Tag Archives: Interview

What were The Porkers drinking in 2008?

Pete Porker drops by in 2008 to fill us in on all things Porker.

The Porkers are the mightiest ska band to hail from Newcastle and then end up playing US and Japan. They were never meant to be taken lightly. Despite the title of their videography “Persistence Is Futile”.

What is their history? What are their dreams and ambitions?

Learn none of that. But maybe enjoy your time with Pete Porker himself as he spills the pork beans on the state of The Porkers in 2008.

Also hear 3 tracks from their 2007 release This Is The Porkers.

The Porkers album cover. This Is The Porkers 2007
This Is The Porkers 2007

All you ever need to know about The Porkers official website

Maynard: Not very often in the history of broadcasting do you meet? An epic legend the size of the guy I’m about to speak to now. Pete Porker, 1500 years, when first Settlers landed here, he was on the shore playing ska, weren’t you, Pete? Hello? Yes. It’s the a, the, the voice of wisdom here. How long have the porkers been together as a Newcastle institution ska?

Pete Porker: Yeah, as of this November, it is 20 years since we played our first gig. And what was that first gig? That first gig was a house party in Bar Beach. Uh, a few friends of mine had a, uh, a share house that was, uh, marked for demolition and we played the, uh, the house wrecking party.

Maynard: And did it go well? Did you go, Hey, this is what I wanna do for 20 years?

Pete Porker: I dunno whether it was, whether I said that at the time, but it went so well. It was like everyone was saying, you’ve gotta play again, you’ve gotta play again, and the house got suitably wrecked.

Maynard: So ska has always been your thing. And look to the uninitiated. Ska could easily be explained as very fast reggae, but that’s not correct.

Pete Porker: Not exactly. Actually the father of reggae. So it came before reggae, but that is a good way to explain it. And that’s probably how I’ve explained it to a lot of people over the years. It’s if you take a, for example, if you take a bit of reggae. A bit of early r and b, a bit of rock and roll, add some brass to it, like early rock and roll had, and you’ve got ska, but the way the porkers have played it, it’s always been a quite bastardized version it’s always well as it should be because you aren’t Jamaican guys in Jamaica. You’re doing your own Newcastle version. Yeah, man, look, when I first encountered you guys, I loved you guys. I’ve played lots of gig with you guys. There’s much history. Look, a lot of, people ask me about the band.

Maynard: What was it? What was the story with Pork Man? Pork Man was part of the band for a while. A mystery Mexican wrestler looking kind of guy who was Pork Man in relation to the Porkers. What was Pork Man or, or, or what was he in relation to the Porkers? That’s a great question. We’re still asking ourselves.

Pete Porker: He was he was on board for a while as our mascot, as our mc, and many other dancing guy Mc guys in other ska bands like say chess smash from madness. He wouldn’t get off after the introduction and stayed on stage. Danced around and,

Pete Porker: caused mayhem and became an entity in himself.

Pete Porker: And he was a hard drinker. He was a hard drinker, and he was a hard drinker and a soft man and that just run into troubles. And I I still remember I’ve got a bit of video of us playing in New York City. He was our last show and on our America tour and Pork Man was there, pork Man was there.

Pete Porker: And I said, a big round of applause for Pork Man who was standing on stage with his pants off. I said. He’s wanted in 20 states and we’ve only been to six. He faded out a little bit. His last official shows were with us in the year 2000, but he started just not turning up to shows.

Pete Porker: And so I can’t actually recall what his last one was. And he didn’t quite go out with a bang, but we did bring him back I think it was about 2003, 2004 for one weekend only in Sydney. And he caused a bit of mayhem then. And, then disappeared into folklore once again. But it’s a, and I like the fact that no one knows actually who he is.

Maynard: ’cause he wore the Mexican wrestler mask all the time. See, it’s a bit like sm I don’t care who ishm are. I don’t want people to tell me who the Melbourne band SM are, who always wear masks. It’s like pork man. I don’t care. It could be Lord Mayor John Tate. In fact, I suspect it might be him. Our lips are sealed.

Maynard: What happened with Ron Hit Lei, the lead singer of SM once someone pulled the mask off him in a gig. And lo and behold, it was some guy you’d never seen before. What’d they think of the pull mask off? Aha. John Farnam? Yeah. What? What? It doesn’t matter. It doesn’t at all.

Pete Porker: And I always said if he was ever unmasked. That was the end. He was dead. He had to just go away like Bruce Wayne and Batman. That’s it. That’s it. I think a couple times he did get unmasked, but he quickly covered himself with either his shirt or pants or somebody else’s. I find it with the pork man would go on stage with no pants, but yet would wear a mask.

Pete Porker: Yes, definitely. He was a man with mixed priorities and the strange thing is about pork man. As I said, it’s been seven years since he’s officially been with the band. But people still come to the shows and go, where’s the pork man? Like they were expecting him to be there and it’s he hasn’t been with us for seven years.

Pete Porker: We dunno where he is. We dunno where he is. Last time we saw him was in Mundo. Yes. He’s gone back to Parts Unknown.

Maynard: This is the pork. Is the new album on the sound system label. And what direction have you taken this time? And has it been, how many albums has it been for the Porkers anyway? How many full albums has it been?

Pete Porker: I think this is our fifth or sixth. We’ve done a couple of mini albums, which weren’t quite full albums and we’ve done a lot of VPs in between there. Lemme think. 1, 2, 3, 4. Yeah. Live. This is our fifth full length album.

Maynard: Let’s have a listen to the first track off the album. It kicks it off. Sangria Alcohol. It’s about traveling. What’s it about?

Pete Porker: Yes, this is a, oh, it’s about everything. It’s actually, this is our our, uh, what is it? Our world music crime, as I call it. It’s a bunch of white guys in Newcastle doing a African themed Jamaican ska song about a South American drink.

Maynard: Ska recorded by the porkers. For the album, This Is The Porkers, your fifth album. And tell me, has it been a difficult album? Do they get harder or easier as you go on?

Pete Porker: Oh, I think everything with the Porkers has got a bit difficult. Difficult, is that a word? Yes. A bit harder. A bit harder as we’ve gone along.

Pete Porker: Oh, keeping the momentum happening and the mo motivation happening for the 20th year of the porkers hasn’t been easy. But in the end the eight new songs that we recorded for this were, came together pretty good. I, myself, I must have complete transparency here.

Maynard: I have been in the band briefly but, but not an official member. I just used to visit, I believe you. My trombone playing was referred to as the Monga Bone.

Pete Porker: The Mongo Bone? Yes. You were actually on our first album and you actually on our website, you’re in the Hall of fame.

Pete Porker: It mentions the the past members, the and the special guest members, and.

Maynard: I love wearing my Porkers shirt. I get a lot of pride because like the Castanet Club that I was in, we had a bit of a uniform to wear and you guys have a bit of, you still have a uniform, you’ve got the official Porkers shirt.

Pete Porker: We try to keep a bit of a theme together. I like the old 50 styles band that used to dress up the same. We have our bowling shirts and we, we change them occasionally.

Maynard: What is a Porkers gig like this to what big ones you got coming up in the near future? Coming up in the near future?

Pete Porker: We’ve got our big official birthday show at the Annandale Hotel on the 23rd of November down in Sydney. That’s our how big official party. And what are you pulling out the hat for that? Rabbits, pigs. All sorts of things. We’re not sure what’s in there, but we’re gonna hopefully gonna have some guests, some ex members. And we’re just hoping the punters will bring the rest of the party.

Maynard: And a good solid stage for you there. Too bit, a little bit most room for most of the band.

Pete Porker: Room for most of the band. It’s a reasonably deep stage so we can get some members at the back. And the other thing is for Newcastle listeners, new Year’s Eve at the Cambridge Hotel is gonna be the big one.

Maynard: I’ve been at a New Year’s Eve gig there with you guys. That gets into a lot of fun there. It, it does. And who got supporting you? You gonna do the whole night? What are you doing?

Pete Porker: No, we’re not doing the whole night tour. We’ve got our young friends from Canberra, the Los Capitals young punk ska band that are also on my label that I’ve taken under my wing.

Maynard: We’ll get to your label in a moment. We’ll play another track off the album Now. Dread man walking. It’s a Newcastle story. I’ll let you explain it, Pete.

Pete Porker: Yes. A lot of people that would know the inner city area of Newcastle would’ve seen an old man that walks around town.

Pete Porker: He’s homeless. So has a carkey raincoat. Is he a carkey raincoat? He changes every decade and gets a new set of clothes, but I think he’s currently in khaki and he’s got a long gray beard. And his hair is one big dreadlock and we wrote a song about him and there’s lots of myths about this man.

Maynard: Yeah. Do you know any actual information that could be true or not?

Pete Porker: No, I don’t actually. My my girlfriend actually looked into it and talked to some people at the Herald who were actually trying to do a story on him at one stage, and not a hell of a lot is actually known about him. What are some of the myths that he can fly or something?

Pete Porker: Something like that. One of the myths is that he’s actually really rich, but just chooses to live this way. And oh, the Howard hug. Syndrome. Yes, the Howard Hughes syndrome. And the other one is that we mentioned in the song that he accidentally killed his wife and kids in a tragic accident.

Pete Porker: And now he walks the streets as his own punishment. But wow, we don’t know. But neither of those stories is confirmed. None, nothing, none whatsoever.

Maynard: And have you ever spoken to him? You ever tried to talk to him?

Pete Porker: I haven’t personally, but once again, my girlfriend has tried to speak to him and other people have tried to give him money and he says very little.

Pete Porker: And acknowledges nobody. The only time that anyone’s ever seen any interaction is when he bought a coffee and a hot dog from the pie cart. But he doesn’t accept money. Apparently not. I think he finds money, but he won’t actually take money from people if you’re giving it to him.

Pete Porker: The Porkers Dread Man Walking from This Is The Porkers.

Maynard: And how would you describe the feel of that song, Pete? Sleazy reggae in, , that, old school Bob Marley feel. One of the songs I always enjoyed about the Porkers over the many years was the one you used to open the act with. That was almost like you were saying hello to everyone in the room.

Pete Porker: So I think that was going off. I think it was. And it was a good track to start with.

Maynard: You are well known for your covers as well as like interesting little originals like that Burning Love your Elvis covers. I’ve always been a bit of a fan of that. Has that been your most successful cover, you think, for The Porkers?

Pete Porker: Our most successful cover, because the ska version of Burning Love, it’s not immediately obvious. No, not at all. Elvis doesn’t scream. ska usually. Not usually, but, he screams, r and b and, that early rock and roll thing. We took, we took Memphis to, Kingston. It, seemed to work for us.

Maynard: Has it, has that ever turned up on an album anywhere or can it.

Pete Porker: It’s on our not bad. Pretty good, not bad EP or mini album, which was , a six tracker that we released way back when. What was it called? Not bad. Pretty good. Not bad.

Maynard: And is that still available?

Pete Porker: That is still available.

Maynard: Can you get yourself on iTunes?

Pete Porker: And, yes, we’re on it. So you can, get most of our releases at iTunes.

Maynard: Tell me, does much of the money funnel back to the artist in something like iTunes in your particular arrangement? I’m not asking for exact figures, but like percentage wise, do you guys actually see much of the money?

Pete Porker: Not a hell of a lot ’cause we , haven’t actually moved a lot out there at the moment.

Pete Porker: And, , it’s still a thing that’s developing. , It’s a reasonable return. I want get to the Pasha Polka

Maynard: But is there one track on this album you really wanna chat about, Pete?

Pete Porker: Something’s wrong with my radio. See, something’s wrong with my radio. This is the cus of the album. Something’s wrong with my radio.

Maynard: I’m wondering is that about the state of radio in Australia or general media? ’cause you guys have been around for 20 years, you’ve been treated well, you’ve been treated shockingly, you’ve been treated all sorts of ways. How would you describe the treatment of the Porkers by the Australian musical media?

Pete Porker: Not very well. I think we, beside yourself we’re one of the Australia’s most ignored bands as that actually managed to keep going. It starts with the local media here in Newcastle. I , we have lots of radio stations in town that are networked from other places, and generally, if you wanna get played across the board on one of those stations, you’ve gotta be on a major label. Simple as that.

Maynard: And what about Triple J? How have they treated you over the years? I know I was always playing you when I was on breakfast.

Pete Porker: Yes. You were. And then just as our career got going, you left there.

Maynard: Hang on. Not by choice. No. I might just add, I never leave any media organization by choice.

Pete Porker: That’s always the way to go.

Maynard: Yes. And then I played you on Channel V.

Pete Porker: Yes. Yes. Beside yourself. , We’ve had a little bit of a airplay on, , Triple J. But uh, I could say. Not enough. Perhaps it’s ’cause you don’t fit into lots of genres. No, we’re, we are. That, we are that, for a long time we, we haven’t been roots, we haven’t been quite punk, but we’re too punk for the Roots Show and we’re too roots for the punk show.

Pete Porker: We’ve always just been that, that ska band with that silly name from Newcastle. That does the songs about beer. It’s been hard for us to, be taken seriously, so the same thing was said about Jimmy Barnes for years and still is. Yes, but except he doesn’t do the beer songs anymore.

Pete Porker: Maybe we need to get that, really, bad drinking or drug habit and then, , announced to the world that it’s all over now. Tara Doyle from, Euphonic. And what is Euphonic? She’s co-written this song, something’s Wrong With My Radio. Yes. She, helped us out with this. This one’s quite poppy and, , it’s not ska at all.

Pete Porker: That’s it. Now I’ve done it. There’s nothing like criticizing the media to have them put you on. I know. I know, ,

Maynard: Have you thought of doing any stunts? The porkers are big on stunts.

Pete Porker: Stunts. Still, , licking our wounds from stunts that we, tried early in the days.

Maynard: We are talking to Pete Porker, by the way, from the Porkers, about their new album. This is the Porkers, their fifth album. Yes. Anyway, and he is trying to get some stunts going here at this point. Some stunt, some stunts. You really didn’t start with a media friendly name in the first place.

Maynard: You, your name was originally the pork hunts. I said it on Triple J, no problem at all. But, did anyone else?

Pete Porker: Very rarely. Very rarely. And the ironic thing was about back in the day we were playing at the Air Force Club here in Newcastle and could play under that name, which sort of.

Pete Porker: Got a reasonable following and wanted to branch out a little bit. And, we got told that we could play at the Tats Club, but we had to change our name. And it was like, okay, alright, it’s time. We’ll just change it to the porkers. That’ll be easier. And I was like, okay. So we got the gig at the Tats Club, came time to, get some posters to the Tats Club and I said to the, the booking guy there.

Pete Porker: Listen, we’ve only got these old ones that say. Pork hunts and, he said, oh yeah, give them give ’em to me. They’ll do. And they put them up anyway, so we didn’t really need to change our name, but it’s probably best that we did. Yes. But possibly I wish we’d, changed it to something a little bit more respectable. ‘Cause isn’t too bad. It gives you, a bunch of fat guys having a good time. Exactly. A bunch of jolly men. Now can we go to my favorite track on the album to finish up with the Pasher Polka. It’s got that Novacastrian thing going on. It’s a Polka, so it’s got that Weird Al thing going on.

Pete Porker: I love that. , It’s got everything that Maynard could want.

Maynard: And what were you doing here? What are you doing here?

Pete Porker: What are we doing here? Well, to be serious, our first single had a song on it called Earthquake, and which was a Newcastle disaster song. Loved it. And we. Thought on our 20th anniversary, we needed another Newcastle disaster song.

Pete Porker: Now that, now if I can remember the lyrics from, earthquake and I, I was lying on my back. That line. Yes. , What is it? It was 10 27. I was with my girl in heaven. I was lying on my back and I got sucked right down that crack. 10, seven hours. Get my girl in heaven. On my back, I got some crack. Earthquake.

Maynard: Earthquake lyrics like that you cannot buy if you went to a lyric salesman. If you went to Lennon and McCartney in their heyday, they couldn’t do that. They wouldn’t offer it to you. The red hot chili peppers, they could under a bridge. Nothing as good as that. Nothing as good as that. Not a thing. No, that is good.

Maynard: Look, we’ll go with the Polka here. This is the Porkers Is it in the shops? This album? It’s in the shops.

Pete Porker: It’s available. You can, get it at ww dot sound system music.com. You can get it at the shows. And don’t forget the big gig on the 23rd of November at the Annandale Hotel in Sydney.

Pete Porker: They’ll be doing this stuff. That we’re doing our stuff and also New Year’s Eve at the Cambridge and plenty other shows in between. Introduce us for us, Pete, I’m sure you were there Skippering the ship as it came in. No, I was stuck in traffic on Hunter Street. I know of all about it. This was the day the big ship came to the beach.

Maynard: Long live the Porkers!

The Spotfull James Valentine. Free of domestic guilt.

In 2007 James Valentine revealed to me why he is free of domestic guilt.

His book Spotfull was out, as a reaction to people who spend their entire weekend cleaning their white goods.

This is from the Maynard International Studios 2007 archive in the hope that James may persuade you to have a bath instead of cleaning it.

James Valentine official website

Photo of The Models backstage in Sydney 1985. James Freud, Maynard, James Valentine, Wendy Mathews, Roger Mason.
Maynard backstage while doing guest trombone with The Models 1985.

Maynard: James, what is Spot Full all about? I think from my perspective, I find it dull on the radio, but you are a recovering cleaning addict. What’s the story?
James Valentine: It’s true. Look it, it’s Spotfull is the book I’ve written as a response to the Spotless phenomenon and I’ve had to do,
Maynard: and that’s just insane. There’s too many fuss budgets out there with time on the hands.
James Valentine: Exactly. And I had to do this because, I am responsible for Spotless. I introduced Shannon Lush and the whole bicarbonate and soda and vinegar cleaning phenomenon to Australia, and I apologize for it. I’m sorry. I dunno what, I didn’t know what I was doing. I didn’t know the genie. I was letting outta the bottle when that happened. Turn the nation into a group of people obsessed with cleaning, with getting rid of all spots and stains. And I just thought, I don’t think people really live like that. I think people live like pigs. Spotfull encourages you to live free of domestic guilt, to embrace your inner a slob and just lie back and relax.
Maynard: Yes. So I’m a single guy living on my own.
James Valentine: Oh, you are one. You. Prime Spotfull candidate.
Maynard: See, I don’t clean till I say it’s time to clean or my parents or a date is coming over.
James Valentine: Yeah, I would suggest the true Spotfull approach would be that the date never comes over. What are motels for?
Maynard: Exactly.
James Valentine: And it’s cheaper. It’s cheaper. You would be better off hiring a nice room in a hotel than you would be trying to clean up your pad, I would imagine, mate.
Maynard: And you can get away with free drinks there if you do it properly.
James Valentine: I advocate it’s cheaper to stay in five star hotels than renovate.
No one should ever bother to renovate a home. You should simply move out and live in five star luxury.
Maynard: I read that chapter because apparently the renovation cost can change. Where the cost of checking into a five star hotel doesn’t,
James Valentine: it doesn’t. You know what you’re in for. If you decide to renovate your falling down home the quote will be 100,000. You’ll end up paying 200,000. When you go to check into a hotel, they say, thank you very much. It’s 200 a night and it stays 200 a night. So you know what you’re in for and it’s much better. And if you renovate a home, you turn it into a home that has to be cleaned.
Maynard: James, one thing that you get to in your book is that there’s a few letters from people there, and one of the letters I quite enjoyed that there’s, there are some people who make a large part of their weekend, they plan to do things on their weekend that I would consider unusual, for example, planning to clean your freezer.
James Valentine: Yeah. I just find that astonishing, that somebody would think is I’m wanting to clean my freezer and I’d like some hints about how to do that. And my suggestion is join a tennis club. Perhaps go bush walking. Have you ever been to an art gallery? Do anything but clean your freezer.
Freezers can just sit there, can’t they? I wouldn’t clean the freezer if I was trying to sell the fridge. You just take it outside, it melts, it disappears. And that’s about it. Isn’t it. It would never occur to me to clean a freezer.
Maynard: Naturally I have the whole thing of cleaning the freezer because I move about every 2 years.
So the freezer cleans itself during the moving process?
James Valentine: Exactly. In the days leading up to that move, you probably don’t need to shop either, because there’d be all sorts of frozen sausages that are suddenly emerging from the freezer. There’d be at least six fish fingers. There’d be a pizza base. That you’d long ago didn’t even know you had. You thought that was just the floor of the freezer.
Maynard: You live like a king.
James Valentine: You live like a king for three days until you move. But also a king that has days full of surprises. Oh my God, look what the freezer has thrown up. It’s like being in Siberia and finding a mammoth.
Maynard: You do make a point of people that, that try and feel good about saving their leftover food by keeping their leftovers. And this is a two step process. One, it makes you feel good about the environment and the world and your ipo, and also you think you may be saving money.
And I’ve found this to be a false societal conscience and a false economy. Your thoughts Mr. Valentine.
James Valentine: Maynard, , this is a direct, direct experience from living with my wife Joanne, who does this, you order Green chicken curry. Green chicken curry comes, you eat about half of it and she puts it the takeaway container in the fridge, and you look at her and go, are you really gonna have that tomorrow?
Are you really gonna have that green chicken curry for lunch tomorrow? She says, I might. And I know from 20 years experience, she won’t any later than about four o’clock the next day. She would take that outta the fridge and go, do you think this is all right to eat? And you’d go, yeah, it’s fine.
She’d go I’m not sure. And then she might put it back. But it’s the last thing she wants to do is put it in the bin because A, she thinks that , all she hears is her mother saying there are starving children in Ethiopia, which is where they were starving when we were children, and now they are again.
And then. She also thinks that somehow the mortgage will be paid if she puts that green chicken curry into the fridge for a while, that will help with the payments. I say straight into the bin and get rid of it.
Maynard: And another way I find it interesting from your book here is the problem of mildew spots on old baby clothes. Now, I wouldn’t be aware this problem even existed.
James Valentine: See if you’ve if you have children, this is a common question that you get, again, on the Shannon Lush sort of segment is where people ring up and say, I’ve got some old baby clothes and they’ve been in a bag for some years, and I’d like to clean them up.
What should I do? I. What I find interesting in that question is that there’s this lovely, there’s a sentimental moment where your child grows out of the toddler clothes and you clean out a drawer and you think, oh, that’s a lovely piece. I’m going to keep that. And you put it away somewhere carefully. The question is, keep it. For what are you thinking at 18? You might pull it when the child’s 18. You might pull it out and look at it and go, this is what you wore as a toddler when that child has children of their own. You’ll pass on some then 25-year-old baby clothes. Are you just gonna get them out every now and again just to have a little look at one or two pieces?
Certainly, a fine christening robe a lovely little outfit perhaps, but people keep a whole lot of this stuff with the idea that somehow they’re gonna do something with it. My general approach to mildew on the baby clothes is you should have got rid of that stuff a long time ago.
Maynard: And what has been the reaction of the Shannon Lush and the whole crowd to to you taking the poodle out of the whole thing?
James Valentine: They love it. They love it. How much does Shannon Lush love the fact that she’s gone from obscurity to nothing? Via my radio show and ABC books, she sold 600,000 copies of Spotless and Speed Cleaning and Comfy. Now she’s reached a point where she’s so popular and so well known, it’s worth my time satirising her. There is no greater compliment. None more than parody.
Maynard: And one last question. What is the optimum length of time before changing the sheets on a bed?
James Valentine: I think when when you can’t sleep, when it’s reached a point where you’re going, I really can’t sleep. But otherwise, up until then, if you’re getting in and you’re cozy, eh, why are you, what are you worried about?
Maynard: So when the bed texture starts to resemble the Plains of Nazca, something like that.
James valentine: You know it because you can’t quite get to sleep.
Maynard: James Valentine, dirt up!
James Valentine: That’s me.

Tim Ferguson told you so!

We catch up with the legend Tim Ferguson. Unsurprisingly he has a lot to say in just 12 minutes.

Hear his predictive powers for the last 9 Federal elections, why improvisational comedy has to go and the importance of an Australian pope.

“I think a bit of starvation and anger will create more interesting comedy.”

Tim Ferguson (married man that owns a dog AND a cat)

Tim is running his monthly stand up comedy night at The Harold Park Hotel in Glebe, as well as creating his artworks and generally telling people how to be funnier.

Drop in on our brief Conclave of Comedy.

Drop in on Tim’s site

Harold Park Hotel

Random Bunga Bunga episode

Maynard and Tim Ferguson in Glebe.
Maynard and Tim Ferguson

Australia’s Coldest 100 – 2025

Australia’s Coldest 100 returns for 2025 this Saturday 25th January with @ozkitsch presenting 100 tunes you won’t find easily anywhere on any continent.

Just look at this list of artists that Andrew Sholl has curated that you’ll never again see in the same room. This is Andrew’s eighth Coldest 100 and he doesn’t see Farnham clips running out anytime soon.

The 2025 Coldest 100 brings you Sophie Monk, Des O’Connor, Shirley Bassey, Charo, Johnathon Coleman and a singing chicken. That’s just for starters.

Don’t like it? Then there is a rough end of a banana for you.

After all, anyone can put together a list of the latest hottest tracks. It takes a certain kind of expert like Andrew Sholl to put together 100 songs of Australian musical shock for 8 years in a row now.

“Things don’t always turn out the way they were intended…”

Andrew Sholl

It will all be going down on Saturday 25th January on X and Instagram @Ozkitsch Andrew Sholl shows no sign of ever stopping his annual festival of Aussie awkwardness.

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Look and listen to The Coldest 100 2020

Look and listen to The Coldest 100 2021

Maynard plays you some video clips from The Coldest 100 2022

Maynard plays you some video clips from The Coldest 100 2023

Maynard plays you yet more video clips from The Coldest 100 2024

Johnathan Coleman sings the Aussie classics on Sounds.
Des O’Connor with Reeves & Mortimer (and their frypan)
Australia's Coldest 100, 2025
Australia’s Coldest 100, 2025. What a bunch of spunks!

Happy 50th Birthday Triple J !

Triple J staff celebrated 50 years of Triple J on Sunday 19th January. Even the ABC itself did the same thing later that day.

Hear from Rusty Nails, Dr Karl, Sarah Macdonald, Craig Donarski, Andy Marinos, Dame Lush, Hannah Thompson and other ex ABC staff and current Triple J listeners.

The expectant crowd at ABC Ultimo await a tight set of 15 minutes of comedy from the Prime Minister.
The expectant crowd at ABC Ultimo await a tight set of 15 minutes of stand up comedy from the Prime Minister.

Here’s what happened at the Triple J 40th staff party…

Maynard Triple J Breakfast show 1989

Here’s a transcript of what transpired this time, at the 50th….
Rusty Nails: An audio dildo!
Maynard: At Triple J’s 50th birthday, and who’s the first guy I run into … drinking a cup of coffee! Is there anything in that Rusty Nails?
Rusty: Just coffee this morning, Maynard, I’ve got some serious professional work to do.
M: What year of Triple J are you covering?
Rusty: I’m covering the 79 to 85-ish era, which is sort of like the Uncle Doug Mulray, Jono and Dano, Off The Record, and the J Team of course, and the Oils on the Water.
M: How come commercial radio never snapped you up from your breakfast show at Triple J?
Rusty: I was probably too rebellious. I did actually, funnily enough, talk to Trevor Smith at one point. He said, “Nothing wrong with your talent, but we don’t like your voice, it’s not Aussie enough.”
M: Everyone knows that when an English guy speaks there’s authority. Or he’s a geezer, it’s either one or the other.
Rusty: Oh, I’m a geezer.
M: What do you reckon has been the greatest moment of Triple J over the last 50 years?
Rusty: At this fiftieth, I’m proud to announce that I’ve almost finished writing, no, not finished, but I’ve almost finished writing my book for my daughter, and it’s called “Dear Emily, Extraordinary Moments in an Ordinary Life”, and it’ll be on the bookshelves by Christmas.
M: I’ll look forward to that. Why do you think there’s never been a book about Triple J? Is it too complicated?
Rusty: Well, there was one …
M: Toby Cresswell was supposed to write one.
Rusty: But there was that Twenty years of Double J and Triple J. They never reprinted it.
M: All David Wales’ artwork through it, too.
Rusty: It had the wonderful stories like Russell Gay answering the phone to the General at Victoria Barracks.
M: I tell you what, Rusty, because I’ve got a lot of reel to reel tape, which I recorded stuff on, at the end of it, there was stuff that I hadn’t recorded over. And I’ve heard a lot of your unedited interviews, one with the Homecoming Queen’s got a Gun, Julie. I’ve got your interview with Julie Brown!
Rusty: Wow! Unfortunately, I lost a mass of tapes moving continent to continent and stuff, but I think I might even have a Yahoo Serious interview somewhere.
M: What’s the song for you that epitomises your time at Triple J?
Rusty: Oh, shit. I suppose it’s gotta be when we were doing the Breakfast Program and Midnight Oil came in and world premiered their Place Without a Postcard album.
M: Well, you have your coffee and I look forward to seeing you on stage, Rusty.
Rusty: Yeah, yeah.
M: Now, remember when you say you’re finished, wait for the applause to die down before you tell them what you finished.
Rusty: Can I dance with you later Maynard?
M: I hope so. See you, Rusty.
Rusty: See you, Maynard.

Maynard: So over the years, you’ve got all the people you hear on the radio, but then you’ve got the people who make you hear the people that you hear on the radio, like Scott. Scott, you were the technical guy. You did everything, really. You, at one stage, held up the antenna during a rainstorm.
Scott Wyatt: Yeah, well.
M: The transmitting mast.
Scott: Of course!
M: What was the most challenging thing about being a tech guy trying to run around with a bunch of ninnies at Triple J and Double J?
Scott: I don’t think anything was too challenging, it was a wonderful experience.
M: Technology wasn’t like it is now. Like, everyone just goes through the phone line now, but if you wanted to go through the phone line to do an OB, then it was like a thousand bucks or something, wasn’t it, from Telecom?
Scott: Yeah, you had to pay the money, yeah.
M: Or the PMG.
Scott: And turn up and find the little cable with the tag on it, and ring up the Telecom people.
M: Were you the guy that recorded Village People at the Hordern?
Scott: No, not me.
M: Oh, wow, OK, because I know, I’m going to find that person, shake his hand. I hope you don’t find a tag that costs you a thousand dollars today.
Scott: Yeah, well, hopefully.

Maynard: We’ve got Murdo here, Murdo McLeod. What do you reckon would be the song that says 50 years of Triple J for you?
Murdo: Oh, going back to The Psychotic Turnbuckles. That was of an era. There weren’t too many bands like that at the time.
M: Hey, do you think it’s really odd that there are no actual ABC cameras or recorders here today? Because this was put on by the staff.
Murdo: I know, I think it’s very much representative of what the ABC is these days. It’s a pity, because it is an era that changed Australia to some extent. Helped highlight the fact that we could be independent thinking.

Maynard: So we’ve got members of the public and ex-employees like Ms Lush.
Dame Lush: That’s Dame Lush to you.
M: I imagine it would be. What do you reckon is the song from 50 years of Triple J that goes “Yeah, that’s the Triple J song that I liked”.
Dame Lush: “You Just Like Me ‘Cos I’m Good in Bed”.
M: That’s the one they started with. Not even “Balwyn Calling”?
Dame Lush: That comes later.
M: What do you think Triple J means these days, after 50 years?
Dame Lush: Well, I’m hoping it means the same thing: an introduction to life, society, good music, and just generally dancing your tits off.
M: Do you remember the first time that you listened?
Dame Lush: I don’t remember those days.
M: I remember hearing it in Newcastle, because it was on after midnight on Radio National. And I think we’re going to hear some interesting history today. Have a good day!

Maynard: Well, we’re here at the official function now, which is at the ABC building in Ultimo, one that brings back many memories to me. And with me is someone else who brings back many memories, and that would be Craig Donarski. Hi, Craig!
Craig Donarski: Thanks, Maynard.
M: What do you reckon is going to go on? This is the official one, this is the proper one, this is the boring one, although it’s much better catered.
Craig: Oh, yeah. The quality of their food is much higher than the staff organised one that we’ve just been at for the last five hours.
Andy Nehl: I like the staff food!
Maynard: We’ve got Andy Nehl here. Look, and since you two know a lot that spread over there is better than anything I ever saw at any Triple J function when I was there.
Andy Nehl: Oh, it’s true.
M: Yeah, so why has the ABC got into catering now?
Andy: Because the federal government doesn’t give them enough money.
M: Very good point. So what’s your best memory being with Triple J, Andy Nehl, being the manager during a very tumultuous time? Was it being egged in St Kilda?
Andy: You remember that? Wow!
M: Yeah, because I felt so sorry for you. Because back in those days there was no one to put up Radio that Bites posters.
Andy: That’s right. I was sticking up posters on telegraph poles down bloody Ackland Street in St Kilda. And some idiots drove past in a car and threw eggs at me.
M: And it was like 11.30 at night, and you’d been going since the morning, and you’d been putting posters up, and it was like you thought, well, fucking great.
Andy: Fucking good memory, Maynard!
M: I really felt for you because you’ve been working hard.
Andy: Great fun launch that Melbourne line.
M: Oh, yeah, and also when everyone was chanting “Bullshit!” at you in the lower Town Hall too. I hadn’t seen that footage before and I thought oh …
Andy: I was just trying to get out what I wanted to say. Eventually I got it out over the top of a bit of bullshit.
M: What’s your one song you remember from the time of Triple J that sums up a lot.
Andy: When we were gonna start going as a national network, I thought, what song are we gonna start with as far as something that was trying to make a statement with what we were starting with? We commissioned Bart Willoughby, who was an Aboriginal musician, had been from No Fixed Address, has currently had a band then called Mixed Relations. We commissioned Bart to write a song for the station. It was recorded in Studio 221, called “Take It or Leave It”. That was the first song on air on Triple J in Melbourne, Perth, Darwin, Adelaide, Newcastle, Hobart and Brisbane.
M: And let’s just correct a bit of George Orwell-ness that went on with the Adelaide launch. The first words spoken on air were, “This is not a fucking test transmission” by Tony Biggs. Not “This is not a test transmission.” as reported by the Adelaide Advertiser.
Andy: Yeah. And, as I kind of mentioned earlier on, about four or five songs in, Tony Biggs did the launch, there was a big build up, they do the launch, and about four or five songs in Tony Biggs plays “Too Drunk to Fuck” by the Dead Kennedys. And I’m kind of standing around there talking with David Hill and Malcolm Long and, and the South Australian Premier.
M: All the cool kids.
Andy: Oh something like that. And I hear in the background, oh, Biggs is playing “Too Drunk To Fuck”. But they never even notice. No one even fucking noticed Biggs played “Too Drunk To Fuck” at about song four. But then, two or three months later, they notice “Fuck tha Police”. Even though it had been on air there over the whole time.
M: Triple J was overplaying that at that time, we’d kind of gone past playing it.
Andy: That’s right. That’s right.
M: Andy, have a good day here and nothing stops you. You’ve had a whole crowd shouting bullshit at you.
Andy: Yeah.
M: Thank you, Andy!
Andy: Thanks, Maynard!
M: And the legend, Andy Nehl. Now back to the legend, Craig Donarski here. What do you reckon will be the one song from your time at Triple J? Because you had Nippy Rock Shop, you did lots of experimental stuff.
Craig: Really hard to pin it down to one, but I’d have to go with the song that I had as my last song on the day that I left, Public Image’s “Public Image”. Three minutes of just pure punk pop perfection. It kind of summed up my goodbye.
M: And for the record, how many hours were you in the lift here in the ABC building?
Craig: Three hours. So my farewell party was in the end of ’98. And after 12 and a half years here, we set up the goods lift, or the piano moving lift …
M: Which had the false back in it …
Craig: Yeah, it was a venue in a lift. And we put in beanbags, sound system, lighting, cases of champagne, crates of nangs, cream whippers, and other things.
M: And you went up and down in the lift for three hours. Did the managing director ever get in?
Craig: No, not the managing director, but we did blow the minds of many of the switchboard people, and Master Control, and the much straighter parts of the ABC, had a different experience.
M: Of course you’re a director of your own arts establishment at the moment. What do you take from your time at Triple J into your career as an arts director?
Craig: Lots actually. It’s like, find the edge. Because all the interesting things happen at the edges of things, not in the middle. Not at the centre. Try to find the people who are doing the interesting stuff at the edges. Because that’s where all of the most interesting stuff occurs. I get how it’s really hard for a national network that goes to every regional centre and every capital city to be able to be, like, really cutting edge. It’s hard. You know, we were lucky.
M: So, of course the original building had that wonderful pink neon on the roof. How great was it to have sex under the pink neon on the roof of the Triple J building in William Street, Craig?
Craig: It was actually pretty awesome.
M: Everything was just bathed in pink and everything was so still in the middle of the night.
Craig: After the sackings of all of the announcers when we were up on the roof and Tony Biggs was burning his mouseketeer hat …
M: Oh, and a shout out to Tony Biggs.
Craig: Yeah, yay Tony Biggs, who I used to produce on The Breakfast Show before you were even on The Breakfast Show. It was awesome to have our own little building and be separate from the rest of the ABC. Part of the problem for Triple J being edgy happened when we had to move into this building we’re in now.
M: Yeah, it’s so sterile by comparison.
Craig: Yeah, I mean, look around. It looks like a corporate head office. When we were our own little building on the corner of Forbes and William Streets in Kings Cross, with the sex workers out the front, and, you know, the hoons driving past.
M: And the trans workers in the back alley.
Craig: Trans workers in the back alley. It was awesome! It was like, we were on the edge. We were on the fringes of things. It helped inform or infect or influence the vibe of what we were doing at the time.

Maynard: And what’s your best memory from listening to Triple J all these years? This is a regular person.
Listener: The one I remember the most is listening to Tim Ritchie at night time on my Walkman with my headphones learning about new music and Triple J really opened up the world of music for me. I remember my first concert was Public Enemy, brought to you by Triple J. Big Day Out was a huge part of my life as well, going for many years. Triple J was a station you tuned to, to find all the music you couldn’t find anywhere else.
M: Just the other day on my website, someone said, “Oh, what’s that song La la la la, I’m addicted to music?” And it sounded like DJ Jazzy Jeff, but no, it’s Subsonic 2 “Addicted to Music”. It’s quite a cool track.
Listener: Maybe I’ll have a USB stick that has it if I go looking.
M: Yeah, you might have that there, enjoy … I just gave this man a USB stick of the Hot 100 from 1990 and he couldn’t be happier. Well, enjoy your day. Are you looking forward to the speeches today?
Dame Lush: I’m always looking forward to speeches. It gives me a chance to get to the bar.
M: Because everyone’s distracted by the Prime Minister.
Dame Lush: Precisely. And isn’t he looking fine today?
M: You know it’s a Sunday because he’s not wearing a tie.
Dame Lush: He’s very hot.

Maynard: We’re just listening to the Prime Minister talk then and what a speech he gave. He could have done a few gags, couldn’t he Dr Karl?
Dr Karl: I do like speeches to be short, and I like them to make me laugh, and I didn’t get either.
M: Well at least he said that the funding won’t go away just yet.
Dr Karl: Good start.
M: And Dr Karl, we know your story, you go way back. What year did you start at Triple J, or Double J in fact?
Dr Karl: I did my first thing on Double J, 74. Talked about my anti gravity machine. I actually spent two years of my life and $5,000 of my money with a colleague trying to build an anti gravity machine and it failed. But then regularly, it was 1981 with the launch of the Space Shuttle, and then doing stuff on Great Moments in Science, and here I am 45 years later.
M: Could you imagine that you’d still be doing it all these years later?
Dr Karl: I had no idea that it would happen like that. Basically, I feel as though my life has been like a paddle pop stick. In the gutter of life, on a rainy day, and this is where the currents have washed me.
M: You strike me as more a Bubble O Bill kind of guy, more than the paddle pop stick. You know, with the bubblegum nose, and it’s a bit more interesting.
Dr Karl: It’s amazing how little control you have over your life. Having been a medical doctor, it’s amazing how just one simple illness can derail you forever.
M: Congratulations on everything you’ve done. And is there one song in your entire involvement with Triple J that really sticks out?
Dr Karl: Well, yeah … ” You Just Like Me ‘Cos I’m Good in Bed” because that was the first one. And I had no idea that that song existed because it was banned by all the commercial radio stations.
M: And that’s what Triple J was all about.
Dr Karl: Breaking the barriers, JJJ, as you’d probably call it.
M: Long may you reign, Dr Karl.
Dr Karl: Thank you so much, Dr Maynard.

Marius Webb: Hey, hello, good to see you!
Maynard: Hey, I’m here with Marius now, the guy who started the whole bloody thing. How’s the day been, 50 years later?
Marius: Oh, it’s been a bit boring, a bit dull. Nothing much to report, I’m afraid, Maynard. Except that wonderful thing you said.
M: What was that?
Marius: Fuck the police. That was so original.
M: Well, I actually said “Fuck the parking police.”
Marius: Oh, did you?
M: I was misquoted. What is the one song from all the many years of your involvement with Triple J, what’s the one that goes, that’s the one?
Marius: “Sex and Drugs and Rock ‘n Roll”, Ian Dury.
M: Because that’s what it was all about?
Marius: More or less. “Fuck tha Police” as well.
M: And being a manager of Triple J was a unique thing because you couldn’t really tell people off the way a regular manager could, could you?
Marius: Oh yes, you could!
M: You could?
Marius: Yeah! It’s just I never did, because I loved them all. The wonderful thing about the people we hired, or I hired, I sort of think about them all as friends and old mates, you know? So, very hard to discipline. But herding cats is quite an achievement, and people say I’m not bad at it after all these years.
M: You saw the latest controller of Triple J there, and his job would be so much different. Would you ever want to swap places with him?
Marius: No, I don’t think so. I don’t think I could cope and I also think that if I was a manager today, I’d like to leave the ABC, get a whole lot of young people. and start up my own app. Because the ABC should do that. Spotify has changed everything in a way that’s ridiculous. I hate so much of the music I hear these days, because it sounds like it should be on the fucking Voice, rather than interesting, creative stuff. Think of all the different people we picked up from all over the world as well as from here. Marvellous stuff in the first 30 years. Really fantastic stuff.
M: Congratulations to you and thanks to the Whitlam government, by the way.
Marius: Indeed, if we hadn’t had them, it never would have happened.
M: And great to see you as well, Marius, I look forward to seeing you again soon.
Marius: Let’s have lunch tomorrow.

Maynard: I’m talking to a whole bunch of people about songs I remember from Triple J, and what’s the one for you?
Hannah: I think for me, it’s Flume, “Never Be Like You”. I was a producer for The Hottest 100 for a very long time, and I ended up running The Hottest 100 radio station.
That was the first Hottest I ever worked on. It was so exciting being able to organise the surprise and kind of make the dreams of Australian artists come true. There’s nothing like it.
M: Wouldn’t you get a lot of cranks going, “Why isn’t this on the Hottest 100? Why isn’t this one in there?” Would you get people like that?
Hannah: You do get people like that, but it’s democracy. You have to vote to get involved, and if you want to have a say, it is what it is. If you want to complain about it, I’m sorry about it, but it’s life. Sometimes things don’t go your way.
M: What really gets me is that when you go back to some of the earlier ones, people go, why were people voting for that? It’s called history. In 1990, they liked five Cure songs.
Hannah: When I was in the process of making the Hottest 100 radio station, I created this massive database of all of the songs that had ever been in all of the Hottest 100s.
Maynard: And there was “Dancing Queen”.
Hannah: Oh yeah, and the thing is, the Hottest 100 is about what’s happening now. It doesn’t matter what’s happening in the future or how you look at it in the future, it’s an encapsulation.
Maynard: Dennis Leary “Asshole”, that was number one that year, now you never hear it.
Hannah: It’s special though. Because it means something to the people that were there at that point. It doesn’t fucking matter what happens in 20 years time. Asshole was the moment. It was everything that mattered to those people then. And who are you to say that it wasn’t special? Yeah, this meant something to these 18 to 24 year olds in whatever time period.
M: Too right, Hannah! Too right.

Maynard: And who have we got here at this Triple J Gooby Dooby?
Sarah: Sarah Macdonald.
M: And Sarah, what do you think is the one track from all your time of listening and being on Triple J? What’s the one you go, yeah, that’s the one that says it all?
Sarah: That says it all to a part of my life, and that was “Charlie No. 2” by The Whitlams.
M: Why is that?
Sarah: Because it was a song about Stevie from The Plunderers. When I did an Unearthed once, we were doing a fundraiser for Reach Out, which is about young people and mental health. And Tim sang it on the piano, and it’s a beautiful song about love and loss and a friend you can’t help. And whenever I hear that song, it just takes me back to the power of good people coming together to help those who need help, and even those who can’t be helped. Makes me cry every time.
M: It’s almost a perfect Whitlams song.
Sarah: It’s a perfect Whitlams song.

Andy Marinos: My name’s Andy, Andy Marinos.
Maynard: I remember your dad from being really popular from his late night football calls.
Andy: Lex Marinos was his name. He did a lot for early Triple J, early Double J. You know, he wanted to be remembered as a multicultural pioneer, you know, pioneer for Greeks, the pioneer for the world.
M: Did you get your dad’s work when you were younger? Or you’re going, what’s this crap dad’s doing?
Andy: Oh, well, he took me along to Kingswood Country and stuff. But my mum used to also work on Double J Rock. So I would be in a studio quite a bit as a kid.
M: What’s the song you think that would be the one song, you know, from your history of listening to Triple J?
Andy: Oh “Video Killed The Radio Star”.
M: Why is that?
Andy: It’s the first single that I wanted to buy. And I’ve still got it at home somewhere.
M: Triple J probably would have played the album version as well.
Andy: They did.
M: One of Trevor Horn’s greatest moments as a producer.
Andy: It was.
M: What do you think of the future for Triple J?
Andy: Triple J is always going to be around. It’s going to be always evolve, let’s face it. Always.
M: And no matter what it is, someone will always complain.
Andy: Absolutely. Otherwise, it wouldn’t be Triple J.

George Hrab is a dancin’ fool.

In the Thermopylae of modern life, occasionally you encounter someone who is beyond a journeyman, way past a Renaissance man. In fact, George Hrab has gone straight through the Renaissance, leapt over the Napoleonic Wars, and now has his head currently right up the Jazz Age.

I first met and listened to George Hrab in 2010 when he was still a teenager. His podcast, The Geologic Podcast, once you get over the fact he never once mentioned, uh, igneous rocks, it’s actually a pretty good bath time listing. His latest funk fest of an album, Terpsichore, despite being named after the Olivia Newton John character in Xanadu, has not one single reference to roller skating.

Terpsichore album cover.
Terpsichore album cover. Possibly not George Hrab’s tootsies.

Maynard: In fact, there is a mystery about your album that you’ve deliberately put in there. There’s a secret involved.

George: There is, there’s a little bit of a puzzle throughout my history of listening to records and you always get these myths and these urban legends arise. Did Pink Floyd consciously synchronize Dark Side of the Moon with The Wizard of Oz? Because when you put those two on at the same time, a lot of interesting coincidences happen.

Was this foreplanned? Was it on purpose? Usually the answer is no. So I wanted to have something not quite as trippy as that, but I wanted to have something incorporated into the album that was a purposeful kind of puzzle. So far, only one person has figured it out.

M: Well, you can jump that number up to two because I have figured it out, George.

G: Have you?

M : First I thought, okay, it’s something about the time signature in the linking rhythms between the tracks. Then I thought, no, it’s obvious. You’ve basically redone Duran Duran’s Rio album.

G: I can’t answer if you’re right or not, you know, I don’t want to give it away to the audience, but that’s a damn good answer. That’s a damn good answer…

“Very smart people being very silly is incredibly appealing to me.” – Geo

George Hrab posing nude.
George Hrab in the nudie. From the cover of his Interrobang album, 2005. Still a hottie today.

George’s album at Bandcamp

George Hrab’s podcast

George’s YouTube channel

Last time George was on the show Bond, Bee Gees und more

Tim Ferguson is Dr Frank-N-Furter, Rocky Horror Show 1998

August 1998, Tim Ferguson visits Jumpstart, the Maynard breakfast show on Channel v on Foxtel to promote his performance as Dr Frank-N-Furter in The Rocky Horror Show that just opened at Star Casino in Sydney.

“Come for me Maynard!” Tim Ferguson on Foxtel 1998
Tim and the 1998 Rocky Horror Show cast on Today Tonight

Enjoy the milestone 50th Bunga Bunga show with Tim and Maynard

Sunday Afternoon Fever 11.7.1993 – Live from a toilet in Ultimo

30 years to the month after the original broadcast, here’s Sunday Afternoon Fever, Maynard’s Triple J show from a public toilet in Ultimo for no apparent reason with The Andy 500, Rob Clarkson, and Melissa Tkautz. Even Simon Day sticks his head in.

There’s live music in front of a live studio audience. We even get into some True Crime (at 35 minutes) with a heartfelt plea from Simon of Redfern for his stolen trombone. A very emotional moment for all.

“Really big toilet you’ve got here Maynard.”

Simon Day, 11th July 1993
The Andy 500 at The Metro in Sydney.

The Andy 500 dressed up smart and wowed the live audience with their smooth sounds (at around 1 hour 7 minutes). They played four songs including Too Close For Comfort, I Love Your Brain and Touch Me.

Lance of The Hollywood Kids (40 minutes in) goes to the opening of new LA club Babylon and spots Cher, Shannon Doherty, Tori Spelling and James Woods. And you’ll never guess who his dinner date was…..

“Things are getting, really, really WEIRD here Maynard.”

Lance of The Hollywood Kids 11.7.1993 (about 2.49pm)

Melissa Tkautz was about to have a guest stint on Paradise Beach as the resident bitch character. She joins us for a chat (about 1 hour 57 minutes in) and you can imagine how the live audience was wary of a soap star coming on a Triple J show. But a really interesting phenomenon happened as I noted many times in my career. As soon as Melissa entered the studio and talked off air to the audience and was as highly professional as she always is, the crowd fell silent. No smarty bum comments, no looking down their noses at a pop star. It’s as if they realised she was actually talented as well as an actual person. She and Simon Day had a great old chin wag in the green room. She introduces her new single, Is It?

There’s Crappy New Releases (1 hour 50 minutes in), Maynard’s Mastermind Quiz (in which you can win a bow and arrow set to injure the child of your choice) and group Love Boat karaoke. It was a mint afternoon all round.

Join us in this show, the day when Pray by Take That was number one in the UK. In Australia, it was UB40 with Can’t Help Falling in Love. Neither of which are played on this show. But the Triple J feature album is from Paul Westerburg.

You WILL hear music from Matthew Sweet, Def FX, XTC, Straitjacket Fits, Phunk Junkeez and even Jimeoin.

Rob Clarkson with one of his songs he performed live on the show, The Human Equivalent of Penicillin.

Also the regular (very) odd couple segment of Richard Kingsmill dropping in live ( at around 1 hour 35 minutes) to give a hot take on a very early Burt Bacharach tune from his personal collection.

This tape doesn’t even cover all the show. Digital audio tapes were expensive in 1993, but I recorded this myself because Triple J wasn’t (and probably still isn’t) in the business of archiving most of their content.

So, get down in your underpants and pray to the Church of the Funky Chicken. It’s time for Sunday Afternoon Fever, July 11th, 1993.

Thanks to all our studio guests and especially the live studio audience for singing along with the Loveboat Theme.

Special thanks to the very professional Triple J Producer Anne-Maree Sargeant, Justine Lynch, Scott Whyte, all the studio 227 engineering crew and all at Triple J in 1993.

Sunday Afternoon Fever featuring Sultans of Ping FC

Sunday Afternoon Fever featuring Kate Ceberano

Melissa Tkautz with her 1993 single she talked about during the show, Is It?

Sunday Afternoon Fever 4.7.1993 – Kate Ceberano

30 years to the day after the original broadcast, here’s Sunday Afternoon Fever, Maynard’s Triple J show for no apparent reason with Kate Ceberano, Anthony Morgan, Lance & The Hollywood Kids, Crappy New Releases, Warren Coleman, Richard Kingsmill’s Hot Tip and Getting Your Goat.

Kate Ceberano calls us from her Melbourne sauna to let us know about her upcoming mini tour. She also has a problem with the audience applause audio on her Kate Ceberano & Her Septet album.

“Now I’m giving up smoking, it feels like I’m singing through mucus.”

Kate Ceberano, 4th July 1993 (2.43pm)
Lance and John. The Hollywood Kids. Regular gossip reporters on Sunday Afternoon Fever
Lance and John, The Hollywood Kids – Regular gossip reporters on Sunday Afternoon Fever

Lance and the Hollywood Kids segment reports on the hot new sex club in LA and who Whitney is suing this week. Lots of people calling in from around Australia. Bronwyn in Tasmania is using a new fangled mobile phone on a chairlift while Kevin Markwell in Paddington, Sydney has a farting Ren doll he thinks we need to hear. Jose calls in with news that Kate Ceberano’s 1989 Brave album has just been released in Argentina and is selling well.

Melbourne comedy legend Anthony Morgan is back on the stand up circuit after a bit of time away. He’s talking personal poverty and marching bands.

“I’ve had a lot of practice at being poor when I was younger and we thought it was a political statement.”

Anthony Morgan 4th July 1993 (3.41pm)

Join us in this show, the day before Absolutely Fabulous went to air for the first time in Australia. A show that asks the eternal question, “why can’t Dire Straits make music as good as the Magilla Gorilla theme?

Anthony Morgan, Melbourne Comedy Festival 1995

Also the regular (very) odd couple segment of Richard Kingsmill dropping by to give a hot take on the upcoming release from Urge Overkill.

This tape only covers about half the show. Digital audio tapes were expensive in 1993, but I recorded this myself because Triple J wasn’t (and probably still isn’t) in the business of archiving most of their content.

So, get down in your underpants and pray to the Church of the Funky Chicken. It’s time for Sunday Afternoon Fever, July 4th, 1993.

Thanks to all our guests and callers.

Special thanks to the very professional Triple J Producer Anne-Maree Sargeant, Justine Lynch and all at Triple J in 1993.

Maynard at 1992 Melbourne Comedy Festival

Maynard on Foxtel Rewind Aussie Women special

Kate Ceberano on 60 Minutes 1992

Brigitte Handley in Köln

Brigitte Handley of The Dark Shadows has returned to Australia to let Maynard know what he is missing on German television. Also to remind all of us of the educational value of the work of Falco (even though he was Austrian).

She’s been exploring a new range of sounds there and has been working with Matahari Ranch to produce a full sound and stark video for Köln.

So enjoy a Sour Candy, meet us in the Kylie Minogue park in Glebe and prepare yee for the way of “Schlager”. Careful with your pronunciation of “Klaus Wunderlich”.

It’s great catching up with Brigitte, apparently Dr Who doesn’t translate well into German, but Skippy does?

Tilly Electronics have a new single as well “Tilly Pop”, but that’s a story for another day.

The Dark Shadows – Brigitte Handley, Ned Wu, Carly Chalker

Brigitte Handley’s Bandcamp

As mentioned, check out the lineup at The Sonic Ballroom in Köln