More support for Australian tourism and hospitality sector

first_imgMore support for Australian tourism and hospitality sector The Morrison Government is increasing support for Australia’s tourism and hospitality sector by providing more visa flexibility during the COVID-19 pandemic period.The Government will remove existing work hour caps for Student Visa holders employed in the tourism and hospitality sector. A 40 hour fortnightly limit previously applied during study periods.In addition, temporary visa holders will be able to access the 408 COVID-19 Pandemic Event Visa for a period of 12 months if they work in the tourism and hospitality sector. This decision adds tourism and hospitality to the critical sectors of agriculture, food processing, health care, aged care, disability care and child care for eligibility for this visa subclass.Temporary visa holders working in, or intending to work in, tourism and hospitality will be able to apply for the 408 COVID-19 Visa up to 90 days before their existing visa expires and then remain in Australia for up to 12 additional months.The Minister for Immigration, Citizenship, Migrant Services and Multicultural Affairs said these changes build on the Morrison Government’s support for sectors that are critical to our economic recovery.“Government has listened carefully to the States, Territories and industry and is introducing these changes to support critical sectors for Australia’s COVID-19 economic recovery,” Minister Hawke said.“Tourism and hospitality employs more than half a million Australians and these changes will allow them to supplement their existing workforce to keep their businesses running in addition to generating employment through a job multiplier effect,” he said.Minister Hawke has also taken the decision, based on strong industry feedback, to include veterinarians in the Priority Skilled Migration Occupation List (PMSOL) which fills critical skills needed to support Australia’s economic recovery from the COVID-19 pandemic.“I am continuing to take feedback and advice from a range of sectors and will make further announcements on temporary visa flexibility measures and priority skills in the near future,” Minister Hawke said. /Public Release. This material comes from the originating organization and may be of a point-in-time nature, edited for clarity, style and length. View in full here. Why?Well, unlike many news organisations, we have no sponsors, no corporate or ideological interests. We don’t put up a paywall – we believe in free access to information of public interest. Media ownership in Australia is one of the most concentrated in the world (Learn more). Since the trend of consolidation is and has historically been upward, fewer and fewer individuals or organizations control increasing shares of the mass media in our country. According to independent assessment, about 98% of the media sector is held by three conglomerates. This tendency is not only totally unacceptable, but also to a degree frightening). Learn more hereWe endeavour to provide the community with real-time access to true unfiltered news firsthand from primary sources. It is a bumpy road with all sorties of difficulties. We can only achieve this goal together. Our website is open to any citizen journalists and organizations who want to contribute, publish high-quality insights or send media releases to improve public access to impartial information. You and we have the right to know, learn, read, hear what and how we deem appropriate.Your support is greatly appreciated. All donations are kept completely private and confidential.Thank you in advance!Tags:aged care, Agriculture, AusPol, Australia, Australian, citizenship, covid-19, employment, Government, Home Affairs, immigration, industry, migration, Minister, Morrison, Morrison Government, pandemic, workforcelast_img read more


Celebrate Branford Marsalis’ Birthday With A Look At His History With The Grateful Dead

first_imgJazz saxophone great Branford Marsalis celebrates yet another trip around the sun today, August 26th. The accomplished musician has fit over a lifetime of accomplishments into his 61-year voyage, from playing alongside Sting in the 1980s, leading The Tonight Show band in the 90s, winning a Grammy in 2001, being awarded an Honorary Doctorate of Music from Berklee College of Music (where he also attended in the mid-80s), and so much more. But what many in the live music scene know Marsalis best for is his frequent collaboration with the Grateful Dead.Throughout the 90s, Marsalis sat in with the Dead many times over the years. His handiwork can be found on numerous official live releases including Without A Net, Spring 1990 (The Other One), Infrared Roses, and of course Wake Up To Find Out with its glorious “Eyes of the World”. His collaborations with the members of the Dead didn’t stop in 1995 either, as he would sit in with the post-Jerry Garcia incarnation The Dead on April 28th and 29th, 2009 at the IZOD Center in East Rutherford, NJ, and helped Dead & Company close down LOCKN’ back in 2018.On this, Branford Marsalis’ 61st birthday, let’s take a look at his long and illustrious career with the Dead and what made his collaborations with them so special.Okay, let’s take a step back. A lot of people sat in with the Grateful Dead, right?That’s right. The Grateful Dead had over 100 different guest artists sit in with them over three decades. There were the tried-and-true regulars who lived in the Bay Area (John Cipollina, Matt Kelly, Hamza El-Din), the rock ‘n’ roll Hall Of Famers (Carlos Santana, Janis Joplin, Steve Miller, Duane Allman), the legendary brass players (Ornette Coleman, David Murray, Clarence Clemons, Carter Beauford), as well as the chaotic (John Belushi) and the ridiculous (Barney the Dinosaur). Most of the time their guests would sit in for a couple of songs, and occasionally would play for half a set.Yet Branford Marsalis’ appearances with the Grateful Dead stood out among all these folks?Branford Marsalis was easily the best ongoing guest collaborator that the Grateful Dead had over their 30 years, and from their first collaborative notes, the relationship was based on a deeply exploratory approach that coincidentally mirrors the overall spirit and intent of LOCKN’. It all started in March 1990, when Branford accepted the Grateful Dead’s invitation from bassist Phil Lesh to see the band at Nassau Coliseum on Long Island. The following night, Branford returned, this time with his instruments, and Grateful Dead publicist and historian Dennis McNally recounted it as such:The finest musician to fall into the Dead’s orbit at this time did so at a Dead concert. … At first the band was cautious and “auditioned” Marsalis by asking him to sit in on “Bird Song,” late in the first set. Never did a musician prove his brilliance faster, and about one verse in, (lead guitarist Jerry) Garcia and Marsalis were trading licks like they were old friends…They flew off the planet to a “Dark Star,” skated along the heavens with “Eyes Of The World,” and generally played one of the finest shows with a visiting musician the Dead ever managed. Since the Dead actually listened and reacted to their guests, an outsider almost always held them back. But Branford was exactly there with them and pushed them straight to their strength – highly innovative improvisation…Marsalis would be a welcome guest a number of times over the next years. In addition to his towering gifts as a player, he brought to the shows a sweetness of disposition that made even the grumpiest drummer smile when told that Branford was coming. (Dennis McNally, What A Long Strange Trip It’s Been: The Inside History of the Grateful Dead, p. 581–82)And what did this allegedly grumpy drummer—also known as Bill Kreutzmann—remember about the show and about Branford?We brought Branford up for a now-legendary version of “Bird Song” during the first set, and it was so good, that we invited him out for the entire second set. Branford played with us four more times over the next four years, usually for the entire show. Those were good nights. Branford became a friend of ours and he said something about us that I’ll never forget: he said we all had big ears. Coming from a monster jazz guy like that, it was a monster compliment. We may have helped introduce improvisation to rock ‘n’ roll, but the jazz cats had been jamming since before Chuck Berry even picked up his first electric guitar. Having Branford validate us like that really meant something to me. He told us that we showed him what’s possible within rock ‘n’ roll and that playing with us was one of the greatest thrills of his life. That, in turn, was one of the greatest thrills of mine. (Bill Kreutzmann, Deal: My Three Decades of Drumming, Dreams and Drugs with the Grateful Dead, p. 293)Branford himself was no less effusive in his praise of that first show and the Grateful Dead:“Those guys can play music. They’re much better than most people give them credit for. They have big ears and real chops, and they’ve got 18,000 tie-dyes dancing along. I’d never seen anything like it. … They’re fantastic.” (McNally, WALSTIB, p. 582)“Phil was playing in one tempo, the drummers were playing in another, and Jerry was in another – there were three different tempos going – actually Jerry wasn’t even in a tempo. I love playing like that.” (As quoted in an essay by Blair Jackson contained in the Spring 1990 [The Other One] box set book, p. 57)Branford even wrote a thank-you note to the band after the show, which he graciously allowed them to share: “On Thursday night I had the best time I’ve had in my entire life. I now know that playing rock and roll can be all that I have envisioned it would be” (McNally, WALSTIB p. 582).What about Branford Marsalis’ other collaborations with the Grateful Dead?Branford Marsalis played a total of five shows as a guest artist with the Grateful Dead, and on every occasion, his appearance generated one of the top shows of that year. After that initial March 1990 show at Nassau Coliseum (commercially available as Wake Up To Find Out), Marsalis again joined the Grateful Dead nine months later on New Year’s Eve in Oakland. During the New Year’s Eve show, Marsalis was featured in a 5-song, 100-minute second set that started and finished with “Not Fade Away” (one of only four times the Grateful Dead ever did this) and also contained both “Dark Star” and “Other One” (one of only six times this happened after 1972).Branford Marsalis’ third appearance was in September 1991 at New York’s Madison Square Garden and had Phil popping his bass strings funk-style for the opening “Shakedown Street”. The second set featured an all-time version of “Slipknot” and yet another “Dark Star”. These two shows also occurred while pianist Bruce Hornsby was a member of the band. The fourth and fifth shows were in Los Angeles in December of 1993 and 1994, when Branford was able to get away from his “day job” on The Tonight Show and jazz up final-era songs like “Eternity” and “Samba In The Rain” along with some of the more hallowed and obvious choices like “The Other One” and “Scarlet Begonias” > “Fire On The Mountain”.Fifteen years later in 2009, Branford also sat in on back-to-back nights with The Dead—the spinoff band featuring core-four members Lesh, Weir, Hart, and Kreutzmann along with Chimenti and guitarist Warren Haynes—on their final tour at the Izod Center in East Rutherford, New Jersey. Among other things, the band used the occasion to play “Milestones”, the Miles Davis number that’s been known to appear on some of Dead & Company’s hottest nights.What do Deadheads have to say about the Grateful Dead’s collaborations with Branford Marsalis?Okay, here are some in-the-know reactions in the wake of that first Nassau show with Branford Marsalis in March 1990:“This concert was what ‘IT’ was all about – that all-too-rare ‘miracle’ show that one spent years pursuing.” — Johnny Dwork, editor, Dupree’s Diamond News“When the Dead spiraled into the ozone, Branford stayed with them, adroitly maneuvering through the time-bending vortex that the band created…of all the guest musicians who shared the Dead’s stage throughout the years – and they were many and varied – none embodied the Dead’s adventurous, questing spirit and their obsession with beautiful melodies and accessible structures quite like Branford did.” — Blair Jackson, editor, Golden Road Blog on (the Spring 1990 [The Other One] box set book, p. 57–58)“At one point (during Eyes Of The World), Jerry began a solo using a MIDI Choral / Flute combo and continued a theme that Branford had been playing with his sax. It sounded like angels were flying into Nassau Coliseum! And (Dark Star’s post-verse jam) was eleven minutes and nine seconds of the most outside, exploratory music I’ve ever heard thrust out of the Grateful Dead’s PA. … This was easily one of the best shows I’ve ever attended. I still get chills up my back when I listen to the tape.” — David I. Greenberg (John W. Scott, Stu Nixon, & Mike Dolgushkin; Deadbase 1990: The Annual Edition of the Complete Guide to Grateful Dead Songlists)Meanwhile, Grateful Dead archivist and legacy manager David Lemieux had this to say about the September 1991 show with Branford at Madison Square Garden, which was commercially released as part of the sold-out 30 Trips Around The Sun box set in 2015:Branford had played with the band for the first time at Nassau Coliseum in March of 1990, and more than any other guest artist, he fit in with the Grateful Dead sound absolutely perfectly. A musician’s musician, Branford shared the Dead’s sense of adventure and improvisation and could pick up what was going on between the band members – he elevated their performance, as opposed to a lot of special guests for whom the band might have had to tone it down….they most certainly were on, when the played perhaps the best show of the year as well as one of the most requested shows in the vault. (30 Trips Around The Sun, 1991 CD liner notes)And here’s another insightful reaction from Thomas Bellanca on the December 1993 show at Long Beach Arena in Los Angeles:Branford pushes Jerry, as well as the rest of the band, in a way no other musician can do (Bruce Hornsby excluded!). His playing is not forced into the music and blends with exceptional ease. When hearing him play with the Dead, it makes me think that these songs were written to include a horn player. He not only plays the notes that matter, he plays the notes between the notes, and I think that it what really separates him from the others. He really listens to what is going on and is able to pick what and when to play, and the result is magic. (John W. Scott, Stu Nixon, & Mike Dolgushkin; Deadbase 1993: The Annual Edition of the Complete Guide to Grateful Dead Songlists)However, while there is plenty of praise circulating around Marsalis’ sit-ins with the Grateful Dead, unfortunately, there are also cautionary tales to be told. DeadBase editor John C. Scott missed the initial 1990 show, and he was not happy about it:I was always paranoid about missing the big one…and I missed the biggest of the big ones. For me, the jazz influences on the Grateful Dead have traditionally led to any of their finest improvisations. Two of my favorite years in Grateful Dead music are ’73 and ’74, because of the strong jazz influence My other interest in is tapes with guest musicians performing with the Dead. This night was my wildest dream come true. It took me a long time to come to terms with this tape. Sour grapes stood in the way of appreciation for a long time. (John Scott’s review of the Grateful Dead’s 3-29-90 show)And in a second stroke of bad luck, Mr. Scott also missed the September 1991 Branford show despite attending 12 of the Grateful Dead’s 15 northeast shows on the Fall Tour, electing to skip only the first three of nine shows at Madison Square Garden:Carefully I examined all the relevant factors – from the normal cadence of a long MSG run (typically building a slow, solid momentum to a last-night peak) through the impracticalities of having to make to make two round trips to NYC (six hours each way) to calculated suggestions from connected friends, runes, the tao, and chicken bones. All the sage advice I could muster for this fateful run failed me in a dramatic fashion…On the third night, however, my packing was interrupted by an alleged friend, eager to run salt into wounds I didn’t even know I had….It is only many months later that I have overcome the trauma and am able to acknowledge this as the finest show of the year, above even the first and last shows of the Halloween run, as well as any at Boston….It isn’t that Branford is on top of every song, rather having him onstage seemed to inspire the band to be on individual best behaviors….in the end, my only criticism of this wonderful show that the Dead put all of their eggs in one basket on this night, leaving the rest of the stand barren by comparison….given their special guest, and the level of execution on this night, it was not necessary to play so many special songs in one concert. (John W. Scott, Stu Nixon, & Mike Dolgushkin; Deadbase 50: Celebrating 50 Years Of The Grateful Dead)last_img read more


Rescue Squad Member in Tenn. Crash Dies

first_imgJoseph R. Barlow, 57, Mountain City, died at Johnson City Medical Center. Trooper Mark Musick said he was notified of the driver s death shortly before 4 p.m. on Friday, but he had not been informed of the exact time of death. The ambulance driver seriously hurt in a fatal crash on Tenn. Highway 67 in Johnson County on Tuesday night died Friday from his injuries, the Tennessee Highway Patrol said. Related Car Hits Tennessee Ambulance, Patient Diescenter_img Read More, Ambulance driver in Johnson County crash dies from injurieslast_img read more


A Time to Kill Star Tom Skerritt on Making His Broadway Debut at Age 80: ‘Holy Sh*t!’

first_img Show Closed This production ended its run on Nov. 17, 2013 Skerritt is used to challenges—in 2012, he appeared in the Pacific Northwest Ballet’s dancing adaptation of Don Quixote in Seattle, WA, even though he doesn’t dance. “I recall that surge of energy,” the actor says of performing in the ballet. “But Broadway?! Holy sh*t.” A two-time Emmy winner for Picket Fences, Skerritt has been a working actor for more than 50 years, including an extended stint in Brothers & Sisters. A Time To Kill Star Files Related Shows In addition to Skerritt, A Time to Kill stars Sebastian Arcelus, John Douglas Thompson, Fred Dalton Thompson, Tonya Pinkins, Patrick Page, Chike Johnson and Ashley Williams. Performances begin September 28 at Broadway’s Golden Theatre.center_img “I’m terrified,” revealed Skerritt, who plays Jake Brigance’s oft-inebriated mentor Lucien Wilbanks in the new courtroom drama. “Rehearsals start now. And memorization? My heritage is Irish. I’m the type who’ll just go at it. Grab it by the throat and deal with it. Having never seen the movie [adaptation of A Time to Kill], I’ll fortunately come at this with a fresh view.” View Comments Tom Skerritt It’s been a big week for Emmy-winning film and TV star Tom Skerritt, who celebrated his 80th birthday on August 25 and began rehearsals for his first Broadway play, Rupert Holmes’ adaptation of John Grisham’s bestselling novel A Time to Kill. The newly minted octogenarian just moved to New York City for the first time, and he admitted to the New York Post that the transition with his wife, five-year-old daughter and 100-pound Swiss mountain dog “will be difficult.”last_img read more


Carmen Jones, Be More Chill, Constitution, Yiddish Fiddler & More Earn 2019 Lortel Nominations

first_img The Off-Broadway League has announced nominations in 19 categories for the 34th Annual Lucille Lortel Awards, honoring outstanding achievement off-Broadway. Leading the nominations is Carmen Jones and Rags Parkland Sings the Songs of the Future, with six nods each. The current Broadway shows Be More Chill and What the Constitution Means to Me were nominated for their off-Broadway stints.The 2019 Lucille Lortel Awards ceremony, hosted by Wayne Brady, will be held at NYU’s Skirball Center on May 5 at 7:00pm. The full list of nominations can be found below.Outstanding PlayMlima’s TalePass OverSlave PlaySugar in Our WoundsWhat the Constitution Means to MeOutstanding MusicalBe More ChillGirl From the North CountryMidnight at the Never GetMiss You Like HellRags Parkland Sings the Songs of the FutureOutstanding RevivalCarmen JonesFabulation, or the Re-Education of UndineFiddler on the Roof in YiddishHappy Birthday, Wanda JuneThe Shadow of a GunmanOutstanding Lead Actor in a PlayJuan Castano, TransfersRussell Harvard, I Was Most Alive with YouJon Michael Hill, Pass OverSahr Ngaujah, Mlima’s TaleTom Sturridge, Sea Wall/A LifeOutstanding Lead Actress in a PlayAko, God Said ThisQuincy Tyler Bernstine, Marys SeacoleMarin Ireland, Blue RidgeZainab Jah, Boesman and LenaCharlayne Woodard, “Daddy”Outstanding Featured Actor in a PlayAto Blankson-Wood, Slave PlayMarchánt Davis, Ain’t No Mo’Gabriel Ebert, Pass OverJohn Procaccino, DownstairsMatt Walker, The Play That Goes WrongOutstanding Featured Actress in a PlayQuincy Tyler Bernstine, Our Lady of 121st StreetStephanie Berry, Sugar in Our WoundsBlair Brown, Mary Page MarloweCrystal Lucas-Perry, Ain’t No Mo’Danielle Skraastad, Hurricane DianeOutstanding Lead Actor in a MusicalSam Bolen, Midnight at the Never GetAndrew R. Butler, Rags Parkland Sings the Songs of the FutureJeremy Cohen, Midnight at the Never GetClifton Duncan, Carmen JonesSteven Skybell, Fiddler on the Roof in YiddishOutstanding Lead Actress in a MusicalKate Baldwin, SuperheroGizel Jiménez, Miss You Like HellAnika Noni Rose, Carmen JonesStacey Sargeant, Rags Parkland Sings the Songs of the FutureMare Winningham, Girl From the North CountryOutstanding Featured Actor in a MusicalJohn Edwards, Smokey Joe’s CafeSydney James Harcourt, Girl From the North CountryBryce Pinkham, SuperheroGeorge Salazar, Be More ChillHeath Saunders, Alice by HeartOutstanding Featured Actress in a MusicalJackie Hoffman, Fiddler on the Roof in YiddishStephanie Hsu, Be More ChillLuba Mason, Girl From the North CountrySoara-Joye Ross, Carmen JonesAlysha Umphress, Smokey Joe’s CafeOutstanding Solo ShowFeeding the DragonFleabagGirls & BoysThe New OneMy Life on a DietOutstanding DirectorLileana Blain-Cruz, Marys SeacoleJo Bonney, Mlima’s TaleJohn Doyle, Carmen JonesLee Sunday Evans, Dance NationJoel Grey, Fiddler on the Roof in YiddishOutstanding ChoreographerLee Sunday Evans, Dance NationRaja Feather Kelly, If Pretty Hurts Ugly Must Be a MuhfuckaRick and Jeff Kuperman, Alice by HeartLorin Latarro, Merrily We Roll AlongSusan Stroman, The Beast in the JungleOutstanding Scenic DesignWilson Chin, Pass OverCharlie Corcoran, The Shadow of a GunmanNigel Hook, The Play That Goes WrongLaura Jellinek, Rags Parkland Sings the Songs of the FutureArnulfo Maldonado, Sugar in Our WoundsOutstanding Costume DesignDede Ayite, By the Way, Meet Vera StarkMontana Levi Blanco, The House That Will Not StandJennifer Moeller, Mlima’s TaleKaye Voyce, Marys SeacolePaloma Young, Alice by HeartOutstanding Lighting DesignAmith Chandrashaker, Boesman and LenaLap Chi Chu, Mlima’s TaleBradley King, ApologiaBarbara Samuels, Rags Parkland Sings the Songs of the FutureYi Zhao, The House That Will Not StandOutstanding Sound DesignMatt Hubbs, Boesman and LenaDan Moses Schreier, Carmen JonesJane Shaw, I Was Most Alive with YouMikaal Sulaiman, Rags Parkland Sings the Songs of the FutureIsobel Waller-Bridge, FleabagOutstanding Projection DesignKatherine Freer, By the Way, Meet Vera StarkLuke Halls, Girls & BoysAlex Basco Koch, Be More ChillAlex Basco Koch, FirefliesTal Yarden, SuperheroSPECIAL AWARDOutstanding Alternative Theatrical ExperienceOn BeckettHONORARY AWARDSPlaywrights’ Sidewalk InducteeMaría Irene FornésOutstanding Body of WorkTelsey + CompanyEdith Oliver Service to Off-Broadway AwardTerry ByrneShows with multiple nominations:Carmen Jones—6Rags Parkland Sings the Songs of the Future—6Mlima’s Tale—5Be More Chill—4Fiddler on the Roof in Yiddish—4Girl From the North Country—4Pass Over—4Alice by Heart—3Boesman and Lena—3Marys Seacole—3Midnight at the Never Get—3Sugar in Our Wounds—3Superhero—3Ain’t No Mo’—2By the Way, Meet Vera Stark—2Dance Nation—2Fleabag—2Girls & Boys—2I Was Most Alive with You—2Miss You Like Hell—2Shadow of a Gunman—2Slave Play—2Smokey Joe’s Cafe—2The House That Will Not Stand—2The Play That Goes Wrong—2 Lortel nominees Anika Noni Rose & Clifton Duncan in “Carmen Jones”(Photo: Joan Marcus) View Commentslast_img read more


Troopers Release More Details On Fatal Shooting Of Suspect

first_imgTroopers say Trooper Luke Kumfer responded to a home and spoke to Yakunin, who refused to cooperate and threatened the officer. Trooper Kumfer called for backup, fired his stun gun and sprayed Yakunin with pepper spray. Troopers Saturday afternoon took a call that Yakunin had contacted a woman in violation of felony probation conditions. Troopers say Sgt. Daniel Cox arrived and shot Yakunin. Troopers on Tuesday released additional details in the death Saturday night of 42-year-old Nikolai Yakunin in the village of Nikolaevsk (NIK-oh-livsk) on the Kenai Peninsula.center_img FacebookTwitterEmailPrintFriendly分享ANCHORAGE, Alaska (AP) — Alaska State Troopers say an officer was assaulted for 20 minutes before a second officer shot and killed the suspect. Yakunin attacked, knocked Kumfer off an outside porch and assaulted the officer for 20 minutes. Nikolaevsk is east of Anchor Point.last_img read more


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