Ilikai 2


‘This Is Not My Hotel – ‘Hotel # 11 Ilikai’, Hawaii, June 26 2010, photo by Alicia Bee © 2010 / 2013.


Some people approach songwriting as part of their daily practice, a ritual that follows ‘elevenses’ or morning tea, and mindful meditations; to reaffirm their chosen vocation as a musician.
Others dedicate time each week to a rehearsal or organizational activity to achieve their musical goals.
Many of both types of songwriters have a period where they desire to ‘give up their day job’, and work on their musical craft fulltime as a career goal.
This decision or birth is often seen by many as a powerful creative period and an enouncement of their songwriting.
For some it comes from a defining moment and they open up musically like a dormant Hawaiian volcano that suddenly erupts with an endless flow of lava that covers its islands and oceans.
For the lucky some the creative flow comes naturally from this point, and an outpouring of songs or lyrics churns hundreds of ideas as each day breaks and the songwriter has to write for their right to life.
Daily practice such as this could be seen as repetitive, the way a loop pedal can recycle even the most beautiful melodies to sour their value.
And while this routine of songwriting can border on the darker sides of savant personalities, it also stimulates other creative spheres to produce work unguided by critical rules of content or quality.
In this space quantity and output is increased, use of different genres in songwriting is accepted, and a style is produced from sheer practising.
Lock any musician into a creative job for a forced period; and they will hone their talent and style, to come out with a product that is their best work.
This concept could be seen with negativity from those that decide to write songs differently, choosing the right creative moment to pick up a guitar and compose lyrics and music.
For those – it is a well of water that they go to often to obtain their life source and energy with songwriting, but in the meantime, like camels, they survive on the water they have each day.


In early January I had my first karaoke experience at the Pint On Punt in Windsor, Melbourne.
Happy to join in the festivities with high school friend and night host the Australian Karaoke Diva herself, we drank many glasses of sparkling and stared through the performers toward St Kilda Junction as the lyrics rolled across 3 display screens.
We read the lyrics, watched the performances, were moved by the scary ‘good performers’ and remembered many greatest hits.
In one great defining night of friendship I watch 3 great women perform Wilson Philips Hold On, and I admit to knowing all the words. The song would remain with me a week, in between parts of verses from the Metallica and Queens Of The Stone Age hits from the past 20 years that were also performed on the night.
It did remind me that I knew a lot of commercial release songs in spite of making firm choices on my media consumption since early teen.
While many would wonder how I could have survived since the 90s by suggesting that nights such of these are not part of my music agenda, and I had not experienced karaoke, I must admit they too have survived alongside the alternative Australian music scene as weekly residencies at many venues.
In studying the atmosphere and experience, it was interesting to see how many hits are imprinted as folk songs by their repetition through the performances of ordinary people who do not have a desire to perform professionally. These karaoke performers sing for the joy of singing and go about their life and work like the rest of the human race without trying to sing in a musical act.
Each song performance reminded me that lyrics have such resonation with people that many believe that they have personal meaning that becomes anthem for their working life.
Most people have a song they want to sing, and when these karaoke performers get up on stage their fame is merely a small room of people who applaud all efforts like an open stage microphone night.
To a hotel business the difference is only in the money made on the bar and whether there are smiles on the faces of customers.
The Pint On Punt celebrates the tradition of Karaoke on Wednesday Nights at 42 Punt Rd Windsor, from 9:30pm – 1am and Friday nights 10pm-1am at Isle of Wight Bar at the Continental Hotel 5 – 8 The Esplanade, 5-8 The Esplanade Cowes, Phillip Island.


Transition – the curved edge of a ramp.
Goofy Stance – Right foot first on skateboard.
Trick – A skateboard manoeuvre,
Coping – Metal Edge of a ramp.
Disaster – An intermediate trick that involves using an Ollie to transition into another position while riding the coping to resume skating.
Backside Flip – A kickflip that involves a 180 Ollie so that the rider lands on the other side facing forwards.
Etiquette – Some people say there are no rules to skateboarding, though there is a certain respect for locals who hang out at different skate areas, and other boardriders who are completing their skating. It is important that you don’t drop in when they are using the areas, as it is both dangerous and disrespectful.
Drop In – The entry into skating on a ramp or skate area.
Rock Fakie – A skate manoeuvre that leans on the coping before completing a Fakie.

PHOTO – ‘Skate Park 1’, Venice Beach, April 2012, Phone photo by Alicia Bee © 2012.


The performance of covers was certainly a part of the ‘music business’ since bards traveled to towns to share news through song since medieval times. The performance of covers was a part of traditional folk song for the last few hundreds of years, and remains popular at the modern folk festival.
The Yeah Yeah Yeahs performed covers for years before their original songs came out, just like many examples of bands from The Rolling Stones to locals Dallas Crane.
Bam Margera does not perform his own lyrics or music in song.
Bam Margera performs covers because they are the songs he enjoyed, and perhaps the only songs he could perform.
You could say Bam Margera is performing the folk songs of his skate punk culture, sharing the anthems from America and Norway that have served relevance to him.
Bam Margera in transition to ‘music’ is nervous; he still wears his hoodie onstage for a full set, and performs under makeup without eye connection with the audience. Bam Margera takes his goofy skateboarding stance to rock n roll stages and it is difficult to judge whether he executes the trick.
Bam Margera stands on the edge of stage; hanging onto the lyrics like he is riding the coping rail for stability, but it is not a disaster.
You wonder if Bam is going to get confident in the future, and turn into a stage presence that is worth watching.
The Fuckface Unstoppable set is executed without encore and another show of the tour finishes before midnight, while young twenty year old fans screamed for more, and waited for a chance to meet him on the dancefloor.
Though we aren’t far apart in age I see Bam Margera as a younger person, yet to mature into his new ‘hobby’ (a label given to many Australian music performers in the lower tax bracket is ‘hobby-ist’), and become noticed in the music industry for performance beyond his name fame merits.
You can tell it is personally exciting for Bam Margera to be in a band, but there is something missing from the rock show performance that you can find at most other music concerts.
For comparison, I pretend it is like when we were teenagers and the Teenage Mutant Ninja Turtles were current and we all thought we were grown up, but really we were 14, and there would be really young skaters at the bowl, and they would be skating and they would do well, but we were all watching the hot boys and the older skaters because they were better than the try-hard. But that is right before the try-hard becomes better and ‘really nails the trick,’ and becomes famous as a 13 year old skater so that everyone has to backside flip on their opinion of the tryhard and say that he has got better, and is now a bit older and maybe in a few years might be old enough to kiss but not now.
I mean it’s over twenty years later since Teenage Mutant Ninja Turtles, but it seems similar and I’m still not sure about Bam Margera because he skates well.
There is a rock n roll etiquette that is an unwritten law of performing in each new town from Hollywood Bowl to the finest beaches in Australia, that says you have to play well to come to a music city like Melbourne because we live and breath this industry as an occupation.
You cant just drop in and tell everyone your name is better than the game they are playing well, as we already have bands that that play punk and skate.
The second rock n roll etiquette that ticked off my female blog engine surrounds the use of publicity that choose to disrespect the music press with a desire for publication in Picture Magazine, commercial radio like 2DAY FM (currently the lowest station in the country), and the worst media that were never chosen by music acts to promote their fragile entry to Australia before their music was known.
The Fuckface Unstoppable tour didn’t try to play serious shows at venues and sell them out like other musical acts, they were after publicity through stunts and lowbrow commercial media that might have made it seem more real to the fame hungry Bam Margera but only came across as the ‘ugly American’ behavior that Jackass can sometimes translate into in other countries. They were not on their best behavior but rather tried to promote bad behavior as a style of party and promotion.
If Bam Margera could be analysed in skateboard tricks terminology as I have already, then the best way to describe his performance with words that translate to meaning in the English language would be ‘rock n roll Fakie’.
Bam Margera has not nailed the trick of being a music performer yet, but he’s getting there. The voice is there, but the show isn’t, and the covers just might leave you feeling like ALL MY FRIENDS ARE DEAD, and wonder how much influence TURBONEGRO had over his decision to become a music performer.
Bam Margera has had other hobbies aside from skateboarding, and leisure pursuits. Recently TBS Cable TV Network has agreed to a 6 episode half hour game show for 2014 designed to be another ‘stunt challenge series’ much alike the premise for Jackass and its donkeybabies solo series ( of Steve O and Bam Margera), however this time ordinary contestants compete in an elimination process procedure.
As the youngest member of Jackass his own reality TV stuntshow had imprinted his name to so many of the younger people in attendance at the live music show.
I remembered Bam’s name before Jackass from the many sponsorship designs of skatedecks, wheels and others things from Transworld catalogues, rather than actually seeing him skate, and he was one of the reasons I followed the TV series. Many others would remember his rise to fame as a story that sidelined much of the 90s American Skate culture and know his skateboarding from the promotional videos of sponsors.
Remember too that there are many fans of skate culture that see the public figures of Jackass as so removed from the current world of skateboarding that they are no longer followed as relevant, so criticism of Bam Margera in the music industry is not harsh.
At the moment Fuckface Unstoppable is a novelty act, touring on Bam Margera’s name seeking publicity and party around at hotels on the island of Australia through January 2013, then they travel back home via some Canadian shows.
I don’t want to insult Bam Margera’s vocals skills which are the same as many in rock or punk bands, for you never how long he may practice until he nails this new trick, and we can take him seriously on the music world stage.
I also need to remove this review from a description of the professional backing bands, and all of their wonderful supports.
The bands are capable and experienced musicians quite willing to support Bam Margera’s goals, and give him some credibility with namedropping from other punk acts.
Lets keep those candles we were given, as a gift from Castle Bam is alight, and keep the eternal flame of hope burning for a better peaceful and safer future, till they return south again to play some songs.

Wolfpack CD


This three song benefit CD for The Lost Dogs Home is one of the recordings from the newer line-up of Wolfpack.
A show by the older lineup that included two females was reviewed in this blog here in 2011.
Tom Wolfpack decided very easily to continue the Wolfpack band without the females and no one blinked for the difference because the exiting ladies taken as serious players rather than included for their sex and female music status like any band.
The new lineup includes Sin City’s Josh on guitar and Kane from Halfmast. The boy band thrives with a newer synergy on a fast sled ride led by the grungy growl vocals of Tom Wolfpack.
The spoken lead-in vocals of ‘Pins & Needles’ is bold enough to emulate The Sex Pistols in lyrics and is heard in the recording room from the drum stool at the level of other vocals in the mix like their live sound.
You are guided to the songs by guitars are plain enough punk to sound of Dead Kennedys, that sit out front to grind though the product still dirty enough to be respectable in imitation rather than produced punk with slick sickness of tampered vocals that does the same with known influences.
Spoken words vocals of ‘No More’ scream male scenes similar to the emo influenced styles produced by Cocks Arquette and Australian bands like Black Level Embassy, or even Karnivool that seek to make us remember an accent like skip-hop found its voice in microphone.
To get along with Wolfpack you have to get used to this Australian pub vocal style.
If you wondered why this working class band choose to pour their effort into charity work and put out this release for The Lost Dogs Home, then read on.
ALICIA BEE – Why are you doing this Wolfpack work for the Lost Dogs Home.
TOM WOLFPACK : As a band we just wanted to do something different. So much music nowadays just has no soul and is being made by people who really only care about themselves (yes Jay-Z and Kanye West we are looking at you… ) [link supplied by the band] and Wolfpack don’t want to be a part of that. For us the music is what really matters and not improving our lot so why not give any money we make to organisations doing great things. The Lost Dogs Home is one of the organisations we have done charity stuff for, Reclink being another big one and our upcoming AMAZE (Autism) benefit gig on Sunday 31st March at The Corner is gonna be huge.
 With The Lost Dogs Home benefit CD we used money earnt from our live shows to go into the studio, record and manufacture the release. We then sell these CD’s at our show and every cent from every CD sold goes to The Lost Dogs Home… The work they do is far more important than any musicians bank balance or ego.
 The fundraising is an ongoing process as we continue playing shows and touring around the country but so far $1000 has been donated and from an initial expenditure of $1500 to record/make the discs this will be doubled once we sell them all for another $2000 or more. Our furry friends give us so much and unfortunately society has in so many cases impacted negatively on their position, anything big or small anyone can do to help should be done. 
Our next disc coming out around June will be a benefit release for a great animal rescue team up in Sydney, LOTL , who are now in the process of setting up the ultimate goal a ‘no kill’ shelter too. 
Check them out and get amongst it gang Cheers.



All my friends are Dead, or all my friends know Dead.
Melbourne’s Dead (band) are everyone’s friends, and are always ready to help with contacts from their many overseas tours, are most caring for those in need with benefits like last year’s show for PETER BLACKIE from THE HARD ONS, and are always putting out new products.
The energy of Dead was rejuvenating to the pub rock thrash scene with their desire to play, and tour with the same DIY punk that designed many posters, covers and bands before them.
Dead bridged people that weren’t talking, and constructed lineups of bands that hadn’t had seemed stagnant.
As the Dead releases came out in limited editions, their following came through a loyalty program and belief that another band was worth listening to and collecting as friends.
Dead’s most recent album Idiots proves that they remain on track and will continue to put out everything they put down as they holiday along their music journey, and counts shows.
Core to the recording again, like Wolfpack, is the vocals alongside the drums and guitar levels. With lesser importance to the lyrics for narrative drive, the music takes on an experience where you are part of the live show or desire to make your own voice and move along.
This lowering of the male vocals, allows for an inner sound of communication that is heard less through exertion from amplification but empathy to feelings. Each recording reminds you to catch a live show and be a part of the experience.
A depart from this Dead sound style can be heard in the ‘Murder Hollow’ vocals of Linda Dacio, gothic in lyrics and tone, and leading from the song start in an interesting collaborative sound art piece.
A third vocal change can be found in ‘Inherit The Wind’, as screamo gutteral changes the genre to heavier metal.
Dead should be congratulated on their seven track album, and the longer song stories of ‘The Carcus Is Dry’ and ‘Lego Men’ that build their name as a band that is turning the heads of pub rock bands and their friends all over the world and making them nod in the traditional agreeance.
If you aren’t yet impressed, ‘Bed Bugs’ will get you in the end to prove that Dead have not only become more experienced at performing, but were carving their own musical style in so many live rehearsals by changing timing and playing their instruments in the duo team they rose from.



When Clae shoes started its calendars at the dawn of the millennium they were one of the first to offer fashionable male dress shoes to the street market. Korean born Sung Choi, the founder and Creative Director of Clae grew up in the sneaker wearing New York districts of the 80s and 90s where he learnt design at Brooklyn Technical College.
Choi started working for PNB streetwear, then moved to the West Coast and designed for DC shoes.
When Clae started in 2001 it won an award for Best Male Footwear Collection from Sportswear International.
Here is another collection that offers manstyle a little more choices than stealing girls clothes and looking at their shoes.
These two leather styles collaborate with Italian sole makers Vibram who specialized in mountain climbing and workboots for their heavy protective rubbers.
THE ROMARE HI VIBRAM (pictured first) features a quilted Nubuck collar and toe hand stitching in Grizzly Leather Brown and Black Leather.
Their STRAYHORN VIBRAM (pictured second) offers fashion color in rich leather and is available in ‘Pavement Nubuck’ grey and black.

image-5.axdPOETASTER: THIS IS WHERE 1 & 2.

This Is Where I Fell
by Alicia Bee 2012 ©

This is where I fell
This is where I was assaulted,
This is where he went to hell,
This is where life altered.
This is where the car hit,
This is where my bike stopped,
This is the broken piece that fits,
This is where we called the cops.
This is where I took the taxi ride,
This is what I can remember,
This is where he lied,
This is where I lost my temper.
This is where I fought,
This is where I stood up against the crowd,
This is why we went to court.
This is where they thought it was allowed.
This is where I drank the wine,
This is where I left my jacket,
This is when I claim what’s mine,
This is where they found the packet.
This is where the stair broke my heel,
This is where I cried,
This is where they borrowed to steal,
This is where they died.
This is where I took the picture,
This is where we fought with security,
This is where they wouldn’t listen,
This is where I held my birthday party,
This is where I broke the glass,
This is where I lost my mobile phone,
This is the place we went past,
This is the way I walked home.

This Is Where # 2 , This is the way I came when I didn’t pay,
by Alicia Bee 2012 / 2013 ©

This is where I drank,
This is where I spent my money,
This is where I twisted my ankle,
This is where I gave up smoking,
This is where I went to the gig,
This is where I broke my leg,
This is where I cracked my rib,
This is what I did,
This is where I danced and shattered my toes,
This is where my tooth hit,
This is the gutter where the water flowed.
This is where it flooded,
This is where they drugged my water,
This is where they raped your daughter,
This is where they took my blood,
This is where they put the stamp on me,
This is the way I came when I didn’t pay,
This is where the motorbike was parked,
This is where I left my umbrella,
This is where I left my wallet,
This is where I went deaf,
This is where I closed my eyes,
This is where I lived,
This is where we kissed,
This is where I ripped his shirt,
This is where I fell in the dirt.