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Tuesday, May 22, 2012
Tuesday, May 15, 2012
Winter music - Talk Talk
When I woke up this morning in this fair city of Canberra, it was -4 degrees Celsius. This is colder than anything I've ever experienced in Australia, and quite frankly, something I didn't expect to have to put up with in this country. You can call us Australians what you want - small-minded, backward, racist, uncooth, parochial, antipodean, unwashed convicts - but at least the weather's great here all year round!
Well, no more.
Anyway - with cold weather comes a need for winter music, and there's no better than this track by Talk Talk. Enjoy all nine minutes and forty seconds. Just long enough to light a fire, knit a beenie, slip on the ugg boots, work your way through a couple of glasses of Lagavulin and think of how many different people you could ring to say, "&*$! me, it's cold".
Well, no more.
Anyway - with cold weather comes a need for winter music, and there's no better than this track by Talk Talk. Enjoy all nine minutes and forty seconds. Just long enough to light a fire, knit a beenie, slip on the ugg boots, work your way through a couple of glasses of Lagavulin and think of how many different people you could ring to say, "&*$! me, it's cold".
Monday, May 14, 2012
Bill Callahan - Too Many Birds
To get you through your monday, a bit of Bill Callahan:
"If... If you... If you could... If you could only... If you could only stop... If you could only stop your... If you could only stop your heart... If you could only stop your heart beat... If you could only stop your heart beat for... If you could only stop your heart beat for one heart... If you could only stop your heart beat for one heart beat."
"If... If you... If you could... If you could only... If you could only stop... If you could only stop your... If you could only stop your heart... If you could only stop your heart beat... If you could only stop your heart beat for... If you could only stop your heart beat for one heart... If you could only stop your heart beat for one heart beat."
Friday, May 11, 2012
Jamison Inc turns 25,000
From its humble beginnings as a poorly written and largely unattended travel blog, this website has managed to play a strangely important role in my life: a place for me to record things that I love and things that move me. Add to this the fact that Jamison Inc is now in its 6th year, and its become quite the annal of things that have excited me over the years.
Part of the excitement of Jamison Inc is not knowing who you all are. So whoever you are and wherever you are on this vast planet of ours - thanks for visiting.
Wednesday, May 09, 2012
Let's talk about the front page of The Australian
This article was original posted on The Vine. It. Is. Awesome. No introduction needed, just read it.
Thanks to Ollie for alerting me.
Thanks to Ollie for alerting me.
by lukeryan on May 09 2012, 11:34AM
Look, I know journalism is a difficult
calling in the modern age. I know that commercial interests have long since
overtaken a policy of strict journalistic objectivity. I know that editorial
policy is often dictated by people far above you in the food chain. I know that
trying to make yourself completely devoid of political inclincation is almost
impossible. And I know that much of modern journalism is a debasing, hurried
business.
But none of these realisations, nothing in the past 26 years of steadily accumulating journalistic cynicism could have prepared me for what The Australian, our paper of national repute, put on its front cover today in response to the Budget:
I want you to pause and savour that sight for a moment. Drink in all the myriad details. Alright, got it? Then let's discuss:
The Cartoon
This consumes almost a quarter of the page. It's the first thing anyone looking at this paper would see. If you were to make a snap judgment about the content of this paper based on the cartoon alone, you would have to assume that overnight Wayne Swan and Julia Gillard revealed themselves to be time-travelling Soviet agents and while we were sleeping they opened the gates and invited the rest of the Red Army into our fair country. There are war planes flying overhead. WAR PLANES. I feel that, beyond the unpleasantly violent associations, this attributes far too much excitement to the announcement of the Budget, an evening of policy saturation that is usually as entertaining as a flight with Tiger Airways. Moreover, the inclusion of a hammer and sickle suggests a far from comprehensive understanding of the particularities of Soviet policy, as I would suggest that a Budget whose primary thrust could probably be described as a severe reduction in Government spending is a fair way away from a totalitarian regime that didn't believe in free enterprise. I wonder if there's a spending sub-heading entitled "Gulags" buried deep on page 922.
Minor details that aid and abet the overall impression of imminent Soviet invasion: the horde of angry peasants, scythes in hand, following Wayne and Julia as they storm the Treasury; Wayne's zeitgeist-y wearing of an "Occupy Treasury" t-shirt; the uses of yellow and red which manages to channel both the Yellow Menace and the Red Peril; and the polluting factories in the background, evidently alive and well despite the crippling effects of the carbon tax.
A tweet from @MattCowgill sums it up: I believe it was Stalin who said "we will allow businesses to carry tax losses back & introduce an instant asset write off"
The Headline
Smash the rich, save the base. So, I'm going to presume that because the Government has reneged upon a 1% cut in the company tax rate it is, in fact, smashing the rich. The thing is, it's not even like I have a particularly strong opinion either way on the necessity of a 1% cut in our company tax rate, but smashing? Really? When I hear smashing, I see a giant, green, muscle-bound figure in remarkably stretchy underwear ripping the rich apart, limb-by-limb. I do not see a marginal cut in a not particularly onerous (at least if you're comparing it to other OECD nations) corporate tax rate, the effect of which will probably be marginal because our nation – with its world-leading economy, robust legal safeguards, relative lack of bureaucracy, high degree of disposable income and plentiful natural resources – is such an incredibly attractive place to invest. Methinks this sub-editor needs to go away and smash themselves up a degree of perspective.
But, hey, at least they know who the base is: the scythe-wielding peasantry. Although, given Labor's recent polling levels, this could well be all that remains of their core constituency.
The Columns
If The Australian had ever thought of itself as a fair and balanced paper – and it often makes that argument – then the inclusion of not one, not two, but three inflammatory and critical sub-headings on the front cover should probably put that myth to bed. And by put it to bed, I mean drown it in a pit of liquid asphalt.
First we have "Swan's making a values judgment", a fantastically insidious headline that transforms what was, by most measures, an exceedingly dull budget built out of an endless sequence of minor cost-cutting measures into a US-style class warfare campaign where the political parties are irredeemably split by a 1% shift in the corporate tax rate and a couple of tax increases on the very wealthy. Although, on the flip side, at least this makes the Labor Party look as if they actually have an ideological position to call on.
Second, there's "Treasurer matches PM's breach of faith with his own". Oh yes, very good. Gillard's backflip on the carbon tax is exactly the same as reneging on a corporate tax break. Does no-one in the Opposition (or its various ideologues) see the irony in spending most of their time bitching about non-existent cost of living increases only to accuse the Government of betraying the Australian people when it decides not to give corporations a tax break so that it can give money to people to help with the increased cost of living?
And third we have "Big business foots Wayne's welfare bill". More of the same, but it manages to sneak in the word "welfare", which as we all know, everybody hates, despite almost everybody who would profess to hate it being on the receiving end of some amount of welfare without ever acknowledging it. I'm looking at you, Family Tax Benefit.
Also, it should be noted that opinions about the Budget are given as much, if not more space on the front cover than information about the Budget itself.
But the truly hilarious thing about it all is that this cover successfully articulates the Liberal Party's Budget policy far better than Tony Abbott or Joe Hockey ever could. This is also the most depressing thing about it all.
The Headshots
There are nine on the front cover. All of their own journalists. Now there's the mark of a paper that is a little too self-satisfied with itself. This is less an exercise in front line journalism than it is the Editor in Chief wanking while we watch.
The Ad
And then, at the bottom of it all, there's an ad for Lexus. Go fucking figure.
Conclusion
This isn't intended as a defence of the Government's Budget (I'm not enthused) or some partisan shot across the bows of the Liberal Party or even a real engagement with the content of the paper itself, but rather to suggest that if anyone involved in the production of this front cover looked at it and thought "You know what? This is exactly what a newspaper is meant to be" then they have no business using the title journalist. Just call yourselves propagandists and be done with it, because this thing is closer to the output of a Stalinist regime than anything contained in the 2012 Budget.
But none of these realisations, nothing in the past 26 years of steadily accumulating journalistic cynicism could have prepared me for what The Australian, our paper of national repute, put on its front cover today in response to the Budget:

I want you to pause and savour that sight for a moment. Drink in all the myriad details. Alright, got it? Then let's discuss:
The Cartoon
This consumes almost a quarter of the page. It's the first thing anyone looking at this paper would see. If you were to make a snap judgment about the content of this paper based on the cartoon alone, you would have to assume that overnight Wayne Swan and Julia Gillard revealed themselves to be time-travelling Soviet agents and while we were sleeping they opened the gates and invited the rest of the Red Army into our fair country. There are war planes flying overhead. WAR PLANES. I feel that, beyond the unpleasantly violent associations, this attributes far too much excitement to the announcement of the Budget, an evening of policy saturation that is usually as entertaining as a flight with Tiger Airways. Moreover, the inclusion of a hammer and sickle suggests a far from comprehensive understanding of the particularities of Soviet policy, as I would suggest that a Budget whose primary thrust could probably be described as a severe reduction in Government spending is a fair way away from a totalitarian regime that didn't believe in free enterprise. I wonder if there's a spending sub-heading entitled "Gulags" buried deep on page 922.
Minor details that aid and abet the overall impression of imminent Soviet invasion: the horde of angry peasants, scythes in hand, following Wayne and Julia as they storm the Treasury; Wayne's zeitgeist-y wearing of an "Occupy Treasury" t-shirt; the uses of yellow and red which manages to channel both the Yellow Menace and the Red Peril; and the polluting factories in the background, evidently alive and well despite the crippling effects of the carbon tax.
A tweet from @MattCowgill sums it up: I believe it was Stalin who said "we will allow businesses to carry tax losses back & introduce an instant asset write off"
The Headline
Smash the rich, save the base. So, I'm going to presume that because the Government has reneged upon a 1% cut in the company tax rate it is, in fact, smashing the rich. The thing is, it's not even like I have a particularly strong opinion either way on the necessity of a 1% cut in our company tax rate, but smashing? Really? When I hear smashing, I see a giant, green, muscle-bound figure in remarkably stretchy underwear ripping the rich apart, limb-by-limb. I do not see a marginal cut in a not particularly onerous (at least if you're comparing it to other OECD nations) corporate tax rate, the effect of which will probably be marginal because our nation – with its world-leading economy, robust legal safeguards, relative lack of bureaucracy, high degree of disposable income and plentiful natural resources – is such an incredibly attractive place to invest. Methinks this sub-editor needs to go away and smash themselves up a degree of perspective.
But, hey, at least they know who the base is: the scythe-wielding peasantry. Although, given Labor's recent polling levels, this could well be all that remains of their core constituency.
The Columns
If The Australian had ever thought of itself as a fair and balanced paper – and it often makes that argument – then the inclusion of not one, not two, but three inflammatory and critical sub-headings on the front cover should probably put that myth to bed. And by put it to bed, I mean drown it in a pit of liquid asphalt.
First we have "Swan's making a values judgment", a fantastically insidious headline that transforms what was, by most measures, an exceedingly dull budget built out of an endless sequence of minor cost-cutting measures into a US-style class warfare campaign where the political parties are irredeemably split by a 1% shift in the corporate tax rate and a couple of tax increases on the very wealthy. Although, on the flip side, at least this makes the Labor Party look as if they actually have an ideological position to call on.
Second, there's "Treasurer matches PM's breach of faith with his own". Oh yes, very good. Gillard's backflip on the carbon tax is exactly the same as reneging on a corporate tax break. Does no-one in the Opposition (or its various ideologues) see the irony in spending most of their time bitching about non-existent cost of living increases only to accuse the Government of betraying the Australian people when it decides not to give corporations a tax break so that it can give money to people to help with the increased cost of living?
And third we have "Big business foots Wayne's welfare bill". More of the same, but it manages to sneak in the word "welfare", which as we all know, everybody hates, despite almost everybody who would profess to hate it being on the receiving end of some amount of welfare without ever acknowledging it. I'm looking at you, Family Tax Benefit.
Also, it should be noted that opinions about the Budget are given as much, if not more space on the front cover than information about the Budget itself.
But the truly hilarious thing about it all is that this cover successfully articulates the Liberal Party's Budget policy far better than Tony Abbott or Joe Hockey ever could. This is also the most depressing thing about it all.
The Headshots
There are nine on the front cover. All of their own journalists. Now there's the mark of a paper that is a little too self-satisfied with itself. This is less an exercise in front line journalism than it is the Editor in Chief wanking while we watch.
The Ad
And then, at the bottom of it all, there's an ad for Lexus. Go fucking figure.
Conclusion
This isn't intended as a defence of the Government's Budget (I'm not enthused) or some partisan shot across the bows of the Liberal Party or even a real engagement with the content of the paper itself, but rather to suggest that if anyone involved in the production of this front cover looked at it and thought "You know what? This is exactly what a newspaper is meant to be" then they have no business using the title journalist. Just call yourselves propagandists and be done with it, because this thing is closer to the output of a Stalinist regime than anything contained in the 2012 Budget.
Monday, April 30, 2012
Daughter - Medicine
UK singer-songwriter Elena Tonra sings with her boyfriend Igor Haefeli under the name of Daughter. The band put out their debut EP - The Wild Youth EP. Check out this single, Medicine. It's safe to say that this song will never make your pre-party Friday night mix, but the production on it is great and it's a great contender for the Lights Down Low - Music Up Loud - Red Wine In Hand Award.
Gentle ladies and men, may I present: Daughter.
Gentle ladies and men, may I present: Daughter.
Friday, April 13, 2012
The Bamboos
Australia's dominant musical contribution to the world is probably still best identified by those overseas as hard, sweaty, pub rock - think ACDC, Cold Chisel, Midnight Oil, The Church, Silverchair, Jet, The Vines, Wolfmother. More recently however, we've softened things up slightly with bands like The Temper Trap and Angus and Julia Stone getting widespread attention in Europe and the US. However, for whatever reason, one genre that just doesn't seem to have taken off here in Oz is funk. This is something that I've found baffling. But more often than not, Australian funk/soul bands are only thought of in the ignominious context of weddings - the occasion where white people get sufficiently drunk/amourous to unashamedly break out the soul dance moves.
The Bamboos are a funk band out of Melbourne and have been getting rave reviews for their live shows for a couple of years now. They are about to put out their second album, entitled Medicine Man, which features a number of tracks with guest vocalists, including this one featuring Tim Rogers. Australians will be well aware of Tim Roger's back catalogue with iconic Sydney rock outfit You am I. Here he lends his raspy vocal talents to The Bamboos' incredibly disciplined and James Brownesque guitar led licks. The result is this very catchy, and surprising "unAustralian" sounding single, I Got Burned.
I first heard this song on Triple J, not knowing who the vocalist was. It sounded too vulnerable to be Tim Rogers, too sensative... and frankly, too in tune. Apparently, Tim Rodgers was born to sing soul. Who knew?
This one is for the Dje.
The Bamboos are a funk band out of Melbourne and have been getting rave reviews for their live shows for a couple of years now. They are about to put out their second album, entitled Medicine Man, which features a number of tracks with guest vocalists, including this one featuring Tim Rogers. Australians will be well aware of Tim Roger's back catalogue with iconic Sydney rock outfit You am I. Here he lends his raspy vocal talents to The Bamboos' incredibly disciplined and James Brownesque guitar led licks. The result is this very catchy, and surprising "unAustralian" sounding single, I Got Burned.
I first heard this song on Triple J, not knowing who the vocalist was. It sounded too vulnerable to be Tim Rogers, too sensative... and frankly, too in tune. Apparently, Tim Rodgers was born to sing soul. Who knew?
This one is for the Dje.
Wednesday, April 11, 2012
Bon Iver - Calgary
Sometimes the rules of this blog get me in tangles. Essentially, if I like something, it has to go up here. Unfortunately, that doesn't mean that you always get diverse, culturally relevant content. The below video, for example, follows on from the Bon Iver cover of Coming Down that I posted a couple of weeks ago. Having worn out my "listens" on that song, I moved on to a related video of Bon Iver performing Calgary for Triple J.
This stripped back performance is, again, so sensitively delivered, and so different to the original. Bon Iver tends to do a lot of the falsetto wailing. Somehow, this gravelly, earnest, chest voice gives the song an increased sense of sincerity. I luv luv luv it. Listen out for the treatment of the line, "Swollen orange and light let through, your one piece swimmer stuck to you." I don't even know who's one-piece swimmer it is, or why it was memorable... but the way he sings it, I wish I was there.
Editors note: When I played this song to my Mum, her response was, "My Dad always used to say to me: A girl in a bikini, I'll look once. A girl in a one-piece, I'll keep looking." Thanks Mum. Compelling, and rich.
This stripped back performance is, again, so sensitively delivered, and so different to the original. Bon Iver tends to do a lot of the falsetto wailing. Somehow, this gravelly, earnest, chest voice gives the song an increased sense of sincerity. I luv luv luv it. Listen out for the treatment of the line, "Swollen orange and light let through, your one piece swimmer stuck to you." I don't even know who's one-piece swimmer it is, or why it was memorable... but the way he sings it, I wish I was there.
Editors note: When I played this song to my Mum, her response was, "My Dad always used to say to me: A girl in a bikini, I'll look once. A girl in a one-piece, I'll keep looking." Thanks Mum. Compelling, and rich.
Friday, April 06, 2012
Le Skylab
Le Skylab : non-stop smoking and never-ending pastis, a rapey paramilitary uncle, johnny haliday reference, exploration of pre-pubescent sexuality, family sings dalida's bambino, 'l was there in may 68', gratuitous boobs, gauchist wankers, arab-hating facho, muff, unnecessary ten minute ending. Le cinema francais quoi.
Tuesday, April 03, 2012
We're just kids playing grown-ups.
Friday, March 30, 2012
Thursday, March 29, 2012
Oh, you used h-u-m-o-u-r to l-i-g-h-t-e-n the mood.
This is about 9 years out of date, but it still makes me laugh out loud - he said, clearly still enjoying his own work and living off the golden syropy goodness of days long past. I can remember watching this performance when we filmed it. This guy wasn't so much acting, as channeling his marraige. It was amazing.
Wednesday, March 28, 2012
I just don't think I'll ever get over you
Can a song be a break-up song and a love song at the time? Words are printed here because, well, they're awesome.
This one, for David Gault.
I drink good coffee every morning
Comes from a place that's far away
And when I'm done I feel like talking
Without you here there is less to say
I don't want you thinking I'm unhappy
What is closer to the truth
That if I lived till I was 102
I just don't think I'll ever get over you
I'm no longer moved to drink strong whisky
'Cause I shook the hand of time and I knew
That if I lived till I could no longer climb my stairs
I just don't think I'll ever get over you
Your face it dances and it haunts me
Your laughter's still ringing in my ears
I still find pieces of your presence here
Even after all these years
But I don't want you thinking I don't get asked to dinner
'Cause I'm here to say that I sometimes do
Even though I may soon feel the touch of love
I just don't think I'll ever get over you
This one, for David Gault.
I drink good coffee every morning
Comes from a place that's far away
And when I'm done I feel like talking
Without you here there is less to say
I don't want you thinking I'm unhappy
What is closer to the truth
That if I lived till I was 102
I just don't think I'll ever get over you
I'm no longer moved to drink strong whisky
'Cause I shook the hand of time and I knew
That if I lived till I could no longer climb my stairs
I just don't think I'll ever get over you
Your face it dances and it haunts me
Your laughter's still ringing in my ears
I still find pieces of your presence here
Even after all these years
But I don't want you thinking I don't get asked to dinner
'Cause I'm here to say that I sometimes do
Even though I may soon feel the touch of love
I just don't think I'll ever get over you
Monday, March 19, 2012
Bon Iver - Coming Down
When I listen to Bon Iver perform, I have the strong sense of being in the presence of genius. When I watch him perform, that sense is confirmed.
Thursday, March 15, 2012
People get so lonely, but Love is the only one
Just heard this song on Guy Garvey's Finest Hour. How did I go so long without ever running into this sweet and unassumingly truthful song?
For me, it captures the bittersweet experience of breaking up with someone so perfectly. If love is the losing and finding of the self in the paradise of another, breaking up is, I believe, a mixture of a mourning for the loss of that paradise, and all that it presented itself to be, and an at first unfamiliar sense of excitement at the still far off prospect of hope that it might one day again be possible to lose and find yourself in the paradise of another again.
What am I to do
Someone here is really not happy
Put myself on a line
It seems I never got through to you
So I wean myself off slowly
Beautiful.
For me, it captures the bittersweet experience of breaking up with someone so perfectly. If love is the losing and finding of the self in the paradise of another, breaking up is, I believe, a mixture of a mourning for the loss of that paradise, and all that it presented itself to be, and an at first unfamiliar sense of excitement at the still far off prospect of hope that it might one day again be possible to lose and find yourself in the paradise of another again.
What am I to do
Someone here is really not happy
Put myself on a line
It seems I never got through to you
So I wean myself off slowly
Beautiful.
Thursday, March 08, 2012
Kony 2012
I wrote my Masters' thesis on the International Criminal Court's arrest warrant for Joseph Kony and its overall ineffectiveness in preventing atrocities in Uganda, so this video jumped out at me.
I've signed the pledge. I've ordered the Kony 2012 Action Kit. But posting it here is the very least I could do.
"Humanity's greatest desire is to belong and connect". The older I get, the more deeply I believe this to be the core driver of who we are and what we do.
Check it out and help shape human history.
I've signed the pledge. I've ordered the Kony 2012 Action Kit. But posting it here is the very least I could do.
"Humanity's greatest desire is to belong and connect". The older I get, the more deeply I believe this to be the core driver of who we are and what we do.
Check it out and help shape human history.
Sunday, March 04, 2012
Shit Comedians Say
Having just returned from the Adelaide Fringe Festival, this caricature of insecurity, self-doubt, vanity and desperation couldn't be more accurate. Welcome to the world of the fragile comic.
Bref. Je suis veille.
This series is énorme. It has the capacity to be both incredibly silly and genuinely touching, all at the same time.
I particularly love this episode.
"Un jour, j'ai eu son âge. Parfois, ca me rend triste... épuis j'oublie."
I particularly love this episode.
"Un jour, j'ai eu son âge. Parfois, ca me rend triste... épuis j'oublie."
This old routine...
Ah, I just haven't been able to get this one out of my head.
This old routine will drive you mad.
It's just a mumble never spoken out loud.
This old routine will drive you mad.
It's just a mumble never spoken out loud.
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