Comments Off on The Jazz of Nala Sinepho: A soundtrack for the age of core-core and introspection
The world moves too fast. Each day bleeds into the next. Lectures bleed into work, work bleeds into sleep, sleep bleeds into breakfast, Monday bleeds into Friday, and eventually, life will bleed into death.
The world moves too fast. Faster than ever. Advanced technology has enabled us to do more than ever before, but just as we have become able to do more, so too has each day become an instrument for completing a growing to-do list, upon which crucial time for ourselves rarely makes an appearance.
The music of experimental Jazz musician Nala Sinephro provides a refreshing answer to the increasingly chaotic world we live in.
Nala Sinephro’s Jazz
Jazz has always pushed boundaries. Playing with increasingly complex musical arrangements and improvisations is the genre’s bread and butter. While these elements are certainly not lacking in Sinephro’s jazz, they are aided by a characteristic style of meditative calm.
Among a series of tightly crafted ambient, and yet emotionally charged soundscapes, adventures into melody and rhythm are timely responses to our world; a world increasingly saturated with noise and jargon.
Space 1.8
In 2021, Sinephro came out with her debut album Space 1.8, blending the ethereal tones of the harp with powerful jazz improvisations and synths into a sound that was — and still is — fresh and distinct.
Alongside collaborators Nubya Garcia and the Ezra Collective, Space 1.8 moved away from the bombastic and instead looked to evoke introspection and reflection. With each track, Sinephro crafted a spiritual space, both open and calm. The album was a pivotal release, striking a chord with listeners around the globe, and breaking new ground in both the jazz and the ambient genres.
Endlessness
Now, her second album, Endlessness, is here. Sinephro pushes her experimental ethos even further, in a 45-minute exploration of jazz stripped to its ambient core. Shimmering arpeggios, yearning saxophones and pulsating rhythms decorate the bones of the project, while thematic throughlines of recurrence colour Sinephro’s reborn sonic cosmos.
While Space 1.8 offered continuous variation, Endlessness is wholly minimalistic. A single arpeggio motif guides us through the album and results in a deeply cohesive and meditative experience, though some may find this a repetitive trap.
And yet, it is this very sense of repetition that I find deeply intentional, mirroring contemporary cultural shifts in the digital world, especially viral online artistic movements like core-core.
Core-core and Introspection
It is in core-core that seemingly random, often emotionally charged images and sounds are paired to invoke a mellow appreciation of our shared human experience, helping us process and navigate a world of overstimulation, nostalgia, and often overwhelming existential helplessness.
Both core-core and Sinephro make heavy use of recurrence, spontaneity, and subtle emotional shifts. Both ultimately function by taking something simple — be it an image, a video, a melody or a motif — and developing it into something deep and meaningful through prolonged repetition, layering and an emphasis on difference.
In both core-core and Sinephro’s jazz, simplicity is utilised as a powerful tool for emotional resonance, invoking an atmosphere that is equally soothing and haunting.
As core-core engages us, it creates a space for reflection. Sinephro’s Jazz does the same. We are offered a peaceful refuge from an increasingly fragmented life, from our penchant for instant gratification and endless doom scrolling. Sinephro’s music encourages us to slow down, to focus on each note, on each moment that captivates us, and also to appreciate all the space in between.
In a world where our attention is constantly pulled in multiple directions, we often need a counterpoint, or perhaps a cure. Something just like this, which demands of each of us patience, and rewards those capable of giving it with peace, if only for a little while.
Ultimately, in an era of information overload, Nala Sinephro’s music captures a cultural moment where introspection, minimalism, and fluidity are central to how we should be navigating the world. Both of her albums, Space 1.8 and Endlessness, provide much-needed room for reflection. Whether it’s through the loops of a synth arpeggio or the hypnotic pull of a jazz motif, her work aligns with the current cultural landscape — offering, in the vein of core-core, a soundtrack for those seeking solace in a world of never-ending noise.
For those who feel overwhelmed, I ask that you listen.
Slow down, breathe, and listen.
Have you ever been listening to a song and are so taken aback by an unhinged lyric that you have to go back and check that it’s exactly as insane as you thought it was? Yeah, me too. Typically I don’t listen very closely to the lyrics of songs. However, every so often, there’s one so special it requires recognition. Here is a collection of a few of my favourite lyrics that have stopped me in my tracks (pun intended).
If you, like me, have a middle-aged white Australian father, you’ve probably been forced to listen to a lot of Triple J over the years. When I was fifteen, Pond came out with their album The Weather and to say my dad was obsessed is an understatement. This meant anytime one of their songs was played on Triple J, my dad would turn it up and sing along — horribly off-key, mind you. Truly nothing is more horrifying as a teenager than hearing your dad fucking belting the line, ‘in between my penis and chin/is camembert and shame’ (Pond, Sweep Me Off My Feet). The moment has never left my brain since and probably never will.
Being on Youtube in the mid to late 2010s, you may have come across the animation community and its even smaller subset, the animated meme community. Me and my brother fucking loved to show each other the most stupid videos from there, like Momotaro by Ap Selene and Vivziepop’s Timber. I still maintain that some of those songs were good. One of our absolute favourites was the reanimation of Pokemon Sun and Moon characters to You Reposted in the Wrong Neighbourhood by Shokk. The image of Professor Kukui dancing hard to ‘I’m a menace, a dentist, an oral hygienist’ is timeless. The original may have been deleted, but I still go back to reuploads every now and again.
For one of my introductory courses in first year, the professor would play the music video for a song at the beginning of each module (so usually one or two a class) that was in some way related to the content we would be learning. We were forced to listen to all manner of wild songs at 8 am on a Tuesday morning, but I can’t deny that they were part of the reason I loved that class and went to every lecture, even with that brutal start time. One of the most memorable was the 17th song in which the line, ‘I’m learning to hate all the things that used to be great when I used to be bent!’ was uttered. Honestly, the entire song, I Want to Be Straight by Ian Dury (ft. The Blockheads) is mad, so I would encourage watching the music video or even just listening if you feel so inclined.
In the past couple of months, a lot of my friends have moved houses and as the fantastic friend that I am, I helped. On one of these expeditions, after we had moved most of the boxes into the new place, we were taking a break and listening to the radio (which station I couldn’t tell you for the life of me). We were sweaty, exhausted and overheated. Basically we were delirious, which means that only something truly out of pocket would’ve shaken us out of our stupor. It was actually an earlier lyric from the song that caught our attention (breathing out a hole in my lung) but the later lyric is one that stuck with us so bad we immediately had to look it up to make sure we didn’t hallucinate what we had heard. We hadn’t, and that lyric was; ‘I’m a sex change and a damsel with no heroine’, from Silverchair’s Straight Lines.
When I told my dad about this collection of silly song lyrics that he had originally prompted, he was at first amused but then said he had the perfect song to add to it. He was right. The entire song is a collection of lyrics that I’m frankly astounded made it past a producer but the one I’ve chosen is tame enough that it’s entertaining but not batshit enough to be concerning – like some of the rest of the song is. That lyric is ‘I like football and porno and books about war/ I got an average house, with a nice hardwood floor’ from Dennis Leary’s song Asshole.
Those are all lyrics that have really stuck with me, but there are others that I believe deserve an honourable mention:
‘May God rest that twink, he is no more’ – Lynks, USE IT OR LOSE IT.
‘Jerry Lee Lewis was the devil’ – Ministry, Jesus Built My Hotrod.
‘Sipping tea by the fire is swell/ pushing people in is fun as well!’ – Starkid, Different as Can Be.
‘I get eaten by the worms/ and weird fishes’ – Radiohead, Weird Fishes.
‘I have a big gun/ took it from my Lord’ – MELL, Red fraction.
‘Doctor holding a big bottle of tonic but the bottle’s full of rings and the doctor is Sonic’ – Tom Cardy (ft bdg), Beautiful Mind.
‘And I’ll blend up that rainbow above you/ and shoot it through your veins’ – Owl City, Rainbow Veins.
‘I got money and fame and fancy clothes/ I got a cat food sponsor deal’ – 2winz², Just One Day.
‘Your waitress was miserable and so was your food’ – Alex Turner, Piledriver Waltz.
‘He keeps begging me to eat me out, I said, / “You gotta take my tampon out with your mouth”’ – Ayesha Erotica, S&M remix.
‘Sixty-nine is the only dinner for two’ – Childish Gambino, Heartbeat.
‘Bish I’m a star but not Patrick’ – Lisa (BLACKPINK), Ddux4 (JP. Ver).
‘The whole world is my daddy / wabi sabi papi’ – Okay Kaya, Mother Nature’s Bitch.
‘Pick my shorts out my ass with my blood-stained hands’ – Ashnikko, Cheerleader.
‘You won’t doo-doo me, I smell TNT’ – Kendrick Lemar, United In Grief.
Comments Off on Woroni is Hiring for Semester 1 2024!
Woroni is hiring for Semester 1 2024! Positions are available across our Art, Management, News, Radio and TV portfolios.
At Woroni we are committed to:
producing interesting, entertaining, informative and regular content across our print, multimedia, radio and online media platforms;
contributing to a sense of university identity and reflecting the scholarly and cultural diversity of the ANU community;
promoting open public dialogue and debate in the ANU community;
promoting awareness of the variety of curricular and extra-curricular activities undertaken by students at ANU;
discovering and developing the creative talents of students at ANU in journalism and the media arts;
promoting the best practice in professional journalism; and
being innovative and exploring new media forms.
A great student media organisation is for everyone. Student media should promote conversations, and provide a platform for people with different views, identities and lived experiences. Our ultimate aim is to build a culture of inclusivity and diversity across our platforms. A large portion of ANU’s students relocate to Canberra to study, which means our community is extremely diverse. Woroni is funded by, created by and consumed by ANU students, and our mission is to produce print, radio and television content that truly reflects this community.
Woroni is committed to diversity in hiring and encourages applications from ANU students of all backgrounds. These are volunteer positions, however individuals may receive an honorarium based on their commitment to the role. If you have questions or concerns, please do not hesitate to contact woronieic@gmail.com. If you would like to contribute to our mission, see below for how you can get involved with student media!
Applications will close at midnight on Sunday the 18th of February 2024. Interviews may be conducted at any time throughout or after the application period.
ART
The Woroni Art team has many exciting opportunities available for ANU students interested in all aspects of art and graphic design. We encourage absolute creative freedom in your artistry. Becoming a part of the team is a great way for you to get experience in having your work published (and looks great on any resume or in any portfolio). It can also help with giving you as an artist an extra boost in confidence in your own skills and ability by providing you with a platform to show off your skills. The actual workload is bent to accommodate each individual’s other commitments. There will be three different Sub-Editor roles available within the Art portfolio and all Sub-Editor will be responsible for creating a number of pages for each Woroni print edition. Each role will then have additional duties, as detailed below. If anything can be done to make the application process more accessible, or if you have questions or concerns, please do not hesitate to contact woroniart@gmail.com.
Artist:
Artists are responsible for creating consistently high quality art for Woroni and must be able to stick to strict deadlines. Usually, this is three to six pieces of art per print cycle, to be published either online or in print. Additionally, the work requires proficiency in producing art of specific structural qualities (PPI, sizing, CMYK colour palette etc.). Artists must be responsive to the Art Editor and are expected to attend meetings, Woroni events and social activities. Artists are also expected to contribute to the marketing and promoting of content. Some experience in producing art and/or designs under instruction is preferred but not required. Ideally, Artists would work well within a team, are approachable, and want to bring their own ideas to the team!
Apply to join the Art Team here
MANAGEMENT
If anything can be done to make the application process more accessible, or if you have questions or concerns, please do not hesitate to contact woronieic@gmail.com.
Social Media Sub-Editor:
Social Media Sub-Editors work with the Woroni board and other sub-editors to manage our online platforms and overall image. This includes scheduling posts across platforms for teams, creating and designing infographics, and pitching and making independent posts.
Social Media sub-editors are expected to work 5-10 hours per week, including attending a fortnightly meeting. We’re looking for someone who is enthusiastic, skilled with social media, and wants to get involved in student media.
Apply to join the Social Media Team here
Senior Events Officer:
The Senior Events Officer will work alongside the rest of the management team, including two events officers, to organise, coordinate and manage events run and funded by Woroni. The individual will work closely with the Executive and the rest of the Board to plan events and ensure the administration work of organising events is completed effectively and in a timely manner. The ideal candidate will have significant experience in organising events, will be effective in both written and verbal communication and will be able to help manage a small team. The successful individual will be expected to commit an average of 7-10 hours a week across the semester.
Events Officer:
Woroni is looking for an Events Officer to help us run and manage a variety of events throughout the semester. With a large budget and organisational support, this is a great chance to get involved in event planning and understand the administration of Woroni. Experience organising events in and outside ANU is preferable but not required. Required work includes planning events, contacting suppliers, booking venues, MCing and helping to support our Board as they run events. Events Officers are expected to dedicate an average 5-8 hours per week and attend fortnightly meetings.
Apply to join the Events Team here
NEWS
Woroni’s News Team reports on the current affairs impacting the ANU community and students in particular. It is a fast-paced work environment where members of the team report on a variety of topics, ranging from student politics, changes to the University’s policies, to the Federal Budget. The News Team meets each week and everyone meets tight deadlines. It is a fun, closely-knit team that helps create excellent writers who work well under pressure. If anything can be done to make the application process more accessible, or if you have questions or concerns, please do not hesitate to contact woroninewseditor@gmail.com.
Senior News Reporter:
Senior News Reporters are responsible for the coverage of news stories and relevant information, while also sourcing news leads, researching and investigating stories, writing drafts and also editing the drafts of news reporters. They must be highly active in their communication, with the role requiring a commitment of 10-15 hours per week. Senior reporters should be confident writers, able to give clear, constructive feedback, work to tight deadlines, competent in pitching articles and capable of instructing news reporters. Prior experience in student journalism is a strength.
News Reporter:
News Reporters regularly write articles for Woroni News on events and issues that impact ANU students. They are expected to engage with campus life, write, on average, an article a week, and attend weekly team meetings. The role will also involve attending various events throughout the semester, like festivals, non-autonomous collective meetings, protests etc. News Reporters must be able to: write concisely and accurately; meet deadlines at short notice; pitch story ideas; work well in a team environment; and be confident in independently investigating issues further. A Woroni News Reporter is required to dedicate 5-10 hours per week to their role, and must write one article per week.
News Columnist:
News Columnists write articles that include the usual reporting with some additional commentary and analysis. They will primarily be tasked with news topics which require more contextualisation than a regular news article can provide. A columnist should show an appetite for complex topics and should demonstrate an ability to create comprehensive and sophisticated analysis. A Woroni News Columnist is required to dedicate 5-10 hours per week to their role, and must write one-two articles per fortnight.
Apply to join the News Team here
RADIO
The Radio team runs Woroni Radio; ANU’s student radio. From scheduled broadcasts to one-off specials, there is a kaleidoscope of content produced by Woroni Radio. We are seeking passionate and energetic individuals for the role of Producer. If anything can be done to make the application process more accessible, or if you have questions or concerns, please do not hesitate to contact woroniradioeditor@gmail.com.
Producer:
A Producer provides both technical and moral support to presenters throughout the semester. Producers and presenters will work together to create engaging radio shows that air on a weekly basis. They will also assist their Executive Producer with either Creative or Features content production. This role is approximately 5-7 hours per week and no past experience is necessary as long as you are keen to learn and passionate about helping our presenters create quality radio content! The ideal candidate will be approachable, organised, responsible, reliable, a good communicator, a team player and a critical thinker.
Apply to join the Radio Team here
TV
The TV team at Woroni produces video content ranging from campus life to news reporting. We’re looking for fun, creative, and passionate sub-editors and senior sub-editors to join the team!
Production Assistant:
The Production Assistant role is a versatile, entry-level position crucial to the video content production process within a team. Key duties include developing video concepts, filming with audio and camera equipment, and video editing using Adobe Premiere Pro. This position offers an opportunity for skill development in various media production areas. Although prior experience in media production is advantageous, it is not mandatory. The role is expected to require approx. 8-10 hours of work per week, including compulsory weekly team meetings that you must be available for. This is a volunteer position, with the possibility of honoraria.
Producer:
The TV Producer role is essential for facilitating video production in small teams, focusing on all production stages for quality delivery. This position, which reports directly to the Executive Producer, involves scheduling, creative direction, and collaboration with Production Assistants. Candidates should have basic to intermediate production skills (camera, editing, production). This position is ideal for individuals familiar with media production looking to leverage their creative skills in a team environment. The role is expected to require approx. 8-10 hours of work per week, including compulsory weekly team meetings that you must be available for. This is a volunteer position, with the possibility of honoraria.
Executive Producer:
The Executive Producer role is a leadership position within the video production team, requiring close collaboration with the TV Editor for effective management. Responsibilities include coordinating a production team and contributing to video development, as well as camera operation and video editing, and providing both assistance and troubleshooting in these areas. This position is ideal for someone with experience in film production and managing a team, who is able to manage a more significant time commitment. The role is expected to require approx. 10-15 hours of work per week, including compulsory weekly team meetings that you must be available for. This is a volunteer position, with the possibility of honoraria.
TV-News Producer:
This position plays a crucial role in bridging the TV and News portfolios to produce multimedia style journalistic content. Working closely with the TV-News Executive Producer, this position requires attendance at weekly team meetings across both TV and News. Responsibilities include content development, camera operation, and video editing. This position is ideal for someone with some experience in media production who is passionate about multimedia journalism.The role is expected to require approx. 8-10 hours of work per week, including compulsory weekly team meetings that you must be available for. This is a volunteer position, with the possibility of honoraria.
Apply to join the TV Team here
Comments Off on Back to Basics: 20 Years of The Presets – Woroni Artist Series
Some of our 2000s-born students at ANU may be unfamiliar with the iconic Australian duo, The Presets, but I am fairly confident they would recognise their dance tune “My People”, a certified banger but also a frustrated, desperate call to arms from Julian and Kim about how Australia treats asylum seekers.
To celebrate their 20th anniversary, The Presets have embarked on a 20 Years in 20 Nights Tour. Intentionally playing smaller venues in low-key places, the tour is intended to be a departure from festival style gigs. Instead of a traditional performance, the gigs will be DJ sets that aim to go “back to basics” and feel more like a house party, where artist and fan can dance and enjoy the music together.
Ahead of their show at Kambri ANU on August 26th, I sat down with Julian to talk about the tour, electronic music today, and what album clubs can do for your friendships.
Thank you for joining me. The tour has started and you guys are three shows in I believe, and it looks like a lot of them are selling out which is really exciting. How are you feeling?
Yeah it all sold out on the weekend and yeah, now a lot of them are selling out. It’s fabulous. We’re really enjoying the tour.
How does it feel to be touring? You guys haven’t toured since 2018, how does it feel to be out there again?
Yeah, that’s right, actually, now that I think about it. I mean, we’ve played a lot of festivals and one off things but yeah, first actual Presets tour in, goodness, in five years. It’s great. It’s wonderful to be back out there and it’s great to play rooms where everyone’s sort of, you know, come along just to see us. It’s nice to meet all of the fans again, for sure.
Yeah, absolutely. Does this feel a bit different to other tours you’ve done in the past? Or is it feeling kind of just more of the same? Do you feel like you guys have changed how you’re touring at all?
Well, this time around, it’s a DJ tour. So we’re not performing live, we’re bringing our records along and it’s more of a 20 year celebration party, a birthday party, really. So that’s quite different. That’s something we haven’t really done before and it’s fun because…obviously we play a lot of our own music but we can also play a lot of, I guess, obscure remixes that people might have forgotten about and different versions of things that we don’t normally play live.
Plus, of course, you know, we can play a bunch of music by other artists that really inspired us that we love from back in the day or new tracks that are out today that we really love. So it’s more like a house party that we’re throwing, with all the stuff that we like, to celebrate 20 years.
Yeah I saw that you guys said you wanted to do this tour to be more like a house party. How do you envision the vibe being more like a house party? What are you guys kind of hoping for people to feel when they’re there?
Honestly, we wanted it to feel like what it felt like when we used to go to clubs. When we were younger and we were starting out, you know, I can say there’s a bit of a trip down memory lane for us.
And we’re getting quite nostalgic and over the years when we perform at festivals, they’re always great fun, but sometimes you’re 10 feet above the audience, 20 metres away from the front row and there’s like 20 security jobs between us and the crowd. You know, it’s hard to connect with an audience at a festival sometimes. That’s why we wanted to perform, you know, in a much more intimate setting and have these parties so it just feels like you know, much more of a visceral kind of celebration, rather than like an outdoor festival experience.
What inspired you guys to come back on the road and tour again after such a while Was there something that made you think you might want to go on tour again?
Well, two things. Post Covid-19 has been weird, to be honest. Like post-Covid-19, the industry hasn’t really come back in the way that it used to be. It’s really strange out there.
And so we’ve been getting a lot more offers to DJ at festivals or DJ events rather than play live, because I think for some events, it’s quite expensive to get the production and everything that’s needed to book bands. So that’s a bit of boring behind the scenes thing about how the industry is going, it’s kind of changing. Plus we got an opportunity recently to do a little DJ gig in Sydney, at a tiny little club where we first started playing 20 years ago, and the tickets sold really quickly for that and we thought, well, this is so much fun, and people obviously really want to come and have this different experience.
So there was that, and then you know, the 20 year anniversary of the band was coming up this year and we thought, what would be a fun way to celebrate 20 years? You know, we could do a handful of shows in the big cities like we always do, or we could do something a bit more intimate and special, and do a whole heap more shows but in a much smaller environment and we can really get close to and really party with our fans.
So yeah, it’s super fun. To be honest, it’s been a bit more enjoyable for me than performing live. Just being able to sort-of play some records and dance, you know, with our fans, has been great fun.
That sounds like an absolute blast. Your fans have been with you for such a journey, as you said you’ve hit the 20th anniversary. Are you expecting it to be a lot of those old hardcore Presets fans, or are you seeing some new fans rolling in?
It’s been a real mix, you know, for sure there’s been some oldies there that used to come to the very early shows, you know, 20 years ago. And then some of them are bringing their kids along this time. You know, it’s crazy.
There’s a lot of young people there as well. So it is a real mix, it’s a real lovely vibe. The cool thing is no matter what age people are that are coming, everyone’s there for a good time and everyone’s dancing and jumping around and yeah it’s been a real blast.
That’s fantastic. You guys have been making music for so long, do you feel like your sound has kind of evolved? Is there any new stuff that you’re throwing into this setlist? Or are you busting out some of the fan favourites?
It’s a real mixed bag. I mean, certainly we’re throwing down some old favourites, we can’t do a Presets show without doing that. But we’re able to sort-of reimagine and rework some of the older tunes into more kind-of club adjacent or club versions, which is really fun too, to just sort of strip them back and just reimagine the songs a bit. And then plus, yeah, we get to choose a bunch of music from other artists that we really love, like old classics from back in the day that inspired us, and you know, new music from today that’s really exciting us as well. So, I mean, it’s such a huge world, you know, the club music scene, like there’s so much music out there to choose from. It’s a lot different from when we’re doing our own shows, where we’re performing and we’ve only got 40 songs to choose from now, now we’ve got 40 million songs to choose from.
You’ve talked about some remixes, I know a lot of your tracks sometimes get remixed by a bunch of really cool and different artists. I was wondering if you guys had any artists or people in mind that you would love to see remix one of your tracks? Or just a dream collaboration you would like to see happen?
Wow. Obviously you know, we have favourite artists that really inspired us when we first started, I mean, obviously the big examples of bands like The Chemical Brothers, or Daft Punk or Basement Jaxx you know, a lot of these bands that were around when we started and that are still around today.
Gosh, it’d be lovely to get one of them to remix us one of these days, but I can’t see it happening. As far as collaborations go, I mean, we do work with a lot of other people just solo, Kim and I, we work with other artists and produce other bands and co-write songs with other bands. So we keep pretty busy doing that outside of the Presets.
But it’s funny, I don’t know, I’m thinking about my favourite acts, I’m kind of happy to not collaborate with them. I like them just the way they are. I’m not sure what I would bring to it, to be honest. But who knows, gosh, if The Chemical Brothers knocked down our door, I’d certainly be saying yes to that.
You were talking about how you’re really excited to hit some of the smaller places and more intimate shows. Are there venues or cities from past tours that you’re excited to come back to? Or any memorable past experiences or places that you’re really just excited to perform again?
Honestly, just excited for everything.
The one thing I’ve learned over the years is sometimes the really hot shows, the ones that really blow up, they’re the ones you don’t expect. You might be doing a huge festival somewhere and it’ll go okay, you know, but then you’ll play a tiny basement in Cleveland, Ohio, or in Berlin or whatever, and that’ll be a crazy party and really, really fun.
And it’s the same in Australia, you know, you’ll expect sometimes a show in one of the capital cities is gonna be really great, but it might be a little flat, and then you’ll have a really cooking show, you know, at a smaller venue later on. So it’s very hard to predict. But I will say that so far, the three shows we’ve done already have been so much fun, and just what we had hoped, you know, just people jumping around having a good time and done. Yeah, it really has felt like just partying with friends.
Yeah, that sounds fantastic. The visual aspects of your shows are always really captivating. I remember seeing you guys a very long time ago, it would’ve been 2009 or something along those lines, but I remember even back then, the visual elements were so fun and captivating. I was wondering whether your fans are going to see stuff like that visually in this performance or because it’s a DJ set, is it going to be kind of more traditional, like house party vibes?
Well, it’s a bit of both. I mean, one thing we did want to do with this tour is get back to basics. So much electronic music is based these days on massive production and huge, huge screens and huge you know, pyrotechnics and everything. The whole EDM thing, it’s kind of become crazy, the whole stage show that people put on. And yeah, and we’ve been doing that over the years, obviously with our own shows.
So this one we had tried to get a bit more back to basics and make it more about the music. And just more about just partying and dancing, you know, because I guess.. I’m sounding like an old fart here, but I remember in the old days when you used to go to a club, it wasn’t even so much about the DJ, you know, you just sort-of danced. And then after a while, people started facing the DJ, and then it became this kind of DJ worship thing. That always weirded me out a little, because I always loved electronic music for the anonymity of it, you know? But I’m kind of getting off track a little bit here. But yeah, I mean, we do have some obviously a lot of visual things that we’ve curated over the years and design that we’ll be bringing to this show. But we’re trying to make it a bit more just low-key and cool, and not so much like, ~show business~ you know what I mean?
That’s great. I’d love to know and I think our readers would really love to know as well, what you’ve been listening to lately? I know with lockdown, we’ve all maybe sunk back into our music caves a bit. I’d love to know what you guys are listening to?
Oh, my goodness, it’s such a hard question. Yeah, well, there’s two main things I listened to. One of them is just listening to new techno music and electronic music, and every day you dive into this world, and there’s like 100 acts that you’ve never heard of, you know, it’s like, ‘oh my god who are these people making this music?’ You know, from Europe and the States and Australia, you know, there’s so much going on. And then the next day you’ll dive in, and there’ll be 100 more artists you’ve never heard of. It’s a crazy, huge world of artists making beats and then usually none of them I even remember their names.
Yeah, I mean, there’s a bunch of Australian DJs doing such great stuff. There’s that girl Haai, she’s smashing it, she’s such a great DJ, I love her. Dj Boring is another Aussie DJ doing huge things. So they’re two Aussie DJs I really adore. And then there’s like 100 more that are just kind-of a bit more underground and they’re really smashing it over there. It’s crazy to keep track of. And then the other music I listen to, it’s kind of weird. I have an album club with some of my friends, we started during COVID-19 and every week someone picks an album and we listen to it, and then on Monday night, we get together on Zoom and we just talk about it together.
Kind of like a book club?
Yeah it’s kind of like a book club kind-of thing, for us old men. But yeah, we really love that, and every week it’s something very different, like it’s some obscure 60s jazz record, or it’s some new sort-of Middle Eastern thing, or it’s like a techno album or whatever, you know, it’s always something really, really different, so I really enjoy that too. But, gosh sorry, I’m sure you were hoping for me to tell you to check out some new artist.
No, that’s a fantastic answer. Honestly, that’s brilliant.
I highly recommend album clubs for people. It’s been such a fun way to keep in touch with friends.
Everyone gets so fragmented and everyone’s on social media and just communicating with each other with, you know, emojis and gifs. And just hanging out with your mates on a Monday night talking about an album you all listened to over the week, it’s such a nice thing to do. So hopefully, maybe some people might read this and be inspired to do that.
I hope so, that’s a fantastic suggestion, I love that. Well, thank you so much for sitting down. Good luck on the rest of the tour. It looks amazing. You guys are performing at the Uni in late August, so I’ll see you guys then. Thank you so much for having a chat with Woroni.
Get tickets to see The Presets on Saturday 26th of August 2023 at Kambri ANU
To celebrate their 20th anniversary, The Presets have embarked on a 20 Years in 20 Nights tour. Intentionally playing smaller venues in low-key places, the tour is to be a departure from festival style gigs. Instead of a traditional performance, the gigs will be DJ sets that aim
Comments Off on INTERVIEW WITH TEENAGE DADS – WORONI ARTIST SERIES
Rather than brave the chilly walk to Civic or the daunting descent down the stairs at one22, head out to Belconnen and enjoy the musical delight of something that isn’t a poorly done remix of Rush or Padam.
As part of our Artists Series, Woroni Content Editor Lizzie sat down with Teenage Dads to chat about life on tour, crowd culture, and the big scary P word (pop!).
Thank you guys so much for taking the time to chat with me.
That’s okay, we’re not doing much.
That’s surprising because you guys have been busy!
Yeah, I mean, we actually are doing certain things, getting ready for Splendour in the Grass, but the whole point of the next few days is to rest after our US run and then get ready for the festival.
Yeah, absolutely. So you guys have been touring all across Europe, are you guys excited to tour in Australia? Do you find it different to being on the road in Europe, versus you know, being on home turf?
Yeah everyone’s pretty different. It’s kinda weird…we skipped winter this year.
That’s one benefit I’d say. I feel like in our experiences so far overseas, overseas is just set up far better for touring. We were joking with Lime Cordiale a lot how you do a weekend in Australia, you would feel absolutely ruined. Whereas you do two weeks in the UK or Europe and you’ll be fine.
Why is that?
I think partly the distance stuff but also, you don’t really have to fly anywhere. I think the whole process of finishing a gig in Australia, you go to the hotel room, you sleep for a couple of hours, get up, airport, fly, and just that whole process kills you.
Whereas you can just take trains and stuff around Europe and it’s much quicker, much easier on your bodies, I guess?
Yeah. It’s just that’s the way it’s kind of felt anyway, but we’re still really looking forward to being back home. I think it’ll give us a new perspective.
The water is better in Australia.
That I don’t doubt. What are the crowds like over there? Are they different to your home base fans here, who maybe have known you guys for a while?
It’s a little bit different, in different areas the crowd is more cool than other areas, and some places are more inclined to dance and sing, and some places it’s more of like a ‘hands on hips, just watch’. But I feel like people still will come up everywhere and say how much they enjoyed the set. It’s just very, very different in some areas, people don’t show it during the set as much.
I imagined in Australia crowds kind of go a bit more wild. But that might be a stereotype.
I think the big part of it, particularly for us, is you kind of just can’t really compare the two just yet because, like you said we’re an Australian band and we played in Australia for years. So people kind of definitely know who we are, so there’s a more likely chance of fans being really big fans. Whereas overseas they’re seeing us or hearing us for the first time, so they’re not going to be absolutely losing their mind or anything like that.
Having said that, Dublin particularly popped off. They’re really loose people there.
Maybe they have something in the water?
Yeah or just the Guinness, maybe.
All those sorts of cultural differences, like when we did the first Dublin gig, instead of a one more song chant they’ve got “Olé, Olé, Olé!”.
You never get that here. Then you get the odd Australian that’s there being a dickhead going “Aussie, Aussie, Aussie!”
That’s so good. Maybe for some of our readers who aren’t super familiar with your stuff, how would you guys describe your sound to our readers and listeners?
Do we get like, ‘describe your sound in three words or less’?
I’ll be generous. I’ll give you five.
Too many!
2
First word is alright. Yeah. Alright .
Allright…Let me see. That’s four!
What’s the closer?
Rock! Indie rock. We just tell everybody it’s indie rock, indie pop.
I was in a record store the other day in Toronto. It was massive and I was just looking at the way they categorise things. Most of the bands and artists that I listen to were all in indie pop. So I was kinda like,’ all right, I can see us being in the indie pop category, if that’s what this classifies’.
For ages we were scared of those words, we’d go, “yeah, we’re a psychedelic rock band”. You didn’t want to use the word pop, or indie.
I would say we probably describe our band more so now as not psychedelic. Just to kind of really reaffirm that we don’t think that’s what we are. Maybe to all the Woroni readers out there: Teenage Dads are not a psychedelic band!
And they’re not a surf band!
If you guys could have your way, no strings attached, no limits, who would you love to go on tour with, supporting?
Abba! If they’re free…probably hit them up.
Queen. That would be a good one. Kinda sick.
Prodigy.
Dolly Parton.
Dolly Parton would be sick, do you think her fans would like your stuff?
I think Dolly and I would really get along well.
That’s all that matters.
So true, it’s about the vibes. Great answer. If you guys were to make it really big, which I feel is not too far off, who would you bring on tour to support you, what upcoming artists?
There’s a really cool indie folk artist in Nashville…. Dolly Parton?
Um….. that’s tough.
Let’s plug all the bands that are supporting us on the next tour. We’ve got the Moving Stills, Death by Denim, Betty Taylor, Aleksiah, Siena Rebelo, Bocce in Tassie. I think that’s everyone! It’s always really cool picking support, sometimes you want to… you feel like you need to do it on a strategic basis to help pull more people to the tour and that sort of thing. But it’s also just really fun if you can set that aside and bring your friends along
So what’s next for you guys? I mean, I’m sure you’re exhausted and this is the last thing you want to think about, but the people want to know – are you thinking about another album, less touring, a break maybe? What are you feeling?
We’ve got a new song that we just got back from a master, but apart from that nothing’s really ready to go.
Yeah on the music front, we are working away, but we don’t know when things will be… we don’t have much information to divulge…
That’s all right. Keep your secrets.
We do have this big Australian tour coming up, which will, I think, bring us to nearly 100 shows this year, which will warrant some rest. We don’t have a whole lot planned for the November/ December period, but who knows, things might pop up.
Sounds like you guys are overdue for a little vacation.
Want to stay on campus? Check out the Kambri website to get tickets performances like the DMAs and Safia!
Interview with Teenage Dads – Woroni Artists Series. Live Show at University of Canberra Saturday August 12.
Applications are open for Woroni – ANU’s student media organisation and the largest multimedia student organisation in Australia. Join a group of dedicated student volunteers, gain experience in your preferred media, from print, to news to radio, in a professional environment.
Applications are open for positions across our teams: Art, Content, Radio, TV, News, Photography, Events and Social Media.
Check out the roles and applications below.
All positions within Woroni are volunteer and while Woroni offers honoraria, the positions below are all unpaid.
Applicants who identify as Indigenous Australians are strongly encouraged to apply.
If you have any questions about the hiring process, or would like the hiring process to be more accessible for you, please contact the relevant Editor or the Editor-in-Chief at woronieic@gmail.com
Art Team
The Woroni Art team has many exciting opportunities available for ANU students interested in all aspects of art and graphic design. We encourage absolute creative freedom in your artistry. Becoming a part of the team is a great way for you to get experience in having your work published (and looks great on any resume or in any portfolio). It can also help with giving you as an artist an extra boost in confidence in your own skills and ability by providing you with a platform to show off your skills. The actual workload is bent to accommodate each individual’s other commitments. There will be three different Sub-Editor roles available within the Art portfolio and all Sub-Editor will be responsible for creating a number of pages for each Woroni print edition. Each role will then have additional duties, as detailed below.
For questions about the application process, email woroniarteditor@gmail.com
Artist
Art Sub-Editors are responsible for creating consistently high quality art for Woroni and must be able to stick to strict deadlines. Usually, this is three to six pieces of art per print cycle, to be published either online or in print. Additionally, the work requires proficiency in producing art of specific structural qualities (PPI, sizing, CMYK colour palette etc.). Artists must be responsive to the Art Editor and are expected to attend meetings, Woroni events and social activities. Artists are also expected to contribute to the marketing and promoting of content. Some experience in producing art and/or designs under instruction is preferred but not required. Ideally, Artists would work well within a team, are approachable, and want to bring their own ideas to the team!
Apply to be an artist here.
Senior Artists
Art Senior Sub-Editors carry the same duties as sub-editors with a few additional roles. Senior Artists are also expected to assist the Art Editor in some of their duties like taking team minutes, helping the other artists, as well as fostering teamwork. Senior Artists are also the first asked to contribute beyond the scope of the print magazine. This is mainly for Woroni’s other portfolios (Social Media, News, TV and Radio) when required. Senior Artists may also be asked to help the Art Editor run events, workshops or other social activities. Ideally, Senior Artists would work well within a team, are a great communicator, are innovative and enjoy leadership!
Apply to be a senior artist here.
Content Team
The Content Team oversees sourcing, editing and production of written content for our magazines and website. It’s a fantastic opportunity to work in print production, understanding the editing and sourcing process, or to get your hands dirty writing creative stories, poems or insightful essays.
Sub-editors focus on either the magazine or the website. Magazine work involves organising the sourcing and editing of student contributions of the magazine, while the website allows for longer form pieces that come from students.
Apply for the Content Team here.
News Team
Our News Team produces breaking news, investigative pieces and piercing analysis. Join a team of around a dozen students in a fun, fast-paced environment where you can delve into issues at the ANU, or report on changing education and national policy that impacts students. Want to understand student politics better, want to write about the housing crisis, annoyed at something on campus? This is the team for you.
Members of the news team receive training in journalism writing, media practices and can expect professional development sessions, all of which are fantastic for those looking for a career in journalism, or interested in the media.
For questions about the application process, email woroninewseditor@gmail.com
News Reporter
News Reporters are responsible for the coverage of news stories and relevant information, primarily through written form. This will include: sourcing news leads, researching and investigating those stories and writing drafts, including necessary revisions. News Reporters may also be tasked with helping to script TV news pieces, participating in the new podcast, and providing content for social media posts. Reporters will have to be receptive to feedback, able to work to strict and tight deadlines, and be interested in issues that are relevant to students. Above all, they should be enthusiastic for the position.
Prior experience in student journalism is not required.
Apply to be a news reporter here.
Senior reporter
Senior News Reporters are responsible for the coverage of news stories and relevant information, while also sourcing news leads, researching and investigating stories, writing drafts and also editing the drafts of news reporters. They must be highly active in their communication, with the role requiring a commitment of 10-15 hours per week. Senior reporters should be confident writers, able to give clear, constructive feedback, work to tight deadlines, competent in pitching articles and capable of instructing news reporters.
Prior experience in student journalism is a strength.
Apply to be a senior reporter here.
TV Team
Ever wondered what it’s like behind the scenes of video content? Ever wanted to learn how to operate a camera, edit together footage, and write scripts? Ever had an ingenious idea for a film or television series that you wanted to pitch and see greenlit? Are your courses just not scratching that creative itch of yours?
The answer is simple – apply for a position at Woroni TV!
Whether your end goal is some preparation for the media industry, looking for some fun, wanting to learn new skills, or just wanting to participate in the school community and/or Woroni, this is definitely an opportunity for you!
Each member of Woroni TV are exposed to hands-on experience with professional equipment and software to produce videos of various genres and styles, from short films to journalistic interviews! You don’t have to possess previous experience and/or technical skills in video-making. Our ideal candidate is one that is passionate about the creative process, is able to dedicate time and effort each week, are team-players, and is willing to learn if needed.
Production Assistant
The role of the production assistant may be entry-level but that does not mean it is any less important. They are responsible for assisting in the video creation process. This includes contributing creative ideas for videos, helping film content (e.g., camera operations), following directions of the producer with editing, and assisting with any other duties that may arise.
Production assistants do not need to have prior knowledge nor experience in media production. However, they are expected to develop a basic competency in all areas of production, including camera operation and editing with the Adobe Creative Suite.
The role will be 8-10 hours per week on average, depending on the project being planned for the week. Time will be split between pre-production/planning, filming and other production work, and editing. Workload for each component will vary based on specific requirements of each video.
Apply to be a Production Assistant here.
Producer
The role of the producers is to be second-in-command to the Executive Producer. That is, to assist their Executive Producer in overseeing the Production Assistants while also participating in pre-production, production and post-production efforts. Usually, producers oversee the editing process and are responsible for driving the creative aspect of a video. This may include generating ideas and writing scripts, storyboarding, organising shoot logistics, and doing a rough cut of editing.
There is also a general expectation of flexibility in the role, alongside a basic-intermediate level of competency in all areas of production, including camera operation and editing with the Adobe Creative Suite..
The role will be around 10 hours per week on average, depending on the project being planned for the week. Time will be split between pre-production/planning, filming and other production work, and editing.
Apply to be a Producer here.
Executive Producer
The role of the executive producers is to lead their respective team within Woroni TV. They report to the TV Editor on their team’s progress in weekly meetings and organise production schedules with the Editor based on their team’s capabilities. They are responsible for coordinating and directing pre-production, production and post-production efforts, providing technical and creative support when needed.
Executive producers should have an intermediate level of competency in all areas of production, including camera operation and editing with the Adobe Creative Suite. They may be required to informally train and support other team members in these areas. There is also a general expectation of flexibility in the role, particularly to fill in for team members’ absences and provide troubleshooting.
The role will be 10-15 hours per week on average. Time will be split between team coordination, production work, and editing.
Apply to be an Executive Producer here.
Radio Team
The Radio team runs Woroni Radio; ANU’s student radio. From scheduled broadcasts to one-off specials, there is a kaleidoscope of content produced by Woroni Radio. We are seeking passionate and energetic individuals for the roles of Executive Producer, Producer, Tech Officer, and Audio Editor.
If anything can be done to make the application process more accessible, or you have any questions about the application or positions below, do not hesitate to contact the Radio Editor at woroniradioeditor@gmail.com
Producer
A Producer provides both technical and moral support to presenters throughout the semester. Producers and presenters will work together to create engaging radio shows that air on a weekly basis. They will also assist their Executive Producer with either Creative or Features content production. This role is approximately 5-7 hours per week and no past experience is necessary as long as you are keen to learn and passionate about helping our presenters create quality radio content! The ideal candidate will be approachable, organised, responsible, reliable, a good communicator, a team player and a critical thinker.
Apply to be a producer here.
Executive Producer
An Executive Producer works alongside the Radio Editor to oversee the production of Woroni Radio. An Executive Producer will head one of two teams; Creative or Features, and work with their team to put out one major work per term. They will also assist the Radio Editor with ad-hoc duties. The role is 10-15 hours a week and applicants must be comfortable in a middle-management position, creatively proactive, organised, efficient and reliable.
Apply to be an Executive Producer here.
Tech Officer
The Tech Officer is responsible for the maintenance of the Radio studio’s hard and software. They will learn from the Radio Editor how to repair, update, and replace equipment being used. The role is 5-7 hours per week and no past experience, however a strong knowledge in computers or audio equipment is preferred. The ideal candidate will be knowledgeable, responsible, reliable, a good communicator, available and a problem solver.
Apply to be a Tech Officer here.
Audio sub-editor
The Audio sub-editor is responsible for the weekly editing and uploading of Woroni Radio’s podcasts. This role is approximately 5 hours per week and no past experience as you will be taught how to use the editing software. The ideal candidate will be organised, responsible and reliable.
Apply to be an Audio sub-editor here.
Management Team
Our Management Team works with Woroni’s Executive Editors to create content that supports other Teams’ work and to assist Editors in their own work. We’re hiring for Photographers, Events Officers and Social Media Creators.
Photographer
Our photographers produce content for our written content, especially for our news reporting. This often includes attending protests and public events to photograph speakers and turnout Alongside this, they photograph student events, giving them a frontrow view and experience in professional photography settings.
Additionally, photographers are expected to work on a creative project throughout the semester to add to their portfolio. Unfortunately, Woroni cannot provide photography equipment and applicants are expected to have their own?
Photographers are expected to work 5-10 hours a week, and the nature of the position means that work is sometimes delegated on short notice. We’re looking for enthusiastic, hardworking individuals interested in media photography.
Apply to be a Photographer here.
Social Media Creator
We’re seeking a student volunteer to create content for our social media platforms. This includes scheduling posts across platforms for teams, creating and designing infographics, and pitching and making independent posts.
Social Media sub-editors are expected to work 5-10 hours per week, including attending a fortnightly meeting. We’re looking for someone who is enthusiastic, skilled with social media, and wants to get involved in student media.
Apply to be an Social Media Creator here.
Events Officer
Woroni is looking for an Events Officer to help us run and manage a variety of events throughout the semester. With a large budget and organisational support, this is a great chance to get involved in event planning and understand the administration of Woroni. Experience organising events in and outside ANU is preferable but not required.
Events Officers are expected to work 5-8 hours per week and attend fortnightly meetings. Work includes planning events, contacting suppliers, booking venues, MCing and helping to support our Board as they run events.
Apply to be an Events Officer here.
Apply now to one of Australia’s largest multimedia student organisations.
Comments Off on Interview with Boo Seeka – Woroni Artist Series
Boo Seeka is an Australian electropop artist currently touring Australia, with a show in Canberra on the 2nd of March. He has featured on the Triple J Hottest 100, played Coachella, and recently released his sophomore album, Between the Head and the Heart. We sat down with Boo Seeka to discuss his creative process, his musical influences, and the highlights of his career.
Let’s start with our first question, you’ve obviously recently released Between the Head and the Heart. We just want to know what’s the song that you’re most proud of on the album?
There’s a few, but I guess the most iconic one that kind of set up the whole record for me was I Like It Like, purely because I actually had a whole record written prior to the one that I wrote for Between the Head and the Heart and I guess where I was at in my life at that particular time and some stuff kind of happened, pretty spontaneously, that I wasn’t expecting that. Everything that I’d written for the record, it wasn’t speaking to me personally at that time. I scrapped it, and I had this moment where I just was standing in front of a mirror, and it was almost like I had this sensation of myself talking back to me through this mirror. I just started writing down like this conversation that I was having with myself, which turned into I Like It Like, so I guess for me, I got to give that song a highlight for the record, considering everything kind of grew from there.
That’s really interesting. You’ve spoken on having to sort of redo the whole record, essentially having to make a brand new record. What was the hardest song on the record to make?
The hardest song was Happen. I’d written the song and we had a demo, and we liked the demo of it, but it still wasn’t speaking to us. And then, literally, I think probably every other song that was on [Between the Head and the Heart] really didn’t take any longer than a day to record it, but Happen probably took nearly three weeks in itself to find the way that I wanted that song to come out.
For me, it was also another stepping stone of not worrying too much. You know, obviously I want things to be cohesive, but not worrying too much about it all sounding the same. I think for me it’s making the sound around the song that I want to write, to have the justice that it needs. So for me, that’s going into the next record that I’m writing now. It doesn’t necessarily have to be one particular sound across the whole record. You know, I think there’s other ways to artistically make it cohesive as a record but serve each song differently in a way so that it has the justice musically for the lyrical content that I’m writing.
So obviously you’ve written two records and you’re currently writing your third. What’s your main source of inspiration? Does it differ between each album?
Yeah, if you speak to most artists, we’re all sponges. I don’t think there’ll be that many artists out there that don’t take in anything that doesn’t inspire them within a day. But I guess the most key one for me is just my brain will suck in a lot of things going on in my world, and yet I find it very hard to just talk to people in a normal conversation about what I’m feeling. But I find it very easy to get it out through a song. So for me, the inspiration is getting out all those thoughts, whether they’re negative or positive in my head through music.
It’s really interesting to hear your opinions on people’s inspiration for music and everything, and how you don’t sort of have one thing but rather everything that you do in your day to day life. So to talk about other musicians, just briefly, what is your dream music collaboration? Like if you could collaborate with anyone in the world, alive or dead, who would it be?
Oh, that’s a hard one. It’s a very hard one actually. I’m going to be a bit sneaky here and pick two. Alive? I’d say Billie Eilish. I just think she’s absolutely incredible in everything that she does. And you know, she’s just doing her, and I think that’s a very inspiring thing.
Someone that’s passed? I’d say George Harrison. What an iconic songwriter. I came from a singer-songwriter background before I started writing electronic music and I still do to this day. Most songs written by me are on an acoustic guitar. At one point in my career, I reckon I’ll do an acoustic tour, with all the songs basically stripped down–bare minimum, to an acoustic guitar– because I really do think that not all songs, but a majority of great songs, can all be stripped down to literally just a piano and a guitar and a vocal. To me, George Harrison was just so iconic in his writing. That would be pretty, pretty awesome.
Our Art Editor is sitting just outside the frame and nodding. Those were good choices for musicians.
Aw, sweet. Thank you.
You’re on tour around Australia now. But I want to know; what’s your most memorable live performance so far?
Well, there’s been so many. There’ll be a few for different reasons. I was actually in a band prior to Boo Seeka and I felt like I cut my teeth with those guys, and learnt everything that set me up to be able to do Boo Seeka the way that I’m doing it. I owe a lot of credit to those guys, but they got to an age where they didn’t want to do it anymore and it was, honestly, the most devastating time of my life, getting told that they didn’t want to do it anymore. To me, I had nothing else to do but play music.
When Boo Seeka kicked off, and I guess having that first iconic moment of completely selling out your first-ever show. You know, you’ve worked so long to get to a point, and then you finally fill the room. I think that would be one iconic moment for me in my career.
Playing Coachella last year was obviously a massive one. Definitely a bucket list thing I never anticipated in doing. Playing Red Rocks in Denver. Growing up as a kid, watching DVDs of Red Rocks with all the bands and artists that I love with my parents, and then actually standing on that stage and playing to a packed house was a moment I’ll never forget.
And I’m just so thankful for all the stepping stones that I have been able to do, from the festival scene within Australia and playing all those iconic festivals. Playing regional tours and capital cities and packed rooms, and having people have that experience of singing back to me songs that I’ve written for myself but connecting in their own ways with me every night. I’ll never forget that and I’ll never get sick of it.
That’s amazing. I follow these big music festivals and it’s really amazing to see people’s progression from small Australian shows and festivals to these massive American festivals like Coachella and Red Rocks. It’s really awesome to see and really interesting to hear it from someone who’s done it.
If you’re able to, can you tell me about your creative process? I know we talked about where you find your inspiration, but once you’ve got the inspiration, how do you go about making a song or a record?
There’s definitely a lot of different ways, I’m not really the guy to just go “right, today I’m going to write a song”. It works for a lot of people. One of my best friends ever, he’s basically my brother, another very incredible and inspiring person, inspires me every day in writing. But he writes in such a different way, he wakes up at like three-thirty or four in the morning, every morning, and just writes. His kind of thing is writing at those very early hours of the day when his brain is fresh, which is a very inspiring thing. But in saying that, I’ve tried that twice and it’s not for me. I like my sleep.
I think for me, again it’s just sucking in inspiration, walking down the street, to finally putting the jigsaw puzzle together in my head, or that there’s a certain line that will set up the whole rest of a song of what I want to say. That might be me just literally humming out a line for a couple of hours just by myself. I’ve always got a guitar laying around the house and picking it up and strumming a couple of chords, and it really is to me like putting a puzzle together. You find one piece and you find the next piece and you put it together. Sometimes those pieces come really quickly and you put the whole thing together in literally 15 minutes. Sometimes you have to put down a couple of pieces and walk away and come back and look at it again and connect more things. I wouldn’t say there’s one specific way that I write music, but in a whole, that would be how I go about it.
You’ve been making music since 2015, so about eight years. Tell me how your creative process differs from how it was 8, 10 years ago.
The first three songs that I wrote were Kingdom Leader, Deception Bay, and Fool. They were literally tracked, recorded, mixed, and mastered in three days. Three songs in three days. That was coming out of this big turnaround in my life with my previous band. It was writing about taking on this new journey and being the ruler of my own kingdom moving forward. Then meeting Sam [Croft], and everything that he brought to the band. We were in sixth gear straight away, we literally put out a song and then, two weeks later, we left on tour. After that tour, we had the whole year booked out. So for us, writing became part of being on the road. When our manager at the time was like, “right guys, it’s time to do a full length record”, most bands will pull off the road and book time into a studio and won’t tour.
For Sam and I, we just loved being on the road and finding that we’re getting more inspiration being on the road. So for us, we basically set up a little recording kind of vibe that we could take literally around the world. We were recording in hotels and in RVs and in buses and at airports. Some of the sounds that no one will ever pick up, I think there’s only been about two or three that have actually picked up some certain things. There are sounds in that first full length record that were literally Sam going around and recording different street sounds and building them into beats. I think that was a big thing that Sam brought to the project at that time that gave that first full length record a bit of a worldly feel.
Whereas now? Writing a record was very different compared to [Never Too Soon] for Between the Head and the Heart, because we couldn’t tour. I was almost struggling to find what I wanted to write about for the next record because for me, again, I pick up inspiration from being outside. Like I hate a regimented kind of routine every day. I hate doing the same thing twice. I like to do everything different, every day, as much as I possibly can. [Lockdown] was really hard for me. I went digging in deeper, inside my soul and into my head to write Between the Head and the Heart. Very different to the first record.
I guess the world has changed a lot in the eight years since you started making music as Boo Seeka. It’s really interesting how your creative process has changed with the world. You were nominated for a Triple J Unearthed Award and you were also on the Triple J Hottest 100. What do you think the value of platforms like Triple J is for emerging artists in Australia? What was the value of that for you and what do you think it is for other people?
It’s massive, I genuinely think Triple J is one of the greatest platforms for any up and coming band ever. We got Unearthed through Triple J, but still to this day, I’m going on and finding new music. I go back on that platform and just go searching for bands all around Australia. Whoever came up with that concept is a genius because you find bands that aren’t packing out rooms all around Australia, not selling out thousands of tickets but you go and find them and you go “holy crap, like, I love this music” and you hope that you see those bands go out and tour. But there’s bands that I follow on there that I’ve never seen play a show but I love listening to their music. You know, I think it’s just a great platform to go and find new music and things that you’re into and see where music is going. It’s an incredible platform.
A final question. Do you have any advice for people looking to get into music here in Australia, like getting into the music scene?
I guess it’s a little bit cliche – it’s very cliche. I just genuinely think it’s where every musician needs to start; just do it because you love it. Like genuinely just do it, doesn’t matter whether you’re in your bedroom or not. There’s some artists who don’t even want to tour, they don’t want to play in front of crowds, and they do it because they genuinely love playing music and writing songs. But if you’re getting into this game to be famous and play in front of a packed room, then you’re doing it for all the wrong reasons.
Don’t get down on playing to one or two people. You should be going into any gig, whether it’s one person or 10,000 people, playing 100% exactly the same as what you would do in a big crowd. I’ve always had that philosophy since I played in my old band. We literally played to two people that were sitting in front of us and the bar staff, and those two people sitting in front of us owned a very well known guitar company that I’m still endorsed by and set us up for life with guitars. It showed me that you just never know who’s sitting in the room. So always get out there and do your best.
That’s great advice. Thank you so much for the opportunity to interview you.
Boo Seeka will be playing in Kambri at ANU on March 2nd with support from Apricot Ink as part of his Regional Tour around Australia.
Woroni is hiring for 2023! Positions are available in our art, management, news, radio and tv portfolios.
At Woroni we are committed to:
producing interesting, entertaining, informative and regular content across our print, multimedia, radio and online media platforms;
contributing to a sense of university identity and reflecting the scholarly and cultural diversity of the ANU community;
promoting open public dialogue and debate in the ANU community;
promoting awareness of the variety of curricular and extra-curricular activities undertaken by students at ANU;
discovering and developing the creative talents of students at ANU in journalism and the media arts;
promoting the best practice in professional journalism; and
being innovative and exploring new media forms.
A great student media organisation is for everyone. Student media should promote conversations, and provide a platform for people with different views, identities and lived experiences. Our ultimate aim is to build a culture of inclusivity and diversity across our platforms. A large portion of ANU’s students relocate to Canberra to study, which means our community is extremely diverse. Woroni is funded by, created by and consumed by ANU students, and our mission is to produce print, radio and television content that truly reflects this community.
Woroni is committed to diversity in hiring and encourages applications from ANU students of all backgrounds. These are volunteer positions, however individuals can expect to receive an honorarium based on their commitment to the role. If you have questions or concerns, please do not hesitate to contact woronieic@gmail.com. If you would like to contribute to our mission, see below for all the ways you can get involved with student media!
All applications will close at midnight on Friday the 17th of February 2023. Interviews may be conducted at any time through the hiring period.
ART
The Art team is responsible for all aspects of art and graphic design at Woroni. We encourage absolute creative freedom in your artistry and becoming a part of the team is a great way to get experience in having your work published. Positions available are Artist, Art Sourcing Sub-Editor and Senior Artist. If anything can be done to make the application process more accessible, or if you have questions or concerns, please do not hesitate to contact woroniart@gmail.com.
Artist
Art Sub-Editors are responsible for creating high quality art for Woroni and must be able to stick to strict deadlines. Artists must be able to produce work of specific structural qualities (ppi, sizing, cmyk colour palette etc.), Some experience in producing art and/or designs under instruction is preferred but not required. Ideally, Artists would work well within a team, are approachable, and want to bring their own ideas to life!
Art Sourcing Sub-Editor
The Art Sourcing Sub-Editor’s role is to source art for Woroni mastheads. It is the Sub-Editor’s responsibility to make sure the sourced work adheres to specific structural qualities (ppi, sizing, CMYK colour palette etc.). A large component of the role is liaising with a variety of appropriate channels in order to source diverse, representative art for Woroni. Ideally, the Sub-Editor would be outgoing, approachable, and willing to put themselves out there in order to source art.
Senior Artist
Art Senior Sub-Editors carry the same duties as Artists with a few additional roles. Senior Artists are also expected to assist the Art Editor in some of their duties like taking team minutes, helping the other artists as well as fostering teamwork. Senior Artists may also be asked to help the Art Editor run events, workshops or other social activities. Ideally, Senior Artists would work well within a team, are a great communicator, are innovative and enjoy leadership!
Submit your application to join the Art Team here.
MANAGEMENT
The management team operates across all of Woroni’s content-producing portfolios and contributes to organisational co-ordination. We are seeking driven and innovative individuals to join the team either as a Photographer, Business and Strategy Assistant or Senior Events Officer. If anything can be done to make the application process more accessible, or if you have questions or concerns, please do not hesitate to contact Matthew Box at managingeditor@woroni.com.au.
Photographer
The role of a Photographer is to capture and record events organised and attended by members of the ANU community. The work of a Photographer may appear under any Woroni masthead and Photographers are encouraged to pitch their own creative content. The role is approximately 6 hours per week, and includes photographing, editing and submitting photos. Currently possessing a camera, while not required, is highly valued in applicants and applications should include an up-to-date portfolio. The ideal candidate will be someone with creative ideas for the position; an ability to manage multiple, competing deadlines; and strong communication skills.
Business and Strategy Assistant
The Business and Strategy Assistant will assist the Board to develop short and longer-term strategies and business operations for the Association. The successful individual will work closely with the Managing Editor in procurement matters and in investigating additional revenue streams. Applicants should be able to demonstrate an understanding of planning and show how they could assist the Board in pursuing business and strategy planning. The ideal candidate will also be able to communicate via written and verbal means effectively. There will be scope within the role for the individual to pursue personal interest projects. Applicants should be prepared to commit at least 5 hours a week to the role during semester.
Senior Events Officer
The Senior Events Officer will work alongside the rest of the management team, including two events officers, to organise, coordinate and manage events run and funded by Woroni. The individual will work closely with the Managing Editor and the rest of the Board to plan events and ensure the administration work of organising events is completed effectively and in a timely manner. The ideal candidate will have significant experience in organising events, will be effective in both written and verbal communication and will be able to help manage a small team. The successful individual will be expected to commit an average of 6-8 hours a week across the semester.
Submit your application to join the Management Team here.
NEWS
Woroni’s News Team reports on the current affairs impacting the ANU community and students in particular. It is a fast-paced work environment where members of the team report on a variety of topics, ranging from student politics, changes to the University’s policies, to the Federal Budget. The News Team meets each week and everyone meets tight deadlines. It is a fun, closely-knit team that helps create excellent writers who work well under pressure. If anything can be done to make the application process more accessible, or if you have questions or concerns, please do not hesitate to contact woroninewseditor@gmail.com.
News Reporter
News Reporters regularly write articles for Woroni News on events and issues that impact ANU students. They are expected to engage with campus life, write, on average, an article a week, and attend weekly team meetings. The role will also involve attending various events throughout the semester, like festivals, non-autonomous collective meetings, protests etc. News Reporters must be able to: write concisely and accurately; meet deadlines at short notice; pitch story ideas; work well in a team environment; and be confident in independently investigating issues further.
Senior Writer
The Senior Writer is a unique position, which focuses on feature-length articles that delve into the complexities and perspectives of an issue. They are expected to engage with issues on campus and to understand and summarise the voices of those involved, including students, staff and University management. The Senior Writer should excel in concise, articulate writing that can prioritise the human side of stories, going above and beyond just relaying the facts of a story. They should be able to produce polished drafts, and edit the drafts of other reporters, reliably meet deadlines, be confident in independent research, regularly pitch their own articles and work well in a team. The expectation is that, in a semester, the Senior Writer produces five articles. Experience in writing and journalism will be an asset, but is not necessary for this role.
Senior Reporter
Senior Reporters both write and edit articles. They are a senior-sub editor, meaning they take some responsibility for helping manage the News Team. In practice, this includes overseeing News Reporters writing articles, editing their work, and providing advice on specific issues. The workload of Senior Reporters varies from week to week, but usually consists of one article per week, and editing other reporters’ articles. Senior Reporters should be organised, capable of providing even-handed criticism, and capable of working with other people. Applicants with prior experience in student journalism and reporting are preferred.
Submit your application to join the News Team here.
RADIO
The Radio team runs Woroni Radio; ANU’s student radio. From scheduled broadcasts to one-off specials, there is a kaleidoscope of content produced by Woroni Radio. We are seeking passionate and energetic individuals for the role of Producer. A producer provides both technical and moral support to presenters throughout the semester. Producers and presenters will work together to create an engaging radio shows that airs on a weekly basis. They will also assist the Radio Editor with content production. This role is approximately 5-7 hours per week and no past experience is necessary as long as you are keen to learn and passionate about helping our presenters create quality radio content! The ideal candidate will be approachable, organised, responsible, reliable, a good communicator, a team player and a critical thinker. If anything can be done to make the application process more accessible, or if you have questions or concerns, please do not hesitate to contact woroniradioeditor@gmail.com.
Submit your application to become a producer for the Radio Team here.
TV
The TV portfolio at Woroni produces video content ranging from videos about campus life, to news reporting, to short film. We’re looking for aspiring filmmakers, documentary presenters, screenwriters, news anchors, vloggers, and anyone interested in being behind a camera! All applicants must be willing to use or learn to use Adobe Premiere Pro, as well as commit to weekly meetings. People with any level of experience are encouraged to apply! If anything can be done to make the application process more accessible, or if you have questions or concerns, please do not hesitate to contact woronitveditor@gmail.com.
Production Assistant
Production Assistants are responsible for assisting the production of video content within a small team. The role includes responsibilities such as: developing video ideas, editing videos in conjunction with the team, and filming. This role is ideal for someone looking for a smaller commitment and to develop more basic skills in camera operation and editing.
Producer
Producers are responsible for driving the creation of video content. This will include: generating ideas and writing scripts if necessary, storyboarding, organising shoot logistics, as well as filming and editing while working closely with the team. Ideally, people applying for this role will have some experience of film production and editing.
Executive Producer
The executive producer’s role is to coordinate a production team, organise weekly meetings, and contribute to video development, as well as camera operation and editing. This role is ideal for someone with experience in film production and managing a team, who is able to manage a more significant time commitment.
Submit your application to join the TV Team here.
Woroni is hiring for 2023! Positions are available in our art, management, news, radio and tv portfolios.
Comments Off on CONTENT TEAM SEMESTER 1 2023 APPLICATIONS
WORONI IS LOOKING FOR CONTENT TEAM MEMBERS TO BECOME PART OF OUR PASSIONATE TEAM AT ANU STUDENT MEDIA IN SEMESTER 1 2023. ALL PRINT AND ONLINE POSITIONS ARE AVAILABLE!
Submit your application at the bottom of this page!
POSITIONS AVAILABLE:
Senior Sub-Editor (2 positions)
PRINT SUB-EDITORS
Culture and Lifestyle
Creative
Science and Research
Features
SENIOR CONTENT SUB-EDITORS
Woroni is also looking for two Senior Content Sub-editors to join the Semester Two team overseeing print and online content. Previous experience with Woroni or another student publication is highly desirable but not compulsory.
Senior Sub-Editors will:
Oversee and edit the portfolio of Sub-Editors writing and sourcing online and print content.
Online pieces are published weekly, so an attentive attitude and flexibility with timeframes is essential
The workload for print will vary depending on the magazine’s print cycle, with some weeks dedicated to sourcing content, and others dedicated to solely editing.
Oversee weekly pitches and direction for the online sub-editors.
Edit and write their own pieces
Work with the Content Editor and Sub-Editors to quickly edit and publish timely content pieces from the broader ANU community (preparedness to edit at a moments notice is a must!)
Assist with editing pieces that come through the write@woroni.com.au inbox
They will need to be available for compulsory weekly content team meetings, and to attend a Sub-Editor training session prior to the commencement of Semester One. Senior Sub-Editors will be expected to spend about 10 hours per week editing articles, meeting/corresponding with the Content Editor and sourcing limited articles as-needed.
Each Senior Sub-Editor must generally edit between 10 and 20 articles per print cycle, to be published in print and online. They will not be required to source regular content for the magazine, but may be called upon to help source additional content for various sections if needed, and should be comfortable doing so.
You will need to have a clear understanding of spelling, grammar and structure in writing. Previous experience in publishing, editing or writing is an advantage, but by no means necessary. Good communication skills are also essential as fluid communication with contributors and other members of the Content team are a must. Senior Sub-Editors can expect to receive an honoraria based on their commitment to the role at the end of the semester.
PRINT SUB-EDITORS
The role of a Content Sub-Editor will be:
To source, and structural edit content for the magazine and online, as well as respond to relevant articles sent to write@woroni.com.au
Oversee and curate a specific portfolio
Act as an essential liaison between potential contributors and the Content Editor
Be a facilitator, empowering students to find their voice and express it, and guiding contributors to publish work they are proud of
Attend meetings, Woroni events and social activities
Please be aware that this is primarily a sourcing role, not a creation role. It is expected that you will reach out to members within the ANU community to encourage them to send in work to the magazine.
Sub-Editors must be able to adhere to strict deadlines and work as part of a large team, including other Sub-Editors, Senior Sub-Editors, Columnists and the Content Editor. They will be expected to attend fortnightly meetings and a short training session at the beginning of the semester, as well as any other Woroni events and workshops.
As a Sub-Editor you will source and edit to a high standard between five and eight articles per print cycle which will be published in print and/or online. Sub-Editors need to have a clear understanding of spelling, grammar and structure in writing. Sub-Editors are additionally required to write at least one article per semester. Previous experience in publishing, editing or writing is an advantage, but by no means necessary.
Sub-Editors can expect to receive an honorarium based on their commitment to the role at the end of Semester.
All portfolios are open and seeking submissions. Applicants will be asked which sections they would be interested in Sub-Editing and why, but should note that they are not guaranteed one of these portfolios.
Culture and Lifestyle
The Culture and Lifestyle Sub-Editor will be responsible for sourcing pieces that inject life into the everyday, around campus, Canberra, Australia and abroad. They will write, source and critically dissect specific culturural and artistic events, past, present and future culture zeitgeists in Canberra, Australia and abroad. Part of this portfolio covers Campus culture– articles relating to the campus experience: sex, love, friendship, health, jobs, trends, sport, clubs, societies and exciting student innovation occurring at ANU. They should have their finger on the pulse of university living and look to deliver fresh and creative content about real issues.
Creative
The Creative Sub-Editor will be responsible for sourcing a variety of creative pieces including short fiction, poetry, prose, photo essays, and other non-traditional mediums. The Creative Sub-Editor should have a love of literature and poetry, competency for editing a broad range of creative works and a keen interest in helping contributors to polish their content, which is often personal and deeply passionate. A key focus for the portfolio will be engaging and collaborating with multimedia creators, and encouraging the use of experimental modes and styles, such as: comics, how to guides and collages
Science and Research
The Science and Research Sub-Editor will be responsible for sourcing work that is related to topics such as science, technology, innovation, academia and the environment. There is a wide scope here to grow the portfolio into a science communication-adjacent form, with a focus on up-and-coming research within science (as well as tech, data, ethics, and the related social and policy implications). The Sub-Editor is expected to commission interested members of the wider ANU student body and researchers to submit pieces. The ideal candidate will be an effective communicator, able to distil complex information and ideas into accessible and easily understood forms. They will be highly knowledgeable about the different fields and debates within science and related spheres.
Features
The Features Sub-Editor will be tasked with sourcing articles that question, explore, and offer interesting insights into contemporary happenings. Articles will need to reflect the diverse opinions and ideas of ANU students, with a focus on engaging international and multilingual students. A discerning eye is required to distinguish between the offensive and the insightful. Articles should be engaging and relevant to the student body and current affairs.
Think features published in Vox, the Atlantic, or Overland and Voiceworks. There is scope to expand the portfolio to provide a platform for students to communicate their research and case-study findings, whether from honours, postgraduate, or individual research-based classes. There is no shortage of this work happening around the ANU, so this role will require the Sub-Editor to tap in and encourage students to share.
ONLINE SUB-EDITORS
Columnist (x2)
The Online Columnists will be required to produce interesting, relevant content for the website, of approximately 500-800 words at least four times per semester. This position is ideal for regular contributors of Woroni. While Columnists are not limited by any one topic, applicants will need to be aware of campus happenings and student discussions, and have strong opinions that they’re not afraid to share. Quick-thinking and creativity is needed for the sections that cover a lot of ground.
Reviews
The Reviews Sub-Editor will attend events and write reviews on plays, exhibitions, performances, talks, gigs, shows, restaurants, film screenings, festivals and any event or experience around ANU and Canberra. This includes seasonal themed pieces and recommendations for new Canberra residents. The Reviews Sub-Editor will also source relevant reviews from students and organise free tickets and media passes. They should help maintain strong relationships with Woroni’s contacts in the Canberra’s culture scene.
Satire
When employed well, satire and humour can be used to grapple with reality, punch up at higher powers and engage readers with challenging ideas. The Satire Sub-Editor should write at least 4 articles per semester that brings a satirical edge to current issues and events – light-hearted content that is comical and relevant to the student body. Applicants will need to have an eye for the ironic, a keen sense of wit and the ability to write several pieces for both online and print publication often with strict time frames, and occasionally source externally. An ideal candidate will be able to work smoothly with contributors to polish submissions and be comfortable with varying forms of satire.
Applications will close 5pm Friday 25th November 2022.
Interviews will be conducted on a rolling basis between 20-29 November 2022. The role will commence immediately with mandatory training on Friday the 2nd of December.
Please send any questions to Indy at contenteditor@woroni.com.au
Woroni is committed to diversity in hiring. It is important that our team reflects the diversity of the ANU community so that we can better tell stories about everyone at the ANU. As such, Woroni welcomes applications from students that are from a range of diverse backgrounds and identities. If you identify with a diverse background or disability, feel free to let us know in your application.
var gform;gform||(document.addEventListener(“gform_main_scripts_loaded”,function(){gform.scriptsLoaded=!0}),window.addEventListener(“DOMContentLoaded”,function(){gform.domLoaded=!0}),gform={domLoaded:!1,scriptsLoaded:!1,initializeOnLoaded:function(o){gform.domLoaded&&gform.scriptsLoaded?o():!gform.domLoaded&&gform.scriptsLoaded?window.addEventListener(“DOMContentLoaded”,o):document.addEventListener(“gform_main_scripts_loaded”,o)},hooks:{action:{},filter:{}},addAction:function(o,n,r,t){gform.addHook(“action”,o,n,r,t)},addFilter:function(o,n,r,t){gform.addHook(“filter”,o,n,r,t)},doAction:function(o){gform.doHook(“action”,o,arguments)},applyFilters:function(o){return gform.doHook(“filter”,o,arguments)},removeAction:function(o,n){gform.removeHook(“action”,o,n)},removeFilter:function(o,n,r){gform.removeHook(“filter”,o,n,r)},addHook:function(o,n,r,t,i){null==gform.hooks[o][n]&&(gform.hooks[o][n]=[]);var e=gform.hooks[o][n];null==i&&(i=n+”_”+e.length),gform.hooks[o][n].push({tag:i,callable:r,priority:t=null==t?10:t})},doHook:function(n,o,r){var t;if(r=Array.prototype.slice.call(r,1),null!=gform.hooks[n][o]&&((o=gform.hooks[n][o]).sort(function(o,n){return o.priority-n.priority}),o.forEach(function(o){“function”!=typeof(t=o.callable)&&(t=window[t]),”action”==n?t.apply(null,r):r[0]=t.apply(null,r)})),”filter”==n)return r[0]},removeHook:function(o,n,t,i){var r;null!=gform.hooks[o][n]&&(r=(r=gform.hooks[o][n]).filter(function(o,n,r){return!!(null!=i&&i!=o.tag||null!=t&&t!=o.priority)}),gform.hooks[o][n]=r)}});
Content Team Applications Semester 1 2023
Join our Content Team for 2023!
Woroni is looking for a full content team of dedicated Senior Sub-Editors and Sub-Editors to become part of our passionate print and online team at ANU Student Media in Semester 1, 2023.
Step 1 of 2
50%
Name*
First
Last
PhoneEmail*
Student Number* Year* Degree*
QuestionsWhat position(s) are you applying for, and why?*Why would you like to be an Editor at Woroni?*What skills and experiences would you bring to the Content Team at Woroni?*What have you been reading/viewing/engaging with recently?What is your availability from 20-30 November for an in person/online interview?*
In 1977, NASA launched two Voyager spacecrafts, the first of their kind ever to leave the solar system and venture into the vast, infinite space beyond. Within each of these spacecraft is a gold-plated record, a relic meant to convey to any other life-form it might encounter the entire human experience. On this record are images ranging from simple geometric shapes to complex, abstract works of art. And there are also 90 minutes of audio.
90 minutes.
90 minutes to capture all the sounds of the human species. How do you capture something so complex in sounds that might be incomprehensible to any other organism? How do you capture human emotion and convey it to something that might not even experience it?
Despite this monumental task, Carl Sagan and his team attempted to capture our sounds, our languages, and our music onto the record. Those 90 minutes are an intricate tapestry of audio from across time and space. There is a message from the UN General Secretary and greetings in 55 different languages. There is Mozart, and there is Beethoven. There are the fundamentals of sound itself, and there are those who have supposedly mastered it. Yet amongst these iconic, universal pieces of music is a blues song by a relatively unknown artist, Blind Willie Johnson. His song, ‘Dark was the Night, Cold was the Ground’, nestles amongst giants to capture one of the most integral emotions of what it means to be human, or as Carl Sagan put it, “cosmic loneliness.”
We know very little about Blind Willie Johnson. So little that there exists only one confirmed picture of him. We know he was born in 1897 in Texas and that his mother passed away shortly after. As a child, we know his stepmother blinded him by throwing lye into his eyes.
We know he then turned to playing the guitar, travelling around the state, preaching the Christian faith of which he was a devout follower. Johnson lived in poverty his entire life and struggled until the very end. When his house burned down in 1945, he had nowhere to go. So, he slept in the charred ruins where his bed once lay. Here, he contracted a disease; sources differ on whether it was pneumonia or malarial fever. When brought to the hospital, he was refused treatment. He died shortly after. His wife Angeline alleges that he was denied treatment due to his disability, while other sources say it was because he was black.
Within his discography is that very song on the Voyager Golden Record, “Dark was the Night, Cold was the Ground.” Yet it is not Johnson’s own composition. It is his three-minute adaptation of a song layered with history and meaning – a hymn sung on slave plantations, in black churches by preachers, and at funerals in the American South. Johnson’s rendition does not sing the lyrics in English or any other language. Instead, he moans in an anguish that captures and echoes the history of the song, of his own life, and the collective suffering of both. A history that is conveyed in three minutes.
It is a song that echoes our deepest vulnerability, transcending any language to convey to the great beyond the insular depths of our sorrow and loneliness. That is the song’s thesis when considered in isolation, but when we peer behind the notes into the stories that have shaped it, we see perhaps a more prescient idea of what it represents – persistence.
Our species has faced great horrors and resisted great evil to survive. We bear those scars and share them as a collective. Willie Johnson endured a profoundly racist country that not only considered him unequal to those he performed for but also looked down upon him for his disability.
Yet he persisted.
A man who had sight cruelly taken away from him created and captured a testament to our perseverance. Our sorrow and the collective loneliness that pervades our existence now hurtles through the vast expanses of space, seeing more of our universe than our species ever has.
The Voyager Golden Record was designed with longevity in mind and will likely outlast human civilisation. Our existence, however, is inherently ephemeral. We are collections of stardust that dance in sorrow for the duration of our lifespan, capable of great kindness and destruction, only to return to dust when our dance ends. But through our creativity and passion, we can create what transcends our own mortality into great, immortalised art.
In however many years, if ever, should the Voyager Golden Record meet any other civilisation, it might witness that very testament to our perseverance. Or it might never do so and keep exploring the universe in the darkest of nights, and the coldest of spaces, forever cosmically lonely.
Originally published in Woroni Vol. 72 Issue 6 ‘Dive’
Think your name would look good in print? Woroni is always open for submissions. Email write@woroni.com.au with a pitch or draft. You can find more info on submitting here.