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Col Joye was first teen idol who sparked riots, made girls swoon but ‘silly' parents loved him

Col Joye was first teen idol who sparked riots, made girls swoon but ‘silly' parents loved him

The Age4 days ago
Signed to Festival Records in 1959 by A&R man Ken Taylor, Col Joye & the Joy Boys debuted on vinyl with a rudimentary version of Lloyd Price's Stagger Lee. The first hit came with single two, Bye Bye Baby, which streaked to the top three, followed by Rockin' Clementine (No.2) and Oh Yeah Uh Huh (No.1).
The latter made him the first Australian pop artist to have a No.1 record Australia-wide. Joye would score a tally of 16 chart entries, enjoying an unexpected No.1 in 1973 with the country-ish Heaven Is My Woman's Love. This achievement placed him in a rare category, along with Jimmy Barnes, Johnny Farnham, O'Keefe and Sherbet/Daryl Braithwaite.
In the studio, the accomplished Joy Boys, like JO'K's Dee Jays basically made up the rules as they went along. Technical shortcomings were more than compensated by unlimited energy and exuberance. Original gems such as Going Down Town (To See Miss Brown) were knocked off on the way to gigs or between takes in the studio. Like O'Keefe, Col was a competent if not necessarily spectacular singer and was prepared to turn his tonsils toward anything that took his band's fancy.
Ever-smilin' Col Joye was born Colin Frederick Jacobsen on April 13, 1937, in the Sydney suburb of East Hills. Upon leaving school at 14 and working as a salesman for a wholesale jeweller, he met impressive young player Dave Bridge, who persuaded him to take guitar lessons.
Joye was quite prolific, with a new single every couple of months and a regular flow of albums, such as Jump For Joye, Songs That Rocked The Stadium, Joyride and The Golden Boy. Some charted, some didn't, but it hardly mattered. As the centrepiece of 'the Bandstand Family' for 14 years, Col became an incredibly popular national figure, loved by both parents and their daughters. He also enjoyed significant Japanese popularity, touring there several times in the '60s. He also played in Papua New Guinea and Vietnam.
It's hard to come to grips with just how many magazine covers, newspaper headlines and television time was devoted to Joye over a 10-year period. Ordinary Australians felt secure with this regular bloke who never attempted to big-note himself.
' Bandstand was very important to my career,' Joye would later concede, 'because we didn't know how to be anything more than what we were and that was fine with Brian Henderson [the host]. We felt that we might not have been that good but we weren't bad either. We never got parents off-side and we weren't controversial – we didn't know how to be. If we did anything wrong at home we got the strap! But yeah, we did rise to some pretty great heights in this country. I have to say that.'
Not that he failed to take advantage of all the perks that stardom provided. I recall him once admitting to me: 'O'Keefe was 'The Wild One' and parents would keep their daughters away from him. But I was the Golden Boy, the 'Mild One' you might say, and so they had no problems there. Silly parents!'
He got on well with American singer Connie Francis too taking her to Luna Park while she was visiting Sydney.
The Bandstand family included Judy Stone, Noeleen Batley, the DeKroo Brothers, Patsy Ann Noble, the Allen Brothers, Tony Brady, Little Pattie (who married Keith Joye) and Sandy Scott. National exposure made them almost as popular as 'leader' Col.
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In the days before a publicity manager was de rigueur for entertainers, he achieved a most remarkable level of exposure. From Win A Date With … to TV's £50,000 Bachelor to milk ads to a set of gloves emblazoned with his signature, the market was consistently bombarded.
Joye discovered the Bee Gees in Surfers Paradise. He brought them to Sydney, to be managed by Kevin, and signed Barry Gibb to Joye Music — his first publishing contract. (He would also nurture and launch the career of Andy Gibb 15 years later.) In 1963, they put the trio on a Chubby Checker tour and Col recorded Underneath The Starlight Of Love for release as a single – one of the first songs by Barry Gibb to be released by another artist.
When the first flush of popularity ebbed, the Jacobsens used both their clout and experience to establish a talent agency which would grow into Kevin Jacobsen Productions, one of Australia's largest and most diverse talent organisations.
In June 1981, he was appointed an AM for his entertainment and philanthropic work. In 1989, he was back on deck musically with the high-powered single Take Me Back To Rock'n'Roll, taking his place on national concert stages with Chuck Berry, Jerry Lee Lewis, the Everly Brothers, Lesley Gore and the Supremes' Mary Wilson on a revival tour that his company presented. In 1988 he was inducted into the first class of the ARIA Hall of Fame.
In 1990, while pruning a neighbour's tree with a chainsaw as a favour, Joye slipped and fell six metres onto brick paving, striking his head and falling into a coma as well as sustaining serious lower back and shoulder injuries and losing his sense of taste. Initially given a poor prognosis, he recovered and tentatively started performing and touring again in 1998.
But all was not well in the Jacobsen camp. In May 2007, Kevin and Col descended into an abyss from which they did not emerge. Kevin had filed for bankruptcy over massive revenues from the Dirty Dancing musical. The dispute arose after Kevin's son, Michael, and Col's daughter, Amber, joined the business. They have battled it out in the British High Court and in the US, as well as at courts in Australia.
There was almost no scandal attached to Col Joye, who gave an enormous amount of his time to good causes (usually showing up with his trusty ukulele) but in 2013, Australian pilot Malcolm Hansman claimed that he was Col's love child, saying that his mother, Ingrid, was a long-term girlfriend of the star. Joye never acknowleged this claim.
Col Joye married Dalys Dawson in 1970 in a joint wedding ceremony with his sister Carol Jacobsen and Sandy Scott in Fiji. He was married for the remainder of his life. They had two children, Amber and Clayton.
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They just take it and run with it. But Sally was really folded into this process, and her opinions and ideas really mattered, and that was just another beautiful part of bringing this story to life. "You know, I can't help but come back home and work here. The quality of the storytelling is next level, and working with Australian crews, there's such familiarity there. It just fills my cup. "And it's a win-win situation - getting to be in the country that I love, working here, and then seeing a lot of these shows getting picked up for America and the UK. I'm proud to help the Australian film industry because that's where I started." Living permanently in Australia also "works" for her family. "My children are getting older now. We were the travelling circus; we'd live in Wales and shoot something for three years and then move to America and shoot something there, and then go to England and Europe," Palmer says. "But I had a yearning for them to have the experience that I had growing up in Adelaide, of going to school and having regular friends and being part of the basketball team or the AFL team, grounding them, rooting them, in one place. And for us, that place was Australia. "If we can be based in Australia and I can still work relatively locally, that's what works for our family. That's not to say we won't go back to America, but this has been a really important choice that we have made for the family." Talking about her movie roles to date, Palmer says her favourite is the 2021 psychological thriller Berlin Syndrome, directed by Australian screenwriter Cate Shortland. "It was one of the best experiences I've ever had in my career. We would sit together, me, Max [Riemelt] and Cate, and talk about our comfort zones and what we wanted the film to be, and we talked about our own history, our own desires ... we brought everything into it," she says. "All those hours and hours of discussions, we weaved them into the script, and it made for such a good movie." What about Lights Out, the 2016 supernatural horror made on a budget of $US4.9 million that grossed close to $US150 million at the box office? "You have no idea when you're acting in it how they're going to do the special effects, and how the creature is going to look, but it was really well done in this movie," Palmer says. "But also, at the heart of that one was a family drama. We were talking about mental health, and it was scarier, more heightened, because at the core of it was this believable family dynamic." And her most challenging acting experience? Restraint (2008), an Australian movie co-starring Travis Fimmel. "It was one of my earliest movies, and I was so in over my head," she says. "I didn't really know how to act yet, I was young and impressionable, and I felt really lost. I remember going home every night and crying, thinking, 'Don't mess this up Teresa, this is your dream'. And then you go from job to job to job, and you get better and better. My peers were my acting school, I learnt on the job. "Watching it now, I wish I could just reach through and grab the younger me and go, 'Guess what, it's going to get easier and better, and trust your instincts, you're doing great!'. I want to comfort that younger me." Her other most challenging role is also her most rewarding: juggling motherhood and a successful acting career. "I used to think motherhood could stall or end a career. I had this general misconception because it was a narrative fed to me years ago, before I had kids. I was told you get to be one or the other," Palmer says. "But to have these experiences in parallel, and in tandem, has really proven otherwise. I have been able to work and feel creatively and intellectually stimulated from my work, and also get to be a very present, hands-on mother, which was my other great desire. "It turns out I didn't have to choose one over the other." It's not surprising that Teresa Palmer agreed to work on an Australian television series that explores themes of motherhood, marriage, friendship and identity. Palmer, an Australian actor whose credits include Ride Like A Girl, Warm Bodies, Hacksaw Ridge, Lights Out, The Fall Guy, The Clearing and Mix Tape, loves working on Australian productions. She loves Australian screenwriters and directors. She's pregnant with her fifth child, and she co-hosts a podcast (The Mother Daze) that talks about motherhood, marriage, friendship and identity (among other things). Her latest project, The Family Next Door, is a female-forward story led by Palmer alongside Bella Heathcote (The Moogai, Pieces of Her), Philippa Northeast (Territory, The Newsreader), Ming-Zhu Hii (Prosper, La Brea) and Jane Harber (Offspring, In Limbo). It's peak holiday season in the popular seaside town of Osprey Point when a stranger, Isabelle (Palmer) rents a family home in a quiet cul-de-sac. As she charms her way into her neighbours' homes and lives, she finds out that everyone at Pleasant Court has something to hide, and, in her relentless quest for truth, she pulls the rug from under this seemingly harmonious beachside community. Based on bestselling Australian author Sally Hepworth's novel of the same name, The Family Next Door is a mystery that blends drama and humour while exploring family dynamics through the unique lens of award-winning screenwriter Sarah Scheller (Strife, The Letdown) and Emma Freeman's (The Newsreader, Interview with the Vampire) character-driven directorial skills. In the real world, Palmer is down-to-earth and kind. Content. A deep thinker who speaks with warmth and laughs easily. She has a firm grasp on who she is, what she wants, and where she wants to be in life. Living in Byron Bay and working in Australia suits her just fine, at least for now. "I love this show," she says. "Sometimes it is difficult for me to be objective, to rip myself out of it and see it as an audience member, but this one I was able to watch in a way that none of the usual self-critique was coming in. "I could just enjoy the show, and that, to me, is a sign of Emma Freeman working her magic." The acting, too, is magic; the darkly funny neurotic edge to Heathcote's character, for example. And the way it is filmed captures the essence of a laidback Australian coastal town, transporting the viewer to that hot, bushfire-prone summer of 2019-20. You can hear the cicadas and almost smell the smoke in the air. "You tend to elevate each other when you're in a scene with someone and they're bringing their absolute best work. You can't help but try to dig as deep as possible," Palmer says. "Everyone is working collectively to elevate it, to ground these characters in colours and nuance, and it was really exciting to work with a group of actors who all felt the same way." Some scenes were filmed at Hepworth's favourite local cafe and beach, bringing her book to life in more ways than one. "I loved that, and what it meant for her to be able to shoot it in that way," Palmer says. "Often when you have a book and it's turned into a TV adaptation, the book isn't folded in so much. They just take it and run with it. But Sally was really folded into this process, and her opinions and ideas really mattered, and that was just another beautiful part of bringing this story to life. "You know, I can't help but come back home and work here. The quality of the storytelling is next level, and working with Australian crews, there's such familiarity there. It just fills my cup. "And it's a win-win situation - getting to be in the country that I love, working here, and then seeing a lot of these shows getting picked up for America and the UK. I'm proud to help the Australian film industry because that's where I started." Living permanently in Australia also "works" for her family. "My children are getting older now. We were the travelling circus; we'd live in Wales and shoot something for three years and then move to America and shoot something there, and then go to England and Europe," Palmer says. "But I had a yearning for them to have the experience that I had growing up in Adelaide, of going to school and having regular friends and being part of the basketball team or the AFL team, grounding them, rooting them, in one place. And for us, that place was Australia. "If we can be based in Australia and I can still work relatively locally, that's what works for our family. That's not to say we won't go back to America, but this has been a really important choice that we have made for the family." Talking about her movie roles to date, Palmer says her favourite is the 2021 psychological thriller Berlin Syndrome, directed by Australian screenwriter Cate Shortland. "It was one of the best experiences I've ever had in my career. We would sit together, me, Max [Riemelt] and Cate, and talk about our comfort zones and what we wanted the film to be, and we talked about our own history, our own desires ... we brought everything into it," she says. "All those hours and hours of discussions, we weaved them into the script, and it made for such a good movie." What about Lights Out, the 2016 supernatural horror made on a budget of $US4.9 million that grossed close to $US150 million at the box office? "You have no idea when you're acting in it how they're going to do the special effects, and how the creature is going to look, but it was really well done in this movie," Palmer says. "But also, at the heart of that one was a family drama. We were talking about mental health, and it was scarier, more heightened, because at the core of it was this believable family dynamic." And her most challenging acting experience? Restraint (2008), an Australian movie co-starring Travis Fimmel. "It was one of my earliest movies, and I was so in over my head," she says. "I didn't really know how to act yet, I was young and impressionable, and I felt really lost. I remember going home every night and crying, thinking, 'Don't mess this up Teresa, this is your dream'. And then you go from job to job to job, and you get better and better. My peers were my acting school, I learnt on the job. "Watching it now, I wish I could just reach through and grab the younger me and go, 'Guess what, it's going to get easier and better, and trust your instincts, you're doing great!'. I want to comfort that younger me." Her other most challenging role is also her most rewarding: juggling motherhood and a successful acting career. "I used to think motherhood could stall or end a career. I had this general misconception because it was a narrative fed to me years ago, before I had kids. I was told you get to be one or the other," Palmer says. "But to have these experiences in parallel, and in tandem, has really proven otherwise. I have been able to work and feel creatively and intellectually stimulated from my work, and also get to be a very present, hands-on mother, which was my other great desire. "It turns out I didn't have to choose one over the other." It's not surprising that Teresa Palmer agreed to work on an Australian television series that explores themes of motherhood, marriage, friendship and identity. Palmer, an Australian actor whose credits include Ride Like A Girl, Warm Bodies, Hacksaw Ridge, Lights Out, The Fall Guy, The Clearing and Mix Tape, loves working on Australian productions. She loves Australian screenwriters and directors. She's pregnant with her fifth child, and she co-hosts a podcast (The Mother Daze) that talks about motherhood, marriage, friendship and identity (among other things). Her latest project, The Family Next Door, is a female-forward story led by Palmer alongside Bella Heathcote (The Moogai, Pieces of Her), Philippa Northeast (Territory, The Newsreader), Ming-Zhu Hii (Prosper, La Brea) and Jane Harber (Offspring, In Limbo). It's peak holiday season in the popular seaside town of Osprey Point when a stranger, Isabelle (Palmer) rents a family home in a quiet cul-de-sac. As she charms her way into her neighbours' homes and lives, she finds out that everyone at Pleasant Court has something to hide, and, in her relentless quest for truth, she pulls the rug from under this seemingly harmonious beachside community. Based on bestselling Australian author Sally Hepworth's novel of the same name, The Family Next Door is a mystery that blends drama and humour while exploring family dynamics through the unique lens of award-winning screenwriter Sarah Scheller (Strife, The Letdown) and Emma Freeman's (The Newsreader, Interview with the Vampire) character-driven directorial skills. In the real world, Palmer is down-to-earth and kind. Content. A deep thinker who speaks with warmth and laughs easily. She has a firm grasp on who she is, what she wants, and where she wants to be in life. Living in Byron Bay and working in Australia suits her just fine, at least for now. "I love this show," she says. "Sometimes it is difficult for me to be objective, to rip myself out of it and see it as an audience member, but this one I was able to watch in a way that none of the usual self-critique was coming in. "I could just enjoy the show, and that, to me, is a sign of Emma Freeman working her magic." The acting, too, is magic; the darkly funny neurotic edge to Heathcote's character, for example. And the way it is filmed captures the essence of a laidback Australian coastal town, transporting the viewer to that hot, bushfire-prone summer of 2019-20. You can hear the cicadas and almost smell the smoke in the air. "You tend to elevate each other when you're in a scene with someone and they're bringing their absolute best work. You can't help but try to dig as deep as possible," Palmer says. "Everyone is working collectively to elevate it, to ground these characters in colours and nuance, and it was really exciting to work with a group of actors who all felt the same way." Some scenes were filmed at Hepworth's favourite local cafe and beach, bringing her book to life in more ways than one. "I loved that, and what it meant for her to be able to shoot it in that way," Palmer says. "Often when you have a book and it's turned into a TV adaptation, the book isn't folded in so much. They just take it and run with it. But Sally was really folded into this process, and her opinions and ideas really mattered, and that was just another beautiful part of bringing this story to life. "You know, I can't help but come back home and work here. The quality of the storytelling is next level, and working with Australian crews, there's such familiarity there. It just fills my cup. "And it's a win-win situation - getting to be in the country that I love, working here, and then seeing a lot of these shows getting picked up for America and the UK. I'm proud to help the Australian film industry because that's where I started." Living permanently in Australia also "works" for her family. "My children are getting older now. We were the travelling circus; we'd live in Wales and shoot something for three years and then move to America and shoot something there, and then go to England and Europe," Palmer says. "But I had a yearning for them to have the experience that I had growing up in Adelaide, of going to school and having regular friends and being part of the basketball team or the AFL team, grounding them, rooting them, in one place. And for us, that place was Australia. "If we can be based in Australia and I can still work relatively locally, that's what works for our family. That's not to say we won't go back to America, but this has been a really important choice that we have made for the family." Talking about her movie roles to date, Palmer says her favourite is the 2021 psychological thriller Berlin Syndrome, directed by Australian screenwriter Cate Shortland. "It was one of the best experiences I've ever had in my career. We would sit together, me, Max [Riemelt] and Cate, and talk about our comfort zones and what we wanted the film to be, and we talked about our own history, our own desires ... we brought everything into it," she says. "All those hours and hours of discussions, we weaved them into the script, and it made for such a good movie." What about Lights Out, the 2016 supernatural horror made on a budget of $US4.9 million that grossed close to $US150 million at the box office? "You have no idea when you're acting in it how they're going to do the special effects, and how the creature is going to look, but it was really well done in this movie," Palmer says. "But also, at the heart of that one was a family drama. We were talking about mental health, and it was scarier, more heightened, because at the core of it was this believable family dynamic." And her most challenging acting experience? Restraint (2008), an Australian movie co-starring Travis Fimmel. "It was one of my earliest movies, and I was so in over my head," she says. "I didn't really know how to act yet, I was young and impressionable, and I felt really lost. I remember going home every night and crying, thinking, 'Don't mess this up Teresa, this is your dream'. And then you go from job to job to job, and you get better and better. My peers were my acting school, I learnt on the job. "Watching it now, I wish I could just reach through and grab the younger me and go, 'Guess what, it's going to get easier and better, and trust your instincts, you're doing great!'. I want to comfort that younger me." Her other most challenging role is also her most rewarding: juggling motherhood and a successful acting career. "I used to think motherhood could stall or end a career. I had this general misconception because it was a narrative fed to me years ago, before I had kids. I was told you get to be one or the other," Palmer says. "But to have these experiences in parallel, and in tandem, has really proven otherwise. I have been able to work and feel creatively and intellectually stimulated from my work, and also get to be a very present, hands-on mother, which was my other great desire. "It turns out I didn't have to choose one over the other."

‘Aggressively provocative': Test screener for Margot Robbie's ‘Wuthering Heights' film gets mixed reviews
‘Aggressively provocative': Test screener for Margot Robbie's ‘Wuthering Heights' film gets mixed reviews

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‘Aggressively provocative': Test screener for Margot Robbie's ‘Wuthering Heights' film gets mixed reviews

Don't miss out on the headlines from Upcoming Movies. Followed categories will be added to My News. Wuthering Heights devotees are in for a rude shock, it seems. The beloved 1800s novel written by Emily Brontë is yet again being adapted for the screen, with Australian actress Margot Robbie and fellow Aussie Jacob Elordi in the lead roles of Catherine and Heathcliff. Directed by Saltburn filmmaker Emerald Fennell, the upcoming feature film has already copped significant controversy after photos emerged from the set earlier this year, with many taking issue with Robbie's age, her costume and styling, and even with her face looking too 'modern' for a story set in the late 1700s. Now, a test screener hosted in Dallas, Texas, is said to have generated a deeply mixed reaction among viewers, described as 'aggressively provocative' and 'tonally abrasive'. Never miss the latest entertainment news from Australia and around the world — download the app direct to your phone. Margot Robbie pictured on set of 'Wuthering Heights' in the UK in March. Picture: BACKGRID According to movie website World of Reel, 'There's hypersexualised imagery — far more explicit than any previous adaptation of this material.' The outlet further claims, 'The film opens with a public [redacted] that quickly descends into grotesque absurdity, as the condemned man ejaculates mid-execution, sending the onlooking crowd into a kind of orgiastic frenzy. A nun even fondles the corpse's visible erection. 'Later, a woman is strapped into a horse's reins for a BDSM-tinged encounter. There are several masturbation scenes shot in that now-signature Fennell style — intimate, clinical, and purposefully discomforting.' The publication cites an attendee saying Robbie and Elordi have 'great chemistry', but described the characters as 'unlikeable'. Australian actor Jacob Elordi plays Heathcliff in the film. Picture:It's not usual for reviews to emerge from highly-confidential test screenings, which are traditionally held by production companies to gauge audience reaction prior to the film's completion and ultimate release. Production on Wuthering Heights, which took place in the UK, officially wrapped in April. And a warning, some story spoilers below. The book – considered one of the most famous pieces literature ever written – follows the doomed romance between Catherine and Heathcliff, whose passionate love story is marred by societal constraints. Juliette Binoche alongside Ralph Fiennes in the 1992 version of Wuthering Heights. Forgotten Film That Launched Margot Robbie's Career Video Player is loading. Play Video This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Opacity Opaque Semi-Transparent Text Background Color Black White Red Green Blue Yellow Magenta Cyan Opacity Opaque Semi-Transparent Transparent Caption Area Background Color Black White Red Green Blue Yellow Magenta Cyan Opacity Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Drop shadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. X Learn More Loaded : 11.28% 0:00 00:00 / 00:00 Close Modal Dialog This is a modal window. This modal can be closed by pressing the Escape key or activating the close button. 01:28 SUBSCRIBER ONLY Forgotten Film That Launched Margot Robbie's Career more more began when she was cast in two films in the late 2000s before she ever set foot in Ramsay St. Take a look at where Margot's career...... ... more Amid the backlash when Robbie – a three-time Oscar nominee – was cast, many took issue with the actress' age. At 35, the Queensland-born star is some 16 years older than Catherine. While it's certainly not uncommon for mature actors to portray younger characters, much of the tragedy of the novel lies in the premature nature of Catherine's death during childbirth, as Heathcliff lives on tormented to have lost her before they have a chance to be together. Others also felt Robbie didn't quite capture a 17th-century woman, with one critic claiming she looks 'straight out of Sephora'. Previous adaptations saw actress Merle Oberon, then in her late twenties, star alongside Laurence Olivier in a 1939 movie, as well as Juliette Binoche, also in her twenties, alongside Ralph Fiennes in the 1992 version. Actress Kaya Scodelario was 19 when she played Cathy in a 2011 film adaptation, alongside James Howson as Heathcliff. With a flurry of adaptations having already been made, it's perhaps unsurprising Fennell is looking to infuse some shock factor. Warner Bros is distributing the film, with a planned February 2026 cinema release. Originally published as 'Aggressively provocative': Test screener for Margot Robbie's 'Wuthering Heights' film cops mixed reviews

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