If you're going to sit yourself down in someone's restaurant, eat their specially cooked food from their own personal dishes, drink their juices and leave them to clean up your mess, you'd feel like paying right? You'd think most Australians would, but Melbourne-founded 'pay-what-you-feel' restaurant Lentil as Anything is watching customer by customer happily walk out without paying much (or anything) at all. Reported by Good Food, the popular chain is losing money — a lot of money. Apparently people aren't as generous as they thought when the not-for-profit organisation first set up the bill honour system — mainly as a means to get much needed, good vegetarian food to people of a lower socioeconomic status. But it looks like people are genuinely stingy bastards and treating the joint as a free feed. LAA is operating at a major loss — GF reports the Abbotsford restaurant lost $4000 in one night, despite serving 1500 people (who'd just returned from Rainbow Serpent festival). This averaged out to about $2.75 a head. Well done, y'jerks. Lentil as Anything has no prices on their menu. The Melbourne and Sydney restaurants are entirely funded by donations with the kind and probably naive motto "everyone deserves a place at the table". GF reports roughly one million meals are served by LAA across the four restaurants each year, with running costs getting up to $24,000 per venue per week. To help this even out, you're advised to leave around $12 to cover the meal and the general running of the joint. But if you don't pay them properly, they pay for your dinner themselves. They pay for you to eat their deliciously healthy food in their dining room from their plates. If you can't pay, you're encouraged volunteer in the kitchen or come back later and pay the difference. Amazingly, Lentil as Anything intend to keep running their business with their philosophy intact. So, if you're the giant stingebucket robbing this goodhearted chain of their livelihood, or you've seen 'friends' leave a couple of bucks for a giant LAA meal, check yourself. Don't be a tightass and leave Lentil as Anything what they're due. Via Good Food.
Flight Facilities has announced its one and only Melbourne gig for 2015. And it’s looking like a whizz-bang affair. On Saturday, 17 October, as part of the Melbourne Festival, the Sydney-based duo will perform with the Melbourne Symphony Orchestra in the Sidney Myer Music Bowl. That’s right; fans are to be treated to a classical-infused retake on Flight Facilities’ debut album Down To Earth under the stars, complete with soaring flute lines and harmonising strings. “Long before making ‘Clair de Lune’, we both shared a love for classical music,” said Hugo Gruzman and James Lyell this morning. "Playing alongside an orchestra was almost inconceivable when we started Flight Facilities, but now we've been given the chance to collaborate and perform with one of Australia's greatest." In addition to tunes from Down to Earth, you can expect a bunch of Flight Facilities’ singles and remixes, as well as some new bits and pieces, composed specifically for the MSO. And a dazzling videoscape will provide the backdrop. “We're taking on the challenge of reinventing, not only the way we approach our live show, but our original pieces of music, too. For us, the opportunity to have Melbourne Symphony Orchestra reinterpret the contemporary as classical can only be described as 'a dream come true',” said Hugo and James. During the past five years, Flight Facilities has featured in triple j’s Hottest 100 annually. At the same time, the pair has been making international incursions, with performances at Glastonbury and Coachella, as well as sold-out US and European tours, under their belt. Flight Facilities’ 2013 Melbourne Festival performance took place in the Foxtel Festival Hub, and involved the duo taking its audience on a forty-year journey through its various musical influences. Expect a similarly epic escapade for this year's show. Tickets will go on sale on Wednesday 6 May at 9am. Undercover seating will cost you $69 a pop, while standing room/grass seating is going for $49. Nab yourself a spot right here. Meanwhile, you’ll have to wait until 4 August to find out what else will be happening at this year’s Melbourne Festival. Watch Sam Rockwell dance his way through Flight Facilities latest video for 'Down to Earth' right here.
Monster movies have their place. Slasher films, and every horror flick about fiendish foes, too. But features about real-life atrocities — events such as the Port Arthur massacre, where 35 people were murdered and 23 others wounded — should never share the same notions of evil. Director Justin Kurzel and screenwriter Shaun Grant understand this, and demonstrate a canniness so astute that it's unnerving. They make movies that take this notion as a given, unpacking dark chapters of Australia's history guided with it as their guiding principle. That's clear in Nitram, their new film about the events preceding that tragic incident in Tasmania in 1996, just as it was in their 2011 debut Snowtown. Both movies dive into loathsome true crimes. Both films are difficult, distressing, disquieting and disturbing, understandably. Both features are also brilliant for many reasons, the fact that they're about people rather than monsters high among them. It's terrifying to contemplate something so gut-wrenchingly abominable as the bodies-in-barrels murders, which Snowtown depicts, and to face the fact that people rather than evil were behind them. Nitram courts and provokes the same response as it focuses on something equally as ghastly, and similarly refuses to see the perpetrator in shades of black and white. In their third collaboration — with 2019's bold and blazing True History of the Kelly Gang in the middle — Kurzel and Grant don't excuse their protagonist. They don't try 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 Nitram 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 she 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. Crucially, Nitram anchors its namesake's notions of right and wrong in a childhood interview with the real-life gunman, with the archival footage opening the film. In hospital after frolicking with fireworks, the boy who'll grow up to blight Australian history forever is asked if he has learned from the experience. "Yes" is his answer, "but I'm still playing with 'em," he continues. Nitram isn't ever so overt as to echo those words throughout the movie, and it also doesn't need to. The idea ripples through every scene anyway, whether its central figure is later trifling with firecrackers at a school as an adult, lapping up Helen's affection amid her beloved brood of dogs and the constant sound of Gilbert and Sullivan show tunes, or slapping his dad out of an emotional low. Another scene — a powerhouse due to the inimitable Judy Davis, and a searing monologue delivered with festering pain — cements the idea that Nitram is cognisant of how his actions affect others, but that truth also resounds in Jones' Cannes Film Festival Best Actor-winning performance. He plays the part like Nitram knows he's testing boundaries, and knows the effect he frequently has on others. While even later still, the character tells his mother that when he watches himself on camcorder footage, he's not certain who he sees, there's never any doubt he's cognisant of how the world perceives him. 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. Davis, LaPaglia and Davis make as much of an impression, one stiffened by time, one stripped bare through denial, one lonely and generous, and Kurzel shows that his winning way with actors is just as masterful here as in almost everything (Assassin's Creed aside) on his filmography. His love of sound and fury remains intact here as well, and it certainly signifies plenty. Every second of Nitram is designed to keep unpacking not only the lead-up to the Port Arthur tragedy — an event that's purposefully never shown itself, but inherently tints the film with foreboding, tension, horror and unease — but also the views of masculinity that've become as baked into Australia as the ochre-hued soil. Every moment is meticulously crafted to unsettle, to challenge, and to confront the reality that something this abhorrent happened at the hands of this man. Nitram doesn't trade in answers, but it does come with a message. Its gun scenes haunt, including when amassing weapons proves effortless if you have the cash and inclination. These sequences also help explain why Kurzel and Grant have taken on a clearly nerve-wracking endeavour, as the movie's post-script underscores. Australia's response to April 1996, in enacting tough gun legislation and buybacks, helped console a grieving country, but those laws have since been watered down. Now, more firearms exist across the nation than did then. That too is blood-curdling and traumatic, and making sure it resonates is another of this tremendous film's achievements.
What to do when your social life has once again reverted to virtual hangs with mates, but you exhausted most of the decent group activity options last time around? Enter: Virtual Escape — an Aussie website offering a digital version of the brain-teasing escape room experience. Much like the real-life challenge rooms you'd have tried back in pre-pandemic times, Virtual Escape hosts a series of interactive puzzles requiring fierce teamwork and plenty of clue-solving to get you out of sticky fictional situations. Only these ones are played entirely online, with participants communicating via video call. To play, you'll need a WhatsApp group, multiple devices and a way of viewing PDF documents. Each team of two-to-six players will be joined by their own facilitator, who'll provide the background info and set the challenge. Currently, there are two Virtual Escape experiences to choose from, one centred around a bank heist and the other featuring a bomb threat. A third, inspired by the humble hangover, is in development, to be released in the coming months. Each runs for a heart-pumping 60 minutes, priced at $45 per group of up to six. Got a competitive streak? The top ranking teams for each online experience are published on the website, in case you want to strive for the glory of the leaderboard.
When you're looking to add something tasty to a humble slice of bread, plenty of toppings will do the trick. Even if you limit yourself to spreads and only spreads, everything from Vegemite and peanut butter to Nutella and Biscoff exists. But what if you're hankering for a doughnut and don't have any on hand, or you want to tuck into something more than a little healthier? To the delight of your tastebuds, that's where The Wholefoods Refillery's cinnamon donut spread comes in. A smooth concoction that features plenty of cinnamon — obviously — the spread has been available for around a year; however, since late June, The Wholefoods Refillery has been selling it online. That means that you can order a jar, or several, and have it sitting in your cupboard for whenever you need to turn any piece of bread into dessert. Then, just get slathering. The spread is vegan, as well as gluten free and dairy free. It isn't made from doughnuts, of course, but from cashews, peanuts and coconut. Sadly, if you have a nut allergy, that means you'll just have to stick to actual pastries. Because it uses birch xylitol, which is derived from birch, it isn't suitable for dogs either — so don't go sharing your spread with your four-legged best friend. A 375-millilitre jar will set you back $14 and, if you're wondering how else to put it to use, the folks at Wholefoods Refillery have whipped up recipes for apple rings and scrolls. The latter will help tame your Cinnabon cravings, too. And, if you'd like to try the brand's cashew coconut and Not Tella spreas as well, you can nab the trio in a three-pack. The Wholefoods Refillery's cinnamon donut spread is available to purchase for $14 per jar via its website.
If an indulgent Italian feast is on your agenda for Aussie Wine Month, then look no further than the Three Italians lunch. As the name explicitly states, the event will be an Italian smorgasbord, a celebration of the big Italian three — wine, food and opera. The frivolities kick off with Prosecco and canapés on the lawn, and it only gets better from there. Held outside on at the Pizzini Wines estate in Whitfield, Adam Pizzini of Casa Cucina in Wangaratta will prepare a four-course lunch using local produce and Italian wines. All the while, operatic duo Catherine Pendelich and Céd Le Mélédo will fill the country air with sweet music. Have you ever heard of anything more enchanting? We haven't.
One of North Fitzroy's most legit barbecue houses, Bluebonnet Barbecue, is taking their show on the road after launching their very own food truck. The truck, a 1970s C1300 named 'Mabel' by previous owners, was salvaged by Bluebonnet owner Chris Terlikar after years of neglect in an open paddock. Mabel has gone through many reincarnations, most recently acting as a delivery vehicle for Princess Laundries. Now, hand-painted with barbecue mantras, the old girl is back in action and ready to serve up some damn tasty barbecue plates and sides. Mabel will tow one of Terlikar's hand-built smokers, turning out a menu that will focus, not surprisingly, on barbecued meat plates — think black Angus brisket, oak smoked chicken and Berkshire pulled pork. And since you can't have barbecue without the requisite sides, they're serving up some Bluebonnet classic like their apple and kohlrabi slaw with a poppy seed vinaigrette and their russet potato salad with blackened jalapeno crème fraiche. If you can't get enough of the house-made barbecue sauces, they'll also be available to purchase by the bottle (or two) at the truck. For Mabel's big unveiling on Saturday April 1, at Melbourne's permanent food truck park Welcome to Thornbury, the team gave away fifty free barbecue plates. If you're now kicking yourself because you missed it, the truck will all around town this month, including back at Welcome to Thornbury this Sunday, April 9, at the Four Pillars cellar door April 7-9 and the Boogie Festival April 14-17. Unfortunately, the freebies were a one-time only event, but this barbecue is certainly worth paying for.
It's no secret that Melbourne is considered the cultural capital of Australia, and is world-renowned for its arts scene. And, when summer rolls around, its the time of year when our city's calendar really booms. From an emerging art fair and a streetball tournament to a subcultural dance-off and a massive LGBTQI+ disco party, the early months of 2020 are looking pretty impressive. It's time to start sorting through the lot and filling up your days with all things culture. That's why we've teamed up with our mates over at inner city-inspired brewer Atomic Beer Project to bring you five events happening in 2020 that every Melbourne culture vulture should add to their calendar ASAP.
Melbourne, your obsession with the humble oat milk coffee is about to be taken to psychedelic new heights. The folks at Minor Figures are bringing you an immersive coffee experience that fuses caffeinated concoctions with tunes, dazzling visuals and a big dose of greenery. The Deep Tasting pop-up is landing at Collingwood Yards from Friday, August 12–Sunday, August 14, in the form of a tripped-out greenhouse filled with plants. With mesmerising colour-changing dichroic glass walls and a fitout crafted from upcycled oat milk cartons, it's a wild time. Guests will be given one of the new limited-edition Padre Coffee x Minor Figures lattes before stepping inside the greenhouse to be enveloped by beats from jazz artist (and Minor Figures co-founder) Will Rixon, and curated coffee aromas courtesy of scent masters Agaric Fly. Bags of Padre coffee will also be available to purchase if you're feeling inspired to recreate the magic at home. And after the pop-up, the Deep Tasting greenhouse will be donated and relocated to one of CERES' community gardens to live out its life. Deep Tasting will be tripping from 12–4pm Friday, and from 8am–4pm Saturday and Sunday.
Easter is nearly upon us, which means time is running out to make the most of your four-day weekend. Thankfully, there's plenty going on in Melbourne – from a chocolate-infused high tea overlooking the city at Pan Pacific to single-origin Easter eggs at Pidapipo. And here's yet another way to hop the fun. Johnny's Green Room in Carlton is hosting a long weekend party with eats, drinks and music. Settle in with a fish sandwich, starring crumbed barramundi, for just 16 bucks, before getting to work on your pick of GUM wines for $12 a glass. They're all made in an old-vine vineyard in the Cathedral Range from grapes sourced from Heathcote, the Macedon Ranges and Central Victoria. Plus, all weekend, DJs from Hope St Radio will be in the house. Johnny's Green Room will be open as usual through Easter – on Good Friday from midday-midnight, Saturday from midday-midnight, Easter Sunday from midday-11pm, and Easter Monday from midday-11pm. Book yourself a spot over here.
"Space movie mashup" isn't the best name for a film, but in Passengers' case, it would've fit. So would've the much too wordy "intergalactic love story with a predictable twist". Let's try a third one on for size: "attractive actors find a way to pair up…as they're hurtling towards another galaxy". The formula is simple, with Chris Pratt and Jennifer Lawrence the good-looking talent in question, a spaceship heading to a new planet their setting, and both sparks and conflict flying. Here's how Passengers starts out: mechanical engineer Jim Preston (Pratt) wakes up on board the starship Avalon, only to discover that he hasn't quite reached his destination yet. Thanks to a hibernation pod malfunction, he's up and moving 90 years too early — and, among the 5000 folks snoozing on board, he's the only living soul wandering the vessel's many decks, rooms, basketball court, dance floor and pool with an intergalactic view. Android bartender Arthur (Michael Sheen) pours a mean drink but is no substitute for real human company, and soon loneliness and despair begin to set in. Much to Jim's relief, pretty young writer Aurora Lane (Lawrence) eventually joins him; however their romantic bliss isn't exactly what it seems. With The Imitation Game's Morten Tyldum directing a script that was actually written a decade ago by Doctor Strange scribe Jon Spaihts, what follows is as standard as it sounds, even with the aforementioned twist. Indeed, while Passengers' big plot development isn't divulged in the film's trailers, it's not at all difficult to guess. Moreover, while the eventual revelation drives much of the movie's drama, it's really just a way to bring the two characters together, tear them apart, and leave the audience waiting for a reunion. The end result is an interstellar effort that veers into creepy territory; a film that recognises the moral dilemma at its core, but doesn't take more than a cursory moment or two to really explore it. The same can be said for its broader existential leanings, both when Jim is alone and when Aurora awakens. You won't find Moon's musings on isolation, Solaris' pondering of love and loss, or Sunshine's psychological complexity here. Still, it's hard not to make the comparison — and before long you may find yourself wishing you were watching one of those films instead. Passengers does its best to coast through the cinematic realm fuelled by star power and shiny surfaces, boasting enough of both to keep your eyes engaged, but not your heart or mind. Pratt and Lawrence are in fine, charismatic form, even if they never particularly sell their rapport. Sheen, meanwhile, is sadly underused as the only other actor with a significant speaking role. All in all, the movie may look the space-bound part, but it ends up feeling far too generic.
When Darth Vader told Luke Skywalker that they're more than just mortal enemies, it became one of the most famous lines of dialogue in movie history (and one of the most mis-quoted). If you've seen Star Wars: Episode V — The Empire Strikes Back, you'll know that it's a powerful, memorable moment that changes the shape of the entire space saga. Even if you haven't, you know what we're talking about. Now, imagine just how epic it'll feel when you're watching the flick on a big screen and listening to John Williams' iconic score played by a live orchestra. Yes, The Force is strong in Melbourne once more, with Melbourne Symphony Orchestra staging the next in its series of Star Wars events with four screenings and performances on December 14, 15 and 16 at the Melbourne Convention and Exhibition Centre. Jedis, wookiees and droids alike can expect three nights of tussles between the Rebels and the Empire, Luke learning his true parentage, Han flirting with Leia and getting frozen in carbon, Chewbacca being awesome, R2-D2 being adorable and C-3PO being annoying (well, he is). Plus, it's the flick that marks the first appearance of Lando Calrissian and the first time 'The Imperial March' is heard. Conductor Nicholas Buc will be leading the charge again, and expect an energetic performance — it's his favourite Star Wars score. "Williams' bombastic music for Darth Vader has since come to represent everything evil in the Star Wars universe and, combined with his new love theme for Han and Leia, this score improves on everything that he started in Episode IV," he notes. Buc will also discuss the score with film experts Dr Dan Golding and Andrew Pogson in four pre-concert talks — at 6.15pm on Friday, 11.45am or 6.15pm on Saturday and 11.45am on Sunday. Prices start at $35 for restricted view and $49 for D Reserve. To purchase tickets, visit the MSO website. Updated: December 7
If you want to add some cuddles to your morning workout routine, make tracks to South Wharf for Pups and Pilates. BYO doggo (or cosy up to someone else's) and enjoy a 45-minute pilates class that is sure to start your day off with a big dose of endorphins. The class is hosted by PatchPets, a new social app that allows you to connect with other dog owners and lovers, and acts as a directory of all the dog services, venues and happenings around town. The sessions will run at 9am on five consecutive Saturdays at The Common Man — launching on December 7, then running again each week from December 14–January 4. The class is free with an Eventbrite booking, and there are still spots left — so take your pick and nab one while you can.
Blindside Gallery's latest split show brings us two markedly different exhibitions, splitting the space between the conceptual Feel the Confidence and the tactile Incessant Ruthlessness. Loosely linked by their obsession with time and agency, these two shows nonetheless feel somewhat out of balance — due largely to one of them being much stronger than the other. Jon Hewitt's Feel the Confidence lives mostly in its accompanying information booklet sitting on a plinth outside the gallery. While the booklet quotes sources, explains motivations and narrates the artist's history, the work itself offers little. A grid repeats the same photograph of a bald man's head 42 times on every page, each photo underscored by a name. These names are men we know — Picasso, Warhol, Da Vinci — all apparently sufferers (if we can use that term) of male pattern baldness. There were four of these identical pages hanging when I saw the exhibit, but the number will grow every day as the artist hangs a new edition until the space is filled with baldness. As the booklet elucidates, Hewitt doesn't have a lot of time for the art world. He considers it shallow, self-indulgent and above all, repetitive. He suggests that contemporary art is meaningless as any momentum or development has ceased, rendering attempts at participation largely futile. And yet, hair falls out — even Picasso, Warhol and Da Vinci's hair fell out, suggesting that no matter how great (or mediocre) an artist you are, you still can't stop that inexorable crawl towards death. The thing is, not all art is as shallow as Hewitt would have us believe. Sarah Bunting's Incessant Ruthlessness, exhibited in the next room, is testament to this. Where Hewitt finds that there is nothing worth expressing, Bunting's paintings seem to drown in an excess of information. In dark, foreboding swirls of colour, lonely figures stare facelessly out at us surrounded by objects past, present and future, unable to make sense of the machinery, furniture and advertising that surrounds them. These solitary figures seem so overwhelmed by their surroundings that they are unable to act on anything. Conceptually overlapping here with Feel the Confidence in regards to one's ability to have any effect on their surroundings, Incessant Ruthlessness explores the same territory with superior atmosphere and texture. That familiar feeling of being choked and oppressed is elicited, uniting a raft of viewers with an emotion that is undoubtedly universal, regardless of time and space — powerlessness. Blindside has curated an interesting show, with the disparate approaches of the two artists providing food for thought. As an artistic experience, Feel the Confidence's smug emptiness is outmatched by Incessant Ruthlessness' moody, engaging tableaux. Image credit Jon Hewitt.
We've all been there. You've just finished off a delicious meal and someone asks if you can be tempted by dessert or a digestif. But why not have both? We're big believers in treating ourselves guilt-free, which is why Glenmorangie's latest collaboration with Maha Bar caught our attention. The scotch label has partnered with the Collingwood bar to celebrate the launch of its new cake-inspired whisky, A Tale of Cake. Designed by Glenmorangie's Director of Whisky Creation Dr Bill Lumsden, A Tale of Cake is aged in dessert wine casks, which gives it a distinct, candy-like flavour. To prove how well this new tipple would pair with a dessert, Glenmorangie had world-famous pastry chef Dominique Ansel (creator of the legendary cronut) design a special dessert to be enjoyed with A Tale of Cake cocktails, dubbed a Caketail. Now, to launch the spirit Down Under, Glenmorangie has done the same here, by teaming up with Maha to create its very own Caketail. The cocktail, designed by bar manager George Leung, pairs the whisky with coconut rum, caramelised pineapple shrub and lemon juice, and is topped with a saffron, coconut, almond and macadamia praline for a sweet, fruity tipple that's perfect on summery days. The dessert, created by Shane Delia, explores those flavours, too. It's a riff on a Middle Eastern basbousa, in which coconut cream is integrated into the traditional orange blossom crème and it's topped with charred pineapple that has been soaked in a Tale of Cake syrup. The end result is an extremely decadent cocktail and cake pairing that's perfect for the summery season. Maha's Caketail cocktail and dessert pairing will be available to order for delivery via Providoor between November 23–December 23. It'll cost $40 for the pairing, or you can order the cocktail only for $26. Images: Parker Blain
Attention, Australia's aspiring novelists, budding journalists and up-and-coming writers. The Emerging Writers' Festival returns to Melbourne from June 14–23, bringing together over 200 new and emerging writers in their biggest program yet. Developed by new artistic director Izzy Roberts-Orr in collaboration with former artistic director Michaela McGuire, the festival boasts parties, performances, poetry slams, panels and networking events that all aim to promote and nurture developing storytellers. The jam-packed ten days will begin with an opening night storytelling session — titled Our Invincible Summer — by some of the brightest voices in the literary community. The evening will also include announcements of the recipients of the Monash Undergraduate Prize for Creative Writing and the Victorian Premier's Literary Award for an Unpublished Manuscript. Stick around for the afterparty, hosted by publication/blog/podcast Hot Chicks with Big Brains. Other key events include a Looking for Alibrandi-inspired formal, Tipping Points — a particularly topical play about climate change which was created in 24 hours — and Love Show, a collective performance by Quippings, a disability performance collective that showcases performers of a huge variety of bodies and minds. If you're looking for an after-dinner show, check out Lost The Plot, which sees lit nerds battle on stage in a night of wacky word games. If you can only commit to one event though, the annual, two-day National Writers' Conference is not to be missed. Held at the State Library of Victoria over the weekend of June 17-18, the event is curated to inspire writers through industry-focused talks, masterclasses and information sessions hosted by some of Australia's top literary talent. Additional masterclasses will be held throughout the festival and span everything from pitching to publishers and freelancing to young adult fiction writing, as well as podcasting, YouTubing and even spoken word. The Industry Insiders series will showcase some of Australia's top emerging editors and field discussions on self-publishing and marketing your work, while foodies can even enjoy a five-course meal in an evening with some of Australia's best food writers on Monday, June 19. The Emerging Writers' Festival 2017 will take place across Melbourne from June 14–23. For the full program of events, visit emergingwritersfestival.org.au.
When life gets stressful and you live in a big, bustling city, it can be hard to cut through the noise and forge personal connections when you're one in a million — and not in a good way. We get the feeling this is why our love of cafes is as consistent as death and taxes. Cafes, replete with friendly faces and coffee, function as calm oases in a busy city. The warm, fuzzy feeling that comes from reaching 'regular' status at your local, where they not only know your name but your order, is also why everything No. 19 cafe owners Domenic and Diana Caruso touch turns to gold. A little kindness can take you quite far. With two thriving venues under their collective belt, there's not much they can't achieve. We've teamed up with Squarespace to chat with these forward-thinking design gurus about how much effort actually goes into that minimalist look and homely cafe feel we love and crave. PUT YOURSELF FIRST It might sound counter-intuitive for a fledgling business to be built for selfish means, but hear us out. If you design a space that you'd like to inhabit, the chances are people like you will like it too. While that sounds like pretty obvious advice, it's also something that gets easily overlooked. For Domenic and Diana, those needs were simple. "We had a young family and just wanted to have somewhere nice to eat that could cater for children," says Domenic. "Ultimately, [we needed] something that was cool, homely and had killer food and coffee." For the young family, this was the ethos that started it all, the desire to create their own urban oasis where their kids could play. And from that seed grew St Rose in Essendon. "Our business started as a dream, as corny as that sounds. We always believed that someday we would open an establishment that best suited us". See? Business doesn't really have to be that complicated. KINDNESS (AND COFFEE) GOES A LONG WAY "[In hospitality] kindness and coffee go along way," Domenic observed. In 2013, they put that theory to the test and opened St Rose in Essendon, a suburb that, at the time, suffered from a serious lack of specialty coffee. Armed with only kindness and coffee (and an excellent design team at Viola Architects), St Rose took Essendon by storm and marked the beginning of the suburb's cafe boom. "The concept was simple but it had intention," says Dominic — which is a perfect summary of the St Rose vibe: simple and purposeful. St Rose very much positions itself as an elusive urban oasis. White internal brick walls lit up by soft lighting create a calm atmosphere while rich hardwood furniture and lush greenery warm it right up. But at the end of the day, it was the warmth of the team that became the cafe's strongest point of difference. "[St Rose] was the beginning of a very strong team that has become part of our family," Domenic says. BE BRAVE AND BE SMART Opening a cafe can be likened to having a child: it's difficult, tiring, challenging but ultimately, incredibly rewarding. With St Rose passed its terrible twos, and their own family chugging along, the Carusos decided to do it all over again. And this time, they took a risk. "When we knew we were confident enough in the team at St Rose in Essendon, we were ready to create another milestone and open up the second venture," Domenic says. "No. 19 was always a concept we had on the back burner. It ultimately felt like it was time to have another baby…we were ready to learn, grow and conquer." This time, instead of designing for themselves, they started No. 19 with a different (slightly more abstract) inspiration: concrete. "We were fascinated with the idea that something so raw could look so refined when paired with the correct hues and textures," Domenic says. They would soon discover that a huge amount of thought and planning goes into the perfect minimalistic aesthetic, from perfectly match concretes to choosing the perfect Squarespace template and getting their name out there with a slick website. For the Carusos, chasing that aesthetic was a calculated risk. "[When we started the designs] there weren't a lot of cafes that looked anything like this…a minimal concrete playground of food and coffee," says Domenic. (Sounds perfect to us…) With the help of Biasol Design Studio, they found their premises in Ascot Vale, built out the concept of No. 19, and opened the doors just over a year ago. FOOD AND COFFEE IS STILL KING The outcome is stunning. No. 19 is an Instagram darling, a pageant girl of the cafe scene, with a minimal but somehow warm and eye-catching interior schematic. "There was a lot of detail [that went into] No. 19, but we knew ultimately it was going to be all about the simple elements that would give a minimalistic raw charm," Domenic says. They did what they set out to do — create a new addition to the family that managed to have its own unique flavour. At the end of the day, though, the food and coffee needed to be on point and maintain the standard set by St Rose — this is hospitality, after all. And while aesthetics are important, food and coffee is still king. Diana bore the responsibility for working with their chefs to create an exciting but simple menu. "We chose what we believe is the most fitting for the cafe and true to our motto: simple done extremely well. We try to please a wide range of people from vegan to meat lovers," she says. So, what shouldn't you miss when you pay a visit? "I love the vegan rainbow bowl. It's like eating a bowl of goodness and it tastes so darn good. And the peanut butter pancake sandwich, I can only describe as f****** yum!" Domenic says. Diana says, "The business is still a baby to us. We just celebrated one year…and we've a lot more exciting new things to introduce." Keep an eye on their flourishing little enterprise as they go from strength to strength (hint: the next big addition is a cocktail menu). Keep tabs via their (equally minimalist and aesthetically pleasing) Squarespace site. Looking to start your own business? Whether it's a creative project or new culinary venture, you'll need to let people know about it. That's where Squarespace comes in. Kickstart your new biz with a website, and use the code CP for 10% off your first Squarespace purchase. Images: Chris Middleton.
Imagine a world where totalitarian forces rule the United States, women are subjugated to the point of being deemed property, protestors rally in response and the authorities try to keep everyone in line. Okay, imagine a fictionalised version of the above dystopian society — or let The Handmaid's Tale help you. Margaret Atwood's book has been doing just that since 1985, with a new Elisabeth Moss-starring Hulu series due to help come April. Now, large groups of red-clad ladies are also playing their part, freaking people out at Austin's South by Southwest in the process. They walk in pairs, don't say anything, and generally unnerve everyone around them. Yes, it's clearly a clever SXSW promo for the show, but it's an effectively creepy one. https://twitter.com/erica_grossman/status/840294583170936832 https://twitter.com/HandmaidsOnHulu/status/840288331250319360 https://twitter.com/HandmaidsOnHulu/status/840649469624377345 https://twitter.com/MargaretAtwood/status/840630956801327105 If you're up for even more anxiety-inducing tension, check out the trailer for the series below. The Handmaid's Tale screens on Hulu from April 26.
If you're partial to a big, cheesy serving of gnocchi, you'll by happy to know that Mamma's Boy Trattoria is dedicating all of July to serving bottomless bowls of the stuff. Matched with free-flowing cocktails, no less. The Brunswick restaurant is bringing back its endless gnocchi feasts across a series of two-hour Sunday sittings this month. Book in a table for 11.30am, 2pm, 5pm or 7.30pm each week, and you can tuck into unlimited helpings of the classic potato dumpling dish, plus bottomless drinks and garlic bread for a tidy $59. With the gnocchi lineup, all palates are covered. There is Mamma's rich slow-cooked lamb ragu, alongside a simple napoli number with fior di latte, and a truffle mushroom and spinach bowl. With 120 minutes up your sleeve, you should be able to sample them all, no problem. During that time, you'll also enjoy unlimited cocktails, including espresso martinis, mojitos and a variety of spritz. To get in on the bottomless gnocchi deal, you'll need to book online in advance. Everyone on your table will need to partake in the bottomless action, though we don't imagine it'll be too hard to rustle up a crew for unlimited pasta.
In the kind of punishment Cersei Lannister might dream up, the eighth and final season of Game of Thrones isn't due until mid-2018 at the earliest — and sometime in 2019 at the latest. However, one London cinema is offering fans an immersive way to pass at least some of that period. Taking the movie marathon idea to the extreme, they're showing the entire series' seven-season run to date in one massive sitting. Fans of Westerosi dramas, resilient Stark siblings, formidable dragons and more can expect to get comfy in The Prince Charles Cinema for four days, as they screen all 67 episodes between November 27 and 30. It all kicks off at 7pm on Monday and runs until just after 6pm on Thursday. And while that might seem like quite the commitment — in hours, in the willingness to sit in cinema seats for that long, and in sacrificing your normal life for your favourite show — if there's one thing that GoT fans love more than shipping Jon Snow and Daenerys, it's spending as much time in the Seven Kingdoms as possible. The event is designed to promote the DVD release of the seventh season, which just finished airing in August. For anyone who happens to have a spare week, it's free to attend. There'll also be a pop-up pizza bar onsite for sustenance. If you're in London, the Game of Thrones Marathon Screening runs from November 27 to 30. Visit the event Facebook page for further details, or to register for tickets.
Barbecue restaurant Fancy Hanks and its rooftop bar counterpart Good Heavens are set to score both a sibling and a sizeable expansion — and all in one go. The owners of the two Bourke Street venues have revealed that they've snapped up multiple levels of the site next door, all to house a brand-new venue and make way for a heap of extra rooftop bar space. The move will see Good Heavens' sky-high footprint triple in size, transforming it into what's expected to be the city's largest rooftop and openair bar. Once the project is finished next spring, the beefed-up rooftop venue will sport a new 11-metre-long bar, with 40 dedicated beer taps and even more pouring spritz varieties. A new look by design firm Ewert Leaf is set to complement the sweeping city skyline views, while an al fresco barbecue pit will be available to book for parties and dinners, complete with a private chef to cook up a storm for you. As before, cocktails up here will lean to the classic. [caption id="attachment_831711" align="alignnone" width="1920"] Fancy Hanks by Chip Mooney[/caption] In the space below — which once housed Grand Trailer Park Taverna — a new bar and pub, Springrock, will launch. This spot is set to embrace a healthy dose of Americana, with a menu dedicated to US diner classics served up courtesy of the Fancy Hanks team. Expect plenty of roomy booth seating and a huge 18-metre horseshoe bar pouring Melbourne-born The Gospel Whiskey on tap, plus dishes such as brisket smash burgers, sticky barbecue wings and hot fried chicken sandwiches. You'll be able to access the venue both via a separate Bourke Street entrance and through Fancy Hanks. Find the new-look Good Heavens at 2/79 Bourke Street, Melbourne, from spring 2022. Springrock will open at 87 Bourke Street, Melbourne, around the same time. Images: Chip Mooney
What better way to celebrate the arrival of spring and congratulate yourself on surviving another winter than a free eight-day music festival. Stow your tents and thermals away, though, because Live N Local is providing the goods just a stone's throw away in the City of Port Phillip. It's close, a lot of it is free, and it's got some veritable bangers on the way to you via the just-released lineup. Beat At The Bowlo will unite Hexdebt, Househats, Psychobabel, Alice Skye and Kill The Darling for a Saturday arvo sesh complete with featuring lawn bowls, taking place at the Middle Park Bowls Club. Alternatively, you can follow along on a rock crawl through classic St Kilda music institutions to hear Fuck The Fitzroy Doom Scene, Bloody Rascals, The Dead Amigos, Batz and The Tarantinos as they noisily help you say "cya" to winter. There's a hip-hop/neo-soul/funk night with Chicken Wishbone and Moses Carr at the Lyrebird Lounge in Ripponlea, and an all-ages concert played by Woodes, Eilish Gilligan and Poppy Rose. And, staying true to Live N Local's focus of featuring emerging artists and fostering new talent, there'll also be an emerging artist program happening at Pontoon to shine a light on the up-and-comers making their way across the Australian music scene. And, maybe the most unique event on the program's lineup, UnderSCORE — an orchestral concert showcasing music from video games. Full details, locations and line-up here.
"Touring is the only job in the world, I think, where you are a professional and you drink," James Vincent McMorrow muses from a phone somewhere in Dublin. "If you were an accountant or even if you were an actor and you drank at the levels that some touring bands do, you wouldn't be able to function." Two years ago, he decided to give the bottle the boot. Not because he had an uncontrollable drinking problem, but because he wanted to "see what would happen". "At that point in my career, everything was on a really intense upswing and I was playing big shows. It's not that I wasn't enjoying [drinking], it's just that I didn't feel that I was in control of what I was doing. I didn't think I was doing it justice in the way that I wanted to." In a January 2014 Guardian interview, McMorrow identified a packed-out show at London's Festival Hall as a turning point. "The biggest show I'd ever played in this country... I got off stage and thought — did that go well? I don't know," he told journo Tom Lamont. At first, the sobriety inspired a sizeable dose of performance nerves. "I became incredibly aware of my hands and started making mistakes again," he recalls. "I used to think that you needed to drink to get out of your own way mentally and create. But it actually made me think from a much clearer perspective." CREATING POST TROPICAL When work began on second album, Post Tropical, the music flew thick and fast. "I had better ideas than ever before... I was much more ambitious." Where 2011 debut Early in the Morning was folk-ish and harmony-fuelled, Post Tropical sees McMorrow delve into new territory – R&B influences, dashes of Rhodes, electronica and intricate layering. There's hardly an acoustic guitar to be heard. The songs were assembled over the course of eight months and recorded "on a pecan farm half a mile from the Mexican border" — where the likes of the Yeah Yeah Yeahs, Animal Collective, Beach House and At The Drive In have laid down tracks. "It's the perfect place to make music... I don't think I'll record anywhere else again. I came for the equipment and stayed for the view," he adds, laughing. McMorrow sees putting together a song is akin to solving a Rubik's Cube. "Every time I look at it, there's a couple less red squares. Then I keep going and I take a look at the other side. It might go the wrong way, or it might get better. And one day, it's just done. I'll listen to it and there'll be nothing in it that doesn't make me happy." https://youtube.com/watch?v=jgE3AengS0A ON BEING YOUNG AND MUCH MORE SERIOUS The songwriting process wasn't always so intuitive for the Irish native. McMorrow remembers a younger and much more serious version of himself. "I think I went from trying to be a musician to being a musician and that was a very big change. I don't examine music anymore; I follow it where it leads me. I used to question — you'd worry about whether you were good enough, or whether you could do the things that needed to be done. But I don't worry about that anymore. I still challenge myself every day and push myself infinitely harder than I ever did, but I do it with a sense of knowing what I'm doing and how to get there." Back in his worrying days, he spent hours reading some pretty meaty literature. "I became really obsessed with people like John Steinbeck, F. Scott Fitzgerald, William Faulkner and the American idea — between 1900 and the 1930s and '40s. It's quite funny, because if I examine the books I read and where I was at musically, I can connect the dots quite quickly. I read a lot of heavy books like The Sound and The Fury, and because I was writing music there was a certain element: 'if I read these serious things then I want to write about serious things.'" https://youtube.com/watch?v=j0DvjgagJko ON GAME OF THRONES These days, however, he'll "read anything that's put in front of [him]". Even if the writing isn't quite up to scratch. "I just read the entire Game of Thrones, everything up to the point where it finishes," he explains. "I read it because I started watching the series and I got annoyed because it was ending, so I thought I'd read the book. But then I realised the books were really, really long and kind of weirdly written. I don't know if you've read fantasy novels before but they're kind of... they're not the most amazing writing in the world, even though the story is obviously compelling. And when I started reading them I didn't realise that [George R. R. Martin] hadn't finished the series. So I got to the last book and found out he had two more to write still!" Fortunately, he's moved onto Hans Fallada's Alone in Berlin, which he describes as "really beautiful". And McMorrow has a plethora of tour dates to keep him busy between reads. JAMES VINCENT MCMORROW TOUR DATES: Wednesday 21 May — Astor Theatre, Perth Friday 23 May — Queensland Performing Arts Centre, Brisbane Tuesday 27 May — Forum, Melbourne Thursday 29 May — Concert Hall, Sydney Opera House (Vivid LIVE) Saturday 31 May — Concert Hall, Sydney Opera House (Vivid LIVE)
The world said goodbye to Amy Winehouse in 2011, but that doesn't mean that the British singer isn't still taking to the stage. The 'Back to Black' and 'Rehab' songstress is the latest celebrity to get the hologram treatment, with a new technologically enhanced performance set to hit the road in 2019 — featuring the late talent crooning her hits accompanied by a live band and on-stage singers. Attendees can expect between 75–110 minutes of Winehouse's music, all thanks to the folks at Base Hologram, who are behind similar shows involving Roy Orbison and Maria Callas. Bringing back dearly departed music icons seems to be their new niche, in a trend that just keeps gathering steam since the Tupac hologram back at Coachella in 2012. Base Hologram states that the Winehouse show will utilise "new state-of-the-art proprietary technology" and feature "digitally remastered arrangements of her classics" as well as "theatrical stagecraft". Exactly where the production will be headed has yet to be revealed, although it's expected to launch towards the end of 2019. The Guardian also reports that the the tour will raise money and awareness for the Amy Winehouse Foundation. Via The Guardian. Image: Rama via Wikimedia Commons.
MONA's summer festival Mona Foma is returning to Launceston this summer — and so is its airline, Air Mofo. After its debut last year, the 'private airline' will once again be on standby to usher guests from the mainland to Tasmania for the 2020 event in serious style — for free. The catch? You don't just get a seat on the purple and yellow Boeing 737 — you get the whole plane. So you'll have 149 seats to fill with your nearest and dearest, and basically anyone else who's free on the main festival weekend of January 17–19. The plane will leave from either Melbourne or Sydney, and everyone on board will be get free return airfares and a three-day festival pass. It goes without saying, you can expect more than just your average in-flight entertainment on-board. Your flight down south will be filled with all sorts of performances and is promising to be 'suitably lit'. https://www.youtube.com/watch?v=HmcAp570GRs&feature=youtu.be To enter, you'll have to do some detective work and pinpoint the Air Mofo plane on this map of Tassie. While clues will start going up on the Mona Foma website from today, you'll have to wait until next Thursday, October 10 to enter. First person to find it wins the trip. Then, they'll have just a month to organise their 149 guests. Air Mofo is once again a collaboration between Mona Foma and Tourism Tasmania, and the prize is valued at a whopping $99,000. The summer arts and music fest will take over Launceston from January 11–19. At the moment, the lineup has DJ and producer Flying Lotus coming in to Launnie from LA and a performance from classical musician Ludovico Einaudi — but the full thing will be announced on Friday, October 18. Three-day festival passes are also on sale now — this year priced at $129 for the weekend. And, if you're looking for other ways to enjoy the festival's new surrounds, check out our weekender's guide to Launceston during Mona Foma. Mona Foma 2020 will take over Launceston, Tasmania from January 11–19. Enter the competition over here.
Architecture aficionados and self-confessed sticky-beaks, listen up. The historic city of Bendigo, located an easy two-hour drive from Melbourne, will throw the doors open on some of its top buildings again this year, for one weekend this month. Across October 26–27, locals and visitors will get the chance to see inside spaces that are generally closed to the public. A boom town during the gold rush period, Bendigo is home to a rich architectural heritage that has been met with rapid development in recent years. Hop on one of the vintage trams and explore the city from the inside. The Open House weekend is a chance to engage with city planners and discuss Bendigo's design future. Visitors are welcome to explore the most notable designs of the city, from private homes and heritage buildings to commercial and civic developments. Over 20 buildings will be on display — highlights include Kooroork House II, a 160 square metre family home created by e+ architecture; the Eaglehawk Heritage Precinct including the Mechanics Institute; former Eaglehawk Town Hall (now operating as the Star Cinema Boutique); and the Eaglehawk Courthouse. Plus, be the first to enter the newly renovated historic Beehive Building at the Bendigo Mining Exchange, which has been restored to its former glory. Alongside the program will be a series of talks and public workshops. For more information or to pre-book tours, head to the Open House Bendigo website.
With events across the world being cancelled and postponed in a bid to slow the spread of COVID-19, the live music industry is being hit hard. According to website I Lost My Gig, as of 11am on Saturday, March 21, approximately 274,000 events and gigs have been cancelled, which has impacted 599,000 artists and crew, and equated to about $300 million in lost income. And that's just in Australia alone. To help raise money for some of those musicians out of work, a group of global volunteers has created Sofa King Fest. Dubbed an "emergency response online music and arts benefit festival", the website is a curation of all the best music live-streams happening around the world — all in one spot, all available to watch from the comfort of your sofa. Musicians are scheduled to perform at hour or half-hour intervals and have included the likes of Willie Nelson, Cypress Hill, Diplo, Big Freedia and A-Trak. On a more local level, all Aussie artists will be curated by the Mary's Group — who are behind cult-favourite Mary's burgers and the revival of two long-standing Sydney live music venues: The Landsdowne Hotel and Mary's Underground (formerly The Basement). [caption id="attachment_757840" align="alignnone" width="1920"] The Lansdowne Hotel[/caption] While the artists are playing, you can donate directly to out-of-work musicians or to the artist's charity of choice, with all funds controlled by the artist and their team. Melissa Etheridge, who's performing today, Tuesday, March 24, for example, will be donating her funds to the World Food Kitchen. If you're an artist that's keen to be part of the live-stream, you can signup directly via Sofa King Fest website. As well as raising funds for musicians hit hard by the COVID-19 pandemic, the website is a great way to get your culture and music fix while also practising social-distancing or adhering to self-isolation measures. Sofa King Fest is now live and accepting donations. Top image: Willie Nelson by BSC Photography. 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.
Been spending the first few months of 2020 pondering the future? Given the current state of affairs, that's only natural. Next week, however, you might want to look to the skies as well — and feast your eyes on a luminous night sky. From around April 16 –25, the Lyrids Meteor Shower sets the sky ablaze. It might not be as famous as Halley's Comet, but it's still very impressive. Plus, rather than only being visible every 75 years (the next Halley's Comet sighting is in 2061), you can catch the Lyrids annually. This year, the shower will be at its most spectacular from April 22–23. For folk located Down Under, early on Thursday, April 23 is when you'll be peering upwards. Here's how to catch a glimpse from your backyard. WHAT IS IT The Lyrid Meteor Shower is named after constellation Lyra, which is where the meteor shower appears to come from near star Vega, and is created by debris from comet Thatcher. While the comet, which takes about 415 years to orbit around the sun, won't be visible from Earth again until 2276, the Lyrids can be seen every autumn, between April 16–25. So you can even pencil it in for next year. It's also the oldest recorded meteor shower, so there's that, too. On average, you can see up to 18 meteors per hour, but the Lyrids are also known to have outbursts of nearly 100 meteors per hour. So, while no outburst is predicted for 2020, you could get lucky. [caption id="attachment_767783" align="alignnone" width="1920"] jpstanley via Flickr.[/caption] WHEN TO SEE IT In Australia, the shower will reach a peak in the early morning of Thursday, April 23 according to Time and Date, but still able to be seen for a day or two on either side. The best time to catch an eyeful is just before dawn after the moon has set, so around 4am. At that time, you'll be in the running to see meteors moving at about 177,000 kilometres per hour, shining extraordinarily brightly and leaving a long wake. The shower's cause is, essentially, the Earth getting in the comet's way, causing stardust to fry up in the atmosphere. HOW TO SEE IT Usually, when a meteor shower lights up the sky, we'd advise city-dwellers to get as far away from light pollution as possible to get the best view. That's not possible given the current COVID-19 restrictions in place, so you'd best take a gander from your backyard or balcony. To help locate them, we recommend downloading the Sky Map app — it's the easiest way to navigate the night sky (and is a lot of fun to use even on a non-meteor shower night). If you're more into specifics, Time and Date also have a table that shows the direction and altitude of the Lyrids. They've been updating this daily. Typically, clouds and showers are predicted for next week along the east coast, which could present problems in terms of visibility. But, there'll be little moon to spoil it, so hopefully the weatherman is wrong. Top image: Mike Lewinski via Flickr.
Howler is dishing out the artistic hugs for this year’s Love Street Festival. This one-day affair will feature an exceptional lineup of local folk, country and blues artists including Immigrant Union, Saint Jude, The Darling Downs, Broads and many more. DJ sets from some of Melbourne’s best are set to close the night, so don’t forget to put on your dancing shoes before heading out the door. As well as music, Love Street also features an eclectic arts program of dance, projection, puppetry, performance art and spoken word. Unlike many other music festivals held in Melbourne’s warmer months, this little beauty will only set you back a cheerful $25 (plus booking fee). The festivities will start at 4pm and end just before midnight, so you’ll be tucked into bed at a respectable hour before beginning the work week. To end your weekend in the best way possible, all you need is love. Image: Saint Jude.
A teenager runs away with her best friend. Her distraught parents search for her. A retired detective lends a hand — and the situation he uncovers is both quite ordinary and a little bit odd. If there's one thing that Looking for Grace recognises, it's that daily life can be equally routine and strange. A tense scenario can have a lighter side. Stress can turn to laughter. In dramatic circumstances, people don't always know how to behave. No one — not the eponymous Grace (Odessa Young), her pal Sappho (Kenya Pearson), mother Denise (Radha Mitchell), father Dan (Richard Roxburgh) or former cop Tom (Terry Norris) — really knows what they're doing, particularly after the girls and a secret stash of cash goes missing. Trekking across Western Australia to attend a concert, Grace is happy flirting with a charismatic traveller (Harry Richardson), though Sappho is less content being the third wheel. At home, Denise tries to remain calm, while Dan is distracted by the affair he's been trying but failing to have with an employee (Tasma Walton). Their individual tales are offered up in chapters, splitting the broader narrative into separate but interlocking strands. Some details are revealed early, with Grace's section served up first, while other inclusions — the brief segment focusing on truck driver Bruce (Myles Pollard), for example — only become significant once all the pieces have been put together. Such fragmentation may help extend an otherwise slight effort, but it proves the least convincing aspect of the film. Thankfully, the feature's structure also highlights its strengths: the characters, the multitude of realistic reactions to their various predicaments, and the fine-tuned performances of the actors who play them. Indeed, Looking for Grace works best both as a series of character studies and as a showcase for the talents of its key cast. Writer/director Sue Brooks fleshes out the former more than the slender story might seem to indicate, and benefits from the latter, especially where the trio of Young, Roxburgh and Mitchell are involved. Young sells a crucial mix of confidence and restlessness, while Roxburgh ensures his troubled everyman never comes across as pathetic, even when Looking for Grace veers into suburban parody. Often caught between the two, the pitch-perfect Mitchell proves the feature's standout player, as well as a weathervane for its mood and fortunes. When she's hitting the mark, so is the film. Elsewhere, Brooks continues the love affair with the Australian landscape she started in 1997's Road to Nhill and furthered in 2003's Japanese Story. In fact, cinematographer Katie Milwright's dusty visuals provide the perfect counterpoint to the helmer's fondness for stylisation, with Looking for Grace also an exercise in contrasts. Brooks frequently layers conflicting elements over the top of each other, such as jaunty music over sparse images, to ensure the clash of the usual and the not so is always apparent. The movie veers in tone as a result, sometimes jarringly so — but just like life, it works much more often than it doesn't.
Since first launching its multi-day dance festival fun back in 1998, Rainbow Serpent Festival has become a January long weekend staple in regional Victoria. But, just two weeks out from its 2020 event, the Lexton festival has had to cancel because of Victoria's catastrophic bushfires. In a statement released last night, a RSF spokesperson said the decision was made after a meeting and site inspection with the CFA, Victoria Police, Forest Fire Management Victoria and Pyrenees Council staff. "Due to a number of safety concerns stemming from the fire that affected the site and the wider bushfire impacts across the country, it was agreed that holding RSF over the scheduled weekend in Lexton simply isn't the right thing to do," the statement says. This fire season in Australia has already been a catastrophic one, with more than six-million hectares and thousands of homes destroyed and an estimated one billion animals killed by bushfires so far. Lorne's Falls Festival and NSW's Lost Paradise were both cancelled in December due to bushfire threats. https://www.facebook.com/rainbowHQ/photos/a.471687783050/10157255588898051/?type=3&theater There is some good news for music lovers, though. RSF has announced not one, but two replacement festivals. The first one will take place on Sunday, January 26 — coinciding with the festival original dates of January 24–27 — in Melbourne's CBD. Dubbed the Urban Edition, it'll feature multiple stages and "the majority of special guest performers from the original lineup". Exactly who and where haven't been announced just yet, but RSF promises these details will be released in the upcoming days. The second festival will be taking place in the original location over the Easter long weekend, April 10–14. Details other than the location — Lexton, a two-hour drive west from Melbourne — are currently scarce, but festival organisers have said the regional event is important to help support local communities and businesses. "This event is important for the rebuilding of the local communities that were directly impacted by the fires and boosting their local economy," organisers said in the statement. "As well as your Rainbow favourites, we'll be hosting a number of community related events including tree planting, a community working bee and the delayed opening of the Servo@23 Arts Hub." RSF organisers have said they're also looking at how else the two new events can help "drive community fundraising" for the bushfire relief. Ticket holders unable to attend one or both of the new events will be offered full and partial refunds — and new tickets will be released for those wanting to head along. Rainbow Serpent Festival: Urban Edition is happening on Sunday, January 26 in Melbourne's CBD and Rainbow Serpent Festival: Regen Edition is happening sometime between April 10–14 in Lexton, Victoria. For more information, keep an eye on the Rainbow Serpent website. Top image: Flickr
If you'd like this lockdown to run a little more smoothly than the previous four, we've found your solution: a timely care package of lasagne and lube. It's the ultimate stay-at-home set-up and it's coming at you this weekend only, courtesy of two Melbourne-based businesses supremely well-versed in the art of a good night in. Cult-favourite pasta delivery service 1800 Lasagne has teamed up with the minds behind Figr — a new Aussie-made water-based lubricant that's changing the game. Together, they've concocted one heck of a colluberation (sorry). This Saturday, July 24 and Sunday, July 25, the first 20 customers to pick up a food order from 1800 Lasagne's Thornbury HQ will also score themselves a free bottle of Figr's signature lube. Orders are made as usual over at 1800 Lasagne's website, then you'll just need to request your side serve of Figr from the friendly staff when you head in to pick up your tasty meal. "It was a no-brainer," 1800 Lasagne's Joey Kellock told Concrete Playground when asked about the pleasurable partnership. "The perfect union — love, lasagne and lube!" "We all need a little love from time to time, and with people during lockdown having a whole bunch of 'extra time on their hands', Figr and I thought we'd just help facilitate that love a little," he says. Figr's co-founders Eloise McCullough and Eloise O'Sullivan share the sentiment of this match made in heaven. "1800 Lasagne are the pros when it comes to slinging endorphins around in the back of a beat-up old car. Figr was designed for when endorphins are getting flung around in the back of a beat-up old car," the pair says. In the interests of a truly loved-up weekend, 1800 Lasagne will also have plenty of extra goodies available to order alongside your lasagne-and-lube combo, including garlic bread, creamy serves of tiramisu and bottles of Uggiano chianti. Figr launched into the local sexual wellness scene in May this year, with its natural, vegan lubricant made with native Australian extracts. They're on a mission to normalise lube, as the founders explain: "We want people to be comfortable seeing lube at their local deli, beauty shop or on your friend's nightstand." If you miss out on this weekend's lasagne lube, you can always stock up over here. [caption id="attachment_820408" align="alignnone" width="1920"] Bianca Lamont[/caption]
Sydney yacht rock dudes The Holidays will play a string of huge shows around Australia, following on from their wildly successful album release tour in March. Filling out venues from Sydney's Metro Theatre, Melbourne's Hi-Fi to Brisbane's Alhambra Lounge with hyped up Sydney electronic producer Thief, the threesome will also stop by Newcastle's Bar on the Hill on campus with indie pop maestro Pluto Jonze, Wollongong's Uni Bar with Sydney garage ratbags Step-Panther. The new Groupie Magazine-presented dates coincide with the release of third single 'Tongue Talk', taken from the outfit's super pop-fuelled second album Real Feel. Tickets on sale Wednesday 14 May, with more details on The Holidays' Facebook page. https://youtube.com/watch?v=aiHQLvAu2lg
It's not every artist who'd revisit their Year Two saxophone skills on their debut album. But Melbourne's Chet Faker (aka Nick Murphy) isn't afraid of giving anything a whirl for the sake of sound. Following the release of his debut EP Thinking In Textures via Downtown Records in 2012, Murphy gained international high-fives and 'Breakthrough Artist of the Year' at the Australian Independent Records Awards, made an EP with Flume, toured with Bonobo, played at South by South West and scored a Super Bowl ad with his breakthrough cover of Blackstreet's 'No Diggity'. After settling into his own snuggly studio space in North Melbourne, Murphy painstakingly tweaked, experimented and self-produced his debut album Built On Glass. An eclectic and unpredictable mix of electronic soul ballads, deep house journeys and hip hop beats, Murphy's love of experimentation and letting sound breathe makes Built On Glass one of the year's most overwhelmingly confident debut releases. Heartbreakingly honest lyrics, minimalist electronic groovery and Murphy's unmistakably soulful vocals make for serious repeat button action. Kicking off a huge worldwide tour in April, Chet Faker will hit venues in UK, US and Canada for a gargantuan string of dates before heading home for his national Australian headliner tour; stopping at the Forum on June 13, 14, 15 and 16. Supporting is New Zealand dream pop trio Yumi Zouma, whose four-track EP The Brae saw the Christchurch locals gain quite the following on Soundcloud. Head here for our chats with Chet Faker about his upcoming worldwide debut album tour, jogging on the road and his genuine disdain for pigeonholes. https://youtube.com/watch?v=aP_-P_BS6KY
Prepare yourself for a serious dose of girl power: Janelle Monáe and Kimbra are joining forces for an Australian tour. The two pop heavyweights, who bonded at the Montreux Jazz Festival in Switzerland last July, are coming to Australia for The Golden Electric Tour at the end of May. Scheduled for four shows throughout Australia, the dynamic duo is finishing the tour with serious kaboom at The Plenary on Monday, May 26. The award-winning pop powerhouses will co-headline the tour, combining forces for a portion of the show while also playing individual sets. Kimbra and Monáe first made sweet music together at an impromptu bar gig when they met last year. Their taste for eccentric pop music coupled with fierce vocals proved a heavenly match, thus the idea for a joint tour was born. To (successfully) hype us all up for the endeavour, the pair released an unfathomably adorable video singing a mash-up of Aretha Franklin's 'Rock Steady' and Michael Jackson's 'Wanna Be Startin' Something', both of which are sure to be on the set list. Monáe will feature tracks from her 2013 release The Electric Lady, as well as her celebrated 2010 debut album The ArchAndroid. Kimbra is expected to release the follow-up to her 2011 album Vows later this year, so fans should expect some new gems amongst the singalongs. Tickets go on sale 10am on Thursday, April 17 via Live Nation. Pre-sale is available for My Live Nation members at 10am on Monday, April 14. https://youtube.com/watch?v=SyqltX5lRhQ
If ever your heart could be hugged by a live show, Tiny Ruins will leave yours well and truly cuddled. Following the release of their enchanting folk release Brightly Painted One, the native New Zealanders will head to Australia to crank out their softly spoken repertoire in a national tour. As well as giving their newest album a big ol' run around, Tiny Ruins will revisit tunes from their 2010 release Some Were Meant for Sea as well as their 2013 EP Haunts. Expanding her solo flight into a touring trio, Tiny Ruins' Hollie Fullbrook now hangs with bassist Cass Basil and drummer Alexander Freer as a trio. The threesome haven't had a holiday for quite some time, touring for the past few years through Australia, Europe and the US in highly coveted support slots for Fleet Foxes, Beach House, Joanna Newsom and Father John Misty to name a few. But now's no time for Tiny vacationing, with a national tour ready to kick off this July. The NZ folksters have plenty of Aussie radio feature albums, festival slots and critical accolades under their belts and have been gaining traction over the past few years with folk lovers worldwide. But Tiny Ruins are no stage hogs, inviting their buds Shining Bird and Aldous Harding along for the ride this time. Sydney favourites Shining Bird have spent the last year gaining high fives Australia-wide after the release of their debut album Leisure Coast gained the crew some serious festival appearances. Shining Bird aren't dudes to waste a touring opp, combining their support spot with their brand new 7" single. Aldous Harding is one of those Kiwi musical talents we'll casually be calling our own in a few years. You may not have heard much from her yet, but this Christchurch folk queen is just about to drop her debut album and counts this support slot on her first tour of Australia. Be sure to check her out — by all accounts, she's killin' it across the Tasman. Her self-titled debut so far has just the one single, 'Hunter', with the rest to be released on July 25. These shows are sure to be a very chilled affair — perfect for red wine, big jumpers and melodious swaying. Words by Shannon Connellan and Meg Watson. https://youtube.com/watch?v=jnqc4falhGk
Australia has been wandering merrily down the psychedelic rabbit hole more fervently than usual over the last couple of years. Big breakthrough names like Tame Impala, Jagwar Ma and Jinja Safari enchanted festival crowd after festival crowd, making it easy for newcomers like Richard In Your Mind, The Frowning Clouds, The Otchkies and everyone involved with the Nuggets compilation to find solid audiences for their whimsical, sitar-fuelled jams. So, when British psychedelic newcomers Temples announced their first Australian tour, slow nods of heartfelt approval spread through the states and territories. Hailing from Kettering, Northamptonshire and lead by the unbelievably British-named James Edward Bagshaw, Temples found traction in Australia after their heroes Johnny Marr and Noel Gallagher gave them ups for their debut single 'Shelter Song'. Soon followed their debut studio album Sun Structures via Heavenly Records, featured on triple j and praised for its neo-psychedelic prowess. Temples will journey south down the East Coast with Sydney psych-pop favourites Deep Sea Arcade, headed for the Corner Hotel on Saturday May 10. Ticketholders are advised to turn off their minds, relax and float downstream on arrival. https://youtube.com/watch?v=vs4i41cOv0s Image by Dave Lichterman.
For five days in October, the Queen Victoria Market will become the cheesiest place in Melbourne, all thanks to its new Holey Cheese Festival. Running on Tuesday, October 23 and again between Thursday, October 25 and Sunday, October 28, this is the type fest that'll fill your stomach with all of things fromage — so if you're not fond of dairy, consider yourself warned. A good cheese fest is all about the tastings, and this one promises samples of the state's best hard, soft, blue, white, fresh and aged rinds from both regular market traders and local producers. When you're not nabbing a bite of gouda, camembert or raclette, you can tuck into cheesy meals from food trucks, pop-up eateries — including a 140-cheese pizza from 400 Gradi (just ten cheese's shy of its record-breaking pizza) — Melbourne chefs and, once again, the market's regulars. Throw in live music, a bar serving up wine, beer and cider, and cooking demonstrations — hopefully showing you how to whip up the cheesiest possible dishes at home — and you'll be having cheese dreams for days.
“You are now about to witness the strength of street knowledge”. So begins both the film and the song ‘Straight Outta Compton’, and it’s equal parts preview and warning. The ‘street knowledge’ of NWA’s leading trio — Dr Dre (played by Corey Hawkins), Ice Cube (O’Shea Jackson Jr, playing his real-life father) and Eazy-E (Jason Mitchell) — was an affront to the establishment, a threat, even, but also helped facilitate the group's rapid rise from neighbourhood group to musical ascendancy. Acquired over two decades of daily exposure to gang violence, racial vilification and police persecution, it instilled in them a bravado, passion and unyielding determination that permitted neither retreat nor weakness. It also came at a price, however, because not all streets are the same, and when Crenshaw Boulevard became Rodeo Drive, the blinders and shortcomings of that knowledge became all too apparent. Straight Outta Compton, then, is not just an NWA biopic but a cautionary tale about loyalty, friendship and the corrosive effects of celebrity. Directed by F. Gary Gray (The Italian Job), this is a slick, provocative and timely film that absolutely warrants your viewing. Straight Outta Compton (© 2015 Universal Studios) is in cinemas nationally from September 3, and thanks to Universal Pictures Australia, we have 10 double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter and then email us with your name and address. Read our full Straight Outta Compton review here. Follow the movie via its website or Facebook page. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
This article is sponsored by our partners, Rekorderlig. Foraging through the snow in search of electronic music just got significantly easier; Rekorderlig (ever keen to demonstrate that Aussies should be tackling winter with a tad more brio than a pack of grizzlies) has revealed the 'mystery location' for free upcoming music event Sounds in the Snow. On September 13, just as the flakes start to melt and smack bang in the middle of the Toyota One Hit Wonder Mountain Festival, Sounds in the Snow will take place by the Rekorderlig Hot Pools at the Thredbo Alpine Hotel. Sydney synth pop boys Panama will appear in Thredbo to deliver their so-called hopeful house music live. Fronted by Perth-born songwriter and classically-trained pianist Jarrah McCleary, the trio are currently touring Europe and the United States on the back of sophomore EP Always. Sounds in the Snow is just one of the many excuses that Rekorderlig's giving you to head to the snow this season. Afternoon sessions are happening at the Thredbo Alpine Hotel every Thursday, Friday and Saturday between 3pm and 6pm; fire pits are burning; the Rekorderlig Hot Pool is providing serious apres-ski relaxation; and their tasty cinnamon and vanilla-fused Winter Cider is at the top of the drinks menu. Sounds in the Snow is a free gig happening from 4-5pm on Saturday, September 13 by the Rekorderlig Hot Pools at the Thredbo Alpine Hotel. For the latest updates, join the Rekorderlig Facebook page. https://youtube.com/watch?v=UylPrMcurB8
If Owen Wilson was to comment on Melbourne's newest event, we're guessing he'd offer up a simple answer: "wow." That's actually just what thousands of folks seemingly want to hear — and say. In fact, celebrating the way the Zoolander star utters that one word is what this gathering is all about. Following in the footsteps of last year's 'Scream like Goku' sessions, some particularly keen Wilson fans have conjured up their own version: 'Say Wow like Owen Wilson'. Set to take place on from 6pm on February 26 at Melbourne's Federation Square, it's exactly what it sounds like. People will come together, pretend they're in The Royal Tenenbaums, Wedding Crashers or whichever of his flicks takes their fancy, and unleash their best wow-uttering impersonation. Saying one particular word like a famous actor — it's so hot right now, apparently. Or, it's just something different to do on your way home from work on Monday evening, we guess? Either way, the get-together will include warm-up wows, the main event — that is, a massive group wow — and kick-on wows afterwards. It'll also be livestreamed, for anyone who can't get there, doesn't live in Melbourne or simply needs to see it for themselves. https://www.youtube.com/watch?v=KlLMlJ2tDkg
Celebrated as one of the defining musicians behind American concert music, George Gershwin and his inviting brand of jazz, opera and stage tunes have stood the test of time for almost a century. While his music has been covered by some of the world's biggest names in music — including Frank Sinatra, Ella Fitzgerald and Billie Holiday — since its heyday, the Melbourne Symphony Orchestra are joining forces with three dynamic artists to present Gershwin's beloved songbook like you've never heard before. Happening as part of Melbourne International Jazz Festival, Gershwin Reimagined features powerhouse British soul singer Laura Mvula (who's been compared to Nina Simone), American jazz, hip hop and spoken word artist José James, adding a distinctive tone to the mix, and composer-conductor-instrumentalist Troy Miller. Miller, who has previously drummed for the likes of Chaka Khan, Donna Summer and Amy Winehouse and conducted both the London Symphony Orchestra and BBC Philharmonic, will be conducting the entire ensemble — so Gershwin's much-loved songs are in safe hands. Expect stirring strings, punchy percussion and moments of evocative pause, with classics such as 'Embraceable You', 'Someone To Watch Over Me' and 'Summertime'. Forming part of the 2019 Melbourne International Jazz Festival, Gershwin Reimagined will take place across two nights at Hamer Hall — Friday, May 31 and Saturday, June 1. Tickets start at $50 and can be purchased here. Image: Tatiana Gorilovsky.
There's something rather cool about being ahead of the curve when it comes to cinema, watching the latest and greatest flicks on the silver screen well before anyone else. And at Australia's biggest short film festival, you can do just that. The internationally acclaimed Flickerfest is celebrating its 32nd year in 2023, so you can expect an A-class lineup of cinematic delights. The annual event is Australia's leading Academy Award-qualifying short film fest, and it's backed with BAFTA recognition, too. Get a window into the cinematic mastery that has received both national and international acclaim, all acknowledged as the most inspiring, provocative and entertaining pieces to see. With thousands of submissions this year, and films gracing the screens of over 45 venues nationally, the Flickerfest Tour lineup will have something for everyone. [caption id="attachment_892786" align="aligncenter" width="1920"] Tarneit[/caption] This April, the Best of Melbourne Shorts brings a curated screening of eight award-winning short films from thriving Victorian filmmakers. The one-night-only event kicks off at 6.30pm at The Kino Palace Cinema, with a complimentary drink on arrival before the programme starts at 7pm. To give you an idea of what to expect, there's hilarity and timely commentary on followers and faith with Follow for Follow, an emotive tale of escaping violence in the Iris Award-winning Tarneit, a story of running to heal (or escape) old wounds in Blvck Gold and a simple-but-compelling tale of The Best Dumplings in Melbourne. That's just a taste of the wild and wonderful stories on offer. To see the full Flickerfest 2023 program and grab tickets, head to the website. Top Images: Follow for Follow, The Best Dumplings in Melbourne
A new steakhouse and bar dedicated to New York-style Italian American eats has opened in the heart of the city. The two venues — Pretty Boy Italian Steakhouse and Floyd's Bar — now take up level one and two of Little Lonsdale Street's joined Novotel and Ibis hotels, and they aim to pay homage to the location's past as a gangster haunt and serves up cuisine inspired by Manhattan's Little Italy. Executive chef Michael Smith — who used to run the kitchens at Tonka and Mamasita — is in charge of the food here, and he's turning out fresh pasta made in-house daily, along with premium Australian steaks. Aged onsite, cuts include the O'Connor scotch fillet and Cape Grim ribeye on the bone, which is aged for four-to-five weeks. The menu also focuses on local produce and uses traditional techniques for curing meat — think green olive mortadella and wagyu bresaola — and making sugo. Other specialties include gnocchi with black truffle, porcini and portobello ragout; spicy kingfish crudo with orange, fennel and purple basil; and zucchini flowers stuffed with ricotta, goat's curd and Vino Cotto wine. The restaurant is open for dinner from 6pm and breakfast until 10.30am, but closed for lunch. St Ali coffee is available all day, too, and desserts include tiramisu, New York cheesecake and vanilla panna cotta with amaretto jelly. In Floyd's Bar on level two, there's a spritz menu that starts with the classic Aperol and extends to the Sloe Spritz (Sloe gin, brandy, peach liqueur, pineapple, passionfruit and prosecco). Multiple negronis also make the menu, including a Breakfast Negroni — made with orange marmalade, orange bitter, Four Pillars gin and Cinzano — and the Four Pillars Spiced Negroni. On the wine list, Australian drops using Italian grapes are the focus. Pretty Boy Italian Steakhouse is located on level one and Floyd's Bar is on level two of Novotel Melbourne Central, 399 Little Lonsdale Street, Melbourne. Both are open seven days a week — the former for breakfast and dinner, and the latter from 2–11pm.
Takeaway or dine in? It's the question that everyone who can't be bothered cooking dinner has faced, and it is more complicated than it sounds. Perhaps you'll be flying solo with your containers of food, but feel like some company? Or, maybe you and your pals all want meals delivered from different places, but know that's a bit impractical. A Helsinki pop-up has the answer, whether you're looking for an alternative to eating alone or trying to keep your gang of fellow diners happy. Called Take In, the kitchen-less venue is all about pulling up a chair, picking from around 20 restaurants, and enjoying the space as your dining room away from home — plus, making sure you have someone to share it with, even if your mates are all already busy. There's also a bar on-site, so that's the drinking side of the equation taken care of (or some liquid courage if chatting to folks you don't know makes you a little nervous). Customers can drop in just for a tipple, too; however eating out alone, but not alone is the main aim of the game. For anyone finding themselves in Finland in in the near future, the pop-up runs until April. Via Eater.
Berberian Sound Studio and The Duke of Burgundy filmmaker Peter Strickland is one of cinema's inimitable auteurs, not only conjuring up narratives that no other filmmaker ever would or could, but bringing them to the screen with a distinctive sense of style and mood. That remains accurate with In Fabric — the lauded writer/director's haunted dress movie. In a London clothing store, bank teller Sheila (Marianne Jean-Baptiste) finds the perfect red frock for her first blind date; however, she soon discovers that the fabulous outfit has quite the dark side. Also starring Games of Thrones' Gwendoline Christie, this fashion-focused horror-comedy is lurid and intoxicating. As the above rundown should make plain, this film is something special — and, after touring the festival circuit last year, is one of the standout theatrical releases of this year, too. But if you missed it in cinemas, Melbourne's The Capitol and RMIT University have an online solution thanks to In Fabric: A Long Weekend for Fashion Victims and Film Fetishists. Running from Friday, September 11–Monday, September 14 via thecapitol.tv, the virtual event includes three components. Firstly, you can stream In Fabric for 24 hours from 7pm on Friday, because that's what this whole thing is about. Then, at 7pm on Saturday, Strickland will chat about the film live. And, on Monday, he'll join the movie's costume designer Jo Thompson and RMIT Associate Dean of Fashion and Textiles Design Dr Ricarda Bigolin for a masterclass about fashion victims, desire, bodies and consumption. Your $15.86 ticket includes access to all three parts of the event — and possible dreams about striking red dresses for some time afterwards. https://www.youtube.com/watch?v=biHUTtV4K40&feature=emb_logo In Fabric: A Long Weekend for Fashion Victims and Film Fetishists runs online from Friday, September 11–Monday, September 14.
Everyone remembers their first time at the Abbotsford Convent. Whether it was stumbling across the coffees and pastries during a morning walk along the Yarra, a day whiled away at Collingwood Childrens' Farm, or maybe a boozy summer night spent at Lentil As Anything. All tucked away in the leafy streets of Abbotsford, while you're in there, the Convent always seems like a well-kept secret. This Sunday the secret will well and truly be out as this much-loved Melbourne establishment opens its doors for the day. From 11am, you can soak up some of the culture the Convent supports by taking a leisurely tour around St Heliers Street and C3 Gallery, or you can bone up on your creative writing with workshops led by the Australian Writers' Centre. There will also be a pop-up artists' shop as well as some local designers' work courtesy of the Shirt and Skirt Market, and free guided historical tours of the site. Maybe you can finally find out where all the nuns went. Since it is a Sunday after all, there will be heaps of time to relax too. The Shadow Electric Bar will be open from 1pm and they'll be easing you into the afternoon with some free tunes courtesy of The Spoils and Ben Salter. For those that have been following the inner workings of the Convent, it will be a beautiful way to round off the inaugural bandroom program; for those yet to discover it, it will be the perfect lead-in to the upcoming cinema site. There's plenty to discover. Check out Sunday's full program here.
Determined to maximise the sunny season and wrap up each of these balmy summer weeks in style? Get into the groove each weekend with Whitehart Bar's new Sunday sessions, which are serving up a healthy dose of musical goodness right through until the end of summer. Running from 3pm every Sunday from January 8 until February 26, the Hartbeats Sunset Series will see an impressive lineup of Melbourne artists descend on the laneway each week to deliver a genre-hopping smorgasbord of sound. Head down Whitehart Lane, grab a bev and settle in to enjoy tunes from the likes of Chiara Kickdrum, Sadar Bahar, Now Here This, Teymori and Mandarin Dreams, plus a whole stack of special supporting guests. The music is set to cover everything from hip hop and house, to afro and electro; while the talented Simbiotic Vison will be taking care of the visuals. And, with drink specials courtesy of Starward, Bodriggy, Olmeca Altos tequila and more, you can bet no one's going thirsty on that dance floor. Images: Duncographic
No one ever likes saying goodbye to their favourite TV show. Thankfully, due to the non-stop array of revivals, spinoffs and movie adaptations that just keep reaching our screens, those farewells are often only temporary. And, if you're lucky, you get multiple new chances to step back into the on-screen world you've already spent so much time watching and obsessing over — which is exactly what's happening with Downton Abbey: A New Era. It's been more than a decade since Downton Abbey, the Yorkshire-set television drama, first made its debut — and creator Julian Fellowes isn't done with it yet. After the show spun its tale of aristocratic life during the 1910s and 1920s across six seasons, finishing up in 2015, the 2019 movie that's also called Downton Abbey then brought the Crawley family and their loyal staff to cinemas. It played out like a last hurrah, but it unsurprisingly proved a hit, so that's where this new movie sequel comes in. To answer the most important question: yes, Maggie Smith is back. She's a key part of the new film's just-dropped teaser trailer, in fact, because of course she is. This time, she's telling her loved ones about a villa in the south of France that she's just come into possession of, which is where this follow-up is headed — in Downton Abbey's usual lavish style, obviously. Narrative-wise, the feature — which is once again written by Fellowes, but has filmmaker Simon Curtis (Goodbye Christopher Robin) in the director's chair — will chart the Crawley's summer trip, all as Hollywood comes to the Abbey. And yes, to answer the other burning question, there's familiar faces aplenty in the trailer, with the returning cast spanning Hugh Bonneville, Laura Carmichael, Jim Carter, Brendan Coyle, Michelle Dockery, Kevin Doyle, Joanne Froggatt, Harry Hadden-Paton, Robert James-Collier, Allen Leech, Phyllis Logan, Elizabeth McGovern, Sophie McShera, Tuppence Middleton, Lesley Nicol, Imelda Staunton and Penelope Wilton. If you're a fan of the series and the first movie, you don't need any further explanation. That said, a few new actors join the Downton Abbey world in A New Era, too, including Hugh Dancy (Late Night), Laura Haddock (Transformers: The Last Knight), Nathalie Baye (The Guardians), Dominic West (The Pursuit of Love) and Jonathan Zaccaï (The White Crow). Check out the teaser trailer below: Downton Abbey: A New Era releases in Australian cinemas on March 17, 2022. Top image: Ben Blackall / © 2021 Focus Features, LLC.
They're taking the hobbits to Isengard at The Astor Theatre, the Lido Cinema and Cameo Cinemas this March and the Classic Cinema this April, with one movie marathon to rule them all. Round up the Fellowship, stock up on lembas bread for sustenance and hide your finest pipe-weed from the Southfarthing for one sitting of all three of Peter Jackson's beloved OG Tolkien film adaptations. Kicking off with The Fellowship of the Ring and ending with The Return of the King, this cave troll of a marathon clocks in at over nine hours plus intermissions — with the journey starting at 11am on Saturday, March 6 at The Astor, at 10.30am on Saturday, March 13 at the Lido and Cameo, and at the latter time on Saturday, April 3 at the Classic. If you make it through breakfast and second breakfast to the final handful of endings, you can pat yourself on the back and smash a ringwraith screech at the nearest person on your way home (note: do not actually screech at people). Tickets are the precious and come in at $25–30 for the whole ordeal. And, you'll be watching all three films in remastered 4K versions — so expect to see Middle Earth in more detail than you've seen in before. https://www.youtube.com/watch?v=z_WZxJpHzEE
