It's your saving grace when you're designated driver. The dash you can't do without in any manhattan or whisky sour. Yet, Angostura bitters has long been relegated to play the bittersweet supporting role. But, trust three ex-MasterChef contestants (and culinary champions) to look beyond the old fashioned and take bitters from cocktails to cooking. Far from bitter that they missed out on the top spot, MasterChef runners-up Ben Ungermann, Matt Sinclair and Georgia Barnes accepted the challenge to create three unique recipes featuring one unlikely ingredient — Angostura bitters. From entree through to dessert, the three chefs prove that bitters complements both sweet and savoury dishes that, luckily for us, you don't need to be a MasterChef to cook at home. ENTREE: ANGOSTURA-POACHED COD WITH FENNEL AND ORANGE SEGMENTS While bitters and fish may seem like an unlikely combo to us amateurs, Ben Ungermann found multiple ways to hero bitters in his Angostura-poached cod entree. First by using the ingredient in the marinade for the cod, and then as a bittersweet vinaigrette to match the tartness and zest of the accompanying orange and fennel salad. Angostura Marinated Poached Cod with Fennel and Orange Salad For the vinaigrette 1 tsp Angostura aromatic bitters 2 tbsp olive oil 1 tbsp white wine vinegar Pinch of salt and pepper For the fennel and orange salad 1 handful shaved fennel 1 small handful of bean sprouts Orange segments from one orange For the Angostura-poached cod 150g cod 1 tbsp Angostura aromatic bitters 100g unsalted butter Zest from one orange Salt Pepper Method Vinaigrette Combine all ingredients in a small bowl and whisk together. Set aside for serving. Fennel and Orange Salad With a mandolin, shave the fennel into thin strips. Take an orange and remove the skin. Cut the orange into segments, then vertically cut the segments to make small triangles. Toss the fennel and orange through bean sprouts and set aside. Angostura-Poached Cod Cut fish fillet into 4–6cm pieces. Place fish in foil along with butter broken into small pieces, Angostura aromatic bitters, orange zest and seasoning. Tightly wrap and place in oven at 120 degrees Celsius until steamed. Check fish every 10 minutes until cooked through. MAIN: ANGOSTURA BEEF SHORT RIBS WITH OLD FASHIONED GLAZE When a single ingredient added to an orange glaze helps to achieve what Matt Sinclair describes as "a liqueur-like intensity that complements the richness of short ribs", there's no questioning that bitters has found a new calling as the secret ingredient in your new favourite dish. Seeing bitterness as a "vital aspect of a balanced dish that's just as important as sweet, sour and salt", Matt brings all these elements together, turning an old favourite into new in his recipe for Angostura beef ribs with old fashioned glaze. Angostura Beef Short Ribs with Old Fashioned Glaze For the beef ribs 2kg beef ribs 1l master stock or chicken stock For the glaze 1/2 cup soy sauce 1/2 cup bourbon 6 tbsp Angostura orange bitters 4 tbsp vinegar Zest and juice of two oranges 1 cup sugar 2-inch piece of ginger, thinly sliced 6 cloves of garlic 4 star anise For the crystal cucumber 2 lebanese cucumbers 1 tsp sea salt 2 tsp caster sugar, plus extra 1 1/2 tbsp rice wine vinegar 2 tsp sesame oil 2 tsp soy sauce 1 tbsp olive oil 2–3 garlic cloves, finely grated 1–2 birdseye chillies, finely sliced 2 tsp toasted sesame seeds 1/2 cup fresh mint, leaves picked Method Ribs and Glaze Preheat oven to 150 degrees Celsius. Place ribs in a deep oven tray, bone-side up and cover with master stock or chicken stock. Cover with foil, and cook in the oven for 3.5 hours. Remove from oven, and transfer ribs to a wire rack over a roasting tray, bone-side down. Cover with foil. Increase oven temperature to 220 degrees Celsius. While ribs are cooking, in a medium saucepan add all glaze ingredients and bring to a boil over medium heat. Reduce heat and simmer glaze until a syrup-like consistency is reached. Pour 1/3 cup of the glaze over the ribs, and place them back in the oven, uncovered, for 30 minutes. Remove ribs from the oven and place onto a platter. Pour over any remaining glaze. Serve with steamed jasmine rice and crystal cucumber on the side. Crystal Cucumber Cut cucumber in quarters lengthways, and dice into 2-inch pieces. Place the cucumber in a colander, add a pinch of salt and sugar and toss to coat. Then place the colander over a bowl and allow to drain in the refrigerator for 20–30 minutes. Meanwhile, in a small bowl, add salt, sugar and rice wine vinegar and whisk to combine, until sugar and salt are dissolved. Add sesame oil and soy sauce and mix through to combine. To serve, remove cucumbers from the refrigerator and transfer to a bowl. Drizzle with olive oil and toss to coat before adding garlic, dressing, chilli and mint. Mix together well, garnish with sesame seeds and serve immediately. DESSERT: ANGOSTURA LEMON, LIME AND BITTERS TART When it comes to bitters, it'd be remiss not to mention the sweet, refreshing flavour combination of a lemon, lime and bitters. So rather than break away completely from something that's already so damn good, Georgia Barnes opted to reinvent the iconic soft drink as an Angostura lemon, lime and bitters tart with a thick, buttery pastry base and sweet, creamy filling. Garnish the tart with edible flower petals and plate with precision, and you'll do a convincing job that you too could be a MasterChef contender. Angostura Lemon, Lime and Bitters Tart with Brown Sugar Shortcrust Pastry For the pastry 2 cups plain flour 4 tbsp brown sugar 1/2 tsp salt 150g unsalted butter, cold and chopped 3–4 tbsp ice cold water For the tart filling 100ml lemon juice 100ml lime juice 1 cup caster sugar 2 tbsp corn flour 4 free-range eggs 4 free-range egg yolks 100g butter, chopped 2 tbsp Angostura aromatic bitters To serve 100ml dollop cream Lemon zest Lime zest Edible flower petals (optional) Method Grease and line a 23cm springform tart tin. For the pastry, place flour, sugar, salt and butter into a food processor, and pulse until the mixture resembles fine breadcrumbs. Slowly add the iced water until mixture forms a soft ball of dough. Place a large piece of baking paper onto a clean, dry surface. Sprinkle baking paper with a little extra flour. Place dough onto baking paper and roll to 2–3mm thick using a floured rolling pin. Carefully turn the sheet of pastry onto the tart tin, pastry side down. Peel away the baking paper. Gently press pastry into the sides of the tart tin. Place tart shell into the refrigerator to chill for 30 minutes. Meanwhile, preheat oven to 160 degrees Celsius. Remove tart shell from refrigerator. Using a sharp knife, trim excess pastry away from the edge of the tart tin. Using baking paper and pie weights or uncooked grains, place tart shell in the oven to blind bake for 20 minutes. Remove tart shell from oven. Carefully remove baking paper and weights and return to the oven for a further 5 minutes, or until the base of tart shell is golden brown. Remove from oven and allow to cool. To make the filling, place lemon juice, lime juice, sugar, corn flour, eggs and egg yolks into a saucepan and whisk together well. Place saucepan over medium heat and continue to whisk until the mixture reaches boiling point and has thickened. Remove saucepan from heat. Strain hot filling through a fine sieve into a bowl to remove any lumps. Add butter to filling, and continue to stir until butter has melted and the mixture is smooth. Add Angostura aromatic bitters and mix well. To assemble the tart, pour lemon, lime and bitters filling into the cooled tart shell. Place tart in the refrigerator to chill for 1–2 hours or overnight. To serve, carefully remove the tart from the springform tart tin and place onto a serving plate. Sprinkle tart with lemon and lime zest and drizzle with cream. Garnish with edible flower petals. Using a sharp knife, cut tart into even pieces. Best served chilled. Now that you've got this secret ingredient on your radar, move your bottle of Angostura bitters from the drinks cupboard to the pantry, and try your hand at cooking some of these deliciously bittersweet recipes.
Think about Broken Hill and movies, and one of three films likely comes to mind. Mad Max 2 is one of them. The Adventures of Priscilla, Queen of the Desert is another. Wake in Fright should be the third. Before road warriors and drag queens helped bring the outback city to the big screen, this stone-cold classic got there first. It was back in 1971 that the iconic Australian page-to-screen thriller turned the remote patch of New South Wales — well, the fictional Bundanyabba in the narrative — into a hotbed of small-town small-mindedness, toxic masculinity and a dim view of outsiders. If you've never thought that ochre soil as far as the eye can see could be a vision of claustrophobia, then you haven't seen this, which sits on Canadian director Ted Kotcheff's extremely diverse resume alongside everything from First Blood to Weekend at Bernies. Here's your next change to redress that: a Hear My Eyes session at the 2024 Melbourne International Film Festival, where the movie-and-music series will give Wake in Fright a new soundtrack. For Hear My Eyes first-timers — so, those who've missed Hellraiser, Good Time, Pan's Labyrinth, Chopper, Two Hands, Drive, Girlhood and Suspiria sessions in the past, to name a few prior shows — the event brings a must-see flick back to the big screen accompanied by a live, all-new and completely original score that's played while film lovers sit, watch and listen. Doing the musical honours for Wake in Fright is Surprise Chef, who'll be playing to a freshly unveiled 4K restoration of the feature. Hitting up Hamer Hall at Arts Centre Melbourne on Friday, August 16, the MIFF Hear My Eyes screening will mark the world-premiere of the 4K version of the film. Whether they pop up as part of festivals or on their own — and no matter the movie, too — these events are always popular, so getting tickets quickly is recommended. There's no word yet if other cities outside Melbourne will get the chance to see Wake in Fright receive the Hear My Eyes treatment, so this is a prime excuse to head to the Victorian capital. So far, before it drops its full 2024 lineup on Thursday, July 11, MIFF has also announced Adam Elliot's new stop-motion animation Memoir of a Snail, which'll open the fest, alongside 23 other flicks — including Sundance sensation I Saw the TV Glow from We're All Going to the World's Fair's Jane Schoenbrun, Hunter Schafer (Euphoria)-starring thriller Cuckoo, the Sebastian Stan (Dumb Money)-led A Different Man and restaurant-set dramedy La Cocina featuring Rooney Mara (Women Talking), plus heaps more. [caption id="attachment_963205" align="alignnone" width="1920"] Simon Aubor[/caption] [caption id="attachment_963203" align="alignnone" width="1920"] Simon Aubor[/caption] [caption id="attachment_963204" align="alignnone" width="1920"] Simon Aubor[/caption] [caption id="attachment_963206" align="alignnone" width="1920"] Izzie Austin[/caption] Hear My Eyes' Wake in Fright screening with Surprise Chef will debut at Hamer Hall, Arts Centre Melbourne on Friday, August 16. Head to the Hear My Eyes website for tickets and further details. The 2024 Melbourne International Film Festival runs from Thursday, August 8–Sunday, August 25 at a variety of venues around Melbourne; from Friday, August 16–Sunday, August 18 and Friday, August 23–Sunday, August 25 in regional Victoria; and online nationwide from Friday, August 9–Sunday, August 25. For further details, including the full program from Thursday, July 11, visit the MIFF website.
Do you have the time to listen to Green Day live? Do you now have 'Basket Case' from the California-born band's iconic 1994 album Dookie stuck in your head? To celebrate three decades since releasing one of the records that defined the 90s, Billie Joe Armstrong, Mike Dirnt and Tré Cool are returning to Australia to play it in its entirety — and to also bust out their American Idiot album from 2004 in full as well. If you're a Green Day fan, welcome to paradise come March 2025, when the band will hit up stadiums in Sydney, Melbourne and on the Gold Coast. We hope you have the time of your life getting a blast of 90s and 00s nostalgia, complete with 'When I Come Around', 'Longview', 'She', 'Boulevard of Broken Dreams', 'Wake Me Up When September Ends', 'Holiday' and, yes, 'American Idiot' echoing through Engie Stadium, Marvel Stadium and CBUS Super Stadium. [caption id="attachment_972774" align="alignnone" width="1920"] Alice Baxley, Apple Music[/caption] While the visit is part of the group's global The Saviors Tour, which is named for their 14th studio album Saviors, they're clearly happy to keep working through their best-known tunes — and, while they aren't on either Dookie or American Idiot, 'Minority', 'Brain Stew' and 'Good Riddance (Time of Your Life)' have been on Green Day's recent setlist overseas. "We've never been more excited to unleash new music than with Saviors, a record that's meant to be rocked live, together. And we can not wait to return to Australia, it's been way too long. So let's thrash," said Green Day, announcing their Down Under visit. [caption id="attachment_972776" align="alignnone" width="1920"] Raph_PH via Flickr.[/caption] In support, also bringing the 90s and 00s to mind, fellow California-born group AFI will share the stage on Green Day's three Aussie gigs in 2025. It's currently a great time to hear beloved albums in full live in Australia, given that Green Day's tour comes just days after The Killers announced their own trip for late 2024, including playing Hot Fuss from start to finish at some gigs. [caption id="attachment_972775" align="alignnone" width="1920"] Alice Baxley[/caption] Green Day The Saviors Tour Australia 2025 Saturday, March 1, 2025 — Marvel Stadium, Melbourne Monday, March 3, 2025 — Engie Stadium, Sydney Wednesday, March 5, 2025 — CBUS Super Stadium, Gold Coast Green Day are touring Australia in March 2025, with presale tickets available from Monday, September 16 (at 1pm for the Gold Coast, 2pm for Melbourne and 3pm for Sydney) and general sales from Friday, September 20 (at 12pm Gold Coast, 1pm Melbourne and 2pm Sydney). Head to the tour website for more details. Top image: Raph_PH via Flickr.
If you're looking for your latest glimpse of the next Star Wars movie, there's no need to travel to a galaxy far, far away, because the full final trailer has just dropped in this one. Two months before the main franchise's ninth episode (and 11th theatrical flick overall) hits cinemas, Disney has delivered its last sneak peek of Star Wars: Episode IX — The Rise of Skywalker — as well as reiterating the claim that this flick will end the whole Skywalker saga. Don't worry — more Star Wars movies are definitely in the works, courtesy of two big-screen spinoff trilogies by Star Wars: Episode VIII — The Last Jedi helmer Rian Johnson and Game of Thrones creators David Benioff and D. B. Weiss, respectively. Just next month, new TV series The Mandalorian will start screening on Disney's new streaming platform as well. An Obi-Wan Kenobi-focused television show is also in development, with Ewan McGregor returning as the beloved Jedi master. And, even if The Rise of Skywalker wants to tell us otherwise for now, we have a good feeling that we won't see the last of all of the other Star Wars characters that everyone already knows and loves. Given The Rise of Skywalker's title, the way that The Last Jedi wrapped up and the theories that have been swirling around Daisy Ridley's Rey since she was first introduced in Star Wars: Episode VII — The Force Awakens, it should come as no surprise that the scavenger-turned-pilot takes centre stage in the new trailer — as she did in the first teaser earlier this year. Also popping up are Oscar Isaac's Poe Dameron and John Boyega's ex-stormtrooper Finn, helping out the film's plucky heroine once more; Adam Driver's Kylo Ren, wielding his red lightsaber for the dark side yet again; and long-standing series favourites Chewbacca, R2-D2 and C-3PO, of course. The late Carrie Fisher features as well, with the actor's appearance as General Leia Organa made possible by using previously filmed footage. And two other familiar characters also rejoin the fold, including Billy Dee Williams' Lando Calrissian and a sinister figure who's once again heard rather than seen. The huge cast list keeps going, with Domhnall Gleeson, Kelly Marie Tran and Lupita Nyong'o all returning, Mark Hamill also included, and Richard E. Grant, Keri Russell and Naomi Ackie among the Star Wars newcomers. As he did with The Force Awakens, JJ Abrams also sits in the director's chair. Feel the force with the full final trailer below: https://www.youtube.com/watch?v=8Qn_spdM5Zg Star Wars: Episode IX — The Rise of Skywalker releases in Australian cinemas on December 19. Images: (c) 2019 and TM Lucasfilm Ltd.
Keen to see Oasis onstage Down Under when Liam and Noel Gallagher reunite for the reformed band's 2025 tour? Don't look back in anger at paying more than you should for a ticket to their Melbourne shows. As it did with Taylor Swift's Eras tour — and with the 2024 Meredith Music Festival, too — the Victorian Government has declared the British group's upcoming trip to the state a major event, meaning that the gigs now fall under anti-scalping laws. Under Victoria's major-event ticketing declarations, tickets to the two concerts must legally be available for a fair price, not the hefty costs that they can be flogged off for on the resale market. There's a specific figure specified under the law, in fact, with tickets to a declared major event unable to be resold for more than ten percent more than their original value. [caption id="attachment_975202" align="alignnone" width="1920"] Simon Emmett[/caption] Other requirements include ticket package sellers needing authorisation from the event organiser, plus individual ads for tickets including both ticket and seating details. If a ticket seller flouts the rules, the penalties are steep, ranging up to more than half-a-million dollars. [caption id="attachment_975640" align="alignnone" width="1920"] Batiste Safont via Wikimedia Commons[/caption] While the major-event declaration clearly benefits Melbourne Oasis devotees eager to get a ticket to see the band play at Marvel Stadium, it's also great news for fans elsewhere that are hoping to head to the Victorian capital for the Friday, October 31–Saturday, November 1 shows. Oasis are only making two stops on their visit Down Under, two doing gigs in Melbourne and two in Sydney. So, also like the Eras tour, there'll be plenty of concertgoers flying and driving in from interstate. 2025 marks 20 years since Oasis last toured Australia, but that's where the lengthy gap between the band's Down Under shows is ending. There's comeback tours and then there's Britain's most-famous feuding siblings reuniting to bring one of the country's iconic groups back together live — aka the biggest story in music touring of 2024 since Liam and Noel announced in August that they were reforming the band, and also burying the hatchet. Initially, Oasis locked in a run of shows in the UK and Ireland. Since then, they've been expanding their tour dates, also confirming visits to Canada and the US. From London, Manchester and Dublin to Toronto, Los Angeles and Mexico City, the entire tour so far is sold out. Oasis broke up in 2009, four years after their last Australian tour, and following seven albums from 1994's Definitely Maybe through to 2008's Dig Your Soul — and after drawing massive crowds to their live gigs along the way (see: documentary Oasis Knebworth 1996). If you're feeling supersonic about the group's reunion, you can likely expect to hear that track, plus everything from 'Live Forever', 'Cigarettes & Alcohol', 'Morning Glory' and 'Some Might Say' through to 'Wonderwall', 'Don't Look Back in Anger' and 'Champagne Supernova' when they hit Australia. Oasis Live '25 Australian Dates Friday, October 31–Saturday, November 1 — Marvel Stadium, Melbourne Friday, November 7–Saturday, November 8 — Accor Stadium, Sydney Oasis are touring Australia in October and November 2025, with Melbourne tickets on sale from 10am AEDT and Sydney tickets from 12pm AEDT on Tuesday, October 15. Head to the tour website for more details. Top image: Raph_PH via Flickr.
Brisbane's premier destination for all things art, the Gallery of Modern Art is showcasing the 30-year trajectory of a culture that knows a thing or two about unique fashion design. Now showing, Future Beauty: 30 Years of Japanese Fashion will chart the transformation of Japanese fashion design from the 1980s until today. We're talking the weird and the wonderful, from street wear to haute couture. These are the cutting-edge Japanese fashion designers who experimented with genres and influences to create a sartorial scene quite unlike any other. Thanks to Brisbane's Airtrain, we are offering one lucky entrant two free return flights to Brisbane from either Sydney or Melbourne. Included is return travel with Brisbane's Airtrain, the premier rail link connecting Brisbane Airport to the city; two nights of accommodation; and two guest passes to see the one-of-a-kind exhibition at GOMA. Airtrain is the fastest, most efficient and affordable way to get from Brisbane Airport to the heart of the Brisbane CBD, and it takes you there in 20 minutes flat. Hard to beat in terms of simplicity, comfort and punctuality, Airtrain runs every 15 minutes during peak hours and every 30 minutes during non-peak periods. To ensure bookings runs smoothly, Brisbane's Airtrain has introduced an iPhone app for travellers on the go offering easy access to mobile tickets when entering and exiting an Airtrain station. To sweeten what is already a pretty sweet deal, there is a 10 percent discount for all advance online bookings, as well as great web group fares offering substantial discounts for groups of two or more. Your accommodation for this trip is a one-bedroom apartment at sleek, four-star Mantra on Edward, located only 200 metres from Central Station, where you'll hop off the Airtrain in Brisbane's CBD. You will be on the doorstep of some of Brisbane's best cafes, restaurants and bars and a short walk from the Brisbane River at Eagle Street Pier as well as the shopping district Queen Street Mall. Or you can just stay in your hotel and enjoy the pool and sauna. Future Beauty: 30 years of Japanese Fashion will be running from November 1, 2014, until February 15, 2015 at the Gallery of Modern Art. Thanks to Brisbane's Airtrain, Mantra Hotels and GOMA, one winner will get to go on this holiday with a friend, enjoying: A double pass to the Future Beauty exhibition or Future Beauty Up Late at the Gallery of Modern Art Brisbane Return flights to Brisbane per person from either Melbourne or Sydney Two-nights' accommodation in a one- bedroom apartment at Mantra on Edward Return travel with Airtrain so you can fast-track your trip to and from the airport To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already) then email us with your name and address. Entry to the competition constitutes acceptance of these terms and conditions. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Image: Broken Doll, performing at Future Beauty Up Late.
You put up the money. You helped stomp the grapes. Now, the people-powered winemakers at Noisy Ritual are inviting you back to put a cork in 2015 — literally. After getting off the ground earlier in the year with crowdfunding support from a group of wine-loving locals, the Preston-based urban winery has produced six batches of homemade vino which they're now about to bottle. So naturally, they're using it as an excuse to throw a party. Cracking open their casks on the evening of Saturday, November 21 in a Brunswick East warehouse space, the Noisy Ritual Bottling Party will be your very first chance to try their 2015 vintage – straight from the bottle you helped pour it into. In addition to the wine, there'll be food by Forge Woodfired Pizza and music from Broadway Sounds, Pink Tiles and a number of local DJs. We'll drink to that.
Back in 2021, news arrived that Round the Twist was joining The Adventures of Priscilla, Queen of the Desert, Muriel's Wedding, Strictly Ballroom, Starstruck and Moulin Rouge! in making the leap from Australia's screens to its theatres as a stage musical. If you've ever, ever felt like you needed to see the classic 90s and early 00s Aussie children's TV series with singing and dancing, the end result is debuting in Brisbane, with Round the Twist The Musical making its world premiere as part of Queensland Theatre's 2024 season. The homegrown gem has gone the screen-to-stage route with a show that already has the entire country well-acquainted with its characters. Taking over QPAC's Playhouse from Tuesday, November 12–Sunday, December 8, it closes out Queensland Theatre's 2024 run. We bet you're now more excited right now than a Twist family member in a lighthouse. Airing for two seasons between 1990–93, then another two from 2000–01, Round the Twist adapted Paul Jennings' popular books into an offbeat fantasy series. If you were the right age, it was must-see TV — and now it's your next must-see musical. Here's hoping that the new stage production not only does justice to the show that absolutely every Aussie kid watched in the 90s and 00s, and more than once, but that it taps into its balance of humour, strangeness and scares. There's definitely a big lighthouse involved, because of course there is. Obviously, we all know which song absolutely has to be included — and multiple times, ideally. Yes, it's the theme tune by Andrew Duffield that you've now got stuck in your head and will keep singing to yourself for the rest of the week. (And no, we're not sorry for putting it there.) Writer/composer Paul Hodge and director Simon Phillips (Muriel's Wedding: The Musical, Ladies in Black) are guiding the show, which will focus on single father Tony Twist; his children Pete, Linda and Bronson; and their efforts to save their home from the Gribble family while also attempting to solve a 200-year-old mystery. Expect haunted spaces, ghosts, smelly feet and a crystal ball as well, and songs. Images: Lyndon Mechielsen. Updated: Friday, November 22, 2024.
Melbourne is no stranger to a Korean barbecue restaurant. You'll find them all over the CBD and out in the burbs. We've also got all kinds of them — there are cheap BYO joints and all-you-can-eat affairs, as well as fancier varieties. Melbourne CBD's newest KBBQ spot Woo399 lands on the more premium side of things. Don't get us wrong, it's not a hushed-voiced fine-diner. There's still plenty of fun to be had fighting over the gas-fired grills in the 104-person restaurant. We say it's more high-end because of the quality of meat that's up for grabs. The team sources its pure-bred wagyu from Elbow Valley in Queensland, where the cattle are fed a combination of orange pulp and locally grown grains like wheat, barley and corn. This results in outstanding meat quality, with the team sourcing plenty of cuts with a 9+ marble score. And unlike most Korean barbecue joints, you don't just choose a banquet or selection of meats from the menu. At Woo399, you make your way up to the butcher's fridge, where top-grade meat has already been sliced and packaged for you. Either take this meat home or stick around to dine in. When dining in, simply pick the wagyu with your desired marbling (and price), add some other meats to your basket (pork belly and ox tongue are also available), pay at the counter and then start cooking. Choose from beef cuts like chuck eye roll, short rib, flat meat and the holy oyster blade. Each person is charged $9.99 to use the grills, which also gets you complimentary sauces, three side dishes and unlimited soft drinks. For an extra cost, you can order kimchi, croquettes, soups and a bunch of vegetables. And if you'd rather pair your KBBQ with some booze, Cass Korean larger and soju can be ordered from the waitstaff. Woo399 is ideal for Korean barbecue fans who are incredibly particular about the cuts and quality of meat they want to grill. There are absolutely no surprises here. You'll find Woo399 at 399 Lonsdale Street in the CBD, open from 5:30–10pm every day of the week. For more details, visit the restaurant's website.
Sydney trio Little May could be Australia's answer to folk warblers First Aid Kit. They've certainly been compared to the Swedish duo, and to New Zealand's Tiny Ruins, but at the moment they are carving out their own path. They've recently put out their debut, self-titled EP and just wrapped up an Australian tour with the legendary Rodriguez. But there's no rest for the wicked (or the wickedly charming, in this case). Little May are about to embark on a 12-date national headline tour to promote the EP. They'll be spreading the good vibes around Northcote Social on both November 20 and 21 supported by Winterbourne and HOWQUA. To find out more, check out our interview. We asked them for their best tips for summer road trips.
James Squire and Concrete Playground are hosting a Spring Banquet at The Crafty Squire, giving 30 lucky winners and their guests a seat at the table. You'll sit down to a five-course meal custom-made by head chef Alan Fraser, each dish paired with a specific James Squire tipple. To go in the running to win tickets for you and a friend, just complete the form below, subscribe to the newsletters and agree to the competition terms and conditions. But be quick, the banquet takes place on Wednesday, September 28, and entries close at midnight Sunday, September 18. [competition]585077[/competition]
For decades, matching wine and food has been a favourite pastime, and a skill set that any true modern foodie should have up their sleeve. Now, gin has made its way back onto the scene and, armed with a complex flavour profile and botanical characteristics, has opened our eyes to a whole new world of food pairing potential. In addition to the main player, juniper, today’s gin varieties can comprise of any number of natural flavouring ingredients, also known as botanicals — from cinnamon and orange peel to nutmeg and cardamom. The newfound art of pairing food with gin – or ginstronomy, for those in the know - is all about picking out these specific botanical notes and highlighting or balancing them with the food on your plate. Bombay Sapphire, the globally renowned gin brand largely credited with the spirit’s reinvigorated image, has taken up the ginstronomy charge with gusto. Infused with ten of these botanicals — orris root, almonds, cassia bark, liquorice, cubeb berries, angelica root, grains of paradise, lemon peel, coriander and juniper — the drink lends itself brilliantly to the food-pairing concept. After the success of their Project Botanicals pop-up last year, Bombay is returning to Melbourne from June 24 to July 11, again teaming up with celebrated chef Gary Mehigan from MasterChef Australia and some of the city’s most savvy bartenders, for a flavour celebration, delivering a new batch of finely tuned food and gin pairings. Each of the ten cocktails and tapas-style dishes have been carefully crafted not only to showcase a specific Bombay Sapphire botanical, but to enhance or play off each other for a well-balanced taste sensation in the mouth. CASSIA BARK For example, in celebration of cassia bark, which is cinnamon’s more delicate cousin, you’ll find coconut poached chicken laab teamed with a cassia Indian Milk Punch. Created by the team at 1806, the rice milk cocktail carries a sweet touch of condensed milk, plus warming infusions of autumn tea and star anise that marry perfectly to the cassia bark. Meanwhile, the punchy Asian flavours in that chicken laab are designed to cut through the drink’s sweetness and milky mouth feel, elevating the botanical’s presence. ANGELICA ROOT Angelica root’s time in the spotlight comes courtesy of a riff on the negroni, which has been teamed with a mushroom tartine and garlicky parmesan custard. While Angelica is considered the earthy botanical of the Bombay bunch, it’s also responsible for holding all of the others in balance, and this is perfectly mimicked in that bitter, sweet and sour equilibrium of a negroni. The pickled and exotic mushrooms in the tartine, the garlic and the parsnip crunch on top of the dish all mirror the Angelica root’s earthy tones, while that silky custard softens the drink’s strong flavour. GRAINS OF PARADISE One of the dessert combinations highlights West African grains of paradise, with a luscious warm cocktail of vermouth, ginger syrup and chocolate butter, beside a decadent hazelnut and brown butter friand. Created by the Gin Palace crew, the drink picks up on the botanical’s exotic flavours, particularly its dark chocolate notes. Foodwise, the buttery friand softens the dryness of the cocktail’s vermouth, while an Oloroso ice cream, raisins and black sherry syrup add dark fruit notes to complement the grains of paradise’s dark chocolate bitterness. With tasty food and cocktail pairings like these, Project Botanicals 2015 looks set to push our love affair with gin even further. Head along for a botanically inspired flavour celebration and to get your own taste for this hot-ticket art of ginstronomy. The pop-up will be open from June 24 to July 11 (Wednesday to Saturday) at 64 Sutton St, North Melbourne. Tickets $45pp (plus booking fee) via Eventbrite.
It was known as The Battle of the Sexes — a 1973 tennis match between former men’s champion Bobby Riggs and then women’s champion Billie Jean King. It would be the most watched tennis game in history, with a $100,000, winner-takes-all purse. But for King especially, the match was about much more than the prize money. In an era of appalling gender inequality, it was a symbolic chance to prove to the world that women were just as capable as men, in sport or in any other endeavour. All she had to do was come out on top. In their retelling of the match, directors James Erskine and Zara Hayes employ a style similar to that of Oscar winner James Marsh (Man on Wire, Project Nim), sneakily blending archival footage with re-enactments in order to immerse their viewers and heighten the sense of narrative. In doing so, they ensure that even those with no interest in tennis stay engaged, gripped by a story that has much more to do with politics and personality than it does with hitting a ball over a net. It helps that history has gifted them with a marvellous pair of characters. At one end of the court, the 55-year-old Riggs, a self-described chauvinist pig who would tell any newspaper or television crew that would listen that he was going to "put [King] and all the other women’s libbers back where they belong — in the kitchen and the bedroom”. At the other end, King, an outspoken feminist who had already boldly defied the U.S. Tennis Association when she, along with eight other female players, established their own tournament circuit in protest of unequal prize money. Even someone who hated tennis would watch the movie, purely in the hope of seeing King put Riggs in his place. Admittedly, Erskine and Hayes’ attempt to make the game an allegory for the entire feminist movement doesn’t always work. In reality, the match was just as much about marketing as it was discrimination. At a certain point it becomes clear that Riggs was less a hardcore misogynist than he was a shameless self-promoter, generating controversy for his own financial benefit (although that he was willing to exploit society’s sexism in order to do so makes him arguably just as bad). It’s a shame that Riggs, who died of cancer in 1995, wasn’t able to be interviewed. Still, the match’s legacy shouldn’t be understated. As a pointed closing title-card points out, tennis is, to this day, the only sport with equal cash prizes for both men’s and women’s events. There’s no denying that King played a part in that, with the film concluding with statements by current women’s champions — including Maria Sharapova and the Williams' sisters — about the influence that King had on them. Obviously she's an inspiring individual, and overall the doco does her justice.
Alejandro G. Inarritu follows his Oscar-winning Birdman with a down-and-dirty western inspired by true events. Starring Leonardo DiCaprio in the role that many believe will finally win him his Oscar, The Revenant is a violent, unrelenting slog through the mud and snow of the untamed American frontier. It's raw and elemental and masterfully shot, capturing bloody, frenzied action with astounding fluidity and grace. Sounds incredible, right? Actually, that's where you'd be wrong. For all its viscera, and despite its technical merits, this over-hyped backwoods adventure left us feeling bored. Now admittedly, that boredom took a while to set in. For much of the first hour of the film's two and a half hour running time, it's hard not to be floored by what Inarritu and his long-time cinematographer Emmanuel Lubezki have achieved. When a hunting party comes under attack by a Native American tribe, the camera weaves and pivots in and out of the action, dodging extras and arrows in a series of long, unbroken takes. Later, DiCaprio's character Hugh Glass is almost mauled to death by a grizzly bear, in another bravura one-shot sequence that will leave audiences wondering how Innaritu pulled it off. Like Birdman, this is bold, ambitious filmmaking, and we'd be lying if we said we weren't initially impressed. But the comparison to Inarritu's previous film is an importance one to make, for the reason that Birdman feels like more than just a technical exercise. Strip away the showy camerawork, and you still have characters and ideas that are actually worth caring about. The Revenant, on the other hand, has neither. With Glass on the edge of death, Captain Henry (Domhnall Gleeson) has the villainous Fitzgerald (Tom Hardy) stay behind so that the dying man might receive a proper burial. Fitzgerald promptly buries Glass alive, and murders his teenage son Hawk (Forrest Goodluck) for good measure. But of course Glass doesn't die, and instead hauls his wounded backside through the unforgiving wilderness so he might get his chance at revenge. As you might have gathered, the narrative is pretty thin – but that wouldn't be an issue if we could get behind the characters. DiCaprio, to his credit, gives it everything he's got, wheezing, snarling, screaming and putting his body through the ringer. It's exactly the kind of performance that Academy voters love, and to a certain extent it's easy to see why. But again, there's a difference between what's bold and what's actually interesting. As hard as DiCaprio tries, he never succeeds in making Glass anything other than a one-dimensional protagonist, who we're meant to root for simply because the screenwriters put him through hell. The borderline insane Fitzgerald proves a little more interesting – and like DiCaprio, Hardy commits fully to the role, reaching yet again into his seemingly bottomless bag of absolutely baffling accents. In the end though, Glass and Fitzgerald are just archetypes – a goody and a baddy destined to hack one another to pieces. Because the duality of man. Or something. There are times when style alone is enough to carry a movie. Unfortunately, this isn't one of them. Without characters to latch on to, or much in the way of deeper thematic content, the novelty of Inarritu's formal work eventually begins to wear off. Strange as it may seem given their disparate settings, but the recent film to which The Revenant suffers most by comparison is Mad Max: Fury Road. Both movies deliver immersive action and stylish cinematography, but only one manages to couple it with awesome characters and a modicum of brains. Plus, y'know, Mad Max had female characters with actual lines of dialogue. So there's that. https://www.youtube.com/watch?v=QRfj1VCg16Y
I don't know about you, but according to my Instagram feed, it seems like a mid-year trip to Tokyo has pretty much become a prerequiste to calling yourself an authentic Melburnian. Japanese-inspired fashion, food and cultural activities seem to be what's down with the kids these days, and while we may not have designated cat-petting cafes or vending machines that dispense used underwear (as far as I'm aware), Melbourne's affinity for all things Japanese has certainly come a long way since sushi and sake. At the very least, basically everyone has seen Lost In Translation by now. We've compiled a little guide to navigate you through the pockets from Zen to kawaii on our side of the Asia-Pacific. FASHION PET SHOP GIRLS Pet Shop Girls emerged in 2012 as a haven for gals with a penchant for Japanese steeze, with owner Chiara Ippoliti’s impeccable taste bridging the gap between cool and kawaii. It stocks cult Japanese brands including Ne-Net, Tsumori Chisato Cats and Merci Beaucoup as well as local darlings Dress Up, Pageant, Verner and POMS. You could play drunken, blindfolded dress-ups in Pet Shop Girls and still be guaranteed to emerge looking better than even the most considered selection from the 'snazzy' part of your existing wardrobe. Curtin House, Level 3, 252 Swanston Street, Melbourne City Sav Sav Melbourne babe Savannah Anand-Sobti's newly established accessories brand SavSav! draws inspiration from Japanese textiles and street style, using fabrics and knickknacks sourced on a recent trip to Japan to produce the best ever little clutches, totes and hugely popular fluffy pompom earrings (available at FAT stores). Seriously, since purchasing one of her circle purses I have become a notably more fun person. UNIQLO Autumn 2014 will see the opening of major Japanese retailer Uniqlo as a key tenant in the soon-to-be Melbourne Emporium on Lonsdale Street. It's renowned for its simple aesthetic, well-made basics and affordable price point, so never again will you need to rent a corner of Japan Visiting Friend's suitcases. ACTIVITIES ONSEN MA In almost all contexts, getting naked, scouring my body of all its sins and submerging my raw, vulnerable form in hot water for purification purposes is something that I’d probably take a rain check on. Pretty much the only place I’ll allow an exception to this stringent no public nakedness rule is in an onsen — a Japanese bathhouse where mind, body and soul cleansing is the game, and nudity is the only rule. Onsen Ma in the CBD offers the traditional bathing experiences, so get over yourself and get your kit off for ultimate relaxation, Japanese style. Level 1 / 12 -18 Meyers Place, Melbourne City JAPANESE FILM FESTIVAL In its 17th year, the Japanese Film Festival is travelling the country at the moment and will be stopping off in Melbourne between November 28 and December 8. Screening sessions at both ACMI and Hoyts Melbourne Central, the diverse program will cover everything from anime to sci-fi to an intriguing genre entitled 'So Hot Right Now'. Where do I sign up? LANGUAGE SCHOOL Since the only Japanese language in your vocabulary is probably heavily reliant upon emoji, you may want to consider actually taking a course, you big, Japan-loving phoney. If the personal joy of enriching your mind and cultural perspective isn’t enough to convince you, consider the fact that one of Melbourne’s most reputable Japanese language schools is called JAPANEASY. Cutest ever! With this knowledge, you would have to be a genuinely bad person not to enrol. Level 4, 126-128 Russell street Melbourne FOOD HINOKI We Melburnians are unashamedly delighted to get on board a food trend. Like, there is a pop-up sushi bar in my local Woolworths (yes, I once got lunch there, and no I don't want to talk about it). If you’re looking for the real deal, Smith Street recently embraced Hinoki with open arms, a specialty Japanese grocery and sushi store that is legitimately the best place in the entire world. Watch while masters prepare fresh, amazing sushi for you before your eyes! Buy a box of Pocky and be the most popular person in the office! Be confused by strange, condom-like rubber casings called Finger Sacks (actual product I have encountered at Hinoki)! You’re guaranteed to find everything you never knew you needed and more here. 279 Smith Street, Fitzroy SHOP RAMEN A little further down on Smith Street, Shop Ramen set up a permanent space after its wildly successful pop-up venture in early 2013. Much to the delight of Northsiders, hungry lunchtime workers come in hoards for a hearty bowl of what I’m going to officially call the best ramen in all of Melbourne. Using the traditional Tokyo-style Tonkotsu ramen, Shop Ramen veers from the traditional Japanese hot broth with its own unique recipe, including insanely good pickled shiitake mushrooms and silky handmade noodles in a cashew milk broth. I am literally going to go and get a serve of tofu buns as soon as I've finished writing this. Finishing writing immediately. 329 Smith Street, Collingwood
DesignEx is Australia's leading design exhibition, and this year the Office for Good Design has curated a unique seminar series called 7 Kinds of Happiness to open an otherwise industry-focused event to the general, design-loving public. Seven seminars with major industry heavyweights explore how happiness impacts the practice of leading local and international designers. Each seminar is held within the 'Happy Place', an area created specifically for this seminar series constructed entirely of doonas. Sounds like our sort of lecture. Concrete Playground has a double pass to giveaway to each of the seven seminars. To win, just make sure you're subscribed to Concrete Playground then email us at hello@concreteplayground.com.au with your preference of seminar from the list below. Happiness 1: Alice Rawsthorn, Monday 14th 12.30pm Happiness 2: Ilse Crawford (UK), Monday 14th 5pm (digital) Happiness 3: Stefan Sagmeister (USA), Tuesday 15th 10am (digital) Happiness 4: Broached Commissions, Tuesday 15th 12.30pm Happiness 5: Rotor (Brussels), Tuesday 15th May 5pm (digital) Happiness 6: Work AC (USA), Wed 16th 10am (digital) Happiness 7: Australian Creative Directors of the Venice Architecture Biennale Anthony Burke and Gerard Reinmuth with TOKO (Panel Discussion) Wed 16th 12.30pm
In 2020, due to the pandemic, the Sydney Film Festival completely moved online. This year, after initially shifting from its usual June dates to the end of August, then moving again to November due to Sydney's lengthy lockdown, SFF is back in cinemas for a huge 12 days of big-screen delights — but it's also going virtual afterwards. Meet SFF On Demand, which'll stream 56 feature-length films and 13 shorts from Friday, November 12–Sunday, November 21. Sydneysiders, that means that you can check out the 2021 festival in-person, then continue it on your couch afterwards. Australians elsewhere, you can still get your SFF fix even if you can't get to Sydney this year. Streaming must-sees include New Zealand's The Justice of Bunny King, which stars Essie Davis (Babyteeth) and Thomasin McKenzie (Old) as a mother-daughter duo; three-time Sundance 2021 winner Hive, the first film to ever win the fest's Grand Jury Prize, Audience Award and Directing Award; Never Gonna Snow Again, about an eerie Ukrainian masseur making house calls in Poland; and exceptional Iranian drama There Is No Evil, 2020's Berlinale Golden Bear winner. There's also Swan Song, starring the inimitable Udo Kier (Bacurau); Sydney-set slacker comedy Friends and Strangers; Apples, a Greek satire set in the aftermath of an amnesia pandemic; and thriller The Beta Test. And, you can either pick and mix your flicks separately, or choose bundles — including a heap of this year's Documentary Australia Foundation Award contenders, a package of international docos and movies in SFF's Europe! Voices of Women in Film strand.
He has declared that he's not famous anymore, taken phone calls from strangers, transmitted his heartbeat, live-streamed a three-day movie marathon of his own films and asked the public to take him around North America. Now, one of the most intriguing actor-turned-artists of his generation has revealed his next performance piece — and it's happening in (and streaming from) Sydney this weekend. Shia LaBeouf fans and anyone interested in experimental art antics might already know that the American Honey star has been on the bill for the Sydney Opera House's new pop culture festival, BingeFest, since it was announced back in October. As part of the program, he'll continue to collaborate with his creative partners Nastja Säde Rönkkön and Luke Turner, who he's worked with on more than a dozen projects to date. And yes, at #ANDINTHEEND, they want you to participate. The first of their two free performances kicks off tonight at 11.59pm and runs through until 6am, with their second taking place between 10pm on Sunday until 6am Monday morning. Here's how #ANDINTHEEND works: visitors will be invited inside Sydney Opera House's Joan Sutherland Theatre one by one, and asked to deliver a statement or message in person to LaBeouf, Rönkkön and Turner. They can say whatever they like — but, the one requirement is that each participant's message should begin with the words: "AND IN THE END…". https://twitter.com/thecampaignbook/status/809926146313830401 Once communicated to LaBeouf and company, the statements will be live-streamed online at andintheend.sydneyoperahouse.com — and beamed across Sydney harbour on a 60-metre display installed on the Opera House itself. At the centre of the piece, the trio are aiming to ponder a number of questions, including where we are headed, what might it all mean and what is important in the end? "As 2016 draws to a close, we are all too aware of the pervasive sense of foreboding that has come to define the year," the artists offered in a statement about #ANDINTHEEND. "Wars have raged, demagogues have risen, cultural heroes have departed, environmental catastrophe looms, while the voices of the people have been continually manipulated and polarized. Hope for the future seems more distant than ever. And yet, we still yearn for some greater truth, for the utopias of our distant horizons, expressed through art." Just how it will turn out is anyone's guess, but that's the great thing about live art in general, and about LaBeouf, Rönkkön and Turner's performance projects in particular: no one knows just what will happen. If you're planning to flock to the free event in person — or just thinking about stopping because you're already heading to BingeFest's all-night Buffy binge-a-thon or 24-hour Street Fighter tournament — visitors are reminded that entry isn't guaranteed. Everyone else, train your eyes towards your nearest internet-connected screen once the clock hits midnight tonight, Sydney time. #ANDINTHEEND takes place at BingeFest on from 11.59pm, Saturday 17 December to 6am, Sunday 18 December — and again from 10pm, Sunday 18 December to 6am, Monday 19 December. Follow @thecampaignbook on Twitter for more information, and visit andintheend.sydneyoperahouse.com to access the live-stream. Images: Abazar Khayami, Daniel Boud and Vivi Fragou.
Pushing ladies to the front has always been All About Women's focus, ever since the Sydney Opera House's key feminist festival first took to the stage back in 2013. In 2023, however, it's doing just that with an in-conversation event that couldn't be more perfect: Bikini Kill Speaks, featuring the seminal riot grrrl pioneers — aka Kathleen Hanna, Tobi Vail and Kathi Wilcox — chatting through their music, activism and why their message remains as relevant as ever after three decades. Hanna, Vail and Wilcox's session comes while Bikini Kill are in the country for their first Australian shows in more than 25 years, including stops at Mona Foma and Golden Plains, plus other solo dates around the country — Sydney Opera House among them. In fact, in addition to the in-conversation session, that gig will close out All About Women's 2023 event. [caption id="attachment_875442" align="alignnone" width="1920"] Debi Del Grande[/caption] When All About Women takes place in March, it'll run over three days — from Saturday, March 11—Monday, March 13 — growing again after it only just expanded to two days in 2022. In another big change, it'll be guided by four festival co-curators for the first time ever. Doing the honours: author, podcast presenter and gender equality advocate Jamila Rizvi; Gamilaroi academic and Tell Me Again author Dr Amy Thunig; feminist social commentator, novelist and writer Jane Caro AM; and Sydney Opera House's Head of Talks and Ideas Chip Rolley. The rest of All About Women's 2023 lineup hasn't yet been unveiled, but audiences can expect a range of international and Australian artists, thinkers and storytellers on the bill — exploring a broad variety of topics relevant to gender, justice and equality via panels, conversations, workshops and performances — when the full details drop on Tuesday, January 17, 2023. [caption id="attachment_837695" align="alignnone" width="1920"] Prudence Upton[/caption] "All About Women is unparalleled in its ability to attract audiences from across the country, with a passion for debates and discussions about gender. The festival always delivers a healthy dose of levity alongside its signature significant local and international conversations," said All About Women festival co-curator Jamila Rizvi. "Striking that balance between impact and frivolity is what my programming style is all about. To say that it is a privilege to co-curate the festival in 2023 is an understatement!" [caption id="attachment_837698" align="alignnone" width="1920"] Jacquie Manning[/caption] In 2022, while the festival went ahead in-person for Sydneysiders, it also live-streamed to viewers both around Australia and worldwide. Whether that'll be the case again in 2023 hasn't yet been revealed, but if you live outside of the Harbour City, cross your fingers. All About Women 2023 will take place from Saturday, March 11—Monday, March 13 at the Sydney Opera House. The full program will release on Tuesday, January 17, 2023 — check back here then for further details. Tickets for Bikini Kill Speaks go on sale at 9am AEDT on Friday, December 2, with Sydney Opera House Insiders presales from 9am AEDT on Tuesday, November 29 and What's on presales from 9am AEDT on Wednesday, November 30. Top image: Debi Del Grande.
Punch out of your full-time job for the day and cast your ballot in this cheeky public poll installation from American artist Steve Lambert. Having previously taken over public spaces across the United States and Europe — including a stint in New York City's Times Square — Capitalism Works for Me! True/False asks visitors to mull the pros and cons of capitalism and then answer a simple question. The installation will be set up at four public places over the duration of Melbourne Fringe. A live running tally will be displayed on Lambert's large LED scoreboard, tracking how we all feel about the system that runs...well, pretty much every aspect of our lives. CAPITALISM WORKS FOR ME! TRUE/FALSE LOCATIONS State Library of Victoria Forecourt — 1–5pm, September 13–15 Queen Victoria Market — 5–9pm, September 19 (at the Hawker 88 Night Market) Bourke Street Mall — 11am–3pm, September 20–22 Fringe Hub at Arts House — 4–8pm, September 27–29 Image: Bryony Jackson.
It's been three long years since Melbourne Fringe Festival hosted its last IRL instalment — and you can bet it's not holding back one scrap when it comes to its glorious return next month. In fact, from Thursday, October 6–Sunday, October 23, Fringe is celebrating its 40th anniversary with what's set to be its heftiest program yet. The independent arts festival will this year dish up over 450 events from talent both established and emerging, covering dazzling performances, participatory art, groundbreaking theatre, immersive creative experiences and everything in between. All speaking to the theme: 'It's About Time'. Fringe even has some brand new goodies up its sleeve this time around, including Runaway Festival Park — a new festival hub and pop-up art park at Queen Victoria Market with a program of comedy, cabaret, circus and drag performances headlined by Bernie Dieter's Club Kabarett. Fringe-goers can also look forward to the return of an old favourite, as the Fringe Parade and Lygon Street Block Party descends on Carlton for a big, bold, inclusive shindig. Riffing on a long-running event that helped shape the festival's early years, the party will feature a colourful street parade, two outdoor stages, roving performers, and stacks of local eats and drinks. And popping up at the State Library Victoria is The Rest Is Up to You: Melbourne Fringe 1982-2062 — a major new, free exhibition and sound installation reflecting on Fringe's first 40 years, while also imagining its next 40. The rest of the program is packed with creative delights for all tastes; from a mesmerising contemporary dance installation in Docklands called Pendulum, to an all-night Meatloaf-themed communal karaoke session. Speaking to the impacts of climate change, Matthias Schack-Arnott's Groundswell takes the form of a giant percussive rain drum that passersby can 'play' by walking upon its surface. Meanwhile, Prahran Square plays host to a unique live music event, which sees unedited words from three local contemporary writers presented in four-part harmony by a mass choir. [caption id="attachment_823767" align="alignnone" width="1920"] YUMMY Deluxe, Melbourne Fringe Festival 2019, by Theresa Harrison[/caption] The return of the festival's First Nations program Deadly Fringe features everything from a group exhibition exploring Blak queer futurism, to an immersive event fusing music and talks that'll take you on a deep-dive into Fitzroy's Indigenous history. Fringe Focus Taiwan is set to present two envelope-pushing works from Taiwan's most innovative contemporary artists; while the long-running Fringe Furniture program is reborn as Design Fringe, featuring a month-long exhibition, talks and a 'designer in residence' program. Food-meets-art creatives Long Prawn will host a live yabby fishing — and eating — experience; free participatory public artwork Hexadeca will bring an installation of spinning musical bucket seats to Fed Square; and you can join in a four-hour line dance marathon at Coburg RSL. And of course, gracing stages throughout the festival will be a mega lineup of acts doing what they do best, including Geraldine Quinn, YUMMY, Jude Perl, Kween Kong (Drag Race Down Under), The Chaser's Andrew Hansen, Jordan Barr, Lou Wall and Sarah Ward. [caption id="attachment_867928" align="alignnone" width="1920"] 'Multiply', Melbourne Fringe 2020, credit Gregory Lorenzutti[/caption] 2022 Melbourne Fringe Festival runs from October 6–23 at venues across the city. For the full program and to book tickets, see the website. Top Image: Duncan Jacobs.
After playing two balloted shows that sold out faster than you could say "Best New Music", The xx have made good on their promise that they would come back in 2013 to sate the appetites of everyone who missed out. Now that they've released their second album, Coexist, the buzz around the trio is only louder. But Jamie Smith, Romy Madley Croft, and Oliver Sim are capable of being heard above the din by turning up the volume on one of the most valuable (and most underrated) instruments of all — silence. Their strength is seen through the gaps between bone-chilling reverbs and papery vocals, and they're sexy because they don't specifically mention sex. That's not to say The xx don't get noise. They get much of their inspiration from London's dark techno dance scene, and Jamie and Romy both have thriving satellite careers as DJs. The trio's bankability is bigger than ever, so be sure your credit card is handy and your clicking finger poised when tickets go on sale at noon on January 15. More information on the Handsome Tours website. UPDATE: Thursday, April 4, at Festival Hall in Melbourne, and Sunday, April 7, at the Hordern Pavilion in Sydney have sold out. New shows have been added at Festival Hall on Friday 5th and the Hordern on Saturday 6th. There are still tickets available to the Brisbane Convention and Exhibition Centre on Tuesday, April 9. https://youtube.com/watch?v=_nW5AF0m9Zw
Show me a plant that you can use to make medicine, soap, a mean green curry, alcohol (and a requisite hangover cure), and bikinis from, and i'll show you a coconut. Now, the water from the 'tree of a thousand uses', long the drink of choice for sunburned tourists the world over, is making a name for itself in more temperate climes as it becomes increasingly popular as a health drink. Coconut water is said to be more isotonic, thus hydrating, than water, as it contains naturally occurring electrolytes similar to high energy sports drinks. There's also no fat or cholesterol in it, and there's more potassium in it than a banana. Not a bad CV. A new local brand, C Coconut Water, launched just in time for summer, and is Australia's first pure organic coconut water, bringing the natural liquid from the centre of young coconuts. The folks at C are giving one lucky Concrete Playgrounder the chance to win an entire summer's worth of coconut water. For a chance to win yourself five cases of 12 cartons, just make sure you're a Concrete Playground subscriber then email us with your name and postal address at hello@concreteplayground.com.au
The thing about the great outdoors is that there's a depth to it that photos and secondhand accounts can't fully capture — its full grandeur has to be experienced firsthand to be truly appreciated. Whether you're hoping to catch a glimpse of rare species endemic to the region, hankering after an adrenaline rush — or simply can't imagine a holiday without taking in the natural wonders of your destination, the landscapes of the American South are just waiting to be explored. In partnership with Travel South USA, we've curated a range of ways to get into the great outdoors in each of the South's nine states. Mammoth Cave — Kentucky A UNESCO World Heritage Site, Mammoth Cave is the world's longest known cave system, with over 400 miles (over 643 kilometres) explored. Visitors can take guided tours to marvel at its vast chambers, unique rock formations, and fascinating underground ecosystems. Not only is it the largest cave system in the world, it's also situated in a National Park that's ideal for hiking, biking and camping. Atchafalaya National Heritage Area — Louisiana One of the most ecologically diverse regions in the US is found in south-central Louisiana's Atchafalaya National Heritage Area. Not only is the Atchafalaya the nation's largest freshwater swamp, the twisting bayous are where alligators, raccoons, bears, catfish, shrimp, crawfish and over 270 species of birds call home. Within the swamp grounds, ancient oak trees and impressive cypress trees also tower — and can be seen when exploring the swamp on a guided tour either by boat or kayak. Whitewater Rafting in Almost Heaven — West Virginia For an experience that gets you out of your comfort zone and into the splash zone, take to West Virginia's river rapids. The state is home to world-class whitewater rafting, with the highest density of whitewater runs in the country. Beginners all the way through to rafting veterans are all welcome, with family-friendly fun and wild adrenaline-pumping adventures alike to be found in Almost Heaven's wide range of rivers. The rafting is so good in West Virginia that National Geographic crowned it a 2024 "Best of the World Experience". Loggerhead Sea Turtles at Edisto Beach State Park — South Carolina South Carolina's beaches are as warm as they are wide, and are home to a population of loggerhead sea turtles — one of the seven species of the beak-and-flipper-boasting marine reptiles worldwide. Female loggerheads return to the beaches where they were born to nest and every year between May and August, Edisto Beach State Park is home to returning loggerheads and hatchlings as they make their treacherous scurry out to sea. Ranger-guided nighttime beach walks during this period offer a chance to witness the baby turtles take their first breaths and first scurries firsthand. Katy Trail State Park — Missouri Built along the corridor of what was once the Missouri-Kansas-Texas railway, today the Katy Trail State Park is home to the longest continuous rail trail in the US — and an unrivalled way to witness the heritage of the state. The trail consists of 26 trailheads stretching over 386 scenic kilometres meandering through once-thriving small towns along the Missouri River, wine country in the state's east and rural farmland in the west. Hugh Branyon Backcountry Trail — Alabama Situated along Alabama's beautiful Gulf Coast beaches, the Gulf State Park spans a formidable 6150 acres (about 2500 hectares). Despite the size, the Hugh Branyon Backcountry Trail makes exploring this expanse of pristine nature much more accessible. Over 28 miles (about 45 kilometres) of paved trails it's possible to explore all nine of the distinct ecosystems that make up the State Park. There are a plethora of wildlife-watching opportunities and the trail is ideal for hiking and biking, making it a homegrown favourite that was crowned 2024's Best Recreational Trail by USA Today. Coastal Mississippi — Mississippi Mississippi's extensive coastline is a nature lover's playground. Whether by boat or on foot, there are breathtaking Gulf views to behold and a smorgasbord of experiences unique to the region, including the possibility of fresh local seafood in the catch of the day on a chartered fishing trip or shrimping excursion. The coast's many serene bayous and waterways are ideally suited for exploring from a kayak or paddleboard, while a boat ride is the best way to reach the Gulf Islands National Seashore's pristine beaches. Birdwatchers can flock to Pascagoula River Audubon Center to spot migratory species and there are countless coastal trails just waiting to be strolled along. WildSide in Pigeon Forge — Tennessee In the backyard of Tennessee's Great Smoky Mountains with over 18 miles (about 28 kilometres) of trails across 900 acres of terrain (about 365 hectares) lies WildSide, one of the ultimate adventure parks in the South. Head off-road on guided UTVs (utility terrain vehicles) or on a mountain bike for thrilling wilderness experiences to suit every skill level and appetite for adrenaline. Grandfather Mountain — North Carolina Standing at 5946 feet (1812 metres), Grandfather Mountain in northwest North Carolina is more than just the highest peak of the Blue Ridge Escarpment, which is itself one of the chains that make up the expansive Appalachian Mountains. With 16 distinct natural ecosystems, the mountain is classified as an International Biosphere Reserve owing to its rare plant and animal diversity, many of which are also endemic or endangered. The reserve has a multitude of hiking trails, opportunities to see local species in natural habitats and is also home to America's highest suspension footbridge. Find your next adventure in the South. Discover more unforgettable destinations and start planning your trip with Travel South USA.
Maybe you're still planning your winter getaway. Perhaps you're already thinking about spring holidays. Or, you could just be keen to grasp any excuse to take a vacation. Whichever fits, as long as you're eager to spend your next break somewhere in Australia — which still gives you a heap of options — then Jetstar has the sale for you. On offer: domestic fares from $35, which spans trips from Sydney to Byron Bay. The rest of the prices are still cheap, however, and the list of destinations is sizeable. The Gold Coast, the Sunshine Coast, the Whitsunday Coast, Hamilton Island, Hobart, Launceston and Uluru are all covered, and all the usual capitals as well, with prices and routes varying depending on the departure point. Dubbed Jetstar's mates' rates sale, this batch of discounted fares includes $62 flights from Sydney to Melbourne, and $110 fares from the Harbour City to Cairns. From Victoria, prices kick off at $39 to Tasmania, and also cover $141 legs to Margaret River. Brisbanites can go to Mackay for $65 and Darwin for $106, too. From Adelaide, deals include $49 to Melbourne and $101 to the Sunshine Coast, while Perth's options start at $149 to Brisbane — and that's just the beginning of the sale's fares. You will need to be happy to head away from July 23–September 20 or October 11–December 12, though. Dates for sale flights also vary depending on the departure and arrival points. There are a few rules, as is always the case. All sale fares are one-way, and they don't include checked baggage — so you'll need to travel super light or pay extra to take a suitcase. Jetstar's mate's rates sale runs until 11.59pm AEST on Tuesday, June 20 — or until sold out, if snapped up earlier. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Every year, photographers across the country vie for attention in the CCP Salon awards. Started 25 years ago to help showcase and encourage Australian photographers, the awards are completely open to all, so you can expect a wide and varied array of exhibitors to turn out each year. This time around, they're handing out over $20,000 worth of prizes (so you can expect some fierce competition). Opening night will be hosted on Thursday, November 23 at the Centre for Contemporary Photography in Fitzroy, which was designed in 2005 by the iconic Sean Godsell. So the warm and inviting function space alone is worth a trip, not to mention the photographic talents set to show.
Victorians, it isn't quite roadmap time. Due to increasing COVID-19 case numbers, and a new realisation that those figures are going to keep going up, Premier Daniel Andrews didn't announce today, Wednesday, September 1, exactly how the state will gradually ease out of its current (and sixth) lockdown. But, he did reveal what'll be the first things to ease when they can, even if life isn't going to be returning to normal any time soon. Get ready to venture twice as far from home for exercise and to shop, and to spend a little longer out of the house when you're working up a sweat. They're two of the rules that'll change on or around Thursday, September 23, which is when the Victorian Government expects that 70 percent of the state's residents have had their first COVID-19 jab — which is the just-announced threshold for relaxing the current stay-at-home restrictions. "Over the past 72 hours, the advice from our public health team has been that we still had a promising chance to bring this under control and to bring cases down. We were charting our way out of this outbreak with easing at thresholds of lower cases," said the Premier in a statement. "Last night, with cases already in triple figures, too many mystery cases and too many people infectious out in the community, that advice changed." (120 people identified with the coronavirus in the 24 hours to midnight last night.) He continued: "with the number of positive cases this high, the speed at which this Delta variant is spreading and so many Victorians still to be vaccinated, our Chief Health Officer advises it is unlikely we will be able to bring our case numbers down... This is why Victoria's Chief Health Officer has declared that almost all of the current lockdown restrictions will remain in place until 70 percent of Victorians have had at least one dose of vaccine. This is estimated to be around 23 September." On the advice of the Chief Health Officer, Victoria's lockdown will be extended to slow the spread and keep Victorians safe. Due to the level of community transmission and number of unlinked cases, almost all restrictions will remain in place. pic.twitter.com/Gr3IG7N4b5 — Dan Andrews (@DanielAndrewsMP) September 1, 2021 When that target is met, the current five-kilometre radius will expand to ten kilometres. And, you'll get three hours a day to exercise. Outdoor personal training will be allowed, too, with up to two people plus the trainer — and outdoor communal gym equipment and skateparks will reopen. Also set to be permitted at this next phase: private inspections of unoccupied houses if you're buying, or your lease is ending, but only with one household attending at a time — and with the agent staying outdoors during the inspection. And, the state's construction workforce will also be allowed to increase to 50 percent, but only once 90 percent of their workers have had at least one jab. At entertainment venues to broadcast performances, up to five staff will be able to work onsite. More rules may also be eased at that date, the Premier said, noting that it'll obviously depend on the situation at the time. "I don't want to go through a list today. I don't have a list. We're going to work through those things carefully and if there are other things we can add to that list for the 23rd of September, we will," he said at today's press conference. "But also want to be really straight with people that it's not like two weeks after that there's going to be a whole lot of other things that can be added on, and two weeks after that another list of things that can be eased," Andrews continued. "These will be the settings that we all have to live with for a period of time until we reach not just first-dose vaccination thresholds, but second-dose vaccination thresholds as outlined in the National Cabinet plan — the 70-percent two-dose and 80-percent two-dose. That is the difficult but the unavoidable position that we find ourselves in." The Premier's comments fall in line with Australia's new 'National Plan to transition Australia's National COVID Response' that was announced in July, that outlines the easing of different rules once those 70-percent and 80-percent fully vaxxed targets are reached. Victoria first went into this lockdown at the beginning of August — just nine days after the previous lockdown ended — and has seen the stay-at-home rules extended not once, not twice, but three times so far, and a nighttime curfew implemented as well. In regional Victoria, the rest of the state started this lockdown with Greater Melbourne, then was released early just a few days later, and then re-entered lockdown in the middle of August. And, it might see restrictions start to ease again earlier than in Melbourne. At present, regional Victorian remains under stay-at-home rules; however, the Premier advised that it's possible some lockdown rules may be able to loosen outside of Melbourne as early as next week — so, the week beginning Monday, September 6 — depending on case numbers. If that proves possible, further details will be announced next week. Melbourne will remain under the current lockdown rules until 70 percent of the state has received the first dose of the COVID-19 vaccine, which is expected to be on or around Thursday, September 23. Rules in regional Victoria may ease earlier, however, and may happen as early as sometime in the week beginning Monday, September 6 — with further details to be announced if that proves the case. For more information about the rules in place at the moment, head to the Victorian Department of Health website.
Well, it's not exactly a watch, because you don't actually have to look at it to determine the time. In fact, its creators are making a point of referring to it as a timepiece - "The Bradley" timepiece, to be precise. And it's promising to put an end to many an awkward moment. Once you're wearing The Bradley, you can tell the time simply by touch. That means there's no longer any need to peer at your mobile phone in front of clients or bosses or particularly verbose lunch buddies. "The Bradley" (watch) face is comprised of 12 raised marks and a side ball bearing, which, in combination, indicate hours, and a side ball bearing, which indicates minutes. Magnets connect the ball bearings to the timepiece's mechanics, hidden underneath its titanium casing. Watchbands are available in fabric and leather, coloured mustard yellow, olive green or blue; and in stainless steel mesh. Designers, engineers and individuals with vision impairment have all contributed to The Bradley's development. According to the team, it "changes the way we interact with our timepieces". The invention's title is a reference to Lieutenant Brad Snyder, who lost his sight in 2011 while serving in Afghanistan. A year later, in the 2012 London Paralympics, he won a gold medal in the 400-metre freestyle, as well as two silver medals in other events. With 20 days of Kickstarter campaigning to go, "The Bradley" has already reached its initial goal of $40,000 10 times over, with 2,602 supporters having pledged $395,501. [via Mashable]
Think there's just one Hottest 100 in January? Think again. The second important countdown of the month actually goes rather well with the music poll that just proclaimed Sydney band Ocean Alley's 'Confidence' the nation's best track of 2018. In the GABS Hottest 100 Aussie Craft Beers list, great brews are in the spotlight. And, just like its music counterpart, a victor has come out on top. That'd be Balter Brewing Company, the Gold Coast-based outfit part-owned by surfers Mick Fanning, Joel Parkinson, Josh Kerr and Bede Durbidge. It has again beat Stone & Wood — the winner of both the 2015 and 2016 polls — to the number one spot, claiming victory for the second year in the row. The label also had three beers in the top ten. Now that's something to toast to, ideally with their winning 'XPA' Extra Pale Ale in your glass. Clearly, plenty of folks did just that throughout 2018. Run by GABS — or the annual brew fest also known as the 'Great Australian Beer SpecTAPular' — the countdown is a people's choice poll decided by booze-lovers around the country, with a record 31,000 voters taking part this time round. Elsewhere on the list, 21 brews that first wet lips in the past year were included in the GABS Hottest 100, and 88 percent of the beers on the list are made by independently owned breweries. If you're particularly keen on either, GABS have also released rundowns of the Hottest 100 New Craft Beers and the Hottest 100 Indie Craft Beers (those owned independently) plus the next 100 from the main countdown. If you're thinking "less background, more beer", here's what you've been waiting for: the rundown of the best beverages from the past year that just keep tempting tastebuds. Working your way through them isn't just a great way to show your appreciation for locally made brews — consider it research for the 2019 countdown. From today, Dan Murphy's is also selling 24-packs of beers from the list, which are available through its website. GABS HOTTEST 100 AUSSIE CRAFT BEERS OF 2018 1. Balter 'XPA' (Pale Ale) Qld* 2. Stone & Wood 'Pacific Ale' (Australian Pale Ale) NSW* 3. BentSpoke 'Crankshaft' (American IPA) ACT* 4. Young Henrys 'Newtowner' (Australian Pale Ale) NSW* 5. Bridge Road 'Beechworth Pale Ale' (Australian Pale Ale) Vic* 6. Balter 'IIPA' (Imperial IPA) Qld* NEW 7. Balter 'IPA' (American IPA) Qld* 8. KAIJU! KRUSH! 'Tropical Pale Ale' (Pale Ale) Vic* 9. Hop Nation 'Jedi Juice' (New England IPA) Vic* 10. Gage Roads 'Single Fin' (Australian Pale Ale) WA* 11. BentSpoke 'Barley Griffen' (Australian Pale Ale) ACT* 12. BentSpoke 'Cluster 8' (Imperial IPA) ACT* NEW 13. Your Mates'Larry' (Australian Pale Ale) Qld* 14. Black Hops 'Pale Ale' (Australian Pale Ale) Qld* 15. Capital 'Coast Ale' (California Common) ACT* 16. BentSpoke 'Sprocket' (American IPA) ACT* 17. Coopers 'Original Pale Ale' (Australian Pale Ale) SA* 18. Big Shed 'Boozy Fruit' (New England IPA) SA* NEW 19. Balter 'Captain Sensible' (American Pale Ale) Qld* NEW 20. Green Beacon 'Windjammer' (American IPA) Qld* 21. Capital 'Rock Hopper' (American IPA) ACT* NEW 22. Coopers 'Session Ale' (Pale Ale) SA* 23. BentSpoke 'Red Nut' (Red IPA) ACT* NEW 24. Balter 'Strong Pale Ale' (American Pale Ale) Qld* NEW 25. Furphy 'Furphy Refreshing Ale' (Kölsch) Vic 26. Philter 'XPA' (Australian Pale Ale) NSW* 27. Capital 'Trail Pale Ale' (American Pale Ale) ACT* 28. Stone & Wood 'Cloud Catcher' (Australian Pale Ale) NSW* 29. Jetty Road 'Pale Ale' (American Pale Ale) Vic* 30. Pirate Life 'Mosaic' (American IPA) SA 31. Young Henrys 'Natural Lager' (Kellerbier) NSW* 32. Modus Operandi 'Sonic Prayer' (American IPA) NSW* 33. Modus Operandi 'Former Tenant' (Red IPA) NSW* 34. Hemingway's 'Pitchford Betty's' (American Pale Ale) Qld* 35. The Welder's Dog 'Farmhouse Ginger Beer' (Ginger/Spiced Beer) NSW* 36. Dainton 'Blood Orange NERIPA' (New England IPA) Vic* 37. 10 Toes 'Pipeline' (Australian Pale Ale) Qld* 38. Grifter 'Pale' (Australian Pale Ale) NSW* 39. The Welder's Dog 'Australian Wheat Ale' (American Wheat) NSW* NEW 40. 4 Pines 'Pale Ale' (American Pale Ale) NSW 41. One Mile '4:21' (Kölsch) NT* 42. The Welder's Dog 'India Pale Ale' (Australian IPA) NSW* NEW 43. Black Hops 'Hornet' (American IPA) Qld* 44. James Squire 'One Fifty Lashes' (Australian Pale Ale) NSW 45. Thirsty Crow 'Vanilla Milk Stout' (Sweet Stout) NSW* 46. Coopers 'Sparkling Ale' (Australian Sparkling Ale) SA* 47. Bridge Road 'Beechy Summer Ale' (Australian Pale Ale) Vic* 48. Burleigh 'Twisted Palm' (Australian Pale Ale) Qld* 49. Capital 'Evil Eye' (Red IPA) ACT* 50. Hop Nation 'The Dawn' (New England IPA) Vic* NEW 51. One Mile 'RDO' (Pale Ale) NT* 52. Akasha 'Hopsmith' (American IPA) NSW* 53. Feral 'Hop Hog' (American Pale Ale) WA 54. Fortitude 'Pacer' (American Pale Ale) Qld 55. Moon Dog 'Old Mate' (American Pale Ale) Vic* 56. Green Beacon 'Wayfarer' (Pale Ale) QLD* 57. Gage Roads 'Little Dove' (American Pale Ale) WA* 58. Pirate Life 'Pale Ale' (American Pale Ale) SA 59. Akasha 'Korben D.' (Imperial IPA) NSW* 60. Colonial 'Pale Ale' (American Pale Ale) WA/Vic* 61. Capital 'Summit Session XPA' (Pale Ale) ACT* NEW 62. Little Creatures 'Pale Ale' (American Pale Ale) WA/Vic 63. CoConspirators 'The Matriarch' (New England IPA) Vic* 64. Wayward 'Raspberry Berliner Weisse Sourpuss' (Berliner Weisse) NSW* 65. Balter 'Pilsner' (Classic Pilsner) Qld* 66. Gage Roads 'Atomic' (American Pale Ale) WA* 67. 10 Toes 'Longboard' (Australian Pilsner) Qld* 68. Moon Dog 'Beer Can' (Hoppy Lager) Vic* 69. Pirate Life 'IPA' (American IPA) SA 70. 10 Toes 'Happy Days' (American IPA) Qld* NEW 71. Burleigh 'Bighead' (Pale Lager) Qld* 72. Nail 'VPA' (Pale Ale) WA* 73. One Mile 'No Limits' (American IPA) NT* 74. Green Beacon '3 Bolt' (American Pale Ale) Qld* 75. Yak Ales 'Wilk Yak Pacific Ale' (Pale Ale) Vic 76. Jetty Road ' India Pale Ale' (American IPA) Vic* NEW 77. Brouhaha 'Strawberry Rhubarb Sour' (Kettle Sour) Qld* 78. Grifter 'Serpents Kiss' (Fruit Beer) NSW* 79. Pirate Life 'IIPA' (Imperial IPA) SA 80. Blackman's 'Juice Banger' (Hoppy Lager) Vic* 81. 4 Pines 'Indian Summer Ale' (American Pale Ale) NSW 82. One Mile 'Otto's' (Irish Amber/Red) NT* 83. Mornington Peninsula 'Squid Rising' (New England IPA) Vic* NEW 84. Modus Operandi 'Dream Weaver' (New England IPA) NSW* NEW 85. Mornington Peninsula 'Squid Supremacy' (New England IPA) Vic* NEW 86. 3 Ravens 'Juicy' (New England IPA) Vic* 87. Bridge Road 'Bling' (American IPA) Vic* 88. Black Hops 'Super Hornet' (Imperial IPA) Qld* 89. Young Henrys 'Summer Hop Ale' (Australian IPA) NSW* 90. Big Shed 'Golden Stout Time' (Sweet Stout) SA* 91. Fixation 'Fixation IPA' (American IPA) Vic* 92. Batch 'Pash the Magic Dragon' (Kettle Sour) NSW 93. Your Mates 'Donnie' (Porter) Qld* 94. Young Henrys 'Motorcycle Oil' (Porter) NSW* 95. Young Henrys 'Afends Hemp IPA' (Specialty Beer) NSW* NEW 96. Colonial 'South West Sour' (Hoppy Sour) WA/Vic* NEW 97. Capital 'Hang Loose Juice Blood Orange NEIPA' (New England IPA) ACT* NEW 98. Sauce 'Trubble & Squeak' (New England IPA) NSW* NEW 99. Sauce 'Bubble & Squeak' (New England IPA) NSW* NEW 100. Feral 'Biggie Juice' (New England IPA) WA * — Brewed by an independent brewery. NEW — First brewed in 2018. Images: The Craft Pint.
How can a hotel take advantage of the social media revolution? 1888, 8hotels' brand-new boutique hotel in Pyrmont, is answering that question with a picture-perfect building that skilfully marries old and new and a host of features for the snap-happy — even a gilt frame hanging from the ceiling for a cheeky selfie, Instagram-friendly walking maps for the area, a free stay offered to anyone with a substantial Instagram following (we're talking 10K+) and a free stay for the guest who takes the best shot of the hotel each month. And "this is only the beginning" says hotel manager Roberto Russo. It's perfectly natural that 1888 should embrace Instagram so enthusiastically, given the amount of care that's gone into the hotel's distinctive aesthetic — it's a thoroughly visual experience. First impressions: the architect and designers have totally respected the original structure (built in 1888, the same year as Kodak launched with a patent for its first box and roll cameras) and capitalised on the pre-existing appeal of its patina-like, distressed brick walls and gargantuan wooden beams. The latter are so beautiful I had to hug one — the splinter I received only adding to the sheer rawthenticity of it all. In the middle of the lobby, an olive tree has been planted to represent the hotel's heart, and it has plenty of space to grow upwards into the five-storey atrium with its fancy glass elevators. The ethos of preservation also shows itself in the upcycling of original wood from the building (formerly a woolstore — and much later, there was even a carpark where the lobby is now located) including gorgeous desks that appear in every room, as well as the lofty ceilings, generous windows and feature walls. Some of the window sills even have graffiti of yore carved into them. These historical details are paired with minimalist custom furniture and brightly coloured vintage pieces to create a design counterpoint that's truly refined. Step into the bathroom of one of the larger rooms and you'll find a tub big enough for two — or one, if you fancy watching your companion perform a hilarious solo synchronised swimming act (as I did). Every room comes with wi-fi and a complimentary iPad which provides general info about the hotel, local places to eat, news and weather, and it also controls the AC. The room service tab is empty for now; plans are underway to expand what's on offer in the hotel's bar and kitchen, which currently serves breakfast from a rustic Italian-inspired a la carte menu and a buffet featuring some epic muesli that I can't get out of my mind. If you're starving you can always raid the mini-bar, which, far from being stocked with the usual junky Mars Bars and tiny Johnnie Walker bottles, sources from local companies with an emphasis on health and yumminess. For intimate functions or parties, there's The Williamson room (appropriately numbered 007) which boasts its own impressive side entrance — perfect for celebrity guests fleeing the paps — and a glitzy bar from the 1950s. The Geddes Room would work for a chic boardroom meeting. As for overnight stays, the Shoebox rooms are some of the best value for money in Sydney at $179, measuring 15 square metres but feeling bright and spacious thanks to the high ceilings and huge windows. 1888's been living up to its own hype, with all 90 rooms booked to full capacity only six weeks after opening. Book in and start hashtagging. 1888 Hotel has a 'Picture Perfect Package' available to book now until September 30. It includes: -A room to photograph – one night for two in a King Room -Foodporn – complimentary 1888 antipasto plate + two glasses of wine -Share-ability – complimentary internet connection and iPads in all rooms -Envy-inducing start to the day – complimentary breakfast Prices start from $239. To make a reservation, phone 02 8586 1888 or visit the hotel website. Instagramming 1888 Words and images by Shirin Borthwick.
Founded in 1998, the National Young Writers' Festival is this year celebrating its sweet sixteenth. Of course this doesn't mean they'll be spending the whole festival talking about blogs and feelings while chugging cheap champagne. Although, come to think of it, there is this panel on blogging and this thing all about feelings. And okay, sure, this fake formal is bound to have some Passion Pop on hand. But contrary to the testimony of anyone who's actually met a 16-year-old, being around for that long does give you a bit of wisdom. NYWF consistently delivers an appealing free program and offers amazing insight, advice and assistance to young creatives from all over the country. Like migration, hundreds of wide-eyed literary types descend on Newcastle for it each year — Moleskines in hand. From October 3-6, this year's festival will host 75 free events featuring over 100 young artists including the likes of Tom Ballard, Lorelei Vashti, Benjamin Law and Anna Krien. Over just three days, this can all be a bit overwhelming. NYWF offers frank and honest discussions with the best and most relatable voices in Australian writing, but how can we take it in with everybody talking at once? With the program just released and our fingers poised over Jetstar's 'confirm' button, here's a little of what you can expect from the blossoming festival — Passion Pop and all. Workshops and Panels First and foremost, NYWF is a time for the country's up-and-comers to get together and hone their craft. Ever feel like the lit nerd or the outsider? Don't worry. Everyone sitting next to you at this festival fawned over Vonnegut in high school; for these three days no one's going to give you shit for doing an arts degree. Writing can often be an arduous process so the best events are the ones that force you to put pen to paper. Get each morning started with the Everyday Flash Fiction workshop — breeze down from the seaside, pick up a coffee, and let Scum, The Lifted Brow, and Seizure put a (metaphorical) gun to your head to get you writing. You'll feel productive for the rest of the day, I promise. Plus, if you pen a really touching love poem you can head along to the Speed Writing event and share it. That's right, it's a mix between speed dating and writing — it should be fun because writers are really outgoing and not awkward at all. For the shier amongst us, there will also be a series of more introspective workshops: why do we write, why do we want awards — hell, why do we even go to these festivals? If those are a bit too Inception for you, there's also a handy session called How to not be a douche. Once that's covered, there's not too much else you'll need to know. Parties All work and no play makes Jack a dull boy, and the same goes for writers. Just look at Jack Kerouac. That's not a great example, but you get the idea. As much as NYWF is a great place to learn, it's also an excellent place to get loose. This isn't class. The panellists won't care if you slur a question over your pint of beer. Actually, I wouldn't take the chance of that at the douche workshop — you'd really be asking for it. But hey, it's spring, you're by the sea, and most events are held in licensed venues — you should take advantage of it. At last year's launch, The Lifted Brow put a naked man on the stage to welcome in their new edition; there was a big party at the Great Northern themed 'Hip Hop Safari'; and it was very much encouraged to bring longnecks and bottles of tequila to the Late Night Read. This year will offer similar opportunities with another mixed bag launch, a session of oddly specific '90s literary trivia, and the most excellent idea of all, a Paranormal Formal. Even with all the civilised panels and writing workshops, I promise the best chances you have of wooing your favourite writer or editor will be as they're dressed as a magician drinking goon punch out of a plastic cup. Readings What would a writers festival be without hearing some of these much-praised words spoken aloud? My highlight of last year's festival was the Late Night Read — an intimate event where writers came together to share their work with midnight beers and mayhem. Lawrence Leung read a story about touching his housemate's underwear, Ben Law talked about old penises, and Tom Walker told an animated story about time travel — it was pretty great. This year, the event is back, with each night having a designated theme: Closer Each Day, Home and Away, Hi, Heartbreak, and Everybody Needs Good Neighbours. I can't say for sure that all the works will be about primetime Australian drama, but I also can't say they won't be. Sydney group Penguin Plays Rough will also be bringing their readings event to the festival, taking a select audience into the tunnels of Fort Scratchley. Underground, you can hear seven writers tell stories of Australia's military history. If you like your entertainment a bit lighter, there will also be readings about first times, trolls and a three-part exploration of memory. The Great Unknown Most things at writers festivals are pretty straight forward. The panels usually oscillate somewhere between 'Who Even Are We?' and 'Where Are We Going?', and the parties often turn into cringe-worthy soirees designed for 'networking' — the single worst word in the world, perhaps only with the exception of 'moist'. NYWF is different. Maybe it's just the sea-air, but things are a little more weird and a lot more fun. The element of the unknown or unexpected is what makes the festival so great. There's the Paranormal Formal and the Speed Writing — there's the 90s literary trivia. But there's a whole host of odd things to look out for over your three-day stay. To start with, there's a real-life sleepover. Yep, you actually have the opportunity to don a onesie and play truth or dare with your favourite writers. You can even sleep alongside them if they're cool with it — seriously, please get their consent. If that's not weird enough, Freya Wright Brough is going to be making you feel guilty about your lack of productivity by writing for 24 hours straight, and there's a workshop dedicated to scribbling all over Gina Rinehart's biography. After all this, you'll find the best events by meeting some new friends and stumbling into something unexpected. NYWF is only one element of the This is Not Art Festival after all, so hold tight, you haven't even heard the half of it. Photographs: Lucien Alperstein and Lucy Parakhina
With international travel expected to be off the cards until mid-2022, and Australians encouraged to spend their holiday dollars at home to help the country's tourism industry, the 2021–22 Federal Budget is committing a hefty amount of cash to roads, rail and infrastructure projects. Aiming to support the nation's economic recovery from the pandemic, and boost jobs in the process, the Budget allocates $15.2 billion over the next ten years as part of an overall $110 billion spend across the same period. The Great Western Highway between Katoomba to Lithgow ($2 billion), Victoria's Monash ($250 million) and Pakenham ($380 million) roads, and Queensland's Bruce Highway ($400 million) are just some of the stretches of road that'll receive upgrades. So will the Great Eastern Highway in Western Australia ($200 million), the North-South Corridor from Darlington to the Anzac Highway in South Australia ($2.6 billion), the Midland Highway in Tasmania ($113.4 million) and the Northern Territory National Highway ($150 million). Announced last night, on Tuesday, May 11, this year's Federal Budget commits $3.8 billion in new spending to New South Wales, $3.4 billion to Victoria, $2 billion to Queensland, $1.6 billion to WA, $3.4 billion to SA, $377.2 million to Tasmania, $401 million to the NT and $186.2 million to the Australian Capital Territory. If some of the above projects sound familiar, that's because part of the cash has been allocated to works currently underway — but as a new funding commitment. Also covered: the Princess Highway Corridor in Jervis Bay ($500 million), and the M5 ($87.5 million) and M12 motorways ($229.4) in NSW; the Melbourne Intermodal Terminal ($2 billion), as part of the national freight network; the third stage of the Gold Coast Light Rail ($126.6 million); and stage 2A of the Canberra Light Rail ($132.5 million). The Budget also includes $1 billion to extend the Local Roads and Community Infrastructure Program to 2022–23 — which, as its name suggests, is all about supporting local councils to deliver local road and community infrastructure projects — as well as another $1 billion to continue the Road Safety Program into the same year. For more information about the 2021–22 Federal Budget, head to the government's website. Top image: Kgbo via Wikimedia Commons.
The minds behind the multi-layered delight that is the legendary Strawberry Watermelon Cake — which has lit up Instagram feeds across the world since its inception in Sydney over a decade ago — headed south last November, opening the doors to a Black Star Pastry pop-up in St Kilda. It closed, like many restaurants did, at the start of the pandemic, but now it's back — permanently. Making its home beneath Acland Street's Jackalope Pavilion — where the now-closed, hopefully-reopening-soon exhibition Rain Room is located — the team's first permanent Black Star Pastry outside of Sydney follows a successful 2017 pop-up in Carlton, as well as plenty of outings at Melbourne's Night Noodle Markets over the years. The new pop-up store is serving up a selection of Black Star smash hits, the bill headlined, of course, by that Strawberry Watermelon Cake. Sporting layers of almond dacquoise, rose-scented cream and watermelon, this little beauty sells around one million slices annually across the brand's four Sydney stores and was even dubbed the "world's most Instagrammed cake" by the New York Times. Other favourites making the journey south include the Pistachio Lemon Zen Cake — another layered sensation featuring pistachio ganache, white chocolate mousse, lemon curd and crunchy pistachio dacquoise — and the Raspberry Lychee Cake, which fuses chocolate biscuit, raspberry marshmallow and vanilla cream. Also on the lineup: custard flans, croissants, a vegan chocolate popcorn cake, a Dragon Cake (made with thinly sliced dragonfruit and jelly ripples) and a Japanese Forest Cake, which has matcha moss, dark chocolate bark and whole confit ume (plums). The sweet stuff is complemented by St Ali coffee and a contemporary, minimalist store space, featuring neon signage by UK artist Tracey Emin proclaiming "you loved me like a distant star". And, in a win for those who don't like waiting — or don't like heading out in the current climate — customers can also pre-order a range of cakes online and skip the queues with express pick-up. Those cakes are for all types of celebrations, too, ranging from four to 45 portions (but do keep in mind the current restrictions on gatherings). For the moment, the cafe will only be open on Saturdays and Sundays, but hopes to add on additional days in spring. Find Black Start Pastry at 2C Acland Street, St Kilda from Saturday, July 4. It'll be open from 9am–4pm Saturday–Sunday.
Illuminated by pyramids and backdropped by an enormous chameleonic moon, the Opera House Concert Hall stage was transformed into some enigmatic extraterrestrial woodland last week. James Vincent McMorrow emerged from the shadows like a creature born of such a setting — bearded like a werewolf yet singing at a pitch to touch the lower rungs of heaven. The Irishman's stories of "harrow winds", "desolate love" and hearts like "unending tombs" are those of a man who’s spent long periods in cold, lonely places. Over the course of sixteen or so songs, McMorrow mixes up tunes from his folksy breakthough album Early in the Morning (2010) with those from recent release Post Tropical (2014). One minute he’s yearning his way though 'Glacier', filled out by mellifluous harmonies; the next McMorrow’s dropped an octave or two (as you do) and picked up the drum sticks to power through a rousing version of 'We Don’t Eat'. Although the sophomore album represented a significant departure from the first, the structural soundness of the songwriting on both makes for a seamless live show. McMorrow's band creates an even more intense dynamic than that captured on his albums, delivering mournful clarinet solos, drum beats that range from tribal to all-out rock and ethereal counter melodies. McMorrow doesn’t speak until he’s at least five songs in. Not because he’s deliberately reserved — but because he’s overwhelmed and nervous. "This is crazy, just crazy," he mutters, referring to the fact that he’s playing to a packed-out Opera House. Towards the end of the set, McMorrow introduces a song by explaining his last New Year’s Eve; when excited messages flooded his inbox informing him that he was sound-tracking Sydney’s midnight fireworks. What the organisers might not have known at the time is that they were inadvertently facilitating two of McMorrow’s teenage ambitions. "If I hadn’t become a musician," he confesses, "I would have loved to have worked with explosives." He then launches into his famously fragile, solo version of 'Higher Love'. Support came in the form of Airling, moniker of Brisbane-based artist Hannah Shepherd. Her gorgeous vocals glided over some ultra-smooth grooves and lush electronic arrangements. Images by Prudence Upton.
The audience waits in the cavernous dark of the Meat Market theatre, while portentous music plays and spotlights rake the stage. Madonna Arms is coming. The music builds. The audience wait. The music keeps building. The audience keep waiting. This goes on for a while. It goes on so long it becomes funny, then even longer until it stops being funny, then keeps going until it becomes funny again. Whatever is about to start, there is no way it can justify this much buildup. Which is of course the gag. From the very beginning Madonna Arms embodies the overblown but hollow hype of modern pop culture. Performed by experimental feminist theatre company I’m Trying To Kiss You, the show is a chaotic satire. Three performers — Zoey Dawson, Anna McCarthy and Ella Harvey — work together like a well-oiled machine to turn out oddball scenarios playing with media representations of gender. Surrounded by screens which, courtesy of an on-stage green screen, show them against digital backdrops, the energetic trio create scenes that seem to come from a media hyper-reality: a reality TV show that appears to be shot on a space station, a film clip portraying a medieval battle march, and an alien invasion action movie. The structure is essentially that of a sketch show, with some callbacks but no underlying narrative connecting the sequences. Narrative is not remotely necessary, in fact the lack of it is central to the show. Madonna Arms is a portrayal of style without substance, the grandiose presentation of trivia, hyperbolic charade and false empowerment. The overall effect is like flipping through late night cable television in a foreign country. It's never quite fully comprehensible, it's frequently furiously odd but it is endlessly fascinating nonetheless. I don’t know if what I’m watching is a hot mess or sheer magnificence. It's probably a bit of both. One thing that does get a bit much is all the talk about sex, of which there is an awful lot. While it's clearly the intent of the show to satirise a media obsession with sex, there’s only so much talk about orifices, penises and bodily fluids you can listen to before it gets tiresome. The show works best when the performers are simply having fun and playing the satire at fever pitch. When it falters is when it's self consciously trying to be controversial or in-your-face. While not everything this show throws at the wall sticks, it is nonetheless quite an experience to watch it all being thrown. There is a determined shake-your-fist-at-the-mainstream spunk to it all that makes it strangely irresistible. Saturated in pop culture references, crass for the sheer love of being crass, at once outrageously silly and charged with impassioned politics — this is exactly the kind of thing young performers should be doing with their time. Going to see it and feeling equal parts baffled, amused, affronted and inspired is exactly what you should be doing with yours. This show is running as part of Next Wave 2014. For more events at the festival, check out our top ten picks.
While it seemed like just yesterday that images of Australians panic buying toilet paper were flooding our newsfeeds, Coles has today confirmed that the bog roll crisis of 2020 is officially over, with the announcement that it has lifted limits on the once-coveted toiletry item. In a statement released today, Tuesday, April 28, a spokesperson for the supermarket chain said "we are pleased to be able to remove purchase limits at Coles on key household staples like toilet paper and paper towel". Previously, it had a strict one-packet per-person limit on the item. This means, next time you head to your local supermarket you should hopefully find shelves stocked plentifully with bog roll. What a sight to behold: https://twitter.com/2017Ferret/status/1253204438371586049 Limits on some other essential items, such as UHT, fresh milk, meat, tissues and nappies, have also been lifted at Coles, but two-item per-person limits still remain on pasta, flour, rice, eggs, tinned tomatoes, frozen vegetables, anti-bacterial wipes and liquid soap. You can check out the full updated list over here. Coles has said that it "expect[s] to remove further limits as customer demand continues to stabilise and more categories see supply levels return to normal", but, in the meantime, additional limits may still be placed on other items on a store-by-store basis, so it's best to pay attention to the signage while you're shopping. Aldi and Woolworths both still have one-packet limits on toilet paper, but both supermarkets have been removing limits on other essential items over the past week. For more details on Australian supermarket item limits, keep an eye on Coles, Woolworths and Aldi websites. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
UPDATE, December 20, 2021: Happiest Season is available to stream via Amazon Prime Video, Foxtel Now, Google Play, YouTube Movies and iTunes. Heading home for the holidays and stepping into a sea of interpersonal dramas is a familiar on-screen set-up, as a new movie every Christmas or so reminds us. By now, then, we all know the formula. Adult children make the pilgrimage to their parents' place, rivalries and animosities flare up, secrets are spilled, chaos ensues and, by the end of the film's running time, everyone has learned something. Happiest Season fits the template perfectly. With the merriest time of the year in full swing, the Caldwells converge on the Pennsylvanian family home, with their celebrations given an extra edge due to patriarch Ted's (Victor Garber, Dark Waters) mayoral campaign. His fastidious wife Tipper (Mary Steenburgen, The Book Club) insists on snapping every moment for his Instagram feed, all as stern eldest daughter Sloane (Alison Brie, GLOW) arrives with her husband (Burl Moseley, Crazy Ex-Girlfriend), two children (Asiyih and Anis N'Dobe) and plenty of unspoken tension in tow; zany middle sister and aspiring fantasy writer Jane (Mary Holland, Between Two Ferns: The Movie) is largely ignored; and Pittsburgh-based political journalist Harper (Mackenzie Davis, Irresistible) returns with the girlfriend, Abby (Kristen Stewart, Charlie's Angels), that none of her relatives know about because she hasn't come out to them yet. If someone other than The Faculty, Girl, Interrupted, Veep and The Handmaid's Tale actor-turned-filmmaker Clea DuVall had made Happiest Season, the above paragraph would accurately reflect the feature's character hierarchy — because Sloane would take centre stage, and Harper and Abby would hover around the narrative's edges. But DuVall did make Happiest Season and, with co-writer Holland, she flips the movie's focus, even while still sticking with a well-worn general premise. Accordingly, this festive flick resembles a comfy sweater that often gets a wear, but seems welcomely different on this particular occasion. As Aussie queer teen rom-com Ellie and Abbie (and Ellie's Dead Aunt) also demonstrated this year, it shouldn't be so subversive to take an overused genre that's heavy on recognisable tropes, then strip away the engrained heteronormativity. But it is, in both high school-set romances and movies about meeting your partner's parents over eggnog. After filling the credits with details of the formative stages of Harper and Abby's relationship, the feature introduces them properly as they're touring local Christmas lights. The towering Harper is giddier than one might expect of someone of her age, but the calmer Abby isn't fussed about the season after losing her parents when she was a teenager. When the former asks the latter to come home with her for Christmas, though, Abby gets excited. She wants to pop the question anyway, and figures there's no time or place better to make the festive-loving Harper her fiancée — although her best friend John (Dan Levy, Schitt's Creek) points out that asking Harper's dad's permission beforehand is hardly a progressive step. It isn't until Happiest Season's central couple has almost reached the Caldwells' that Abby discovers Harper's subterfuge. Not only do Ted, Tipper and company not know that Harper is gay and in a relationship, but Abby is asked to pretend she's straight as well (yes, one gag literally places her in a closet, because of course that happens). In the broad strokes, the movie doesn't serve up any surprises. But like moving its focus to Harper and Abby, this Christmas rom-com is all about the details. Amid the sibling struggles, the re-emergence of old flames both male (Jake McDorman, What We Do in the Shadows) and female (Aubrey Plaza, Parks and Recreation), and the always-hectic whirlwind that surrounds every seasonal family affair — and every attempt to run for political office, too — Happiest Season explores two crucial themes in a meaningful way. First, it unpacks the performative nature of human existence, where too often we're all trying to match other people's perceptions and expectations without consistently remaining true to ourselves. And, it also interrogates how coming out isn't a simple or straightforward act, even in seemingly loving circumstances. These are weighty ideas and, while Happiest Season is light and jovial overall, it doesn't sugarcoat its heavier moments. It doesn't devote all of its running time to them either, but DuVall and Holland's script finds a delicate balance — with the part played by Holland herself at first seeming to be the movie's most overtly exaggerated role for comedic effect, but eventually proving more thoughtful, for instance. It's easy to see how the screenwriting pair could've turned this into a different picture, with the initially tentative friendship that springs up between Abby and Plaza's Riley, and the commonalities they feel as women who've been pushed aside so Harper could maintain a lie, 100-percent begging for an entire movie of its own. But DuVall never forgets the task that she has clearly set herself: to make a queer meet-the-parents Christmas comedy. The film's warm-hued, Hallmark-style imagery never lets the audience overlook the fact that Happiest Season willingly sticks to a formula in order to update it, either. Also apparent is just how well Stewart and Davis anchor the movie's generic and more soulful elements alike. This shouldn't come as a surprise, with Stewart picking most of her post-Twilight roles astutely (see: Clouds of Sils Maria, Certain Women, Personal Shopper and Seberg), and Davis always a memorable addition to any cast. In their hands, their characters feel lived-in. So does Happiest Season's central relationship, especially as it navigates considerable ups and downs, including an ongoing series of questionable decisions by Harper. Steenburgen, Plaza, Levy, Brie, Garber — they're all reliably great, too, but it's likely this LGBTQIA+-friendly dose of merriment wouldn't have found the right mix of festive familiarity and emotional substance with other leads. https://www.youtube.com/watch?v=j_jjELPpKkk
"I don't wear my EDM T-shirt down the road to a nightclub on a Saturday night and yell out 'dubstep'," laughs Seekae frontman Alex Cameron. "People get angry at bands changing styles, like they do at sports clubs for changing captains or something. We don't represent a movement; we make sound and we make music and that's kind of it." Sydney ambient electro darlings Seekae dropped news of their third album and a national August tour earlier this year, dropping lead single 'Test & Recognise' in May. The Sydney-based three-piece have been labelled in a lot of ways: shoegaze, EDM, IDM, indie pop, hip hop, ambient-electro-pop-post-rock-post-dubstep. But, speaking from his home, Cameron concedes, "I doubt there's ever going to be a term that satisfies the artist who's a part of it." So let's not bother trying here. With past releases, The Sounds of Trees Falling on People and +DOME, and singles such as 'Void', 'Crooks' and 'Blood Bank', Seekae's name is synonymous with late night drives through the city. In the bigger picture, their debut was named one of the albums of the decade by FBi Radio, and their follow-up earned them four nominations at the Australian Independent Music Awards. Since then they've been touring internationally and even took to the stage at this year's SxSW. Seekae's third album, The Worry, is openly described as their most ambitious work to date. With their preview tour well underway — hitting Melbourne's 170 Russell this Friday, August 22 and Sydney's Metro this Saturday, August 23 — we checked in with the crew to get some tips on sticking it to the haters. https://youtube.com/watch?v=S78pfy37SN8 BACKLASH BE DAMNED, CHANGE YOUR TUNE Set to be released through Future Classic on September 12, Seekae's third album, The Worry, sees the trio put significantly more emphasis on vocals than previous endeavours. Following on from 2008 debut record The Sound of Trees Falling on People and 2011's +Dome, The Worry has thrilled everyone involved. "People have been really excited to hear it — and we're really excited to play it. It's a good mutual thing happening," says Cameron. Though each record is a load-off for Seekae, there are of course those who dislike the progression toward vocals. But that hasn't stopped the lads from making the tunes they want to hear; backlash be damned. "I think we just kind of do it. We make music and the change just happens that way. It's nice to not have this sense of hesitance or anticipate negative backlash, because it is what we made and that's the point of what we do." "I don't feel under pressure about it," continues Cameron. "And the people who loved the old music. that's beautiful, too. Those records aren't going anywhere. We don't make new music and destroy the old records so no-one can ever listen to them again." "For us it's always been about sound and music and challenging ourselves and that's kind of what we ended up with on this one. We didn't make an instrumental record and suddenly add vocals." MAKE MACHINES SOUND AND FEEL HUMAN Though the three-piece don't know what the next record will sound like, each instalment sees something new introduced into the mix. For The Worry, that doesn't just mean adding vocals. "There's more about us as people in this record. Maybe the first two records, there's a lot about us as musicians, but I think there's more about us as people in this one [The Worry]. It would be an interesting situation if people hated the record because of its lyrical content. Because that's kind of who we are." In The Worry, Seekae set out to make machines feel and sound human, broadly making a record about human experience. "It's a common theme: sci-fi. It's hard to write about human experience these days that doesn't involve a massive amount of technology. We're right there, so to me it's kind of concerning. "What is this sense of concern that I have? Is it because I'm surrounded by technology and I'm a monkey? Because it kind of gets me feeling weird, you know? And yet we make electronic music which can be frightening and terrifying to be a part of. You're trying to command these machines to do something and it's kind of twisted, you know? The satisfaction doesn't come until later when you're listening back to it and you can hear the machines behaving themselves and that sense of satisfaction is what we try to find on a record. The record is us searching for satisfaction, I think." https://youtube.com/watch?v=hWE73K8Rkws GET INTIMATE AGAIN Before the September 12 release of their third record, Seekae are heading out on an Aussie tour. Though they played the Sydney Opera House back in 2012, this tour will see them back in more relaxed venues. "I like small gigs. I don't know what the biggest crowd we've done is — maybe some festival or something like that. But I like small gigs, I really like them." Most of their setlist will come from their forthcoming album. "But we're gonna be playing a lot of the old stuff too. So it's the classics with the stuff we haven't played before. Were trying to do a couple of songs off each record and then showcase our new stuff as well. Give people a little taste." But it's not just Seekae coming back from Opera House gigs. Supporting act, Jonti, fronted the Vivid LIVE tribute to the Avalanches at the iconic venue back in May. "He's [Jonti] such a lovely guy and it all comes from such a lovely place, what he's doing. It's a warm happy place. He's friendly and it comes across in his music and the way he approaches it. That's why people love working with him and that's why we love having him on tour. "We've been on the circuit together since we both started, you know, 2007 or something like that in different acts. When we tour we like to take people that we have been with from the beginning with us. We get to spend time together and have fun and talk about ideas and that we can keep cheering and sort of inspiring you know? It's not disconnected." Join Alex Cameron and bandmates George Nicholas and John Hassell for Seekae's Australian tour at Melbourne's 170 Russell Street on Friday August 22 and Sydney's Metro Theatre on Saturday August 23. Seekae's The Worry will be released through Future Classic on September 12. Feature by Rachel Eddie, additional words by Meg Watson.
Dark Mofo might be taking a breather in 2024, but Tasmania's Museum of Old and New Art (MONA) will still be embracing summer at Mona Foma. The sunny counterpart to the Apple Isle's moody winter fest has locked in its 2024 return from Thursday, February 15 to Sunday, February 25 in nipaluna/Hobart and from Thursday, February 29 to Saturday, March 2 in Launceston. It has also dropped one helluva getaway-worthy lineup. [caption id="attachment_923130" align="alignnone" width="1920"] Andreas Neumann[/caption] Back in October, Queens of the Stone Age were revealed as the first act on Mona Foma's program for the year. They're joined by Courtney Barnett, TISM, Paul Kelly, Mogwai, Shonen Knife and Cash Savage and The Last Drinks, for starters. If you don't know where to start, the quintessential Mona Foma experience is the Mona Sessions. On the evenings of Friday, February 23 to Sunday, February 25, you can catch live music from international artists on the sprawling museum lawns. Arrive on a camouflage ferry before exploring one of Australia's most innovative museums. Then, enjoy back-to-back performances by Scottish rockers Mogwai and Japanese band Shonen Knife, joined by fellow overseas talents Holy Fuck, Wednesday, Michael Rother + Friends (playing Neu! songs) and Lonnie Holley with Moor Mother and Irreversible Entanglements. Now that TISM are back playing live together, the Australian legends will bust out 'Greg! The Stop Sign!', 'Whatareya' and 'Ol' Man River' at Cataract Gorge. The Ron Hitler-Barassi-led band are part of a free one-day event at the stunning site during Mona Foma's Launceston weekend, as are Cash Savage and The Last Drinks. Head along and you'll also enjoy morning meditations to start the day and hear from Mulga Bore Hard Rock and FFLORA + Grace Chia. [caption id="attachment_926553" align="alignnone" width="1920"] Steve Cook[/caption] More on the music program: Darren Hanlon, Bree van Reyk and the Tasmanian Symphony Orchestra are teaming up; French Korean siblings Isaac et Nora will perform Latin-American songs they've learned by ear; and Barelona-based producer Filastine and Indonesian singer Nova will provide live tunes on a 70-tonne sailing ship to muse on the climate crisis. DJs will get spinning beneath James Turrell's Armana at Mona and artists will be hitting up the Frying Pan Studios to jam and record. Emeka Ogboh's contribution to the festival is another big highlight. In the immersive exhibit Boats, the Nigerian artist ponders migration in a sensory experience that boasts its own gin — made with native Tasmanian and West African botanicals — alongside snacks, conversation and a sound installation. [caption id="attachment_926554" align="alignnone" width="1920"] Wei-Tsan Liu[/caption] Also set to impress: Taiwanese artist Yahon Chang will be painting on a 20-by-15-metre canvas at Princes Wharf 1 with a human-sized brush in a performance that'll blend calligraphy, art, meditation, kung fu and tai chi. Other program standouts include the world premiere of Justin Shoulder's Anito; Dancenorth's latest production Wayfinder, which includes Hiromi Tango on design duties and music from Hiatus Kaiyote; the return of party venue Faux Mo at The Granada Tavern; and a Street Eats food and drink market pop-up with a lineup of musical guests. [caption id="attachment_784488" align="alignnone" width="1920"] MONA/Jesse Hunniford, Robin Fox laser installation at the Albert Hall, Launceston, Mona Foma 2019[/caption] Nab your tickets now at the Mona Foma website. You can also book your getaway package through Concrete Playground Trips. Top images: Moshcam, Pooneh Ghana, Akira Shibata. All images courtesy of the artist and Mona Foma.
Those lucky enough to visit Uluru — to both get out to the remote location and to be granted generous permission to the sacred site by its traditional owners, the Anangu people — will attest to its magic and sheer magnificence. But for those who can't make it to the Red Centre, Google has made it possible to explore the area via the internet — today they've added a number of 360-degree images of trails from the surrounding Uluru-Kata Tjuta National Park to Google Street View. By now Google has mapped most major cities and landmarks around the world, but in the case of Uluru, they've taken a bit of a different approach. Over the past two years, the tech company has worked with the Anangu people to capture and map the park in accordance to Tjukurpa, a traditional deep respect for the land that guides their law, values and behaviour. This means that not everything in the park has been captured by the Google Trekker, and that the traditional owners feature heavily in the project — most notably through interactive audio-visual stories on Google's Story Spheres platform. These include narration by Sammy Wilson and music by elder Reggie Uluru, both of whom are traditional owners of the land. So what can you see? Well, you can catch a glimpse of Uluru on the horizon from the Talinguru Nyakunytjaku viewing area, 'walk' around the base of the landmark and do the Kuniya Walk, which will take you to waterhole Kapi Mutitjulu and let you get up close to ancient art at Kulpi Mutitjulu (the Family Cave). The content captured by Google is a rare chance to see the crevices and fine details of Uluru up-close and hear oral stories from the traditional owners of the land. You can explore Uluru through Google Street View here, and listen to the Anangu people's stories through Story Spheres here.
Stand aside muggles, these are the big boys of magic. Billed as “the most spectacular magic show of all time,” The Illusionists is an over-the-top blockbuster that will command your complete attention. This is not just a show of card tricks and slight of hand, these tricks are larger than life, daring, inventive and truly magical. Hailing from the epicentre of grand magic shows, Las Vegas, each of these master illusionists specialise in their own type of magic. All the classic tricks are represented with levitation, mind reading, disappearance and even a touch of daggy dad-joke comedy. The show is brought to life with some dramatic lighting, tightly choreographed dances in crazy steampunk costumes and a live hip-hop/rock band playing on stage — this is a very slick operation and you won’t feel ashamed to let your inner child out. The Marilyn Manson of magic, Dan Sperry, shows off some bizarre, often shocking and macabre illusions and at one point even plays Russian roulette with broken glass and a member of the audience. Andrew Basso, the Italian escapologist, will have you gasping for air in a tension packed underwater Houdini escape. His performance is a highlight. Then, mad scientist, inventor and Colonel Sanders look-a-like Kevin James performs some breathtakingly elegant and astounding tricks that will leave you in awe as to how they are executed. The latter half of the show featuring Jeff Hobson, the comedy magician and Philip Escoffey, the mentalist (no, not that mentalist), run a touch long, but all is forgiven when the only female illusionist, Jinger Leigh and her partner in crime Mark Kalin pull off a spellbinding disappearance act. The Illusionists have sold out shows all over the world and they mean to do the same in Melbourne. The performance runs for a good two hours with intermission and though it is family friendly, you could easily make it an adults only night out with friends. Even though the over-the-top theatrics are a little gimmicky, you have to admit the show is very entertaining. Even the most cynical will be left puzzled, amazed and believing, if only a little, that magic might really exist.
Don't hold back: one of the biggest acts in electronic music for the past three decades is returning to Victoria. Superstar DJs The Chemical Brothers dropped their tenth studio album For That Beautiful Feeling in September 2023, and will hit Mt Duneed Estate in March 2024 to unleash their latest round of block rockin' beats live. Tom Rowlands and Ed Simons will play A Day on the Green in Geelong on Saturday, March 2, with The Presets (doing a DJ set), Anna Lunoe and James Holroyd in support. It isn't just their astonishing 2023 Coachella set that proves The Chemical Brothers are a must-see live act. Every tour — including their last stint Down Under back in 2019 — always matches a spectacle of mindbending visuals to the duo's iconic tunes. Accordingly, expect recent singles 'No Reason', 'Live Again' (featuring Halo Maud) and 'Skipping Like a Stone' (reteaming The Chemical Brothers with Beck after 2016's 'Wide Open') — and also a wealth of songs from a back catalogue that spans back to 1989. No, it wouldn't be a Chemical Brothers gig without 'Hey Boy, Hey Girl', 'Block Rockin' Beats' and 'Galvanise' getting a whirl. The pair's current setlist also includes everything from 'Go', 'Swoon' and 'Star Guitar' to 'Setting Sun', 'Chemical Beats' and 'Escape Velocity'. Holroyd joining Rowlands and Simons on the tour is always a given, as The Chemical Brothers' long-standing opening DJ. Images: Ray Baseley.
Gather round wine lovers of Australia, it's time to salute the effusive Italian spirit of the King Valley winemakers. Centred on the King River, between Wangaratta and the Alpine National Park, the King Valley is famous for producing some of the best wines in Victoria. Now, you have the chance to sample the primo drops from the region at the La Dolce Vita Wine and Food Festival. Across the weekend of November 17–18, 11 of the valley's celebrated wineries will come together for an epic vino-palooza — you'll find top-notch drops, plenty of bubbles, wine spritzes and scrumptious dishes from locally renowned chefs. For $25, you'll be able to get in on the action and sip your way through a multitude of tastings. You'll even get the opportunity to traverse King Valley's Prosecco Road — a picturesque place that's reminiscent of northern Italy — and indulge in a prosecco popsicle, which tastes as delicious as it sounds. While your taste buds are having a ball, your ears also get a special treat with a range of live music to accompany all that eating and drinking. It's a three-hour drive from Melbourne but you won't have to worry about the car once you're there — jump on the shuttle bus and enjoy being taken around from winery to winery, free tasting to free tasting. And when it's time to turn in, there are plenty of places to stay so you can wake up and explore more of the beautiful King Valley and surrounding towns. For more spring places, spaces and events to discover in regional Victoria visit Your Happy Space.
You won't be left wanting for anything after digging into this lavish, meat-free feast, held against the idyllic backdrop of thhe Yarra Valley's Rob Dolan Wines and The Farm. Get set for a sumptuous five-course spread that not only champions the humble veg, but flies the flag for locality. In fact, almost every ingredient on the menu was grown right there on the property, showcasing goodies plucked straight from both kitchen garden and vineyard, matched, of course, to a few of the Rob Dolan wines crafted onsite. The only thing that's travelled further is the cheese, though even the fiercest locavores are sure to approve — it's made and matured just a few hops away at the Stone and Crow Cheese Company. For full effect, be sure to indulge in a post-lunch jaunt through the vineyards, to see where that food all began. Take Five is part of Melbourne Food and Wine Festival. Check out more of the festival's events here.
It is shocking to think that there is only one holiday a year that truly cries out for a French-themed party. Why don't we have Croissant Day? Or Baguette Day? Romance and Cheese Day could easily be a thing. Vino all round. Nahmean? Still, we do have Bastille Day, and that isn't going anywhere, despite Russell Crowe proving that he absolutely cannot sing. Bastille Day is important because it celebrates the beginning of the French Revolution — that bloodthirsty struggle for freedom, equality and fraternity. When "the people" stormed the Bastille and seized the military stores, an entire decade of idealism, savagery and carnage started. So why celebrate such a heady (and often headless) period? Because it's about seizing control and brandishing baguettes and bringing about the end of feudalism. Being independent and being proud and well, being French, basically. So march along to the Bastille Day Party at the Evening Star-South Melbourne Market. You'll be brimming with joie de vivre before you know it.
Chapel Street is popping off right now. In the past few months, the strip scored Suzie Q, Windsor Wine Room, The Chapel and Inca — and now Chris Lucas (Chin Chin, Hawker Hall, Kisumé, Grill Americano, Society, Yakimono and Baby Pizza) is giving it a go. Come Saturday, September 7, his two-storey Japanese-inspired restaurant and sake bar Tombo Den will open next door to Lucas' own Hawker Hall. This latest venue is inspired by Lucas' time living and working in Tokyo in the 90s, and is a celebration of Japanese street food and izakaya culture. Head Chef Dan Chan (Supernormal and Michelin-starred Yardbird in Hong Kong) is spearheading the culinary offerings at Tombo Den, serving up a heap of dumplings, rice and noodle dishes and charcoal-barbecued seafood and meats. Desserts like strawberry and sake ice cream sundaes and brûléed dark chocolate mousse with black sesame also feature. Tombo Den's menu also champions sushi, which is strongly inspired by the food's more casual beginnings as a street food staple. Kisumé's Sushi Masters Toaki Kyo and Carlos Lopez oversee the sushi lineup, crafting a selection of sashimi, nigiri and handrolls. This more casual dining style is complemented by an approachable drinks lineup curated by Society's own Tokyo-born Master Sommelier Yuki Hirose. Society is known for its encyclopedic drinks offering — often winning international wine list awards — but Tomo Den's menu won't be quite as exhaustive. This isn't meant to be a fine-diner. The aim is for it to have a more laidback izakaya feel where you don't need a sommelier to guide you through the offerings. A good mix of local and international wines will be up for grabs, with plenty offered by the glass or in a half-bottle carafe. Classic cocktails also get a Japanese twist, so you can expect to find sips like the sake martini, yuzu spritz, and macadamia and tonka espresso martini. Japanese beers and a fairly extensive collection of whiskies also feature here, while sakes are championed upstairs in the separate Sake Bar. Adding to the late-night Tokyo vibes is Tombo Den's own private karaoke room, which is sure to book out well in advance. This all sits within a totally revamped space that has a distinctly brutalist Japanese feel. DKO Architecture and Projects of Imagination have achieved this by blocking out the space with concrete, mahogany wood and marble finishes. AI-generated artwork from artist Tom Blachford breaks up these somewhat cold design features, adding a little colour and playfulness to the whole affair. All in all, it looks to be another winner for Lucas, who's built up a hugely successful Australian restaurant empire, and still plans to open more venues in the coming years. [caption id="attachment_971728" align="alignnone" width="1920"] Dan Chan[/caption] Tombo Den is set to open on Saturday, September 7, and will be found at 100 Chapel Street, Windsor. For more information, you can visit the venue's website. Images: Michael Pham.
Something delightful is happening at Melbourne's outdoor cinemas. After months spent empty, with projectors silent and the smell of popcorn fading, outside picture palaces have been given the green light to reopen from Friday, October 22 — including the Coburg Drive-In, and the Lido and Cameo outdoor cinemas. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over the past two years, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit under the stars and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting outdoor cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer from this week. CANDYMAN Who can take tomorrow and dip it in a dream? 'The Candy Man' can, or so the suitably sugary earworm of a song has crooned since 1971. What scratches at the past, carves open its nightmares and sends them slicing into the present? That'd be the latest Candyman film, a powerful work of clear passion and palpable anger that's crafted with tense, needling thrills and exquisite vision. Echoing Sammy Davis Jr's version of the tune that virtually shares its name across its opening frames, this new dalliance with the titular hook-handed villain both revives the slasher franchise that gave 90s and 00s teen sleepovers an extra tremor — if you didn't stare into the mirror and utter the movie's moniker five times, were you really at a slumber party? — and wrestles vehemently and determinedly with the historic horrors that've long befallen Black Americans. It'll come as zero surprise that Jordan Peele produces and co-penned the screenplay with writer/director Nia DaCosta (Little Woods) and writer/producer Win Rosenfeld (The Twilight Zone). Candyman slides so silkily into Peele's thematic oeuvre alongside Get Out and Us, plus Peele-produced TV series Hunters and Lovecraft Country, that his fingerprints are inescapable. But it's rising star DaCosta who delivers a strikingly alluring, piercingly savage and instantly memorable picture. Alongside bloody altercations and lashings of body horror, razor blade-spiked candy makes multiple appearances, and her film is equally as sharp and enticing. In a preface that expands the Candyman mythology — and savvily shows how the movie has everyday realities firmly on its mind — that contaminated confectionery is thrust to the fore. In 1977, in the Cabrini-Green housing estate where the series has always loitered, Sherman Fields (Michael Hargrove, Chicago PD) is suspected of handing out the laced lollies to neighbourhood kids. Sent to do laundry in the basement, pre-teen Billy (Rodney L Jones III, Fargo) soon comes face-to-face with the man everyone fears; however, after the boy screams and the police arrive, he witnesses something even more frightening. Jumping to the present (albeit absent any signs of the pandemic given Candyman was initially slated to release in mid-2020), Cabrini-Green is now Chicago's current poster child for gentrification. It's where artist Anthony McCoy (Yahya Abdul-Mateen II, Watchmen) and curator Brianna Cartwright (Teyonah Parris, WandaVision) have just bought an expansive apartment, in fact. They're unaware of the area's background, until Brianna's brother Troy (Nathan Stewart-Jarrett, Generation) and his partner Grady (Kyle Kaminsky, DriverX) start filling them in on the legend that's long been whispered across the local streets — and, struggling to come up with ideas for a new show, Anthony quickly clasps onto all things Candyman for his next big project. Read our full review. NITRAM It's terrifying to contemplate something so gut-wrenchingly abominable as the bodies-in-barrels murders, which director Justin Kurzel and screenwriter Shaun Grant depicted in 2011's Snowtown, and to face the fact that people rather than evil were behind them. Nitram courts and provokes the same response. Exploring the events preceding the Port Arthur massacre, where 35 people were murdered and 23 others wounded in Tasmania in 1996, it focuses on something equally as ghastly, and similarly refuses to see the perpetrator as just a monster or a Hollywood horror movie-style foe. It too is difficult, distressing, disquieting and disturbing, understandably. In their third collaboration — with 2019's bold and blazing True History of the Kelly Gang in the middle — Kurzel and Grant create another tricky masterpiece, in fact. And, the fact that Nitram is about a person is one key reason for its brilliance. The film's core off-screen duo don't excuse their protagonist. They don't to justify the unjustifiable, explain it, exploit it, or provide neat answers to a near-unfathomable crime. Rather, they're exactingly careful in depicting the lone gunman responsible for Australia's worst single-shooter mass killing, right down to refusing to name him. (The movie's title comes from his moniker backwards, and it's all he's ever called on-screen.) Nitram does depict its eponymous figure's mental health issues and medication, and his status as an outcast, but not as reasons for what's to come. It shows his complicated relationships, mentions his struggles as a boy and sees how he's teased as an adult, yet never deems these motives. All such things can be part of someone's life, or not, and that person can commit heinous deeds, or not — and this tremendous feature doesn't ever even dream of seeing that as a straightforward cause-and-effect equation. In his fifth stint behind the lens — 2015's blistering Macbeth and 2016's abysmal Assassin's Creed are also on his resume — Kurzel does adopt a hazy aesthetic, though. The film isn't dreamy, instead resembling anxious memories worn and frayed from too much time looping in someone's mind. Its imagery is boxed in within a constricted frame, heightening that sensation; however, cinematographer Germain McMicking (Acute Misfortune) shoots Nitram (Caleb Landry Jones, The Outpost) as if he's roving around the space to test the boundaries. The character does just that narrative-wise. He earns his wearied mother's (Judy Davis, Mystery Road) constant exasperation, and almost everyone else's dismay. His father (Anthony LaPaglia, Below) expresses more warmth, but is just as affected. After knocking on her door attempting to start a lawn-mowing business, eccentric lottery heiress Helen (Essie Davis, Babyteeth) shows Nitram kindness and showers him with gifts, but even with her he's still pushing limits. When Helen sees him shooting at an old car with an air rifle in her sprawling backyard, she forbids it. It's her sternest moment. She also asks him not to lunge at the steering wheel as she's driving and, as turbulent as ever, Nitram keeps doing it. Jones' work here is fragile but weighty, volatile but lived-in, boisterous but anguished, and petulant but intimidating. It's all these things at once and, even with other menacing roles in his on-screen past, it's phenomenal. Every second of his performance, and of Nitram, is a challenge to the views of masculinity that've become as baked into Australia as the ochre-hued soil, too. And, every moment is meticulously crafted to unsettle, to challenge, and to confront the reality that something this abhorrent happened at the hands of one person. Read our full review. SHANG-CHI AND THE LEGEND OF THE TEN RINGS Social media can get you anywhere, or so the story behind Marvel's latest movie and the actor playing its eponymous character demonstrates. Back in 2014, Simu Liu tweeted at the comic book company-turned-filmmaking powerhouse, asking "how about an Asian American hero?". In 2018, after Black Panther's success, he tweeted again — querying "are we gonna talk or what?" with the #ShangChi hashtag. Now, the Kim's Convenience star leads the Marvel Cinematic Universe's 25th feature, and the first to focus on a hero of Asian descent in its 13-year run to-date. He's the face of the franchise's latest step forward, both in terms of inclusion and representation, and in keeping the MCU's ongoing narrative forever hurtling onwards. Liu anchors a film about history and destiny, too — one that's about breaking free from the past and committing to the future — and he heartily embraces the occasion. As directed and co-written by Destin Daniel Cretton (Just Mercy, Short Term 12), Shang-Chi and the Legend of the Ten Rings itself flits between offering up a lively picture that strives to carve out its own space in the series, and simply serving up more of the usual Marvel template but in enticing packaging, however. Liu first graces the screen as Shaun, a San Francisco valet who's happy parking cars with his best pal Katy (Awkwafina, Breaking News in Yuba County), even though they both know they could follow other paths. While the film shows Katy's family decrying her lack of ambition, Shaun has a keener awareness of what he isn't doing — because he's really Shang-Chi, the son of centuries-old warlord Xu Wenwu (Tony Leung, The Grandmaster), who leads the shadowy Ten Rings criminal organisation and wears the mystical bracelets it's named after. Shang-Chi also has the otherworldly Jiang Li (Fala Chen, The Undoing), the former guardian of an enchanted village filled with dutiful warriors and mythical creatures, for a mother. But when she died when he was a child, his life changed. After the grief-stricken Wenwu obsessively trained him to become an assassin and see vengeance, Shang-Chi fled for the US, where he's lived since. Then, initially via a postcard from his Macau-based, underground fight club-running sister Xu Xialing (debutant Meng'er Zhang), and then thanks a violent visit from his dad's henchmen, he's forced into a family reunion that puts the fate of the universe at stake. Read our full review. MALIGNANT Nearly two decades have passed since a pair of Melbourne talents made a low-budget horror flick that became a franchise-starting smash, sparking their Hollywood careers. Thanks to Saw, James Wan and Leigh Whannell experienced every aspiring filmmaker's absolute fantasy — a dream they're still living now, albeit increasingly on separate paths. Wan's latest, Malignant, is firmly grounded in those horror roots, however. Most of the Insidious and The Conjuring director's resume has been, aside from recent action-blockbuster detours to Fast and Furious 7, Aquaman and the latter's upcoming sequel. With Malignant, though, he shows how strongly he remains on the same page as his former collaborator. Anyone who's seen Whannell's excellent Upgrade and The Invisible Man will spot the parallels, in fact, even if Malignant is the far schlockier of the three. Malignant is also an exercise in patience, because plenty about its first half takes its time — and, when that's the case, the audience feels every drawn-out second. But after Wan shifts from slow setup mode to embracing quite the outrageous and entertainingly handled twist, his film swiftly becomes a devilish delight. Heavily indebted to the 70s-era works of giallo master Dario Argento, David Cronenberg's body-horror greats and 80s scary movies in general, Malignant uses its influences as fuel for big-swinging, batshit-level outlandishness. Most flicks can't segue from a slog to a B-movie gem. Most films can't be saved by going so berserk, either. Wan's tenth stint behind the lens can and does, and leaves a limb-thrashing, blood-splattering, gleefully chaotic imprint. Perhaps it's a case of like name, like approach; tumours can grow gradually, then make their havoc felt. Regardless, it doesn't take long within Malignant for Dr Florence Weaver (Jacqueline McKenzie, Miss Fisher and the Crypt of Tears) to proclaim that "it's time to cut out the cancer" while treating a locked-up patient in the film's 1992-set prologue. This is a horror movie, so that whole event doesn't turn out well, naturally. Jump forward a few decades, and the feature's focus is now Seattle resident Madison Mitchell (Annabelle Wallis, Boss Level), who is hoping to carry her latest pregnancy with her abusive husband to term. But then his violent temper erupts again, she receives a head injury, and childhood memories start mixing with visions of gruesome killings linked to Dr Weaver's eerie hospital — visions that Madison sees as the murders occur. Bearing telepathic witness to horrific deaths is an intriguing concept, although hardly a new one — and, that aforementioned first scene aside, it's also the most interesting part of Malignant's opening half. Wan and screenwriter Akela Cooper (Grimm, The 100) play it all straight and obvious, including when the cops (Containment's George Young and Songbird's Michole Briana White) are skeptical about Madison's claims. That leaves only her younger sister Sydney (Maddie Hasson, Mr Mercedes) believing what's going on, and leaves the movie a plodding psychological-meets-supernatural thriller predicated upon routinely predictable but improbable character decisions. It makes the second half feel positively electrifying in contrast, when the big shift in tone comes, but also makes viewers wonder what might've been if that lurid look and kinetic feel had been present the whole way through. Read our full review. THE LAST DUEL A grim historical drama that recreates France's final instance of trial by combat, The Last Duel can't be described as fun. It hinges upon the rape of Marguerite (Jodie Comer, Free Guy), wife of knight Jean de Carrouges (Matt Damon, Ford v Ferrari), by his ex-friend Jacques Le Gris (Adam Driver, Annette) — aka the event that sparked the joust — so that term will obviously never apply. Instead, the movie is exquisite in its 14th-century period staging. After a slightly slow start, it's as involving and affecting as it is weighty and savage, too. When the titular battle takes place, it's ferocious and vivid. And with a #MeToo spirit, the film heartbreakingly hammers home how poorly women were regarded — the rape is considered a crime against Carrouges' property rather than against Marguerite herself — making it an expectedly sombre affair from start to finish. The Last Duel must've been fun to make from a creative standpoint, however. Damon sports a shocking mullet, and Ben Affleck (The Way Back) dons a ridiculous blonde mop while hamming up every scene he's in (and demanding that Driver drop his pants), although that isn't why. Again, the brutal events seen don't earn that term, but teasing out Marguerite, Carrouges and Le Gris' varying perspectives is fascinating. Director Ridley Scott (All the Money in the World) and his screenwriters — Good Will Hunting Oscar-winners Damon and Affleck, plus acclaimed filmmaker Nicole Holofcener (Enough Said) — have clearly seen Rashomon, the on-screen benchmark in using clashing viewpoints. In their "he said, he said, she said" tale, journeying in the iconic Japanese film's footsteps proves captivating. It must've been an enjoyable challenge for its cast, too, terrible hairstyles and all; as moments repeat, so much of the movie's potency stems from minuscule differences in tone, angle, emphasis and physicality. "The truth according to Jean de Carrouges" proclaims The Last Duel's first chapter, adapting Eric Jager's 2004 book of the same name in the process. (Le Gris and Marguerite's segments, following in that order, receive the same introduction.) Even in his own instalment, Damon plays Carrouges as a scowling and serious soldier, and as petulant and entitled. He's also a victim in his own head. That attitude only grows as Le Gris finds favour with Count Pierre d'Alençon (Affleck), cousin to teenage King Charles VI (Alex Lawther, The Translators), and starts collecting his debts — including Carrouges' own. And when the knight marries the beautiful and well-educated Marguerite, it's purely a transaction. It also deepens his acrimony towards Le Gris long before the rape, after land promised in the dowry ends up in his former pal's hands via the smarmy Pierre. Still, Carrouges is instantly willing to fight when he hears about the sexual assault. That said, it's also just another battle against Le Gris and the Count, after taking them to court and the King over their property squabble. In Le Gris' chapter, where Driver broods with an intensity that's fierce even for him, Carrouges' joylessness and pettiness is given even more flesh. Also explored here: the Count's hedonism, the ambition and greed driving the opportunistic Le Gris, and the fixation he develops with Marguerite. Scott ensures that the rape lands like the horror it is, too, leaving no doubt of its force and coercion despite Le Gris' claims otherwise. Read our full review. FREE GUY If Free Guy was a piece of home decor, it'd be a throw pillow with a cliched self-empowerment slogan printed on the front. You know the type. It might catch your eye the first time you spotted it, but it'd look almost identical to plenty of other cushions you can buy at absolutely any department store. It'd make you think of other, nicer pillows, too, but its phrasing and design wouldn't be as resonant or appealing. And, while its attractive font would tell you to believe in yourself, stand out and make each moment count, it'd still simply spout the usual well-worn sentiments that keep being served up as store-bought tonics for weary souls. Yes, Free Guy is a big-budget, star-led movie that primarily exists to answer two not-at-all pressing questions: what would The Truman Show look like if it starred Ryan Reynolds, and how would that 1998 classic would fare if it was about massive online video games instead of TV? But, as directed by Shawn Levy (the Night at the Museum franchise), scripted by Matt Lieberman (The Addams Family) and Zak Penn (a Ready Player One alum), and drawing upon everything from The Matrix, The Lego Movie, Groundhog Day and They Live! to Wreck-It Ralph, Black Mirror and Ready Player One, this is firmly Hollywood's equivalent of mass-produced soft furnishings emblazoned with self-help platitudes and designed to sit on as many couches as possible. Cast for his generically affable on-screen persona — as the Deadpool and Hitman's Bodyguard franchises also keep trying to capitalise upon — Reynolds plays Free City bank teller Guy. His daily routine involves greeting the same goldfish upon waking, putting on the same blue shirt, picking up the same coffee en route to work and having the same chat with his best friend Buddy (Lil Rel Howery, Judas and the Black Messiah) when their place of employment is held up multiple times each day. Guy is completely comfortable with his ordinary lot in life. He knows that things aren't like this for 'sunglasses people', the folks who tend to wreak havoc on his hometown, but he doesn't challenge the status quo until he decides that the shades-wearing Molotov Girl (Jodie Comer, Killing Eve) is the woman of his dreams. To have a chance with her, he's certain he needs sunglasses himself — and when he snatches a pair off the latest robber sticking up his bank, it's Guy's first step to realising that he's actually a non-playable character in a video game. Sporting an upbeat mood best captured by its frequent use of Mariah Carey's 'Fantasy', Free Guy enjoys its time in Free City, which is also the game's title. There's a story behind its NPC protagonist's story, however, with the movie splitting its focus between its Grand Theft Auto-esque virtual world and reality. In the latter, coder Millie uses the Molotov Girl avatar, which she needs to search for evidence for a lawsuit against tech-bro hotshot Antwan (Taika Waititi, The Suicide Squad). She's certain that Free City rips off her own game, but needs Guy's help to prove it, especially as he starts breaking his programming, making his own decisions and becoming sentient. Read our full review. THE SUICIDE SQUAD New decade, new director, new word in the title — and a mostly new cast, too. That's The Suicide Squad, the DC Extended Universe's new effort to keep viewers immersed in its sprawling superhero franchise, which keeps coming second in hearts, minds and box-office success to Marvel's counterpart. Revisiting a concept last seen in 2016's Suicide Squad, the new flick also tries to blast its unloved precursor's memory from everyone's brains. That three-letter addition to the title? It doesn't just ignore The Social Network's quote about the English language's most-used term, but also attempts to establish this film as the definitive vision of its ragtag supervillain crew. To help, Guardians of the Galaxy filmmaker James Gunn joins the fold, his Troma-honed penchant for horror, comedy and gore is let loose, and a devil-may-care attitude is thrust to the fore. But when your main aim is to one-up the derided last feature with basically the same name, hitting your target is easy — and fulfilling that mission, even with irreverence and flair, isn't the same as making a great or especially memorable movie. Indeed, a film can be funny and lively, use its main faces well, have a few nice moments with its supporting cast and improve on its predecessor, and yet still fall into a routine, unsuccessfully wade into murky politics, never capitalise upon its premise or promise, keep rehashing the same things, and just be average, too — and right now, that film is The Suicide Squad. Mischief abounds from the outset — mood-wise, at least — including when no-nonsense black-ops agent Amanda Waller (Viola Davis, Ma Rainey's Black Bottom) teams up Suicide Squad's Rick Flag (Joel Kinnaman, The Secrets We Keep), Captain Boomerang (Jai Courtney, Honest Thief) and Harley Quinn (Margot Robbie, Dreamland) with a few new felons for a trip to the fictional Corto Maltese. Because this movie has that extra word in its title, it soon switches to another troupe reluctantly led by mercenary Bloodsport (Idris Elba, Concrete Cowboy), with fellow trained killer Peacemaker (John Cena, Fast and Furious 9) and the aforementioned Polka-Dot Man (David Dastmalchian, Bird Box), Ratcatcher 2 (Daniela Melchior, Valor da Vida) and King Shark (Sylvester Stallone, Rambo: Last Blood) also present. Their task: to sneak into a tower on the South American island. Under the guidance of The Thinker (Peter Capaldi, The Personal History of David Copperfield), alien experiment Project Starfish has been underway there for decades (and yes, Gunn makes time for a butthole joke). In this movie about cartoonish incarcerated killers doing the US government's dirty work, Waller has charged her recruits to destroy the secret test, all to ensure it isn't used by the violent faction that's just taken over Corto Maltese via a bloody coup. The end result is silly and goofy, fittingly — and yet, even when a supersized space starfish gets stompy (think: SpongeBob SquarePants' best bud Patrick if he grew up and got power-hungry), this sequel-slash-do-over is never as gleefully absurd as it should be. Again and again, even when Gunn's gambit works in the moment, that's how The Suicide Squad keeps playing out. Read our full review. Looking for more options? Black Widow, Space Jam: A New Legacy and Jungle Cruise, both of which screened in Melbourne cinemas in July before the last lockdown, are also back on the big screen as well.
The National Geographic publishes images of animals all the time, but the ones photographed for their Photo Ark project are a little different. Led by Nat Geo photographer Joel Sartore, Photo Ark aims to document every living species currently living in zoos and wildlife sanctuaries around the world. As well as acting as an archive of biodiversity, Photo Ark is also a travelling exhibition — and it will be coming to Melbourne Zoo for three months from July 1. It's a huge project, and one that Sartore has been working on for a decade now. So far the photographer has visited 250 institutions in 40 countries and captured images of over 6000 species. Many of the animals photographed — including the orange-bellied parrot above — live at Melbourne Zoo or Healesville Sanctuary, which is the reason why this exhibition is coming to our shores. Having travelled around zoos in the US, this will be the first time the works will be seen in the southern hemisphere. Many of the animals featured are critically threatened or endangered, and Photo Ark aims to bring attention to these species and urge humans to help protect these animals for future generations. While Melbourne Zoo is the only confirmed Australian stop for the exhibition, additional venues may be announced at a later date. The National Geographic Photo Ark exhibition will be on display at Melbourne Zoo from July 1 to October 1. Entry to the exhibition is included in the zoo admission price. For more information, visit the website. Image: Orange-bellied parrot shot at Healesville Sanctuary by Joel Sartore.
UPDATE: June 4, 2020: IT: Chapter Two is available to stream via Netflix, Google Play, YouTube and iTunes. It's possible to have too much of a good thing. An average thing as well. While Stephen King's horror maestro status is both undoubted and unparalleled, his books have frequently tested this idea, especially his 1138-page 1986 tome IT. A huge hit upon publication, the bestseller is the nerve-rattling cause of many clown phobias over the past three decades — but it's also as bloated as the bulging red balloons favoured by its flame-haired, make-up-clad antagonist. Bringing the novel's second timeline to the screen, IT: Chapter Two follows in its source material's meandering footsteps. Arriving hot on the heels of 2017's huge box office smash IT, yet proving painfully over-extended in its running time, this spooky sequel tasks audiences with pondering the same question as its characters: what if it never ends? Twenty-seven years after their first traumatic run-in with the malevolent evil that's known as IT, but usually takes the form of unhinged clown Pennywise (Bill Skarsgård), the Losers Club are all grown up and back home. Sparked into action by the obsessed Mike (Isaiah Mustafa), who hasn't left the small Maine town of Derry since the gang's scary childhood encounters, Bill (James McAvoy), Richie (Bill Hader), Beverley (Jessica Chastain), Eddie (James Ransone) and Ben (Jay Ryan) return to vanquish the otherworldly monster once and for all. Although their memories are initially foggy, and getting everyone on board takes some convincing, the group has ample motivation. If they fail, IT will wreak havoc yet again in 27 more years. Given that their own lives were forever changed by the spine-chilling figure — and given that IT is doing a great job of creeping out and killing new kids this time around — that's a fate that no one wants. When Mama director Andy Muschietti first brought IT back to the screen two years ago, he traded upon nostalgia, jumped on a trend and knew that, when all else fails, unsettling imagery works a charm. Popular culture's Stranger Things-inspired love of retro thrills hasn't subsided since, and nor has its fascination with King's oeuvre. If anything, they've both increased in the wake of the first flick's blockbuster success. Still, IT: Chapter Two feels like a case of stretching a concept to breaking point. It never escapes attention that Pennywise can evolve into a host of different shapes, each more unnerving than the last, however the film he's in doesn't dare contemplate anything similar. Instead, the movie is eager to prolong its formula for as long as possible. When that's not enough, it indulgently nods to everything from The Shining to The Thing, and even opts for the ultimate in fan service by giving King himself some screen-time. Muschietti and screenwriter Gary Dauberman (Annabelle Comes Home) may have a hefty amount of text to sort through, but there's not actually that much to IT: Chapter Two's story. The Losers Club heads home, trudges through difficult memories and confronts IT, as well as the impact it's had on their adult lives, working their way through a series of escalating funhouse-style set-pieces in the process. Indeed, the film's elongated mid-section encapsulates its troubles perfectly. Spending time with each of the gang as they scour Derry for tokens from their youth, the movie switches between the teen and current versions of every character, lets them each encounter Pennywise and sorts through their respective demons — and, while each vignette has more than a few standout moments, the cycle quickly becomes repetitive. The approach also sucks much of the tension out of the picture. Audiences have seen the first film, are aware that 1989's Bill (Jaeden Martell), Richie (Finn Wolfhard), Beverley (Sophia Lillis) and company survive until the events of this movie, and know that a big group showdown pitting the 2017 gang against their nemesis is inevitable. As a result, as visually effective as these blasts from the past prove, they're the narrative equivalent of treading water. IT circa 2017 was always at its strongest when it was inciting coulrophobia, as aided by Skarsgård's exceptionally demented performance, plus a clown car full of well-crafted special effects. For all the added star power that IT: Chapter Two boasts, the same remains true here. Individual images lodge themselves in the mind — Pennywise' deranged grin, fortune cookies morphing into attacking critters and a mirror maze altercation that's as disturbed as the one featured in Us earlier this year — more than anything else in the movie. Indeed, despite the big names joining the cast, this isn't an actor or character-driven picture. The Disappearance of Eleanor Rigby co-stars McAvoy and Chastain aren't given much room to unleash their talents, though they fare better than their last dismal pairing in X-Men: Dark Phoenix. In Ransome, Mustafa and Neighbours alumni Ryan's case, they're all tasked with sticking to a single type (neurotic, paranoid and, with the latter, sensitive and unexpectedly attractive). And while the ever-likeable Hader fares best, it's primarily because Richie is now a stand-up comic, so the actor is firmly in familiar territory. Even when IT: Chapter Two overtly attempts to address its struggles and pre-empt any criticism, it can't convincingly hit the mark. Being stuck reliving history sits at the very core of the movie, yet the notion is undermined by Muschietti's willingness to let his adult actors largely ape their teen counterparts, rather than add flesh to their shared protagonists. With Bill specifically, the character is now a King surrogate who has a problem with endings, which'd be a solid joke if the film didn't tussle with wrapping things up just like the prolific author does. That misstep also points to something rather terrifying: in today's sequel and franchise-friendly world, this horror saga probably won't end here, even though it has expended its source material. Nightmares recur, of course, but they're rarely as routine as IT: Chapter Two whenever its unbalanced boogeyman is out of sight. https://www.youtube.com/watch?v=bBO1dO1a4ro
When news hit that Studley Park Boathouse was getting a $5.8-million revamp, including brand-new dining options and a multi-level riverside deck, we were understandably excited. Now, we have an opening date for the historic boathouse: Studley Park Boathouse will reopen to the public on Thursday, 31 August, unveiling a new cafe, restaurant, pizzeria, gelato cart and outdoor dining deck along the Yarra. Australian Venue Co. (Yarra Botanica, Fargo & Co, BrewDog Pentridge) has worked closely with Parks Victoria on the transformation to protect and enhance the heritage site. "Studley Park Boathouse is a beloved part of Melbourne's history, so it was important to us to preserve its character while revitalising it for the modern Melbourne community. We look forward to welcoming locals and visitors back to the revitalised space," Australian Venue Co. CEO Paul Waterson says. On the bill: a sun-filled dining room offering a leafy outlook overlooking the Yarra River and parkland. Boasting floor-to-ceiling windows, a sophisticated yet sensible interior is promised, with touches of rattan, white timber and natural hues to tie the space together. Small and large plates run to the likes of hiramasa kingfish tartare with apples and chives, Lilydale free-range chicken and a 'Tipsy Trifle' which combines baileys, fig leaf custard, cherries and strawberries. Image: Render, supplied The wine list leans local, championing an entirely Victorian menu sourced within 100km of Studley Park Boathouse. Sip through 16 wine-by-the-glass options, or opt for a seasonal tasting paddle that will showcase drops from the Yarra Valley, Mornington Peninsula, Geelong, Heathcote and the Pyrenees in spring. Downstairs, residents familiar with the former kiosk will find it revamped as the Pavilion bar, which extends to a large, al fresco dining area and riverside dining deck. A pizzeria will serve eight different woodfired options, including a charred pumpkin and ricotta number, meatballs with blue cheese, or chorizo paired with n'duja and roasted peppers. Meanwhile, a redesigned cafe named The Perch will cater brunch on weekends. All food and bevvy options are available at any location throughout the revamped Studley Park, so you can pick your favourite spot to perch and spend the afternoon tasting through the offerings. Picnic packages complete with blanket hire and a new 'Row-sé' package bundles together boat hire, glasses of rosé, pizza and gelato. The team is also preparing to host a line-up of pop-up events and live entertainment throughout the year, including live music on Fridays, Saturdays and Sundays. To celebrate the opening, guests to Studley Park Boathouse on weekends between 2–4pm across 2–17 September will snag a complimentary welcome drink on arrival, free slices of roaming pizza and complimentary boat hire sessions. Kids can also score free ice-cream all day on weekends. [caption id="attachment_894549" align="alignnone" width="1920"] Image: Render, supplied[/caption] Studley Park Boathouse is set to reopen on Thursday, August 31. Head along between 2–4pm, between 2–17 September, to score a complimentary welcome drink on arrival, free slices of roaming pizza and complimentary boat hire sessions. Kids can also score free ice-cream all day on weekends. Images: Flickr, Alpha, renders - supplied.
