Joe's dead, who's going to make the gravy? Paul Kelly takes out funeral notice in The Age
According to the public notice, which ran on page 33 of The Age, Joe's death was the result of 'sudden misadventure.' He is described as the much-loved father, husband, brother, brother-in-law, and uncle to Dan, Rita, Stella, Roger, Mary, Angus, Frank, and Dolly (all names that feature in the track).
The death notice includes plenty of references to the song, including Joe's love of reggae music and Jamaican artist Junior Murvin (' You'll put on Junior Murvin and push the tables back').
The notice ends by teasing that a funeral service will be held on Thursday, August 14, followed by a 'wake to end all wakes.' Kelly posted the notice on his Instagram page, accompanied by the caption, 'RIP, Joe.'
On first read, the notice appears to be a marketing stunt foreshadowing some kind of announcement from Paul Kelly on August 14. Kelly is also about to embark on his biggest ever national tour which begins in Perth on August 26.
The Sydney Morning Herald and The Age reached out to Kelly's label, EMI Music Australia, which refused to comment on the public notice. 'Paul's label has no comment to make in regards to the funeral notice that has run in today's Age,' said a spokesperson from EMI.
However, the Classifieds team at The Sydney Morning Herald and The Age confirmed that the notice was placed by Thomas Snaddon, Marketing & Artist Development Manager at EMI Music Australia.
Released in 1996, How To Make Gravy has become a part of the modern Australian songbook, with December 21, a date mentioned in the lyrics, widely known as 'Gravy Day' and celebrated on social media.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Mercury
3 minutes ago
- Mercury
Driver fined $330 for blocking Abbie Chatfield's Bondi driveway
Don't miss out on the headlines from Lifestyle. Followed categories will be added to My News. A British woman has copped a $330 fine after she parked across the driveway of a well known media personality, who tried to help her avoid the blunder. Abbie Chatfield, who lives in Sydney's Eastern Suburbs, shared that she was walking her dog Walter when she had the 'craziest interaction' outside her apartment block. The 30-year-old revealed that while outside she witnessed a British woman drive up the street, almost hitting Chatfield's car, before proceeding to park 'halfway across the driveway'. 'You could not get a car out at all,' Chatfield said. The It's A Lot podcast host said she wasn't going to say anything until the woman asked for her friend's opinion on the park. That's when Chatfield, who is dating musician Adam Hyde, tried to help the woman. For Australia's best lifestyle coverage — download the app direct to your phone. 'I said, 'It actually isn't' because I thought she was confused about the parking rules,' she said. 'I've seen things online about people from England parking recklessly, and I thought maybe she was confused. She's obviously not from here and I was trying to help her to let her know it was illegal.' But, the woman then said that she 'wasn't asking' Chatfield, and when the former reality star tried to explain that people with 4WDs and utes wouldn't be able to get out, the woman argued that 4WDs could drive 'over the gutter'. Abbie Chatfield has shared a 'crazy' interaction she had after a British woman blocked half of her driveway with her car. Picture: Abbie Chatfield/TikTok Chatfield said she was just trying to help the woman, believing she was genuinely confused. Picture: Instagram/@abbiechatfield The woman then refused to move her car, while she and her friends laughed at the Australian star. Chatfield was left stunned by the interaction, saying all she was trying to do was help the woman and her neighbours. Chatfield also revealed that parking rangers are often in the area, saying that before Hyde obtained a parking permit he would be fined for staying as little as 10 minutes longer than he was supposed to. 'I was trying to help her. I thought she was actually wondering. Then she starts yelling at me in this Cockney accent,' Chatfield said. But, it seemed like Chatfield got the last laugh in the end because, as she predicted, the woman copped a fine for blocking the driveway that amounted to $330. 'Well, well, well. I tried to warn her. I tried to tell her. There's also parks up the entire street but she wanted to be a c***,' she said. 'Sorry darling, it's going to cost you.' The woman ended up with a $330 parking fine. Picture: TikTok/@abbiechatfield Fellow social media users felt that the woman got what was coming to her after her rude response to Chatfield. 'I would sit on the deck with a coffee and wait for the show to start,' one social media user said. Another added: 'I'm so petty I would have written, 'You should have listened'.' 'I feel literally so content right now,' one commented. One social media user added: 'Oooft $330 is a big one too. She's gonna regret that.' 'I love this for her,' another said. Another added: 'The way I'm cackling at this.' '$330 as the fine is just so satisfying to me,' one said. 'Brilliant', 'karma' and 'splendid' were among some of the comments on the video. One social media user said it was the 'best possible outcome'. Originally published as Driver fined $330 for blocking star's Bondi driveway
Sydney Morning Herald
2 hours ago
- Sydney Morning Herald
Judy Bailey, pioneering woman of Australian jazz, dies at 89
As a youngster, Judy Bailey usually heard classical or pop music coming from the cream-coloured Bakelite radio on the Formica kitchen bench of her family's home in Whangarei, New Zealand. But on this particular afternoon, her 13-year-old ears heard something new. She recognised the song, East of the Sun, yet after the melody the band seemed to be making up the music as they went. In her three years studying classical piano with the local nuns, they'd never mentioned improvising. Bailey, who died on August 8 aged 89, was instantly enthralled, and when what turned out to be the George Shearing Quintet had finished, she dashed to the piano, and worked out that the made-up music was happening over the song's chords. A week later, the Stan Kenton Orchestra gave her an even bigger thrill, the thought of which still gave her tingles decades later. It was to set the course for the rest of her life. Bailey was born in Auckland on October 3, 1935, forsaking ballet for classical piano at the age of 10. A pioneer of women's participation in Australian jazz, she was a lyrical, imaginative and swinging jazz pianist, a composer and arranger of note, and an educator with a profound influence on three generations of Sydney Conservatorium students. At 14, she began regularly accompanying a singer on Radio Northland, through which she met twins Peter and Paul Newbury. When they weren't helping out at the family undertakers business, they ran an acrobatic troupe – yes, really – for which Bailey, 10 years their junior, became musical director. At 18, she began studying classical piano more seriously in Auckland. Once, when her teacher asked to hear her homework, and could tell she hadn't really practised, he stopped her and said, 'No. Play me the stuff you've been working on. Not the stuff I gave you.' So Bailey came clean with her jazz, only to find the teacher intrigued and supportive. Her parents, who'd assumed her future as a classical pianist was a given (after she'd pursued it with sufficient commitment to gain her Associate of Trinity College London diploma remotely) were less thrilled, but Bailey was not to be swayed. Her jazz activities included arrangements for the 16-piece Auckland Radio Band, before she sought to expand her horizons. In 1960, she left Auckland for Sydney, originally intending a six-month stopover on her way to London. She stayed for the rest of her life. In Sydney, she was waylaid by a welcoming jazz scene (recording The Wind album with reeds player Errol Buddle in 1962) and by constant work as a pianist/arranger in the TV studios, firstly for Tommy Tycho's resident orchestra at the Seven Network, and then at Nine and 10. Her jazz work centred on Kings Cross's El Rocco, the impossibly small crucible in which Sydney's hip, modernist, 1960s jazz was forged, with the likes of artist John Olsen and writer/broadcaster Clive James listening on. You & the Night & the Music, her debut album that was recorded there (with bassist Lyn Christie and drummer John Sangster) sizzles with the energy of youth and adventure, while also being sensuous, playful, heartfelt, effortless and lithe. Her own Deep Night signalled the start of an august parallel career as a composer, and such LPs became collectors' treasures in Japan, reportedly fetching four-figure sums.
The Age
2 hours ago
- The Age
Judy Bailey, pioneering woman of Australian jazz, dies at 89
As a youngster, Judy Bailey usually heard classical or pop music coming from the cream-coloured Bakelite radio on the Formica kitchen bench of her family's home in Whangarei, New Zealand. But on this particular afternoon, her 13-year-old ears heard something new. She recognised the song, East of the Sun, yet after the melody the band seemed to be making up the music as they went. In her three years studying classical piano with the local nuns, they'd never mentioned improvising. Bailey, who died on August 8 aged 89, was instantly enthralled, and when what turned out to be the George Shearing Quintet had finished, she dashed to the piano, and worked out that the made-up music was happening over the song's chords. A week later, the Stan Kenton Orchestra gave her an even bigger thrill, the thought of which still gave her tingles decades later. It was to set the course for the rest of her life. Bailey was born in Auckland on October 3, 1935, forsaking ballet for classical piano at the age of 10. A pioneer of women's participation in Australian jazz, she was a lyrical, imaginative and swinging jazz pianist, a composer and arranger of note, and an educator with a profound influence on three generations of Sydney Conservatorium students. At 14, she began regularly accompanying a singer on Radio Northland, through which she met twins Peter and Paul Newbury. When they weren't helping out at the family undertakers business, they ran an acrobatic troupe – yes, really – for which Bailey, 10 years their junior, became musical director. At 18, she began studying classical piano more seriously in Auckland. Once, when her teacher asked to hear her homework, and could tell she hadn't really practised, he stopped her and said, 'No. Play me the stuff you've been working on. Not the stuff I gave you.' So Bailey came clean with her jazz, only to find the teacher intrigued and supportive. Her parents, who'd assumed her future as a classical pianist was a given (after she'd pursued it with sufficient commitment to gain her Associate of Trinity College London diploma remotely) were less thrilled, but Bailey was not to be swayed. Her jazz activities included arrangements for the 16-piece Auckland Radio Band, before she sought to expand her horizons. In 1960, she left Auckland for Sydney, originally intending a six-month stopover on her way to London. She stayed for the rest of her life. In Sydney, she was waylaid by a welcoming jazz scene (recording The Wind album with reeds player Errol Buddle in 1962) and by constant work as a pianist/arranger in the TV studios, firstly for Tommy Tycho's resident orchestra at the Seven Network, and then at Nine and 10. Her jazz work centred on Kings Cross's El Rocco, the impossibly small crucible in which Sydney's hip, modernist, 1960s jazz was forged, with the likes of artist John Olsen and writer/broadcaster Clive James listening on. You & the Night & the Music, her debut album that was recorded there (with bassist Lyn Christie and drummer John Sangster) sizzles with the energy of youth and adventure, while also being sensuous, playful, heartfelt, effortless and lithe. Her own Deep Night signalled the start of an august parallel career as a composer, and such LPs became collectors' treasures in Japan, reportedly fetching four-figure sums.
