this since the introduction of the OzTAM ratings system in 2001; as of 2014, it is the second largest network in the country in terms of population reach. Seven's administration headquarters are in Eveleigh, completed in 2003. National news and current affairs programming are based between flagship station ATN-7 in Sydney and HSV-7 in Melbourne.
In 2009, Seven moved its Sydney-based production operations from Epping to a purpose-built high-definition television production facility at the Australian Technology Park in Eveleigh. The present Seven Network began as a group of independent stations in Sydney, Brisbane and Perth. HSV-7 Melbourne, licensed to The Herald and Weekly Times Ltd, was launched on 4 November 1956, the first station in the country to use the VHF7 frequency. ATN-7 Sydney, licensed to Amalgamated Television Services, a subsidiary of Fairfax, was launched on 2 December 1956; the two stations did not share resources, instead formed content-sharing partnerships with their VHF9 counterparts by 1957: ATN-7 partnered with Melbourne's GTV-9, while HSV-7 paired up with Sydney's TCN-9. TVW-7 Perth, licensed to TVW Limited, a subsidiary of West Australian Newspapers, publisher of The West Australian, began broadcasting two years on 16 October 1959, as the city's first commercial station. BTQ-7 Brisbane followed on 1 November, signing on as Brisbane's second commercial television station.
ADS-7 Adelaide was launched on 24 October 1959 as the final capital city VHF7 station. The station swapped frequencies with SAS-10, with the latter becoming SAS-7HSV-7 began its relationship with the Victorian Football League in April 1957, when the station broadcast the first live Australian rules football match. Throughout this time, the stations operated independently of each other, with schedules made up of various simple, inexpensive, such as Pick a Box and spinoffs of popular radio shows. In the early 1960s, coaxial cable links, formed between Sydney and Melbourne, allowed the sharing of programmes and simultaneous broadcasts of live shows. In 1960, Frank Packer, the owner of Sydney's TCN-9, bought a controlling share of Melbourne's GTV-9, in the process creating the country's first television network and dissolving the ATN-7/GTV-9 and HSV-7/TCN-9 partnerships. Left without their original partners, ATN-7 and HSV-7 joined to form the Australian Television Network in 1963; the new grouping was soon joined by other capital-city channel 7 stations, ADS-7 Adelaide and BTQ-7 Brisbane.
The new network began to produce and screen higher-budget programs to attract viewers, most notably Homicide, a series which would continue for another 12 years to become the nation's longest running drama series. However, it was not until 1970 that a national network logo was adopted, albeit still with independently owned and operated stations with local advertising campaigns. Colour television was introduced across the network in 1975. Rupert Murdoch made an unsuccessful bid for the Herald and Weekly Times, owners of HSV-7, in 1979 going on to gain control of rival ATV-10. Fairfax, however bought a 14.9% share of the company in the same year. The 1980s saw the introduction of stereo sound, as well as a number of successful shows, most notably A Country Practice in 1981, Sons and Daughters, which began in 1982. Wheel of Fortune began its 25-year run in July 1981, produced from ADS-7's studios in Adelaide; the 1980 Summer Olympics in Moscow were shown live on the network the year before. Neighbours began on Seven in 1985, but low ratings in Sydney led to the cancellation of the new series at the end of the year, which moved to Network Ten and went on to achieve international success.
Perth based businessman Robert Holmes à Court, through his business the Bell Group, bought TVW-7 from its original owners, West Australian Newspapers in 1982. The Herald and Weekly Times, owner of HSV-7 and ADS-7, was sold to Rupert Murdoch in December 1986 for an estimated A$1.8 billion. Murdoch's company, News Limited, sold off HSV-7 to Fairfax soon afterwards, for $320 million. Fairfax went on to axe a number of locally produced shows in favour of networked content from its Sydney counterpart, ATN-7. Cross-media ownership laws introduced in 1987 forced Fairfax to choose between its print and television operations – it chose the former, sold off its stations to Qintex Ltd. owned by businessman Christopher Skase. Qintex had bought, subsequently sold off, stations in Brisbane and regional Queensland before taking control of the network; the next year, another new logo was introduced along with evening soap Home and Away and a relaunched Seven Nightly News, now known as Seven News. The network became national in 1988 when Skase bought TVW-7 for $130 million.
In 1989, the network cha
Paul Anthony Michael McDermott is an Australian comedian, writer, singer and television personality. As a comedian, he is best known both for Good News Week and for his role as a member of the musical comedy group the Doug Anthony All Stars, which disbanded in 1994 but reformed in 2014, he has appeared at the Melbourne International Comedy Festival and taken part in its two major televised productions, the Comedy Festival Gala and the Great Debate. He has hosted two other ABC programs and featured on Triple J as a morning radio presenter between 1996 and 1997, he hosted Good News Week until 2012, has since pursued his painting career, given a series of concerts featuring self-penned songs of a more serious nature. McDermott is a published author, having released several books both in collaboration with the Doug Anthony All Stars and individually, he has written as a columnist for a number of Australian newspapers and a selection of his columns have been compiled into a book, The Forgetting of Wisdom.
He has written and illustrated two storybooks, both of which have been adapted into short films with McDermott scripting, directing and painting all of the animations. McDermott was born in Adelaide, South Australia, a fraternal twin and one of six children in a Catholic family, his father, was a senior public servant and his mother, Betty, a home manager. The family moved to Canberra, he attended Marist College Canberra, where he describes himself as having been painfully shy and a "bit of a loner". He describes painting as his first love, still considers his final year piece at art school to be his finest work. Indeed, he only started performing at the age of 25. "It was either that or waiting on tables and I thought I'd soon get pissed off with people doing that," he says. McDermott maintains his interest in art through painting and hand-crafting books, he works under the alias of artist'Young Master Paul'. He has criticised the war on drugs and society's tendency to ignore the large drug subculture that involves people of all ages.
"It's out there and it happens, but there's still a fear of talking about it," he says. "In cities like Manchester, with unemployment problems, there are no-alcohol venues where five thousand people under the age of sixteen are eccy'd off their heads every Saturday night."He has one son, with his partner Melissa Lyne. He is the first cousin of retired Adelaide Crows AFL footballer and current Adelaide media personality Chris McDermott. McDermott began busking in 1985, which he says equipped him with useful experience and the ability to cope with most situations when he started performing in clubs, he joined. It was here that he got to know Tim Ferguson and Richard Fidler of the musical comedy group the Doug Anthony All Stars. McDermott was asked to join the group when the third member, Robert Piper, left due to other commitments, his primary reason for joining, he says, was monetary: "I'd been stealing canvas from the bins around the art school." Busking and performing live in clubs, with McDermott writing the majority of their material and songs, DAAS achieved success at the 1986 Adelaide Fringe Festival and subsequently travelled to Britain for the Edinburgh Fringe festival, where they were nominated for the Perrier Award.
They toured both nationally and internationally, appearing on British television and playing at the opening of the Barcelona Olympics. After struggling to gain success in Australia, in 1989 DAAS was picked up to perform on the ABC show The Big Gig, on which they became a popular feature, they appeared on the show until 1991, when the group premiered their own series on the ABC, DAAS Kapital, which ran for two seasons. McDermott says that he liked performing with DAAS because it allowed him to bring together a range of his interests—he got to write, sing, create costumes and paint backdrops; the group split up in 1995 after a final farewell tour of Australia. Rumours of a falling out among the trio persisted for many years, but all three maintained that they had parted on good terms and that it had been time to move on, as they had wanted to pursue careers in different directions. Ferguson has since revealed that the break-up was in large part due to his being diagnosed with multiple sclerosis in 1995.
In the two years following the break-up of DAAS, McDermott wrote two film scripts and the stage show MOSH!. He says that he was not interested in returning to comedy, which he came to regard as an "aberration, something, good to do for eight years but now it was over," until in 1996 he was recruited as host of the satirical news-based quiz show Good News Week. In 2014, McDermott and Tim Ferguson reunited to tour Australia as the Doug Anthony All Stars, with frequent collaborator Paul Livingston replacing Richard Fidler as guitarist due to Fidler's radio commitments. In 1996, McDermott was recruited by director Ted Robinson, with whom he had worked on The Big Gig, to host Good News Week, which aired on the ABC from 1996 to 1998, on Network Ten from 1999 to 2000 and returned in 2008 for a new series, he hosted the AFI awards in 2002, in 2004 and 2005 presented the ABC show Strictly Dancing. McDermott reunited with Robinson in 2007 when he was named host of a new ABC variety program, The Sideshow, a show described as a successor to The Big Gi
A nosegay, posy, or tussie-mussie is a small flower bouquet given as a gift. They have existed in some form since at least medieval times, when they were carried or worn around the head or bodice. Doilies are traditionally used to bind the stems in these arrangements. Alternatively, "posy holders", available in a variety of shapes and materials, enable the wearing of these arrangements "at the waist, in the hair, or secured with a brooch"; the term nosegay arose in fifteenth-century Middle English as a combination of nose and gay. So a nosegay was an ornament that appeals to the nostril; the term tussie-mussie comes from the reign of Queen Victoria, when the small bouquets became a popular fashion accessory. Tussie-mussies include floral symbolism from the language of flowers, therefore may be used to send a message to the recipient. In modern times the term refers to small bouquets in a conical metal holder, or the holder itself when used at a white wedding. Corsage Floral design Floristry Ring a Ring o' Roses Sachet