I can honestly say, that in my lifetime, I was part of a Revolution. A real life actual revolution as defined in the Internet Oxford Dictionary (conveniently located right here at my fingertips!)

Revolution: A dramatic and wide-reaching change in the way something works or is organized, and people's ideas about it.

You know those moments when you're a kid and your Dad's being really mean to you and you cry and you beg him to have mercy on your soul but he doesn't and you ask him again "Why wont you let me stay at Kylies house Dad?" But he just ignores you and then he shoves you and you cry and you say you hate him and that you'll never forgive him as long as you live and the injustice of it all is enough to turn you into some kind of RADICAL EXTREMIST - well thats exactly what happened to me when I was three and my Dad was being really mean to me.

Asshole. I knew that one day I would grow up to be some kind of peace - animal - rock-n-roll activist and here I am doing just that. He was a lovable rogue my dad.

Fast forward 30 years into the future and I am lucky to have met Quincy McLean and Helen Marcou - the mother and father I never had, and the patron saints of Rock n Roll. They run an institution in Richmond called 'Bakehouse Studios' for those poor souls afflicted with 'Rock n Roll Syndrome'. I have R.R.S, as do the 20,0000 people who marched down Swanston Street on Tuesday the 23rd of February to protest and to be conjoined as one community with a very important message to the government.

When the Tote closed it was such a shock to us all. Finally Melbourne punks, rockers and hipsters had something to fight for - something to protect. The closing of an icon and near-sacred venue was a first hand experience of what it's like to be threshed from a natural habitat by the 'blade of the bureaucratic sickle'. After preliminary protest exercises had failed, we had to resort to the big kahuna - 'people power' - to overcome the injustice and senseless bureaucracy of the liquor licensing laws and reader be warned, it took a LOT of organising and team spirit to get 20,000 people to turn up on the day and speak up about that.

Leading the campaign, and supported by a host of Rock n Roll Guns, were Quincy, Helen, a list of volunteers (that is too long to mention here but whom deserve the ultimate accolades) and every big, medium and small time star Melbourne has ever known - to save Rock n Roll. "You cant just do the rally, you have to follow through" says Helen Marcou, and what she's talking about is S.L.A.M - a guerilla events publicity pressure group who have been negotiating with government prior to - and ever since the rally, to make sure they keep their word to put in place an accord for the "future protection of our cultural community".

It seems like ancient history now but it cannot be denied, it was a euphoric experience and we all had a warm and fuzzy feeling, however the protesting and lobbying hasn't stopped. Helen is a passionate, infectious and hypnotic speaker, "We asked the government -What have you done to acknowledge that Melbourne and Victoria play a key role in Australia's music scene? And how are your deeds going to reflect that live contemporary music is an important cultural, economic and social driver in our community? - We put the ball back in their court" said Helen.

The live music industry is represented by Fair Go for Live Music, Save Live Australia's Music and the newly established Music Victoria and after the rally these groups signed the accord with Government to stop the automatic coupling of 'live and amplified music' and 'high risk security conditions' on liquor licenses. The Government has said that it will commit and continue to undertake research, and work with the music community and industry to determine the most appropriate solution to redress the liquor licensing issue - as soon as possible or within the next 6 months.

And there you have it, the pages of change are turning for Melbourne. It's amazing to see what a bit of peaceful pressure can do and what an inspiring event a bunch of 'dudes clad in black' can organize. Maybe they're not as terrifying as they look? Or maybe they do do more than just drink beer and head-bang, cos now their crusade is known all around the world - as a united force who wont let any harm come to their most precious communicable and cultural treasure - Live and Amplified Music.

Julie Monty Montan

UPDATE ::A petition calling for the delinking of live music and "high risk" licensing conditions will be delivered to the Victorian Government today (April 7th 2010).

Drafted in response to the Tote's closure in mid-January, the petition calls on the government to remove all reference...s to "live and amplified music" from the licence amenity clause on liquor licenses; institute a proper investigation into the causes of violence and drunkenness; and formulate a cultural policy that promotes and maintains Melbourne as "Australia's capital for live music".

It has already amassed more than 22,000 signatures, surpassing the estimated 20,000 attendees at February's SLAM rally and will be delivered to the Legislative Council at 12.30pm by musicians including Ross "The Boss" Wilson (Daddy Cool), Kram (Spiderbait), Clare Bowditch, Angie Hart (Frente), Triple R stalwart Jon von Goes and the 83 year old Jazz Musician, Nick Polites - as well as the SLAM Rally organisers Quincy Mclean, Helen Marcou and the lovely Bek Duke.

The news comes as lobby groups SLAM, Fair Go 4 Live Music and the newly created Music Victoria promise to "redouble" their efforts to bring the issue back into public consciousness. Despite the signing of an accord with the state government on the eve of the SLAM rally, no venues have had their high risk conditions removed by the director of liquor licensing as yet. "The music industry and the public want to see real action on this issue," read a statement from SLAM. "We want action, not just accords." The Greens' Sue Pennicuik presented the petition to the Parliament. She really needed a wheel barrow! :)

Updated text from Mess+Noise (www.messandnoise.com/news/3915730)

The Brian Jonestown Massacre is one of those bands with an overwhelmingly large back catalogue that can deter you from delving in and joining the club. Why bother? All of these people were into them before you and besides, there are just too many albums! How can they really be that prolific? Is it possible to expect them to still be good?

Yes. BJM are one of the best bands I have ever heard. They are the sort of band that urges you to walk a little further past your destination, take the long route so you can finish the album with your headphones pressed tight. Music that collaborates with your thoughts and compliments your mood no matter what.

To date, Brian Jonestown Massacre have put out 10 albums and four EPs in 20 years. They have also had over 40 band members since forming in 1990 and just one constant: Anton Newcombe. Even Matt Hollywood and Rick Maymi, who were present at the very beginning - have both quit the band for a decade respectively.

Anton Newcombe's reputation certainly precedes him and whilst individual artists come and go, split off and jump into the amoeba of musical talent; this man attracts or repels them at the centre.

Which is why seeing Brian Jonestown Massacre at Billboard on Sunday 21st February 2010 was so contrary. There was nothing to be seen of the notorious brawling, or Anton's control-freak reprimand of other band mates if they struck a wrong note. Instead, it was the highest level of professionalism, each song delivered with the integrity in which it was written and recorded, the skill and enjoyment of the players evident with every note.

Even Matt Hollywood was there, playing with a relaxed assurance and singing his songs whilst Anton stood meekly to the side, his sweat-strung fringe pointing at his guitar with committed absorption. The iconic Joel Gion stood as a centrepiece with his tambourine swagger and pomp in seamless rendition of song after song.

This a far cry for those who remember the 2004 doco ‘DiG!' which did a great deal to expose BJM to the world, and their younger sibling the Dandy Warhols, who precocious and cocky but more successful, streamed on ahead in the full arrogance of fame and rapid marketing.

Both bands were on juggernauts (one to fame and fortune, the other to drug-fuelled downfall) from 1996 until 2001, when it seemed like Anton just couldn't quite keep it together.

In a pivotal scene in the film, Matt Hollywood quits the band after Anton tauntingly starts singing one of Matt's own songs, and Matt throws down his guitar, ripping the mike stand away from Anton, with kicking and brawling erupting all around them.

Not so at Billboard. If anything, Hollywood seemed confident and relaxed. BJM has had its fair share of departing members, but often they will go out and form a new band, not just one hit wonders forever exhibiting their tribute, but good bands in their own right who are forging their unique sound entirely - such as Black Rebel Motorcycle Club, Dead Meadow and The Warlocks.

BJM deniers have tried in the past to brush them off as just a druggy band, probably after seeing the film, where drugs often derail important record deals and it seems as though Anton is heading for oblivion.

Certainly there are drug references, Anton repeating "sniffing glue-uh" in a desperate whine with perfect distortion underneath, or track titles such as Prozac vs. Heroin could make you think drug taking is all they are about. But this would be an unfair above all to their music - which embodies the freedom and anti-authoritarianism of the Sixties, and secondly the skill and agility with which they explore their instruments.

Anton has some kind of genius in him, and at his best - is able to allow those around him to collaborate and explore and divulge truly impressive music. This much was evident at the Billboard show, a crowded mass of people with gleeful faces enjoying the fact that they were playing song after song that we knew, and loved.

We didn't need them to kick each other in the head or rip microphones from each other.

Anton's finest and only interaction with the crowd was to respond to a fan who yelled out "You're amazing...!"

Anton muttered "Thanks Dad," and then after a delicious pause, added "Man, you pay a guy 10 bucks to say that and he waits the whole damn show before doin' it."

Anaya Latter

Apart from the obligatory Bob Marley Greatest Hits compilation which was distributed to every Australian household back in the 80s, dub and reggae usually doesn't feature prominently on the playlists of middle class cool kids like you and I. However, as well as being spastically hip and ridiculously good looking we are also blessed with being bloody open minded! Therefore (insert ironic hipster reference here) to quote pop culture revolutionaries MN8: I've got a little something for ya.

Sound the Alarm is an eclectic, exciting and super modern dub/dancehall record featuring vocals from a cavalcade of Jamaican heavy hitters, produced and arranged by Melbourne local Mista Savona. Setting up an ad-hoc recording studio in his Kingston hotel room, Savona was visted by the who's-who of Jamaican reggae, dub and dancehall and the result has captured the energy of what must have been a crazy dynamic creative environment.

The voices, styles and "skinny white dude" Mista Savona's beats, melodies and basslines are at the very least chin-strokingly interesting, and at the very most, booty-bangingly explosive. Sound the alarm!

Nick Maher

Romy Hoffman just can't stop the rock. Best known as cerebral hip hop femme fatale Macromantics slightly less known as one half of weird punk act Heavy Mental, Romy is a musical machine. Now she has turned her hand electro-dance-pop! It sure ain't cerebral but it is interesting.

Sleep, her first single as just Romy is full of bombastic synths that sound good loud but is unfortunately starkly devoid of the switched-on and impressive lyrical gymnastics that she fiercely spits as Macromantics. She is keeping the message simple here. Very simple. Very, very simple.

However, the eclectic and prolific Ms. Hoffman is allowed to make music in the style of edgy, mass-produced, factory-floor dance pop! It's like she has sort of earnt this little indulgence. Plus you can just imagine her recording this track first thing in the morning, in her bedroom, in a pair of Adidas trackpants - working the whole assembly line by herself.

Nick Maher

Pop Jew is our essential blog for details on great new Brooklyn bands and reviews of cute boys. Rahael runs the show and provides the low down on a bunch of ace records you should get your hands on.

We enjoyed her guest programming on US radio station BTR so much, we asked her to pick the top 5 must have songs for your next summer mix tape. With her excellent slection you're guaranteed a kick start to making the perfect mix tape for your new summer crush. Go on, we dare you.

First thing's first, I have a confession to make: I don't know how to drive a car. It's true, put me behind the wheel and I'll break down into a panic attack and yell at you until you take over. So, if we go on a road trip together, please take care of the driving, I'll take care of the tunes. Here are my PopJew 5 essentials tunez for a rocking drive:

Last Caress by Misfits

Important for any road trip are classic songs that everyone wants to sing along to. No song gets me belting and fist pumping like Last Caress, maybe the best Misfits song of all time, a total crowd pleaser for even your squarish friends. Who doesn't want to sing about killing babies?

Punk Trips by Eat Skull

This is probably the catchiest Eat Skull song, puts you in the right mindset for letting shit just HAPPEN. Who the fuck cares what we do? We're punnnnx bro. Let's parrrrrty.

ADP Blues by Thomas Function

No list of essentials would be complete, in the PopJew world without a Thomas Function song, and for speeding down the highway, nothing is better than the first track off of their new In The Valley Of Sickness EP. Feel punk as shit and feel like you're fleeing the po-po while chanting "The only goooood cop is a deaaaaaaad cop". Instant fun.

Me And The Boys by NRBQ

An oldie but a goody, this song is the ultimate summer vaycay song, all about chill vibes and good times with your bros. Ultimate hanging out party anthem. Makes me wanna just put on some shades and cruise with my best budz.

The Concept by Teenage Fanclub

This year is all about the 90s for me, and the best part of the 90s (besides Doc Martens) was Teenage Fanclub. This song has one of the most shoutable choruses of all time and makes you melt with siiiccck jamz.