Melbourne Musos Defy Lockdown and Globohomo


Tina Arena had a beautiful hit in the 1990’s, Sweet Sorrento Moon, which always makes me think of summer. I know she speaks Italian and stuff in the song but she is singing about Sorrento in southern Victoria rather than the famous one in Italy. The video clip shows her at an Aussie beach and it has a seagull in it so I’m right..

Tina Arena – Sorrento Moon (I Remember) from Tina Arena on Vimeo.

It even had a fade out. Remember them?

She made the news last week because she retains cultural significance, she has a sizeable social media following and she dared to question the Narrative on Covid and lockdowns. If she keeps it up she may get the Pete Evans treatment, as the Regime has been getting more ideological and erratic as more and more cultural influencers speak the truth.

She criticised the government’s lack of support for the arts industry (more o this later) and called for Daniel Andrews to be voted out. Tina Arena has nearly 100,000 followers on Instagram where you can go and see what she says rather than getting it from the Lying Press.

Let’s just unpack one little segment of the poison they wrote about her though:

“While many agreed with her, others were left unimpressed by her strong opinions about the pandemic, saying she should leave the commentary to the health experts.”

Except of course when artists are toeing the Regime line. Then they are encouraged (and probably paid) to share their strong opinions:


Another Melbourne musician who fell foul of Globohomo orthodoxy recently is Alice McNamara, a former member of girl band The Spazzys. In recent years she engaged in online nationalist activism under a pseudonym. Naturally, the terrorists connected with the Slackbastard network felt it was their personal duty to reveal her identity, which resulted in pathetic denunciations from many in Melbourne’s tepid arts establishment.

In response she distanced herself from other Melbourne activists without explicitly disavowing anybody. Similar to Andrew Anglin, she also claimed that she performs as a character online in order to shock and provoke food for thought. She also pointed out the similarity between Qanon and Operation Trust, a psyop initiated by the Soviet Regime shortly after the 1917 Revoluton to convince Monarchists that a group of army officers loyal to the Tsar was about to retake control of Russia at any moment.

Refreshingly, she rounded on her accusers, not only naming names but accusing several people, including Richard Stanley, Sarah Hardiman and Pat Telfer (I have no idea who these people are) of illegal activity including harassment and sexual assault. She also addressed Melbourne’s musical establishment collectively:

“I know many of you participate in very toxic and harmful behaviours. Sexual assault, drug abuse, domestic violence, deviant sexual fetishes, infidelity, all of which could be very damaging to your personal and professional lives should they be made public. You dare to condemn me? I set my face like flint. I will not be put to shame by you.”


It is here that we get to the cultural and spiritual rot at the heart of Australia’s artistic scene. Many artists present an image of edginess while being conformists to the core:

“Lee Gambin – I still have hard copies of the Sissies and Sluts plays as well as copies saved to my email and hard drive. I wonder whose words would be deemed more offensive if those ever see the light of day again. By disavowing me you are disavowing 90% of the art you ever created and the people who supported you.”

The same could be said of her former Spazzys bandmates:

“Remember a few years ago when I said we should change our band name because people might not like it moving forward? Bet you wish you had listened to me then.”

To spell this out, Australia’s artists think it is “provocative” to flaunt their disdain for traditional and Christian morality and norms. What they term “deconstruction” is merely a cope for the fact that they have no intellectual or spiritual argument against the civilisational wisdom which was passed from one generation to the next until very recently. They have eagerly joined in tearing down everything that makes us who we are, but they react fanatically to any critique of their own worldview.

This groupthink waters down creativity and encourages mediocrity:

“I chose to stop playing because the music had become stale and boring and I grew to loathe the pretentious, self important phonies in the music industry.”

In recent years Aussie bands have felt pressured to write generic music which sounds like the music played on Triple J. Triple J is the youth focused radio arm of the ABC, and like the ABC it normalises fringe, far-left conspiracy theories theough its “news” and “current affairs” programs.

Thus musicians currently sing in a whiny voices and layer their music with too many keyboards. In the 2000’s bands were pulling the same trick, except there were no keyboards and they paid even less attention to tuning their guitars. Ironically, “Triple J bands” generally consider themselves more “authentic” than bands who get played on the big commercial radio stations.

In recent years the sporting, media and political establishment ingratiated themselves with Adam Goodes, producing several documentaries and giving awards to painters who created awful paintings of him. The documentaries were flops and the vast majority of Australians still know that Goodes is a wanker. The saga exposed the chasm between Australian film makers and ordinary Australians.

Thus we see symbiotic relationship between the arts establishment and the political establishment in Australia. Whether it means toeing the Covid Tyranny line in exchange for breadcrumbs, tailoring one’s music, aesthetic and political views to suit the Marxist tastes of the taxpayer funded Triple J, or including the token aboriginal in your film, the arts industry in Australia could not exist without government support because it is generally antithetical to the tastes and desires of the Australian people.

Just like the current demographic make-up of Australia’s cities or the fetish for mixed race couples in Australian advertising, the dominant aesthetic of Australia’s arts scene is not organic but entirely engineered from above.

The upside is that several decades of economic hardship brought on by Covid Tyranny, environmental fanaticism and bureaucratic incompetence could mean that the drip-fed glucose of public funding is finally cut off from Australia’s artists.

To put it more bluntly, the entire thing needs to be torn down so that Australians can rediscover our own culture.