1986: Started promoting parties

1992-6: Ran a record shop in London, UK and started managing DJs

1996: Left the shop to promote full time launching AURAL SEX and DJing there

1997: Closed Aural Sex due to DJ schedule in UK and around world

2001: Launched GOOD LIFE at numerous London venues

2002: Formed 3D (Colaboration with Pedro G/Portugal & Enrique Soto/Spain)

2003: Monthly guest on Ministry radio, produced debut album, arrived in Melbourne

Has DJd in UK including: Ministry of Sound, Fabric, The End, The Cross etc.

Has DJd internationally including: US, Canada, Japan, SA, Italy, Spain, Portugal etc.

Artist: Mackay

Label: Ulysse Records

Genre: Trance

Release Date: 2012-01-28

Track Length: 3 minutes 45 seconds

Artist: Mackay

Label: Ulysse Records

Genre: Trance

Release Date: 2011-12-17

Track Length: 6 minutes 04 seconds

1885 Britomart, Auckland, Wed, 01 June

The Great Southern Blues Festival has been quite a journey from its humble beginnings in 1996 as a one day festival in the Narooma Basketball shed through to the excitement of preparing for our 15th year in its new home in beautiful Batemans Bay.

The idea of bringing world class music to the South Coast has exploded well beyond our expectations. The festival has always and will continue to push the boundaries of blues and roots Music. Presenting great music in a fantastic location has been paramount to our success and growth.

We are proud of the artists we have presented over the years. In 2000 who could forget that we took a punt with the then unknown John Butler Trio, or in 2006 when we where lucky to secure one of only two Daddy Cool shows. Each year we present over 50 individual performances and can honestly say that we have never had a poor performance.

2010 saw us moving the festival 45 minutes further north to Mackay Park in Batemans Bay. In a nutshell, we have outgrown Narooma so after

"Olympia" seemed destined for the ridicule circuit. While Boomers have prepared us for the sight of 60-somethings singing of sex, Brian Ferry would offer a particularly queasy example. Long one of the smoothest MFs in pop music, whose steamy glam while solo or with Roxy Music put lesser lights to shame with his romantic predation. The thought of him trying to once more roll out the coke, sherry and condoms would seem grotesque. That this record has Kate Moss on the cover, an echo of old provocative RM covers and some attempt to stay currently hip, did not help. But shazam, the geezer pulled it off (as it were). "Olympia" is as smoky, elegant and transgressive as any Roxy Music record, and Ferry's voice still remains smooth, with occasional crags only adding to the world-weariness.The club hit "You Can Dance" kicks things off, followed by a gritty "Aphaville." The classy-dirty "Shameless" and "Me Oh My" round out the best originals. Two covers stand out: Traffic's "No Face, No Name, No Number" is stunning an

This guest post is by Charlotta Hedman (@fjoms), a journalist who blogs for the Music 4.5 project, a series of events for the tech and music industries. Copyright is confusing. Is it working, isn't it working and if it isn't working, what should be done about it? We decided that the best way to make some sense of this complicated and often vicious debate was to ask experts and commentators what they think. Here are their answers: Richard Stallman, founder of the Free Software Movement: "Music industry" implies music made on an assembly line: invest money and out comes "music". That's what the major record companies do. For music's sake, let's wipe them out! They deserve it, too. They have attacked our freedom by turning our products against us, implementing digital handcuffs and lobbying for laws to prohibit breaking the handcuffs. (See DefectiveByDesign.org.) Through the RIAA they have sued thousands of teenagers for sharing music. Sharing is good; antisoc