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"Singers Australia Biography."
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Don't stop believin'
For more than five decades, Olivia Newton-John has been one of our most successful and adored entertainers. A four-time Grammy Award winner, she is one of the world's bestselling recording artists of all time, with more than 100 million albums sold. Her starring roles in the iconic movies Grease and Xanadu catapulted her into super-stardom. Her appeal as a performer is timeless. In addition to her music and screen successes, Olivia is perhaps best known for her strength, courage, and grace. After her own personal journeys with cancer, she has thrived and become an inspiration for millions around the world. A tireless advocate for countless charities, her true passion is as the founding champion of the Olivia Newton-John Cancer Wellness & Research Centre in her hometown of Melbourne, Australia. Olivia has always radiated joy, hope, and compassion--determined to be a force for good in the world. Now she is sharing her journey, from Melbourne schoolgirl to international superstar, in this deeply personal book. Warm, candid, and moving, Don't Stop Believin' is Olivia Newton-John's story in her own words for the very first time.
Book
Anonymous club
Grammy-nominated singer/songwriter Courtney Barnett allows rare access to her life on tour and artistic process in this intimate 16mm documentary for devotees and new fans alike.
Streaming Video
David N. Martin and the post-war 'acts and actors' of Australian variety
The variety firm of Tivoli Australia Pty Ltd dominated the industry from the late nineteenth century up to its closure in 1966, in lively competition and collaboration with many other variety firms. While its own management consciously professionalised their operations in accord with international post-war organisational principles, it also seeded the new thrusting breed of international commercial entrepreneurs who would replace it. The Tivoli's great assets were its long-standing institutional prestige and iconic status as Australia's major variety house; its chain of theatre buildings built or acquired in the capital cities; and a managerial culture which increasingly stressed the international, the excellent and the 'family' audience. Of particular interest are the decades after World War II, which comprise Australian variety's loss of the large and predominantly masculinised audience of American and Australian servicemen; the international competition for acts caused by the renewed availability of communications and travel; the introduction of television in Australia for the 1956 Melbourne Olympics; and television's successorship as one of the nation's dominant popular entertainment media. Whereas neither film nor radio had made much of a sustained impression on live variety attendance, the advent of television would help to turn the Tivoli's residual nineteenth-century assets and skill sets into potential weak spots.
Journal Article
