While most of the city is still washing the (biodegradable) glitter from its hair and nursing a hangover from Mardi Gras weekend, the Labor Party is making its next election promise: a Pride Centre for Sydney's inner west. It won't be Australia's first — one is currently underway in St Kilda, and expected to open in 2020 — but it will be the first for the state. NSW Labor Leader Michael Daley this weekend announced that the party would invest $4.2 million in the centre, if elected later this month, which would be built in collaboration with the Inner West Council and ACON, a NSW health organisation specialising in HIV prevention. The Pride Centre would both celebrate and foster diversity in the community, be home to a LGBTQI+ health and wellbeing services and a base for LGBTQI+ community organisations. The Inner West Council says it is looking to exisiting Pride Centres — such as those in Edmonton, Singapore and San Francisco — for inspiration. The need for a Pride Centre in the Inner West was identified back in 2017, after the Council commissioned a report into how it could greater support a range of programs and initiatives within the local LGBTQI+ community. The report also suggested the hiring of a dedicated LGBTQI+ Community Engagement Officer, that all Council facilities be made inclusive and accessible and the commissioning of a gateway mural. https://www.facebook.com/innerwestcouncil/posts/2726691187355961?__xts__[0]=68.ARBLnstwrGL2mvx9QsO24Ay3DWmUUDqJwna4-8fwAqxmuEH7lfzCxSSYMC0gV3hArGLtcGb8XS7-wtfETY0Mncojd8MdG33UUFinuG0L-QxvXQZoarcWmdcoAqJYcJl07yth1eeDiE0R27Kf00zZXSZt4F2aa6MYx_u6YlKXd0gIyPcJ_uclAVR9l7MGuTdMvPcXYe-7EIxpu7kkidCI0qGDgk_OgeU3EbxvVjyymWFvpN5enQqcaXN209oOyknhcSjxumlYV1R_DYoTQL9d_v_9g-tXiAPZDOS4jS6D7MLlS8_0DmO92U4vIl0O6BoQ2krtrqrfJr6qg608OZ0W6NvMOg&__tn__=-R The Inner West Council is currently asking for feedback from the community, taking suggestions as to what services the Pride Centre should have and where it should be built. Feedback closes on March 24, 2019. For more information, head to yoursay.innerwest.new.gov.au.
If you listen to many theatre reviewers, you'll believe there's something wrong with you if you enjoy the opening act of Oedipus Schmoedipus, apparently the Sydney Festival's most divisive work. But I'm here to say it's bloody brilliant (emphasis on the bloody — it's basically writer-performers Zoe Coombs Marr and Mish Grigor killing each other and themselves in numerous vivid ways). The comedic timing, the ingenious weapon concealment, the improbable wailing of 'Love the Way You Lie' — the whole thing really comes together as a surreal mash-up of comic-book violence and a celebration of the craft of stage blood. There are other highlights in the hour that follows, as the women of post riff on the death scenes from some 2500 years of drama, from Aeschylus to Shakespeare, Moliere, Ibsen and Wilde. The ensemble has a gift for making layered, surprising shows out of seemingly novelty premises — in Who's the Best? they tried to empirically determine which one of the group was the best all-round human, and in Everything I Know About the Global Financial Crisis in One Hour they intentionally plunged into socioeconomic analysis without doing any research. Following Oedipus Schmoedipus's gory opener, the group attacks the death question with an arsenal including absurd comedy monologues, wordplay, group dancing, frenetic kabuki drops and two dozen fresh volunteers each night, squirming on stage while following carefully choreographed directions. It's fun to watch all this smash together — there's a strain of modern Dada to post's comedy, as randomness, nonsense and juxtaposition play their parts. The crazy experiments of durational performance artists are felt too. Perhaps the problem is that the methods don't quite match the mission this time around. Although their previous works allowed the audience glimpses of poignancy, in the face of a big subject like death — the biggest subject, some might say — most of what post fling at us seems pointless. Unless the only point that can be made about death is that it's pointless, in which case, everything is perfect. What can be said for sure is that the show seems to throw up more obstacles than aids to the audience's engagement. Though the entertainment value falls rather than climbs in Oedipus Schmoedipus, it's great to see the spirit of experimentation grip the Upstairs Belvoir arena. Post are one of the most exciting forces in devised performance in Sydney, and they deserve to be up here. Oddly enough, considering the show's whole premise is playing on the theatrical canon, it's fans of said canon who will likely hate the result. Intrepid arty genre-hoppers, your presence is required.
Twenty-one years ago an Art Deco building along the unfashionable side of Circular Quay opened up as Sydney’s newest art gallery. This new Museum of Contemporary Art turned out to be a combination of brash and austere, guiding its eager Australian audiences through modern local and overseas art. A two decade sweep culminating in the gallery’s majority is being celebrated this weekend with the MCA’s 21st Birthday Shenanigans, which invite you to come play, sing and hunt through the museum’s newly renovated art and architecture. The museum proposes you join in a happy-birthday-singing flash mob, send a message to your 21-year-old self (unless you are in fact 21, in which case, why wait?) and is sending mobs of people racing around the place in a Palinesque hunt Around the Museum in 21 Minutes. The hunt runs at 11am, 1pm and 3pm. It’s free, but you’ll need to register in advance.
They played the first game of their 2023 Women's World Cup campaign in Sydney. They took on Denmark there in the round of 16, then England in the semi-final loss. The next reason that the Matildas will hit the Harbour City: a match against China PR on the way to the 2024 Paris Olympics, and also for goalkeeper Mackenzie Arnold and coach Tony Gustavsson to take to the Vivid stage. The duo are on the already-packed Vivid Sydney 2024 lineup for a Vivid Ideas session at Sydney Town Hall on Monday, June 10. At Champions of Change: Mackenzie Arnold and Tony Gustavsson, the pair will have plenty to talk about — all things Matildas, of course, including the team's achievements over the past year, the challenges along the way, the squad's impact, the pressures and the coach-athlete dynamic. What has the last 12 months been like for the Matildas? How does it feel to represent your company on the global stage? What do the Matildas' successes — and the love showered their way — mean for women's sport? They'll all get a mention, too. Arnold and Gustavsson's addition to the Vivid lineup comes after Amy Poehler recently also joined the bill, to discuss her career and the upcoming Pixar sequel Inside Out 2.
Paddington's much loved restaurant Fred's has been a go-to dinner spot since it opened back in 2016. Now, internationally renowned head chef Danielle Alvarez is opening for the daytime crowd, starting this Saturday, April 28. The new Saturday morning offering will see the front bar reimagined into a European-inspired café from 8–11am each week. It'll serve up pastries, sweet treats and coffees for dine-in or takeaway. The succinct brekkie menu has been curated by Alvarez and includes options like savoury scrolls with goat's curd and leeks, buttermilk scones with lemon curd, apple and quince galettes, and plum and almond cakes. Plus, there will be canelés, those rum and vanilla pastries from Bordeaux with a custard centre and caramelised crust. Everything will be made in-house using organic flour and butter. Apart from these goodies, there will also be $65 seasonal produce boxes on offer from Sift Produce. The company — who supplies to the Fred's kitchen — works specifically with small-scale farmers who practice regenerative agriculture, so each box will include just-harvested ingredients sourced directly from local growers. You'll need to pre-order by sending Sift an email. The chef sees this new offering as a step toward turning Paddington into a destination for home cooks. "I would love our guests to be able to buy some of the produce we offer in the restaurant, to cook with the ingredients at home and get a better understanding of what true seasonality means," Alvarez said. It's certainly in the right spot, with the neighbourhood's adored seafood restaurant Saint Peter also just opening a Fish Butchery, plus the institution that is the Paddington Markets happening across the road every Saturday. Fred's will be open for breakfast from 8–11am every Saturday starting April 28 at 380 Oxford Street, Paddington. For more info, visit the website.
Dear Pluto, the people who've brought you dating parties, pop-up vintage stores and workshops in everything from floral arrangement to weaving, are back with another Makers Market this month. They're taking over both levels of 107 Projects in Redfern to host their more than 20 stalls. Stallholders include Sydney-based designer-maker Molly Coombs Marr, who makes delightful nostalgia-inducing jewellery inspired by Australian life (think rainbow Paddle Pop earrings), Crafts and Rec, who hope to start conversations about feminism with their quirky resin jewellery, and EM Pottery, who make stunning Japanese-style handmade ceramics. They'll be joined by Haus of Dizzy, Herbert Flores, Inside Jo.b, K. Designs, Le Munky Toto, Millie Hall, Parva and many others. There will also be workshops next door for those wanting to try their hand at making their own art. And on the roof, you'll find a Westmont Pickles burger pop up and Rare Breeds beer from Mountain Goat.
An installation inspired by drones; a theatrical exploration of mass food production, automation and human rights; and an opera based on Peter Carey's novel Oscar and Lucinda are just the beginning of Carriageworks' program for 2019. Unveiled on Monday, December 3, the program also includes several world premieres, across contemporary art, dance, performance, music, food and ideas. Oscar and Lucinda: The Opera will be premiered by Sydney Chamber Opera and directed by Patrick Nolan. Nolan transports to the stage the story of Oscar Hopkins and Lucinda Leplastrier, who after meeting on an English ship bound for Australia, discover a shared gambling addiction. Meanwhile, Back to Back Theatre will travel from Geelong to bring you The Shadow Whose Prey the Hunter Becomes. If you've been questioning the impact of artificial intelligence, automation and/or mass food production, this is the show to see. As always, much of the program challenges audiences to consider new viewpoints. Sydney-based performance artist Mike Parr will blur the line between architecture and sculpture in The Eternal Opening. Samoan-New Zealander choreographer Lemi Ponifasio and Arabic poet Adonis will explore multiple perspectives of the much-contested city of Jerusalem in سدــــقلا Jerusalem. And the colossal Until, by American artist Nick Cave, will remain at Carriageworks until March, dazzling visitors with its monumental crystal cloudscape and fantastical world of found objects. If you've been troubled by the increasingly frequent buzz of drones, immerse yourself in A Drone Opera by New York-based artist and filmmaker Matthew Sleeth (Guilty: The Final 72 Hours of Bali-9's Myuran Sukumara). Played through three video channels and soundtracked by opera, this installation is a poetic expression of flight, surveillance and technology, loosely based on the Greek myth of Icarus, who, despite his father's warning, flew too close to the sun, melted his wings, tumbled out of the sky and drowned in the sea. Come January 9-27, Carriageworks will turn into a bustling hub when Sydney Festival 2019 takes over town. Look out for a crew of talented, fearless women, including singer-songwriter Neneh Cherry armed with new album Broken Politics; dancer-turned-playwright Henrietta Baird with the world premiere of her one-woman show, The Weekend; and Canadian violinist Jessica Moss (Thee Silver Mt. Zion) performing Dust while surrounded by Dancenorth's magical troupe and Liminal Spaces' architect-designed set. During all this art and culture, you'll want to make sure you stay fuelled, so hit up the weekly Carriageworks farmers markets. The markets run every Saturday morning from 8am to 1pm and bring fresh, seasonal produce to the heart of the city. Also, along with the weekly market, summer and winter will see the always popular night markets return, where you can surely expect some of Sydney's top chefs dishing out the goods. In February, get ready to party at the Sydney Gay and Lesbian Mardi Gras. Carriageworks will host the second edition of the Sissy Ball, a Vogue championship inspired by New York's ballroom scene, as well as Koori Gras, a cornucopia of performances, workshops and talks presented by Moogahlin Performing Arts Company, among several other happenings. You'll hardly have time to catch your breath before The National 2019 storms in. Running March 29–June 23, this epic exhibition dedicated to new Australian art is a collaboration between Carriageworks, the Art Gallery of NSW and the Museum of Contemporary Art (MCA) and takes place over three biennial editions (2017, 2019 and 2021). Carriageworks will present pieces by 18 artists, including Tony Albert, Sam Cranstoun, Cherine Fahd, Tara Marynowsky, Mish Meijers & Tricky Walsh, Eugenia Raskopoulos, Luke Roberts, Thom Roberts and Melanie Jame Wolf. Keep an eye out for stacks of other major events in 2019, including the Sydney Writers' Festival, Mercedes-Benz Fashion Week Australia, Semi-Permanent, South East Aboriginal Arts Market, Liveworks, Sydney Contemporary Art Fair, Pacific Runway, NAISDA and Sydney Dance Company's New Breed. Top image: Eric Bridgeman: Kuman Painting Workshop. Image courtesy of Eric Bridgeman and Yuriyal Artist.
Blue Bayou isn't Justin Chon's first film as an actor, writer, director or producer, but it's a fantastic showcase for his many talents nonetheless. It's also a deeply moving feature about a topical subject: America's immigration laws, which are complicated at best and draconian at worst. Worlds away from his time in all five Twilight flicks — because Kristen Stewart, Robert Pattinson and Anna Kendrick aren't the franchise's only breakout stars — Chon plays Antonio LeBlanc. While the Korean American tattoo artist has lived in Louisiana since being adopted as child, the name he was given upon his arrival in the US still sparks cognitive dissonance, as the job interview that opens the movie illustrates. It also doesn't stop both the casual and overt racism frequently directed his way, or the deportation proceedings that spring after he's accosted in a supermarket by New Orleans police officers. Helming and scripting as well as starring, Chon layers Antonio's situation with complexity from the outset. He's getting by, just, but his criminal record makes it difficult to secure more work — which he needs given his wife Kathy (Alicia Vikander, The Green Knight) is pregnant. He's a doting stepdad to her daughter Jessie (Sydney Kowalske, Doom Patrol), but her birth father Ace (Mark O'Brien, Marriage Story) is one of those aforementioned cops. Also, Ace has a bigoted partner, Denny (Emory Cohen, Flashback), who makes antagonising Antonio his daily mission. And, after that grocery store run-in, the latter discovers that his adoptive parents didn't ever complete the paperwork required to naturalise him as a US citizen. His life, his wife, his kids, that he has no ties to Korea: sadly, it all means nothing to the immigration system. Based on the plot description, it'd be simple to accuse Blue Bayou of throwing too much at its protagonist, dialling up his hardships and wallowing in his misery, all to tug at heartstrings. The film inspires a strong emotional reaction; however, this isn't just a case of calculating narrative machinations manipulating viewers to feel everything — or even something. There's a sense of inevitability to Chon's feature, his fourth after Man Up, Gook and Ms Purple, and it's all by design. The path that Antonio's life is forced down isn't surprising, complete with tough truths and heartbreaking realities, but it's filled with authenticity. Piling on misfortune after misfortune isn't merely a ploy when all of Blue Bayou's dramas can easily accumulate as they do here, and when no one's struggles are ever limited to just one or two troubles. There's no contrivance in sight, but rather a firm understanding of snowballing sorrows and their overwhelming impact. Still, Chon walks a delicate tightrope. He could've veered into tear-wringing movie of the week-style melodrama, clogged it up with cliches and failed to evoke even a single genuine feeling — or, alternatively, he could've deployed too much restraint and crafted a clinical, procedural film that saw Antonio as a mere cog in a system. The space he's carved out in-between is both masterful and organically messy; finding the right balance is a mammoth task, and embracing the whirlwind that sweeps along Antonio, Kathy and Jessie is inherently chaotic. The result is a stirring and empathetic film that's also precise and intricate, especially when it comes to the emotional deluge weathered by its central trio. At every turn, Blue Bayou plunges viewers into their turbulent existence, sees their plight with clear eyes and acknowledges all that that encompasses. That's true not just in the story's ups and downs, but in every shimmering sight lensed by cinematographers Ante Cheng (Death of Nintendo) and Matthew Chuang (My First Summer). Blue Bayou looks both gritty and romantic at once, finding the immensely tricky midpoint between staying in the moment with all its bleak developments, and also savouring the details, including the small joys and wins, as one does when recalling memories. The movie's urgent, bustling pacing falls into the first category as well, while the second camp spans a fondness not just for water and water lilies — its most heavy-handed piece of symbolism — but also for lingering close-ups of Chon, Kowalske and Vikander. The time spent with Chon and Kowalske alone is revelatory, in fact, soaking in their bond as if it's the most meaningful thing in the world. There's an openness and genuineness to these scenes — an in-the-moment earnestness — that marks Blue Bayou at its finest. The whole film takes the same approach as it shows not only what Antonio is battling against, but what he's fighting to retain; however, these tiny slivers of connection are its crowning glories. Chon is terrific on-screen and -off throughout, but he's exceptionally sincere and full-hearted when he's lapping up oh-so-fleeting seconds with scene-stealer Kowalske. That said, he brings the same resonance to Antonio's well-intentioned but self-destructive choices, especially in the film's midsection. His rapport with the also-excellent Vikander resounds with the kind of hard-fought love that's learned to survive and thrive against the odds, too. Visually, thematically and thanks to potent performances, Blue Bayou would make a stellar double with Monsoon — another big-hearted yet small-in-scale gem that's also about immigration, identity and the interpersonal flotsam that washes up when the pair collide. Scenes where Antonio befriends Vietnamese refugee Parker (Linh-Dan Pham, Mytho), who has similarly lived in the US since childhood and invites him to her family gatherings, particularly bind the two films. They're different in a plethora of ways but, crucially, both pictures recognise the importance of atmosphere in conveying an emotional state, putting audiences in the thick of it with their characters, and peering into minds and hearts. That's where Blue Bayou echoes, whether or not it's playing the Roy Orbison-penned song that gives it its name. This is a movie about migration, discrimination, resilience and endurance in an uncaring world, and about oppressive bureaucracies, engrained prejudice and a supposed land of the free that rarely lives up to that ideal, but it's always a film about people first and foremost.
Since 1998, 5.4 million people have been killed as a result of warfare in the Congo. This astounding statistic is generally overlooked by the rest of the world. But Irish artist Richard Mosse and his collaborators have captured this forgotten humanitarian disaster in a way that is impossible to ignore. The Enclave is a six-screen video installation, now showing at COFA Galleries, and was a definite highlight of last year's Venice Biennale, winning critical acclaim and gracing numerous lists of festival favourites. By using the last remaining stocks of a type of infrared film designed to detect camouflage, Mosse is able to transform the lush greenery of the Congo's jungles into a vivid, bubblegum pink. The capturing of this infrared light, invisible to the human eye, is akin to the notion of an invisible war — a raging conflict that is no longer of interest to the Western media. In this way, Mosse aims to disrupt viewer complacency and push the parameters of war photography. On this note, partial credit is due to the patient and piercing cinematography by Trevor Tweeten. The slow and steady roaming of the camera absorbs every detail, whilst the grainy texture of the film creates a painterly quality. The wide-angle landscapes are particularly arresting, depicting rivers and waterfalls framed by lurid pinks and foggy lilacs. These fleeting moments carry a serenity and beauty that is quickly deflated by the reappearance of weapons, slums, and lifeless bodies. Adding to the immersive experience of the work is the haunting and visceral soundscape by composer, Ben Frost. In moments of utter darkness, you are aurally bombarded with explosions and gunshots as if standing in the thick of a conflict zone. Mosse and his collaborators spent two years infiltrating and earning the trust of rebel groups in the Eastern Congo. After displaying an initial hesitancy to being filmed, the soldiers assume postures of macho militancy. Amid shocking pink surroundings, this is highly bizarre, and the artificial coloration of the infrared transforms their earnest performances into absurdity. The aestheticisation of menace and brutality is disturbing to say the least. The imposition of beauty on something that shouldn't be beautiful is at the core of this work. In arousing an ethical dilemma in the viewer, Mosse is challenging the detached way in which we consume and catalogue images. Although it may seem like a bad acid trip, when stripped of its psychedelic hues, The Enclave is a scrupulous documentation of the vicious realities suffered by countless people in the Congo. Mosse went to painstaking lengths to get his hands on the antiquated infrared film, and the results speak for themselves. In addition to revealing the cancerous cycle of wars in this region, the seductive aesthetic of the work is guilt-inducing, generating a throbbing sense of urgency and discomfort.
Thought gin was just a summer drink? Legendary local distillery Archie Rose is here to remind you that that ain't so, by way of a cosy cocktail experience that's sure to warm your cockles and leave you with a whole bunch of new stand-out winter sips. The crew is taking its popular Hot Gin Terrace event on a cross-country tour and the next stop is Chippendale's Gin Lane for two tasty 90-minute sessions (6pm and 8.30pm) on Wednesday, August 10. Guests will gather around the fire with a hot cocktail in hand, as State Buildings Beverage Manager Eoin Kenny and Archie Rose Brand Ambassador Mitch Gurrin dive into the history of gin's wintry side. For example, did you know that steamy cocktails were traditionally heated by red-hot pokers? Well, this crew is bringing it back. You'll enjoy a warm G&T on arrival, plus another classic heated cocktail to follow, a recipe card and an Archie Rose enamel mug to keep. There'll also be a curated menu of other warm gin concoctions available to buy from the bar. [caption id="attachment_666851" align="alignnone" width="1920"] Gin Lane[/caption] Book your tickets for Archie Rose's Hot Gin Terrace at Gin Lane for one night only on Wednesday, August 10 (6pm and 8.30pm).
If you're looking to pack your weekend with laughs, a new comedy festival with a jam-packed lineup has just hit the Factory Theatre. Until Saturday, December 18, the Marrickville venue is hosting a heap of comedy talent on stage performing everything from stand-up and sketch comedy to improv and games of Dungeons and Dragons. Some big names you'll find on the lineup include Michael Hing and Gen Fricker joining forces for a night and performing solo stand-up sets, Aaron Chen premiering new material, TikTok sensation Gabbi Bolt, plus Nina Oyama, Sam Taunton, Billy D'Arcy and Pat Doherty. Between Thursday, November 11 and Saturday, November 13, long-running comedy night Two Queers Walk Into a Bar and its exhilarating hosts Jenna Suffern and Brendan Hancock are presenting three all-star nights of comedy at the Factory. Across the three days you can catch the likes of comedy trio The General Public and performance artist Demon Derriere alongside sets from Zoe Sitas, Swetha Das and Edan McGovern. Elsewhere on the lineup you'll find Love Probably, an improvised send-up of romantic-comedies; Glace Chace's show all about Australia's big things; and two nights of Thanks For Having Me, spotlighting people of colour comedians working in Sydney. Plus, if two sets from Michael Hing wasn't enough, the Triple J presenter will be returning to the stage in order to set out on mythical adventures alongside Alex Lee, Simon Freiner, Edan Lacey and Dungeon Master Fave Haromn as part of their D&D Comedy Show Dragon Friends. Check out the full schedule for the comedy festival and buy your tickets at Laugh Outta Lockdown's website.
What a couple of years it's been. Bushfires, floods, a global pandemic and responses from those in charge that have been disappointing to say the least. So where do we go from here? That's what this series of talks run by Sydney Festival and the UNSW Centre for Ideas is looking to address. The four-part series is pulling together a lineup of change-makers and beloved public figures to discuss the topics of misogyny, climate change, the pandemic and whether we're at a turning point towards a brighter future or a scary tipping point. On the lineup you'll find a wide range of speakers. Journalists Sarah Dingle, Peter Hartcher and Stan Grant will be joined by marine biologist Emma Johnston and comedian Dan Illic for a discussion on the future of Australia. Presenter Yumi Stynes, ABC reporter Louise Milligan, law expert Gabrielle Appleby and former MP Julia Banks will discuss political misogyny before women's advocate and musician Jaguar Jonze performers her single 'Who Died and Made You King'. And, Benjamin Law will host a discussion on the multifaceted impacts of COVID between economist Richard Holden, business leader Sam Mostyn and youth advocate Yasmin Poole. The talks will all be live-streamed as part of the festival's digital program, or you can head along in-person at the Sydney Town Hall for $25. [caption id="attachment_803976" align="alignnone" width="1920"] Benjamin Law[/caption] Top image: Jaguar Jonze
It's a space usually reserved for local crime alerts, missing persons' notices and the odd cringeworthy dad joke, but the Victoria Police Facebook page stirred up quite the social media frenzy last week, when it popped up a public poll asking one little question: "When using a fast-food outlet's drive-thru service, can I use my phone to pay?" https://www.facebook.com/victoriapolice/posts/2927840057288111 A bit of a frenzy followed, as 55,600 votes came flooding in. Victoria Police, mercifully, gifted us with the answer a few hours after the initial August 2 post, dropping this bombshell: "No. Using a handheld mobile phone while driving carries a $484 fine and accrue four demerit points." They go on to explain, "If you intend to use your mobile phone to pay at the drive-thru window, apply the hand brake, switch the engine off and then access your mobile phone. In doing so, you are not considered driving." Punters haven't seemed overly happy with the response, or the news that using a smartphone to tap and go might not always be quite as "convenient" as it's cracked up to be. Plenty of commenters argued that the law was bizarre and needed to be reviewed — words like "pathetic", "revenue raising" and "dumbest thing I've ever read" were thrown around a whole lot. It seems Victoria's not alone, either. The NSW Government has similar legislation, telling Concrete Playground: "It is illegal to use a hand-held mobile phone at any time while driving or riding. If you want to use a hand-held mobile phone your vehicle must be parked out of the line of traffic." And as for that Macca's run? "Mobile phone rules apply to drivers on all roads and road related areas. A road-related area is an area that is open to or used by the public for driving, riding or parking vehicles and therefore includes Drive-Thrus," the NSW Government confirmed. If you do decide to tap and go with your phone in NSW, you could be fined $344 and five demerit points. While the Queensland Government hadn't respond to Concrete Playground's request for a comment at time of publication, its website states that you can only use a mobile phone "held in your hand" if you are legally parked. If you do use your phone, you could be fined $400 and penalised three demerit points. So, next time you have a late-night junk food run remember to whip out the plastic (or cash) instead. To find out more about the use of mobile phones in cars in your state, head to the Transport for NSW, Vic Roads and Queensland Government websites.
This October, take a tour of Japanese film history — all from the comfort of the Art Gallery of New South Wales. Running as a prelude to this year's Japanese Film Festival, JFF's 2018 classics program will showcase movies from both the Japanese Golden Age and the Japanese New Wave. That covers flicks from the 50s through until the 70s — aka the kind of films you really won't see on a big screen elsewhere. Highlights include The Pornographers from Cannes Palme d'Or-winning filmmaker Shohei Imamura, which steps into the titular business post-World War II; queer melodrama Manji: The Goddess of Mercy, about two society ladies following their feelings for each other; and Nihonbashi, the first colour movie by Cannes jury prize-winning director Kon Ichikawa. In total, eight films will screen between October 3 and 31, all focused around the theme of passion and obsession. And, in particularly ace news, the whole classics program is free.
If you've ever wondered how prohibition-style bars became so popular, why bartenders are obsessed with fresh ingredients and how the word 'mixologist' became associated with the world of cocktails, you'll be able to find out when world-leading cocktail veteran Dale DeGroff comes to Sydney for one night only. On Friday, August 3, DeGroff will be spending the evening at Kittyhawk, answering all the above questions and relaying a bunch of tales from a life spent behind bars. Now 70 years old, DeGroff has seen a thing or two. He earned a name for himself in the 80s at New York City's Rainbow Room in the Rockefeller Centre, where he pioneered the art of creating gourmet versions of classic cocktails. He also founded the Museum of the American Cocktail in New Orleans and his 2002 book The Craft of the Cocktail is a bible for bartenders all over the world. Most importantly, DeGroff will be imparting some of his nifty skills, teaching you how to make cocktails without leaving the cosy comfort of your home. With your $70 ticket, you will also receive three cocktails and canapés to nibble on throughout the night. DeGroff is travelling to Australia on behalf of De Kuyper liqueurs, which has been mixing drinks since 1695. You can grab your ticket over here.
Melancholy, cantankerousness, angst, hurt and snow: all five blanket Barton Academy in Alexander Payne's The Holdovers. It's Christmas in the New England-set latest film from the Election, About Schmidt and Nebraska director, but festive cheer is in short supply among the students and staff that give the movie its moniker. The five pupils all want to be anywhere but stuck at their exclusive boarding school over the yuletide break, with going home off the cards for an array of reasons. Then four get their wish, leaving just Angus Tully (debutant Dominic Sessa), who thought he'd be holidaying in Saint Kitts until his mother told him not to come so that she could have more time alone with his new stepdad. His sole company among the faculty: curmudgeonly classics professor Paul Hunham (Paul Giamatti, Billions), who's being punished for failing the son of a wealthy donor, but would be hanging around campus anyway; plus grieving head cook Mary Lamb (Da'Vine Joy Randolph, Only Murders in the Building), who is weathering her first Christmas after losing her son — a Barton alum — in the Vietnam War. The year is 1970 in Payne's long-awaited return behind the lens after 2017's Downsizing, as the film reinforces from its opening seconds with retro studio credits. The Holdovers continues that period-appropriate look in every frame afterwards — with kudos to cinematographer Eigil Bryld (No Hard Feelings), who perfects not only the hues and grain but the light and softness in his imagery — and matches it with the same mood and air, as if it's a lost feature unearthed from the era. Cat Stevens on the soundtrack, a focus on character and emotional truths, zero ties to franchises, a thoughtful story given room to breathe and build: that's this moving and funny dramedy. Christmas flicks regularly come trimmed with empty, easy nostalgia, but The Holdovers earns its wistfulness from a filmmaker who's no stranger to making movies that feel like throwbacks to the decade when he was a teen. In the first of his eight pictures actually set in the 70s, Payne tells a tale that audiences can plot out from the setup alone. The Holdovers also charts a story so on the director's wavelength that, even though it's only the second of his films that he didn't also script, it comes as no surprise that he specifically commissioned it from screenwriter David Hemingson (Whiskey Cavalier) after reading a pilot by him set in a boarding school, and also watching 1935 French effort Merlusse. But spying where this account of three lonely souls thrust together over the holidays is heading doesn't temper its delights and depths; the journeys that Paul, Angus and Mary take; or spending time in the trio's presence. While movie narratives are often predictable — that there's only so many basic plots is a common writing concept — the devils and joys are in the details, relationships and idiosyncrasies, as Payne unpacks with help from excellent performances. The Holdovers knows how to construct and flesh out characters; in Paul's gruff demeanour with his class, who he's happy to flunk — and particularly ferocious about putting the most privileged in their place — the film says plenty about the man and how everyone around him sees him. He's hardly thrilled with his chaperoning gig, taking to it like teaching. Angus, one of his outspoken but socially awkward pupils, is equally miserable. And Mary is just endeavouring to get through a tough time heightened by the supposedly merriest part of the year. That each will come to better understand the other, plus themselves, is exactly what's expected, and what Payne and Hemingson dive into. The layers unpeeled, however, are exquisite — not only showing what's led the three figures to this physical place in their lives, and to their current emotional and psychological juncture as well, but letting viewers see themselves in each and every one. Payne and Giamatti reteam following 2004's Sideways, which brought the former the first of his three directing Oscar nominations to-date, and also gave him a statuette for co-writing the adapted screenplay. The Holdovers is a welcome reunion, again casting Giamatti as a dispirited teacher, but his older years are felt. The corduroy-wearing, pipe-smoking Paul is a holdover in several manners, including as a former Barton student now working at the academy, someone whose dreams haven't come true and a man maintaining his frostiness after a lifetime of not fitting in. Every aspect is naturalistically grounded in Giamatti's acerbic Golden Globe-winning portrayal, as is the fact that choosing something different, breaking his routines and no longer holding himself over is a trickier prospect when you've spent more time set in your ways than you have left to change. This virtual three-hander pairs its biggest on-screen name with two just-as-exceptional performances by Randolph and newcomer Sessa. She's another 2024 Golden Globe-recipient and he, after being discovered as an elite Massachusetts boarding school perhaps not unlike Barton — it's one of five used as locations in the movie — kicks off what's certain to be a promising career. There's such soulfulness in the no-nonsense, just-getting-by Mary, who has no other option but to keep overseeing the academy's kitchen after the worst thing that can ever happen to a mother, and gives Rustin and The Idol's Randolph her best role since Dolemite Is My Name. And there's such spark mixed with pain in Sessa's young Dustin Hoffman-esque turn (a comparison reinforced when Paul and Angus hit the cinema to see western Little Big Man, which stars Hoffman, and by The Holdovers overall harking back to The Graduate times). Think: Dead Poets Society and With Honours, too. Think: The Shining as well, thanks to the snowy, sprawling and empty site where the characters and their thoughts are left to roam. But The Holdovers finds its own space as it ponders striving against remaining in a spot in your life that's anything but what you truly want, and also how one person's flaws and failings can be another's source of inspiration — packaging both with ample laughs. This is a witty and amusing film with dialogue that bounces and proves finely observed at the same time, as its characters and the entire movie also do. Down Under, The Holdovers' release has been held over until after Christmas, pitching its big-screen arrival as awards season heats up — Giamatti and Randolph are highly likely Academy Award-nominees — but it's also perfect bittersweet future festive viewing.
When you think of jazz music, you might picture dimly lit rooms, intimate underground bars or laidback hole-in-the-wall venues. If that's you, prepare to have your expectations exceeded at this one-day jazz event happening at the Sydney Conservatorium of Music. The Sydney Con Jazz Festival is taking over six venues at The Sydney Conservatorium of Music, located right by the Royal Botanic Garden, with more than 30 concerts and masterclasses. From 12–9pm on Sunday, May 30, you can bounce between six gig spaces to catch musicians performing a variety of jazz styles. And, if you want to learn from industry experts, you can attend a workshop to expand your skills and musical repertoire. Malaysian-born, Aussie bassist Linda May Han Oh (who is now based in New York) will headline the event, which is stacked with over 120 musicians. Captivating vocalist Jo Lawry will debut a collaboration with string ensemble, saxophonist Will Vinson (UK) and pianist Fabian Almazan (CUBA). You can also catch the premiere of trumpeter Nick Garbett's new work, a rare solo piano performance by Thirsty Merc frontman Rai Thistlewayte and This World — an Australian super-group quartet consisting of jazz legend Mike Nock, ARIA Award winner Jonathan Zwartz, Freedman Fellow Julian Wilson and drumming legend Hamish Stuart. Also on the bill is folk fusion artist Zela Margossian, Paul Cultan's scintillating string ensemble and Nadje Noordhuis and Luke Howard will team up in a gentle yet sweeping union of trumpet and piano. To catch both Linda May Han Oh and This World, consider the double bill Gala concert at 7:30pm. Ticket prices vary depending on the number of shows you'd like to attend. For more information on the program and to book, head to the website.
Art lovers, amateur gazers and veteran collectors, rejoice. Sydney's lauded Art Month Sydney has returned for its tenth year running, with artistic director Kate Britton claiming it to be the "biggest and most ambitious program yet". The city-wide celebration of contemporary art and artists kicks off March 7, bringing together art appreciators from all walks of life to attend free exhibitions, talks, workshops, panel discussions, studio visits, precinct nights and parties."It's about engaging and celebrating our city's whole arts ecology," says Britton. And with galleries and creative spaces across the city participating, you'll have no problem diving into it all — except for maybe deciding where to start. That's where we come in. To help you start planning your arty excursions, we've teamed up with Art Month Sydney to track down the must-sees and must-dos from the creative program. From private art collections and French cinema screenings to free parties, talks and performances, here we've chosen our six top picks to add to your calendar this month. ART AT NIGHT Every Thursday during the month, the beloved Art at Night series will take place, exploring a different precinct each week and giving punters the chance to visit local galleries after hours. Kicking off on March 7 for the official launch of Art Month Sydney, Art at Night will take over Paddington and Woollahra galleries such as Roslyn Oxley9 Gallery, Wagner Contemporary, KORBAN/FLAUBERT, Sabbia Gallery and Saint Cloche among others. And to celebrate further, a free afterparty will be held at the National Art School from 8pm–10pm with performances by artists Brian Fuata and Megan Hanson, alongside an installation by Brian Van Hek. Then on March 14, Waterloo and Green Square will come to life with the opening of The Other Art Fair. The next week, you'll get a double dose of art nights with both East Sydney and St Leonards precincts becoming the focus on Thursday, March 21 and Friday, March 22 respectively. And to round out the festivities, on March 28, Chippendale and Redfern galleries will throw open their doors till late, with a party to follow at The Lansdowne featuring performances, DJs and more arty happenings to be announced. COLLECTORS' SPACE For those who love a sticky beak, the CBD's 541 Art Space is hosting festival highlight Collectors' Space, giving us curious cats a chance to peer into the private collections of some of Sydney's most creative duos. Located in an enormous, beautiful space in the city, the exhibition hopes to inspire one's own art collection — aspirational or not — and is the perfect lunch break or after-work cultural pitstop. "There is a voyeuristic element to the Collectors' Space that people really get into. It's very intimate, and it's not an experience you get in many exhibitions, that blurring between public and private space," says Britton. "People can come along and find out a bit more about how people build a collection, find out you can start small, find out that passion and desire are all you really need, and hear about how people fall in love with a particular work or a particular artist." [caption id="attachment_710671" align="alignnone" width="1920"] Blake Lawrence: Dead Reckoning, 2018. Image by Lou Dietz-Henderson.[/caption] SATURATED TERRAIN Giving a platform to commercially unrepresented artists, Saturated Terrain at Willoughby's Incinerator Art Space is an exhibition curated by Kate Britton and a centrepiece of this year's program. As Art Month Sydney's second unrepresented artist exhibition and with works by Tom Blake, Kieran Bryant, Ethel-Anne Gundy, Shivanjani Lal and Blake Lawrence, the show pushes to engage with all aspects of Sydney's art scene and celebrate its breadth and diversity. "The Incinerator Art Space has such a unique history and architecture, it's hard not to respond to it when you're thinking about occupying that space," notes Britton. With water as the central theme of Saturated Terrain, it paradoxically plays off the history and function of the incinerator's space and showcases a variety of works, making for a multifaceted and dynamic exhibition. Here, water becomes a metaphor of passive resistance, quiet power, a surface that hides great depths. [caption id="attachment_710672" align="alignnone" width="1920"] The Wild Boys.[/caption] THE ART OF FILM Partnering up with Alliance Française French Film Festival, Art Month Sydney introduces a new segment this year: The Art of Film — a series of three films shown across the festival. A rare chance to view films that highlight where art and film intersect, The Art of Film includes Jean-Luc Goddard's The Image Book, Virgil Vernier's Sophia Antipolis and Bertrand Mandico's The Wild Boys, with each session hosting a discussion post-screening. "We chose three films that are really driven by an artistic sensibility," notes Britton. "They all experiment in different ways with their medium, are very ambitious and painterly in their use of colour and image." The Image Book will screen at Palace Chauvel on Sunday, March 10 at 3pm, Sophia Antipolis at Palace Verona on Saturday, March 23 at 4.30pm and The Wild Boys at Palace Central on Friday, March 29 at 6pm. Tickets are available here. [caption id="attachment_612819" align="alignnone" width="1920"] Galerie Pompom.[/caption] TALKS PROGRAM Brush up on your art knowledge with insightful talks and panel discussions with some of the industry's most acclaimed local talents. Topics range from wearable light art as discussed by Japanese artist Erina Kashihara at The Japan Foundation to a retrospective look at the Michael Hobbs Collection with panellists Tony Albert (artist and collector), Peter Braithwaite (collector), Michael Brand (Director of AGNSW), Alex Seton (artist) and Beatrice Spence (publisher). Along with its perennial talks program, Art Month Sydney 2019 is welcoming a new talks-on-the-go series, aptly named 'Walkie-Talkies'. Every Saturday at 11am, local creatives will host curated walking tours, with artist Alex Gawronski kicking things off in Rozelle on March 9 at Artereal Gallery and Sydney College of the Arts. On March, 16, Cultural Capital's studio manager, Bethan Donnelly, will guide attendees through Chippendale, visiting three of the area's key spaces: Woodburn Creatives, Nanda\Hobbs and Galerie Pompom. Lastly, on March 23, art writer and curator Mariam Arcilla and artist Mason Kimber will lead a Walkie-Talkie through Paddington, visiting stockrooms and galleries along the way. THE STUDIO OPEN Celebrating explorative, creative and unconventional ceramics, The Studio Open champions a medium that's often overlooked as a 'functional' artform. Taking place at The Other Art Fair at Australian Technology Park, the event will offer a sneak peek into some of Sydney's most boundary-pushing artist studios from March 14–17. In collaboration with kil.n.it experimental ceramic studio and the Little Orange Open Studio from Campbelltown Arts Centre, the event will see artists bring their studio to the fair and share their practices onsite. You'll also be able to watch artists such as EJ Son, Vivien Hill, Joseph Turrin and Angela Bishop at their craft and pick up some freshly made pieces from their studios. Art Month Sydney runs from March 7–30, 2019 at various venues Sydney-wide. For the full program and more information visit their website here. Lead image: Art at Night at The Lansdowne by Document Photography. Courtesy of Art Month Sydney.
Most of us like the idea of getting out into the wilderness. But the reality can be challenging. Especially in Australia, where dense bush, snakes, spiders and sheer sandstone cliff faces are part of the picture. Then there's the hassle of making sure you have the right gear and working out what food to take – and how you're going to cook it. The good news is that Freeland Hiking Co. wants to give you a helping hand. Founded by Sara Freeland, this new company offers guided multi-day hikes near Sydney. Sara and her crew do absolutely everything for you, from leading the way to handing you a cup of hot tea first thing in the morning to providing all gear, meals and transport. At this stage, there are six hikes in the Freeland repertoire. Whether you're a novice hiker who wants to try an overnighter or a veteran ready to venture into new territory, there's find an adventure to suit you. Beginners should start with the Ruined Castle: over two days and one night, you'll cover 22 kilometres, from Katoomba in the Blue Mountain to the Ruined Castle, passing Mount Solitary along the way. If you're up for something tougher, go for the Kanangra to Katoomba trip, a four-day, 45-kilometre escapade that passes through spectacular gorges, wild rivers and remote wilderness. The trips don't come cheap, with the Ruined Castle setting you back $600 a person and the Kanangra to Katoomba costing $1400 a head, but everything is looked after — from snacks and backpacks to sleeping bags (with cotton liners) and national park fees, so you really just need to bring yourself and hiking-appropriate attire. As an added bonus, the company is environmentally conscious. It aims is to produce as little waste as possible — with no single-use plastics allowed — and to have very little impact on the countryside. For more information about Freeland Hiking Co, head to freelandhikingco.com.au.
The Hunter Valley is taking a trip to the coast for the 10th annual incarnation of Hunter Valley Uncorked Balmoral. On Sunday, October 11, from 11am–5pm, Balmoral's gorgeous esplanade will transform into a wino's dream, crowded with stalls hosted by the Hunter's best winemakers, producers and chefs. More than 20 wineries will be in attendance. These include big names like Tyrell's, Hungerford Hill and Brokenwood, as well as boutique labels, such as Allandale Winery, De iuliis and Eagles Rest. Needless to say, there'll be an endless array of semillons to sample, but you can also expect some unusual and experimental varieties. Meanwhile, a handful of the Hunter's top-notch eateries will be joining forces to bring you matching tasting plates — namely, Ridge View, The Cellar, The Verandah and Twine. And dessert will be taken care of in the form of gelato, fresh home-made lemonade and choc-dipped strawberries. Keeping your ears happy will be acoustic blues-rock duo, Daley Holliday, with a steady program of old classics and new hits. To get you there and away safely and easily, free shuttle buses will be running every 15 minutes from Mosman and Spit Junction.
It's oft said that New Year's Eve is the most over-hyped night of the year. But, it doesn't have to be this year — NYE in the Park is taking over the lush expanse of Victoria Park for an evening of (actually good) music, fireworks, dancing and no let-downs. It'll be a night you'll actually want to remember. Headlining this year's event are US mashup king Girl Talk and Sydney hip hop duo Hermitude. They'll be joined on stage by a heap of local legends, including pastel princes Client Liaison, pop band Safia (who has just dropped their new album Story's Start or End), electro duo Bag Raiders, alt dance group Crooked Colours and a whole heap more. You can check out the full lineup below. The festival runs for a marathon eight hours, so you'll need some sustenance. Luckily, there'll be plenty of that. Expect lots of pop-up bars, food stalls and, if you're feeling super fancy, a VIP garden and skydeck. Oh, and some fireworks to round out the night (and the year), too. NYE IN THE PARK 2019 LINEUP Hermitude Girl Talk Crooked Colours Safia Client Liaison Bag Raiders Sneaky Sound System Touch Sensitive Young Franco Graace Owl Eyes Alice Ivy Chase Zera Jawbreakers Happiness Is Wealth All My Friends DJs Van She Tech NYE in the Park pre-sale tickets drop at 6pm on Tuesday, September 10, with general sale tickets available from 10am on Wednesday, September 11. You can sign-up for pre-sale tickets here.
Among the many strategies in place to help combat the spread of COVID-19, tracking and tracing the contacts of confirmed cases ranks alongside hand hygiene and social distancing as one of the most important. In New South Wales, since hospitality venues were given the green light to slowly start to reopen, they've been asked to keep a record of their patrons to help with contract tracing efforts. At the end of this month, however, they'll be required to do so via QR codes. NSW Premier Gladys Berejiklian announced the news today, Wednesday, November 4, alongside another big revelation — the opening of the state's border with Victoria. Both will come into effect on the same date: Monday, November 23. "From that day, the use of QR codes for hospitality businesses within NSW will be compulsory," said Premier Berejiklian, noting that "there is no reason why, within the next three weeks, businesses that all businesses shouldn't have QR codes". Venues can adopt their own, or they can go with the Service NSW QR code system — which is recommended by the government because it enables the state to get messages to customers quickly. Also, for customers, it means that they won't have to keep inputting their details into a plethora of different systems. "We believe the dual strategy — of opening up our borders to all Australian citizens, all New Zealand citizens, in addition to making use of QR codes compulsory for hospitality businesses — is an important step forward," advised Premier Berejiklian. Accordingly, both NSW residents and visitors from elsewhere should prepare to have their phone in their hand when they head to a cafe, bar, pub or restaurant from the end of November — as you'll be needing it to register your details upon arrival. [caption id="attachment_751281" align="aligncenter" width="1920"] Trent van der Jagt[/caption] NSW Health will also be asked to talk to community organisations, such as places of worship, to discuss how to manage the collection of data in other venues to ensure compliance with contract tracing requirements. Nothing compulsory will be put in place for those types of sites as yet, but the state is keen to ensure that "all community organisations and all other sections of the community where people will be having interactions do have a system whereby health officials can maintain contact quickly if there is a case, because we know that will be even more challenging moving forward," the Premier said. For more information about the status of COVID-19 in NSW, head to the NSW Health website.
We all know it's never too early to start planning your summer – especially the bits that involve scouting out new drinking destinations and loading up on art and culture. Handy then, that the Museum of Contemporary Art Australia will again combine two of Sydney's favourite past-times for its third annual exhibition-themed summer pop-up bar, opening the doors to Colour Fields on November 3. As the name suggests, this year's project is set to inject the MCA's harbourside terrace with a healthy dose of colour, inspired by Pipilotti Rist's bold Sydney International Art Series exhibition Sip My Ocean, which is in town from November 1 until February 18. Not only will the rainbow-hued bar offer modernised classic cocktails and summery share plates to echo Rist's bold installations, but the team from Work-Shop will be hosting a series of Wednesday night classes on topics like DIY perfume-making and rosé appreciation – perfect for when that art gazing leaves you itching to unleash some creativity of your own. And, as the icing on the cake, local record label Future Classic has again jumped on board to serve up some awesome aural treats. Colour Fields will feature their handpicked mixtapes throughout the week, while weekly Sunday sessions will see the likes of Andy Garvey, Le Fruit, Freda & Jackson and Moving House DJs gracing the decks. Image: Courtesy Scoundrel Projects.
Pull out your loose change stash and check under the couch because China Fusion is serving up an impressive January deal. Until the end of the month, the Marrickville Metro spot is slinging dumplings for $1 a piece. Head on in whenever you like before Monday, January 31 and bring your appetite — and all the gold coins you can find. Choose between pork and chive, vegetable, and prawn either alone or with English spinach, all of which come steamed. There is one catch, however — punters must purchase them in servings of ten, so you'll be out at least $10. But, given that dumplings are oh-so-moreish anyway, that's hardly a tough or tricky caveat. No bookings are required, so just mosey on in. And you can order as many $1 dumplings as you like, but you do have to nab them in those plates of ten. Also, there's just one serving per table at any one time — but if you're dining with pals, each batch obviously isn't going to last long.
How'd you like to populate your Christmas feast with local, artisanal goods to make your relatives impressed and your in-laws floored? Carriageworks is bringing back its Christmas Market, where you can buy fresh seasonal produce just a couple of days before Christmas. Importantly, you can also buy last-minute gifts ahead of the big day — because we know what you're like. Taking over Carriageworks on Saturday, December 23, the market will go full Christmas with a cornucopia of goodies from more than 100 of Australia's best producers, restaurants and designers. Think: homemade puddings, seafood, fresh cherries, award-winning cheeses and Christmas tree-shaped crumpets. Expect the best from the weekly Carriageworks Farmers Market and more, including Christmas hams, handcrafted spirits, bottled cocktails and floral bouquets made to complete your Christmas table. Just some of the stallholders include Bondi Oysters, Flour and Stone, AP Bakery, Broomfields, Nonna's Grocer, Wildflower Brewery, Kepos Street Kitchen, Yulli's Brews, Archie Rose, Baba's Place and Pepe Saya — offering a mix of takeaway goods and tasty things to costume on-site. Baba's is even bringing back its famed "Lebo Fillet-o-Fish" for just one day at the markets. FBi Radio's Bindi Mutiara and Sam Lane will be unleashing their b2b DJ skills on the market and controlling the tunes together as their joint moniker BAM. This will also be your last chance to hit up the Carriageworks Farmers Market in 2023, with the weekly get-together taking a three-week break following the special Christmas edition before returning from Saturday, January 20. And, if you want to get your hands on a real Christmas tree, then you can head to the market in the weeks leading up to the official Xmas shindig. Dural Christmas Tree Farm is popping up at the Eveleigh hub for the markets on three Saturdays: December 2, 9 and 16. [caption id="attachment_933013" align="alignnone" width="1920"] Baba's Place[/caption] Images: Jacquie Manning.
Director Netta Yashchin's stage adaptation of George Orwell’s 1945 novella Animal Farm at the Australian Theatre for Young People is dedicated to the Jewish-Arabic director and peace activist Juliano Mer-Khamis. He was murdered just over a year ago in Jenin in the West Bank, close to the Freedom Theatre he ran for young people. Hearing about his production of Animal Farm inspired Yashchin to create her own production of the story, which she says is "extremely relevant today". Staging Animal Farm in Palestine has an immediate weight and relevance. Sydney's Walsh Bay doesn't have quite the same effect. Nevertheless Animal Farm is a cracker of a story and it is hard not to find it interesting wherever you are. Orwell's illustration of post-revolution reversion to the same oppression as that of the overthrown powers is a great piece to stage at the moment. Australian Labor party leadership squabbles don't qualify as a revolution, but the hypocrisy and deceit displayed by our politicians is right there in Animal Farm. More pertinent perhaps is Egypt's post-revolutionary presidential race, which has turned into a farce because of the string of disqualifications based on pedantic nationality rules. The production is highly physical while at the same time retaining much of Orwell's excellent writing as narration delivered directly to the audience. Dymphna Carew's choreography and Tom Ringberg's fight direction give the piece a physically vibrant edge that keeps the story alive. The pigs' transformation into authoritarian masters trying to walk on two legs is a particularly striking moment. The performances are generally compelling, with a strong sense of ensemble for this large cast of 18. Michael Brindley presents a delightfully eccentric characterisation of the messianic raven, Moses, with his utopian belief in Sugarcandy Mountain. Stephanie King playing the Cat has some consummate acrobatic skills on the silks, which at times distracts from the action (because she's so good). The performers seem to be enjoying themselves, which is always a pleasure to watch. If your copy of Animal Farm has been gathering dust since high school, this is an excellent opportunity to reacquaint yourself with the classic.
It's the intermission of the funniest play that currently exists on the planet, and the crowd is in shock. Why? Well, I'm not inclined to tell you. Suffice to say, One Man, Two Guvnors might be a hybrid of every classic style of British humour, but that doesn't mean it plays it safe. Based on the commedia dell'arte (read: old Italian panto) play Servant of Two Masters, this production has been adapted for the National Theatre of Great Britain by Mr Bean — that is to say, Richard Bean, prestigious playwright whose The Heretic divided Melbourne last year. One Man, Two Guvnors, set in '60s seaside Brighton, comes to the Sydney Theatre after stints on Broadway and the West End and several theatre awards. It's gargantuanly, uninhibitedly, divinely funny. A great leveller; you laugh, or you're not alive. It all rests largely in the hands of Owain Arthur, who plays poor fool Francis Henshall, a man who becomes the personal assistant to two seemingly unrelated parties, all because he's dying to buy lunch. Arthur was the understudy to James Corden in the original run of this show, though watching him, it's quite impossible to imagine anyone else in the part. The man goes red in the face every time he opens his mouth to speak. The amount of energy he puts into these two-and-a-half-hours is stunning. Add a pair of high pants and a sweet Welsh accent, and you have a comedic triple threat. He's not let down by the rest of the cast, either, with Edward Bennett in particular proving Arthur's match and counterpoint as toffy Stanley Stubbers, one of the guvnors. Where Arthur has to milk lines like "It tastes good for paper", Bennett fires off quick ripostes such as "I don't do first names; first names are for girls and Norwegians" with a flash of straight teeth and a brush of his blazer. They each stand at one end of the comedy spectrum from the slapsticky to the Wildean, with Amy Booth-Steel. Kellie Shirley, Leon Williams and Rosie Wyatt admirably filling the bits in between. Keeping the good times rolling is a (very handsome) beat combo, who provide live music and step on stage between scenes. It's a fun and refreshing way to add a musical aspect to the show. Indeed, even when the energy of the show starts to flag in the second half (why? Maybe the spell is broken, it's just a bit more predictable or people are nervous about the show's approach to audience participation), these interludes spike the levels right back up again. One Man, Two Guvnors may represent the least stuffy part of our British heritage. Eat it up.
We're all well-versed in the importance of doing what we can to protect our planet — you know your recyclable plastics, try to limit your showers to under five minutes (except on hair wash days) and have maybe even ventured into the world of composting and zero-waste living. But how can researchers, investors and corporations collaborate to support sustainable innovators and move towards a net-zero future? Leading the charge on 'Innovating for a Net-Zero Future' is CommBank's General Manager of Climate Strategy and Commitments, Alex Matthews, who helms the institution's climate and carbon efforts. With a decade of experience spanning the US and Asia Pacific, he'll explore how larger organisations and investment firms can collaborate on furthering climate tech and cutting greenhouse gas emissions. Joining him is Kirstin Hunter, whose career includes varied roles as a corporate lawyer, management consultant, Co-Founder of Australia's first fossil fuel-free super and now the managing director of Techstars. Hunter is particularly interested in purpose-driven startups that attempt to solve some of the dire social and environmental issues we're currently facing, so she's sure to have some valuable insights to share. Paul Hunyor also adds his 20 years of experience as an investor to the panel. As the Co-Founder and Managing Director of a global climate investment firm, he has firsthand knowledge of identifying and endorsing businesses that have a positive impact on our environment. On the climate fintech front is Katherine McConnell, who founded a platform that makes sustainable home improvements more affordable and accessible. McConnell received B&T's Sustainability Crusader Award for her pioneering work and was listed as one of The Australian's 100 Green Power Players this year. 'Innovating for a Net-Zero Future: the Climate Tech Imperative' will be presented by Commonwealth Bank as part of the SXSW Sydney Conference. The panel will take place from 11.30am–12.30pm on Monday, October 16 at the ICC Sydney.
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.
Sydney is in the middle of a particularly hazy weekend, with foggy skies descending upon the city. For the second day running, the gloomy conditions are reducing visibility on roads around town and causing dramas for those departing from the airport — so if you're venturing out of the house on this murky Sunday morning, prepare for a longer journey than normal. The heavy mist has disrupted flights going out of Sydney Airport, with the facility advising travellers to keep in contact with their carriers about delays. Yesterday, according to news.com.au, more than 40 domestic flights and eight international flights were waylaid due to the fog. https://twitter.com/SydneyAirport/status/1147608690003853313 Even if you're not heading to the airport, it goes without saying that you should take caution on and near the road this morning as visibility is low. The Bureau of Meteorology has issued a road weather alert, noting that "reduced visibility in fog will make road conditions dangerous during Sunday morning in most suburbs". Weatherzone advises that the fog is due to linger past 9am, then return this evening. Once the skies do clear today, Sydneysiders can expect partly cloudy conditions with a slight chance of a shower. More cloud is forecast for tomorrow, as well as showers in the late morning and afternoon. Image: Bureau of Meteorology via Twitter. By Sarah Ward and Libby Curran.
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
Whether you're a stirrer or a shaker — or a sipper or a slurper — World Class Cocktail Festival is dedicated to you. For five glorious days between Wednesday, April 28–Sunday, May 2, cocktail-centred happenings will be taking place throughout Surry Hills, The Rocks and the CBD, with 13 different events on the menu. If you're fond of espresso martinis, Paramount Coffee Project is devoting two whole nights to them, as made with your choice of Columbian or Ethiopian coffee beans. Fancy spending a few nights sipping German vermouth in a laneway? That's also on the agenda thanks to Bulletin Place. And, you can tuck into both margaritas and tacos at Cantina OK! and Shwarmama's pop-up collaboration, called Mama OK! Also on the lineup: a series called Little Melbourne, which sees bars from down south make an appearance at Golden Age Cinema and Bar. So, you won't need to hop on a plane to sip drinks from Above Board, The Everleigh, Black Pearl and Byrdi, all of which placed in 2020's World's 100 Best Bars list. Golden Age is also screening a number of films with ties to Mexico, including Like Water for Chocolate, Desperado, El Mariachi, Brimstone & Glory and Pan's Labyrinth. And, to wrap up the festival, Maybe Sammy is hosting a big closing party — so saving some energy after jumping between all of the event's pop-ups, team ups and specials is highly recommended. [caption id="attachment_721697" align="aligncenter" width="1920"] Bulletin Place, Cesar Echeverri[/caption] Top image: Maybe Sammy, DS Oficina.
If you're a fan of Stars Wars, then you're a fan of Han Solo — and, obviously, a certain legendary Wookiee — which means you must be pretty excited about the latest instalment in the juggernaut Star Wars series – Solo: A Star Wars Story. A fast and action-packed adventure, the film follows the first meeting between Solo and Chewbacca. It's set when Solo (played by Alden Ehrenreich) is a lot younger, so there's no Harrison Ford, but there is star-studded cast featuring the likes of Woody Harrelson, Emilia Clarke and Donald Glover. To celebrate the release, Hoyts has put together an exclusive Falcon Formation Fan Event — the very first advance screening of the film anywhere in Australia. As well as getting first eyes on the film, you'll also get your mitts on some limited edition merchandise and access to a special light show experience that'll bring Solo's trusty Millennium Falcon to life. The screening will take place three hours before anywhere else in the country, and you'll get to take home a Falcon Formation poster, lanyard and a Star Wars Crony Mini Crumpler bag – featuring C-3PO or R2D2 – valued at $59. With strictly limited spots available, super-fans should book their tickets sooner rather than later. The Falcon Formation Fan Event will kick off at 5.30pm on Wednesday, May 23, and Solo: A Star Wars Story will be screened at 8.30pm (or at 8.45pm if you go for the Hoyts Lux option). You can snag tickets here.
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.
Pop-up parties, grow-your-own shindigs and art-food combos are just some of the new events foodies will be able to experience at this year's Good Food Month. For those who find change a little frightening, though, there's no need to worry, as plenty of staples are also on the menu, including the Night Noodle Markets, Let's Do Lunch and Hats Off Dinners. Five hundred events make up the program, which runs throughout October and was previously known as Crave, with Australia's finest chefs, best restaurants, most skilful farmers, most knowledgeable wine experts and fanciest artisan food producers making an appearance. "As we relaunch Good Food Month, an event which started 15 years ago in Sydney, we celebrate all that is great about our outstanding and remarkably diverse food scene," explained festival director Joanna Savill. "The program is packed and there is truly something for everyone." One of the headlining events is The Great Australia Dinner with Rene Redzepi. Redzepi produces his culinary masterpieces from the kitchen of Noma, Copenhagen, which was placed First on the World's 50 Best Restaurants list (sponsored by San Pellegrino and Acqua Panna) for three years running, and is currently ranked second. As part of Good Food Month, he'll be joining forces with Neil Perry, Peter Gilmore, David Chang, Kylie Kwong and others. There'll be some other one-offs, including the 15th Annual Young Chefs Dinner, the Pyrmont Growers' Market Birthday Bash and Omnivore Sydney, as well as some "regulars" running throughout the month, including Breakfast Club, Surprise Saturday Lunch and Supper Club. Check out our picks of the ten best things to do during Good Food Month.
Salt Meats Cheese has expanded again. This time, it has ventured across the Bridge — to the northern beaches. The restaurant chain's sixth New South Wales establishment, which opens its doors today, is a 120-seater located on the ground floor of the Lighthouse by Meriton in Dee Why. It boasts a big open kitchen, lots of reclaimed timber and recucled terracotta tiles and its signature woodfired pizza oven. And it's the chain's biggest venue yet. The pizzas are, of course, the hero here, and include house favourites like the Amatriciana — topped with smoked scamorza, amatriciana sauce, pancetta and pecorino — and the Tartufo, made with fior di latte, mushrooms, pecorino and truffle oil. A new (extravagant) signature sees house-made dough topped with Balmain Bugs, broad beans and 'nduja oil. There are gluten-free bases and dairy-free mozzarella up for grabs, too. With pizza must come pasta, and a standout is the tagliolini with blue swimmer crab, zucchini and chilli. Other Italian staples on offer include antipasti and cocktails. The latter includes a menu of signature spritzes, like the Garden (Hendricks, mint, rose and cucumber) and the Riviera Spritz (ruby red grapefruit aperitif, prosecco and soda). One of the cocktails better suited to later in the meal is the tiramisu martini — which is made with Frangelico and Sydney's own Mr Black coffee liqueur. Salt Meats Cheese's NSW expansion doesn't stop in the Northern Beaches, either — a seventh instalment is coming to a rooftop bar in Circular Quay in the coming weeks. Keep an eye on this space for updates. Salt Meats Cheese Dee Why is now open at 882A Pittwater Road, Dee Why. It is open 11am–3pm and 5pm–9.30pm, daily.
It took 12 years for Mad Max: Fury Road to travel from concept to epic reality. And its creation was dependent on the most unorthodox of methods: a storyboard made up of 3,500 panels provided the script. Find out exactly what happened when writer-director George Miller catches up with co-writer and illustrator Brendan McCarthy and co-writer and dramaturge Nico Lathouris for a chat — with each other and the public. One of Graphic festival's headline events, Mad Max: Fury Road in conversation will take place in the Opera House Concert Hall on Sunday, October 11, at 1.45pm. It's a world premiere and Miller's only stage appearance in Australia during this visit. The trio will be discussing what inspired Mad Max's wasteland, and the challenges faced in getting their vision to screen, from overcoming major delays to a change of continents, as well as taking a look at unseen footage, designs and images.
There are as many ways to say “I love you” as there are ways to avoid saying it. We say it to friends, to family, to lovers and maybe even to the guy at the local pie shop when he lets you off $0.30 for those plastic packets of tomato sauce. We say it over Skype conversations and in text messages, we say it with chocolate, we say it with wine and we far too often say it because of wine. In the book and exhibition ‘Love is Here’ 35 artists say it with pictures, revealing their own creative and personal response to one of the world’s most overused phrases. Luckily, however, all of the works being exhibited are far more earnest and original than gifting a box of assorted chocolates or hiding a ring in a big hunk of cake. Those taking part in the exhibition include Daniel Angley, Rachael Baker, Ben and Jodi Churchward, Rach Burke, Tal Fitzpatrick, Erin Forsyth, Alice Kenny, Fee Harding and Jennifer Ho — who were shortlisted from all around Australia. And if you’re looking for another way to express your own feelings of adoration, whether they’re for your granny or your local pie guy, check out the accompanying book — it’s ‘perfect bound’ so the individual pages can be torn out and gifted.
As you may well know by now, museums aren't just for 19th century historical artefacts and giant dinosaur models anymore. They're also for food. Last year New York got a permanent Museum of Food and Drink, which joins a whole slew of weird and wonderful food museums, like Japan's instant ramen museum and the Kimchi Field Museum in Seoul. So it's surprising that, considering our total obsession with food, Australia does not have its own. But that's all set to change, with plans for a brand new institution dedicated to our food culture to be set up in Adelaide. The proposal comes from Adelaide City Council, who believe a culinary cultural centre could help both locals and international visitors learn about and experience Australia's multicultural food culture. Considering the city's proximity to world-class wineries and its own burgeoning food and bar scene, Adelaide — while nowhere near as big as Sydney or Melbourne — makes a good case for being the new centre's home. The project has the support of the State Government and other local cultural institutions, but discussions on what the centre would actually include and who would establish it are still taking place. We'll keep an eye on this one to see where it goes. Via ABC News.
Bingo. Rave. Two ends of the spectrum of fine holiday fun finally came together in Australia a couple of years back. If haven't made it along yet, Bongo's Bingo is a games night like you've never seen before. Part club, part rave, and, of course, part bingo night, this unlikely fusion event has been wildly popular in the UK since 2015. It's hardly surprising that taking the show on the road — that is, launching Bongo's Bingo Australia — went well. And now, it's hardly surprising that is's coming back for yet another round either. [caption id="attachment_638028" align="aligncenter" width="1920"] Dinosaur Designs.[/caption] Patrons can expect all of the debauchery of the original British version of Bongo's Bingo, including rave intervals, dancing on tables and a loose kind of bingo that you definitely never played with your nan (well, maybe you have). The victorious players can win everything from big cash prizes to a Hills Hoist, with a range of some absolutely ridiculous surprises on offer. Bongo's Bingo heads to Luna Park's Big Top Sydney on Saturday, February 22.
Juicy Banana is the latest brainchild of chefs Grace Chen (ex-Poly) and self-dubbed "Big" Sam Young (ex-Lotus). The Sunday-only lunchtime restaurant operates out of the old Storehouse at Vibe Hotel in Rushcutters Bay. Each weekend, the venue sees a new special guest chef who creates a one-off set menu for visitors to enjoy. The formula behind Juicy Banana's weekly shared-style menu is simple: if Young loves the food, and it's delicious — he'll serve it. This week's carefully crafted selections come from ex-Cho Cho San Head Chef, Max Smith. Smith has worked with the finest producers in Japan and local farmers to source the best possible produce. Using this produce, he's created a plentiful share menu that celebrates Japanese cuisine. Across the menu you'll find kingfish and salmon sashimi with yuzu and chilli dressing; ponzu, black garlic and horseradish raw beef; steamed mussels served with bacon dashi and crispy wonton; and umami potato scallop seasoned with seaweed sour cream and miso hot sauce. This is before the shared mains are even served, with this week's family-style share menu including koji roasted duck crown, glacier toothfish with XO don, spinach gomae and cold noodle salad. If you can actually fit anything else in after this Japanese feast, miso caramel cake will be served for dessert. Each week, the set menu at Juicy Banana ranges from $105–140, with this week's lunchtime special setting you back $108 per person. If this is a little out of your budget, Juicy Banana's bar is taking walk-ins and serving casual snacks with cocktails every Sunday. Drink options include a Basque-style old fashioned; a salted cucumber and habanero margarita; and a macerated strawberry spritz with dry sherry, Hendrick's gin, apple ribbon and dill. [caption id="attachment_811117" align="alignnone" width="1920"] Juicy Banana, by Wesley Nel.[/caption]
Tuesday nights are Luk nights for the next ten weeks, as celebrated chef Chui Lee Luk undertakes a guest chef spot at Surry Hills' Italian eatery Berta. For the next couple of months, Luk will host a series of unique 'sagra' nights at Andrew Cibej's laneway establishment, a Berta tradition of delving into the Italian way of celebrating a single ingredient or method of cooking. Former owner and chef of Woollhara's long-loved Claude's and now-closed Surry Hills joint Chow Bar & Eating House, Luk is a big pull for Berta — the sister of fellow Italian-focused Sydney joints 121BC and Vini. Luk's newly-devised menu will see four courses not usually seen on the Berta menu, dishes that explore individual ingredients and preparation methods — from baccala (dried and salted cod) to goat, edible weeds to rabbit — in her signature Luk way. So what can you expect from Luk? The beloved Sydney-based chef is known for fusing different cultural cuisines and playing with age-old techniques, so don't expect straight-up Italian cooking. New menu adventures include beef short rib agrodolce (spices, honey and molasses), and raw kingfish, chillies, bottarga, colotura, and desserts including mariposa plum rice pudding, and sweet potato chocolate flan. Luk's 'sagra' nights are every Tuesday at Berta from February 10 through March 31. It's $55 per person for four courses. Pick your week from these delicious focus points: 10 February Baccala 17 February Goat 24 February Beans and other legumes 3 March Rice 10 March Potatoes 17 March Edible weeds 24 March Rabbit 31 March Lamb For more information and bookings head to www.berta.com.au or call (02) 9264 6133
Freedom Time — the free-spirited festival synonymous with balmy summer days, dance-fuelled nights and lush DJ sets — has been giving Melburnians good times for two years now, and it's gearing up for another huge summer season. And in 2018, it will drop by Sydney too. This time around, the Freedom Time gang are spreading the love even further, adding a January 7 visit to Sydney's Manning Bar and Gardens on top of the usual shows in Perth on New Year's Eve and at Melbourne's Coburg Velodrome on January 1. As always, the festival's gifting us with a diverse lineup of musical guests, assembling a mix of international greats and homegrown heroes that'll have you dancing your little feet off no matter your style. Headlining this eclectic bunch is famed Chicago house producer Larry Heard (aka Mr Fingers), Jamaican dancehall legend Johnny Osbourne and an inter-generational collaborative effort from Leroy Burgess and Melbourne's own Harvey Sutherland. Meanwhile, Rhythm Section International's Bradley Zero will present a handpicked label showcase in each city, featuring a crop of local acts performing alongside modern soul duo, Silentjay and Jace XL. Sydney's lineup includes appearances from the likes of Simon Caldwell, Rimbombo and local producer Jonti. FREEDOM TIME 2018 LINEUP Larry Heard (aka Mr. Fingers) Leroy Burgess Harvey Sutherland Johnny Osbourne Sassy J Bradley Zero Nai Palm Jonti Freda & Jackson Ben Fester Simon Caldwell Boogie Monster Rimbombo SilentJay & Jace XL Inner West Reggae Disco Machine Jimmy Sing Love Bombs Mike Who Cazeaux Oslo
Like some exploding parasite egg stash, the St Jerome Laneway Festival has outgrown its original venues and is busy spraying its seed into new hosts. Circular Quay just doesn't cut it anymore for the Sydney crowds, so now the SCA will be incubating a brilliant line-up amongst its sandstone, artists and asylum patients out in Rozelle. Oh god, the line-up for 2010 is good, with plenty of grit to differentiate this festival from the candy-glitter electro of most summer music bashes. Amongst the puking-good thrash of the Black Lips and Florence's lungasms is the wunderkind of outsider alternative, Daniel Johnston, who is shucking off the devil for his first Australian tour. And the local acts aren't to be forgotten either, such as Dappled Cities, Eddy Current Suppression Ring and Danimals, who all seem to capture the perfect sonic embodiment of SCA's eclectic grounds.
Save the date — this week, Sydney welcomes Melbourne-based artist Ash Keating for a live install of Gravity System Response, his first public project in Sydney. Keating has shown around Australia and internationally, including at the National Gallery of Victoria and in Tokyo, Seoul and Jogyakarta, but it's a rare chance to see him in action. Especially to watch his unique process of using the high-pressure force of fire extinguishers to spray paint metres into the air. Part outdoor mural, part performance art, Gravity System Response draws on Keating's background in graffiti, video, conceptual work and performance art to create "camouflage paintings" in response to the colours and energy of the space around them. The name of the work is a reference to the gravity effect of working with paint so high up. Keating plays with gradient and drips, making decisions on the fly as he lets the work "build itself". "The wall I'll be working with is this really thick, rocky aggregate, so it will be interesting to see how the paint responds to that surface," the artist said. "It will also be interesting working with the pressure of the fire extinguishers, capturing that explosive energy up against the wall." "Things happen quite organically and intuitively. I don't plan my work in advance; I like to do that in person as I'm working. It becomes about endurance, too." We asked Keating how he found his way into his current way of making work: "It started when I found a stack of abandoned fire extinguishers in an old warehouse in Melbourne," the artist said. "At the time I was doing a lot of works on walls I'd find on the city fringe. I wanted to find a way to create really big murals, abstractions, without getting tagged over." "Using fire extinguishers meant I could play with large, expressive, gestural mark-making on a whole new scale — in public places with these great vantage points, where I could connect with an audience the very next day." As well as an exploration of energy, abstraction, gravity and colour, Gravity System Response is a celebration of the place of art and public space in cities; it aims to support a vibrant, open city full of art, music and culture. The work is set to be a timely piece as Sydney debates how (and when and how late) we use public spaces and the role that art has to play in the life of a city. Keen to see it all come to life? It's been revealed it'll happen at The Domain, but keep an eye on the Facebook event to find out more details about the live-action artmaking taking place December 5–6 from 11am–2pm. This new work is presented by the City of Sydney's Art & About program and curated by Billie and Elliott Routledge of Funstudio, a Sydney-based arts agency that specialises in public art projects, brand collaborations and contemporary designs.
It's hard to believe, but it's four years now that Goodgod Small Club first started bringing its much-needed, eccentric, eclectic good times to the CBD. In the past twelve months alone, they've proved to be the favourite Sydney stage of the likes of Erykah Badu, Courtney Barnett and DMAs; started serving up killer feasts at recently-closed favourite, The Dip, and their new on-site Jonkanoo Canteen; and transformed the Opera House Studio into a psychedelic version of Tin Pan Alley. So, to celebrate their fourth birthday, they're putting on an epic shindig — as only Goodgod know how. That means, of course, a venue-consuming, all-night-long, convention-obliterating party — this time around themed 'Taking Care of Business'. At the centre of the action will be the Goodgod 'house band' presented by Siberia Records, and Alex Cameron (one-half of Seekae). You can also expect a parade of special guests including Ariane, Astral DJs, Champain Lyf, Drongo, Mike Who, Nacho Pop, Power Suit, Shantan Wantan Ichiban and Tyson Koh. And the dress code? Under the suave 'Taking Care of Business' theme, Goodgod wants to see you looking your public holiday schmickest, so they're asking for suits. Yep, suits. Sharpen up. "We're celebrating four years of success in the dog-eat-dog world of Sydney's Central Business District by suiting up for a massive full-venue party," says the Goodgod team. "The theme is business, and we've pulled the highlights out of the rolodex." We gathered the Goodgod crew together for a powerlunch pow-wow and asked them what they crank on the Bose speakers to amp them up for a goalkickin' day at the office. https://youtube.com/watch?v=dA2rI6HGb6E Tune: Bryan Ferry — 'Kiss and Tell' Spun by: Power Suit — "There's no better way to triple productivity and effectively synergize backward overflow than looking to the man in the suit himself, Bryan Ferry. Very few singers exude more business class, fewer songs still guarantee a classier business — or my DJ name isn't Power Suit." https://youtube.com/watch?v=TqLZZ1jVTR8 Tune: Warren Zevon — 'Nighttime In The Switching Yard' Spun by: Alex Cameron (Seekae) — "My sax player Roy works the trams and this fires us right the flip up for making money." https://youtube.com/watch?v=eubhg1gTyj8 Tune: Taco — 'Puttin' On The Ritz' Spun by: Ariane —"I like to aim high." https://youtube.com/watch?v=ZoAATtUmvUs Tune: Bileo — 'You Can Win' Spun by: Drongo — "What does a Drongo need when suiting up for business? A little positive reinforcement goes a long way, it's a dog eat dog world. You can do it! You can win!" https://youtube.com/watch?v=zVN8aFfp3S4 Tune: Will Powers — 'Adventures In Success' Spun by: Julian Sudek (The Goodgod House Band) — "Will Powers gets you the biggest chair in the boardroom." https://youtube.com/watch?v=womWmBIveII Tune: Nate Dogg — 'My Money' Spun by: Mike Who https://youtube.com/watch?v=xbXvdJF-1U8 Tune: Issac Hayes — 'Shaft Theme' Spun by: Shantan Wantan Ichiban https://youtube.com/watch?v=XA7waQo--QA Tune: LOGO — 'Businessmen' (12'' Version) Spun by: Tyson Koh — "HEAD UP TO THE 50th FLOOR I'LL MAKE YOU A NASDAIQUIRI." Woah there. Now you're all suited up with these tunes, you're ready to take care of business. Let's delve into a... CHAMPAIN LYF SPECIAL QUITTIN' TIME BLITZ: https://youtube.com/watch?v=n-2j9ZqCtt0 Tune: Stush — 'Dollar Sign' Spun by: Adrian E (Champain Lyf) — "You've got to work it hard to make dem dollar signs appear." https://youtube.com/watch?v=wxVEf8sg3dg Tune: Ramsey & Fen — 'Style' (Original Vocal Mix) Spun by: Danny Banger (Champain Lyf) — "Champain stylin', it's for every occasion... even if it's not, it actually is." https://youtube.com/watch?v=NF1cv3uFqn8 Tune:Dom Perignon & Dynamite — 'Got Myself (Together)' Spun by: Jon Watts (Champain Lyf) — "Get it together, serious negotiation swing." https://youtube.com/watch?v=qy1VF41blSo Tune: Ross Young Feat R.B — Smooth Operator Spun by: Drongo (Champain Lyf) — "Champain lyf suit and tie tips." Suit up for Goodgod's fourth birthday this Sunday, October 5. Tickets on the door at $10 and doors from 9pm. Look sharp. Words by Jasmine Crittenden and Shannon Connellan.
Think you're a bit of a curd nerd? Or do you find yourself regularly looking up words on a pizza menu to discover, once again, it's just another type of cheese. Whether you know the difference between pecorino and parmesan or feel like a fromage fool, we've got an at-home sampling session that is guaranteed to please. On Thursday, September 16 and September 23, Milawa Cheese Company is running cheese-fuelled masterclasses, and bringing a taste of Victoria's Alpine region to your house. For $85, you'll join an interactive at-home cheese tasting class with executive cheesemaker, Cameron Rowan. Throughout the session, Rowan will help you brush up on your cheese knowledge as he guides you through samples of four of his favourite fromages. He'll give you insight into what makes a washed rind, explain why a good cheddar can be crunchy and tell you what it really means to make cheese by hand. To make sure you've got all the goods, Milawa Cheese Company will send you a supply pack loaded with cheese straight from its maturing rooms, as well as tasting note information and a cooler bag for your next outdoor cheese adventure. All you need to round up is some bread or crackers and a delicious drink to complete the experience. Want to expand your grab-bag of cheese vocab? Talk and Taste with Milawa Cheese will kick off at 5pm on September 16 and September 23. For more information and to book, visit the website.
Food is usually the gift you give when you can't think of anything else. Come on, it's true. However, anyone getting their dad Gelato Messina's latest special Father's Day creation can't be accused of that. Given that the gelato wizards are pumping out VHS tape-shaped, Negroni-flavoured gelato cakes, wanting to eat it before Dad can is understandable. Their limited-edition offering, which is completely made out of gelato and chocolate, and is entirely edible. Well, the choc-orange flavoured cake layered with vermouth gelato (!), almond crunch, more choc-orange cake and Negroni gel (made with Archie Rose gin and blood orange mousse) is — and the edible VHS chocolate top layer as well. Best not to take a bite out of the box it comes in, though. Kids of the '80s and '90s, if you're having flashbacks about accidentally sticking food into your parents' video player when you were too young to know better, you're not alone (you're not alone). And yes, that's a good enough reason to get a cake. These memory-jogging sweet treats serve six to eight people, and will be available from Messina's Bondi, Darlinghurst, Miranda, Parramatta, Rosebery and Penrith stores in Sydney, Fitzroy and Windsor digs in Melbourne, and South Brisbane. As is always the case with their creative concoctions, they're certain to get snapped up fast, so ordering one asap is recommended. You'll have to wait until September 3 to eat it, so enjoy this GIF of the cake:
If you've been languishing in the absence of Goodgod, here's your chance to get that basement mojo working again. The Goodgod folks are back. And they've just announced their first move: a reassembling at the Opera House during Vivid LIVE for a four-night extravaganza, happening over two weekends. Dubbed Goodgod Super Club, the event will take over the Studio, turning it into the nightclub of Goodgod's dreams. Every evening, a genre-smashing, powerhouse DJ will team up with a like-minded Aussie for extended sets, designed to make you dance until you're free. "For decades people have gone to nightclubs to dance their troubles away," said Goodgod's Jimmy Sing. "But nowadays it feels that clubs are rarely designed with that dancefloor experience and its liberating potential in mind. So that's what Goodgod Super Club's purpose will be — a seriously incredible dancefloor journey." Opening proceedings on Friday, May 27 will be Simon Caldwell (Mad Racket) and Bradley Zero, who hails from Peckham in the UK. If you've checked out the Boiler Room, listened to NTS Radio or ever made it to a Rhythm Section pool hall party, you'll be familiar with this underground dance hero. Get grimy when Mike Who (Astral People, FBI Radio) and Oneman (aka Steve Bishop) hit the decks on Saturday, May 28. Oneman has built a major following on the back of his flawless mixing of grime, old-school UK garage, DMZ-era dubstep and Atlanta's purple haze rap. Just a handful of the names he's played sessions with are Major Lazer, SBTRKT, Jamie xx, Jackmaster and Ben UFO. After a week's rest, you'll be hankering to get back into the action. Magda Bytnerowicz (4our) and Kyle Hall (Wild Oats) are your hosts on Friday, June 3. Hall, who comes from Detroit, is the progeny of techno's second wave pioneers: Omar-S, Theo Parrish and Carl Craig, and his latest album, Joy, is an homage to the Motor City. By way of grand finale, Chanel (LOW TON) will be arriving on Saturday, June 4, alongside New Yorker Joey LaBeija and Brooklyn rapper Junglepussy. LaBeija's album Shattered Dreams has featured in the world's leading galleries, including MoMA and the Brooklyn Museum. His relentless creative mix is a mashup of ballroom, rap, Rihanna and reggaeton, underpinned with addictive percussion. Tix go on sale on Wednesday 23 March at 9am. Get your mitts on them over here or by calling (02) 9250 7777.
