#mark opitz

[mitjalovse]

Several Australian rock musicians had this intriguing career that found them having some cult success in their homeland and the rest of the world. Divinyls, for instance, were semi-famous in Australia and all over the globe for a while, until they fluked themselves into a stratosphere. Still, the elements behind the latter – we'll talk about that tune on some other time – were always present. Check the tune from their debut and compare that one to the famous hit of theirs. Yes, their early productions merely provided us with a small glimpse of the pop vibes they had. Then again, why should we be surprised, most Australian rockers are much more willing to communicate in the codes of pop than many of their peers in some other countries.

[my-chaos-radio]

Release: April 13, 1987

Lyrics:

Oh-woh-woh-oh...

Oh-oh-oh...

You never expect it to be in your wildest dreams

So take a step backwards for a little while

You'll find it there

It's somethin' that I can't explain

So I remain trapped inside

Still holdin' strong

Still holding o-on to you

To you

Take me back to you

It's been a long time

Although every night

I think of you

It's such a lonely life

I watched you wave goodbye as you drove away

I didn't know that it would be your last time with me

You said - life ain't worth living if nobody cared

You said that all the time

Oh I take a step back and see your starin' eyes

I see you on the day you die

Oh-woh-woh-oh-oh

Take me back to you

It's been a long time

Although every night

I think of you

It's such a lonely life (yeah)

And take me back to you

Take me back to you

Songwriter: Chin Injeti / Shawn Smith

Take me back to you

It's been a long time

Although every night

I think of you

It's such a lonely life

Oh-oh-oh-oh

Take me back to you

Take me back to you

SongFacts:

"Take Me Back" is a song by Australian rock-pop band Noiseworks, written by their lead singer Jon Stevens and their sometime collaborator Brent Thomas. It was released in 1987 as the second single from their first studio album Noiseworks (1987), which was produced by Mark Opitz. The single peaked at number seven on the Kent Music Report Australian singles chart.

[johnkatsmc5]

Rollerball "Lifetime / Looking For The Moon" EP 2001 + "Superstructure" 2002 + "Oversize" 2004 + "Broken Open" EP 2005 + "Submarine" 2009  Australia Stoner,Hard,Desert Rock

full spotify

https://open.spotify.com/album/4e5M3kdu6zBzvzkyyNe9HX

https://open.spotify.com/album/2vPi8BL5KxtlmR8cIczhrN

https://open.spotify.com/album/18KtgAcfromhp4uKtUHHw9

https://open.spotify.com/album/12HzUo7kt1oEVLqfU1bCn3

https://open.spotify.com/album/14lcJAdh1g4HUfh99c86Up

Rollerball "Lifetime / Looking For The Moon" EP 2001

Tracklist 1 Lifetime 4:03 2 Looking For The Moon 3:22 3 Superstructure (Live) Recorded By, Mixed By – Phil McKellar* 3:39 4 Mainframe 1:42 5 Lifetime (Video) 4:04

Rollerball "Superstructure" 2002

Credits Bass – Junior MacLennan* Guitar – Dave Talon Percussion – Cracker Roach Vocals – Tenpin Boland* Tracklist 1 Loungeroom Lifer 4:17 2 Head Song 2:37 3 Lifetime 4:03 4 Daisy Chain 3:17 5 Highly Likely Blues Harp – Lachlan MacLennan 4:52 6 Superstructure 2:52 7 Looking For The Moon Organ – Ben McCarthy 3:18 8 Colder (Satos Dominos) Organ – Ben McCarthy 4:14 9 Commodity 3:49 10 Trip Party 3:36 11 Next To You 5:57 Video Lifetime 4:04

Rollerball "Oversize" 2004

Tracklist Turn Back The River 2:33 Armed And Dangerous 2:59 Lucille 3:39 Bookend 3:33 Spray 2:52 World Weight 4:17 Cocoon 3:57 Broken Open 3:02 Suprise Me 3:01 Dustboards (Stranger Things) 3:06 Common Thread 3:26 Drink Until Light 3:26

Rollerball "Broken Open" EP 2005

Rollerball arrived as a fully formed explosion of retro futuristic groove in 1999 with their debut release the stoner classic Lost in Space. Skip to 2005's Broken Open and Rollerball are a leaner snarling rock beast, stripped to the bone, the sound of a band at the top of their game. Broken Open EP features Commom Thread and Broken Open from Oversize, produced by Oz rock legend Mark Opitz (AC/DC, INXS) & six live tracks recorded at the Marquee including scorching versions of Highly Likely, Loungeroom Lifer and Stevie Wright's monster Black Eyed Bruiser. Sex Sells. 2005.....~

Tracklist 1 Common Thread Producer – Mark Opitz, Tony Wall 3:27 2 Broken Open Producer – Mark Opitz, Tony Wall 3:03 3 Lucille 3:25 4 Classical Stimuli 3:22 5 Highly Likely 4:01 6 Loungeroom Lifer 4:19 7 Black Eyed Bruiser 3:46 8 Next To You 4:09

Rollerball "Submarine" 2009

Submarine is the new album from Queensland rockers Rollerball. Recorded with engineer Jeff Lovejoy (Cruel Sea, Powderfinger, Regurgitator) the intensity & raw power of the Rollerball live experience is captured in 55 minutes of incendiary rock. Take a mix of AC/DC, Kyuss, Blue Oyster Cult & Thin Lizzy & you get a hint of the unique Rollerball sound. Massive riffs, surrealist lyrics, tribal rhythms & pounding grooves, this is hard rock without irony, pastiche or plagiarism. From turbo charged belters, prog mind melters, sing-a-long shanties & epic stoner jams.....~ Tracklist 1 Devil And The Deep Blue Sea 1:30 2 Submarine 4:13 3 Seasoar 3:41 4 Youth Bailed (Back To Hell) 4:44 5 Your Lullaby 5:32 6 We Always Slide 4:15 7 The Devil's Reprise 1:52 8 Run Aground 1:42 9 Tame Existence 6:22 10 B-Ray Boogie 5:57 11 Never A Rodeo 15:39

Discography

Albums Rollerball (2002) – Waterdragon SuperStructure (2002) – Rhythm Ace Oversize (2004) – Rhythm Ace[ Submarine (2009) – Plus One Records EPs Lost in Space (1999) – Rhythm Ace Let Your Hair Hang Down (2000) – Rhythm Ace Broken Open (2005) - "My First Cowboy" (CD Split with OvO, Bar La Muerte/TMR) Singles "Liftetime" – Rhythm Ace "Highly Likely" – Rhythm AceRhythm Ace "Common Thread"/"Broken Open"

Rollerball "Lost in Space" 1999 EP Australia Stoner Desert Rock

https://johnkatsmc5.blogspot.com/2024/11/rollerball-lost-in-space-1999-ep.html

Rollerball "Lifetime / Looking For The Moon" EP 2001 + "Superstructure" 2002 + "Oversize" 2004 + "Broken Open" EP 2005 + "Submarine" 2009  Australia Stoner,Hard,Desert Rock

https://johnkatsmc5.blogspot.com/2025/01/rollerball-lifetime-looking-for-moonep.html?view=magazine

https://johnkatsmc5.tumblr.com/post/773750749609000960/rollerball-lifetime-looking-for-the-moon-ep

[wildwaxshows]

Fr., 28.6.2024, 21:00 Uhr: BAD//DREEMS (AU) + ANDRO DYSON & UNTAMED TAMERS (HH) Komet Musik Bar, Hamburg

BAD//DREEMS

More than ten years into their career, Bad//Dreems have an energy that most bands rarely manage to attain. Passionate, powerful, and pertinent, HOO HA! Is a sign of what’s to come for the group, and an indication that things will never lessen in intensity. “We’re in this for the long haul, and we don’t ever want to start going through the motions,” Cameron notes. “Nor do we ever want to stop.” It was 2012 that the Australian music scene was first really introduced to Bad//Dreems. Having formed as mates at their local footy club, the group soon hit the studio, releasing music that soon found itself lumbered with anachronistic labels like “outsider rock” or “pub rock”. In the time since, the band have – to borrow a cliché – gone from strength to strength, releasing a solid debut EP, and three full-length releases produced by Aussie icon Mark Opitz. While their live shows have been wild, and their records sounding like unreleased albums from the likes of the Celibate Rifles or Radio Birdman, the band’s new release showcases the result of expanded horizons, and sees a band making the music that they wish to make, no longer being burdened by the expectations of outdated labels.

ANDRO DYSON & UNTAMED TAMERS

The next big thing from Hamburg!! First show ever!! Faces will melt!! GET READYYYYYYYY

[nofatclips]

Riff Raff by AC/DC from the album Powerage

[planetmosh]

Black Aces new video for Show You How to Rock n Roll

Black Aces celebrate 5 years of Anywhere But Here with new video for Show You How to Rock n Roll

Black Aces celebrate 5 years of Anywhere But Here with new video for Show You How to Rock n Roll Watch the Show You How to Rock N Roll video right now:  As they gear up to head back to the UK, rural Aussie pub rockers Black Aces are also set to celebrate the five-year anniversary of their highly praised sophomore album release, Anywhere But Here. In honour of the occasion, album opener Show You…

[adley-carlton-barnaby]

Michael Hutchence/1990 #INXS #1990 #michael hutchence #jd fortune #the stairs #mick jagger #blue peter #neo a4 #54-40 #concrete blonde

[beardedmrbean]

From her tiny wooden treehouse, which sways precariously in the winter wind, a young woman watches an enormous mechanical digger tear into the earth below, its jaws edging ever closer to the village which she's determined to save.

Lützerath, in western Germany, is on the verge - literally - of being swallowed up by the massive coal mine on its doorstep.

Around 200 climate change activists, who are now all that stand in the way of the diggers expanding the Garzweiler opencast mine, have been warned that if they don't leave by Tuesday they'll be forcibly evicted.

It's why they've taken to the trees, Bente Opitz explains.

"It's a lot harder for the police to evict us," she says. "We have ropes between the treehouses so we can move from one to another."

But the protesters are busy at ground level too. Young men and women, many with scarves masking their faces, reinforce makeshift barricades and load wheelbarrows with bricks.

Scorch marks on the road at the entrance to the village are evidence of a skirmish with police officers last week.

The land around and under Lützerath is rich in lignite - the dirtiest form of coal. The mine, a bleak and dull brown man-made canyon which stretches over 35 square kilometres, yields 25 million tonnes of the stuff every year.

The energy company RWE, which operates the mine, now owns the village. The residents are all gone, their houses abandoned. Only the protesters remain, squatting in the old brick buildings, watching the mine expand towards them.

The battle for Lützerath has been raging for a long time. But Russia's war on Ukraine has given it a greater significance, transforming it into a national symbol of the struggle within German politics and society; how does a country which relied so heavily on Russian gas, now balance its need for energy with its ambitions on climate change?

Its government, a three-way coalition which includes Germany's Green Party, has already had to, as the Germans would say, swallow some toads. Ministers who came to power promising to end reliance on coal have found themselves ordering a number of old coal fired power stations back online or delaying plans to decommission others (including two lignite units run by RWE) to keep the country in electricity while other sources are found.

But Lützerath is likely to be the last German village lost to a coal mine.

The government has pledged to bring forward its planned phase-out of coal to 2030 in North Rhine-Westphalia, the state in which Garzweiler lies (the national target is 2038).

And RWE and the regional government have agreed to limit the extension of the mine; plans to demolish and excavate five other villages have been scrapped.

But RWE, which states it's investing heavily in energy transition technologies both in the region and around the world, claims that, under the current circumstances, Germany needs the lignite under Lützerath.

The activists are determined to stop them getting to it.

"If they dig for this coal, they're taking down climate goals, they're throwing the Paris agreement in the bin," says protester Dina Hamid. RWE insists that's not the case.

"People are dying now from the climate crisis," she adds.

"If we want to save lives, if we don't want this to keep happening, we need to save every bit of coal, every bit of fossil fuel in the ground."

Dina emphasises that hers will be a peaceful protest although she admits that there are differing views in the camp as to how far their resistance should go.

As we speak, more supporters arrive, bearing backpacks, to join the activists, some of whom have lived on the site for more than a year. Police officers, some in riot gear, stand close by, wary, as some of the protesters link arms and form a line just a few metres away from the giant digger bearing down on the village.

It's a striking sight; the officers and the activists preparing for a last stand, all dwarfed by the great mechanical teeth working away at the earth in front of them.

[don-lichterman]

Live At Wembley Stadium 1991

Live At Wembley Stadium 1991

Price: (as of – Details) This is the accompanying audio recording of the historic “Live Baby Live” concert; boasting with fresh artwork and remastered for 2014 by Mark Opitz, featuring the full concert, spread over 2CD’s. Is Discontinued By Manufacturer ‏ : ‎ No Product Dimensions ‏ : ‎ 4.84 x 5.59 x 0.51 inches; 3.74 Ounces Manufacturer ‏ : ‎ UNIVERSAL Item model number ‏ : ‎ B00ISY8L06 Date…

[bohringopitzsyndrome]

10 Years BOS Timeline

10 Years BOS Timeline

2011 – 2021 April 6th – 10 years Bohring-Opitz Syndrome Support Group – A Timeline The Bohring-Opitz Syndrome Support Group will be marking its 10th anniversary this April. We want to show our appreciation for the support we have received through the past 10 years. April 6th, we will celebrate the families who are part of the Bohring-Opitz Syndrome Support Group. We will do this by sharing our…

[newstodayreader]

Mark Opitz, Record Producer for AC/DC, INXS and More, Recognized In Queen’s Birthday 2020 Honours List

Mark Opitz, Record Producer for AC/DC, INXS and More, Recognized In Queen’s Birthday 2020 Honours List

Record producer and audio engineer Mark Opitz has been awarded a Medal of the Order of Australia in the 2020 Queen’s Birthday Honours List, announced Monday (June 8).

The Queenslander was feted for his service to the performing arts, particularly to music production, and is one of 933 Australians honored for their outstanding achievement.

Opitz is among the very best in the business, having…

[planetmosh]

Black Aces - Anywhere But Here

'Anywhere But Here' the second album from Australian hard rockers Black Aces released via Off Yer Rocka Recordings today and reviewed by Louise Swift for PlanetMosh.

  Black Aces a young hard rocking four piece from sunny Australia release their second album Anywhere But Here via Off Yer Rocka Recordings today followed by an appearance on the main stage at Hard Rock Hell XI tomorrow. Anywhere But Here is the follow up to their debut album Shot In The Dark which was released towards the end of last year and reviewed for PlanetMosh here. The new album was…

[fmslife]

via Billboard

[viralnewstime]

Cold Chisel. Two words that’ll inspire a reverential smile from most Australians and a spontaneous outburst into song from others. National icons, music legends, pub rock poets, all fitting descriptors for a group of mates that emerged from tumultuous Adelaide origins, to become both the soundtrack to and the narrator of the Australian cultural experience.

Cold Chisel’s presence is so deeply ensconced in our collective consciousness, that as a person who has called Australia home for all 34 years of my life, I can’t for the life or me remember how, where or when I first heard their music. I’m not even sure my parents owned any Cold Chisel records (although I think I can safely assume they must have, I mean everyone owns at least that Chisel, best of, right?) All that I know is that I somehow know every single word to every single song. You need only to walk into any suburban pub, attend any BBQ or turn on the radio, to discover that I’m not alone. Cold Chisel is omnipresent.

Somehow, despite being so synonymous with a time and place (late ’70s /early ’80s Australia), the songs that Ian Moss, Don Walker, Jimmy Barnes, Phill Small and the late Steve Prestwich penned and performed during the golden era of Cold Chisel, remain endlessly relatable and seemingly timeless. From ‘Flame Trees’ to ‘Khe Sanh’ to ‘Rising Sun’ to ‘When The War Is Over’, ‘Bow River’ and beyond, these are the songs that have served as musical accompaniment to our triumphs and tribulations, our breakdowns and failures, our heartbreaks and our honeymoons, our glory days and the days we’d sooner forget. For some they are our true national anthems, for others, they are company on a long drive or an excuse to sing out of key in public. Whatever they are to you, to us all, they are essential.

Khe Sanh, Cold Chisel (1978)

Inarguably Cold Chisel’s most famous song, ‘Khe Sanh’ inspires even the most docile of Aussies to embrace their inner Barnsey and belt out every word. There’s a bloody good reason for that too. This Don Walker penned song is positively anthemic. From the instantly recognizable piano intro to Barnsey’s trademark soulful verse delivery, the perfectly timed harmonica, and of course THAT joyous sounding major key refrain (“The last plane out of Sydney’s almost gone!”). It’s absolutely the most triumphant sounding song ever written about the horrors of PTSD and the endless restlessness and displacement felt by some Vietnam veterans. It’s worth noting that its focus on some less than ideal choices of coping mechanisms, (drugs, womanizing), inspired some controversy initially, with the record label reluctant to release it as a single until their hand was forced by popularity. But that duality of character and the juxtaposition of key and narrative, are perfect examples of why Don Walker is one of Australia’s finest songwriters. In my opinion, it’s not Cold Chisel’s best song, but it is a really good one and in the court of public opinion, it’s our alternate national anthem.

Breakfast at Sweethearts, Breakfast at Sweethearts (1979)

The title track of off Cold Chisel’s second studio album, Breakfast at Sweethearts is an exercise in people-watching by Walker, only the people he’s watching aren’t exactly the 9-5 types. One of the most instantly recognisable songs about peak-era Kings Cross ever written, Breakfast at Sweethearts combines Walker’s knack for seeing beauty in the mundane with his instinctive songcraft. The combination of slow reggae bass and electric piano, locking in with reverb-drenched guitars and Barnes’ contemplative vocals to create a sonic soundscape that genuinely feels like having breakfast at 6am with a hangover. No one has ever made drinking cheap wine out of a paper bag, when you should be having a coffee, quite as poetic as Walker does here, and that ability, to not just write songs you hear, but songs you live, goes on to become one of Cold Chisel’s defining characteristics.

Rising Sun, East (1980)

In the early years, Cold Chisel gigs had a reputation for being wild and unruly affairs, and it’s tracks like ‘Rising Sun’ that undoubtedly inspired many to bust a move (or as legend may have it, a skull or two). A rollicking rockabilly number and Barnes’ first solo writing credit, ‘Rising Sun’ is powered by a constant guitar/piano interplay and a simplistic yet urgent rhythm that gives Barnes just enough room to go full Barnesy. There’s a scorching solo from Ian Moss, and that chorus of “The rising sun just stole my girl away” is just too addictive not to be belted out. It’s ostensibly a song about a certain type of heartbreak, but it almost doesn’t matter, this is Cold Chisel in ‘good time’ mode and it is one hell of a good time.

Choir Girl, East (1980)

Don Walker is on record as saying that ‘Choir Girl’ was a deliberate attempt to write a commercial hit. He’s also on record as saying that the song is written about pregnancy termination. Not many people could make those two seemingly disparate notions coexist, but with the help of his Cold Chisel bandmates (and East producer Mark Opitz), he absolutely nailed what he set out to achieve, with the r’n’b influenced track scoring Cold Chisel their first ‘official’ hit, landing at #14 on the Australian charts. It’s not hard to see why either. After Walker’s trademark electric piano intro, ‘Choir Girl’ lets its gorgeous soulful melody shine, with Barnes’ voice, placed high in the mix as the track is driven along by electric piano and a simple bass groove, with new layers of instrumentation introduced throughout. There are some stunning backing vocals and guitar lines from Ian Moss, who also sings the lead on the bridge in a wonderful vocal interplay with Barnes. It’s 3.13 of blue collar pop-nous and arguably a template for some Cold Chisel hits to come.

Four Walls, East (1980)

Another gorgeous piano-led slow burner, ‘Four Walls’ is one of the finest early examples of Cold Chisel in bogan poet mode. A song about the experience of a prisoner in the aftermath of the riots at the Bathurst Gaol, it is both beautiful and heartbreaking. Compositionally, quite a simple song, essentially some piano, delicate guitars, handclaps and some occasional soulful backing vocals, but the hero of ‘Four Walls’ is its lyrical narrative. The sparsity of the musical accompaniment gives Barnes just the right amount of room to make us feel every word. Walker’s lyrics are inspired with the opening verse (“They’re calling time for exercise, round her Majesty’s hotel/ The maid’ll hose the room out/ When I’m gone/ I never knew such luxury/ Before my verdict fell/ Four walls, washbasin, prison bed”) placing you right there in the cell with him. As the song unfolds and the poor chap’s despair grows, so to does the mournfulness of Barnes’ delivery, with the last verse (I can’t see/ I can’t hear/T hey’ve burnt out all the feeling/ I’ve never been so crazy/ and it’s just my second year/ Four walls, washbasin, prison bed) absolutely devastating.

Bow River, Circus Animals (1982)

Choosing the essential songs off of one the most essential Australian albums of all time is quite the task, so with my sincerest apologies to ‘You’ve Got Nothing I Want’, ‘Bow River’ gets the nod in the booty-shaking slot on Circus Animals. An absolute riot of a song, this Ian Moss written number is an arena-sized blues-rocker, with a kitchen sink approach to instrumentation, that absolutely goes off at the Deni Ute Muster. Everything that makes Cold Chisel so fun as a live band is present on this song. Moss’ incendiary guitars, Walker’s honky-tonk pianos, Small’s rolling bass, Prestwich pounding drums and yes, Barnsey’s shrieking vocal. It’s such a good time that you’d be forgiven for missing that it’s actually quite brilliant lyrically, capturing the essence of the working man’s battle between the need to work and the will to actually live, I’m particularly fond of the couplet: “I’ve been working hard, twelve hours a day/ And the money I saved won’t buy my youth again”. Put it on, crack open a can, have a blast with your old man (or your inner old man).

Forever Now, Circus Animals (1982)

The late Steve Prestwich didn’t write a lot of Cold Chisel songs, but the ones he did write, were typically great, and ‘Forever Now’ is one of the best. Released as a single in March 1982, the track hit #4 on the Aussie charts and has gone on to become a staple of Cold Chisel’s live sets. A mid-tempo melodic rocker that’s anchored by some typically inspired lead guitar playing by Moss, the song’s best feature is the absolute earworm of a chorus, which Barnes absolutely smashes. A structural departure from much of what Cold Chisel presented on Circus Animals, this anthem of unrequited love, is worthy of the vocal damage you’ll do trying to singalong.

When the War is Over, Circus Animals (1982)

‘When the War is Over’ is one of the most frequently covered Cold Chisel songs by other recording artists, and it’s not hard to understand why. From the moment the opening refrain of “Ain’t nobody gonna steal this heart away” hits, this song just oozes emotion and sentimentality. Another Prestwich written song, ‘When the War is Over’ is a beautifully composed power ballad with a deliberately non-typical song structure. A song about undying, albeit potentially non-mutual love (a definitive theme to much of Prestwich’s writing) ‘When The War is Over’ is simultaneously heartbreaking and heartwarming. It shouldn’t work, but in the hands of Cold Chisel, it does. Despite originally peaking at #25 on the charts, it did eventually take the #1 spot, thanks to Australian Idol’s Cosima De Vito, a fact that much like the song has been known to make even the most battle hardened barking spider a little teary eyed!

Saturday Night, Twentieth Century (1984)

The most oddball moment on this list, ‘Saturday Night’ is a delightfully off-kilter rock song with an infectious hook, that will get stuck in your head for days on end. Ostensibly a song about the aftermath of a Saturday night out in Kings Cross, it has also (quite reasonably) been interpreted as being Walker’s metaphorical ‘goodbye’ to the chaos of life in Cold Chisel. Twentieth Century is an album recorded by a burnt-out band, yet, it features some of their finest songs and most obtuse ideas and ‘Saturday Night’ is the quintessential example of that weirdness. Loneliness and longing has never sounded so invigorating as it does here, with Phil Small’s bassline laying the grounding for the vocal tandem of Moss and Barnes to dazzle with. Moss’ verse vocals give the song a Police-esque vibe and Barnes; rock outbursts ensure you don’t forget that it’s Cold Chisel. There’s some awesome saxophone from a local busker, some crowd noise from an actual Saturday night in Kings Cross, and pretty much anything else they could think of. The weirdest Cold Chisel hit ever.

THE MOST ESSENTIAL COLD CHISEL SONG EVER IS:

Flame Trees, Twentieth Century (1984)

You thought I’d left this out didn’t you? That was never going to happen.

In my humble opinion ‘Flame Trees’ is one of the finest songs written by any Australian artist. It is irrefutably the essential Cold Chisel song and one of my favourite songs of all time. Everything about this song is so perfectly executed. From the song structure to the instrumental performances, to Barnes’ vocal delivery and ESPECIALLY the lyrics. ‘Flame Trees’ is a flawless song and it seems so fitting that it came into existence at the end of Cold Chisel’s initial run because it sounds like the culmination of everything they’d learned. Penned by Prestwich, ‘Flame Trees’ is to me what living in Australia sounds like.

From the moment another perfect Walker piano intro gives way to Barnsey’s opening lines, you are immersed in a world so beautifully, hauntingly familiar, that you can’t help but try to reach out and touch or maybe even hug the narrator. The references are so specific, so inherently small-town Australia, that it’s almost too relatable. It’s as if Cold Chisel somehow captured the entirety of our cultural experience and distilled it into song.

The utilisation of the ‘Flame Tree’, a tree native to the subtropical regions of the East Coast, gives specificity to the geography, but not so much as to remove it from universal relatability. You could live in Broome or Glenorchy or Frankston (as I did) and still connect with the experience of this song. The fact that I can barely ever make it through this song without shedding a tear, one that’s seemingly neither happy nor sad, but somehow nostalgic in nature (and that was BEFORE Sarah Blasko went and covered it for Little Fish, absolutely destroying any hope I ever had of simply just listening to the song, instead of living it) speaks so much to the power of Cold Chisel as storytellers. Only Cold Chisel could take a song about longing and heartbreak, and turn it into something so truly timeless.

–

Cold Chisel’s ‘Blood Moon’ tour continues this week. Remaining dates and details here.

The post Cold Chisel – 10 Essential Tracks appeared first on Music Feeds.

from Music Feeds https://ift.tt/37yxKMA

[christianworldf]

New Post has been published on Christian Worldview Institute

New Post has been published on https://christianworldviewinstitute.com/bible-prophecies/end-time-events/book-of-daniel/kent-hovind-vs-science-textbooks-part-1/

Kent Hovind vs Science Textbooks [PART 1]

Today we’re looking at Kent Hovind’s “book” Are You Being Brainwashed?: Propaganda in Science Textbooks. In this first part we find out why Kent dislikes evolution so much, he completely butchers it’s definition and we see the first of many many many strawmans.

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End Music: What Ifs by Melanie Baker

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You guys are incredible!! ♥

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Don’t feel like you have to donate, but please know I’m super-grateful to anyone who does ♥

It really gives me the opportunity to re-invest back into my channel and continue to improve me content for you guys. Plus, I can finally be financially stable again and stop disapointing my parents 😉 source

[hawaii2la]

LA-Versary

November 2, 2017:

This picture was taken moments before the following occurred.

Sitting in the airport with my extended family from my dance studio in Hawaii.  Feeling a little lost, a little scared, really nervous, and just not knowing what’s going to happen.  I remember hugging everyone, and when I finally got to my dear friend, Liza (4th from the top right), a parent of one of my former students, I finally broke.  I admitted my fears, and just started crying..  I told her I was scared, and I don’t know if I can do this.  She told me something along the lines of: 

No, you be strong.  It’s normal to be scared.  But you’re gonna be great, and do great things.

What I took from that was this.  It was going to be a huge change for me, but also a huge moment, and my first step to achieving my own greatness.  She reassured me that I was going to live out my dreams, and that I’ve inspired the kids at the studio for so long, and that now it’s time to go and inspire myself.  That truly gave me the strength and courage I needed to go past the security gate and board that plane to get to where I am today.... 

That’s right!!! Today marks my one year “LA-versary”, since I packed up my life and decided to try and make a lasting mark for myself and others here in Los Angeles, California. 

My love story with LA began in August 2014, when my mentors and friends, Wendy and Jeremy Gilbert, invited myself and a friend to spend time with them in LA to have fun and take dance classes.  Needless to say, I loved every single moment.  I was also secretly wondering if I had the skills to actually keep up with the dancers here, because I’d watch videos of all of them in awe and always wondered, “Can I keep up with them?” Well... after getting my butt kicked in a few classes, I found the groove, and realized.... hey, I can.  

The next two years after, I took a week-long trip for myself to attend a dance intensive called Urban Legends.  There is where I started to visualize myself living here.  And the right moments started to fall into place, starting with the fact that I finally met my favorite choreographer of all time, Marty Kudelka.  I got to somewhat develop an acquaintance-ship with him, took his class, and be inspired by the way he carried himself on and off the dance floor.  The second year I came back, I was astonished that he still remembered me, and... boom... what... a few days later he asked if I could perform in his piece along with a few other dancers he chose during the intensive.  

MY FIRST PERFORMANCE IN LA WAS SERENDIPITOUS: I DANCED FOR MARTY, TO A MICHAEL JACKSON SONG..... I mean... what... 

And that’s when I knew.

I had to be here somehow.  But I couldn’t do it alone.  It took an entire team with me to get me to come here.  And for that I owe such an enormous amount of gratitude.

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Wendy and Jeremy Gilbert: THANK YOU.  For being a huge influence in my life for these past few years, for being two of my most important mentors with everything, for waking me up from my state of comfort, pushing me to finally do this, and for giving me an amazing transition when I moved down here.  You have been nothing but blessings for me, and for that, I am eternally grateful. 

Annri Opitz-Kostick::  THANK YOU.  To you and Joe for being amazing friends, and also playing a huge part, along with the Gilberts, in mentoring me, in dance and in life.  I truly miss our conversations about dance, and life.  I learned so much from those times.  You and Wendy literally taught me how to teach and how to choreograph.  And it was you who opened my eyes to see the beauty in all forms of dance, especially ballet, and how everything connects. Thank you.

Anna Bohnenkamp: THANK YOU.  You were the first out of everyone to say, “Why not?” when talking about going away and dancing somewhere else other than home. And this was 7 years ago, when LA was just merely a THOUGHT.  You were the first to tell me that I could actually do this. You were the first to believe. My heart is so happy that we reconnected after all these years, and you are actually the one that finally inspired me to start writing again... I am so humbled from all that you do.  Not just for me, but for others... for this world.

My nearest and dearest friends, Zane, Jere, Nikki, Reyna, Chandler, Berns, Allicia, Kaipo, etc. (too many to count) THANK YOU.  For supporting me the moment I told you all I was moving, and never once doubting my decision, but just being true friends and helping me get to where I am today.  I miss you all very dearly, and every time I step on a dance floor here, one of my first thoughts is that I wish  you were all here sharing these amazing moments and lessons with me.  

Aunty Jenn M., Liza, and Sherri T.: THANK YOU. For being guides for me throughout this year, and helping me with staying on the path, and for teaching me life skills outside of the dance floor.  Incredibly grateful for all the advice you’ve given me.

Aunty Lianne and Shari S: THANK YOU.  For introducing me to my best friend and greatest teacher: this gift we call dance, all those years ago.  There would be no “Mr. Erick” if you hadn’t given me the opportunity.  Forever grateful.

To the families and students of PDD: THANK YOU.  For being my constant motivation.  You all are always in my heart, and just the thought of you guys pushes me in classes and in my training to be better that what I was yesterday.  One day we will connect again, and hopefully this time around, I’ll be ready to share amazing things with all of you.

To Michael Joseph Jackson:  THANK YOU.  I know somehow you are listening.  You started it all.  I still watch you to this day.  It’s such an honor that even here in LA, when an MJ song comes on, my coworkers shout to me, as if we are connected somehow.  You inspired me to dance, and you still inspire me to not only dance, but to love it, and to love others that do it.  I miss you.

To my family: THANK YOU.  It’s been a bumpy ride, a roller coaster of greatest proportion with all of us.  But I am the man I am today because of you.  I owe you everything and more.  And I love you all.

Lastly, to God, The Man Above: THANK YOU.  For everything.  I love you and I never seem to say that as often as I should.  You are that quiet voice, that inner peace, and when I need a shoulder to lean on when I’m alone, You are There.  Thank you.

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A year later, I actually do find myself sitting here, in my new apartment, with new roommates, still a little lost, scared, nervous, about what’s to come.  But this time, i can say I have experience under my belt.  A quiet confidence... and a new mindset of what I can accomplish.  I’ve met my favorite choreographers, dancers, etc.  I’ve learned all that I can so far... and I’m ready for more.  Hopefully I can reach another level in my training.  Gain more knowledge... and hey...  if I can last a year here, I can do it again. 

Here’s to the unknown.  Here’s to future lessons, new and old.  Here’s to believing in ourselves and believing in each other.

Here’s.... to CHAPTER 2.

With L.O.V.E.

Erick Mijares