Just Words spoke to 18C complainant Jeremy Jones, who has used racial hatred laws to fight serious examples of anti-Semitism since the section was introduced over 20 years ago. Jones is concerned that the proposed draft laws will open the flood gates when it comes to racist speech. He says the Coalition Government's plan to remove 'offend, insult and humiliate' and replace it with the term 'harass', as well as to more narrowly define the term 'intimidate' is a sign of 'immoral' leadership. Will the proposed changes to 18C still capture the concept of Holocaust denial? Just Words producer Anthony Dockrill spoke to Jeremy Jones, Director at the Australian Israel and Jewish Affairs Council on Wednesday 22 March, the day after Malcolm Turnbull flagged changes to Australia's race hate laws.
This week Michael and Nic talk more 90's animation re-animated in "live action" form - Ghost in the Shell - and tread carefully around Danish film Land of Mine.
On March 21, Prime Minister Malcolm Turnbull announced a potential watering down of the controversial Section 18C of the Racial Discrimination Act.
Under the proposal the words "offend, insult, humiliate" will be replaced by "harass".
The reforms were debated in the Senate on Tuesday, but little attention has been given to proposed procedural changes to the Australian Human Rights Commission, which will not only apply to 18C complaints but all complaints of discrimination handled by the Commission, including, sex, age, disability and race.
Experts say the changes could make it more difficult for vulnerable members of the community to make complaints of vilification and discrimination.
Just Words host Nic Healey spoke to Luke McNamara, a Professor of Law from the University of New South Wales about the proposed 18C reforms and what the changes could really mean.
Just Words Podcast Extra produced by Emma Lancaster
Kevin's weekly review on the movies this week has us all 'charged up' when he tells us about Mighty Morphin' Power Rangers.
Produced by Kevin Suarez
Things Tess and Michael took away from Beauty & the Beast and Life: If you want a woman to fall in love with you, just kidnap her, and Calvin is a really silly name for an alien life form.
It's a case that asks more questions than it answers. In 2013, three non-Indigenous students walked into an Indigenous computer lab. What happened next nobody could have predicted. The court documents tell you that the case was Cynthia Prior against the Queensland University of Technology and three students. But the media conducted their own trial, and put the Human Rights Commission on the stand.
New Orleans' Hurray For The Riff Raff take their roots sound to town – New York to be precise – for a rough n rumble rock affair on life in the big city.
SERvin' Up! - w/c March 24, 2017
Jarvis Cocker & Chilly Gonzales – Room 29
Ronald J Bruner - Triumph
El Duende – Making Storms
Dayme Arocena – Cubafonia
Wire – Silver/Lead
Augustus Pablo – King David's Melody
Kelly Dance – Wild Grass
D Henry Fenton & The Elozabethans – Twice I Fell Down Once
The Jesus and Mary Chain – Damage and Joy
Ondatropica – Baile Baile Bucanero
John Belushi overdosed there. Led Zeppelin rode motorbikes through the lobby. Lindsay Lohan got banned after holing up there and cracking nearly 50K on her room service bill. And now the infamous Chateau Marmont in Los Angeles is the setting for the new album from Brit-pop's ever-reigning king of observational dry wit, Jarvis Cocker, in collaboration with Chilly Gonzales. If that second name means nothing to you, the Canadian artist was a cutting and often crazily hilarious rapper and electronic producer but traded up to play piano and work arrangements for the likes of Drake, Daft Punk and Feist. Their album Room 29 is a song cycle's surrounding the dank, grey side of Hollywood life when the bright lights have shut for good. Lifestyles of the rich and famous become ways of the aimless in the hands of Cocker's droll delivery of his hapless characters' exploits and musings, fatuously lavish and thus simultaneously empty. This is the stuff that crops up like a large ink splat on Cocker's radar, and his lounge lizard delivery alongside Gonzales' sparse piano makes this an unsparing set but not without some empathy in their caricature. Also, it has to be mentioned this is out on venerable classical music label Deutsche Grammphon, which makes Cocker now labelmates with Mozart.
Kelly Dance's second album Wild Grass sees her adopted home of China as the core of its lyrical concerns, circling both in its current state and future. But Dance doesn't deal in a dry, academic treatise, taking flight from Chinese science fiction's fantastical treatments of the nation's whirring transformations. Dance's songs don't come easy but take time with them and they'll absorb you, curling around like smoke with the same mysterious air as PJ Harvey's dark rock thrust but also the airy and light way of folk that carries its essential outlook of open-ended possibility.
You might say The Jesus and Mary Chain were the surprise hit of the 2016 Spectrum Now Festival, but to be a surprise hit you really need a critical mass of people to be surprised. Not many people were there to witness a more-than-solid set that featured new songs that have found their way onto their first set of new material in 19 years, Damage and Joy. The formula hasn't changed much but it case you need a refresher, the band led by the ever-bedraggled and detached brothers Jim and William Reid soup up blues riffs with fuzz to a psychedelic tip of art-damage rock. I always liked their slow, hazy, narcotic rollers rooted in a 50s ballad style and there are plenty of those on Damage and Joy - some featuring Isobel Campbell - to keep me happy. Nineteen years is a long time to sit on the raw, electric thrill they mastered, and there's polish here than rightfully should be, but this chain isn't quite all broken yet.
Also, new tunes from Melburnians The Meltdown and Poppongene, Sydney's Belles Will Ring and the onetime Sydneysider we will still claim as ours, Tim Rogers.
Enjoy it all on 2SER,
Laura Marling – Semper Femina
Hurray For The Riff – The Navigator
Spoon – Hot Thoughts
Real Estate – In Mind
Angie – Shyness
Chicano Batman – Freedom Is Free
Jay Som – Everybody Works
The Shins – Heartworms
Various Artists – Desert Divas Volume 2
Various Artists – Synthesize the Soul: Astro-Atlantic Hypnotica From The Cape Verde Islands 1973 – 1988
Having run away still in her teens from her broken family home in New York, Alynda Segarra hopped trains al over America. She made New Orleans her home after befriending that city's street musicians who encouraged her to start playing guitar and since then the band she formed, Hurray For The Riff Raff, have been a loose collective of that city's varied players led by the strength of her songwriting vision. Committed fans of the band – a growing number with each album – know that you can pick a Segarra song but not so much her style, having worked in the cracks of Americana with a rough n' tumble approach that bucks and kicks against staid roots music norms. On the latest album, The Navigator, you'll find Segarra somewhat a little more refined but also turning over yet again towards the tough but literate rock style fostered in her original New York home by the likes of Patti Smith, fused with the warm, communal sounds heard in Puerto Rican community she grew up in in the Bronx. Joy and openness define Segarra's songs as much as their lack of frippery – life in America is one big glorious mess and she intends to swim right through it all, having a damn good time being as serious as she wants to be.
If you've missed the edge in the breezy, crafty indie-pop fostered by The Shins in their early years, you've been missing it a long time, with their hallowed debut Oh, Inverted World going all the way back to 2001. Where James Mercer's songs were nimble and full of intimate insights dropped without a hint of cloying, later efforts tended towards the slick and cutesy. Now, having taken the reins of The Shins solely and wholly back to himself and self-recording and producing the new album Heartworms, it feels like the real James Mercer has stood up and reclaimed his idiosyncrasies. Heartworms proves the difference is often in the detail.
The new album from Chicano Batman, Freedom Is Free, is flower-power positive and unrelentingly funky – if that sounds like an old bongo-addled flatmate then fear not because the LA band show a deft hand with the message in their music, not to mention humility and humour. Snatches of soul, r ' n b, the tropical, psychedelic side of Brazilian pop and Spanish caballero music are sublimely filtered through their tight rock package, so infectious that it's hard to resist.
The second volume of Desert Divas comes from NT Music's initiative to mentor and record emerging indigenous female artists from the Northern Territory, and on display is a wonderfully diverse array of artists who move from country to soul to atmospheric electronica, often concocting a captivating sound from all three and then some. With mentors like Hiatus Kaiyote's Nai Palm and Leah Flanagan on board, it's a great reminder of the creativity that comes from some of the more far-flung reaches of Australia, well away from the hustle n' brand type sounds devised by our major cities' industry players.
Also, new tunes from Sydneysiders Flowertruck, Melbourne duo Heat Wave, a new Sydney do featuring Infinity Broke mainman Jamie Hutchings and Crow's Peter Fenton called The Tall Grass, Adam Gibson & The Ark-Ark Birds and Clark.
Enjoy it all on 2SER,
On Semper Femina, Laura Marling creates a compelling conversation in song pondering the nature and ways of femininity.