The Adelaide Show

Every day, Days Eggs produces thousands of eggs to feed families in South Australia and beyond, thanks to their very clever and hen-friendly farms and systems around the state.

In this interview, we discuss hen living conditions, egg types, cooking with eggs, and even things to be wary of when re-using egg cartons.

The SA Drink Of The Week is Run With The Hunted - see below.

And in the Musical Pilgrimage, we have an original song by Libby O'Donovan, presented to us by Zac Tyler, one of the people behind this weekend's Seasonal Sessions at Woodville Town Hall.

You can navigate episodes using chapter markers in your podcast app. Not a fan of wine? You can click next to jump to the next chapter in the show. We're here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast at the 2021 Australian Podcast Awards and named as Finalist for News and Current Affairs in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It's an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we'll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store - The Adelaide Show Shop. We'd greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here's our index of all episode in one concise page

Running Sheet: Writing wedding vows

00:00:00 Intro

Introduction to the show.

00:04:44 SA Drink Of The Week

This week's SA Drink Of The Week is Run With The Hunted, a limited release wine from McLaren Vale, bottled by Matt Cahill as part of his musical album of the same name from his music collaboration project, Evoletah.

00:08:52 Anne and Dion

If you had eggs for breakfast today, there's a darn good chance they were produced by DAYS Eggs, South Australia's largest egg producer. The story behind this farm's production of this humble source of protein is fascinating. So I thought I'd ask the owners, Dion and Anne Andary, to join me to scratch around and peck at all the various topics related to chickens and eggs. Welcome.

As I was planning for this interview, I asked myself, what topic should come first; the chickens or the eggs?  I was tempted to start wtih chickens because so much of the egg story these days is focussed on their welfare but then I remembered that eggs have had a chequered history, especially in the west, so I'd love to hatch our story there.

Dion and Anne, you started Days Eggs in 1987. What was the nutritional and public health status of eggs at that time? In fact, Jason Gosseck, writing in Medium, recalled growing up amid the cholestrol scare of the 80s and how the price of eggs plummeted and how his dad doubled down and they had eggs every meal. How did it play out in your world?

Anne, I believe you did most of the sales work in the early days. Who was buying and what was involved?

Have you noticed any changes in egg consumption over the years? Fitness junkies with raw eggs, the brunch culture, the "egg whites good, egg yolks bad" movement, etc?

How are most of your eggs sold today - supermarkets, commercial trade, etc?

For a long time, I never cooked eggs at home, even though I loved having poached eggs when out? I just didn't like the eggy smell when doing dishes. Bizarre! Now I have an egg poacher. How do you cook eggs? Any tips?

We're recording here at Lower Light/Two Wells, which is the headquarters of Days Eggs. Can you take us through the story of how you outgrew your first base and then bought up other farms as they became available?

I'd like to turn to hen welfare now because even this morning in our BnB at Claire, they provided eggs and I recoiled when I saw Cage Eggs. So let's walk through Cage Eggs, Barn Laid Eggs, and Free Range Eggs, because each have their pros and cons.

People argue Free Range leads to happy chickens. How do you know when a chicken is happy?

00:56:48 Musical Pilgrimage

In the musical pilgrimage, we have Don't Feel Down by Libby Donovan.

Before we get there, though, I want to bring in Amelia Ryan's "other half" Zac Tyler, who is another arts professional, known by many for his work with the artistic directors of the Adelaide Caberet Festival (Kate Ceberano, Barry Humphries, Ali McGregor and Eddie Perfect).

He now runs his own company, Release Creative, who have gone on to create Barossa Contemporary, a multi-disciplinary arts festival in the Barossa Valley, and he's also worked with Amelia to create Seasonal Sessions, a weekend of intriguing song, story, and cabaret at the Woodville Town Hall, May 6, 7, 8 2022.

The weekend kicks off with local original music on Friday May 6 at 8.00pm and on Saturday May 7 at 6.00pm will feature a celebration of Australia's pioneering women of pop and rock starring Amelia Ryan and Adelaide Cabaret Festival 2022 Icon Award winner Libby O’Donovan in UNSUNG. At 8.00pm Charmaine Jones and the GOSPO Collective deliver the classic Aretha Franklin standards in Soul Serenade - The Aretha Legacy. On Sunday 8 May at 3.00pm, the acclaimed writer Clementine Ford and her bestie, Libby O’Donovan, deliver a secular sermon that mines matters of the heart in Love Sermon.

But, back to the interview with Zac, let's get the goss out the way. Of the Cabaret Festival directors you worked with, who is most memorable and why?

What is this arts festival in the Barossa?

What does cabaret bring to the table that other art forms don't?

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.

The Violets, the darlings of Triple J and Music SA in the 90s return with a new album

This is a bumper Easter edition full of audio easter eggs! It was inspired by the Easter theme of "new life", which is why we're focussing on:

• The Violets - the band has reformed after a 20 year break
• Frankly Gin - they've developed a gin that is perfect for drinking neat or just with soda - it means gin can rise again in our list of guilt free drinks
• Michael Mills and Gemma Dandie - have collaborated to create an album of original songs breathing new life into the understanding of female palaeontologist, Mary Anning

GIVEAWAY: Plus we have a copy of The Violets new album, Smoke, Mirrors, And Other Half-Truths to give away. Simple rules. Create a social media post on Facebook in which you tell us what Adelaide street Matt Cahill was parked on when he first heard The Violets being played on Triple J - and make sure you tag @theadelaideshowpodcast and @TheViolets.OFFICIAL - first one wins.

You can navigate episodes using chapter markers in your podcast app. Not a fan of wine? You can click next to jump to the next chapter in the show. We're here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast at the 2021 Australian Podcast Awards and named as Finalist for News and Current Affairs in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It's an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we'll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store - The Adelaide Show Shop. We'd greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here's our index of all episode in one concise page

Running Sheet: The Violets rise again

00:00:00 Intro

Introduction to the show.

00:06:00 SA Drink Of The Week

This week's SA Drink Of The Week is a new, award-winning gin from Frankly Gin. And Steve was lucky enough to do a tasting with one of the co-founders, Bernie Woods.

00:12:28 Matt Cahill, The Violets

I like to write my own introductions to interviews but the wordsmithery I've found online for the subject of this interview, the band The Violets, is so sublime, I'm just going to use it verbatim: From the day they first formed in Adelaide, back in 1990, The Violets were an enigma. Created from a fusion of shimmering guitar lines, sonic abstraction and an almost cinematic vision, they smashed together light and dark, and made beautiful agony dance cheek to cheek with pretty mystery. It was pop, it was prog, it was flat out indie rock but it was never quite like anything else. And I think we'll discover that our guest today is quite like nobody else, singer/songwriter, guitarist, producer: Matt Cahill.

Before we start plucking the petals of the flower that is the story of the band and of the music industry, let's stop and smell The Violets with Mary who?

MARY WHO?

This is where I start with a confession. I just wasn't around in Australia in the 90s. I was living and working in Hungary and then moved to England (yes, dear listener, Alexis Cattely. take a sip - he has a drinking game based on how often I bring my time working for Radio Budapest into the conversation). As a result, the 90s really is a dark area in the map of my musical memory. That applies to everyone, for example, I only just discovered The Cat Empire in time for their goodbye concert. So, I am coming to this interview with no nostalgia, with no common points of reference, so I'll apologise in advance for any awkward questions.

That said, I have recently been introduced to The Violets with your re-release of Leased Regret, and a special preview copy of your new album, Smoke, Mirrors, And Other Half-Truths, and I've become quite smitten. And because of your dramatic history from early success and Triple J airplay, then record company signings, then record company feuds, then the band dissolving, then the band reforming 20 years later, I feel like we have a rare opportunity for some musical palaeontology to help us deeply understand the workings of a band and the music industry.

So, Matt, can you take us to the beginning and piece together how The Violets came to be?

What did rehearsals look like? (And sound like to neighbours)

It's very common for people to suffer from Imposter Syndrome and self-sabotage their creative desires (doubt their intrinsic qualities and vision). What was the internal journey like when it came to sticking your head up above the trenches and risking judgement by music lovers and entertainment power brokers?

So, what would you nominate as your first "break"? Would that involve the song, Ain't Love Grand?

AIN'T LOVE GRAND

I recall watching the biopics of Elvis Presley and Johnny Cash and in at least one of them, they capture the moment when these fledgling icons first heard their music being played on the radio. Can you describe what it was like hearing The Violets on Triple J for the first time? And do you remember where you were and what you were doing?

Tell us about the South Australian Music Awards. What's the process and what was the experience like?

Does a music award and airplay have a psychological effect in the writing process? Does it start making you double-think yourself (if that's a term)?

Here's my naive observations of 90s music. We had simple harmony vocals and drum/guitar/keyboard/(sometimes brass) in early country/folk/blues, then rock and roll simplified and made the sounds harder with some doses of strong hooks. Then things got more experimental as backing tracks and layers came to the fore in the late 60s early 70s. Then we got more sophisticated, clearer production sounds (big sounds) in the 70s (along with the emergence of glam and a smattering of punk). Then the 80s really brought high power and rock and roll and/or electric music to the fore (some of the sickly songs from the 50s and 60s were recreated or evolved but with modern sound engineering). Then the 90s. I see electric "fake" sounds dumped in favour of dirty, murky, emotional, throaty, frenzied masses of guitars, a token set of drumlines, and vocalisation that was not so much focussed on the lyrics but on the sound of the voice. You could say, there was a trance like quality to the 90s sound, punctuated and differentiated by little crumbs of vocal quirks to satisfy our desire for some confection amid this serious mining of frustration and expression. Your reactions?

Some examples:

Somewhere has that hook - somewhere in the back of my mi-iind (play snippet)

Are golden hooks like that planned when you write the song, or do they emerge in the studio, or can they sometimes be the prime idea?

NERO - has that really full throttle, guitar intensity (play snippet)

Does that feel good just going full bore?

Mood seems to be given its due in the 90s, especially the mood of despair or melancholy. Can you explain why? Or am I misinterpreting things?

There is a raw honesty, an open reflection in some of your songs that lets us get closer to your inner world that we might expect to be possible in polite society. Pretty Hate Machine is very self-critical, almost confessional. Can you take us through that writing journey?

PRETTY HATE MACHINE

Everything's going great for The Violets. You were a touring/recording act from Adelaide that was signed to Phantom Records for 13 years and then you secured a deal with KRELL/SHOCK records. Amazing. But that giddy height was where you became embroiled in a Record Label war, ultimately leading to you playing your last show in 2001. I can hardly imagine how bittersweet that must have been, walking away from such an enriching enterprise. Can you take us through that time?

What did you do in your "in between" years? Our listeners will know of Evoletah (you can hear one of your tracks in episode 323, Run With The Hunted.

Last year, you re-engineered and re-released your first album, Leased Regret. How and why did that come about?

What was it like writing new songs together?

We've already featured one of the songs from your new album, Sideways - which you can hear in episode 348 - but the first track I'd like to play from Smoke, Mirrors, And Other Half-Truths, is called Love Lies In The Rain. And the reason I want to start with this is because when you sent me the link to the album and I was listening while cooking, I found my random email sent to you while in my apron and with the sizzling of the oven behind me. I wrote: "Love Lies In The Rain is a stand out to me." Shall we set this song up?

LOVE LIES IN THE RAIN

Discussion about the artwork for the video for Sideways.

https://www.youtube.com/watch?v=zGlsndZ-9-o

Something I noted was how evocative this album is of my vague recollections of 90s music but also hints of some of the more complex 80s sounds (I'm thinking early Cure, Simple Minds, early U2). There's a noisy quality that is for your ears what scrambly busy artwork is like for the eyes; it demands stillness and application and rewards those who sit with it. Is that fair?

Having said that, one thing I note in the new album is how much the "noise" aspect is actually more refined; we have more definition of the specific instruments and voice. Is that just a moving of the style, or is it about modern recording techniques?

April's Fool, from the new album, is an example of the delicate qualities in this album. It has modern, adult music, but the lyrics contain snatches of kids' rhymes and allusions. Can you whet our appetites for it?

APRIL'S FOOD

It's 2022, how are things sitting?

Given the long break and the curse of biology, you guys are older than many of the other bands vying for "ear" time. Do you think that will influence your experience over the next few years because US commentator and comedian, Bill Maher, recently said to the 90 year old William Shatner, that ageism is the one remaining discrimination that our society turns a blind eye to?

Something else I'd love your comment on is the band name. I've found a UK band with the same name and a young band from WA called The Violets that seems to have started in the early naughties while you guys were in hibernation. Does that cause any confusion?

Where and how can people support you?

Finally, I found another quote from a random email I sent you while cooking and listening to your album: All Went South is brilliant- am thinking of a full episode actually. Watch this space. Well, we have not only watched this space, but we've filled it with story and music. Thank you, Matt Cahill. Would you mind doing the honours and introducing the song that will take us out?

ALL WENT SOUTH

01:28:18 Musical Pilgrimage

In the musical pilgrimage, we're going to listen to a couple of tracks from a new album featuring Professor Flint and Gemma Dandie, These Curious Things.

The tracks we'll hear are, My Dog, Trey, and the title track, These Curious Things.

Michael Mills shares some of the back story and Gemma shares what working with Michael is REALLY like ;-)

Here's the best link for this project: Professor Flint linktree link.

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.

Opera everywhere, including the beach, and world music in a park

This is a very special episode if you enjoy music in manifold ways. We're covering opera, world music, and alternative rock, so prepare for some sensory overload.

Firstly, we turn to opera because State Opera of South Australia has two intriguing programs lined up that are exemplars of the company's stated aim of introducing new audiences to opera. We'll be joined by State Opera's Head of Music, Anthony Hunt, and its Artistic Director, Stuart Maunder.

Secondly, we chat with passionate attendees of Womad, recorded at the event last weekend.

Finally, in the Musical Pilgrimage, we feature the latest song from The Violets - the great, Aussie alternative Rock band that has reformed after, well, let's say, quite a few revolutions of the sun, and they show they still have it.

Oh, and for the SA Drink Of The Week, we try some Green Ant Gin, as tasted at Womad.

PS Here's our final reminder that Steve Davis and Ekkia Evans have been reviewing Fringe shows again this year. Read the Adelaide Fringe reviews here, throughout the Fringe.

You can navigate episodes using chapter markers in your podcast app. Not a fan of wine? You can click next to jump to the next chapter in the show. We're here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast at the 2021 Australian Podcast Awards and named as Finalist for News and Current Affairs in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It's an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we'll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store - The Adelaide Show Shop. We'd greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here's our index of all episode in one concise page

Running Sheet: Opera everywhere, music in a park

00:00:00 Intro

Introduction to the show.

00:03:01 SA Drink Of The Week

This week's SA Drink Of The Week is a Green Ant Gin by Seven Seasons Distillery, founded by Larrakia man Daniel Motlop. This premium distillery uses native Australian ingredients to create a taste of the world’s "oldest new" flavours.

00:04:40 Stuart Maunder and Anthony Hunt, State Opera SA

State Opera South Australia is launching a series of recitals this weekend ahead of the much-anticipated Boheme On The Beach - yes, that's opera by the seaside. I know State Opera has a mission to introduce opera to new audience but this seems to be evidence of the doubling of efforts because the recitals will be quite intimate - you'll be up close and personal with some of the celebrated chamber musicians and opera singers - and taking opera to the beach is a very Aussie move to "normalise" listening to opera. Let's explore these new frontiers with State Opera's Head of Music, Anthony Hunt, and its Artistic Director, Stuart Maunder.

Bohème On The Beach

Songs For The Sea

Songs For A Day

Songs For A Muse

I'd like to start with the recitals. You'll be holding these at UKARIA Cultural Centre, which is a lovely venue in some of the last remaining natural scrubland around Mount Barker. It's not big. So, Anthony, just how close are we going to be to the performers?

What headspace should one be in for attending a recital. I ask this because I've been doing a little work with 5MBS the Classical and Jazz music station, and there was an intriguing comment that a few listeners made when I was interviewing them. They said that they can't have fine music on in the background, they must listen actively. Are you expecting that most of your audience will be the type of listeners who LEAN FORWARD in their seats? OR, is it possible to enjoy these recitals the way Leigh Warren advised me to enjoy dance; just lean back, don't try to focus on anything in particular, and absorb the experience?

Anthony, we will share the link for more information in the show notes, but can we have some highlights of the program? I would say, your elevator pitch, but that conjures an image of musak, which we don't want associated!

Stuart, it took everything within me not to curtsy when I came into your presence today because I still remember the absolute perfection of your May 2021 production of Sweeney Todd. I was swooning for weeks - and I went unshaved! I know State Opera wants to broaden its audience and I noted two things. Firstly, my young cousin, Jamie, was there with a group of friends (all in their 20s); they'd made a special effort to attend. And, secondly, I brought along former Lord Mayor, Stephen Yarwood, who said he only accepted my invitation because it was me; typically he'd reject invitations to any concerts featuring country music or opera. But he left converted. Can you describe the alchemy involved?

What cross-over potential does Boheme On The Beach offer? How accessible will this be to "new" ears?

I've been reviewing theatre for almost 30 years and always take note of the projection of voices. How on earth will our singers project when you have such a large open area, sea breezes, and ocean waves to contend with, not to mention the occasional clanging of a tram?

Is there a trend towards more engaging and interesting dramaturgy in opera these days; I note that State Opera's Barber Of Seville last November was very ornate in its acting demands on the performers. And what does La Boheme have in store?

Finally, can we wear thongs to Boheme On The Beach? And does this create a precedent for Her Majesty's Theatre?

00:43:05 Womad voices

Last weekend, Steve wandered the parklands at Womadelaide 2022, and bumped into some passionate advocates of the event who were quick, willing, and able to share some thoughts on why they're attracted and how proud they are of the organisers for persevering through Covid.

Our Womad voices are:

• Karen Lewis
• Stuart Kuhl
• Evelyn Roth
• Alison James
• Heidi Angove

01:07:59 Musical Pilgrimage

In the musical pilgrimage, we're going to listen to Sideways, the first track to be lifted from The Violets' first album in 20 years!

Back in the 90s, if you listened to Triple J and other places where the cool kids hung out, you would have heard a few tunes by The Violents.

They were signed to Phantom Records for 13 years and after eventually securing a deal with KRELL/SHOCK records, they ended up in a label war and ended up playing their last show in 2021.

Fast forward to 2020 and in the event of the remastering the re-release of their 25th anniversary album, ‘Leased Regret’, which won music industry album of the year 1995, they decided to reunite and make an album that has just been released.

It's called ‘Smoke, Mirrors & other half truths’.

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.

Exploring music from the soul to the screen in South Australia

Aboriginal and Torres Strait Islander listeners and readers are advised that this episode and its show notes may contains images, names, and voices of people who have died.

This is a very special episode if you enjoy music and "screens" in manifold ways.

Firstly, we chat with Director/Producer/Writer, Philippa Bateman, who's just released a visually stunning and deeply moving documentary, Wash My Soul in the River’s Flow. It's about two of Australia’s greatest songwriters, Archie Roach and Ruby Hunter, and was filmed here in South Australia in Hunter’s Ngarrindjeri country. I will follow that interview with a few snippets from a humble documentary I made in 2003 called, Sorry Proof Country, which featured Doris Pilkington, the late author of Follow The Rabbit Proof Fence.

In the Musical Pilgrimage, we feature the latest song from Kyan Burns - a singer songwriter from Gawler and SA Music Awards nominee, thanks to the radionotes podcast with John Murch. We were atttracted to it because the song lives on the "screen" through its vivacious video clip!

And for the SA Drink Of The Week, we blend wine with the screen. It's an Eight At The Gate drop, which features in a Stan TV show based in Adelaide called, Wolf Like Me.

PS A reminder that Steve Davis and Ekkia Evans have been reviewing Fringe shows again this year. Read the Adelaide Fringe reviews here, throughout the Fringe.

You can navigate episodes using chapter markers in your podcast app. Not a fan of wine? You can click next to jump to the next chapter in the show. We're here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast at the 2021 Australian Podcast Awards and named as Finalist for News and Current Affairs in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It's an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we'll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store - The Adelaide Show Shop. We'd greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here's our index of all episode in one concise page

Running Sheet: Music from the soul to the screen

00:00:00 Intro

Introduction to the show.

00:03:28 SA Drink Of The Week

This week's SA Drink Of The Week is a 2016 Eight At The Gate Shiraz Cabernet, as featured in this scene from Wolf Like Me. This TV show on Stan is set in South Australia.

In the scene, Isla Fischer is moving in on Josh Gad and supplies an "expensive" bottle of wine. Psst, it's not really expensive but it is REALLY good.

00:04:55 Philippa Bateman

Archie Roach and Ruby Hunter would be considered by many to be two of Australia's great songwriters. Their music has a depth and authority that aligns in my mind with the likes of BB King, Bessie Smith, and Miles Davis, while also having a unique honesty, sadness, and resiliance due to their lives as First Nations people deeply connected to the land we call Australia. In 2004, they performed with Paul Grabowsky and the 22-piece Australian Art Orchestra after a collaboration that created a special musical event, Kura Tungar — Songs from the River. The river in question is our beloved River Murray, which flows through the late Ruby Hunter's Ngarrindjeri country, here in South Australia. Director/Producer/Writer, Philippa Bateman, has just released a truly awe-inspiring documentary that brings that event to life. It's called Wash My Soul in the River’s Flow, and she joins us now.

Philippa, firstly, congratulations. This is a stunning and moving documentary and one of the things that struck me was your courage and fortitude as a filmmaker in this era of fast-paced cuts where scenes are timed to the second, to give us passages of minutes in which we can dwell quietly with the beautiful footage of the Murraylands and Coorong. What was the creative reasoning behind this?

When was the seed planted for this documentary because if we're talking about an almost 20-year project, then that puts you in the same league as Stanley Kubrick who was renowned for not rushing projects in his quest for perfection?

At the Adelaide Show, we put South Australian passion on centre stage, and aside from Archie and Ruby, the South Australian landscape has star billing in your documentary. Can you share some of your experiences in capturing Ngarrindjeri country on film - the river and the wildlife. I'd love to know if it spoke to you in some way and has affected you at all?

The documentary gives voice to Archie and Ruby's retelling of their first hand experience of being among the Stolen Generations. It's emblematic of this production; we see great love and great hurt and we also see river time juxtaposed against city time, especially when the song Down City Streets is performed. Can you describe the weight of the responsibility as a filmmaker in honouring these extremes while maintaining layers of nuance.

What are the musical highlights for you?

And what mindset would you suggest audiences adopt when they go to see this in cinemas?

We'll have links in the show notes and, as my partner said while we were viewing the documentary - we must buy this, I'll want to watch it again and again and again.

00:32:39 Sorry Proof Country

Exceprts from Sorry Proof Country documentary. This is a documentary I made in 2003, in response to the then government's inability to say "sorry" in the wake of the Bringing Them Home Report into the stolen generations.

In this episode, we play three snippets from these guests:

• Doris Pilkington Garimura AM, author, Follow The Rabbit Proof Fence
• Brian Butler, former ATSIC Commissioner for SA
• Sir Ronald Wilson AC  KBE CMG QC, Co-author, Bringing Them Home Report

And here is the documentary, which was uploaded at a time when YouTube had a 10-minute limit on videos, so it has been split into parts one, two, and three.

https://www.youtube.com/watch?v=j-HsxTqKZJY

https://www.youtube.com/watch?v=roSGpPncn5k

https://www.youtube.com/watch?v=J2MWLrYKLxQ

00:37:02 Musical Pilgrimage

In the musical pilgrimage, we have a song called Guess by Kyan Burns, pronounced (Kye-Ann).

We discovered this SA Music Awards nominee via the radionotes podcast with John Murch. Click through to hear his expansive and excellent interview with Kyan.

Thankfully, as a fellow South Australian podcaster, John generously lets us share snippets from his interviews, which we've done in this episode.

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.

Adelaide Fringe at home, in a park, or in a theatre? Take your pick!

The Covid-19 pandemic and ever-changing response protocols have prompted Hartstone Kitney Productions to make it possible to do the Adelaide Fringe at home this year, more than ever before. Joanne Hartstone and Tom Kitney formed their production company in 2017 and in recent years they have invested heavily in filming and streaming live shows. Amid the uncertainty of the pandemic, all their Fringe shows this year will only be available via livestream or on-demand.

A reminder that Steve Davis and Ekkia Evans will be reviewing Fringe shows again this year. Read our Adelaide Fringe reviews here, throughout the Fringe.

For the SA Drink Of The Week, local comedian and show producer, Wendy Torbet, will share a Coopers Pale Ale while discussing some stand up comedy insights.

And Melbourne-based performer, Tash York, who lives in Adelaide every Fringe (and has done for many, many years), will share her insights on Fringe, interstate acts, and the glam/big hair aspects of cabaret.

And in the Musical Pilgrimage, we finish off with a track by Nick Vulture, that will feature in a show he's putting on called Southern Sounds.

You can navigate episodes using chapter markers in your podcast app. Not a fan of wine? You can click next to jump to the next chapter in the show. We're here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast at the 2021 Australian Podcast Awards and named as Finalist for News and Current Affairs in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It's an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we'll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store - The Adelaide Show Shop. We'd greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here's our index of all episode in one concise page

Running Sheet: Adelaide Fringe at home and about

00:00:00 Intro

Introduction to the show.

00:04:53 SA Drink Of The Week

This week's SA Drink Of The Week is a Coopers Pale Ale, as recommended by Wendy Torbet, a comedian and producer who's producing some live, in-the-flesh comedy shows again this fringe.

Shows mentioned:

Open Mic Comedy at Legends Bar

Fashionable and Fabulous

The Good, The Bad and The Ugly

00:08:19 Adelaide Fringe at hom with Joanne Hartstone and Tom Kitney

In 2020, when Covid-19 struck and theatres went dark, the State Theatre devised an ingenious program called Decameron 2.0; a weekly hour of 10 short monologues broadcast online. It was a hit and the production qualities were very high. Some amateur companies also experimented with livestreaming or prerecorded theatre with mixed results, typically due to lower budgets and lack of experience. Our guests today have truly honed the art of filming and streaming live theatre, so much so that for the Adelaide Fringe in 2022, all their shows will only be viewable online. Joanne Hartstone and Tom Kitney, welcome to the Adelaide Show.

Shows mentioned:

The Girl Who Jumped Off The Hollywood Sign by Joanne Hartstone / Hartstone-Kitney Productions

The Reichstag Is Burning by Hartstone-Kitney Productions

EGG by Erin Fowler Movement

Spaces Between Us + Epilogue by Lewis Major Projects

Satori + Unfolding by Lewis Major Projects

You Can’t Hide In The Desert by Tracy Crisp

Something In The Water by Scantily Glad Theatre Company

Prepping For Theatre by Dr Lane

Myths, Legends and Fantasy by Emma Knights

Or just click HERE to see all Hartstone-Kitney Productions shows for the 2022 Adelaide Fringe

I had my first virtual experience of Black Box Live, which is the manifestation of your livestreaming and on-demand theatre, last year. I'd missed Dr Gill Hicks' theatre debut, Alive And Kicking, so watched your on-demand version. It was wonderful experience and I'm glad I got to see it. I also know that because of her connections to the London bombings, there were readymade audiences in England who got to watch the broadcast performances. What are your recollections of that show and your other shows during the 2021 Fringe? And did audiences split evenly between in-theatre and online, or was there a skew?

Can you take us through your thinking process for opting to only do Fringe shows online this year? Was it prompted by some heartbreak last year when restrictions were brought in right on the day before a big new season launch?

Did you watch any of the Decameron 2.0? Thoughts?

Apart from your productions, what livestreamed or on-demand theatre thrilled you over the past few years?

I hear some people, Peter Goers is one of them, who poo poos livestream theatre, saying theatre is meant to be live, in the flesh. I think if you go back a few years to filmed productions that had one or two cameras and sound being recorded from the auditorium, then I would be with him. But I've seen some stunning and thoughtfully filmed theatre in recent years and have become quite a convert. Do you still encounter this sort of staunch resistance? Or is that fading like the claims of early luddites who railed against the printing press in 1492, claiming handwriting was the moral superior to mechanical printing?

Martin Scorcese was once asked what was more important, vision or sound. He said, sound. And I agree. What's the trick for capturing good sound when livestreaming?

How do you plan when to be close up and when to have a wideshot or even follow the action?

I was at Essential Theatre's Shakespeare In The Vines at Sevenhill Cellars last weekend, and their actors had wonderful skills around projection. Would they blow your mics? Is there a different discipline required for actors on your sets?

Are all shows suitable for filming?

I think we've covered many aspects but can we just reflect on some of the pros and cons related to producing theatre for the screen. For example, one person can buy a ticket but a whole family could watch (so you bleed some ticket sales). Similarly, I am sure there are actors who thrive on audience feedback. On the plus side, theatre on screen allows for greater access for people with disabilities, plus a greater chance of fitting theatre into lifestyles. What have I missed? Are some of these factors more or less important than others?

What do you have in store for 2022?

I need to ask about critics. There seem to be some different assumptions about the role of critics. In an ideal world, how does the role of critic fit into the journey of your production?

All reviewers got this note from the Fringe last week, in which it said: Due to the impacts of COVID, venue capacity limits and in an effort to not take seats away from artists and venues, Media will be able to select 1 complimentary ticket per event. We will still issue 2 complimentary tickets for Kids and Family events for parents/guardians to accompany children. If you need to request a second ticket for extenuating circumstances for an event you are attending, you may send a written request to [email protected]. Please note that this request will be evaluated by our MediaTIX team and in consultation with the artist and in many cases may not be approved. What makes me think there is some wrong-thinking happening in the Fringe head office is the notion that critics "take seats away from artists and venues" when, in fact, critics help spread the word about shows to potential audience members. It is completely shortsighted and seems to come from a notion that when I get a "free" ticket, I'm just in seventh heaven going on a junket, without any thought OR RESPECT for the 1-2 hours it will take me to invest my own time in reflecting on the show and writing and promoting a thoughtful review. Comment? Oh, and for the last three Fringes, I have run 4 events and there is no way I would ever have limited a critic to a single ticket.

When you were producing "proper" theatre, you're obvious competitors were other producers of "proper" theatre. But now that you're in the online space, do you feel you are competing against TikTok and YouTube stars, let alone Netflix, Stan, and all the rest? How do you make sense of your marketplace?

01:33:55 Tash York

Tash York is a Melbourne performer who lives a month of her life every year in Adelaide. Amid rumours that some people are saying that all interstate shows have been cancelled this year (yep, that's been discussed in the Fringe artists' Facebook group), I thought I'd have a quick chat with Tash for some "proof of life".

Shows mentioned:

Tash York's Happy Hour

Wine Confessions with Tash York

Tash, when did you start coming to Adelaide?

What changes have you noticed with the Fringe and with Adelaide over this time?

What is your mood and your thinking in relation to these pandemic times?

Tell us about Happy Hour?

Do you really improvise an original song, live?

And tell us about the goon!

You've also recently joined the cast of Confessions.

Finally, you have big hair, your sidekicks do, also, along with big makeup. Most of us don't walk down the street like this. What is its appeal? Do you think it's voyeuristic escapism, eg, we watch you and marvel that we could never do that?

01:51:43 Musical Pilgrimage

In the musical pilgrimage, we have a song called Perfect Storm by Nick Vulture.

Show mentioned:

Southern Sounds

Nick is part of Southern Sounds, a one day event on Sunday February 27th 2022 between 1pm (doors from midday) to 7pm at the beautiful Port Noarlunga Arts Centre.  It will be celebrating some of the amazing original singer songwriter talent from the south of Adelaide with award winning acts such as Loren Kate, Tilly Tjala Thomas, Jen Lush, Steve Ashley and, of course, Nick Vulture.  There are plenty of nearby eateries to grab a feed before and/or after, and drinks will be available inside the Arts Centre.  This is a one off event with amazing musical talent, so get on board and support this amazing bunch of musos and enjoy a day by the beach at the same time!  Tickets at Fringetix - just search Southern Sounds!

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.

I choose you: Writing wedding vows with Tim and Jade

Weddings have been disrupted during Covid, but despite the hurdles, many couples have still been tying the knot in South Australia, including Tim and Jade, our special guests in this episode of The Adelaide Show.

They got married last year in an outdoor ceremony and their vows were so different from the ones usually heard, that we asked them to join us to share their thinking and writing process - and to check on their marriage progress, to date.

Tim and Jade are both vegan, so for the SA Drink Of The Week this week we chose one of their go-to wines. It's made by Yalumba.

And in the Musical Pilgrimage, we finish off with a live performance of a song by Siberian Tiger, from the radionotes podcast with John Murch (a superb, South Australian podcast).

You can navigate episodes using chapter markers in your podcast app. Not a fan of wine? You can click next to jump to the next chapter in the show. We're here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast at the 2021 Australian Podcast Awards and named as Finalist for News and Current Affairs in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It's an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we'll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store - The Adelaide Show Shop. We'd greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here's our index of all episode in one concise page

Running Sheet: Writing wedding vows00:00:00 Intro

Introduction to the show.

00:02:53 SA Drink Of The Week

This week's SA Drink Of The Week is a 2019 Yalumba Bush Vine Grenache from the Barossa Valley. We chose it because it's one of Tim and Jade's go-to red wines, fitting in with their vegan lifestyle.

00:09:23 Writing wedding vows

One of the great writers and wits, Oscar Wilde, references marriage in many books and plays and two of these quotes seem to be contradictory: The proper basis for marriage is a mutual misunderstanding. The other: Ultimately the bond of all companionship, whether in marriage or in friendship, is conversation. Back in October last year, 2021, a friend of mine, Tim Whiffen, married Jade Schulz, down on the outskirts of McLaren Vale at McCarthy's Orchard. What struck me about this wedding more than any others I had attended, was the quality of the writing in the service and in the vows. Of course, when you have two philosophers getting married, I guess one's expectations should be high. Jade and Tim, welcome to The Adelaide Show podcast.

Let's deal with a few Oscar Wilde quotes. Tim, if you had to choose, which would be the better basis for marriage: mutual misunderstanding, or conversation?

Jade, your thoughts?

Another great writer in the world of romance, is Jane Austen, and perhaps Pride and Prejudice is considered one of the great romance novels of all time. One of the themes running throughout is the desperate and calculating nature of marriage and how Elizabeth keeps getting marriage proposals from Mr Collins. So much so, that at one point the story goes like this:
“Really, Mr. Collins,' cried Elizabeth with some warmth, 'you puzzle me exceedingly. If what I have hitherto said can appear to you in the form of encouragement, I know not how to express my refusal in such a way as to convince you of its being one.”
Who asked who to marry?

Thinking Out Loud by Ed Sheeran is listed everywhere online as the number one bridal waltz (what did you use). I would like to interrogate the lyrics briefly.

And darling I will be loving you 'til we're 70
And baby my heart could still fall as hard at 23
And I'm thinking 'bout how people fall in love in mysterious ways
Maybe just the touch of a hand
Oh me I fall in love with you every single day
And I just wanna tell you I am

How did you two meet and strike up a romantic interest?

So honey now
Take me into your loving arms
Kiss me under the light of a thousand stars
Place your head on my beating heart
I'm thinking out loud
Maybe we found love right where we are

Is love something can be "found"?

We are going to look at your vows now. And as a prelude, I found these writing wedding vows tips from brides.com. Let's see what you think about them.

1. Say "I love you."
2. Tell your partner you'll be there through thick and thin.
3. Share personal stories.
4. Actually make promises.
5. Acknowledge the support you'll need from others.

They also offered tips about writing them.

1. Don't wait until the last minute. Plan to have your vows written three weeks before your wedding.
2. Make a list of all your thoughts.
3. Write up to three drafts.
4. Don't try to include everything.
5. Avoid words like "always" and "never."
6. Embrace sentimentality.
7. Go after laughter.
8. Get inspired by books, songs, movies, and poems.
9. Practice reading out loud.
10. Indicate pauses and intonation.
11. Ask a trusted friend to listen.
12. Make a fresh copy of your vows for the ceremony.
13. Keep the vows a secret from your partner until the ceremony.

In fact, let's listen to them. Jade, you read yours first, so let's listen first:

Tim, you are truly my best friend, the person I want to share every important moment with, good or bad. You are the person I want to share ridiculous jokes with and to do weird dances in the kitchen with for no reason. I feel so incredibly lucky to have found someone who is so genuinely kind, caring and thoughtful. You don’t hesitate to go out of your way to make the important people around you feel loved and valued, and I think that is such a beautiful quality. I love how passionate you are about the things you care about, and how much you love to learn and grow as a person. I am so unbelievably proud of you and I promise to make you proud too. We both know that I am absolutely terrible at making decisions, indecisive is an understatement, but one decision I am so confident in, is that I want to spend the rest of my life with you.

I don’t believe in fairy tales, but I do know that when I am with you I feel a sense of stability, comfort, acceptance and love that I never knew existed before I met you. I know that special moments in our life have been made so much better by sharing them together, and that we are both prepared to work on and grow our relationship for the rest of our lives, and honestly I can’t imagine anything better.

I feel so fortunate to be able to love someone who enriches my life in so many ways, and cannot express how excited I am to marry you. Tim, I promise to always support and encourage you, to care for you and celebrate with you. I promise to value our differences as much as our common ground. And I promise to always be grateful that you eat all the yucky flavours of skittles and save the green ones for me.

Today I stand in front of the people who mean the most to us and say, I choose you. I choose you over all others, I choose you to laugh with, to cry with and to grow with. I choose you to love, and I will choose to love you every single day for the rest of my life.

There are three things, in particular, that struck me about your vows, Jade.

Tim's nature of going out of his way to make people around him feel loved and valued. How did that crystallise as a quality to include in your vows?

Tim eating the yucky Skittles for you. What are the bad colours?

You finished by saying "I choose you". Describe the nature of that verb. Is it once off thing, or is choosing an on-going aspect of your relationship?

Now let's listen to Tim's vows:

It is without doubt that we have flourished together, Jade, we are more than the sum of our parts, and today I stand here committing to this relationship, considering myself beyond lucky to have found that.

I have had many wonderful opportunities in my life, fortunately I was wise enough to recognise the greatest opportunity in asking for your hand in marriage. For all the knowledge and skill, I could seek to gain, I value this, what we have together, above it all. With all the beautiful and shiny things available in life, I am most drawn to your beauty, your nourishment, and your madness, because you are just mad enough to make things interesting. So, I won’t avert my gaze to the stars when what I’m most proud of is in front of me today.

My heart chooses you, Jade, and this life we have. When I wake every day, I do so with you in mind, when I dream a dream, I put you right beside me because what would any of it be worth without you? I could achieve many things alone, but I have achieved true greatness in love. My head can only kneel before my heart in its choice, and so I promise, beyond rationality, to continue to choose you, in sickness and in health, through absence and presence, peril and joy.

I will love you after every board game where you target me and win, I will love you through every late arrival to everything without fail, and I will love you after every time I have to give you directions to your own home. I trust that you’ll accept my love hand poured into every terrible or lazy meal I ever make, or the love I’m expressing through every annoying song I sing, and with the strength provided by our dearest friends here today I’m sure you’ll be able to accept my love and apologies after facing my many imperfections.

As philosophers, you and I don’t deal in the absolutes of forever, but any fears I have are vanquished by trusting you. Your patience in the face of my flaws tempers my insecurities and your graceful love enriches my very being. Just knowing I don’t have to face trials alone is halfway to deliverance, so it is you and I against the world, dear Jade, I love you, and I’m elated to be married to you.

Tim, some things I wanted to explore.

What did you mean by, I have achieved true greatness in love?

You say you will love Jade after she targets you in board games and wins. What is this a reference to?

You reference "graceful love" and not having to "face trials alone". Is this a key point for you?

Questions from listeners about vows.

Craig Mitchell, a friend and a Uniting Church minister.

My question is about to whom the vow is given/addressed. There are family and friends as witnesses. Some of doing this publicly is that we are in a sense making ourselves accountable to others to uphold our promises, but also acknowledging that requires a supportive community. For some, this 'accountability' also has a religious dimension. ie being accountable to a deity, but also recognising the need for the deity's strength. So my question is how this wider sense of marriage as a social and even religious contract/covenant with both accountabilities and the need for 'a village' shapes both the words and the intent? How would the vows be different in private? What are we expected to say or need to say because this is a public declaration?

My second question similar to above is how social expectations might negatively shape such vows (including seeing them as irrevocably eternal or even lifelong when that is largely the exception)? How do you take something seriously without requiring the impossible?

Third question: When do celebrants draw the line and say “I don’t think you should say that?”

Michael Mills, actor and writer.

Q: How is it okay that in some wedding vows in 2022, part of a woman's vow is still sometimes "to honour and obey." While the man doesn't have such a vow? How is this still a thing? And yes... I've witnessed it recently.

A question from Colin Richard:

Do people still say things like ‘forever’ and ‘always’ and things like that? They’re lovely ideas, but we should probably throw in the words ‘I will try…’ rather than promising something so many can’t achieve (because we’re all human, things change, and we can’t always deliver on the original promise).

Your thoughts?

Let's start drawing this to a close now. Perhaps a little more Jane Austen, this time from Sense and Sensibility:

"Lady Middleton resigned herself... Contenting herself with merely giving her husband a gentle reprimand on the subject, five or six times every day.”

I think that's a reference to nagging. Are either of you nagging each other yet? Have you learned strategies for dealing with such things?

And in Much Ado About Nothing, Benedick says to Leonato, "Thou art sad; get thee a wife, get thee a wife!"

Tim, is that good advice?

Thank you, both. Oh, and this podcast interview is me fulfilling my pledge made at your ceremony, to keep you two in check and accountable.

01:26:56 Musical Pilgrimage

In the musical pilgrimage, we have a live version of Call On Me by Siberian Tiger, recorded during their intriguing conversation with John Murch on the radionotes podcast.

The episode featuring Bree Tranter and Chris Panousakis, is available here: Siberian Tiger, radionotes podcast.

In the chat with John, Bree and Chris explain the rationale behind their choice of the Henley Sailing Club as the location for the video for Call On Me.

For The Adelaide Show podcast regulars, you'll note that former guest, Glynn Nicholas, is one of the tango dancers who features in the video clip embedded on the original show notes page.

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.

True crime - why is there such a hunger for it? I have no idea but I suspect tonight's guests will. Dr Samantha Battams returns to the podcast to talk about her latest book, The Rhynie Poisoning Case, The true crimes of Alexander Newland Lee, and Alison Oborn from Adelaide Haunted Horizons will be here to lend her experience about all things Old Adelaide Gaol and ghosts.

When this episode goes live, you should be finding your show notes on our brand new website, which has been put together by Tom Bussenschutt from Talked About Marketing. Thank you, Tom.

The SA Drink Of The Week this week is a KI Spirits Gin.

And in the Musical Pilgrimage, we finish off with Leave A Letter by Kaurna Cronin.

You can navigate episodes using chapter markers in your podcast app. Not a fan of wine? You can click next to jump to the next chapter in the show. We're here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast at the 2021 Australian Podcast Awards and named as Finalist for News and Current Affairs in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It's an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we'll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store - The Adelaide Show Shop. We'd greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here's our index of all episode in one concise page

Running Sheet: True Crime SA style

00:00:00 Intro

Introduction to the show.

00:04:17 SA Drink Of The Week

This week's SA Drink Of The Week is a KI Spirits Gin.

00:09:48 Dr Samantha Battams and Alison Oborn

On the 15th of July 1920, Alexander Newland Lee was hanged by the neck until death at what is now called the Old Adelaide Gaol. It was South Australia's 53rd execution and it promted calls to end capital punishment. Lee was 31 years of age and the poisonings he was accused of carrying out, bore an uncanny similarity to those carried out by his aunty, Martha Needle, in Melbourne, which we discussed with Dr Samantha Battams when she released her book, The Secret Art Of Poisoning, back in 2019 on episode 279. Tonight, we are focussing on Lee because Samantha has now released a book about his crimes and trial, The Rhynie Poisoning Case, The true crimes of Alexander Newland Lee. Welcome to the podcast for your third time. And we're also joined by a former guest of the podcast, Alison Oborn from Adelaide Haunted Horizons, because not only has she read Samatha's book, but she's an author in her own right (Ghosts Of The Past - Adelaide Gaol Ghosts), conducts ghost tours in Old Adelaide Gaol, and is world renowned for her research and storytelling about dark crimes in South Australia. Welcome back, Alison.

Samantha, let's start at the beginning and get an overview of the Alexander Newland Lee story. We know it took place in Rhynie, a small town about an hour north of Adelaide before you get to Auburn and Clare.

Alison, what are the striking passages that stood out for you?

How similar are the Lee poisonings to the Martha Needle poisonings - and do you think Martha inspired Alexander?

How much ambiguity was there at the time about his guilt? I ask this because reflecting on this story in 2022, we're more aware than ever that every week in Australia, one woman is murdered by her parter or ex-partner. Without that knowledge, you're tempted to say, maybe this was an accident.

How did you get so many slabs of narrative between characters, especially Lee and his love, Dolly, and the publican and his wife?

I want to turn to the focus on the trial and then his time in Adelaide Gaol.

What were the notable events of the trial?

Alison, what would life have been like in Adelaide Gaol for people like Lee?

Who are some of the characters who've also been on death row at Adelaide Gaol?

Did Lee's hanging impact capital punishment in SA? If so, why, how?

What should the local tourism body in Rhynie do with a book like yours? Or, indeed, other towns? On one hand, it's historical and people are drawn to "true crime" but on the other hand, is it disrespectful to the victims?

What other stories are yet to be told? And might you two collaborate?

01:04:36 Musical Pilgrimage

In the musical pilgrimage, we have Leave a Letter by Kaurna Cronin, from his Feathers album.

This is the perfect song to end this episode, particularly with the mournful lyrics about thinking of lost love after death:

When I die
Go leave a letter in my grave
That tells me all you never told me
And ill write back one day

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.

Talking with Peter Greste on journalism and press freedom has been one of the highlights of producing The Adelaide Show. This esteemed journalist began his career at Channel 10 in Adelaide before travelling the world and working for Al Jazeera. It was in that role that he was sent to Egypt to cover the Christmas holiday season at a time of political upheaval and was arrested on false charges and jailed, along with two of his colleagues. He is now conducting research into the state of journalism today and its needs for the future if it is to continue playing a vital role in society; the role of shining a light on important public events and people, as well as teasing out bad dealings taking place in the shadows. 
Our "Fourth Estate" has been tested during this time of Covid 19, with politicians and health authorities using different methods of engaging with the media, while the media has had to reassess its "tabloid headlines at any cost" mentality as it both juggled supporting and critiquing authorities (those same authorities that have brought in bad legislation that is dangerously curbing press freedoms) with dealing with conspiracy groups and charlatans wanting to use this time of global public stress to push their own barrows and foment discord.
I think it's fitting that this episode follows our round table episode that critiqued the many failings of Covid 19 media coverage and government policy, while trying to shine a light on ordinary, stable science during this period of quickly-evolving insights and developments.
I hope you find the coversation intriguing, nuanced, and helpful, especially Peter's last comments about one of the books he read while in prison that seems to contain some timely wisdom for all of us: Man's Search For Meaning by Viktor Frankl (who survived the Nazi death camps and wrote this short but powerful book about finding meaning in life as a result).
As an aside, that book, along with 400 Weeks by Oliver Burkeman, have been my summer reading books and prompted me to remove all social media apps from my phone. It's been liberating, and it led to my Musical Pilgrimage song choice. - Steve

The SA Drink Of The Week this week is the 2018 Durif by Gledhill Vignorerons (it's not quite released yet but we got an advance tasting).

And in the Musical Pilgrimage, we finish off with Shining Light by David Robinson.

You can navigate episodes using chapter markers in your podcast app. Not a fan of wine? You can click next to jump to the next chapter in the show. We're here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast at the 2021 Australian Podcast Awards and named as Finalist for News and Current Affairs in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It's an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we'll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store - The Adelaide Show Shop. We'd greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here's our index of all episode in one concise page

Running Sheet: Peter Greste on journalism and press freedom00:00:00 Intro

Introduction to the show includes a snippet from Peter Greste's first press conference upon returning to Australia after being freed from prison in Egypt.

00:07:14 SA Drink Of The Week

This week's SA Drink Of The Week is the 2018 Gledhill Vignerons Durif, made by The Adelaide Show's occasional winemaker co-presenter, John Gledhill. It's not available publicly just yet, but contact Steve if you'd like to get some of this wine which is a bargain at $30 per bottle.

00:09:26 Peter Greste

At the Oz Asia festival last year, I had the pleasure of bumping into Australian journalist, Peter Greste. If that name is familiar to you, it's because Peter was jailed in Egypt for 400 days, having gone to the country shortly before Christmas in 2013, to cover end of year festivites for Aj Jazeera's english language channel. Peter and his colleagues were arrested and charged with airing false news and aiding the Muslim Brotherhood, a banned organisation in Egypt. In recent times, Peter has been working for the University of Queensland, undertaking a research project involving journalism and press freedom. Peter, welcome to The Adelaide Show.

Peter, I was forlorn when chatting with you at Oz Asia because the fourth estate is something I hold (or have held) in high regard, and I'm quite angry at the way it is being cheapened by news outlets, and played by unscrupulous political leaders. I was forlon because there wasn't a link that made you a valid guest on a podcast that puts South Australian passion on centre stage. And then you reminded me that you worked here as a journo. Take us through that time?

What was the calibre of stories covered back then?

I've started using the Al Jazeera app. It's like proper news. How does our news diet compare to European or African diets, eg, we seem to lead with car crashes, robberies, or burst water drains, along with embarrassing gaffes by pollies.

Detention -

Loss of freedom - I would expect waves of despair - your thoughts on our freedom fighers

Protecting sources

Al Jazeera

The twisting of words

Does the press deserve its freedom

Do we know real journalism and was there ever new journalism

I protested 24-hour news cycle in late 80s - is it terrible

Meditation

How did you find resiliance, not knowing an end date - just like people in the world wars or facing covid

Nuance - govt has cracked down badly against freedoms, are we now facing Boy Cried Wolf when it's trying to crack down for public safety

It's weird, the press thing. It really is rich people having a business in which they send employees out wielding sticks, or you have govt broadcasters. Why do I need to answer questions from Mr Murdoch's employees?

I now don't consume much news. How dangerous is that

I find shows like The Bugle and The News Quiz on BBC

01:22:35 Musical Pilgrimage

In the musical pilgrimage, we have Shining Light by David Robinson.

This song came out at least a decade a go and was an early warning song about Facebook and social media.

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.

What does South Australia have in store for 2022? Well, primarily, this will be determined by what we've done in 2021, along with new policies and practices we're putting in place.

To give us some clarity, three regular contributors to The Adelaide Show Podcast, have put up their hands to have their say:

• David Olney
• Nigel Dobson
• Robert Godden

They each bring their insights from three very different backgrounds.

Instead of ONE SA Drink Of The Week this week, each of our panelists will share their own.

And in the Musical Pilgrimage, we finish off with a timely song from our archives.

And in case you missed it, we just won Silver for Best Interview Podcast at the Australian Podcast Awards.

You can navigate episodes using chapter markers in your podcast app. Not a fan of wine? You can click next to jump to the next chapter in the show. We're here to serve!

And please consider becoming part of our podcast by joining our Inner Circle. It's an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we'll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store - The Adelaide Show Shop. We'd greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here's our index of all episode in one concise page

Running Sheet: Let's talk about sex, baby00:00:00 Intro

Introduction to the show.

00:03:24 SA Drink Of The Week

This week, there are four.

David brought Mojo Ginger Kombucha

Robert brought Apple and Cranberry Fine White tea, made by himself at The Devotea

Nigel and Steve both brought different gins by 78 degrees (details to come)

00:09:47 Bound for 2022 in SA with David Olney, Robert Godden, Nigel Dobson

In the words of the old folk balad, Bound for South Australia, there's the lyric, heave away, haul away, and it feels like there is still much work to be done to sail safely into 2022 here in South Australia. We have a state that has done some hard yards to minimise Covid-19 cases from overrunning our hospitals but amid angry and frustrated people wanting to assert their rights against getting vaccinated or practicing communal health restrictions for the greater good, our government has yielded to various pressures (not least of which might be the upcoming election) and relaxed many protective measures. None of this has been helped by an opportunistic media, ready to pick over the carcus of truth and facts to find the juiciest tidbits to arouse passions. In short, there are many moving parts and it takes some effort to quieten down our anxieties and check our lazy thinking, to try to discern truth, even when that truth might be inconvenient. So, as we're bound for 2022, I have gathered my Adelaide Show ship mates around some South Australian drinks, to discuss the state of South Australia, especially in relation to Covid-19 and the political landscape. And the ship mates are, former co-presenter and cognitive scientist, Nigel Dobson, diability advocate and part-time political pundit, Robert Godden, and former lecturer in geopolitics, David Olney.

Let's start by getting our compasses set to some sort of true north, in relation to SA's current disposition on Covid-19, Politics, and our Geopolitical status.

Nigel - Covid.

Robert - Politics.

David - Geopolitics - are we exposed amid defence contracts, international students, etc?

Now I want to work on a few of the main strands that are causing me and many people much despair about our immediate and mid-term futures:

• Getting straight information on Covid-19 and vaccination, preventative measures like mask wearing and hand cleaning, and how to interpret data being released daily.
• The notion of civic responsibility. I firmly believe we must get vaccinated for the common good and I would like to see the government step in and mandate vaccination to give our businesses cover.
• I saw a report into the damaging effects of media language on community confidence - terms like "there are fears ..." or "authorities are scrambling to ...". It's lazy, lazy, jingoistic journalism. What can be done?
• Politicians seem to not want to be the ones holding the ball when the election bell goes. Will we get good, confident leaders again?

What are some things for us all to practice or think about in the New Year:

• Dealing with friends and family who won't vaccinate or who are completely lost to conspiracy thinking?
• Reacting to those people who waltz straight past all Check In and mask up notices
• Weighing up the risks of going to public places and events
• Sources of good coverage

And, of course, the show took a different pathway altogether!

01:28:58 Musical Pilgrimage

In the musical pilgrimage, we have I Don't Think You're Lonely by Kelly Breur, from our archives. It just seemed fitting, as Steve explains in the episode.

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.

The Salt 'N Pepa song, Let's Talk About Sex, Baby, could well be the theme song for this week's episode because that's exactly what we're talking about with our special guest, Wala Truscott, who is a relationship, intimacy and attraction facilitator, professional touch therapist, and The Wheel of Consent teacher. If your relationship has lost is flames of desire and attraction, Wala has some hope-giving insights to share.

Instead of an SA Drink Of The Week this week, we're going to chat about some SA condiments with the team from Beerenberg Farm, to celebrate the opening of their new Farm Cafe & Dairy. In particular, Steve gets to meet THE Uncle Steve of Beerenberg Chutney fame.

And in the Musical Pilgrimage, we finish off with a smouldering song from 2015 by Adie Haines.

Plus, BIG NEWS, we just won Silver for Best Interview Podcast at the Australian Podcast Awards.

You can navigate episodes using chapter markers in your podcast app. Not a fan of wine? You can click next to jump to the next chapter in the show. We're here to serve!

And please consider becoming part of our podcast by joining our Inner Circle. It's an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we'll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store - The Adelaide Show Shop. We'd greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here's our index of all episode in one concise page

Running Sheet: Let's talk about sex, baby00:00:00 Intro

Introduction to the show.

00:04:12 SA Drink Of The Week

This week, it's actually a meet and greet with some fine people from Beerenberg Farm, to mark the opening of their new Farm Cafe & Dairy.

We meet Sally Paech, marketing director, and talk with two people who are "famous" for being on the labels of sought after products, namely, Uncle Steve and Nikki.

00:14:06 Wala Truscott

Wala Truscott works with singles and couples who are struggling with resentment in their relationships, so they can move to a place of having open, honest and uncomfortable conversations with their partners and ultimately achieve a strengthening of their "relationship certainty" and a deepening of their sexual connection. So, in borrowing the words of Frankenfurter from the Rocky Horror Picture Show, why don't you come into this chat, and where it's all at. I'm glad you're shivering in an-tici-pation. Wala, welcome to The Adelaide Show.

Before get in too deep, is the presence of absence of anticipation a good "canary in the coalmine" when it comes to measuring the sensual or intimate health of a relationship?

I noted that you shared on LinkedIn that you were looking forward to this chat so that we could explore why relationships either deepen or dwindle. So let's start there because I just heard a respected social scientist say on a podcast recently (I think it was Sam Harris's Making Sense podcast, but it could have been Paul Bloom on the Very Bad Wizards podcast), that if you counted the number of times a married couple has sex in their first year of marriage, you can then start counting down from that with every subsequent year for the rest of their lives and you will never reach zero. Is that what you'd call a "dwindling" relationship?

Why is sex and/or intimacy so important to a relationship? We know it has physical and psychological benefits, so is there reason to be suspicious when someone says they're relationship has "moved on" from sexual relationships?

As I grew up, my dad was a priest and he'd often take a text from the Bible to guide his sermons, so I'm going to follow suite BUT I'll be choosing as my text, Kiss, by Prince. Wala, I'd like you to reflect on the healthiness or otherwise of some of the statements in this song.

You don't have to be beautiful
To turn me on
I just need your body, baby
From dusk 'til dawn
You don't need experience
To turn me out

Comments?

Then he sings:

You just leave it all up to me
I'm gonna show you what it's all about

This seems a bit one-sided? Or can that be a good thing?

Let's continue:

I just want your extra time and your
Kiss

Does he stumble into some gold here. Is intimacy really about "time" and "focus"?

Some last quotes:

You got to not talk dirty, baby
If you wanna impress me (ah)
You can't be too flirty, mama
I know how to undress me, yeah
I want to be your fantasy
Maybe you could be mine

Do people often reach for dirty talk or sexting, thinking it's a turn on, when it might not be? How would you talk about this?

And finally:

Women, not girls, rule my world
I said they rule my world
Act your age, mama (not your shoe size)

As someone who is older and whose body shows the sign of abuse and neglect from working too much instead of being physical, there are two points here. Firstly, it's okay to find out how to be "sexy" while being old (and maybe sexy isn't the term), and secondly, do you think people's own embarrassment about their bodies saps them of the confidence and energy of seeking to reignite the flames of passion for fear that their self-repulsion might be shared by their partner?

Here endeth my sermon but a friend of mine - a former priest who these days is an awesome family systems therapist, Brett Williams from Adelaide Night And Day Family Therapy - asks you to comment on this: How come in our society, is sexuality (both its understanding and its practice), controlled by organisations like the porn industry and churches, and then by the media, rather than being influenced by the education and academic world?

How do you work with individuals and couples?

Take us through the various tools at your disposal.

What's your advice for people who are seeking or starting a relationship?

And for those of us married or in long term relationships, what are some simple things we could do tonight OR some questions that could start the ball rolling?

And are there any good books, movies, TV shows, etc, where either characters demonstrate healthy sexuality OR the have great insights, eg, The Love Languages/

01:15:34 Musical Pilgrimage

In the musical pilgrimage, we have Shut Up And Kiss Me, a song by Adie Haines, first brought to our attention in 2015, and played on our episode in which we interviewed, Samela Harris. In light of the discussion with Wala, this song is a good one to ponder, given the insights that too much dithering in the bedroom and in relationships in general can be a BIG turn off.

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.