Asa and Fefe – Sessions – The Space – 19th Jan
Jan 20th
Whilst billed as ‘So Frenchy, So Chic Live’, there wasn’t that much traditionally French that joined last night’s Sessions’ performers Asa and Fefe other than perhaps the broken English.
Raised in Nigeria, Asa (pronounced Arrr – (as one would in the dentist’s chair) – sharrr (said with emotion)) arrived in a white lace top and enchanted her full house audience of committed admirers of all manner of ages with a tight set of modern folk, picking up where she left us at last year’s WOMAD. Bringing the crowd in often and having her band members do their solos at her feet, Asa’s stunning looks commanded the stage and her voice dominated The Space with a mix of passion and aggression, with lyrics that crossed over often from the optimism of youth to the realities of the world.
Born to Nigerian parents, Fefe turned up the amps after the break between shows and having cast off most of the older members of Asa’s audience (who no doubt saw merit in watching yet more tennis) let loose with a powerhouse of hip-hop interlaced with rap, funk, soul and blues.
Even more than with Asa, the audience completely reverted to WOMAD type, casting off shoes and leaping around like they were on the Botanical Gardens lawn, especially when Fefe immersed himself amongst them.
While seemingly quite different genres, their connectedness beyond France, did manifest itself when Asa joined Fefe on stage albeit for just one number.
This was happy, vibrant world music and their returns to Adelaide, especially if again on the open air stages of WOMAD, will be certain to be warmly embraced.
Soundwave 2012 Interview – Cherri Bomb
Jan 19th
“Cherri Bomb opened for my band Chelsea Girls in February of 2009, and they blew me away. They played exceptionally well, sang 3 and 4 part harmonies, and left myself and the crowd speechless. I knew these girls were destined for greatness.” – Samantha Maloney (Hole, Peaches, Mötley Crüe, Eagles Of Death Metal)
Heading to our shores for the 2012 Soundwave Festival are the talented young girls, Julia Pierce, Miranda Miller, Rena and Nia Lovelis who make up LA-based band, Cherri Bomb. The band will be making their first appearance in Australia, alongside many well-known acts including System Of A Down, Slipknot, Hole and Machine Head.
“Young” is a very apt term for the band, whose members’ ages range from twelve to fourteen, but words like “inexperienced”, “amateur” or “immature” are definitely not needed here. This quartet will have achieved more as a band by the time they finish puberty, than most bands accomplish in their whole careers.
From opening for Filter to touring with The Smashing Pumpkins (after being specifically requested by Billy Corgan himself), to playing almost every festival they physically can, most of which are in Europe, far from the comfort of their homes in America. Before you start thinking I am exaggerating, those festivals included Sonisphere, Oxegen, Readings and Leeds. They’ve also opened for one of their idols, Foo Fighters, performing to more than 15,000 people.
Despite the huge tours in Europe and festival appearances, the band has never travelled this far for a show before. Instead of that intimidating them, it does quite the opposite.
“We’re really looking forward to coming to Australia and meeting new people and new fans,” says the refreshingly humble Pierce. “We’re definitely going to check out all the beaches and zoos, but most importantly we’ll be there to rock out!”
Speaking of their idols, the band recently showed their musical chops covering The Foo Fighter’s “The Pretender”, which can found on Youtube over a clip filmed by famed director Giles Dunning (The White Stripes, Iggy Pop, Weezer & Vampire Weekend).
“(Dave) is one of those guys you meet and instantly become best friends with. He’s just the sweetest guy,” adds Pierce. This is no big news to us, after The Foo Fighters graced us with a series of shows across Australia, with Grohl once again expressed his love for our country.
Pierce hopes to make her own impression on our audiences, but knows the band needs to work hard. They are also keen to show us what a girl band is fully capable of.
“This is what I’ve always wanted to do, and we want to be able to come and show that girls can rock, and inspire others to follow their passions too.”
Cherri Bomb is undoubtedly a huge success story and an inspiration to many. However, to the easily disheartened, it’s not necessarily because they got lucky. Pierce, Miller and the Lovelis sisters have worked hard ever since their first show back in 2008, and haven’t stopped since.
On a final note, when Pierce was asked to describe the sound of the band in a single word for those unfamiliar with them, she quickly responded with “explosive”. As for what to expect when seeing them live – “energetic”. Judging by the band’s reception and acclaim so far in their brief history as a band, these terms seem to be less about ego, but instead simply, fact.
SOUNDWAVE FESTIVAL VENUES AND DATES
SATURDAY 3 ADELAIDE, BONYTHON PARK
General Public tickets on sale now through www.soundwavefestival.com www.oztix.com.au & Oztix outlets & www.ticketek.com.au 132 849
*All shows are licensed and all ages
*Venue and lineup subject to change
For more information head to www.soundwavefestival.com
Angelina’s Ballerina – Playhouse – Til 21 Jan
Jan 17th
By Fiona Gardner
Alright kiddies, parents, grannies and grandpas! Angelina Ballerina’s Big Audition is in town until this Saturday 21st January 2011 at the Dunstan Playhouse Theatre.
Don’t forget your pink tu – tu (under 5 only), ribbons and a spare 10 dollars so you don’t miss out on your little mouse ears at the door! Get in early as the foyer is filled with excitement and buzz before the show and get ready to be inspired by the Royal New Zealand ballet company. This little troupe of seven mice will take you on a journey to show you an arrange of dance styles from contemporary, hip hop, jazz, Irish dancing, tap and whole lot of other tricks that ballet can deliver.
These comical characters tell the story of Angelia as she leaves her friends from her childhood dance school. Sticking to the traditional format of a ballet, with trios, duos, solos and a final group formation, we see Angelina’s entraped in her fantasy for love, with her dreams and passion of dance leading her into new adventures for the future.
This young audience development and engagement make me wonder what the future of dance holds. These little audience members, growing in the moving technology world, will find it hard to keep engaged without some discipline from the parents. and by that world’s demands for living in the moment, they may well miss the beauty that only the theatre can create in the stories of the mind and fantasy. Still, probably our parents said that about technology when we that young.
Don’t be scared of the dark as lights are shinning bright, and the dancers are extremely engaging! Great way if you want to develop your child’s understanding of body language and to deliver the simple story of transition when moving away to follow your dreams!
Grab a program if you want to keep your child entertained in the short interval, with crosswords and stories of the young ballet company.
A Chorus Line – Festival Theatre Til 28 Jan – 3K
Jan 4th
Seventeen dancers are brought together to go through their paces before director, Zach (Joshua Horner) and assistant choreographer , Larry (Gerard Carter) and a bare stage on the way to be being whittled down to a group of just eight. The audition goes beyond dancing prowess when Zach asks them to reveal before the group and him their motivations for being in his show and what has driven them to be dancers. From there a pot pourri of personal stories and personalities are revealed.
A Chorus Line is a very different style of big production musical. For starters, there is no ‘girl meets boy’ story, indeed there are no real leading men or women from the group as one may traditionally conceive them, the staging is minimalist – a black backdrop enlivened by the spasmodic appearance of a large mirror – and beyond the aforementioned tales of the 17, no narrative much at all.
Yet, on Broadway, A Chorus Line achieved all manner of awards including nine Tonys and a (then) record for the longest running Broadway musical, with its original season running for 15 years. No doubt the stories told in the immigrant’s city in the immigrant’s nation resonated loudly for patrons there.
Audiences here however may struggle rather more with the show. The singular story lines are never much long enough to give us a reason to embrace any particular character. The two exceptions perhaps are Paul (Euan Doidge) who speaks of his coming out experiences at high school before he is almost immediately struck down (was that for his sins?) with a career ending knee injury and Cassie (Anita Louise Combe) deals with her former love affair with Zach as she seeks to get her once high flying dance career back on track in the chorus line.
While the dancers’ stories are many and varied, some happy but many tragic in various ways, the almost total lack of personal interactions between them leaves those stories somewhat hanging in the air. The process of the final selection of dancers gives us no clues as to what features of those stories made any difference to the decisions made. (Perhaps they didn’t matter – this is a musical afterall.)
There were also times that suggested the show needed a bit of extra polish – a couple of notes and Combe’s solo dance were a bit flat – but that will no doubt come as the Australian tour develops.
The dancing is often exciting with Kurt Douglas as Richie and Leah Lim as Connie two standouts but the Marvin Hamlisch music and songs til near the end are never much to get your toes tapping to.
Any one much involved in the performing arts will embrace A Chorus Line but for those who wear suits it can become a struggle with the razzamatazz and enjoyment of the last 15 minutes potentially a long wait. The fact that the palpable enthusiasm of the opening night crowd dissipated as the show went on was perhaps a sign of how this big musical will be received in this country. The tale of the girl who made it coming from Kansas City is possibly one we have heard before and one that no longer (if it ever did) means much here.
Kryztoff Rating 3K
RAW: Heatwave Music Festival – All Ages – 12-15th Jan – Middleton
Dec 31st
Tech N9ne, D12, Obie Trice,
CrazyTown, Chamillionaire
+ Local Acts and many more TBC
Australia’s hottest new national hip hop festival is here – Australia, meet HeatWave. Originating in South Australia where they burst upon the scene last year with Xzibit headlining their debut event, 2012 see’s Heatwave Festival go national (please find all dates below).
Exclusive to Heatwave, organisers have just made the announcement that headlining this year’s festival will be chart smashing US rapper Kid Cudi, known for his hit’s Memories with David Guetta, Pursuit of Happiness with MGMT, Erase Me with Kanye West as well as his own Day n’ Nite. Kid Cudi joins the already announced Tech N9ne, D12, Obie Trice and CrazyTown.
Heatwave are also proud to announce, that in his first ever trip to Australia, Chamillionaire will be playing all Heatwave shows nationally. He won a grammy for Ridin Dirty with Krazie Bone, has charted in Australia, had Weird Al parody him and sold millions of records. But now he’s on his way to Australia, and once again – it’s exclusively for Heatwave!
National Festival Dates are below and starting from $49, the prices are outrageous. So for the best value for your hip hop dollar this summer, hit up Heatwave:
Thursday – Sunday 12-15th January @ Airport Rd, Middleton, SA (Licensed All Ages, Camping)
Tix: From $59 / ON SALE NOW
RAW: AI Guitar Festival Calls For Entries For Comp
Dec 22nd
The 2012 Adelaide International Guitar Festival will run over four days from 9 – 12 August presenting some of the best guitarists from around Australia and the world.
After its tremendous success in 2010 the International Classical Guitar Competition returns and is open for applications from 2 January, 2012. Emerging players compete for a share of total prizes to the value of $31,000, making it one of the most prestigious guitar competitions in the world.
The competition provides a unique opportunity for emerging artists to gain exposure and experience on an international stage whilst being adjudicated by a panel of established players and teachers from around Australia as well as a number of high profile international artists who will be performing at the Adelaide International Guitar Festival in 2012.
The competition is open to competitors of all ages with three qualifying rounds, including the audition, semi final and final round. The overall winners will be recognised at an award presentation in the Dunstan Playhouse on the final day of the Festival.
Artistic Director for the Adelaide International Guitar Festival and world renowned guitarist, Slava Grigoryan, says, “I was blown away by the standard of competitors involved in the 2010 guitar competition and it was a well deserved win by Jin-Hee Kim. We had guitarists fly in from around the world and look forward to encouraging more guitarists out there to apply for what is a fantastic prize”.
The International Classical Guitar Competition prize is supported by the Adelaide Festival Centre Foundation, consistent with the Foundation’s mission to enrich the lives of generations to come.
As part of the first prize, one lucky guitarist will also receive a Jim Redgate guitar. Local luthier Jim Redgate has been building world class classical guitars for more than 20 years in Adelaide. Jim’s concert level guitars have a beautiful rich tonal character and each instrument has its own unique personality, with players like Odair Assad, Ana Vidovic and Slava & Leonard Grigoryan being some of the elite musicians who choose to play Redgate instruments. Redgate guitars are available exclusively through Classic Guitars International in the US and have been their best selling guitar for over a decade.
Adelaide International Guitar Festival, presented and produced by Adelaide Festival Centre, provides a truly unique festival experience, combining the very best of classical and fine art guitar festivals with a broad range of genres. In 2012 Slava Grigoryan will gather a unique and high calibre range of world class artists and will present a broad spectrum of genres, including: Classical, Brazilian, Flamenco, Jazz, Blues, Roots, Contemporary Fusion and Songwriting.
Some highlights have already been announced for the 2012 Festival and details appear in the Adelaide Festival Centre’s 2012 season brochure. Artists performing over the four days include talented virtuoso Ana Vidovic, New York’s charismatic Punch Brothers appearing in Australia for the first time and Spirit Of Flamenco featuring American maestro Jason McGuire, el Rubio, together with Emmy award-winning choreographer and dancer Yaelisa who will be bringing luminaries from their San Francisco-based company Caminos Flamencos to Australia for the first time. As a special event, two-time Grammy nominee Tommy Emmanuel will be performing in the Festival Theatre on 5 August, with special guest Frank Vignola. The full 2012 program will be launched on April 18.
Applications for the Classical Guitar Competition open from 2 January 2012 and close 29 February 2012. Further information regarding eligibility, repertoire and application forms is available to download from the Festival website. www.adelaideguitarfestival.com.au
RAW: Leigh Warren & Dancers To Play Edinburgh and NY Festivals
Dec 22nd
Leigh Warren and Dancers’ Christmas has come early with the confirmation of two of its major dance works programmed for the prestigious Edinburgh Festival and New York’s Summer Stage festival in 2012.
After a extremely successful 12 months that saw the company collaborate with some of the world’s most talented artists and stage acclaimed performances to thousands of people in three major Australian festivals (WOMADelaide, OzAsia Festival and
Brisbane Festival), LWD Artistic Director, Leigh Warren, says 2012 looks like one of the most exciting years to date for the company.
“Looking back on our audience numbers and the quality of work we produced, I honestly thought 2011 was a watershed year for the company but looking at what’s in store I think we’re in for an even more remarkable year,” he said.
“To be invited to play Edinburgh festival any year is a wonderful validation of one’s artistic value on an international scale but with it coinciding with the London Olympics, 2012 is a landmark year for the festival so we couldn’t be more honoured by the
invitation.
“And SummerStage is one of the most exciting arts festivals in the most exhilarating city in the world so I’m absolutely thrilled to be invited back to perform in New York again.
SummerStage is New York’s largest free performing arts festival with over 100 performances in eighteen parks throughout the five boroughs. Performances range from American pop, Latin and world music to dance, spoken word and theatre. Since
its inception twenty-six years ago, more than six million people from New York City and around the world have enjoyed SummerStage.
Despite the recent decision by the Australia Council to cut the company’s triennial funding, Leigh Warren and Dancers star continues to rise to great heights, both nationally and internationally.
The globally acclaimed and award winning contemporary dance company will also soon announce a new Adelaide season for May 2012 in addition to their international touring commitments for Edinburgh and Summerstage festivals in August.
RAW: Laneway Festival Announces Partnership with Music SA and ‘Alleyway’ band competition
Dec 22nd
The St Jerome’s Laneways Festival today announced an exciting new partnership to assist emerging artists. In an Australian First, the St Jerome’s Laneway Festival will donate a portion of every ticket sold at the Adelaide leg of the festival to not for profit organisation Music SA to support grass roots music industry and artist development.
St Jerome’s Laneway Festival were thrilled to announced the ‘Alleyway’ band competition earlier today where they will provide the opportunity for a South Australian artist to perform at Laneway next year. Via the competition one Artist will play the Laneway Festival and one will play its associated sideshow headlined by Feist. Similar schemes have been active in Melbourne and Perth for several years with great success.
For the ‘Alleway’ competition Laneway is teaming up with five local media partners to help curate the event. These partners will each be selecting 1 band to compete in a live final held at one of Adelaide’s premier grass roots music venues, The Ed Castle (233 Currie Street), on Wednesday January 25th. In the lead up to the live final all partners will provide media coverage to their chosen act to raise their profile to the broader community. A representative from Laneway Festival will select the lucky band based on their live performances on the night.
****
Beginning in a back alley in Melbourne in 2004, St Jerome’s Laneway Festival has developed into a national touring festival that is all about showcasing new and revered seminal music in interesting and unique city spaces. The festival has always been interested in finding what’s fresh and great and bringing it to unique settings and surrounds to be appreciated by music lovers. This years line up is no different featuring 28 of the most exciting musical acts in the world right now, including: M83, Laura Marling, SBTRKT, The Horrors, The Drums, EMA, Anna Calvi and many more.
Music SA has been supporting music in SA since 1997. Music SA runs projects to assist in the development of artists and the industry including training, education, live events and support services.
Music SA General Manager Daniel Randell is delighted with the new partnership.
“The Laneway Festival is known for showcasing exciting new acts. Through this partnership, Laneway is really giving back to the industry and providing incredible opportunities for the next crop of great Australian artists. We can’t thank them enough.”
The Laneway Festival takes place in Adelaide at Fowlers Live 68-70 North Tce Adelaide on Friday the 10th of February 2012. Feist headlines a Laneway Festival Sideshow at Thebarton Theatre on Thursday 9th of February 2012.
RAW: Two Kats With More Exhibition Lives Ahead Of Them
Dec 19th
It is a welcome advance in the approach of aspiring artists to see them presenting small scale works for the buying public’s consumption. Kats Botten and Coppock have taken successfully this somewhat unique, even courageous approach in two separate exhibitions that opened earlier in the month.
Katherine Botten’s one night only twenty one exhibition at the Clothes Line Saga, Rundle St, featured around 25 photo montages, most no more than 10cm x 5cm. Each possessed two, three and even four panels montaged together to give different perspectives of the same subject matter but which viewed from any distance skilfully present a pleasant amalgam of colours, form and intrigue.
The motifs are as varied as her approaches to the presentations – from the usual detritus of teenage and student life to rocky seascapes, paper coke glasses, Malboro cigarettes and an ugly dog. Some of the panels are close focuses of the other, some are upside down and others seem unrelated. However, they succeed in making you want to come back for more. Though, one needed to be quick as many found their way out the door to happy acquirers.
Highlights (and examples of the breadth of work) were one featuring Barbie Doll suitcases and Pipe Dreams (pictured).
Katherine Coppock’s works are at The Reading Room (Hindley St) til 30th December and it is joint exhibition with Sandine de Araujo, Kat’s entitled Les Petities Morts and Sandine’s It Started With A Punch In The Face.
The narrative for Coppock’s works starts off with the Nietzsche quote ‘It is intoxicating for the sufferer to look away from his suffering and forget himself.’ Not exactly a cheery premise, though that doesn’t prevent there being plenty to enjoy in these small scale works but the associated text helps greatly in putting them all into a context.
Coppock presents forty pieces mostly acrylics on canvas but with no shortage of mixed media, ink and chalk adopted as well. The dual series of Purge and Binge (three in each) depict that suffering and highlight that however on the money Nietzsche may be, for the viewer it is all very ugly – vomiting, crying, cocktails, other forms of booze and drugs.
Maybe Partying Will Help 2 is a delight, a dressed skeletal figure below festive balloons. The Logical Response seems to pay some homage to Munch’s Scream and Some of them want to use you, featuring a bare breasted and bashed diminished and desperate figure, packs a punch even at 8cm x 4cm.
While both artists display images about their relatively young lives, the people and objects around them, whether pretty or not, both Kats take us on a journey beyond what may otherwise be well trodden territory, drawing us in intrigued and causing us to be moved by what we see. Yet, standing back they have offered up objects that look great, don’t take up the living room wall and are affordable for supporters as well as those impressed outright with their different but most promising talents.
RAW: State Budget Mid Year Update – What Needs To Be Revealed
Dec 13th
It is expected that the Treasurer, Jack Snelling, will release his mid-year update this Friday. The fact it will come so close to Christmas suggests a lot of nasties will be (finally) revealed. As we pointed out in our previous reviews of State debts and Mike Rann’s financial legacy, budget numbers of the past ten years reflect poorly on the competence of Treasury economists and finance gurus as political spin has come to overwhelm the process.
However, one suspects that if the fullest and most frank disclosures of the extent of the problems were to be made the announcement would come about 4pm on Friday, 23rd December.
Nonetheless, here in some detail is what you should look out for but two headline numbers to focus on are:
* All of State Government Liabilities to now reach $22billion
* Adjustments to current year and forward estimates of $2.5b – negative
* Very possibly, AAA rating will be announced as gone this Friday
State Super
The unfunded portion of the State’s old superannuation scheme remains out of control. When the Treasurer announced his budget in early June, a surplus for the year in that scheme of $110m was projected. However, (and this one is no fault of the Treasurer), those projections were based on market returns that were then to be adversely affected by world stock market turn downs in June, which amounted to at least 10% on equities.
Depending on when the Treasurer dated his calculations, the estimated impact on returns and thus the unfunded liabilities of the State at the end of last financial year, is in the order of negative $200m.
Against this, the gains on the values of US Government bonds will help offset a portion of that.
In this financial year, the position has been adversely affected by the two reductions in official interest rates. These not only reduce variable interest income but, more importantly, affect the discount rate by which the value of future liabilities is calculated; lower discount rates mean the current value of future payments goes up. Kryztoff estimates the impact of this on the total unfunded liability position is in the order of a massive $1.2 billion.
State Super projections are also based on average annual returns on the fund’s assets which are assumed at 7%. Well, there is no 7% happening this year at present and while no one can predict the future in markets, this assumption presently does look awfully aggressive given predictions about Europe and the global economy generally for the foreseeable future.
Payroll Tax
In the State budget, the Treasurer effectively implied his Government was going to raise payroll tax rates by 20%. That hasn’t yet been announced and should now be removed from the calculations for this year and the forward estimates. The impact of this is about $30m this year and $150m in 2014.
Land Taxes
Although house prices and transactions have been at best steady or declining for the past year, the Treasurer saw fit to project a massive 34% hike in returns from land tax and stamp duties over the next four years, including a 50% increase in the land transactions portion.
While the stunt of some independently assessed 7% increase in land values was used to raise Land Taxes this year, going forward no such bullish projections should be used (at least until increases in values and transactions actually start occurring.) The impact of that is estimated at $70m this year and $350m in 2014. Anything less than that suggests that a hike in the actual rate of Land Tax is on its way.
GST Revenues
The State Government very much likes to blame its woes on reductions in GST revenue coming from the Federal Government. The mid-year Federal Government review suggested a fall of $50-80m over the forward estimate period – around, at most $20m a year. It’s chicken solids.
The big hit is in 2014 where the State Government has projected a sharp increase in the rate of GST expected from the Federal Government, even though at present that portion is fixed.
Kryztoff suspects this boost in that year was very much designed to present a (relatively) glowing surplus figure in that year. However, stripping that ‘miscalculation’ away takes off $120m in that year.
In Aggregate
Of top of all this is the fact that the State’ economy shrunk by 1.6% in the last quarter, a stunningly bad result that the government was only too happy to join the media in glossing over. The impact of this goes to the underlying growth projections in the budgets for forthcoming years on such things as Gross State Product, CPI and employment levels.
Just what Snelling does about this will be interesting but the impact of the other items is going to be quite enough (if revealed) to damped Christmas cheer for any who follow the fortunes of this State.
Then there are continual budget blow outs in areas such as health that show no signs of being placed under control – special task forces or not.
But for the purposes of this analysis, we shall ignore all those impacts, though they should be quite significant (in the hundreds of millions of dollars each year.)
So, we project the State Budget loss for this year will go from $263m to something more like $400m, matching last year’s whopper of $427m.
Going out to 2014, the result in that year will go from a $655m surplus to at best break even.
On all of the State’s financial liabilities, these should increase by $1b in debt by end of 2014 (currently projections are for a decline of $700m) and the unfunded State Super liability will increase by $1.4 billion. All up total State liabilities will increase from the projected $19.5b to around $22b.
The AAA Rating
As previously noted, this State is already the proverbial country mile from retaining the AAA rating. Using the ratio of all of government financial liabilities to revenues as the guide (which is one of the stated methods of calculation used by Standard & Poors), we are already $3.8b shy of the key 90% ratio level required to maintain AAA. (The ratio in fact comes out at 114%.)
The budget projections in June saw that figure only coming back to $3.2b in FY 2015 after increasing to $4.4b in the 2013/14 year.
The adjustments set out above suggest that by the end of 2014/15 financial year, this State will be in fact $5.6b shy of AAA (a ratio of 121%).
When S&P do next come to inspect the finances of the State they will no doubt note a number of negative trends that are becoming entrenched in the Government’s financial strategies (which are of interest to S&P in their ‘qualitative measures’) including:
- Large operating and cash losses from 2008 that can now be expected to extend to at least 2015
- An unwillingness to take hard measures in relation to public sector employment levels
- Reliance on sales of what remains of the Government’s saleable assets to make ends meet
- Continual borrowing to pay operating costs
- The relatively small portion of total revenues derived from its own taxing activities and the high levels at which they already exist.
- The unfunded superannuation scheme being out of control at the current levels of Treasury support, in no small way due to the $2b in losses incurred in the GFC for which this Government has declined to make any statement or fiscal adjustment.
While S&P is certain to downgrade the State from AAA to AA+, may be even as a part of the mid-year revisions to be announced by Treasurer Jack Snelling on Friday, the real likelihood, given where the budget is at, the trends associated with it and the further blow out in the unfunded State Super liability is that a further down grade is also inevitable before this Labor Government goes to the polls again in March 2014.
Given how far off this State now is, questions have to be asked of S&P as to why it has taken them so long to react to the massive deterioration in this State’s finances since the GFC.
Conclusion
This State Government, aided by the mainstream media which possesses few clues about finances, has been actively promoting this view that its problems has resulted from external factors such as the Federal Government reducing its GST payments but they only talk then about $10m here or $20m there.
The facts are this Government is haemorrhaging cash and has been since the GFC with $6b lost on operations and another $2b on asset valuations since that time. The June budget projected a stabilisation (only) of that situation over the next four years but the reality is that the situation is only getting worse over this period.
It gets yet worse when annual payments for the new Adelaide Hospital of $350m a year kick in then, yet more will be required beyond the current $450m currently being injected into the unfunded State Super liability and the interest burden on our debts start to climb.
Adelaide was once referred to as the Athens of the South, a reference to our climate, culture and sea side location. It is rapidly risking being referred to as that again under the strain of a budget situation that is careering out of control, just like in that other Athens.
The spin the government is trotting out is that this will be ‘a choice between investment into our future and retaining AAA rating.’ Even members of the Economic Advisory Board have decided to place their own reputations on the line in support of this rubbish. The reality as noted above is that the AAA is gone and not coming back for a very long time, if ever.
Investment and jobs v AAA sounds great but there are no economic benefits arising from the Adelaide Oval redevelopment and even if one accepts a new hospital is required, (which this writer does not), the means of funding it via a public private partnership is a disaster waiting to happen. What would have cost say $3b in borrowings will now cost around $12billion in a stunt designed merely to avoid parliamentary scrutiny and keep the debt figures as low as possible in the budget papers.
One of the reasons economic growth has stopped in this State is because most government building programs have closed down in favour of channelling money into their election pledges.
The only responsible way forward is to slash public sector employment now (estimated as costing $600m – $700m pa beyond what is required), deferring for at least five years Adelaide Oval and canning the new Royal Adelaide Hospital in favour of further upgrades to the current premises.
In the Labor Caucus room, this may sound like political suicide. However, it will buy the Government two years to get things sort of back on track, whereas a runaway budget problem in 2014 will certainly mean electoral Armageddon.
In short the choice for Labor is to either wean itself off its policies of hard core political patronage or perishing big time at the polls (even up against Isobel Redmond and her hapless colleagues.)
Over to you Jack and Jay.













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