Thursday, June 10, 2010

Activism in a Postmodern World

Activists have to think and re-think how we engage with the community around us. Post modern culture and society presents a myriad of modern phenomena and dares us to be as appealing. The Internet, e-mail, music and media are prime resources that our culture has taken advantage of to provide mind, soul and spirit connections.

What we fail to appreciate is that post-moderns aren't so much interested in a "me, me, me" mentality as they are driven to participate and experience every area of life.

This resonates with me as I consider the world around us and the community we are in now. Post-modern society is driving us in this direction and it is far more experiential, participatory, image-driven, and connected in how it functions.

Friday, June 4, 2010

Top Blues Songs



This is a working list and it should be noted that it does not include much early acoustic blues, an area that almost requires a chart of its own.
These songs are not in any order of priority, rather, they are listed alphabetically.

PS It could change anytime soon too, as there are hundreds more songs I lerv to listen to!

(I'm Your) Hoochie Coochie Man Muddy Waters
10 A.M. Automatic The Black Keys
Ain't No Sunshine Buddy Guy & Tracy Chapman
Ain't No Sunshine When She's Gone Bobby "Blue" Bland
All Your Love Magic Sam
As The Crow Flies (1974) Rory Gallagher
As The Years Go Passing By Gary Moore
At Last Etta James
Baby Please Don't Go Big Joe Williams
Baby Scratch My Back Slim Harpo
Back Door Man Willie Dixon
Bad to the Bone George Thorogood & The Destroyers
Ball and Chain Big Mama Thornton
Bang, Bang, Bang, Bang John Lee Hooker
Beaver Slide Rag Peg Leg Howell
Black Cat Bone (1985) Albert Collins
Black Magic Woman Fleetwood Mac
Black Snake Moan Blind Lemon Jefferson
Blues After Hours Pee Wee Crayton
Blues Before Sunrise Leroy Carr & Scrapper Blackwell
Blues Brothers Sweet Home Chicago (1980)
Boogie Chillun John Lee Hooker
Boom Boom John Lee Hooker
Boom Boom Out Go The Lights Little Walter
Boot Hill (1984) Johhny Winter
Born In Chicago Paul Butterfield Blues Band
Born Under A Bad Sign Albert King
Born Under a Bad Sign Albert King & Stevie Ray Vaughan
Bumble Bee Memphis Minnie
Catfish Blues Robert Petway
CC Rider Ma Rainey
Cherry Red (1995) Luther Allison
Cold Shot Stevie Ray Vaughan & Double Trouble
Come In My Kitchen Robert Johnson
Crazy Blues Mamie Smith
Cross Road Blues Robert Johnson
Crossfire Stevie Ray Vaughan & Double Trouble
Crossroads (1936) Robert Johnson
Cryin' Shame Lightnin' Hopkins
Déjà Voodoo Kenny Wayne Shepherd
Dust My Broom Elmore James
Every Morning (1994) Keb'Mo
Everybody Needs Somebody to Love The Blues Brothers
Everyday I Have The Blues B.B. King
Evil Willie Dixon
Eyesight To The Blind Sonny Boy Williamson II
Feels Like Rain Buddy Guy
Five Long Years B.B. King
Forty Four Blues Roosevelt Sykes
Further On Up The Road Bobby 'Blue' Bland
Georgia Blues Jimi Hendrix
Girl Is On My Mind The Black Keys
Give Me Back My Wig Hound Dog Taylor
Givin' It Up for Your Love Delbert McClinton
Good Morning Little Schoolgirl Sonny Boy Williamson I
Got My Mojo Working E Muddy Waters
Graveyard Dream Blues Ida Cox
Groove Me King Floyd
Grown So Ugly The Black Keys
Hard Luck Blues Roy Brown
Have You Ever Loved a Woman Eric Clapton
Heatwave Martha Reeves and the Vandellas
Hellhound On My Trail Robert Johnson
Hideaway Freddie King
Highway 49 Big Joe Williams
Hoochie Coochie Man Muddy Waters
How Blue Can You Get? B.B. King
How Long, How Long Blues Leroy Carr & Scrapper Blackwell
How Many More Years Howlin' Wolf
Howling Wolf Killing Floor (1966)
I Ain't Superstitious Willie Dixon
I Can't Be Satisfied Muddy Waters
I Can't Make You Love Bonnie Raitt
I Can't Quit You Baby Otis Rush
I Could've Had Religion (1972) Rory Gallagher
I Just Want to Make Love to You Etta James
I Know What You're Putting Down Louis Jordan
I'd Love to Change the World Ten Years After
I'd Rather Go Blind Etta James Etta James
If Trouble Was Money Albert Collins
If Trouble Was Money (1984) Albert Collins
ife Is Beautiful Keb' Mo'
I'm a King Bee Slim Harpo
I'm In The Mood John Lee Hooker
I'm Ready Muddy Waters
I'm Tired Savoy Brown
I'm Tore Down Freddie King
It Hurts Me Too Elmore James
It's Bad You Know R.L. Burnside
It's My Own Fault B.B. King
It's Tight Like That Tampa Red
Key To The Highway Big Bill Broonzy
Key To The Highway (1996) Freddie King
Let The Good Times Roll Louis Jordan
Lie to Me Johnny Lang
Little Red Rooster (2002) Luther Allison
Little Walter Juke
Little Wing Stevie Ray Vaughan & Double Trouble
Look over Yonders Wall The Paul Butterfield Blues Band
Love In Vain Robert Johnson
Love Me Like A Man (1995) Bonnie Raitt
Mannish Boy Muddy Waters
Mary Had a Little Lamb Stevie Ray Vaughan & Double Trouble
Matchbox Blues - Blind Lemon Jefferson
Me and The Devil Blues Robert Johnson
Memphis Blues W.C. Handy
Messin Around Memphis Slim
Messin' With The Kid Junior Wells
Mustang Sally Buddy Guy
My Head's In Mississippi (1990) ZZ Top
Nobody Knows You When You're Down & Out Bessie Smith
On The Road Again Canned Heat
One Bourbon, One Scotch, One Beer John Lee Hooker
One Hundred And Ten In The Shade (2004) Hans Theesink
Paying The Cost To Be The Boss (1995) B. B. King
Pine Top Boogie Pine Top Smith
Pockets Eric Bibb
Pony Blues -Charley Patton
Preaching The Blues Son House
Pride and Joy Stevie Ray Vaughan & Double Trouble
Reconsider Baby Lowell Fulson
Red Devils Devil Woman (1992)
Red House Jimi Hendrix
Red Light (Original Mix) Johnny Lang
Riding with the King B.B. King & Eric Clapton
Rock Me Mama Arthur 'Big Boy' Crudup
Rollin & Tumblin Elmore James
Room To Move (1969) John Mayall
See That My Grave Is Kept Clean Blind Lemon Jefferson
Shake Your Moneymaker Elmore James
Shake, Rattle and Roll Joe Turner
Smokestack Lightnin Howlin' Wolf
Smoking Gun Robert Cray
Something to Talk Bonnie Raitt
Soul Man The Blues Brothers
Spoonful - Willie Dixon
Statesboro Blues Taj Mahal
Still Got The Blues (1990) Gary Moore
Stone Crazy Buddy Guy
Stop (1985) Lonnie Mack
Stop Breakin' Down Robert Johnson
Stormy Monday T-Bone Walker
Stormy Weather Etta James
Superstition Stevie Ray Vaughan & Double Trouble
Sweet Black Angel Robert Nighthawk
Sweet Home Chicago Robert Johnson
Sweet Sixteen (1960) B.B. King
Taint Nobody's Bizness If I Do Bessie Smith
T-Bone Blues T-Bone Walker
Texas Flood Stevie Ray Vaughan & Double Trouble
The Little Red Rooster Willie Dixon
The Messiah Will Come Again (1972) Roy Buchanan
The Messiah Will Come Again (1989) Gary Moore
The Same Thing Willie Dixon
The Seventh Son Willie Dixon
The Sky Is Crying Elmore James
The Sky Is Crying Stevie Ray Vaughan & Double Trouble
The Things That I Used To Do Guitar Slim
The Thrill Is Gone B.B. King
The Walkin' Blues Taj Mahal
Third Degree (1994) Eric Clapton
Three O'Clock Blues B.B. King
Tight Like That Tampa Red & Georgia Tom
Tomorrow Night Lonnie Johnson
Too Much Alcohol (1974) Rory Gallagher
Up All Night Thinking Dave Hole
Walking By Myself (1990) Gary Moore
Wang Dang Doodle Koko Taylor
We're Gonna Make It Little Milton
West Coast Blues Blind Blake
When Love Comes to Town B.B. King & U2
Where Did You Sleep Last Night? Leadbelly
Whole 'Nutha Thang Keb' Mo'
Worried Life Blues Sleepy John Estes

Wednesday, June 2, 2010

Honoring Yagan















The Kaat (head) of the Noongar warrior Yagan will be put to rest next month at a burial ceremony near Upper Swan.

The burial will be on July 10 at a memorial park at Belhus, off West Swan Road, near where it was believed Yagan had been killed.

The unifying Aboriginal figure, who led a resistance against white settlers, was shot in 1833 and decapitated. His head was taken to England.

Looking at a photo from The Western Australian, 2 September 1997 when the Noongar delegation brought Yagan's remains back to Australia through Perth airport you see there are are a number of key Noongar leaders who have now passed on.

We honor those who have gone before and we honor Yagan.

Site maps and more information about the memorial park can be viewed at:

http://www.dia.wa.gov.au/Documents/News/Yagan%20Memorial%20Park/YMP_Newsletter_Feb24.pdf

Monday, May 24, 2010

Hysteria around Mining Super Tax reminiscent of 1993 Native Title debate



There has been a predictable amount of hyperbole from sectional interests around Rudd's proposed mining super tax.

It almost mirrors the hysterics from State governments and miners over the proposed legislative response to the the 1992 Mabo decision. That legislation was passed through the Federal parliament in 1993 and is now factored in as a given.

Surely, the shrill voices of criticism are not going to back themselves into a corner on this. There has been minimal reporting of alternative perspectives such as Ross Garnaut's support and twenty leading Australian economists backing of the mine tax changes; this is not surprising given the media's position taken on Native Title and the like, as mainstream media is reliant on big business (if not owned by them!).

Hopefully, we are going to see a more balanced debate on this in the lead up to the election.

Tuesday, May 18, 2010

Are Footy Commentators Racist?

Ever since the famous incident captured in this picture I have been concerned about racial stereotypes in foot commentary. We might have made huge progress in on field sledging and barracking; but the commentators persist with language that is disturbing when talking about the skill of Aboriginal players.

I have bitten my tongue on many occasions but now that Sydney legend, Adam Goodes, has come out and named the issue, it is appropriate to continue the discussion he has raised.

Goodes writes:

"Silky, magic, lightning, jetstar, twinkle toes. You've all heard the descriptions that are used for indigenous players when they do something brilliant on the football field.

When Cyril Rioli dances around one opponent, sidesteps another and then burns off, runs and bounces to kick a goal, the commentators get excited about his so-called magical skills and freakish pace. But my favourite memory of Cyril is of something quite different. It's from the 2008 grand final, when young Cyril, then in his first year of football, found himself on the members' wing, taking on two Geelong players in Corey Enright and Max Rooke. He tangles with Enright, strips the ball from the Geelong player, then crawls along the ground to get to the next contest with Geelong hard man Rooke. He throws himself at Rooke, lays a heavy tackle and wins the free kick.

"You can't coach that, it's instinct,'' said the commentators.

I disagree. What Rioli displayed in that pivotal moment on football's biggest stage was a result of hard work, second effort, dogged determination and competitive spirit. There's nothing magical about indigenous footballers. They are not born with any special powers. ...Like any other footballer, to get drafted they've had to sacrifice things along the way, such as time with family and friends, and put years of effort into improving their game and their fitness."

It is important to have discussions like this, otherwise we end up perpetuating stereotypes about Indigenous people.

Monday, May 17, 2010

Has reconciliation gone down the toilet as a political priority in WA?

An open letter that was sent to political leaders before West Australian election 2008











Australians for Native Title and Reconciliation (WA) and the Bringing Them Home Committee WA take this opportunity to write jointly to urge your party to adopt a policy to provide core funding for the establishment of a community based “Reconciliation secretariat” in Western Australia that would be a catalyst for major reconciliation initiatives here and would also act as a Western Australian arm of Reconciliation Australia, which is an independent, not for profit, national peak body.

Why this and why now?

1. Leadership. While there are a number of reconciliation events at a local community level and in various organisations across the state, there is a real vacuum in promoting reconciliation at a state wide level. This sort of catalyst is fundamental to driving the momentum for a broadly based reconciliation movement. It is critical that there is a centralized body that can promote reconciliation events, provide resources and training.

2. Now is the time. A window has opened for Indigenous people and the wider community to move forward together. The National Apology has opened up possibilities for healing action and community mobilisation that we have not seen in this state for a long time.

3. The networks are in place. ANTaR and BTH are both voluntary organisations who struggle to meet the growing requests from a range of people and organisations. Being community based organisations, they are very much in touch with the needs as they emerge. This proposal leverages on those networks.

4. The business community has shown the way. The minerals industry generally is making significant inputs to Indigenous communities through employment practises, which is their sphere. They are sharing their very considerable income from lands which were, since time immemorial, cared for and inhabited by Indigenous peoples. The State Government can match that intent in its own sphere.

5. There has been a major commitment by the Commonwealth and COAG to closing the gap in relation to Aboriginal life expectancy. Aboriginal and non-Aboriginal people can work shoulder to shoulder to ‘close the gap’. We need this office to build dialogue and action around the questions: What is Aboriginal work in closing the gap? What is non-Aboriginal work in closing the gap? What is shared work in closing the gap? WA needs a community-based organisation with credibility that can operate across a range of community networks. WA needs an organisation with a State-wide focus on reconciliation initiatives and priorities.

6. This would not be a new budget item. In their budget, the Department of Indigenous Affairs has been allocated $100 thousand p.a. to a reconciliation small grants scheme. The Bringing Them Home committee is now commencing a small grants reconciliation scheme that will be funded by Lotterywest. In our view this frees the DIA money for an alternative reconciliation project in the area of greatest emerging need. While this is a relatively small allocation, it has the potential to be a base core funding.

7. This proposal builds upon success. Sorry Days are growing in number around the state and in numbers in attendance. ‘Yarning Circles’ for Stolen Generation members are attracting numbers between eight and sixty. After the success of Reconciliation Action Plans in State and Federal Government Departments, there is scope for expanding the scheme to many church and community organisations. The major churches all crafted reconciliation strategies at the urging of Australians for Reconciliation’s WA office in the late 1990s which can be re-energised. These are concrete indicators of a new desire for Reconciliation in the general community.

8. We understand that most other states have a centralized reconciliation body. We believe that Western Australia’s lack of financial support for such a body is short sighted; it undervalues the social capital of the goodwill that exists in business, community organisations, the Indigenous network and the wider community.

This letter seeks in principle agreement in the form of published written pre-election promise. Reconciliation WA would be a small secretariat which leveraged sound networks to harness considerable recent goodwill in a window of opportunity. It needs reliable funding to be established as a community hub, strong on communications and a significant contact point nationally.


Took the Children Away - Archie Roach

When Archie Roach penned Took The Children Away, it became one of the most important songs in Australia’s contemporary history.

This song tells of the forced separation of children from their parents, as was done to thousands of Aboriginal children during the implementation of the government’s assimilation policies.

Many Aboriginal people identify strongly with the story carried by this song. It won two Aria Awards and a Human Rights Award. It was the first time a Human Rights award had been presented to a songwriter. It was in the US Rolling Stone’s Top 50 albums for 1992. It has subsequently gone gold in Australia.

While still a very young child, Roach and his sisters, along with many other young people of the ’stolen generation,’ were forcibly removed from their family by Australian government agencies, and placed in an orphanage. After enduring two unpleasant placements in foster care Roach was eventually fostered by the Coxes, a family of Scottish immigrants in Melbourne. The Coxes’ eldest daughter, Mary, played keyboards and guitar in a local pentecostal church, and taught Roach the basics of both instruments. He was further inspired by his foster father’s record collection, which included old Scottish ballads and songs by Billie Holiday, the Ink Spots, the Drifters and Nat King Cole.

This story’s right, this story’s true
I would not tell lies to you
Like the promises they did not keep
And how they fenced us in like sheep.
Said to us come take our hand
Sent us off to mission land.
Taught us to read, to write and pray
Then they took the children away,
Took the children away,
The children away.
Snatched from their mother’s breast
Said it was for the best
Took them away.
The welfare and the policeman
Said you’ve got to understand
We’ll give them what you can’t give
Teach them how to really live.
Teach them how to live they said
Humiliated them instead
Taught them that and taught them this
And others taught them prejudice.
You took the children away
The children away
Breaking their mothers heart
Tearing us all apart
Took them away
One dark day of Framingham
Come and didn’t give a damn
My mother cried go get their dad
He came running, fighting mad
Mother’s tears were falling down
Dad shaped up and stood his ground.
He said you touch my kids and you fight me
And they took us from our family.
Took us away
They took us away
Snatched from our mother’s breast
Said this was for the best
Took us away.
Told us what to do and say
Told us all the white man’s ways
Then they split us up again
And gave us gifts to ease the pain
Sent us off to foster homes
As we grew up we felt alone
Cause we were acting white
Yet feeling black
One sweet day all the children came back
The children come back
The children come back
Back where their hearts grow strong
Back where they all belong
The children came back
Said the children come back
The children come back
Back where they understand
Back to their mother’s land
The children come back
Back to their mother
Back to their father
Back to their sister
Back to their brother
Back to their people
Back to their land
All the children come back
The children come back
The children come back
Yes I came back.

Former Warumpi Band member Neil Murray says “Archie is the holy man of Australian music. There’s a great humility about him” and talks of Archie’s "astonishing grace and humility", saying Archie brings with his art "the belief that spiritual healing is always possible, even in the damaged land he has walked".

Paul Kelly says "Archie’s songs are at once both love songs and political songs."

Bart Willoughby, whose band ‘No Fixed Address’ earned the admiration of bands like ‘The Clash’ and its song ‘We Have survived’ is now an anthem of epic proportions says ‘Archie is the voice of Aboriginal emotion’.

The first time Archie played this song to the audience, there was no clapping or any sound when he finished; that made Archie think that the audience didn’t like it so he walked off the side of the stage, when he heard clapping from the audience. He turned around and saw the whole of the audience cheering and clapping.

Sir Bob Geldof has said that “Archie Roach is one of the greatest singer songwriters in the world”

Archie Roach said that, like many Aboriginal people, he hoped the apology would be a beginning rather than an end. He said: “Once this is done, perhaps we can then make inroads into other issues. I understand that an apology is not going to solve all the problems, or the plight of Aboriginal people, but it’s going to help. It’s going to help people to feel a bit more free to go ahead. It will help me and my children.” That is something which I find incredibly humbling.

'Archie’s autobiographic “Took the Children Away” along with Bob Randall’s “Brown Skinned Baby” are the two quintessential songs of the Stolen Generation. They are as important to this country’s heritage as“Waltzing Matilda”' (Neil Murray 2007)