#melbourne rooftopping

[feelocalist]

rooftop bars >>>

[bumblebeeappletree]

Costa visits a rooftop farm where deaf and hard of hearing students learn essential job skills through food cultivation.

On the rooftop of a suburban shopping centre in Burwood, east Melbourne, is a surprise feature – a highly productive community garden.

The garden is run by a group called Cultivating Community, and organiser Cerys ap Rees says they aim to include people from culturally and linguistically diverse groups.

There is an employment program run in partnership with the Victorian College for the Deaf, providing work experience opportunities for those with hearing disabilities.

Learn more: https://www.abc.net.au...

This segment is from Gardening Australia Season 35, Episode 16 titled "Autumn: Fantastic ferns & rooftop farming".

[sweetdreamsjeff]

The Rooftop Cafe, Melbourne, Australia, August 31st, 1995 (Remastered, Live On Broadcasting)

[thisismyapology]

Reminiscing. 👽

@ cp.x_

[gogetsolar]

Solar Panels | GoGetSolar | Australia

Go Get Solar is an expert Australian solar company committed to providing you with the largest range of solar panels, battery and inverters. More info gogetsolar.com.au

[roof-cleaners]

Expert Roof Repair Services in Williamstown by Singh Roofing

Are you in need of reliable roof repair Williamstown? Look no further than Singh Roofing. As a leading roofing company in the area, we specialize in providing top-quality repairs to ensure the longevity and integrity of your roof.

About Singh Roofing:

At Singh Roofing, we take pride in our commitment to excellence and customer satisfaction. With years of experience in the industry, our team of skilled technicians has the expertise to handle any roofing issue, big or small. We understand the importance of a sturdy and well-maintained roof, and we're dedicated to delivering superior results on every project.

Our Services:

Singh Roofing offers a comprehensive range of roof repair services to meet your needs:

Leak Detection and Repair: Our experts use advanced techniques to pinpoint and repair leaks, preventing water damage and mold growth.

Shingle Replacement: Damaged or missing shingles can compromise the integrity of your roof. We'll replace them promptly to restore your roof's protection.

Gutter Repair: Properly functioning gutters are essential for directing water away from your home. We can repair damaged gutters to prevent water buildup and potential structural damage.

Storm Damage Restoration: Severe weather can wreak havoc on your roof. Our team is experienced in repairing storm damage and restoring your roof to its pre-damaged condition.

Routine Maintenance: Regular maintenance is key to prolonging the life of your roof. We offer inspection and maintenance services to identify and address potential issues before they escalate.

Why Choose Singh Roofing:

Expertise: With our years of experience and specialized training, you can trust us to deliver high-quality results.

Reliability: We understand the urgency of roof repairs, which is why we respond promptly to your service requests.

Customer Satisfaction: Your satisfaction is our priority. We'll work closely with you to ensure that your needs are met and that you're completely satisfied with the results.

Competitive Pricing: We offer competitive pricing without compromising on the quality of our workmanship.

Contact Us:

Don't wait until a minor issue becomes a major problem. Contact Singh Roofing today to schedule your roof repair service in Williamstown. Our friendly team is here to assist you and provide you with the expert solutions you need to keep your roof in optimal condition.

[waterproofingmelb]

Excellent Rooftop Waterproofing for Keilor East Homes as a Seal of Protection

One of the most crucial components of our houses is the rooftop waterproofing in Keilor East. It acts as a shield against the ever-changing elements of the weather, including wind, sun, snow, hail, and rain. It is essential for keeping the house cool and protecting ourselves from the heat in a tropical nation like India, particularly in the summer. In a similar vein, it aids in preserving the ideal temperature throughout the winter. If you ever want to sell your house, a quality roof will make it more valuable. One method to maintain the health of your roof in all weather is to waterproof it.

Preparing the Workspace And Preventing Any Damage

Delaying, not prioritising, or improperly waterproofing in Melbourne may be quite expensive since the damage that may occur in your bathroom is mostly caused by structural flaws. Metal components like door sills, beams, and concrete reinforcements corrode more quickly in humid environments.

For information on the material's performance and drying time, consult the manufacturer's instructions. To ensure adequate waterproofing in Melbourne, consider the bottoms of the water tanks and the parapets. Additionally, determine how many uses the product will have before making a purchase.

Waterproofing and Tiling Lower the Chance of Allergies

Most individuals are allergic to something, mainly germs and dust mites. These germs seek chances to endanger people's health and houses because they flourish in humid environments. Waterproofing is the best option to keep allergens out of your house. You may safeguard your health and your houses by putting waterproofing techniques like surface waterproofing, tiling, covering basements, and more into practice.

Stalls that retain water and moisture can harbour germs and other illnesses, in addition to promoting the growth of mould and allergies. In humid areas like Melbourne, where there is a lot of rain and frequent flooding, water seeping into homes and buildings can pose serious health risks.

Source

[s2z]

Two views of Melbourne only made possible by our interest in real estate.

Some Saturdays my wife and I locate and list some properties that will give us an idea of what we could get for our money if we decide to change our lifestyle. This has the added benefit of getting to see parts of the skyline that we would not normally see.

These 2 views from Saturday just gone are from different properties in different parts on the western edge of the CBD.

[enoshimakuro]

Contemporary Landscape An example of a mid-sized contemporary rooftop outdoor sport court with decking.

[thunder1203]

A rooftop view of the #cityofmelbourne from #hawthorn #atwork #workingatheights #onthejob #cityviews #channel7weather #10weatherwatchers #abcmyphoto #abcweatherphotos #cloudstagram #rooftops #doyouseewhatisee #australia_shotz #australia_oz #melbourne #janesweather #mobilephotography #iphone14promax #iphoneography (at Melbourne, Victoria, Australia) https://www.instagram.com/p/CoEj01CvDr0/?igshid=NGJjMDIxMWI=

[reasonsforhope]

Humans are so cute. They think they can outsmart birds. They place nasty metal spikes on rooftops and ledges to prevent birds from nesting there.

It’s a classic human trick known in urban design as “evil architecture”: designing a place in a way that’s meant to deter others. Think of the city benches you see segmented by bars to stop homeless people sleeping there.

But birds are genius rebels. Not only are they undeterred by evil architecture, they actually use it to their advantage, according to a new Dutch study published in the journal Deinsea.

Crows and magpies, it turns out, are learning to rip strips of anti-bird spikes off of buildings and use them to build their nests. It’s an incredible addition to the growing body of evidence about the intelligence of birds, so wrongly maligned as stupid that “bird-brained” is still commonly used as an insult...

Magpies also use anti-bird spikes for their nests. In 2021, a hospital patient in Antwerp, Belgium, looked out the window and noticed a huge magpie’s nest in a tree in the courtyard. Biologist Auke-Florian Hiemstra of Leiden-based Naturalis Biodiversity Center, one of the study’s authors, went to collect the nest and found that it was made out of 50 meters of anti-bird strips, containing no fewer than 1,500 metal spikes.

Hiemstra describes the magpie nest as “an impregnable fortress.”

Pictured: A huge magpie nest made out of 1,500 metal spikes.

Magpies are known to build roofs over their nests to prevent other birds from stealing their eggs and young. Usually, they scrounge around in nature for thorny plants or spiky branches to form the roof. But city birds don’t need to search for the perfect branch — they can just use the anti-bird spikes that humans have so kindly put at their disposal.

“The magpies appear to be using the pins exactly the same way we do: to keep other birds away from their nest,” Hiemstra said.

Another urban magpie nest, this one from Scotland, really shows off the roof-building tactic:

Pictured: A nest from Scotland shows how urban magpies are using anti-bird spikes to construct a roof meant to protect their young and eggs from predators.

Birds had already been spotted using upward-pointing anti-bird spikes as foundations for nests. In 2016, the so-called Parkdale Pigeon became Twitter-famous for refusing to give up when humans removed her first nest and installed spikes on her chosen nesting site, the top of an LCD monitor on a subway platform in Melbourne. The avian architect rebelled and built an even better home there, using the spikes as a foundation to hold her nest more securely in place.

...Hiemstra’s study is the first to show that birds, adapting to city life, are learning to seek out and use our anti-bird spikes as their nesting material. Pretty badass, right?

The genius of birds — and other animals we underestimate

It’s a well-established fact that many bird species are highly intelligent. Members of the corvid family, which includes crows and magpies, are especially renowned for their smarts. Crows can solve complex puzzles, while magpies can pass the “mirror test” — the classic test that scientists use to determine if a species is self-aware.

Studies show that some birds have evolved cognitive skills similar to our own: They have amazing memories, remembering for months the thousands of different hiding places where they’ve stashed seeds, and they use their own experiences to predict the behavior of other birds, suggesting they’ve got some theory of mind.

And, as author Jennifer Ackerman details in The Genius of Birds, birds are brilliant at using tools. Black palm cockatoos use twigs as drumsticks, tapping out a beat on a tree trunk to get a female’s attention. Jays use sticks as spears to attack other birds...

Birds have also been known to use human tools to their advantage. When carrion crows want to crack a walnut, for example, they position the nut on a busy road, wait for a passing car to crush the shell, then swoop down to collect the nut and eat it. This behavior has been recorded several times in Japanese crows.

But what’s unique about Hiemstra’s study is that it shows birds using human tools, specifically designed to thwart birds’ plans, in order to thwart our plans instead. We humans try to keep birds away with spikes, and the birds — ingenious rebels that they are — retort: Thanks, humans!

-via Vox, July 26, 2023

[radfemverity]

I think radical feminists shouldn’t be afraid to discuss how queer culture will, and already is, exposing young boys as well as girls to graphic sexual content. Of all these videos and photos of drag queens wearing silicone breasts, latex and thongs in the company of children, the sex of those kids is split pretty evenly. The many ‘drag kids’ groomed by mums with Munchausen’s by Proxy to become child influencers are all boys. I remember seeing a really horrific Spanish case a few years back of an eight year old whose parents dressed him in stereotypical prostitute clothing (stockings, thigh high black boots, bralettes, bodice). And as of yesterday, a clip has gone viral of Melbourne Rooftop Bar, full to the brim with adults, 10 rows back, enthusiastically screeching for, and filming, what looks like a 4 year old boy twerking at the front of the stage, with adults right next to him (including drag queens) guiding him, telling him which body parts to accentuate.

I completely get why feminism’s primary focus is on the violence of straight men against women and girls. And it should be. I just don’t think it should be the *exclusive* focus. Gay men, “queer” men, gay trans-identified men and drag artists who specifically coach young boys into emulating their sexualised dances aren’t off the hook. They can be just as fucked up as bogstandard straight men and there are many, many boys and blokes walking around today with experiences of sexual violence at the hands of their fathers, uncles, classmates, ex boyfriends, hookups, and increasingly, incidents in ‘queer spaces’ that, if we heard them, would ring alarm bells of familiarly to us.

When batshit leftists of the ‘progressive’, postmodern, Foucauldian, queer persuasion like Contrapoints, Vaush and Alok Vaid-Menon talk about the myth of childhood innocence, and call it a right wing moral panic, they’re not just talking about the girls. Primarily girls yes, but boys too. When it comes to the varying causes of sexual trauma, the overwhelming majority of these areas (porn, catcalling, coercive rape, hypersexual fashion, etc) disproportionately affect women and girls. I’m willing to bet drag culture will be an exception. And online child grooming into transing will be close to 50/50.

[thisismyapology]

sweat the nightmares, live in the dreams…

(IG - @cp.x_)

[gogetsolar]

Residential Rooftop Solar in Australia - Go Get Solar

Go Get Solar provides homeowners with the best value solar power systems, at the most affordable prices in Australia today. We keep prices low and competitive enabling you to reduce your carbon footprint. Visit our website www.gogetsolar.com.au

[sweetdreamsjeff]

Amazing 'Grace': How Australia Gave Jeff Buckley His Biggest Hit

23 August 2024 | 12:00 pm | Jeff Jenkins

“In that moment, Jeff Buckley became a superstar in Australia.”

“I’ve got something I’d like to play you,” the woman from the overseas label announced.

It’s the start of 1994, and I’m at a Sony sales conference on the Gold Coast. We’ve been running through the major priorities for the year – Celine Dion, Mariah Carey, Pearl Jam and C+C Music Factory – when the representative from the company’s New York office mentions a new signing.

“I’ll play it during morning tea,” she says.

As she pressed play on the CD, you could hear a Mojo Pin drop. The Sony staff – music fans, grizzled music veterans and cynical indie types – were all united. No one had to say a word. The look on everyone’s face said it all: “This guy is special.”

In that moment, Jeff Buckley became a superstar in Australia.

Hearing him sing Hallelujah for the first time was a revelation. Nothing needed to be said. It was as if Sony’s Australian staff made a pact: we’re going to make this record a hit.

Jeff Buckley’s debut album, Grace, was released in the US 30 years ago today. The album’s Australian release came the following month, when Inpress editor Andrew Watt put Buckley on the cover and eloquently explained the album’s appeal. “Every now and then a new artist comes along whose sheer quality and artistic vision is so obvious that you just know you’re going to be listening to him for a long, long time.

“Grace is an album that seems so complete and so vivid in its expression that it’s almost an insult to try and deconstruct it and examine it to try and find out what makes it work.

“Probably the highest compliment that can be paid to Grace is that it’s timeless. It’s a brilliant album now, it would have been 10 years ago, and it will be in 10 years’ time.”

The record company bio that accompanied Grace had a section where the label listed what format it fitted. Grace ticked most of the boxes – alternative, AOR, easy listening, heavy metal, jazz, jazz/rock and “all other”. But Buckley responded: “That’s all just useless typing … everything it’s not, it is.

“What is it?” he added. “It’s just American music.”

And yet, Grace didn’t connect with American audiences. It peaked at number 149 in the US. Australia was the only country where it landed in the Top 10.

The American critics were initially unsure of what to make of the album. “Jeff Buckley sounds like a man who doesn’t yet know what he wants to be,” stated the three-star review in Rolling Stone.

John Encarnacao had no such reservations in his four-and-a-half-star review in Juice. “What kind of person wouldn’t like this disc?” he asked. “Maybe someone afraid of involvement. Or someone unprepared for music to penetrate their outer layers. Or anyone who rolls their eyes at the names Joni Mitchell, Neil Young or Sinead O’Connor. Grace is one of those sacred recordings.”

Grace received some play on US college radio but was shunned by the mainstream stations. “The songs were too long, and they didn’t have any hooks,” Buckley explained, relaying the complaints of the American radio programmers.

“It’s all a question of taste. I have no idea. I don’t know how their minds work, and if I ever do find out, I’ll hang myself from the nearest tree. I’m not really bitter about it at all.

“It’s a total crapshoot dealing with radio, so it doesn’t matter. Just so long as people come to the shows and enjoy it and get what they want, I can’t ask for more.”

And that’s exactly what Australians did – they embraced Buckley live. That first Jeff Buckley tour in 1995 is referred to in the same hushed, reverential tones as The Beatles’ 1964 visit and Nirvana’s shows in 1992.

You had to be there.

In Melbourne, Buckley did three shows at small venues – the Lounge, the Prince Patrick Hotel and the Athenaeum Theatre, as well as a set live to air on Triple R’s rooftop.

Lainey Wilson Has Never Been In It For The Awards: ‘I Want To Feel Something & I Want People To Feel Something’

Amazing 'Grace': How Australia Gave Jeff Buckley His Biggest Hit

23 August 2024 | 12:00 pm | Jeff Jenkins

COPY LINK SHARE

“In that moment, Jeff Buckley became a superstar in Australia.”

Jeff BuckleyJeff Buckley (Source: Supplied/'You And I' album cover)

More Jeff BuckleyMore Jeff Buckley

“I’ve got something I’d like to play you,” the woman from the overseas label announced.

It’s the start of 1994, and I’m at a Sony sales conference on the Gold Coast. We’ve been running through the major priorities for the year – Celine Dion, Mariah Carey, Pearl Jam and C+C Music Factory – when the representative from the company’s New York office mentions a new signing.

“I’ll play it during morning tea,” she says.

As she pressed play on the CD, you could hear a Mojo Pin drop. The Sony staff – music fans, grizzled music veterans and cynical indie types – were all united. No one had to say a word. The look on everyone’s face said it all: “This guy is special.”

In that moment, Jeff Buckley became a superstar in Australia.

Hearing him sing Hallelujah for the first time was a revelation. Nothing needed to be said. It was as if Sony’s Australian staff made a pact: we’re going to make this record a hit.

Don't miss a beat with our FREE daily newsletter

Your email address

Subscribe

Jeff Buckley’s debut album, Grace, was released in the US 30 years ago today. The album’s Australian release came the following month, when Inpress editor Andrew Watt put Buckley on the cover and eloquently explained the album’s appeal. “Every now and then a new artist comes along whose sheer quality and artistic vision is so obvious that you just know you’re going to be listening to him for a long, long time.

“Grace is an album that seems so complete and so vivid in its expression that it’s almost an insult to try and deconstruct it and examine it to try and find out what makes it work.

“Probably the highest compliment that can be paid to Grace is that it’s timeless. It’s a brilliant album now, it would have been 10 years ago, and it will be in 10 years’ time.”

The record company bio that accompanied Grace had a section where the label listed what format it fitted. Grace ticked most of the boxes – alternative, AOR, easy listening, heavy metal, jazz, jazz/rock and “all other”. But Buckley responded: “That’s all just useless typing … everything it’s not, it is.

“What is it?” he added. “It’s just American music.”

And yet, Grace didn’t connect with American audiences. It peaked at number 149 in the US. Australia was the only country where it landed in the Top 10.

The American critics were initially unsure of what to make of the album. “Jeff Buckley sounds like a man who doesn’t yet know what he wants to be,” stated the three-star review in Rolling Stone.

John Encarnacao had no such reservations in his four-and-a-half-star review in Juice. “What kind of person wouldn’t like this disc?” he asked. “Maybe someone afraid of involvement. Or someone unprepared for music to penetrate their outer layers. Or anyone who rolls their eyes at the names Joni Mitchell, Neil Young or Sinead O’Connor. Grace is one of those sacred recordings.”

Grace received some play on US college radio but was shunned by the mainstream stations. “The songs were too long, and they didn’t have any hooks,” Buckley explained, relaying the complaints of the American radio programmers.

“It’s all a question of taste. I have no idea. I don’t know how their minds work, and if I ever do find out, I’ll hang myself from the nearest tree. I’m not really bitter about it at all.

“It’s a total crapshoot dealing with radio, so it doesn’t matter. Just so long as people come to the shows and enjoy it and get what they want, I can’t ask for more.”

And that’s exactly what Australians did – they embraced Buckley live. That first Jeff Buckley tour in 1995 is referred to in the same hushed, reverential tones as The Beatles’ 1964 visit and Nirvana’s shows in 1992.

You had to be there.

In Melbourne, Buckley did three shows at small venues – the Lounge, the Prince Patrick Hotel and the Athenaeum Theatre, as well as a set live to air on Triple R’s rooftop.

“His shows caused the biggest buzz in town since the Stones were here in March,” I wrote in Inpress.

I took my friend Nova Weetman to the Athenaeum show. She wrote about it in her recent book, Love, Death & Other Scenes. “I was down the front,” she recalled, “weeping as the strains of Hallelujah lifted us up.”

Buckley was a potent mix of Jackson Browne and Jimmy Page. He had the heart of a poet. And he could rock like a god. As one Rolling Stone live review said, “The punchline is, Jeff Buckley can get away with anything.”

Interviewing Buckley was no easy task. He seemed troubled, knowing that the interviewer would inevitably ask about his father.

Jeff’s mother, Mary, had been briefly married to a then-unknown Tim Buckley. When he was eight, Jeff spent a week with his dad; apart from that, he never knew him. Two months after that meeting, Tim Buckley died of a heroin overdose.

The young Buckley loved record stores. “They’re a really emotional place,” he said. “All my life, I tried to work in one, but they never accepted me, and now I’m in them. I go to Tower Records and see all these lives in the bins.”

He noted the sad irony of his record being filed next to his father’s catalogue. “Separated all our lives, and now I’m right there in the bin next to him.”

David Browne, the author of Dream Brother, the biography of Jeff and Tim Buckley, noted that the younger Buckley “was painfully aware of the mistakes Tim had made in his life, and struggled to avoid them”, though “the weight of acclaim helped undo them both”.

That first Australian tour sent Grace into the Top 10. I remember a backstage scene when a Sony rep informed Buckley that the album had gone gold and was headed for platinum. “But do I really want that?” the artist responded.

In Sydney, he visited Bondi Beach at sunrise. “I tried to swim, but the water was too cold,” he smiled. “My nuts totally contracted into my body.”

Thirty years after it was released, Grace has gone eight-times platinum in Australia, and it remains a consistent seller.

Buckley returned in February 1996 for bigger shows, forging a rare connection with Australian audiences.

On the morning show on ABC radio in Melbourne, Raf Epstein has a popular segment called Changing Tracks, where a listener talks about a song that was playing at a pivotal moment in their life.

Recently, Julie recounted her memories of driving down Puckle Street in Moonee Ponds in September 1995. “I was listening to triple j,” she wrote. “I had just given birth to my only daughter … and I was in a loveless marriage. I was feeling extremely emotional and desperate. My husband had not wanted to be a father and was reluctant to involve himself in parenting.”

Like Tim Buckley decades before, Julie’s husband said, “I don’t want this.”

She realised she would be better off on her own.

“Listening to the radio that morning, I heard Jeff Buckley for the first time,” Julie continued. “Singing with a lilting, powerful, emotionally charged voice, he seemed to soothe my pain, and it lifted me out of the hole I had found myself in. I bought the CD that day, and his music supported me through probably the worst 12 months of my life.

“Every time I hear Jeff singing, he reminds me of the strength I found in the most vulnerable time in my life. For that, I am grateful.”

In that first interview with Inpress, Buckley revealed his desire to write a new American national anthem. “I hate the national anthem,” he declared. “The song itself is about having kicked somebody’s arse in war with bombs and stuff. Someday, there will be a [new] song, and hopefully, if I live into old age, I’ll make a stab at it.

“That will be my crowning achievement if I can replace that awful thing called the national anthem.”

He also said he hoped that Grace would be timeless. “If I make it into old age, I’d like to be able to visit it and have it still be true. The things I love the best are very timeless.”

Buckley highlighted Bob Dylan, Patti Smith, Duke Ellington and Allen Ginsberg. His favourite Ginsberg poem was Kaddish, which includes the line:

And how Death is that remedy all singers dream of.

Sadly, Jeff Buckley didn’t make it to old age. On May 29, 1997, while in Memphis working on the follow-up to Grace, he went for a swim in the Wolf River. His body was found on June 4.

Jeff Buckley never got to write that new national anthem. But one of his wishes came true: Grace is timeless.

In that first Australian interview, Buckley mused about his second album. “I’ll make an album that’s so not me,” he predicted. “But it will be me.” He even revealed he had a title for the record: My Sweetheart The Drunk.

The posthumous album Sketches for My Sweetheart The Drunk was released the year after Buckley’s passing.

“The songs that would have been My Sweetheart The Drunk (as well as all the other recorded material he left behind) are the true ‘remains’ of Jeff Buckley, not the speck of dust that was pulled out of the Wolf River,” his mother Mary Guibert said.

The Sketches album entered the Australian charts at number one. It was Buckley’s first number-one anywhere in the world.

Guibert also compiled the 2000 live album Mystery White Boy, which included five songs from the Palais Theatre in St Kilda, as well as Buckley’s cover of Big Star’s Kanga-Roo, recorded at Sydney’s Phoenician Club.

The great tragedy of Jeff Buckley and the modern music business is that Grace was his only completed album.

In the liner notes for Sketches, Bill Flanagan wrote: “If the music business ran in the ’90s as it did in the ’60s, Jeff would have had five albums out … But Jeff loved searching more than arriving.”

By the time Tim Buckley died, aged 28, he had released nine studio albums. Jeff, who died at 30, released just one.

But then, we were blessed to have experienced Jeff Buckley’s genius. One perfect album and some magical live shows.

Hallelujah.