If you've been wanting to take a hot, young museum out for a few sneaky bevvies, now's your chance. This weekend sees the MCA celebrating its 18th birthday and, rather than choke on a yardstick of fermented portraits, the now-legal gallery will transform its front lawn into a winter wonderland. Old enough to vote, old enough to dismantle the laws of nature, or so the saying goes.Sydney artist Michaela Gleave will use her powers of meteorological illusion to conjure up a warped snowfield in the middle of summer, and the first 1000 visitors to join the celebration will be rewarded with a birthday snowcone. Afterwards, continue the season-hopping by stepping inside to inspect the Primavera '09 collection, an exhibition of nine talented Australian artists aged 35 years and under.Image: Michaela Gleave Snowtest 2009 Cinematic snow, shovel. Installation dimensions variable. Courtesy and copyright the artist. Photo: Michaela GleaveVideo: Four Seasons - Winter by Antonio Vivaldi. Animation by Ferenc Cakó https://youtube.com/watch?v=MGS6uSPGqvo
The first half of Before Midnight made me excited for my early forties. Mediterranean holiday tans, wild-haired children running barefoot in another room, expansive dinner table conversation with a circle of worldly friends — it's a dream for a more carefree age. But then comes the second half of the movie, an epic, exhausting fight that will either be the end of the couple's relationship or just one of several milestone feuds that mark a long commitment. That's when the rare quality of Before Midnight emerges; this is not a film about idyllic love, this is a film about real love. This is the tarnished ever after. The couple is one we know oddly well, Jesse (Ethan Hawke) and Celine (Julie Delpy), who, in a typically Gen X act of slacker romanticism, spent one night walking and talking around Vienna in 1995's Before Sunrise and were finally reunited for a further afternoon in Paris in 2004's Before Sunset. In the nine years since, it turns out they've stuck with each other, but the insouciance of those early encounters has gone. "When was the last time we just walked around bullshitting?" Jesse says in one beautifully self-aware moment, as they rediscover the pastime on holiday in Greece. Instead, they've both been learning to deal with each other's crazy while simultaneously pushing a few years' worth of upset under the carpet. Jesse hates having to be separated from his pre-teen son, who's in the custody of Jesse's estranged ex in the US. Celine feels Jesse neglected her and their daughters while on his book tour and resents his general man-childness. Celine picks fights; Jesse papers over them. They might not ever resolve these deadlocks, but they have to move past them. With this series of films, dialogue is everything. In Before Midnight, it sparkles, dances and defies the bounds we expect of film. All three instalments are the product of a unique collaborative partnership between director Richard Linklater, Hawke and Delpy; from the start the actors have written parts of their own selves into the characters, and the possibility for honest exploration seems to have deepened with the passing of time. With nine years so far separating each film, the release of a sequel is becoming an event, so it's particularly great to see Before Midnight not only meeting expectations but raising the bar. People love Jesse and Celine with the intensity normally reserved for several-season TV characters (or real people, even). If we see fifty-something Celine and Jesse next decade — 'Before Noon', I imagine they'll call it — we'll be a very lucky audience.
The man who described Tony Abbott as “an absolute raving lunatic” is headed to Australia once again. A comedian, film star, TV host, author and wannabe revolutionary, Russell Brand will no doubt deliver his signature mix of politics and profanity when he tours around the country this October. Coming to the Sydney Opera House as part of Just for Laughs, Brand’s new stand-up show is titled Trew World Order after his YouTube series The Trews. It's described as “a rabble-rousing stab at creating, through the power of the crowd, a Trew World Order.” The comedian turned political activist has long been a divisive figure in the British media, seeming to actively seek out controversy wherever he can. He’s also been highly critical of Australia’s immigration policy, and recently threatened to try and “gay marry” Abbott while he was prime minister. Now that would be a hell of a show. Thanks to Just for Laughs, we have two double passes to give away to Trew World Order on October 23. To be in the running, subscribe to the Concrete Playground newsletter and then email win.sydney@concreteplayground.com.au with your name and address.
We’ve talked before about bespoke Sydney printers. During Corroboree Sydney, the nine day celebration of all things indigenous, the Art Gallery of NSW is bringing small-scale printers from the town of Bonggabilla to town. And while they're here, they're making a house. Illuminate is a life-size, faux-mission-house built out of paper by Euraba Paper Company artists and lit by Sydney artist Jonathan Jones’ light work. The Paper Company has a long history of art making, and for this project young people have interviewed their elders at Boggabilla and Toomelah, with the stories to be stamped onto the houses’ paper walls. If you like the idea of this outback, lofi printing, the artists from the Euraba Artists and Papermakers will be teaching you how it’s done in a free workshop at 2pm, Saturady November 16th. Or if you’d rather build your own paper house (and, honestly, who wouldn’t), on November 20th you can do that too.
When international art collective teamLab launched Borderless, its Tokyo-based permanent digital-only art museum, the dazzling space became the most-visited single-artist site in the world in just its first year of operation. Wherever the outfit pops up — be it in Shanghai oil tanks, Japanese hot springs or Melbourne — its installations are always hugely popular. So it's no wonder that the group is expanding its footprint by opening more permanent locations. Late in 2019, teamLab launched a new venue in Shanghai, which is also called Borderless. Come this March, it's also opening a museum called SuperNature in Macao. Located at The Venetian Macao, the latter site will sprawl over 5000 square metres, filling the space with the kind of immersive, interactive installations that have gathered the collective of artists, programmers, engineers, animators, mathematicians and architects such a devoted following. [caption id="attachment_758086" align="aligncenter" width="1920"] teamLab. Expanding Three-Dimensional Existence in Transforming Space - Flattening 3 Colors and 9 Blurred Colors, Free Floating, 2018, Interactive Installation, Endless, Sound: Hideaki Takahashi © teamLab[/caption] In good news for anyone who has visited a teamLab venue or installation previously, SuperNature will also include a selection of brand new works — although, even if you're a seasoned teamLab visitor, these are the types of pieces that you can visit over and over and never get bored. Much will look familiar, playing with concepts and designs that the collective is clearly drawn to, such as floating balls, projected flowers and animals, and other kaleidoscopic imagery Chief among the highlights is The Infinite Crystal Universe, which uses light points, pointillism-style, to create three-dimensional objects. While you're interacting with the piece, you can use your phone to select the elements that make up the universe. The artwork will also response to the presence of people, as most of teamLab's installations do. [caption id="attachment_758090" align="aligncenter" width="1920"] teamLab. The Clouds that Self-Organize, 2019, experimental photo of the new artwork © teamLab[/caption] Then there's Massless Clouds Between Sculpture and Life, which plays out just as its title suggests. In this installation, giant clouds will float between the floor and the ceiling — and even when you walk through them, breaking them up, they'll form back into shape. Also on the bill: Mountain of Flowers and People: Lost, Immersed and Reborn, which'll let digital flowers bloom and change with the seasons, and Expanding Three-Dimensional Existence in Transforming Space — Flattening 3 Colors and 9 Blurred Colors, Free Floating, where bouncing spheres float above visitors, changing colour when they're touched. Like Borderless, SuperNature will also feature an Athletics Park, where you'll really get physical traversing graffiti-covered valleys, climbing a ropes course, scaling a light forest, jumping or playing hopscotch, as well as an educational, kid-focused Future Park. Located in the resort hotel's Cotai Expo Hall F, and set up like a labyrinth — making you wander around and around to find all of its nooks and crannies — SuperNature will welcome visitors through the doors from January 21 for previews ahead of its official opening date. Find teamLab SuperNature at Cotai Expo Hall F, The Venetian Macao Resort Hotel, Estrada da Baía de N. Senhora da Esperança, s/n, Taipa, Macao SAR, P.R. China from a yet-to-be-revealed date in March. It'll be open from 10am–10pm daily. Images: teamLab. teamLab is represented by Pace Gallery.
When Cake Wines Cellar Door closed down last month, it left a sizeable hole in Redfern's Eveleigh Street Creative Precinct. Thankfully, that gap has now been filled by another of the site's tenants, with Henry Lee's opening a new bar and restaurant. While the existing Henry Lee's cafe is still open for brunch and bites daily until 3pm, its sibling venue now serves up share plates and cocktails from 6pm from Thursday–Sunday. Thanks to a soft opening last week, it's already open and trading, with executive chef Antonio Saco (ex-Merivale) overseeing the kitchen. If you're keen on stopping by for a tipple, the three-page drinks list includes 26 vinos (complete with a couple of Cake Wines' tipples), a range of craft beer and ciders, a small selection of spirits and a ten-strong cocktail offering. It's the latter that's a highlight, especially the margarita with a black salt rim and the rhubarb-infused vodka and tonic. For folks having a few beverages with a friend, there's also an absinthe fountain. Food-wise, Saco's menu features both a cheese-heavy grazing board and a charcuterie board, as well as fresh Coffin Bay oysters served with mirin, lemongrass and sake salsa — or you can munch on garlic labneh with rosemary and olive crumb, raw tuna tostadas with avocado mousse, and three-mushroom ravioli with shaved truffles. As for the small dessert range, it includes a whiskey, hazelnut and macadamia crumble with orange sponge and caramel, plus a combination of lime yoghurt mousse, sweet vegetable coulis, raspberry sponge, meringue and mascarpone ice cream. Showcasing local and passionate producers continues to be one of Henry Lee's aims, so while you're tucking into all of the above, you'll be enjoying bread from Brickfields Bakery, brews from The Grifters Brewing Co and Moo Brew, and gin and vodka from Hartshorn. You'll also be soaking up the bar and restaurant's rustic atmosphere, with Atelier Andy Carson charged with making the most of the building's existing character. Think plenty of light, an undone feel, and the use of construction and industry materials. The venue also celebrates a rotating lineup of artists-in-residence, with Margie Doyle doing the honours first up and creating bespoke pieces for the site's launch. Down the track, Henry Lee's Bar & Dining will also join forces with its courtyard counterpart for boozy brunches, with other events also planned once the weather warms up. And if you fancy taking a few drinks home with you after dinner, the venue also has a hotel license, which means that all of its wines and beers are available to takeaway. Find Henry Lee's Bar & Dining at 16 Eveleigh Creative Precinct, Redfern — open from Thursday–Sunday from 6pm.
Pompeii, the latest exhibition to arrive at the National Museum of Australia in Canberra, offers a rare insight into one of the world's most amazing and catastrophic archaeological wonders. Nearly 2,000 years ago, before the fateful eruption of Mount Vesuvius, Pompeii was a bustling city located in what is now southern Italy. By exploring this exhibition, you can discover what life was like in the city before it was buried under metres of volcanic ash. The exhibition features a multi-sensory, immersive experience that combines a 360-degree recreation of the volcanic eruption with more than 90 objects from the ancient city. For almost 300 years, excavations have revealed what life was like in Pompeii and archaeologists continue to make extraordinary new discoveries to this day. This exhibition features some newly discovered objects which are being seen for the first time outside Europe. The artefacts include frescoes, jewellery, sculptures and pottery alongside copies of casts of some of the victims of the 79 CE eruption. Other exhibition highlights include an immersive re-enactment of the volcanic eruption that destroyed Pompeii almost 2,000 years ago, as well as the 'Statuette of Venus', a marble statue from the 1st century CE from Villa Poppaea, Oplontis, near Pompeii. You'll be transported to Pompeii via a corso stretching more than 35 metres through the exhibition space. There is also an oh-so-important exhibition shop, selling keepsakes and goods inspired by the Italian seaside, food, design and fashion. Please note, the exhibition features loud noises and changing light levels, as the space darkens every 15 minutes for a re-enactment as Mount Vesuvius erupts. Visitors may bring noise-cancelling headphones. Don't miss 'Pompeii', showing exclusively at the National Museum of Australia in Canberra until Sunday, May 4 2025. Book your tickets today. Images: Supplied.
Famed South Australian wine region the Barossa is about to move even higher up on your post-COVID-19 travel list, with Seppeltsfield winery announcing a new six-star hotel to open in early 2022. Named after innovative winemaker Oscar Benno Seppelt, the proposed Oscar Seppeltsfield will bring super-luxe accomodation to the area, which will make it more than just an epicurean's dream destination — so start planning your lavish out-of-iso trip now (just don't pack your bags yet). The $50-million development will be surrounded by century-old vines and feature 70 rooms — including penthouses and suites, each with a private balcony — as well as a fine dining restaurant, private dining room, boardroom, fitness studio, day spa and infinity pool. To top it off, there'll be a sky bar with sweeping 360-degree views over the Barossa. In short, this opulent hotel will take your next trip to new heights (literally). Just think, after hitting up a bunch of cellar doors, sipping local vinos and eating lots of cheese, you can come back and have a dip in the pool, sip more wine at the rooftop bar then sit down to a white-tablecloth dinner. If you're looking for indulgence, this is it. Designed by Adelaide-based firm Intro Architecture, the towering 12-storey design was inspired by wine barrels and is set to bring a modern edge to Seppeltstfield, which is one of Australia's oldest wineries and was lauded as one of the top 50 vineyards in the world in 2019. The new hotel also looks a lot like La Cité du Vin in Bordeaux, also one of the world's most prestigious wine destinations. Oscar Seppeltsfield is slated to open at Seppeltsfield Winery's Great Terraced Vineyard, Barossa Valley, SA, in early 2020.
For more than a decade, a movie version of Monopoly has been mooted, but hasn't yet reached screens. There's no need to hope for a Jumanji-style big-screen take on the game, however. Instead, from Wednesday, November 15 in Melbourne, you can just head to Monopoly Dreams and enjoy playing your way through Australia's first theme park-esque Monopoly experience. Here, the property-buying family favourite is no longer just a game: it's an immersive 1700-square-metre attraction. Monopoly Dreams is already open in Hong Kong, making the Aussie venue only the second in the world. Initially slated to launch in October, it's now officially ready to welcome in Monopoly lovers. If you're wondering what happens when the game that's caused many a childhood dispute — and plenty more between adults as well — makes the bricks-and-mortar leap on Melbourne Central's lower ground level, that's as understandable as being annoyed about being sent directly to jail. The answer isn't just a life-sized version of the game that everyone has played more than once. Rather, the venue is taking a chance on bringing Monopoly elements beyond the board, building a Monopoly city that includes water works, the electric company, the bank and Mr Monopoly's mansion. Yes, there is indeed a jail. Presumably you don't go directly there upon entering, but you can get your mugshot taken within its walls. When you walk through the doors, you'll also find carnival games. It wouldn't be an attraction based on a board game if playing games wasn't a big part of the setup, of course. Expect challenges as well — and, in the mansion, there'll also be a vault and gallery, alongside a 4D cinema screening a movie about Mr Monopoly and his dog Scottie touring Melbourne locations — plus the opportunity to create your own customised Monopoly title deed. For bites to eat, patrons can hit up the Monopoly cafe. And if all this Monopoly talk has you wanting to play Monopoly or buy Monopoly merchandise, Monopoly Dreams will also feature Australia's first and only dedicated Monopoly store. Catering for audiences of all ages — so, you'll have kids for company, but it's open for adults without children in tow — Monopoly Dreams will take visitors around 60–90 minutes to enjoy the full experience. "The opening of Monopoly Dreams has been highly anticipated by Monopoly fans since the news broke that we'd be making Melbourne our home," said Monopoly Dreams General Manager Mark Connolly. "We are absolutely thrilled to now be opening the doors and welcoming guests into the incredible world of Mr Monopoly." Monopoly Dreams will open on Wednesday, November 15 at Melbourne Central, Lonsdale Street, Melbourne. Head to the venue's website for tickets and further details.
Sisters Grimm do not make theatre the way you might usually think of theatre. The trashtastic Melbourne satirists (also known as Ash Flanders and Declan Green) staged their DIY 2010 theatre piece Little Mercy in a car park and 2012's Summertime in the Garden of Eden in a suburban garage — and got rave reviews for both. So much so that the anti-establishmentarians have gone establishment, in the nicest possible way, as the Sydney Theatre Company is bringing them out to reimagine Little Mercy, a high-camp ode to 'evil child' movies, for their Wharf 2 stage. (Summertime in the Garden on Eden, meanwhile, will get a run at Griffin Theatre in November). Marcus Costello caught-up with Ash, who as well as writing and directing is playing the mother character Virginia, on his first day treading the boards at the Wharf. Here's what he had to say on stepping up to the main stage, the joys of the low-brow, and how they're adapting their "aesthetic of failure". First day of rehearsals, how's it going? We haven't stopped laughing that we’re actually here at STC. Well it's a long way from where you gave birth to Little Mercy in a Melbourne car park all those years ago. How has the show changed since then? Oh, you know, just little tweaks — like rewriting the whole show. Our shows are always staged in response to the space we're working in and the resources we have available, which is usually next to nothing. Our work ends up being an exercise in the aesthetic of failure, which is where much of the comedy comes from. Of course, being here [at STC] we can't just pretend we have no money so we're responding to the idea and construction of conventional theatre. In a way it's not that radical a departure because we're all about the interrogation of genre — finding the cracks, tearing it apart, and putting it back together. We like to see how much pressure something can take before it's completely unintelligible. Stepping up to the main stage... I like to think of it as STC stepping down [laughs]. Good call. In any case it's a collision of worlds. If you like it here and want to stick around, how is that going to affect your anti-establishment practice? If we can get paid to do shows on big stages, great, but it was never really our aim to make it to this point at settle-in. I think we'll always do scratch shows because mixing up where we perform is really important to us. I mean, we'll ride this out and have fun along the way, but we won't get so big-headed that we'll stop performing in living rooms and backyard sheds, or car parks, even. By the same token, if performing in car parks to a bunch of our adoring friends was all we ever did, it wouldn't amount to much. We don't plan to play it safe. A character at the centre of your play, Rodger, is a wealthy theatre director. Should we take that as a dig at the establishment? Um, [laughs] oh I don't know how meta we want to get about that! I mean, yeah, his job, his taste comes across as increasingly ridiculous throughout the show. We needed a job where the husband/father could become totally engrossed in what he does. As we both know, directors can get way too involved with their own projects and stop seeing the world around them — maybe even fail to see their own child is a psychotic killer. You say that the goal of your theatre is to make the audience laugh. I reckon your gritty-camp shtick might rankle with some of the more conservative STC season subscribers, don't you think? We don't intend to shock them too much. I mean, we won't be flopping our dicks out. In a way, our comedy is kind of old-fashioned. A man in a dress isn't new, but what we do with it hopefully is new and interesting and funny. At least we hope so because we think laughter in the theatre is vital. If you go to the theatre to take your medicine, to eat something that's good for you, then you've killed a lot of the joy. I don't like to go to the theatre to be educated. Dialectical, polemical, preachy theatre, theatre where the performers blast their politics at you, that doesn't inspire me. At least, if I learn something I want it to be incidental to the laughs. And if it's not making me laugh, it should make be gasp. Whatever is does, it needs to make me feel something. There are a number of Australian theatre-makers at the moment who set out to hurt feelings and sensibilities. How do you feel about that? Oy vey! That's not something we would deliberately set out to do. Our kind of humour can be quite hoary and hokey but I think if anything was going to offend, especially the STC audience, it would be the stupid jokes — because we would offend their intelligence [laughs]. I'm not playing Virginia for a joke, but every time I get on stage there will be laughter for a good five seconds. That's interesting because you're not unknown to the Melbourne drag scene. How does it feel having an audience laughing at you not with you? I'm totally fine with it. It’s not my job to know why people are laughing, it's really not. I'm happy with laughs wherever they’re derived from. I'm just not that precious; I'm aware of the grenade that I am. Little Mercy is on at the Sydney Theatre Company's Wharf 2 from March 7 to 24. Tickets are available from their website.
OVERVIEW Are you an authority on pop culture, music, food, drink, events and city life? Are you adept at putting your thoughts on those things into words that people can’t help but read? Are you a total pro at all things digital? Concrete Playground is currently seeking a skilled, experienced journalist/editor to join its Sydney team as deputy editor, and if you answered in the affirmative to all of the above, you may just be the person we’re looking for. RESPONSIBILITIES Working closely with the editor-in-chief from our Redfern, Sydney office, you'll come up with story ideas, write articles and commission work from a team of freelancers. Fastidious subediting will be a pillar of your day, as will making images, text, video and links work together as a happy whole. Your primary responsibilities will include: Leading Concrete Playground's news and features content across Australia and New Zealand.Management and growth of Concrete Playground’s various social media channels.Assisting with the planning and execution of Concrete Playground’s editorial strategy.Creation of varied written and multimedia content.Management of freelance news contributors across five cities. REQUIREMENTS A university degreeAt least one year's experience in the online media environment.A demonstrated ability to write smart, funny, popular articles quickly, and to come up with even more ideas than you can write.Solid subediting skills and ability to work with a style guide.Experience with social media management and strategy.Knowledge of SEO and basic HTML.Experience working with a content management system (preferably Wordpress).A good eye for images and skills with image production (preferably Photoshop).Expertise on the topics of music and pop culture, though you might also be strong in: technology, design, sustainability, current affairs, fashion, lifestyle, travel, food & drink, film, the arts and local cultural life.Some photography or videography skills. HOW TO APPLY Please send your cover letter, CV and links to 3-4 relevant online writing samples to Concrete Playground’s editor-in-chief, Rima Sabina Aouf, at contribute@concreteplayground.com.au WHO WE ARE Concrete Playground is an online weather vane pointing readers to the cultural tornadoes that are just about to hit. Our writers, editors and contributors have a constant ear to the under and above (but never middle) ground of the creative worlds of Sydney, Melbourne, Brisbane, Auckland and Wellington. Ideally, applicants will be pretty familiar with us and what we're about.
Five huge industry names are resurrecting the iconic Bat and Ball Hotel this year. The Redfern pub is set to make its return towards the middle of 2024, with hopes to reopen sometime between mid-July and early August — and it'll have an all-star team at the helm. With many years in the industry under their belt, this stellar group have decided to band together to bring their long-term vision to life in the form of a hearty, local pub. [caption id="attachment_891667" align="alignnone" width="1920"] Enmore Country Club, Enmore.[/caption] The venue's stacked crew — humbly referred to as a group of mates — boasts a plethora of expertise. Rachael Paul (ex-The Golden Gully, The Sunshine Inn) leads the lineup, joined by Cameron Votano (BTB Kirribilli, Lowkey North Sydney) and Zachary Godbolt (DOOM JUICE, Enmore Country Club), alongside Daniel McBride and Dynn Szmulewicz (Enmore Country Club, The Little Guy, The Sunshine Inn, ex-The Golden Gully) to round out the team. "We've all worked together a whole bunch over the years on venues, pop-ups and events, so we will lean heavily on that shared experience of hospitality between the five of us," said seasoned venue manager Rachael Paul. "It also helps that we are all great mates and love a beer together." The decision to revive the local stalwart boiled down three key factors: its central location, vast heritage and long-standing structure, which will be aptly revamped to fit the energised yet laidback vibe of the crew. Details regarding the venue's future fitout and offerings have yet to be announced, with the new Bat and Ball Hotel team opting to release details closer to the pub's opening. But the Sydney haunt is expected to star a menu of top tipples and enticing bites. "It's going to be electric, the process has already been extremely fun," said Godbolt, the creative director and co-founder of natural wine brand DOOM JUICE and Enmore Country Club. "Lots of hard work but we can't wait for that first beer when the doors open." [caption id="attachment_784797" align="alignnone" width="1920"] The Sunshine Inn, Redfern Street, Casandra Hannagan.[/caption] Head to The Bat and Ball Hotel's new Instagram page to follow along with the venue's upcoming updates. Image credit: Angus Bell Young and Brewcasa Creative.
Two Little Boys follows the series of unfortunate incidents that make up Nige (Bret McKenzie) and Deano's (Hamish Blake) long-term mateship. Things get tricky when Nige accidentally runs over and kills a Scandavian soccer star. He has no one to turn to but Deano and, unfortunately, Deano is not the kind of guy to turn to in a time of crisis. The mishap leads to more unfortunate events with hilarious and bizarre consequences. Directed by Robert Sarkies and based on the novel by Duncan Sarkies, Two Little Boys is a cheeky comedy bound to make you laugh and appreciate the one of a kind relationship between two best mates. Thanks to Hopscotch, Concrete Playground has ten double passes to giveaway to see Two Little Boys. To go in the running just subscribe to Concrete Playground (if you haven't already) then email hello@concreteplayground.com.au
Lovingly known as 'the greatest convenience store on earth', this little corner shop has become a social media phenomenon. Boasting over 15,000 followers (and counting) and a huge range of hard-to-find international snacks, cereals and beverages, this little store — run by Palestinian-born Hazem Sedda — has truly cemented itself as a Redfern must-see. The Instagram account profiles not only the extensive goodies sold but also the local community of Redfern who visit him in the store — and people travel from all over to gain the prestigious title of 'Customer of the Day' and pick up some Redfern Convenience Store merchandise.
This two-member Melbourne band brings their brand of indie pop to all of Oz in their Vacation tour this month. Big Scary's album, named one of Richard Kingsmill's Top 10 Albums of 2011, debuted in a string of intimate sold-out performances but has yet to embark on a tour of this scale. "This will be the biggest national tour we've ever done," said lead singer Tom Iansek. We've been practicing hard and we're looking forward to taking the Vacation songs, and a smattering of even newer material on the road." Iansek and drummer Jo Syme will treat audiences to Vacation singles like 'Mix Tape', 'Gladiator' and 'Leaving Home'. You can expect much more, however, from these two; they've been dubbed one of Australia's "most exciting new bands" by Triple J Magazine. https://youtube.com/watch?v=HS3lQSOVEL8
OG Sydney food truck Mister Gee has accumulated a city-spanning fan base since it opened its first truck in Burwood in 2014. Six years on and the burger joint is ringing in its birthday with a two-day celebration kicking off with free burgers. The first 50 customers to arrive at each of the Mister Gee Haberfield (at 315 Parramatta Road) and North Strathfield (at 16 George Street) stores on Friday, November 27 will receive a free burger. The freebies are sure to go fast, so you'll have to get there bang on opening time at 6pm to ensure you get one. If you do miss out, there are burgers on offer over the weekend for $10, which also included a free bottle of Jarritos soda. All of Mister Gee's fan favourite burgers including its truffle burger, Vegee Burger (with a vegetable patty, cheese, pickled onions, tomatoes and special sauce) and The Stoners Revenge (which features beef, cheese, bacon, onion and chips) will be on offer for $10 from 6–9.30pm Friday, November 27 and Saturday, November 28. Live street artists, DJ sets and a photo booth will be on hand to bring the atmosphere to both locations as Mister Gee celebrates a half-dozen years of serving Sydney burgers.
'Social distancing' isn't just a phrase that you might remember from watching Contagion years ago. As the world reacts to COVID-19, it's an important and crucial tactic to help stem the growing spread of the coronavirus. That means not only keeping your distance from other people if and when you do venture out of the house but, increasingly, staying home entirely. If communal viewing parties are part of your usual social routine, however, you don't have to completely adjust to watching Netflix alone. Thanks to a Google Chrome plug-in called Netflix Party, you can now stream movies and TV series on the platform simultaneously with your friends — with the browser extension synchronising everyone's playback so you're truly watching each and every frame at the same time. It also features an online chat function, allowing you to talk, laugh and otherwise comment while your film or show of choice plays. To use Netflix Party, everyone you'd like to watch with will need have their own Netflix account. They'll also need to use Google Chrome — and the plug-in is only available on desktop and laptop computers, so you won't be able to sync your television sets. After downloading the extension, you'll want to head to the Netflix website, select what you'd like to watch and hit the 'NP' button at the top of the browser next to the address bar. Then, select 'start the party', which'll create a URL for you to share with your mates. For those receiving a Netflix Party URL, you'll need to click on it to open it in Google Chrome, then hit the 'NP' button at the top of the browser next to the address bar. Once you've done that, it should automatically bring you into the communal viewing space. Of course, people have tried synchronising their streaming viewing manually ever since Netflix and other platforms emerged on the scene. If you've attempted that option, though, you'll now that it's tricky, involves a constant barrage of text messages asking "which part are you at now?", and just proves logistically frustrating. Netflix Party is available for Google Chrome on both desktop and laptop computers. To download the plug-in, visit the Netflix Party website. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: Netflix.
Meet Philip Lewis Friedman (Jason Schwartzman), an emerging writer on the cusp of the release of his second book. He likes to tell off his ex-girlfriends for their lack of support and dress down his former college roommate for not living up to his standards. He assumes his talented photographer girlfriend, Ashley (Elisabeth Moss), will hang around despite his lack of attention and affection. There's no mistaking it; he doesn't really seem like a nice guy. Philip is the lead character in Alex Ross Perry's third film after Impolex and The Color Wheel, but Listen Up Philip does more than just follow the ups and downs of a self-absorbed jerk. In an act of structural daring, it tells his tale alongside Ashley's awakening that she's much better off without him. Also included is the plight of Philip's new mentor, Ike Zimmerman (Jonathan Pryce), a famous novelist renowned for his self-imposed isolation, but now having second thoughts about his life choices after spending time with his new protege. Indeed, wondering about decisions made in the pursuit of a dream — be it about professional success, romantic fulfilment or perpetuating an enigma — sits at the heart of the film, a line of thinking almost everyone can relate to. It's easy to see where things strayed from the expected path for the trio, even if it isn't always easy to watch how things move forward, particularly for the ever self-sabotaging Philip and the just as egotistical Ike. Also striking is the intersection and influence of their deeds, on each other, and on others on top of that. Listen Up Philip may start out with a stereotype of movie depictions of writers, complete with wrestling notions of ambition, arrogance, inspiration and irrelevance; however, what it does so brilliantly is map out the flow-on effects of anxiety, envy and striving for success. Thankfully, as awkward and abrasive as many of the scenarios in the script rightfully prove, Perry approaches the film with humour, empathy and balance. The narration of an all-seeing, never-sighted figure (voiced by Eric Bogosian) helps make the comic and considerate skew apparent, as does perfect casting. Schwartzman and Pryce play to the movie's sharpness, and Moss and Krysten Ritter (as Ike's long-neglected daughter) to its unanticipated understanding. In fact, Listen Up Philip actually resounds with more warmth than you might think. Moss brightens every scene she is in, not just stealing the show but demanding the camera's focus on her expressive face and her command of emotion. Hers is a performance of the lived-in variety, a feeling the feature matches in its handheld movements, naturalistic lighting, super-16mm film stock and jazz score. Actually, it's that textured sense of reality that makes the movie shine, even more than showing the bleakness of poor choices while revelling in dark comedy. In that embrace of complication, there's a lot to like, and even love — even the initially unlikeable Philip.
Belles Hot Chicken has flirted with all sorts of chook-centric creations over the years, and now it's teaming up with Shin Ramyun to bring back its super-popular fried chicken ramen. For the collab with the Korean instant noodle brand, Belles Head Chef and Co-Founder Morgan McGlone has created an easy-to-finish-at-home fried chicken ramen that you can pick up from the Darling Square, Tramsheds and Barangaroo stores. Available to order for $14 via Bopple, the limited-edition pack comes with Nongshim Shin Red Ramyun, an ultimate chicken thigh fillet (pre-cooked), braised greens with Spam, fried garlic and nori powder. McGlone has also posted a video (below) on how you can easily create the ramen at home. If you have an egg at home, he suggests you add one of those, too, but it's not essential. To celebrate the launch of the take home pack, the fried chicken institution will be hosting a series of launch events at Barangaroo on Wednesday, August 5; at Tramsheds on Friday, August 7; and at Darling Square on Saturday, August 8. Tickets for the event will set you back $25, which includes ramen and a paired cocktail. You can snag yours here. https://www.youtube.com/watch?v=2-8-UxELMJQ&fbclid=IwAR0jf6mckKVZbtII8_1iQS7McP3OSbTFP2DhZAU60MrI4UXh6P7k0un-c4E Belles x Shin Ramyun take home packs are available to order via Bopple and pick up from the Barangaroo, Darling Square and Tramsheds stores.
So you didn't have the time or money to hop the pond over to Palm Springs to experience the epic Coachella music festival? Not a problem, YouTube has got it covered. Literally. The massive video library has created its own live-stream channel, appropriately named YouTube Live, and Coachella was the first partner to offer to broadcast live content for the channel from April 15 to 17 (US time). Among the lineup of over 100 performers include top acts The Strokes, Arcade Fire, Mumford & Sons, Kanye West, Cee-Lo Green, Kings of Leon and Duran Duran. If you aren't already in-flight to take part of the madness first-hand, just sit back and watch it all go down on the Coachella live webcast for all three days of the festival. Although YouTube isn't the first site to introduce a live-stream channel, they certainly will have the most advanced webcast program, one that will cater to individual users based on their interests online and undoubtedly be sought after by big-name events worldwide. https://youtube.com/watch?v=8heZuMZLqRI
It has always been impossible to watch TV shows by Nathan Fielder, including Nathan for You and The Rehearsal, without feeling awkwardness gushing from the screen. The films of Josh and Benny Safdie, such as Good Time and Uncut Gems, are such masterclasses in anxiety and chaos — and so astute at conveying life's anything-that-can-go-wrong-will certainty — that viewers can be forgiven for thinking that their chairs are jittering along with them. From Easy A, La La Land and Maniac to The Favourite and Poor Things, Emma Stone keeps proving an inimitable acting force. Combine Fielder, the Safdies and Stone on one series, then, and whatever sprang was always going to be a must-see. Streaming in Australia via Paramount+ from Saturday, November 11, exquisite new dark satire The Curse is also as extraordinary in its brilliance as it is excruciating in its discomfort. As well as co-creating the ten-part series, Fielder and Benny Safdie co-star, co-write and co-direct. Stone joins them on-screen and as an executive producer, with Benny's brother Josh doing the latter as well. The Safdies' regular collaborator Oneohtrix Point Never, aka Daniel Lopatin, gets the show buzzing with atmospheric agitation in one of his best scores yet — even after winning the Cannes Soundtrack Award for his unforgettable work on Good Time. And yes, The Curse is everything that the sum of these parts promises. It's more, in fact, then even more again. It flows with disquiet like a burst hydrant. It fills each almost hour-long episode with a lifetime's worth of cringe. It's relentless in its unease second by second, moment by moment and scene by scene. It's also a marvellous, intense and hilarious black comedy that apes the metal Doug Aitken-esque houses that Stone and Fielder's Whitney and Asher Siegel like to build, reflecting oh-so-much about the world around it. The Curse takes the show-within-a-show route, with the Siegels eager to grace the world's screens as reality TV hosts. Their angle: environmentally sustainable passive homes that only use energy that they create, which Whitney and Asher consider their contribution to their adopted New Mexico hometown of Española. The newly married pair have American pay TV network Home & Garden Television interested in Fliplanthropy, as well as their efforts to green up the community, create jobs for locals, and revitalise a place otherwise equated with struggling and crime stats. Lurking between the couple and HGTV is producer Dougie Schecter (Safdie, Oppenheimer), Asher's slimy and manipulative childhood friend with a nose for sensationalism — particularly when he gets the scent of disharmony among his stars as they try to start a family, get their show on the air, build their gleaming houses, find ideal buyers, honour the area's Indigenous history and overcome The Curse's title. As the series dives into, parodies and interrogates unscripted television, gentrification, whitewashing, white saviour complexes, racism, appropriation, marriage, privilege, authenticity, spiritualism, inherited burdens and more, its moniker can refer to many things. A white couple sweeping into the region, trotting out altruism for fame — and, in Whitney's case, to scrub away her association with her parents (White House Plumbers's Corbin Bernsen Search Party's and Constance Shulman), who have been dubbed slumlords for treating their tenants poorly — is hardly the gift that the Siegels think. Accordingly, while their actions around Española don't just span futuristic abodes that couldn't stand out more, but also enticing new businesses to the area with free rent, supporting campaigns for land rights and celebrating local artists, it's forever plain that every move that the pair make is about getting something out of it. Fielder has long unpacked what it truly means to show reality on-screen, plus the machinations behind it — and with unsettling precision, The Curse is no different. Stress would ripple through this series as inescapably as Whitney's desperation to become TV's next big thing anyway, and Asher's onslaught of neuroses and humiliations (you'll never think about cherry tomatoes the same way again); however, The Curse's name is also literal. Being filmed for B-roll footage for the pilot at Dougie's suggestion, Asher gives primary schooler Nala (debutant Hikmah Warsame) a $100 note while she's selling soft drink in a carpark with her father Abshir (Captain Phillips Oscar-nominee Barkhad Abdi). Then, when the shot is over and his performative compassion is no longer needed, he snatches the money back. The girl's response, as accompanied by a steely gaze and the unfettered anger of a child wronged by an adult: "I curse you". As bad luck springs for the Siegels afterwards, arriving in both big and small ways, those words keep lingering. Again, Fielder ponders what is real and isn't, finding another way into his favourite topic. Whitney already oozes must-do-now urgency — served with a wide Stone smile — about anything that could stymie her quest for television domination, and Asher is a walking portrait of please-accept-me torment from the get-go; then comes the hex and the fudging of lines between what's a mess of their own making, what springs from paranoia and what may be supernatural. Aptly, when The Curse's title appears on-screen at the start of each episode, it shimmers with wavy lines looking glass-style to kick off this streaming mirror mirror, distorting and disorienting in the process. Birds sometimes fly directly into the Siegels' shiny houses, meeting their ends after not spotting what's looming right there in front of them, which also makes a fitting metaphor. Squirming and watching Fielder might go hand in hand, but the experience has rarely been better than in The Curse. Neither has Fielder. His familiar directorial instinct to let moments persist to the point of aching mortification continues here, sparking his most purposefully perturbing performance yet — because watching someone this bumbling yet authoritative, and this muddled and self-conscious in everything they do yet bolstered by their status, race and bank balance, is meant to be this incisively agonising. With the show often shot like it's spying, including through windows and doorways, Stone and Safdie are equally exceptional and difficult to look away from. The yearning to be worshipped and praised non-stop, and the fear of her carefully constructed do-gooder facade being cracked, is weaponised in Stone's portrayal. Meanwhile, Safdie plays the kind of shifty that can't be shaken devastatingly well. In a plethora of ways, The Curse ticks all the boxes that it was always going to, especially via Fielder, the Safdies and Stone's exacting involvement. Throw in the fact that A24 is behind the series, placing it on a slate alongside Beau Is Afraid, You Hurt My Feelings, smash-hit Australian horror movie Talk to Me and fellow TV series Beef from 2023 alone — each of which could pair with The Curse for different reasons — and that truth only grows. And yet, no one can pick exactly where this show is heading while watching, even when you're sure that you have and those predictions come to fruition in an exchange, plot point, theme or revelation. Consider it a funhouse hall of mirrors, then: you know that something warped will confront you wherever you look, but you can never be confident of what it'll be. Consider The Curse one of the best new TV shows of 2023, too, and the type of unique viewing that's a glittering treasure even it inspires non-stop dread and horror that threatens to swallow you whole. Check out the trailer for The Curse below: The Curse streams from Saturday, November 11 via Paramount+. Images: Beth Garrabrant and John Paul Lopez/A24/Paramount+ with SHOWTIME.
Never heard of Foley Street? You're not alone. This Darlinghurst gem is discreetly tucked away a mere stone's throw from bustling Oxford Street — and one that's well-worth seeking out. "The reaction we get from people when they discover the laneway is amazing," says ceramicist Naomi Taplin. She's one of four artisans that have retail residencies on the street, which is a veritable treasure trove of local, ethical and well-designed homewares, fashion and accessories. So if you've yet to accidentally stumble into this hidden artisanal laneway while exclaiming, "wow this is so Melbourne" (as apparently everyone does), then we suggest you make an imminent plan to take a sharp turn off Crown Street and explore this small — but perfectly curated — design precinct. To prepare you for your visit, here are five things you should know. [caption id="attachment_680292" align="alignnone" width="1920"] Handmade boots on display at Bermuda Black.[/caption] IT'S LOCAL Surely there's a German word to describe the feel-good vibes that spring from supporting local designers, whether their studio is a couple of suburbs away or, in the case of Foley Street's fashion and accessories label Bermuda Black, a few feet away. Yep, you can literally stand and watch as founder Marina Roorda patiently crafts a pair of shoes in the atelier section of the store. Aware of how lucky they are to have access to affordable spaces in the city, the small group of residents are making the most of their prime location, creating their own supportive community (for which Clara Ho of men's lifestyle store Fine Fellow was particularly grateful after a recent flood) that always has its doors open for new visitors, inspirations and collaborations. The team at Bermuda Black are planning to create a mini gallery within its space, inviting local painters, sculptors and photographers to exhibit their work, with the aim of encouraging a greater flow and exchange of creative ideas. You get the picture. Visiting Foley Street is a reminder of just how awesome it is to support local. [caption id="attachment_680284" align="alignnone" width="1920"] Marina Roorda at Bermuda Black.[/caption] IT'S INTERACTIVE The fun folk at Foley Street are all about drawing back the curtain and inviting you backstage. Once night falls, you can experience the spaces in a different way through pop-up events, like the new experimental dinner series at Studio Enti, which combines the brand's gorgeous porcelain ceramics with delicious food and live DJ sets. July's inaugural event, Korean Kitsch'n, featured Korean-inspired dishes showcasing seasonal Australian produce, K-pop tunes and bespoke ceramic tableware embracing the theme. Fine Fellow holds regular How It's Made events featuring some of the designers carried in the store, along with a bunch of other immersive events like workshops and wardrobe styling sessions. And if you're just as interested in the design process as you are in the finished product, check out Marina Roorda at work with the rest of the Bermuda Black team. "The production side of things is a little less glamorous than the design, but it's something that needs so much detail, focus and attention. When you see it, you get a much better appreciation of the finished product" promises the brand's Adrian Roorda. [caption id="attachment_680218" align="alignnone" width="1920"] Naomi Taplin at Studio Enti.[/caption] IT'S ETHICAL There's a unanimous commitment to ethical design among the laneway's creative crew. Each brand believes you can create something beautiful while working in a way that allows for a crystal clear conscience. Studio Enti's Naomi Taplin sticks to Australian porcelain and employs strict recycling processes. Bermuda Black follows the ethos "what we can't use, we give a new purpose", sourcing materials following environmental standards and donating scraps to the grateful students at the nearby National Art School. Bex Frost and Christian Olea at Spunky Bruiser thumb their noses at mass-production, fashioning garments exclusively from recycled and reclaimed materials. You can even bring in some old fabric or clothes to be incorporated into a new piece, like that old tapestry of your Nan's or that dress with the awesome pattern you accidentally shrank down to child-size (lesson: never launder after rosé). [caption id="attachment_680286" align="alignnone" width="1920"] Custom clothing at Spunky Bruiser.[/caption] IT'S PERSONAL At Foley Street, the retail experience is refreshingly human. Fine Fellow's Clara Ho works directly with the designers she stocks and knows most personally, seeking out makers who share her aesthetic sensibilities and sustainable philosophy. Spunky Bruiser's Bex and Christian blithely eschew conventional sizing, and instead, customise their clothing to honour your individual shape and personality. Plus, like we said, they love incorporating your sentimental mementoes into the design (i.e. Nan's tapestry). A large part of the laneway's charm comes down to the lack of barrier between customer and creator. How often do you get to meet the person who designed your shirt, crafted your dinnerware or spent a day making your shoes? "It's very intimate," says Naomi Taplin. "You get to meet the people who are making the products, so when you do purchase a piece you have the history, the story of the object." [caption id="attachment_680302" align="alignnone" width="1920"] Fine Fellow[/caption] IT'S QUALITY Along with good design, every artisan in the laneway deliberately avoids trends and fads. Bermuda Black's fashion and accessories embrace a minimalist, timeless aesthetic (albeit with the occasional eccentric flourish or, as Adrian Roorda puts it, "an exclamation mark"). The elegance of Studio Enti's classic ceramics belies their dishwasher-proof hardiness, and the designs of Spunky Bruiser can easily be considered "eternally relevant". Clara Ho at Fine Fellow wants to educate people about "buying less, but buying better." It's pretty simple, isn't it? Buying a small number of well-made items that will stand the test of time rather than replacing things every season is the more sustainable choice — although we get that switching your boots from fast fashion to designer may feel extravagant at first. "It takes time. It takes maybe spending that first few hundred dollars on that really gorgeous investment piece to understand and be converted," says Ho. Whether you're treating yourself or buying a gift, Foley Street is the perfect opportunity to start re-thinking the way you shop. Top image: Katherine Griffiths. Article images: Steven Woodburn.
In Red, White and Blue, one of the five films in the Small Axe anthology, the force isn't with Star Wars' John Boyega. The police force, that is — although his character, Leroy Logan, gives up his job as a research scientist to fulfil his dream of becoming a cop. Logan wants to make a difference, and to drive change from within. He's committed to his task, even going through with his plan to enlist with London's Metropolitan Police after his father (Steve Toussaint, Doctor Who) is harassed and beaten by local officers because they can, and because they don't like the colour of his skin. But, while Logan excels at training and is quickly chosen to front a diversity campaign, British law enforcement in the early 80s wasn't welcoming to a Black man. Playing Logan — a real-life figure, like many within Small Axe — Boyega's eyes simmer with the intensity of someone who knows they're actively defying everything around them at each and every moment. Viewers can't help noticing this determined and resolute stare, just as they can't escape the Star Wars reference included by Hunger, Shame, 12 Years a Slave and Widows filmmaker Steve McQueen and his co-scribe Courttia Newland either. Red, White and Blue is the third film in the series, however, so its audience has already spied this particular gaze several times over. Boyega and the character of Logan only appear in one movie, but the same look blazes across many of the faces seen across the entire 60s, 70s and 80s-set anthology, which places London's West Indian community firmly at its centre. In Mangrove, that same fervent expression is evident far and wide as the film tells an infuriating true tale about a police campaign to target a Caribbean restaurant in Notting Hill. When the Trinidad-born Frank Crichlow (Shaun Parkes, Lost in Space) opens the titular establishment, he wants to give his community a taste of home and a place to gather, but the cops quickly make their presence known. After protests about heavy-handed and racially targeted policing, nine activists — known as the Mangrove Nine, and including Black Panther leader Altheia Jones-LeCointe (played by Black Panther's Letitia Wright) — are arrested for inciting a riot. Co-scripting with Trespass Against Us and Tomb Raider writer Alastair Siddons, McQueen turns this heated situation into a gripping movie of two expertly crafted halves, with the first detailing the events from 1968 leading up to the trial, and the second showing how the defendants are treated while they're fighting for their freedom. [caption id="attachment_789616" align="aligncenter" width="1920"] Mangrove[/caption] Of course, every Small Axe film is about that same fight, just in different manners. McQueen wants everyone watching to see the toll such a battle takes, especially when it has to be waged day in, day out — and the images in his work, as has proven the case across his filmography, are repeatedly concerned with people trying to navigate stress, then internalising all the pain the external world throws their way. Oscar-nominated for 12 Years a Slave, he's a master at conveying that pain and tension, often by peering intimately and empathetically at his characters. That's a skill that can't be underestimated, and that few filmmakers possess in quite the same way. Indeed, it's one of the reasons that McQueen's features always stand out. Lovers Rock, the second Small Axe entry, overflows with faces and bodies — at a West London house party in 1980, where Martha (debutant Amarah-Jae St. Aubyn) and Franklyn (Micheal Ward, The Old Guard) cross paths. As the genre of reggae that shares the film's name echoes through the soundtrack, this pair of strangers lock eyes and more, with the film lovingly and tenderly showing Black Londoners just being themselves. Martha and Franklyn swoon over each other, and the movie swoons with them, its warm and sensual visuals helping to spin the only wholly fictional entry in the anthology. This tale is perhaps the most crucial part of the set, even though it departs tonally from its fellow features; the happiness snatched and shared by its two central characters feels all the more affecting and important when contextualised against the unwelcoming city around them. [caption id="attachment_797060" align="aligncenter" width="1920"] Lovers Rock[/caption] Small Axe's fourth and fifth films don't leave any doubt that simply existing is often a political act for people of colour, and that trying to counter engrained discrimination and oppression is an ongoing effort. In Alex Wheatle, the series jumps into the life of the award-winning writer of the same name (as played by Ted Lasso's Asad-Shareef Muhammad as an eight-year-old, then by first-timer Sheyi Cole), who spends the bulk of his childhood in institutionalised care. When he later finds a place where he feels like he belongs, he's subsequently imprisoned during the Brixton Uprising of 1981. Unsurprisingly, Education also explores a character's formative years, using fictional figures to tell a story drawn from reality. Twelve-year-old Kingsley (Kenyah Sandy, Jingle Jangle: A Christmas Journey) is singled out at his school, told he's underperforming and that he's being sent to another for kids with special needs — as part of an unofficial segregation policy his mother Agnes (Sharlene Whyte, We Hunt Together) learns is far too commonly applied to West Indian children. Before this anthology, McQueen hadn't directed a bad movie. That isn't changing now. Here, he gifts viewers a quintet of films that are as exceptional as anything he's ever made — and as potent, impassioned and probing as well. There's no weak link here, only stunning, stirring, standout cinema that tells blistering tales about Black London residents doing everything it takes to resist their racist treatment and live their lives. Every feature is sumptuously shot, too, thanks to the awards-worthy work of cinematographer Shabier Kirchner (Bull), which transports viewers into the five movies so vividly it's like you've been whisked back in person. McQueen's soundtrack choices also add yet another layer, including the pitch-perfect use of Janet Kay's 'Silly Games' in what might be the series' best sequence — as well Al Green's cover of the Bee Gees' 'How Can You Mend a Broken Heart' that cuts deep, as everything about Small Axe does by design. https://www.youtube.com/watch?v=vcqItifbNUA&feature=youtu.be All five Small Axe films are available to stream via Binge. Top image: Red, White and Blue.
In an age in which we spend more time looking at screens than we do looking at each other, the organisers of a monthly public meet-up are trying to encourage a little old-school human connection. Held once a month in cities around the world, including Sydney, Melbourne and Brisbane, Eye Gazing is exactly what it sounds like: a group of strangers meet in a public place in order to create a silent bond. The events are run by The Human Connection Movement, a group that aims to change the way that people interact for the better. "We're here to empower people to stay open and lead with an open heart whilst maintaining authenticity, courage and awareness," reads a description on the event page for the group's upcoming Sydney meet. It's set to take place in Hyde Park on Saturday, January 14. It's free to attend, although you will need to register online. Image: The Human Connection Movement/YouTube.
For a long time, physicists have been trying to get t-shirts printed with a short, unified theory of everything on it. They just need to sort discovering it first. If you feel the need to add some catchy images to your tops while you wait for science to catch up with your wardrobe, Without Walls 2 is coming to the aMBUSH Gallery to help you flesh out your summer style. Without Walls matches wall-based art with cotton-based style, encouraging you to walk away wearing the treasures of the exhibition on a t-shirt of your very own. Two of the artists — Jumbo and Ben Toupein — at times seem like homunculi pulled from opposite sides of Jeffery Smart. Jumbo is usually seen in the company of the Kirby-loving Zap, but for this exhibition his dreamy urban images unfold alone. Toupein draws disquieted gentlemen with hard lines, half-finished moods and wrinkles. Brett Chan makes almost floral geometric art, while James Jirat Patradoon draws blokes and cites art from Akira and Battle of the Planets among his inspirations. Figure artist Aisling King-Macklin and versitile Jin Hien Lau also feature. No single theory unites these artists, but starting Thursday they'll all be printed on a common set of threads. Images by James Jirat Patradoon and Ben Toupein.
Pier One's panoramic views and harbour breezes are no longer just for the enjoyment of the luxury hotel's guests, as pop-up smokehouse The Kerrigan pulls into dock next door. The meat-focused food shack is ringing in barbecue season with a custom-made charcoal-burning grill, on-site smoker, and one ripper of an al fresco dining space from which to enjoy the spoils. Daily, over the coming months, top-notch produce from Marrickville's Black Forest Smokehouse will be given the star treatment — it'll be smoked in-house for up to 14 hours and brought to life with an array of house-made rubs and sauces. Barbecue purists will find plenty on this menu to get excited about, from the smoked half or full rack of pork ribs, to the crispy chook wings, prepared Aussie, Indonesian, or Korean-style. There are hefty burgers, melt-in-your-mouth brisket tacos, and a daily-changing handcrafted snag, which comes with green chilli pickle and sauerkraut. Plus, there'll be a range of local brews and those ace harbour views to round out the whole delicious deal. The Kerrigan will be open from 11.30am until 9pm daily next door to Pier One, at 11 Hickson Road, Walsh Bay.
One of the biggest sacrifices that inner-city renting can present is not being able to have a pooch pal for a roommate. For anyone who is a dog person (but, let's be honest, who isn't?), this can be quite the adjustment to make. So, any exposure to a four-legged friend conjures serious levels of excitement that are usually only reserved for when you see the waiter bringing your food at a restaurant. As one of several off-leash dog parks in the inner city, Harmony Park in Surry Hills is a mecca for recreational dog-watching. There is something quite cathartic about sitting and watching those silly mutts expend all of their energy on a few rounds of catch. Watch a little puppy get virtually bowled over by a giant hound, to then promptly get up, shake it off and go again. Go gaga as a short-legged pooch attempts to get airborne to catch a frisbee, casually missing by over a metre. And accept all the snuggles and wet, sloppy kisses you can get, until the owner thinks you're a weirdo. It will fill that pet-shaped hole in your heart — temporarily, at least.
UPDATE, October 18, 2020: Bombshell is available to stream via Amazon Prime Video, Foxtel Now, Google Play, YouTube and iTunes. Playing two women caught in the climate of sexual harassment that engulfed Fox News under former CEO Roger Ailes, Charlize Theron and Margot Robbie both turn in stellar — and now Oscar-nominated — performances in Bombshell. Aided by noticeable facial prosthetics, Theron steps into the shoes of real-life TV personality Megyn Kelly, serving up a pulsating vein of steeliness in every scene. As a fictional producer who calls herself an "influencer in the Jesus space" and an "evangelical millennial", Robbie's Kayla Pospisil possesses softer edges but still sports plenty of inner grit — especially when she summons up the guts to put her self-respect first, rather than her desire to feature on-camera on the right-wing network. But much like the unease that plagues both women until they decide to speak out, something definitely isn't right in the film that tells their tales. Bombshell is the slick, shiny version of this ripped-from-the-headlines story, which earned global attention when it broke back in 2016. Airbrushed to buffer away blemishes and avoid tricky spots, it's watered down to deliver an easy, glossy, simplified narrative. It doesn't help that 2019's Russell Crowe-starring The Loudest Voice already brought the same minutiae to the small screen — and in far greater detail, as you'd expect in a seven-part mini-series compared to a 109-minute movie. That said, Bombshell really isn't interested in diving as deep as its predecessor. Instead, wants to make a feisty flick about kick-ass women fighting back in a male-dominated realm. Fight back, Kelly did — although not at first. As the film unpacks, fellow anchor Gretchen Carlson (Nicole Kidman) leads the charge and initially suffers the consequences, going public about her inappropriate dealings with Ailes (a cartoonish John Lithgow) by suing him personally. Despite the head honcho's protests of innocence to Rupert Murdoch (Malcolm McDowell) and sons Lachlan and James (Ben and Josh Lawson), more women share their stories. Director Jay Roach (Trumbo) and screenwriter Charles Randolph (The Big Short) explore this, as well as Kelly's apprehension to join the chorus and Pospisil's experiences as a young, ambitious woman eager to score her big on-screen break. And yet, by championing these efforts but barely delving into Fox News' status as a conservative propaganda machine, Bombshell proves an empty shell of a #MeToo movie. The treatment that Kelly and Carlson (and the real-life women that Pospisil represents) received at the hands of Ailes — yes, literally — is infuriating and unacceptable, as all accounts of men exerting power over women for their own gratification are. Their ordeal doesn't just hark back to one man, though; it's inescapably intertwined with Fox News and the agenda it serves — notions that are scarcely considered here. Roach and Randolph hint at the network's public standing, illustrating the wider world's reaction to its political leanings via a woman who insults Carlson in a supermarket. The film paints Ailes as feverish about pushing the Republican party's perspective and currying favour with Donald Trump during the lead up to the 2016 election, even when the future president tweets sexist comments about Kelly. And, it lays bare the TV station's misogynistic internal culture, where women are forced to wear short skirts and sit behind clear desks. Still, it all feels like lip service in a movie that merely depicts, rather than dissects. If one was feeling generous, you could assume the film's powers-that-be just expect that everyone already knows Fox News' reputation, and the perspectives it pedals. Being realistic, however, Bombshell seems happy to brush past the network's toxic on-air views — because contemplating them in-depth means adding shades of grey that this visually bright feature is keen to avoid. Ailes is a clearcut villain, and deserves the scorn he's served, of course. But ignoring the fact that Kelly, Carlson and their fellow female Fox News employees all buy into a conservative agenda where behaviour like Ailes' continually festers, and do so because they share the same political views, means that Bombshell ignores the broader context that helped lecherous acts prosper at the network. Yes, it's an immensely complicated situation — but Bombshell rarely treats it as such, or recognises much in the way of texture. While Kate McKinnon is memorable as a Hillary Clinton-supporting lesbian who remains closeted about both preferences at Fox News, that's another case of the movie barely dipping its toes into more complex territory. Perhaps the film's skin-deep approach shouldn't come as a surprise, seeing that Roach also directed all three Austin Powers flicks and the first two Meet the Parents movies. Bombshell certainly tries to keep its tone light and sometimes even farcical, even though it deals with such heavy matters. Alas, what results is the kind of movie you'd expect given this tellingly glib piece of closing voice-over — one where its unambiguously heroic protagonists "got the Murdochs to put the rights of women above profits, however temporarily". https://www.youtube.com/watch?v=jjOdDd4NEeg
Torakina Beach should be your number-one choice for stand-up paddleboarding. Set at the mouth of the Brunswick River, this sheltered paradise sees barely a ripple for waves, so pushing yourself along the crystal-clear waters is relatively hassle-free. You're also well within touching distance of Brunswick Heads, with the community's thriving cafe scene just a five-minute walk away if you're in need of a post-paddle refuel. Want to keep it a bit more rustic? With picnic areas, barbecues and showers spread throughout the surrounding bushland, Torakina Beach is a truly dreamy spot for a day in the sun. Image: Sam Forson, Pexels
As we all watched London burning, most of the furious debates were concerned with political squabbling and vigorous finger pointing at wasted British youth. But one of the things least discussed was the impact on creative communities. While the riots may have started off as a response to police brutality, the only thing they seem to have accomplished is making people more upset while completely screwing over small businesses and independent artists, who, let's face it, weren't really doing all that well to begin with. Hip-hop artist Scroobius Pip pretty much summed it up when he said, “This is Britain punching itself in the face. Repeatedly.” While the riots were going down, theatres all over London were forced to cancel shows and performers including Patrick Wolf postponed gigs while the city was in lockdown. Then there were the art galleries, who, with all those big glass windows ripe for smashing, didn't fare so well and have thwarted several exhibitions. But the biggest impact on artists has come as a result of the fire lit at the SonyDADC warehouse in Enfield, which was holding the UK's stock of a significant number of independent music labels including Sub Pop, Warp, 4AD, Matador and XL. These companies had much of their stock destroyed, and that's not to mention the smaller companies who probably never had a huge amount to splash out on tight and all-encompassing insurance policies. In an interview in NME, Spencer Hickman of Rough Trade East explained, "There’s maybe a hundred labels affected. We’ve got no idea how much stock they’ve got elsewhere. I’m convinced that some labels will go under." In addition, the warehouse was holding a a lot of the DVD stock of independent film distributers like BFI, and because much of the income film companies receive comes through DVD sales, it looks like some companies are going to have to lay off staff. A campaign entitled LabelLove has been launched to generate some money to try and keep independent artists and labels afloat during the rough times ahead. On the bright side, artists have almost immediately begun responding to the riots, with graphic designers Nick Scott and Neil Walker designing posters which pretty much sum up exactly what everybody was thinking. Check them out below.
The flash mob has become synonymous with making a statement, a bold one at that. It isn't everyday that a group of people randomly assembles in a public place to perform a silly choreographed dance number, so on the rare occasion a flash mob does take over the streets, passersby pay attention. American Airlines took advantage of this increasingly popular public display to make a statement of their own. The airline broke away from traditional methods of advertising and organised a flash mob at the U.S. Bank Plaza in downtown Los Angeles to promote the launch of their new flight services. The performance began with a single man dancing past a father and his daughter, and he was soon joined by 40 dancers descending the steps of the public plaza. After shocking onlookers with their meticulously choreographed routine, the mob created the American Airlines logo with their travel bags above their heads and then nonchalantly dispersed. Few things grab attention quicker than a flash mob, but this form of marketing has surely been done to death. And what are the new services that this quirky advertisement was meant to showcase? The airline now offers daily non-stop flights from LAX to Shanghai as well additional flights to nine new U.S. destinations. https://youtube.com/watch?v=a_w0lX3NIOk
On February 17, 1936, when Sir Reginald Ansett first took flight in his Fokker Universal passenger plane from Hamilton, Victoria, he wasn't to know that his would be a legacy in two acts. A legacy not just of iconic Southern Hemisphere aviation, but also of the dankest wearable swag this side of that $19 Bunnings cap with the built-in torch. Yet, some 82 years later, in a rural tin shed-cum-hangar-cum-museum — located at the birthplace of the aforementioned national aero-identity — lies, in mint-ish condition, the most complete collection of Ansett Australia paraphernalia you never knew you were in grave spiritual free fall without. And much of which money can buy. Because we're suckers for nostalgia and weird experiences accessible from the city, it was time to beeline — nay, V/Line — 288 kilometres west to the good township of Hamilton (town slogan: "One place, many possibilities") and examine the loot. But first: the 'museum'. There she blows. If you're not familiar with Ansett Australia, it was an airline — much like Qantas is currently an airline — until 2001 when it was placed into administration following a gnarly financial collapse. At its peak, it sponsored the cricket, provided Winnie The Pooh pencil cases and colouring books for kids, and served hot food on board when the competition bothered not to. It was the official airline of the Sydney 2000 Olympic Games, flying the torch from Auckland to Uluru, and it sponsored Neighbours during the iconic Kylie era of the late 80s. The museum tells of the erstwhile airline's rise and fall (mostly the fall) and houses a neat grab of quintessential airline detritus. It also houses a heap of derelict (and creepy) mannequins — perhaps the most complete collection of derelict mannequins in the entire Southern Grampians region — cracking out in costume, for your pleasure. Some are more headless than others. About halfway through the museum, we hit a room covered with testimonials from former employees penning some pretty deep plane's-going-down truths. Some were undyingly positive — "It should not have gone down / We were fabulous / We could have blasted QF and VG out of the sky" — others more sombre — "To everyone, for everything, thank you" — and some a little bit extraterrestrial: "We might all be gone but our spirits will last forever". Also in the room was this scary unexplained bus. Aside from the reminiscing and the scrutinising decaying mannequins, what you're really here for is that euphoric airline swag of yore. Like this 90s schoolyard must-have. What a ride. If you're not ready to go home, or you can't for whatever reason, a volunteer — let's call him Gary — who'll put on a historical Ansett Australia DVD in the headless mannequin room. It's ok — two stars. Otherwise it's an exit through the gift shop, where you'll find many things you can buy with your money and wear to cool nightclubs. You can buy this stubbie cooler ($8). That you can pair with this beanie ($10). Or this fresh self-mulleting legionnaires hat ($10). And put it all in this nightclub-essential bum bag ($9). Probably drape one of these ($5) around your best finger, too. It all feels a bit like when an elderly relative dies and you have to spend a weekend going through their things — only the deceased was an airline and owned more stuff. But, hey, treasure is treasure. The Ansett Australia Museum is located just three and a half hours from Melbourne in Hamilton, and is weird and good. Did I say good? I meant strange. Entry is $10 for adults, $8 for concession, but you can also not go into the museum and just go to the gift shop — though you'll have to explain that to Gary. You can also just go to this website and buy heaps of this stuff online, but you would really be missing out on the whole experience. Ansett Museum is located at the corner of Ballarat Road and Riley Street, Hamilton, Vic. It's open daily from 9am–4pm. To book a visit call (03) 5571 2767. Images: Frank Sweet.
Manly Wharf looks set to score a $9 million makeover, with owner Seagrass Capital given the green light to add a second storey and jazz up the current offerings. According to The Sydney Morning Herald, well-known property developer, hotelier and head of the company Robert Magid has grand plans for the iconic waterfront precinct, including two sprawling, second-level restaurants. The flash new eateries will boast floor-to-ceiling harbour views and al fresco dining, while the rest of the redevelopment will see the addition of new lifts, a private staircase, and a joint lobby. If all goes to plan, the restaurants might open their doors as early as mid-next year. Word is, Seagrass will invite a select few local and international restaurant names to submit expressions of interest to set up shop at the wharf. If successful, they'll join current tenants Papi Chulo and Hugos. This latest transformation of Manly Wharf is Magid's second, after turning the site into a food and drink precinct back in 2001. His proposal to add a six-storey, 200-room hotel was rejected by Manly Council. This one is much less extreme — but might still block the views of some apartments that sit behind the wharf. Via The Sydney Morning Herald. Image: Hpeterswald via Wikimedia Commons.
Under current COVID-19 restrictions, you can't go on a holiday (locally or overseas). But, the government has hinted travel between Australia and New Zealand may be allowed in the near future, so it's time to start dreaming. Bookmark this for when you can explore once again. New Zealand's South Island has more nature than you can throw a stick at. Just over 17 percent of the island is dedicated national park, within which there are countless hikes for both multi-day trekkers and half-hour stroll-takers. While the South Island is consistently amazing and pretty much any walk you go on will exceed expectations, we've handpicked these five as our particular favourites. When you need to quiet your mind, they'll be there for you. [caption id="attachment_687371" align="aligncenter" width="1920"] Miles Holden.[/caption] ROUTEBURN TRACK With waterfalls, snowy mountains and views in spades, Routeburn is an absolute show-off in the nature department. Open to the public since the 1880s, the 32-kilometre track winds along the glacial Route Burn river and up past both the Routeburn and Earland Falls. It's an easy South Island favourite and has truly earned its place as one of New Zealand's Great Walks. The Fiordland National Parks-based track takes about two to four days to finish depending on your fitness level and how long you want to spend taking in the various majestic views. The track is only open from October through to April, and it pays to reserve a spot at one of the Department of Conservation huts or campsites early, as the department has a monopoly on park accommodation and spots are guaranteed to fill up fast. HEAPHY TRACK Based in the Kahurangi National Park, the Heaphy Track spans across the Nelson-Tasman and West Coast regions, taking hikers through dense Nikau palms and forest and out towards the beautiful, choppy Tasman Sea. The track also has quite a few cute little side trips, including a small expedition through an "enchanted forest" filled with beech trees and the remains of old caves. Take a torch and go exploring inside the caves a little, especially the one that has a small waterfall pouring out of it. The Heaphy Track totals 78.4 kilometres, so should take you between four and six days. The track's open all year but use your common sense and check the Department of Conservation site for up-to-date alerts before embarking on your trip. [caption id="attachment_687373" align="aligncenter" width="1920"] Will Patino.[/caption] MILFORD TRACK The Milford Track was historically used as a practical route for Maori to traverse the Fiordland area, but British immigrants quickly cottoned onto the four-day track's potential as a recreational walk when they stumbled upon it. By the early 1900s the news had even spread to London about this beauty-saturated route, the poet Blanche Baughan describing it as "the finest walk in the world" in the London Spectator in 1908. The 53.5-kilometre track is still the most famous of all New Zealand hikes due to its iconic and varied Kiwiana landscape and views. But with fame comes the necessary bureaucracy; to walk the track, hikers need to book months in advance. [caption id="attachment_687375" align="aligncenter" width="1920"] Corey Parsons.[/caption] MUELLER HUT TRACK According to Reddit rumours, Led Zeppelin singer Robert Plant wrote 'Stairway to Heaven' after going up to the Mueller Hut. The ten-kilometre return hike starts with a gentle incline to the Sealy Tarns, where on a sufficiently bluebird day you'll be blessed with a view of Aoraki/Mount Cook. This is about your halfway point. After that, the two-hour alpine track through the tussock to get to the hut begins. The view from the Mueller Hut itself is a combination of glaciers and New Zealand's highest peaks in all directions. A stairway to heaven indeed. [caption id="attachment_687374" align="aligncenter" width="1920"] Julian Apse.[/caption] ALEX KNOB TRACK Alex Knob is a track that will give your quads a baptism of fire, with about a four-hour steady climb. The Rata Lookout over what is just an absolutely glorious view of the Franz Josef Glacier will make it worth though. The track is for experienced and well-equipped trampers only, so stay below the snow line if you don't have alpine hiking experience or crampons. Don't be that guy in the news for getting seriously injured or lost in one of our national parks. Start planning your trip to New Zealand's south with our guide to the South Island journeys to take here.
Mega-chain Chatime started off in the bubble tea motherland — aka Taiwan — back in 2005, and, since then, has expanded to over 2000 outposts worldwide. And 120 of those are in Australia. Sydney specifically boasts 30 stores citywide, with more than 10 locations in the CBD alone. It serves up all of your usual suspects, including brown sugar pearls, matcha and oolong milk teas, plus heaps of fruity, no sugar and soy options — and they're all done well. For true fans, there's also a Chatime app and free 'loyal-tea club', which gets you perks like freebies on your birthday, points for every dollar spent, queue skipping and other members only benefits. In a win for the environment, the chain is also aiming to eliminate all single-use plastics — including straws, cups, lids, cup seals and bags — by the end of 2020
Underground, garage-rock royalty don't come much royaler than King Tuff. With a CV that includes psych-folk pioneers Feathers, Sub Pop's Happy Birthday and the melodic metal of Witch, the man born Kyle Thomas has made a career out of crafting awesomely dirty and scuzzy guitar licks. Having decided to go it alone, King Tuff's debut solo album, Was Dead, showcases a performer who knows a thing or two about the blues. Sitting somewhere between a lo-fi version of the Black Keys and Wolfmother on an acid trip, the album is a filthy cocktail of straight-up guitar rock, stoner vocals and shout-along choruses. And then there's the man himself. With his matt of unkept hair and his fuck-the-system attitude, King Tuff is a beguiling and charismatic stage presence, with the ability to rouse a crowd into rabble and mayhem with little more than one of his Zeppelin-esque solos. Check him out when he heads to Australia later this month.
Ah, the joy of gift-giving. And by 'joy,' we mean the stressful task of finding the perfect present for your loved ones who seem to have it all. But fear not, fellow gift-giver, we've got a guide that's as picky as your loved ones. Together with House of Suntory, we've put together this handy guide so you can find something perfect, no matter how niche. FOR LOVERS OF JAPANESE CRAFT SPIRITS There are scotch buffs and bourbon fans, but nobody is more discerning than a Japanese whisky enthusiast. People who have great respect for Japanese culture can be pretty specific when it comes to their spirit preferences. Nothing says "I appreciate your refined taste", like a bottle of Toki Whisky from House of Suntory. Toki means time, and this dram aims to combine different eras in one effortless blend. It combines whisky from three Japanese distilleries: Chita, Hakushu and Yamazaki. The palate is brimming with grapefruit, green grapes, peppermint and thyme with a subtle sweet and spicy finish with hints of vanilla oak, white pepper and ginger. It's ideal in a classic highball. Want to go all out with craft spirits? Suntory has just released its Hibiki Japanese Harmony 100th-anniversary edition. It's a delicate blend of malt and grain whiskies that promises a honeylike sweetness of candied orange peel and white chocolate on the palate and a nose bursting with rose, lychee, rosemary and sandalwood. FOR THE ONE WHO DOESN'T HAVE ANY PROPER GLASSWARE There's no point gifting an awesome whisky if they are just going to sip it out of some crappy mug they got for free at a festival three years ago. Level up their glassware with some luxury high-ball super-thin (but durable) glasses, like these Usuhari High-Ball Glass Set from Bokksu. Made in Japan and sent in a classy wooden case, they are a perfect gift for the whisky-lover who desperately needs some high-quality glassware. FOR YOUR MATE WHOSE VINYL COLLECTION IS TAKING OVER THEIR HOME Vinyl collectors are on another level and living in another era. Given the heaving shelves in their living room, there's little point trying to source their next favourite vinyl — because, likely, they already have that planned out. Instead, think outside the box for something that showcases their love for vinyl but is also useful, like Vinyl Coasters. It is ideal for the vinyl-lover who loves coffee or whisky and cares about protecting their coffee table. There are many options out there, but these novelty nostalgia ones from Retro Room have titles on the vinyls like Tea Time (Don't Spill This) and Topo Hot To Handle by The Nostaligics. Want to go further? Get them a vintage-inspired suitcase record player from Crosley to add some retro charm to their place. FOR THE FASHIONISTA WHO ALWAYS DRESSES THEIR BEST We all have that one friend who looks effortlessly fabulous. Who buys high-end wardrobe staples and with the addition of classic accessories like a silk scarf, stunning jewellery, or even on-point makeup can elevate even the most relaxed sweatpants look. If your fashion-forward bestie is in need of classic footwear, look no further than Onitsuka Tiger, currently having something of a resurgence in the fashion world. And what's a completed outfit without a signature fragrance? Check out Comme des Garçons (CDG) unisex scents, the brainchild of Japanese fashion rebel Rei Kawakubo. The range is inspired by 'anti-perfumes', like the scent of gunpowder or laundry — we're partial to the concrete fragrance. FOR SCREEN BUFFS WHO LOVE A TIPPLE WITH THEIR FAVOURITE MOVIE OR TV SHOW Lights, camera, action...and a good cocktail. If your mate can't go five minutes without referencing a movie or television show, then Cocktails of the Movies and Cheers to TV are two deep cuts to gift them. These books are the perfect blend of screen magic and mixology, ensuring your friend's movie night is Oscar-worthy, even if their cocktail skills are still in the supporting actor category. The movie book includes iconic cocktail recipes from Marilyn's Manhattan in Some Like It Hot to The Dude's white russian in The Big Lebowski, whereas the television version includes cocktails inspired by Game of Thrones, Fleabag and Jerry Seinfeld. They're the ultimate pop-culture accessory and make for excellent coffee table books, with each cocktail accompanied by a history of the beverage, some movie or television show insight and original artwork. [caption id="attachment_862472" align="alignnone" width="1920"] Luisa Brimble (Unsplash)[/caption] FOR THE PLANT PARENT WHO HAS COVERED EVERY SURFACE Normal planters are so last season, and your green-thumbed friend has probably used up all their surfaces with devil's ivy vines and monstera cuttings. Help them spruce up their home and their plant collection with a hanging disco ball planter. Now your friend can turn their house into a disco jungle, where even the plants groove to the beat of the water droplets. FOR THE TRAVELLER WHO IS PROBABLY ALREADY ON THEIR NEXT ADVENTURE If your mate returns from one adventure only to start planning the next one, their passport probably needs some protection. And what better way to keep their most treasured item than by gifting a luxe leather passport holder embossed with their initials? Perfect for the seasoned globetrotter, it's like a first-class ticket for their travel documents. Toki Whisky is available from all premium liquor outlets. For more information, check out the website.
It's a nightmare on Hunter Street with Halloween at Frankie's. First thing's first (and surely this goes without saying): no costume, no entry. Everyone's favourite late-night dive bar is teaming up with New Zealand-based brewery Garage Project as part of Sydney Beer Week to put on a scarily good time with their un-boo-lievable brews. All taps at Frankie's will be pouring Garage Project goodies the likes of Block Party 9 (single-origin hopped IPA), Hatsukoi (neo-Tokyo lager) and West Coast Ultra (an ultra dry IPA), as well as some new, never-tasted-before beers. As expected, the rock 'n' roll haven will be showcasing some of Sydney's best banger-heavy bands from 8:30pm, with all eyes on the headlining act, riot pop girl group RACKETT. Bow down, witches. All drinks are $3 from 4-6pm and there are some fab prizes up for grabs for the "Worst Dressed" including credit on the Garage Project online store, VIP access to Sydney's Cheers Beer Festival the following weekend and a $50 booze/$50 pizza voucher at Frankie's itself. Yes, it might be mid-week, but go on. Trick or treat yo' self. Image: Katje Ford
Tramsheds' Sir Chapel Bistro and Brewery has closed its doors, but Forest Lodge beer lovers need not fear — it's been replaced by yet another brewpub, though one with a decidedly different slant. Redline Taphouse and Kitchen is the new venue from chef Joe Slakey (Flying Fajita Sisters), who combines his passions for food and craft beer in one venue, which boasts ten rotating taps, a menu of Southern-style American eats and an outdoor beer garden to boot. An avid home brewer, Slakey will make his professional beer debut with Redline. He's brewing on-site using the SmartBrew system, which takes about half the work of a pro brewery — this means Slakey isn't exactly brewing each batch from start-to-finish, but it's still notable. Redline's house lager will remain on tap and will be joined by special and seasonal releases that mainly stick to the American theme but include some Aussie and international beer styles as well. Current beers include the Mississippi pale ale and South Pacific lager, with a pilsner next up. Some of the taps will be allocated to guest brews too, and they'll focus on Sydney-based breweries — especially those from their inner west circle, like Wayward, Young Henrys and Frenchies. The list will rotate every month based on customer feedback, with interstate and overseas names making their way on occasionally. Slakey is a Seattle native, and the menu is a compilation of his favourite dishes from around the States, with a strong focus on the Deep South. Mains include Cajun jambalaya, crispy soft shell crab and grits, biscuits and sausage gravy and St. Louis-style pork ribs. Add on classic sides like Creole red beans and rice, bacon fat-fried green tomatoes and cheddar cheese hush puppies. "I'm really excited to see Sydney's reaction to our food," says Slakey. "As a chef, you always want to be able serve up the dishes you enjoy the most and opening Redline is an opportunity for me to do that. It's real, down to earth American food and we think people will love it." The fit-out is designed by Sonnet, who also took care of the interior for Bang Street Food. Think Americana meets Aussie pub, with the brew kit on front-and-centre display and a beer garden rounding out the offering. Redline Taphouse and Kitchen is now open at Tramsheds Harold Park, 1 Dalgal Way, Forest Lodge. It's open Monday to Friday from 11.30am until late and Saturday and Sunday from 9am until late. For more info, visit redlinebrewingco.com.au.
Looking for somewhere to celebrate a family birthday? Have a special occasion coming up that calls for floor-to-ceiling windows and ocean views? You don't need an excuse to dine at Sealevel, the restaurant known for having the best views in Cronulla, but it does make for a good option when you want to step up the indulgence levels. Specialising in modern Australian food with Italian and French influences, Sealevel wants you to be surprised each time you visit, delivering dishes that change every fortnight. With such close proximity to the ocean, you'd expect a strong seafood representation on the menu – and you'll get it here. Seafood platters are what this venue is known for and come stacked with every imaginable delicacy — from Sydney rock oysters to prawns and Balmain bugs. Lovers of red meat will also be satisfied here with a selection of locally sourced options, and vegetarians are also sorted. If the a la carte menu is too overwhelming, opt for one of the set menus. On the drinks side of things, the wine list is small but mighty, offering a selection of classics varietals. The cocktail menu leans towards the sweet and fruit-led, designed to match with the seafood and there's a small selection of craft beer, too. Images: Mel Koutchavlis
If the meaning of life exists in the sweaty, jam-packed confines of a music festival, then Terrence Malick wants to find it. Partially filmed at Austin's SXSW, Song to Song features the filmmaker's trademark swirling imagery as he searches for substance among the crowds, takes us backstage with the likes of Iggy Pop and the Red Hot Chili Peppers, and serves up glimpses of several live performances. The writer-director's ninth feature roves through the city's music scene more generally, but its use of the fest couldn't sum up Malick's central question better. Amidst chaotic circumstances, how does one find beauty and love? Through whispered words (another typical Malick flourish), various characters speak of ebbs and flows, of dream-like experiences, and of emotions that don't always feel quite right. In one of the voiceover's most overt moments, Rooney Mara's Faye discusses her relationship with Ryan Gosling's BV, explaining, "we thought we could just roll and tumble, live from song to song, kiss to kiss." Yes, she's saddled with clumsily making use of the movie's title, but she's also describing its quest to understand the ups and downs of human existence. So it is that Faye falls for musician BV, with all the joy that romance can bring. Complicating matters, however, she also falls for her arrogant but well-connected producer boss Cook (Michael Fassbender), who starts working with BV. Cook also has an affair with a waitress, Rhonda (Natalie Portman), while BV becomes involved with Amanda (Cate Blanchett). As snippets of their lives fill the film, a number of other characters filter in and out – including Zoey (Bérénice Marlohe), with whom Faye has a dalliance; BV's flirtatious mother Judy (Linda Emond); and Rhonda's mum Miranda (Holly Hunter), among others. Accordingly, we watch as a bunch of rather attractive people live, love, fight, sing, play, dance and more. They go on holidays, attend parties, see gigs and roam around mansions — sometimes acting as though they belong, sometimes contemplating how lavish their surroundings and exploits are. Depicting their intermingling relationships is as much of a narrative as Malick is interested in providing. Instead, as he did with the thematically and visually similar To the Wonder and Knight of Cups (and The Tree of Life before that), he prefers to immerse audiences in his familiar style, encouraging them to get caught up in individual moments while pondering the bigger picture. The end product is intoxicating and heartfelt, with Malick's desire to convey the complexity of being alive evident in every frame. That said, it also proves his most indulgent film, as he lets his directorial tics and traits run rampant. The movie couldn't look more gorgeous thanks to cinematographer Emmanuel Lubezki's floating, sun-dappled lensing, but it also couldn't lean more heavily on Malick's fondness for hushed voices and random shots of nature — motifs that will entrance some viewers and enrage others. His insistence on improvisation also results in inconsistent performances, with each actor shining at times while coming off stilted at others. Perhaps it's best to think of Song to Song in the same way you would an actual song; a track on Malick's broader cinematic album. Within the tune itself, some parts engage and others lag, but there's always a clear melody making its presence known. Some viewers may prefer his older stuff, and that's fine. If you're on the film's wavelength though, plenty of its beats and rhythms will strike a chord. https://www.youtube.com/watch?v=7cTenw8uVSw
If wild tales about peculiar characters from the early days of circus life intrigue you, perhaps you should take another look at the history behind travelling performers from a First Nations' perspective. Natives Go Wild reveals a dark truth behind the stage and screen versions of so-called pioneering circus purveyors such as PT Barnum — the founder of Barnum & Bailey Circus, which began in 1871. If you don't recognise his name, maybe you'll have heard of 'the greatest showman'? Barnum gave audiences a peculiar mix of what was considered 'exotic', and he became a household name in the process, which has since been celebrated by one of the best selling musicals of all time. This new First Nations cabaret — premiering at the Sydney Opera House from October 22-27 — aims to set the record straight, and entertain you with a touch of darkly comic storytelling and spectacular cabaret performances. In this world-first production, prepare to be amazed not only by the skills of the acrobats but also by the real-life stories of the performers who were coerced — and some kidnapped — to appear in Barnum's 'Ethnological Congress of Strange Tribes'. We've picked out some of the stories you should know about the people who performed for PT Barnum that'll make you think twice about 'the greatest showman'. Read on, then go and see the show for yourself. [caption id="attachment_743514" align="alignnone" width="1920"] Niuean acrobat and aerial contortionist Josephine Mailisi.[/caption] SEE THE REAL 'FIJIAN MERMAID' Still have 'Rewrite the Stars' ringing in your ears from The Greatest Showman? Zendaya and Zac Efron's moves during their love song might have been Hollywood-level impressive, but Niuean acrobat and aerial contortionist Josephine Mailisi can go one better. Mailisi will bring to life the story of a Polynesian performer, who, after falling victim to pneumonia not long after being recruited to the circus, made Barnum realise the power of the 'exotic'. On the passing of his female star, he created an exhibit comprising the torso and head of a juvenile monkey sewn to the back half of a fish, and billed it as 'The Fiji Mermaid' (also Feejee Mermaid). Presented to audiences as 'caught off the coast of Fiji', this creature became a worldwide spectacle and has since been replicated several times over. See Mailisi, a trained dancer, aerial artist and contortionist, take on this fascinatingly morbid tale with mesmerising moves and a whole lot of respect. [caption id="attachment_743517" align="alignnone" width="1920"] Mununjali circus artist Beau James.[/caption] MEASURE UP TO THE 'LITTLE NUGGET' Mununjali circus artist Beau James will play one of the most well-known Aboriginal circus performers, William 'Billy' Jones, AKA 'Little Nugget'. At nine years old, Little Nugget was performing great acts of agility and versatility in the circus — and later he became famous for leaping over 20 horses and "walking a tightrope stretched from the centre pole of the big top down to a tree stump." Originally from Dubbo, Jones travelled all around the country with the circus, and it was the only life he knew. His talent with horses kept him in the business into his later life, and James — an accomplished physical theatre and circus performer — will honour that long career with a few cheeky stunts of their own. [caption id="attachment_744533" align="alignnone" width="1920"] An 1880s poster for 'Australian Cannibal Boomerang Throwers' at PT Barnum's circus.[/caption] HEAR ABOUT THE KIDNAPPED 'CHIEF CANNIBAL' Fans of the 2017 movie The Greatest Showman will know that very tall actor Timothy Hughes played the Strongman — a role based on the real-life story of a Scottish-Canadian giant. In reality, people with physical differences (like the Strongman) weren't recruited into PT Barnum's circus as willingly as the movie suggests. Tambo, a senior Aboriginal man from Palm Island, was kidnapped by one of PT Barnum's henchman. Billed as part of an act called the Aboriginal Cannibal Boomerang Throwers, the 'chief cannibal' became a spectacle even after his death (from pneumonia only a few months after his arrival in the circus). Barnum embalmed Tambo's body and wheeled him out in front of curious audiences, as a way to continue the success of one of his drawcard performers. Sadly, Tambo's body was left behind in Chicago and only uncovered by chance in 1994, when he was brought back to his home country to have proper funeral rites performed. In Natives Go Wild, you'll hear Tambo's story with searing social commentary and more humour than you might expect. [caption id="attachment_744533" align="alignnone" width="1920"] A 1945 poster for 'The Wizard of the High Wire' featuring Con Colleano; performer Waangenga Blanco.[/caption] MEET THE 'SPANISH' SOMERSAULTER Con Colleano — who will be played by Waangenga Blanco (a Bangarra dance who you might know from films Bran Nue Dae and Spear) — was the first person to successfully perform the forward somersault on a tightrope. The Wizard of the High Wire, as he became known, eventually became one of the highest paid and most celebrated circus acts in the 1920s. But Colleano, who adopted a Spanish bullfighter appearance, was actually an Aboriginal man from Lismore. The new persona wasn't a decision made by fancy, but one of survival. He concealed his identity as a way to give him freedom to travel around the world and become successful, independent of the Aborigines Protection Ban that prohibited Indigenous people to earn money. 'Natives Go Wild' (October 22-27) features the incredible talents of First Nations performers, and is a celebration of the resilience and strength of First Peoples. Tickets start from $39. Book now, right here.
Activewear fans, we've got some big news: P.E. Nation is bringing back its warehouse sample sale for one weekend this September. The athleisure experts hosted their first ever sample sale last year — and everything sold out in the first day. Luckily, that won't be the case this year as they'll be stocking the warehouse with fresh threads each morning. Whether you're packing your own gym-going wardrobe or doing a solid for sporty loved ones, you'll find an extensive array of swim, activewear, accessories, sweaters and jackets at 37 Doody Street, Alexandria, between September 20 and 22. One-off samples plus past-season styles in all sizes — for both men and women — will be available. Remember the age-old advice of when it comes to sample sales, you need to get in quick. Given the following the label has amassed since General Pants Co. design director Pip Edwards and former senior Sass & Bide designer Claire Tregoning joined forces, their functional, fashionable bits and pieces are bound to be popular. Throw on your favourite pieces for an energy boost, and hop along. P.E. Nation Sample Sale will be open 9am–6pm Thursday–Friday and 9am–4pm Saturday.
Money can't buy you love, as four mop-topped Brits first sang 59 years ago, but it can buy you tickets to see the music legend who wrote one of the catchiest pop tracks ever released — and co-performed it — play it live in Australia. When Paul McCartney heads Down Under this spring, he'll have a wealth of material to choose from. One of his favourite openers: 'Can't Buy Me Love'. Hitting our shores for the first time since 2017 on his Got Back tour, McCartney will work through a massive catalogue of hits from his time in The Beatles, Wings and also across his solo career on a six-city stint around the country. Arenas and stadiums will welcome Sir Paul, starting at the Adelaide Entertainment Centre on Wednesday, October 18, then heading to Melbourne's Marvel Stadium, Newcastle's McDonald Jones Stadium and Allianz Stadium in Sydney before the month is out. Then, to kick off November, McCartney will take over Brisbane's Suncorp Stadium and finally Heritage Bank Stadium on the Gold Coast. This tour will mark the Beatles icon's first-ever Newcastle and Gold Coast shows, and also commemorate almost six decades since the band that helped McCartney make history famously toured Australia in 1964 amid a wave of Beatlemania. In Adelaide all of those years back, it's estimated that 350,000 people lined the streets to get a glimpse of the group, packing the stretch between the airport and Town Hall. McCartney's Got Back setlist has featured everything from 'Hey Jude', 'Let It Be' and 'Ob-La-Di, Ob-La-Da' to 'Love Me Do', 'Blackbird' and 'Got to Get You Into My Life' from The Beatles across its stops so far. Yes, 'Get Back' gets a whirl. Wings tunes 'Live and Let Die', 'Band on the Run', 'Letting Go' and 'Junior's Farm' usually pop up, too, as does McCartney's own 'Maybe I'm Amazed'. The Got Back tour kicked off in the US in February 2022, wrapping up last year's run with a massive Glastonbury set. McCartney now brings his usual band — keyboardist Paul 'Wix' Wickens, bassist and guitarist Brian Ray, fellow guitarist Rusty Anderson and drummer Abe Laboriel Jr — our way after picking up a Helpmann Award for Best International Contemporary Concert for his last visit. PAUL McCARTNEY 'GOT BACK' TOUR 2023 DATES: Wednesday, October 18 — Adelaide Entertainment Centre, Adelaide Saturday, October 21 — Marvel Stadium, Melbourne Tuesday, October 24 — McDonald Jones Stadium, Newcastle Friday, October 27–Saturday, October 28 — Allianz Stadium, Sydney Wednesday, November 1 — Suncorp Stadium, Brisbane Saturday, November 4 — Heritage Bank Stadium, Gold Coast Paul McCartney tours Australia in October and November 2023, with Telstra Plus members pre-sale tickets from Thursday, August 3, Frontier members pre-sale ticketing available from Wednesday, August 9 and general tickets from Friday, August 11 — all at staggered times. Head to the tour website for further details. Images: MPL Communications.
If you think all of the best Brisbane Festival performances have been and gone, think again. Dance piece Rising is a beautiful production and not be missed. Comprising of four different chapters, each featuring the same incredible dancer, Rising will inspire and amaze. The immensely talented UK dancer, Aakash Odedra, is the star of this performance and also a rising star in the world of dance. The choreographers behind these extraordinary dances are Odedra himself, Akram Khan, Russell Maliphant and Sidi Larbi Cherkaoui. While each segment differs greatly, a running theme is the inclusion of Odera's area of expertise – Bharatanatym and Kathak traditional Indian dance styles. The four instalments are Shadow of Man (Khan), Cut (Maliphant), Constellation (Cherkaoui) and Nritta (Odedra). Squeeze the last wonderful drops out of this years Brisbane Festival and head along to Rising for some serious talent.
Young Magic's silken, psychedelic sounds originated in New York as the sonic brainchild of Indonesian vocalist Melati Malay and Australian producer Isaac Emmanuel. They recorded their two albums, 2012's Melt and this year's Breathing Statues, while traipsing through Morocco, France, the Czech Republic and Iceland, and have performed at Austin Psych Fest, The Brooklyn Museum, and Berghain — the Berlin club capital of cool techno decadence. All of that, of course, meaning they're making good progress on their self-proclaimed status as "aspiring planet wanderers." Now, Malay and Emmanuel are bringing their sometimes lush and dreamy, sometimes explosive beats to our little corner of the planet. Take a listen to 'Fall In' or 'Holographic' to get in the heavenly, space-age mood, and pick out your most mysterious and ethereal-looking outfit. This'll be a night full of floaty dancing and wanderlust.
Australia has been welcoming a steady stream of stunning new hotel properties from local brands, from dog-friendly boutique stays to history-filled inner-city escapes. But that's not the case for our latest grand arrival, which officially opened today, Thursday, March 23, towering above Melbourne CBD's Lonsdale Street. After much hype, the Ritz-Carlton Melbourne has finally been unveiled in all its luxurious 80-storey glory. It marks the second Aussie property for the international Marriott-owned brand after an existing site in Perth, with the next slated to open on the Gold Coast by 2026. The new 257-room hotel is a high-end affair, with renowned Aussie architects Cottee Parker behind the build and BAR Studio to thank for the elegant interiors. Here, they've flipped the script on the usual hotel formula, placing the impressive Sky Lobby Reception way up on Level 80, where lofty ceilings and huge windows offer panoramic views to greet its guests. Rooms are kitted out with hand-made glass panels, dark timber and gold finishes, while artworks pay tribute to both the city location and the area's indigenous heritage. Splash out to stay in the enormous Ritz-Carlton Suite and you'll enjoy your own in-room sauna, walk-in wardrobe and private pantry. Last year, the hotel named Michael Greenlaw (London's Bibendum, Vue de Monde) as Executive Chef and Mark Best (Peninsula Bistro, Marque) in the role of Culinary Advisor, hinting at some buzz-worthy food and drink offerings to come. That looks set to be the case, with three onsite venues now unveiled — Atria is the innovative fine-diner celebrating hyper-seasonality, Cameo is the glam cocktail bar promising top-shelf sipping and the Lobby Lounge is the more casual counterpart that'll also play host to high-tea sessions. All of these sit at the top of the hotel, showcasing eye-popping views across the city. Of course, with all that luxury there had to be a standout wellness offering involved — and the Ritz-Carlton Spa promises not to disappoint. Here, you'll find six treatment rooms and a hefty menu of therapies, as well as a soaring infinity pool, yoga studio and fitness hub. The hotel is also home to no less than 2500 square metres of event space, including the expansive Ritz-Carlton Grand Ballroom, which boasts space to sit 550 guests. Find the Ritz-Carlton Melbourne at 650 Lonsdale Street, Melbourne. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Dry July hasn't turned out how many Australians would've liked, thanks to lockdowns in Greater Sydney, Victoria and South Australia. But whether you were trying to take a break from booze for a spell, you've been cutting down on your drinking in general or you don't touch the hard stuff anyway, gin brand Gordon's has released a new tipple you'll want to sip even when ditching alcohol isn't the centre of attention for an entire month. The popular gin label has unveiled its own booze-free version, Gordon's 0.0% — and yes, that moniker makes its alcohol content clear. It still heroes the usual juniper flavour, and is still distilled using the same botanicals, but pairs it with zero booze. Two options are now available in bottle shops: Gordon's 0.0% in 700-millilitre bottles, so you can mix your own alcohol-free G&Ts and other cocktails; and 330-millilitre ready-to-drink gin-and-tonic mixes that come in four-packs. Whichever you choose, one thing is certain: however much you drink, you won't have a hangover the next day. Whether you're new to cutting out the sauce or you've always preferred your beverages sans booze, the alcohol-free drinks industry has been expanding in a big way over the past few years. Melbourne has its own booze-free gin joint, Sydney has a bottle-o dedicated to the concept, and actually decent mocktails are available on plenty of bar menus around the country now. The range of wines and beers with low or no alcohol has also been growing, too, so having a drink but skipping the headache — and not just sipping orange juice, sparkling water or soda — has never been easier. Gordon's 0.0% is now available in Australian bottle shops — in 700-millilitre bottles (RRP$34.99) and 330-millilitre ready-to-drink gin-and-tonic mixes (RRP$14.99 for a four-pack).
