FAST-TRACK HALLOWE'EN!!!>>> • GRAVE OF THE VAMPIRE (1972), • A SCARY
TIME (1960), • TRICK OR TREAT (1952), • LOST LUGOSI INTERVIEW (c.
1950), • RABBIT'S MOON (1950), • GRAVE OF THE VAMPIRE (1972)
<<<FAST-TRACK HALLOWE'EN!!!

TONIGHT: STRICTLY MEMBERS-ONLY
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DETAILS BELOW

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SPLODGE! NOTES: 1st. Mon. OCTOBER (06/10/03)
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ON THE FIRST MONDAY OF EVERY MONTH

"SPLODGE!"

a community FilmEdSoc project,
WE CONTROL THE CONTENT

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Unusual films of discernment, still presented in convivial
surroundings!

ALL PRESENTED ON GROOVY 16 MILLIMETRE FILM!

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714 NICHOLSON (CNR. SCOTCHMER) STREET, NORTH FITZROY

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4th. Quartile

OCTOBER
AD 2003

Monday, 06th.

Registration: 7.30 - 8.00 pm
Screening: >>>>> 8.00 (*EIGHT*!!!!) pm <<<<<

TONIGHT: STRICTLY MEMBERS-ONLY
MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT
DETAILS BELOW

FAST-TRACK HALLOWE'EN!!!

OCTOBER
AD 2003

Monday, 06th.

Registration: 7.30 - 8.00 pm
Screening: >>>>> 8.00 (*EIGHT*!!!!) pm <<<<<

TONIGHT: STRICTLY MEMBERS-ONLY
MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT
DETAILS BELOW

FAST-TRACK HALLOWE'EN!!!


It's traditional! Splodge! can never get a booking for use of it's
back-room screening space anywhere near the run-up to Hallowe'en, so we
continue an October tradition of our own and beat everyone else to the
punch by a country-mile! Enjoy!


•A SCARY TIME (1960),
Genial doco shows US tots getting their spooky jollies –
trick-or-treating on Hallowe’en to raise cash for to help childish
compatriots (sick, hungry, neglected) 'round the world. (Co-Director,
Shirley) Clarke, then better known for her dancing, later went on to
helm a number of UN commissions, and became the most celebrated female
Director of the New American Cinema movement. (Her) feature (films)
include The Connection (1961), The Cool World (1964), and Portrait Of
Jason (1967). Soundtrack by Australian expatriate, Peggy
Glanville-Hicks. - Isosceles.

Produced by the United Nations Children's Fund, this "inventive
approach to the documentary form" contrasts images and voices of
impoverished children in developing countries with those of
trick-or-treating in a suburban American Hallowe’en setting. The
haunting juxtaposition of universal themes: fear, hunger, and the want
of comfort finds its resonance in the small UNICEF box which ties the
two worlds together. From the dimly lit skeleton costume of a child
anxious to return home to the painfully bony frame of a suffering baby,
A Scary Time pleads not with hyperbole and drama, but through the
honest faces of all its children. Prod. Co: United Nations Children's
Fund. Prod: Thorold Dickinson. Dirs: Shirley Clark, Robert Hughes. 16
mins. ALC.



•TRICK OR TREAT (1952),
Huey, Dewey and Louie visit Donald's house for Hallowe'en. but Donald
turns the tricks on them. Seeing them rebuffed, Witch Hazel decides to
help out with their revenge on Donald.

MP3: http://disneyshorts.toonzone.net/sounds/trickortreat.mp3
(53 seconds, 829K)

This short certainly paints DONALD DUCK as a right unsympathetic
character. First he steals Huey, Dewey, and Louie's Hallowe’en candy.
They then enlist Witch Hazel to get back at him. Donald, of course,
brilliantly resists the Witch! This results in a great deal of pain
(for him!).

The most obvious comparison of the character "Witch Hazel" is to
another character with the same name. TRICK OR TREAT was released in
1952. Two years later, Warner Brothers released a Bugs Bunny cartoon
entitled BEWITCHED BUNNY (1954), directed by CHUCK JONES and featuring
a much different witch named Hazel. To make matters more confusing,
they were both voiced by the same artist; JUNE FORAY, (at least for
most of the Warners shorts - initially her voice was provided by Bea
Benederette.) Foray recalled the situation in an interview in the
December 1995 issue of Animation Magazine:

"I did Witch Hazel as a short at Disney. She was a very funny character
that I created the voice for. And CHUCK JONES loved it so much that he
called me over to Warner Bros. to do her again. I went over there and
they said, 'You're going to do Witch Hazel.' And I thought, how in hell
are they doing to do that? Disney owns it, and they're so litigious.
But we did it. Chuck just went ahead and did it! So I asked him, just a
couple years ago, 'How the heck did you ever do that and get away with
it, taking a character out from under Disney's nose?' And he said,
'Because it was an alcohol rub! He didn't own the name!' So Disney
couldn't capitalize on that, or stop CHUCK because it was already a
copyrighted name."

The two characters are quite different, however. Consider switching the
two roles and think how things might have changed. The "Disney Hazel"
would probably have wanted to help Hansel and Gretel (in BEWITCHED
BUNNY) while the "Warner’s Hazel" would have been overjoyed at the
thought of preparing duck soup. There is also a Witch Hazel in a Tom
and Jerry short called "The Flying Sorceress" (1956). This cartoon is
the second in the series which gives Hanna and Barbera production
credit.

"While it's easy to see some similarity between Disney's Witch Hazel
and the later Warner’s one, we've forgotten another: Little Lulu's
Witch Hazel. Created by John Stanley, this comics character was
contemporary with Disney's Hazel (Halloween 1952), and CHUCK JONES'
Hazel bears much more resemblance to her -- personality-wise -- than to
Disney's.

Both Jones and Stanley present us with seriously evil hags who may be
funny, but - it's sometimes suggested - would eat children. Both
delight in being not just irascible, but cold-blooded. Both await
suckers whom they can lure into their clutches by various forms of
temptation. Sure, it's funny as hell, but the key note is that we're
talking about "evil". Disney's Hazel, by contrast, is a crazy,
colourful old crackpot who's good at magic and mischief, but she's not
evil, and that's carried on to Disney's comics (where, at first under
the hand of CARL BARKS, the character has gone on to great things). For
Disney's animation and comic writers, it was funnier to have a witch
destructively "help" the good guys than try to kill them. So ... June
Foray may have been thinking of Disney's Hazel when she worked on the
Warner character, but that's as far as it goes. Disney's Hazel stands
alone; let Warners and the Little Lulu copyright owners fight it out!"
- David Gerstein.

BARKS also did a Dell comic (DONALD DUCK, #28) on this cartoon. It has
the distiction of being one of the most censored comicbook stories. He
added a crazy looking one-eyed creature which the editors thought to be
too scary for little kids. They removed all the panels featuring this
monster.

Little Golden Books also released a book called DONALD DUCK AND THE
WITCH. Witch Hazel was also featured, but the story was different. The
nephews thought they saw a witch, but Donald said they were seeing
things. The nephews find Witch Hazel, and she pulls some pranks on
Donald to get him to believe in witches. At the end of the story,
Donald, the nephews, and Witch Hazel all sit down to enjoy a fall
harvest feast. The book has some very beautiful illustrations. Prod.
WALT DISNEY. Director, Jack Hannah. 9 mins. NFVLS



•LOST LUGOSI INTERVIEW (c. 1950),
Rare interview with BELA LUGOSI, on the "Ship's Reporter" television
programme, just after the former completed OLD MOTHER RILEY MEETS THE
VAMPIRE (1952), aka VAMPIRE OVER LONDON, and where he expresses his
desire to continue making motion pictures. Prod Co: Manbeck Pictures.
~3 mins. NFVLS



•RABBIT'S MOON (shot in 1950, released in 1972 and revised in 1980),
Set in an iridescent forest, in Rabbit's Moon, the creepiest of sad
clowns, Pierrot, repeatedly and fruitlessly grasps at his source of
light, the Moon. ("Things that go bump in the night... give me a
terrible, terrible fright.") Sometimes he's distracted, like when
Harlequin shows up with a magic lantern, but ultimately, the Moon is
the thing. He then pursues, with equal lack of success, the lovely
Columbine, whom he has "created" with the light of his magic lantern.
At the film's end, he falls lifelessly to earth, destroyed by his
unsatisfied yearnings.

"RABBIT'S MOON seems to me your finest film, most perfect and, oh all
together finest, of the sharpest clarity. Beautiful, yet beauty
balanced by dreadful necessity, so that it is an emblem of the soul's
experience: signature .... And I think my turn-of-mind here especially
appropriate because I also saw this film as your autobiography, all the
figures in it aspects of yourself, its magical progress a kind of
'story of your life.'" - Stan Brakhage

"ANGER used a rich pan-cultural texture of myth to explain his own
psychological condition in Rabbit's Moon. The rabbit in the moon is
lifted out of Japanese myth, with the moon in Crowleyan terms
representing the female principal. The character Pierrot was based on
Crowley's tarot card of the Fool, which meant divine inspiration in
spiritual or creative matters, but folly, mania, or death in everyday
affairs. The highly stylized mime movements of the actors, which was
part of early 20th century avant-garde theatre, recalls both Kabuki and
commedia dell'arte, where Columbine emotionally tortures Pierrot with
Harlequin's assistance. The set itself resembles the art deco forest of
silver trees in A Midsummer Night's Dream." - Bill Landis, Anger

A tribute to Méliès, originally shot, in Paris, on 35mm nitrate film,
combining elements of commedia dell'arte with Japanese myth ( - unlike
we in the West, who see a Man in the Moon, the Japanese are said to see
a rabbit)!

Concept, direction and editing by KENNETH ANGER. Camera Assistant:
Tourjansky. Song: "Things That Go Bump In The Night" by hyper-obscure
British psych-folk-rock band, A RAINCOAT, (Vocals: Andy Arthur), from
their album, (available nowhere, except on imported used vinyl)
"Digalongamacs"
<
http://www.artistdirect.com/store/artist/album/0,,150876,00.html >
Cast: Andre Soubeyran (Pierrot), Claude Revenant (Harlequin), Nadine
Valence (Columbine). 7 mins. NFVLS



and featuring:

•GRAVE OF THE VAMPIRE (1972),
Rising from the grave, UNCUT, Splodge! is proud to present this cool,
ultra-rare, long-lost gem, a 1970s drive-in grindhouse classic, made in
eleven days for twenty-five thousand dollars!

WARNING: Some Spoilers! (Actually, quite a few!)

It is the late 1940s and a young couple, co-ed Leslie Hollander (Kitty
Vallacher) and her boyfriend Paul Eastman (Jay Scott), leave a party to
go to a dark, deserted graveyard for a few hours of privacy. The boy
proposes marriage, she accepts, and they climb into the backseat of his
car for some serious anatomical research. Little do they know that,
nearby, a mouldering, four-hundred year old vampire has been disturbed
in his crypt by their wholesome activities and has emerged to stalk the
night!

The ghoul rips the door off the car, pulls Paul out, kills him by
energetically impaling him on a gravestone, and drinks his blood. Then
Leslie is dragged into an open grave and brutally raped. The vampire is
believed to be one Caleb Croft (an ultra-fit Michael Pataki), murderer
and rapist, who had been accidentally electrocuted in an encounter with
the police three years earlier. Croft was the last alias of Charles
Croydon, a 17th Century nobleman and vampire.

Recovered from the nightmarish ordeal, Leslie discovers she has fallen
pregnant. Something, however, is amiss. Her doctor informs her that the
child has no heartbeat. He begs her to have an abortion, but she
refuses, believing the child to be Paul's, not Croft's. Lieutenant
Mason tries in vain to convince Leslie of the truth.

She hires a midwife to help her deliver the baby and, upon giving birth
to it, a strange, grey monstrosity, finds that the child refuses to
take milk, that is, until she accidentally cuts herself and her blood
drips onto the baby's mouth. He hungrily laps it up, whereapon she
commences regularly filling the baby bottle with blood to keep the
little devil alive. She continues this unholy maternity, to the dismay
of her family and friends, refusing to abandon the monster she has
reared.

Flash-forward a couple of decades, and we discover the half-vampire,
half-human child has matured into the ruggedly handsome James Eastman
(William - MANIAC COP, 1998 - Smith), who we first see as an adult
during his mother's funeral, has been circling the globe in an effort
to find his father and kill him out of revenge ( - after all, (there's
only so much blood a mother can give her son). Like Blade, he is on a
vendetta to kill the vampire who made him. James, in voice-over, relays
to us his own suspicion about his origins and vows to find the monster
that impregnated his mother and destroy him. Although spawned by a
vampire, James can go out in the daylight and can eat raw meat and
animal blood to sate his appetite.

He tracks Croft, now posing as Professor Lockwood, to a University,
where he has been teaching night classes on the Occult, ancient legends
and folklore.

James enrols, and makes the acquaintance of a pair of beautiful young
grad students, carefree Anita (Dianne Holden), and cerebral English
teacher Anne (Lyn Peters). On his first night in the class, he engages
Croft in a dialogue that reveals clues as to their blood-kinship.

Things come to a head when both father and son fall for the same woman.
In the meanstwhile, Anita, with plans of her own, gets more than she
bargained for when Lockwood pays her an unexpected visit.

The beautiful Anne is the spitting image of Sarah, wife of Caleb who
was burnt at the stake in 1846. Lockwood sets up a 'prac' session for
his advanced students, a séance, hoping to call forth the spirit of his
wife and have her possess the body of Anne. Things go wrong and
Lockwood ends up slaughtering the whole class when Anita takes
possession of her instead.

James reveals who he really is, and the final dramatic showdown begins,
- one of the most brutal, realistic and unremitting fight scenes I've
ever seen in a movie. These two guys look like they're going to rip
each other apart. It's an all-out brawl. And the outcome... well, it
depends on your point of view!

GRAVE OF THE VAMPIRE, also known as SEED OF TERROR, is one of those
great 70's horror chillers that relies entirely on it's own cheapness
to deliver the scares. GOTV played the drive-in circuit back in 1974
and - outside a minor cult following - has mostly been forgotten. It
joins the likes of DEATHDREAM (1972), ALICE, SWEET ALICE (1976) and
MASSACRE AT CENTRAL HIGH (1976) as a prime example of a seemingly
unassuming drive-in programmer that manages to overcome its
limitations, budgetary and otherwise, as one of the most atmospheric,
macabre and eerie vampire films ever made. GOTV’s constantly-mutating
off-the-wall storyline, and it’s increasingly-eerie atmosphere and
graphic violence make for a true rarity: a unique take on a hide-bound
genre. Anyone with an interest in ‘70s horror should make the effort to
catch up with this one: a benchmark in vampire cinema, being both
original and genuinely disturbing - if a little ludicrous at the end
(but delightfully so). Strong performances, and a high body-count, make
it worth the effort. They didn't make exploitation much better than
this.

GOTV works for the same reason as do so many other effective,
low-budget 70's treasures. The miniscule resources and capable, but
unostentatious production-values give the film a certain ‘surreal’,
nightmarish quality that happens almost by accident. There is a sense,
when watching films like this, that ANYTHING could happen next,
therefore rendering any viewer expectations completely obsolete. This
is perhaps director John Hayes', director of the provocatively-titled
MAMA’S DIRTY GIRLS (1974) and JAILBAIT BABYSITTER (1978), best film.

There is so much right with this film. Jaime Mendoza-Nava’s score is
properly atmospheric. The screenplay by Hayes and David Chase
(Emmy-winning creator of THE SOPRANOS, and author of the novel “The
Still Life”, upon which GOTV is based) is fast-paced and contains some
well-honed dialogue. The plot is brilliant, as is the atmosphere in the
first half - seriously disturbing. There are a number of truly
sickening scenes that will make you cringe, yet the film never really
crosses the line so firmly bounded by the 1970s. One might be reminded
of those creepy scenes of alien parasitism that featured in INVASION:
EARTH a few years back. But GOTV keeps you captivated, from start to
finish, between the nauseating and the unbelievable. Sure, it is
surprisingly violent, brutal and cruel at times, not quite sticking to
traditional vampire lore, yet still creating a visceral kind of horror
in its grotesqueries and its ability to shock and disturb.

For instance, the opening features a scene where the vampire rises from
his tomb (in a surprisingly well-lit cemetery) while the obligatory
couple propose marriage and make love in the back seat of a car.
Vampire Croft's resurrection-scene is traditionally spooky, with
cobwebs and dust galore (although the vampire was only supposed to have
been entombed for three years), yet when Croft attacks the couple, the
horror turns shockingly violent, as he brutally kills the man and rapes
the woman. It’s a scene which balances the ripest cheese with shocking
horror.

The idea of a vampire raping a victim is original, as is that of the
subsequent pregnancy. The scene where Leslie cuts her own breast to
feed her child is truly repulsive. GOTV frequently defies audience
expectations; you think that the vampire will feed from Leslie, instead
he rapes her. A further example: at first you think that this is going
to be another stereotypical vampire film, where the clued-up police
inspector - in this case Lieutenant Panzer - is going to be Croft's
nemesis - the man who will hunt down and eventually kill the vampire.
But as soon as Panzer is killed off, and fairly early on too, you know
that this tale is going to be heading right off the rails.

Once you get past questions as to why a vampire would even want to rape
a woman, and why he would not kill her too, we have the idea of Croft
fathering a child through this woman, which eventually brings us to the
whole point of this first half of the film: the baby drinks blood, both
from his mother's breast and from a baby-bottle that she fills with her
own blood, through use of an <erk!> hypodermic needle. (Lesser logical
incongruities, such as why Anne ask James for a corkscrew in her own
apartment - he has never been there before and wouldn't know where
anything would be - or why James' surname is Eastman, Leslie was never
married, so surely he should have taken his mother's name Hollander,
fly by but in no way detract.)

Croft is, in most respects, a traditional vampire: he is a suave man
who sleeps in a coffin, bites women on the neck with plastic fangs. He
also has mental powers beyond that of a normal human, with something of
a psychopathic bent – “You’re… *using*… ME!”. He uses a different alias
for each new place he goes: Croydon, Croft and, lastly, Professor
Adrian Lockwood. However, Croft is a unique character, the first
vampire to have sexual intercourse with a woman and make her pregnant.

James Eastman, son of Croft, appalled at the use of his mother, takes
on the role of vampire hunter. Another first in vampire film history,
as, before this point, vampire hunters were ever all-too-human. The
concept of a “half vampire”, or ”unique” vampire, killing vampires has
been used a great deal in subsequent films (Blade, 1998; and its sequel
Blade II, 2002; Vampire Hunter D, 1993 and its sequel, Vampire Hunter
D: Bloodlust, 2000; Blood: the Last Vampire, 2000 et c.) The idea of
mortal women bearing vampire/half vampire young, first seen in GOTV,
has also more recently been explored in Ultraviolet (1998), and Son of
Darkness: To Die For II (1991).

Hereafter, we arrive at the real film’s true story vector, the revenge
melodrama wherein James embarks on his quest to seek his undead dadski
and destroy him. James is presented as a weird individual, without much
of a past or future (although he does try to get something going with a
few groovy chicks); a tragic hero, forced to stick to the shadows and
afraid to become emotionally involved with other humans, since he can
never be sure he won’t break his diet of raw meat and give in to his
craving for human blood.

The vampire-attacks in the film provide most of the goods, and there
are some truly frightening sequences, one involving a silly woman who
falls for the old "what-was-that-noise-in-the-basement" trick, and
Croft is not content to simply bite his victims on the neck, often
ripping out peoples throats with broken bottles, crushing folk’s heads,
and breaking necks when necessary.

The film is elevated by the performances of the two leads, Pataki and
Smith. Pataki is marvellously malevolent, giving a hyper-energetic
performance reminiscent of some of CHRISTOPHER LEE’s Hammer acrobatics,
and succeeds in creating a slight level of sympathy for Croft in his
grief for his lost wife. Both are favourites in low budget films. They
make even the most unbearable film they appear in better than it should
be. Smith, a veteran of horror movies since the 1940s, also -
according to his official fan site - “studied at the Sorbonne in Paris,
and [graduated] cum laude at UCLA". Dianne Holden (Anita) comes in for
special mention for her portrayal of an Occultist who discovers that
the life of a vampire isn’t quite as glamorous as she thinks it is.

The movie has a great ‘70s look and feel: don't miss the party scene,
where a group of swingin’ cats get down to some jazzy music in
someone's living room. One of the characters admits "Gee, I'm really
sorry about all of this, we just called some people and played some
records, and now we've got this thing happening". (This sequence also
manages to horrify - mostly because of the alarming sideburns that some
of the men are sporting.)

Influence-wise, GOTV owes an obvious debt to the Count Yorga films and
horror classics PSYCHO (1960) and NIGHT OF THE LIVING DEAD (1968).
COUNT YORGA, VAMPIRE (1970) first used the séance scene used in the
film and has the same atmosphere. You can tell that it is a heavy
influence on this film. Even Bela Lugosi gets a mention.

The film boasts a spectacular climax which must have given Pataki and
Smith bruises for days. It’s downbeat conclusion simply adds to the
doom-laden tone of the whole thing. If ever there was a film begging
for a remake Grave Of The Vampire is it. It has the potential to be the
most shocking vampire movie ever made. Tag line: "Father and son:
related by BLOOD! ANYONE'S BLOOD!"

Prod Co. Clover Films Inc. Exec. Prod: Earl Marshall. Dir: John Hayes.
Prod: Daniel Cady. Wr: David Chase (also novel "The Still Life"), John
Hayes. Ed: Ron Johnson. Mus: Jaime Mendoza-Nava. Phot: Paul Hipp. Ed:
John Hayes. Prod. Des: Earl Marshall. Cast: William Smith (James
Eastman), Michael Pataki (Caleb Croft), Lyn Peters (Anne Arthur), Diane
Holden (Anita Jacoby), Kitty, Vallacher (Leslie Hollander), Eric Mason
(Lieutenant Panzer), Lieux Dressler (Olga), Jay Scott (Paul), William
Guhl (Sergeant Duffy), Jay Adler (Old Zack), Abbi Henderson (Carol
Moskowitz), Carmen Argenziano (Sam), Margaret Fairchild (Miss Fenwick),
Inga Neilsen. 90 mins. MR



Note: If you'd like to join our "low-kilobyte", no-attachment
Splodge!-lite mailing-list, just give us a "'hoy" here at
splodgeburger!

...................... http://splodge.homestead.com/ .................

Minor programme changes may occur due to unforseen
circumstances.
Feature runs last; shorts order may vary from listing.

* Acknowledging ACMI Inc. ;) *

**********************************************************************

ADMISSION IS RESTRICTED TO MEMBERS FOR THIS PROGRAMME

THIS IS A FILM SOCIETY SCREENING OPEN TO MEMBERS

BUT IF YOU WISH TO BECOME A MEMBER, THE JOINING FEE IS SO LOW,
IT *MIGHT AS WELL BE FREE*!

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MEMBERSHIP RATES:
Quarterly*:
Generally Socially-Advantaged: $7.00

Generally Socially-Oppressed: $6.00

*annual and half-yearly memberships available on request

If you wish to join on the night, we strongly advise you to
arrive well-prior to the time listed for the screening to
commence!

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or register* via snail-mail (address below).

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...................... http://splodge.homestead.com/ .................

714 NICHOLSON STREET (CNR. NICHOLSON & SCOTCHMER STREETS),
NORTH FITZROY. PHONE 04 25 74 28 01


LOCATION MAP:
- http://makeashorterlink.com/?P23D21A01


ACCESS BY #96 TRAM (TRAM-STOP #21, SECTION 7):

-To > Splodge! (ie., FROM city):
http://makeashorterlink.com/?X15B31403

-From < Splodge! (ie., TO city):
http://makeashorterlink.com/?S14B31403

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SPLODGE! GETS BOLSHY WHEN IT'S MATES ARE IN TROUBLE!

Our amiable hosts at The Empress Hotel, who supply us with a safe and
congenial space for our exclusive use and enjoyment ( - which we could
never otherwise afford - ) are under siege by nefarious anti-joy
forces, so we are rallying to their help!

If you support Splodge!, you can play YOUR part in helping fight the
sound restrictions unfairly placed on our beloved venue by signing THE
PETITION! And RETURNING IT! ( - You could send it back over to
Splodge!, or straight to the kindly folk at the Empress. If you're
coming to our future screenings, you'll find a hard copy of the
petition at our admin desk.)

http://www.theempresshotel.com.au/fair%20go.htm

- Splodge! says thanks for you consideration in this matter. You could
not begin to imagine how much our l'il film society owes these people!

"VicMusic supports it. Fair go 4 Live Music supports it.
100s, if not thousands, support it and enjoy it!

This call for help is wider, though, not only punters and musicians
need to respond to this call. Anyone who has taken advantage
of the colourful and diverse live music scene in Melbourne
will be affected by this. The Threat? One resident!

The Empress stands as a 16 year old supporter and promoter of live
music.

And her demise will undermine the value and joy of our inherent musical
talent, and jeopardise the future of local businesses and artists.
The solution? Well! Its starts with your support at the benefit gigs.

Highly regarded artists such as Vika and Linda, The Lucksmiths and
Machine Translations as well as locally celebrated artists such TZU,
Curse of Dialect, Music Vs Physics and The Dave Broadly Band, to name a
few have banded together, making a stand to save a stronghold of the
Melbourne Live music scene currently under fire.

The petition, already signed by so many across Melbourne, is available
at:

http://www.theempresshotel.com.au "


***************************************************************

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