In Sydney in summer, the water often gets all the attention. But the city's gardens should not be ignored. Whether you want to sip a glass of wine while stargazing or be recharged with a tranquil guided nature walk, the Royal Botanic Garden Sydney has a wealth of activities to keep you busy and inspired while surrounded by spectacular scenery of the city and leafy natural wonder. This is our pick of five outdoor experiences (and one virtual experience) you can have at the Royal Botanic Garden Sydney to switch things up this summer when you're ready for a break from the beach. [caption id="attachment_700088" align="alignnone" width="1920"] Westpac OpenAir Sydney[/caption] CATCH A FLICK AT THE WESTPAC OPENAIR CINEMA Level up date night at what might just be the world's most beautiful cinema. Located at Mrs Macquarie's Point, the Westpac Openair Cinema boasts a three-storey-high screen right in front of the incredible harbour backdrop. Grab a bite and a drink at the on-site restaurant and bar as you watch the sun set, then take your seat to watch some of the latest releases. Your standard dinner and a movie date this ain't. ADD MORE GREEN TO YOUR LIFE AT THE GROWING FRIENDS PLANT SALES If you're looking for some greenery to spruce up your home, head to Growing Friends Nursery on weekdays between 11am and 2pm or Saturdays from 10am to 2pm for the Growing Friends Plant Sales. Shop from an extensive range of seasonal native and exotic plants, many of which are rare finds and all of which have been propagated by volunteers from the living collections in the Botanic Gardens. Prices start at $6 per plant, with proceeds going toward helping the Foundation and Friends of the Botanic Gardens continue its support of the Botanic Gardens' work across science, conservation, horticulture and education. Want to give the gift of greenery? You can also pick up a gift voucher for a plant-friendly pal to claim their own piece of the Gardens. TAKE IN HISTORY AND CULTURE ON A FIRST NATIONS-LED TOUR The Royal Botanic Garden Sydney offers a range of walking tours with First Nations guides offering fascinating insight into Gadigal history. The Bush Tucker Tour will teach you about Indigenous foods in both traditional and contemporary contexts, while giving you a chance to taste some treats along the way. Or, discover a new appreciation for our city's harbour through the lens of the traditional custodians on the Harbour Heritage Tour, where you'll amble along the foreshore while taking in stories of Gadigal lifestyle, traditions, history and connection to country and community. If you love a good sunset, explore the Cadi Garden as the sun goes down on an Aboriginal Cultural Sunset Tour. This sunset stroll will see you learning about the wildlife and nocturnal animals that inhabit the gardens as well as their connection to the Gadigal people. RECHARGE ON A NATURE THERAPY WALK If you are yearning for some time in nature and could use a bit of guidance, take some time to relax and recharge on a guided Nature Therapy Walk. Based on the Japanese practice of Shinrin-yoku, or 'forest bathing', this gentle Sunday morning walk through the Garden focuses on immersing the senses in nature to improve physical and mental wellbeing. On the walk you will be guided through a series of sensory experiences to practise mindfulness and connect with nature. The walk will conclude with a Japanese-style tea ceremony. ENJOY AN EVENING OF STARGAZING AT ASTRONOMY AT THE CALYX Take a night away from the screen to look up at the stars at The Calyx for an evening of astronomy and stargazing. At this regular event, First Nations astronomer Drew Roberts will help you discover all that the night sky has to offer while you take it all in over a glass of wine. Discover what's beyond Earth with powerful telescopes and learn about the most interesting planets that have been discovered around other stars on this cosmic experience. [caption id="attachment_804270" align="alignnone" width="1920"] Elaine Casap; Unsplash[/caption] TAKE A LESSON IN TOMATOES AT TOMATO FESTIVAL SYDNEY While the ever-popular Tomato Festival Sydney will not be held at the Royal Botanic Garden this year, the good news is you can still attend virtually — and for free — over the weekend of February 19-20. From the comfort of your home, log in to discover fantastic recipes from award-winning chef Luca Ciano, pick up organic gardening tips from Tim Sansom, CEO of The Diggers Club, or take a behind-the-scenes tour of the Royal Botanic Garden Sydney's nursery with gardening guru Costa Georgiadis. The weekend-long festival also includes demonstrations on how to make your own tomato relishes and preserves as well as insight into sustainable gardening practices. Discover more things to do this summer at the Royal Botanic Garden Sydney over at the website. Top image: Westpac Openair Cinema (supplied)
When Sydney Theatre Company's version of The Picture of Dorian Gray premiered in 2020, it didn't just give Oscar Wilde's gothic-literature masterpiece a fresh spin; it turned it into a brand-new stage sensation. The show features just one performer playing all 26 characters. To make that happen, the production uses video to help. It's the work of writer/director Kip Williams, it's groundbreaking, and it's been understandably earning audiences raves and winning awards. Next stop: the big screen, possibly. Deadline reports that the film rights to the theatre smash have been picked up by none other than Cate Blanchett, via the Tár and Nightmare Alley star's production company Dirty Films. Now, playwright, screenwriter — and Dirty Films partner, plus Blanchett's partner — Andrew Upton is working with Williams on a treatment. When a movie version of The Picture of Dorian Gray might eventuate, who'll star, who'll direct the film: none of that has been announced so far. But behind the scenes, producers Rachel Gardner and Jo Porter from Curio Pictures are also involved. Dirty Films has the Blanchett-led The New Boy, plus fellow flicks such as Fingernails and Shayda, on its recent slate. Curio Pictures has TV productions High Country, The Artful Dodger and the upcoming The Narrow Road to the Deep North to its name of late. After it debuted in Sydney starring Eryn Jean Norvill, The Picture of Dorian Gray also hit theatres in Melbourne and Adelaide. From there, since earlier in 2024, it made the jump to London with Succession's Sarah Snook taking on every single onstage part, winning a 2024 Laurence Olivier Award for Best Actress for her efforts. On the page, The Picture of Dorian Gray is exceptional, as well as astute and unnerving, as it follows the selling of its namesake's soul in order to keep indulging every corporeal whim, urge and desire. There's a reason that it just keeps getting adapted for the screen and in theatres, after all. But there's never been a version like Sydney Theatre Company's, which filmgoers might now get to experience. Check out a trailer for the West End season of The Picture of Dorian Gray below: There's no word yet on when The Picture of Dorian Gray could reach screens — we'll update you when more details are announced. The Picture of Dorian Gray is playing The Theatre Royal Haymarket, 18 Suffolk Street, London until Saturday, May 11, 2024 — for more information and tickets, head to the play's website. Via Deadline. Images: Marc Brenner / Dan Boud.
The working year is coming to an end (or it has already for some lucky folk) and if you're itching to kick off Christmas festivities a little early, Darlinghurst bar Big Poppa's has you covered. On Monday, December 22, the Oxford Street home of hip hop, wine and cheese is throwing The Notorious Xmas party. Running from 5pm all the way through till 3am, the festivities will feature $6 glasses of rosé, $10 negronis and DJs spinning, we're sure, lots of The Notorious B.I.G. from 10pm. So, get ready to boogie to 'Juicy' and 'Sky's the Limit' without worrying about work the next day. If you do have to head to the office, though — or have family commitments — maybe get some Berocca ready. https://www.facebook.com/bigpoppassyd/photos/a.1041999895887973/2558366734251274/?type=3&theater The festivities don't stop with cheap drinks either, there'll also be free grazing tables from 5pm (think lots of cheese and cured meat) and half-price bowls of cacio e pepe all night. The cheesy, peppery bowls of pasta usually go for $23, so you'll be able to snag them for just $11.50 on Monday. The Notorious Xmas runs from 5pm–3am.
For over a decade, London's Serpentine Gallery has staged a series of unusual and wonderful summer pavilions. Each is put up, left out and pulled down over the course of a few months and designed by some of the biggest talents in architecture from around the world. Sydney's Sherman Contemporary Art Foundation has taken a leaf out of the Serpentine's book to stage its own series of strange architectural creations, starting with last year's beautiful Crescent House and following on with this year's double feature: Trifolium, put together by AR-MA, and Tomahawk // Archer Breakspear's contribution, Poly Trifolium sits outside the gallery proper in SCAF's 'Zen garden'. And there's definitely a calm sensation under its six-toed frame. The distant bamboo and half-quiet of busy Paddington buzzes away in the background. From the outside, the structure looks somewhere between Utzon's Opera House and the awnings of a football stadium. Its skin is sleek and white, like a spaceship, the arch repeating three times with a dip slumping in the roof. Inside is organic. The inner roof is black, actually a mesh of 152 laser-cut, stainless steel panels. They look slightly bulbous, layered and grape-like, curved plate over plate. Beneath the inner roof, darkly iridescent like a bug's wing, each arch captures different angles of the sun at an oblique angle. The day I visited, one side was somewhere between liquorice black and purple, another shifted between purple and rock brown, while the last caught the afternoon brilliance. Black, slate and gravel colours mixing with slabs of sunlight. It's an impressive structure, a bit like a cathedral shrunk down to the scale of its own model. Inside the gallery proper is Poly. It's a parliament of moveable aluminium seating pods. Each about 2 metres tall, plushly lined inside, stark metal polish and sharp angles without. Visitors are meant to sit inside or move them around. Shifting and seated among them, their sharp, silver lines become more obvious and the things really loom: silent, sharp-edged and impersonal. They do feel ripe to be rearranged, but are so large they seem to drag the balance in the room around with them when you pull the chairs around yourself. Trifolium and Poly are pretty low key. These aren't begging for a momentous cross-city expedition. Rather, a quiet visit on a jaunt through Paddington in their own small moment of zen. SCAF is open Wednesdays to Saturdays, 12-5. Photo: Jacob Ring
Much loved Scottish whisky brand The Macallan is holding a pop-up experience in Sydney to celebrate a new collaboration between the brand and Stella and Mary McCartney. Yes, that is the Stella McCartney the fashion designer and noted offspring of Beatles legend Sir Paul, along with her sister Mary who is a photographer. The duo have partnered with The Macallan on the third iteration of The Harmony Collection featuring a pair of whiskys, the Amber Meadow and the Green Meadow, and a series of hand-crafted luxury lifestyle objects and homewares, including glassware, ceramics and a particularly beautiful lambswool blanket, all inspired by the Scottish heritage of the brand — and the McCartney family. The four-day pop-up is taking place at Hickson Road Reserve where guests can taste the new Harmony III limited edition drops (also available to purchase), enjoy stunning photography created exclusively for the campaign by Mary McCartney, and add the final touches to their cocktails via a garnish garden. Attendance is free (bookings are required via the website), however guests will need to purchase cocktails and drams. Secure your spot at one of the session times.
Since first appearing on our screens in an uncredited role in 1995's Children of the Corn III: Urban Harvest, Charlize Theron has proven to be one of cinema's most versatile talents. She won an Oscar for playing real-life serial killer Aileen Wuornos in Monster, then nabbed two more nominations for dramas North Country and Bombshell. She's a delight not only in dark, existential comedies (Young Adult, Tully), but also in irreverent rom-coms (Long Shot). And, over the past decade, she's proven particularly formidable in action flicks — as Prometheus, Mad Max: Fury Road, Atomic Blonde and The Fate of the Furious have all demonstrated. Staying in kick-ass mode, Theron will next hit the screen on July 10 in Netflix film The Old Guard — and this time she's playing a warrior. Specifically, her character Andy leads a secret group of mercenaries who've been protecting the world for centuries. As she explains in the just-dropped trailer: "let's just say we're very hard to kill". Yes, that basically puts Theron in superhero territory, with the film based on Greg Rucka's graphic novel of the same name — and with the scribe himself writing the screenplay. The Old Guard also boasts a great director behind the lens, marking the latest film by Beyond the Lights' Gina Prince-Bythewood. Also strutting their immortal stuff are KiKi Layne (If Beale Street Could Talk), Matthias Schoenaerts (Kursk), Marwan Kenzari (Aladdin) and Luca Marinelli (TV's Trust), with Maleficent: Mistress of Evil's Chiwetel Ejiofor among the cast as well. And, story-wise, the straight-to-streaming film charts Andy and her crew's exploits when their special abilities are exposed during an emergency mission, which pits them against forces eager to cash in, copy and capitalise upon their extraordinary skills and power. Check out the trailer below: https://www.youtube.com/watch?v=aK-X2d0lJ_s The Old Guard hits Netflix on July 10. Top images: Aimee Spinks/Netflix.
Add screaming to the ever-growing list of things that Sydney Sweeney can do spectacularly well. Indeed, thanks to Immaculate, which gets the Euphoria and The White Lotus star putting her pipes to stellar bellowing use, the horror genre has a brand-new queen; long may she reign if this is what audiences have to look forward to. This film about a nun who moves to a convent in the Italian countryside, then mysteriously becomes pregnant without having had sex, isn't just a job for Sweeney. She auditioned for the movie a decade back, it didn't come to fruition, but she strove to make it happen now. She stars. She produces. She enlisted Michael Mohan, who she worked with on Everything Sucks! and The Voyeurs, as its director. The passion that drove her quest to bring Immaculate to viewers is just as apparent in her formidable performance, too, including echoing with feeling — and blistering intensity— when she's shrieking. No one should just be realising now how versatile an actor that Sweeney is. Her portrayal of Sister Cecilia, who found her way to becoming a bride of Christ after a traumatic near-death incident in her younger years, is exactly what the film's title suggests: immaculate. It's also a showcase of a role that requires her to be sweet, dutiful, faithful, ferocious, indefatigable, vengeful and desperate to survive all in the same flick — and she kills it — but adaptability, resourcefulness and displaying a multitude of skills has been her on-screen wheelhouse beyond just one movie. Take Sweeney's last four cinema releases, for instance, all of which hail from 2023–24. Reality, Anyone But You, Madame Web and Immaculate couldn't be more dissimilar to each other, and neither could the actor's parts in them. Throw in her Saturday Night Live hosting stint, and she's firmly at the "is there anything that she isn't capable of?" stage of her career. When the virginal Sister Cecilia arrives in Europe from Detroit, it's on Father Sal Tedeschi's (Álvaro Morte, The Wheel of Time) behest after her home parish closed down. He's patronising in his attitude in-person, however. Before that, customs share the same demeanour when they stop her for not having a return ticket, commenting about whether she looks like a nun. Prior to that, though, Mohan opens Immaculate with another sister (Simona Tabasco, from season two of The White Lotus) having an unholy time of it at My Lady of Sorrows. She attempts to flee, which ends badly. Even her fellow devotees aren't a help. That something sinister awaits Cecilia is hardly a shock, then — and while the setup might seem like nunsploitation 101, or even just the basis of much in the sizeable religious-themed horror canon, Mohan and screenwriter Andrew Lobel (Mysteries Unknown) possess the same willingness to commit that their star beams with from within her tunic and wimple. Their novice's introduction to the abbey flutters through donning the requisite apparel, getting shown around, taking her vows, literally kissing the ring of the bishop overseeing the proceedings and endeavouring to settle into a life of piety where tending to older sisters entering their final days is the main task. In the also-twentysomething Sister Gwen (Benedetta Porcaroli, The Hummingbird), Cecilia finds a friend, luckily, as well as someone who isn't willing to meekly take whatever rules and restrictions are thrust her way. But any sense of routine is short-lived. Carrying a child wasn't Cecilia's plan, obviously. Neither was being grilled about it, then worshipped for it, then controlled because of it, all while sparking envy among some of her fellow nuns. Cecilia is as surprised as anyone, with that jolt evolving from astonishment to distress the more that her belly expands, the convent exerts its sway, and the expecting nun begins both investigating and fighting back. Awash in red hues — in blood, costuming and lighting alike — alongside darkness and shadows, while constantly subverting religious iconography and whipping up a claustrophobic air, Immaculate delivers not only bumps and jumps, but a deeply visceral viewing experience. No one is shy about brutal or gory body horror. Sudden cuts are no stranger, either, but do such a feverish job of plunging the audience into Cecilia's mindset that they prove far more than mere easy scares. Reteaming with familiar talents off-screen, too — such as cinematographer Elisha Christian (The Night House), editor Christian Masini and composer Will Bates (Dumb Money), all veterans of at least The Voyeurs — Mohan fashions the film around sharing his protagonist's inner state in every stylistic touch. With its church setting visibly opulent, yet winding through secret laboratories and dusty catacombs similarly in the plot, production designer Adam Reamer (another The Voyeurs alum, who also has Insidious: The Red Door on his resume) achieves the same feat: My Lady of Sorrows is meant to be the ultimate refuge for Cecilia, but it becomes creepier, more terrifying and more of a trap at every turn. When a movie is this detailed with its aesthetics, and so finely tuned to disturb, it keeps drawing out an instinctive response again and again. As it digs into the power that religion, especially Catholicism, can hold over its adherents — plus the treatment of women and their bodies, including the lack of agency, that theology can inspire — Immaculate also unsettles thematically. These trains of thought aren't new, of course. In the 60s and 70s, the likes of Rosemary's Baby, The Devils and The Exorcist were paving the way for Sweeney and Mohan's third collaboration. Giallo, Italy's brand of lush horror-thrillers that came to prominence at the same time, is clearly and expectedly an influence, and not just via Suspiria. More recently, 2021 nunsploitation Benedetta also says hello. Pivotally, this is a feature made with affection and respect for what precedes it, though, without trying to be anything's second coming. On the lengthy lineup of elements that work stunningly in Immaculate, such as its handling of suspense despite viewers knowing that something wicked is afoot from the get-go, its seductive atmosphere, its bold and wild leaps, and its willingness to get surreal, the film's lead casting is miraculous. It's no wonder that Mohan and Christian adore relaying this tale by staring at Sweeney, and by seeing Cecilia's reactions in her eyes — again, what a range that she can convey. She doesn't solely shine in big moments, of which there's plenty. The tiniest glimmer of fear can say everything when it's written across her peepers. The first burst of life-or-death resolve does the same. And there's nothing more haunting than Immaculate's last two minutes, which demonstrate that rich, raw and riveting performances aren't just a habit for Sweeney — they're a calling.
When the end of the year hits, do you get 'Christmas is All Around', as sung by Bill Nighy, stuck in your head? Have you ever held up a piece of cardboard to tell the object of your affection that, to you, they're perfect? Does your idea of getting festive involve watching Hugh Grant, Liam Neeson, Colin Firth, Laura Linney, Alan Rickman, Emma Thompson, Keira Knightley, Rowan Atkinson and Martin Freeman, all in the same movie? If you answered yes to any of the above questions, then you clearly adore everyone's favourite Christmas-themed British rom-com, its high-profile cast and its seasonal humour. And, you've probably watched the beloved flick every December since it was first released in cinemas back in 2003. That's a perfectly acceptable routine, and one that's shared by many. But this year, you can do one better — again. A huge success during its past tours of the UK and Australia (to the surprise of absolutely no one), Love Actually in Concert is returning in 2023 to make this festive season extra merry. It's exactly what it sounds like: a screening of the film accompanied by a live orchestra performing the soundtrack as the movie plays. To the jolly delight of Sydneysiders, it's heading to Darling Harbour Theatre, ICC Sydney, at 3.30pm on Saturday, December 16. Here, you'll revisit the Richard Curtis-written and -directed film you already know and treasure, step through its interweaved Yuletide stories of romance, and hear a live orchestra play the movie's soundtrack. And, yes, Christmas (and love) will be all around you.
It’s been a long time between drinks for one of Australia’s most prized directors, Peter Weir, and now we can see why. Returning from the treacherous seas of 2003’s Master and Commander: The Far Side of the World, Weir has gone to the opposite extreme, well and truly losing his sea legs in favour of a harrowing 10,000 kilometre trek from Siberia to India. Beginning with Slavomir Rawicz’s 1956 ‘memoir’ The Long Walk: The True Story of a Trek to Freedom (the quotation marks necessary after a BBC documentary discredited Rawicz’s account as a fabrication, or at least borrowed from the experiences of other soldiers), Weir and his team undertook their own meticulous research to find the evidence of at least four Polish soldiers escaped from a Siberian Gulag and walked the staggering distance across the steppes of Mongolia, China’s Gobi Desert and across the Himalayas to the safety of British India. It’s a feat that truly boggles the mind, but one brought compassionately and incisively to the screen by Weir and his ensemble cast including Jim Sturgess, Ed Harris, Colin Farrell and Saorise Roman. Sturgess provides the heart of the story as Janusz, a Polish officer condemned to the gulag during the Reign of Terror after his wife is tortured into giving evidence against him. There he meets taciturn American engineer Mr. Smith (Harris), and find himself hatching an escape plan with an eccentric Russian actor Khabarov (Mark Strong). But it is Smith and Janusz who eventually escape, joined by four fellow Poles and one terrifying tattooed thug Valka (Colin Farrell). Each has his own reasons for risking almost certain death to attempt this superhuman feat, though it isn’t until they come upon Irena (Saorise Roman), a young stray, that the men start to bare their souls. The Way Back succeeds as both an impossibly detailed chronicle and a stunning tribute to the audacity of hope and the tenacity of the human spirit. The actors are all utterly committed, while the location scouts and cinematographer certainly earned their keep, with the beauty of the various vistas matched only by their implicit dangers. And yet in distilling the human condition down to the essence of escape and survival, Weir’s screenplay has a little too much fat to it. Would he have made The Way Back an even leaner, sparser film and trusted his actors’ impressively physical performances to tell the story rather than fall back on the many overwritten, exposition heavy, scenes. This is however a relatively minor quibble in the magnificent scope of the entire production. The Way Back is a beautifully hewn, honest and courageous film. It’s Man Vs. Wild, for real.
After being such a hit last year, Rye July at The Glenmore is back for more. What does this celebration of rye, scotch, whiskey and whisky mean for you? It means a whole entire month of glorious one-off appreciation classes, cocktails and tastings on the cosy lounge level. Delicious. Aside from the Rye July cocktails and whisky tasting flights, there are four main events. Experience whiskies from across Scotland and Ireland at the Scotch tasting and Irish tasting nights. Learn how to make classic American whiskey-based cocktails in the American cocktail making class. Go through the complete range of whiskies at An evening with Johnnie Walker. All classes have food provided by The Glenmore kitchen. If July is too cold for you, warm yourself up from the inside out. Limited tickets are available for each event. For more information or to book tickets, email info@theglenmore.com.au or call (02) 9247 4794.
We all know that fast fashion is gross. And yet, with the hectic holiday season just passed, we're all familiar with the need to buy cute stocking stuffers in a time crunch — often overwhelming our need to not pollute the planet beyond repair. We really don't do well by Mother Earth here in Australia. According to the Australian Bureau of Statistics, every year 500,000 tonnes of fashion ends up in landfill and each Aussie consumes 27 kilograms of textiles. Rhianna Knight believes we can do better, so the 26-year-old started an apparel business that won't leave you feeling shamefaced. The result is Mister Timbuktu, and it's in the early stages of kicking ass. Mister Timbuktu's outdoor apparel is made from recycled plastics. The first round is being crowdfunded now through Indiegogo, reaching more than half of its target with 16 days left to go (at the time of writing). At the moment, the range is all about quality leggings, raincoats and sports bras, but they'll soon branch into all things outdoorsy, including tents, sleeping bags and puffer jackets. The designs are gorgeous and bright because outdoor activities don't have to be completed in drab natural colours (apologies, Kathmandu, you serve a purpose but there's a new queen on the block). According to Knight, eleven plastic bottles are recycled in each pair of leggings they create. How in the name of activewear is that possible? Well, recycled plastics are collected, shredded into chips, washed, melted into liquid form and then spun into thread that goes on to become your new favourite comfy pants. Science, bitches! The company has also pledged to put 20 percent of profits back into helping the planet in other ways: by partnering with both a mental health charity (Waves of Wellness) and the Foundation for National Parks and Wildlife. But wait, there's more. Okay, we probably shouldn't get so excited about this part because the rest of the initiative is so phenomenal, but check out the leggings: they have a pocket in the waistband which is the best and most practical thing ever. Thank you for listening to our secret wishes and delivering. For more information, visit Mister Timbuktu's campaign.
Some photography has the power to move you; Guiseppe Santamaria's for Mercedes-Benz Fashion Week Australia just moves. The graphic designer and photographer has teamed up with Peroni Nastro Azzurro to produce a series of 'cinemagraphs' for the event under the title of An Italian in Sydney, each magical-seeming photograph capturing a still, dapper gent with the world faintly moving around him. As well as publishing a cinemagraph image each morning of MBFWA, Sydney-based Santamaria is also taking plenty of photos the regular way, sharing the street style and evocative backstage moments on his online street style journal, Men in This Town. His focus is "men with a distinct look in their natural habitat". Santamaria said that the collaboration has been a great way "to explore the art of producing cinemagraphs and telling a story through my photos". Cinemagraphs are essentially animated gifs that have moving elements, such as rippling water or riffling pages of a book. The week will be filled with Italian-inspired style beautifully photographed (or should we say, cinemagraphed) by Santamaria. Santamaria has recently returned from covering the Tokyo Mercedes-Benz Fashion Week and is a great source if you want to see the real ambience, action and characters of MBFWA. You can follow his photography at Men in This Town and the Peroni Nastro Azzurro Australia Facebook page.
Fried chicken lovers: start drooling. KFC is set to unveil a brand new burger inspired by the flavours in Peking duck, but there's a catch: the only place you can get your hands on it will be at their new music festival on Cockatoo Island. The Colonel is throwing the music festival in the iconic Sydney Harbour spot with an all-star local lineup on Sunday, March 13, and yes, all tickets include free KFC Peking Cluk burgers. As for the headliners at the festival — it's Peking Duk, of course. The rowdy DJ duo are stepping up to help the Colonel as KFC's official burger spokespeople, and will be performing at the festival alongside beloved Yolngu rapper Baker Boy and Sydney favourite Thandi Phoenix. Attendees will be treated to Peking Duk's brand-new live show that they created over the last two years. The show has only been seen a few times at the likes of Field Day and features big party energy, remixes of previous material and plenty of synthesisers. "We've been in the bunker making the live set totally different, totally unique. It's going to be fun and it's going to be an experience that nobody's had before," Peking Duk's Reuben Styles told Concrete Playground. Adam Hyde of the duo put it more succinctly: "Get clucked, go cluck yourself, cluck off and have a clucking great time on Cockatoo Island with the boys."
The pandemic has impacted countless celebrations. Birthdays have been postponed, weddings got cancelled, some people spent Christmas in lockdown. But one national day the pandemic won't stand in the way of is National Bacon Day. Saturday, September 4 marks International Bacon Day and, locally, an all-star lineup of restaurants and suppliers have assembled to provide one-off menu items that go extra heavy on the bacon. Among those participating are Colin Fassnidge, Nomad, Sixpenny, Bistro Rex, and Cuckoo Callay. Nomad will serve a bacon, leek, manchego and Manjimup truffle pie, Sixpenny, who recently launched delivery, will be baking a presumably next-level take on the classic Aussie cheese and bacon scroll, Cronulla's Blackwood Pantry is making B&Es available for delivery via UberEats, and Good Ways Deli is crafting an elevated take on the bacon butty with streaky bacon, Pepe Saya butter and brown sauce on a ciabatta roll. Swing past the Surry Hills outpost of Cuckoo Callay and nab a bacon and manchego potato cake with artery-hardening bacon fat asparagus, poached egg, bacon hollandaise and crispy onion, or order a three-course Father's Day mystery meal from Colin Fassnidge. National Bacon Day isn't just an excuse to get neck-deep in bacon; it's (other) purpose is to promote locally sourced pork. "We do our best to use only Australian produce and with animal products there are no exceptions," says Good Ways Deli's Jordan McKenzie. "Buying local goes a long way towards using less resources, less plastic, and meaning farmers and producers get paid properly." Jacqui Challinor of Nomad echoed this sentiment, saying: "Now is such an important time to get behind our Aussie farmers and give them some much needed support. With the restaurant and export industries suffering so heavily right now, the farmers are feeling the full effects of this. Eating bacon is a pretty enjoyable way of showing them some love of I do say so myself." Jacqui Challinor is a wise woman.
Gauchito Gil is Argentina's Robin Hood. As such, it seems fitting that Australia's own Malbec Day has been borrowed from the South American country, where the majority of the world's malbec comes from. If this day is a donation from the grape god, it's one we're happy to accept. After a successful six years, Gauchito Gil is once again bringing Malbec Day to Sydney with a four-hour wine bonanza at Carriageworks on Sunday, April 14. The event comes from the organisers of the Pinot Palooza and Mould cheese festival, and mirrors the free-reign tasting set up. Your $60 ticket includes a wine glass, and from there you'll be able to move around, sampling over 60 Australian, French and Argentinian malbec varietals. Other events have been known to get a little boozy, so to soak up all that wine there will be top-notch empanadas from five local restaurateurs — who'll be vying for the prestigious Golden Empanada award. It really doesn't matter if you know everything there is about malbec or if you don't know much at all, because Malbec Day is about education and celebration of the Argentine grape. And what better way to celebrate than with an bottomless glass of wine? Gauchito Gil's Malbec Day has two sessions 11am–3pm and 4–8pm.
Following a COVID-impacted 2020 ski season, some normalcy is beginning to return to the Snowy Mountains, with Thredbo announcing dates and extensive plans for its winter season. Last year's ski season saw ski resorts across Australia implement strict social distancing rules and limit the usual array of programs and activities usually provided to mountain-goers. Throughout the season, Thredbo opened at 50 percent capacity — with its website crashing as folks tried to get their hands on lift passes — while other resorts such as Hotham were forced to close. For 2021, Thredbo is planning to slide closer towards its usual winter routine, announcing a jam-packed season schedule full of new mountain experiences. The resort's ski season will kick off from Saturday, June 12, subject to snow conditions, and run through until October. On the slopes, a full slate of skiing and snowboarding lessons and programs will return in 2021, and a range of luxurious mountain activities have also been revealed. Those experiences start with sunrise sessions, which will grant you early morning access to watch the sunrise from Australia's highest lifted point, also include breakfast on the mountain and then let you have first ski of the day. Elsewhere, a series of dinners will see you transported to the Kareela Hutte restaurant to enjoy a four-course dinner with wine, complete with GH Mumm champagne. If you're looking for an extravagant Saturday night on the mountain, you can also take a star-lit ride in Australia's only alpine gondola, then tuck into a Bavarian-style feast in Merritts Mountain House. Thredbo's village, which is often the life of the party at the ski resort, will return with a full calendar of events after COVID-19 dampened the atmosphere in 2020. You can expect live entertainment, festivals for kids, and skiing and snowboarding events. Qantas is also starting new flight routes to the Snowy Mountains, to make travelling to the area easier. Flights directly to Cooma, about an hour out of Thredbo, will run from July 1 out of Sydney and Brisbane. The winter season opens for sale on Wednesday, March 31 — for season passes, with day pass, lesson and rental sales staggered from Tuesday, April 6 onwards — and spots are expected to be limited with the resort still responding to the current times. "We anticipate we will be operating under certain COVID-19 restrictions and expect demand to be high," said Thredbo General Manger Stuart Diver. "We encourage guests to plan their visits early, book in advance and be flexible with travel dates to avoid disappointment." Thredbo's winter ski season will return from Saturday, June 12. Find all the information on dates, pricing, experiences and accommodation via the Thredbo website.
What do you call a movie filled with giant screaming goats, magic weapons vying for attention like romantic rivals, a naked Chris Hemsworth and a phenomenally creepy Christian Bale? Oh, and with no fewer than four Guns N' Roses needle drops, 80s nostalgia in droves, and a case of tonal whiplash as big as the God of Thunder's biceps? You call it Thor: Love and Thunder, and also a mixed bag. The fourth film in the Marvel Cinematic Universe to focus on the now 29-title saga's favourite space Viking, and the second Thor flick directed by Taika Waititi after Thor: Ragnarok, it welcomely boasts the New Zealand filmmaker's playful and irreverent sense of humour — and the dead-serious days of the series-within-a-series' first two outings, 2011's Thor and 2013's Thor: The Dark World, have definitely been banished. But Love and Thunder is equally mischievous and jumbled. It's chaotic in both fun and messy ways. Out in the cosmos, no one can swim, but movies about galaxy-saving superheroes can tread water. Thor Odinson (Hemsworth, Spiderhead) has been doing a bit of that himself — not literally, but emotionally and professionally. Narrated in a storybook fashion by rock alien Korg (also Waititi, Lightyear), Love and Thunder first fills in the gaps since the last time the Asgardian deity graced screens in Avengers: Endgame. Ditching his dad bod for his ultra-buff god bod earns a mention. So does biding his time with the Guardians of the Galaxy crew (with Chris Pratt, Dave Bautista, Karen Gillan, Bradley Cooper and company popping up briefly). Then, a distress call from an old friend gives Thor a new purpose. Fellow warrior Sif (Jaimie Alexander, Last Seen Alive) has been fighting galactic killer Gorr the God Butcher (Bale, Ford v Ferrari), who's on a mission to do exactly what his name promises due to a crisis of faith — which puts not only Thor himself but also New Asgard, the Norwegian village populated by survivors from his home planet, at grave risk. In MCU movies before Ragnarok, many of which Thor has smouldered and smiled his way through, he would've attacked the problem — this time literally — with enchanted hammer mjolnir. It's been in pieces since the last standalone Thor film. Courtesy of the god's ex, it doesn't stay that way for long. Love and Thunder nabs itself two Thors for the price of one, after Dr Jane Foster (Natalie Portman, Vox Lux) hears mjolnir a-calling following a stage-IV cancer diagnosis. Soon, the astrophysicist is also the Mighty Thor, brandishing the mallet, wearing armour and sporting flowing blonde locks. When the OG Thor finds out, he's overcome with post-breakup awkwardness, but there's still a god killer to stop and also kidnapped kids to rescue. Cue a couple of Thors, plus Korg and New Asgard king Valkyrie (Tessa Thompson, Passing), trying to prevent the worst from happening. Love and Thunder is a film where those yelling oversized goats pull a boat into the heavens; where Hemsworth is gloriously in the goofiest mode he has, aka the best mode; and where Russell Crowe (Unhinged) plays a tutu-wearing, lightning bolt-flinging Zeus with the worst on-screen accent this side of House of Gucci (Greek instead of Italian, though). The movie is rarely more than a few seconds from a one-liner or a silly throwaway gag, and it loves colour more than a rainbow does — except when it doesn't, including in the desert-set opening that introduces Gorr and his god-slaying necrosword, and when it follows him into an eerie shadow realm. Love and Thunder also adds Bale, an actor forever linked with helping bring superheroes back to the blockbuster realm via Christopher Nolan's Dark Knight trilogy, to the ranks of terrific caped crusader foes. This Thor flick contains plenty, clearly; however, for everything that works, something else doesn't. It doesn't help that the narrative is so paper thin, even with so much going on, that either Thor or the Mighty Thor could blast it down with their gazes alone. Waititi and Jennifer Kaytin Robinson (Sweet Vicious) take on scripting duties, and jokes fly quickly and freely along with all the plot points, but little in Love and Thunder feels like it amounts to anything. That's not from a lack of trying, at least in a cursory way — which is how too much that's meant to dive deep, or merely nod in a more substantial direction, comes across. The worst case in point: Jane, her illness and her super-powered change. It's a treat to see Portman not only return to the franchise after sitting Ragnarok out, but also play a hero rather than just the love interest. Alas, some early advice from Star-Lord (Pratt, Jurassic World Dominion) to the original Thor establishes the real reason that her character is back: to push the latter to realise that it's better to have loved and felt shitty about losing it than not to have opened his heart at all. Yes, Love and Thunder primarily uses its female Thor as a catalyst for her male counterpart to learn life lessons. It also uses her battle with cancer in the same way. It's little wonder that nothing that's meant to be poignant lands or sticks — and that all efforts otherwise play like a genre merry-go-round. Sometimes Love and Thunder is a space-opera comedy, sometimes it's a family-friendly adventure, sometimes it dallies with horror. It's an arrested-development comedy, too, and a rom-com. Each swing in a new direction is anchored by weightier matters — spanning unpacking male saviour complexes, the taking of Indigenous children by colonisers, the need to pass traditional knowledge down through generations, the follies of blind religious worship and multiple struggles for identity — but never enough. Like the flying goats, every magic weapon and, in one scene, the OG Thor's clothes, every notion in Love and Thunder that's meant to be meatier zooms off oh-so-swiftly. Wanting to love Love and Thunder comes easily, of course. Ragnarok was an utter delight. Waititi's filmmaking career boasts more hits than misses, with Eagle vs Shark, Boy, What We Do in the Shadows and Hunt for the Wilderpeople also sitting on one side and just Jojo Rabbit on the other. From Hemsworth to Bale, and including Portman and Thompson as well, Love and Thunder is brimming with great performances — albeit all on varying tonal registers, with Bale used too sparingly, and Portman and Thompson not given enough to do. When it's in gleaming, silly, hyperactive and hyper-colour mode, Waititi and cinematographer Barry Idoine (The Mandalorian) go big on all those things and don't hold back. That said, a heap of gags fall flat, the formulaic story choices are glaring, most action scenes prove stock-standard, there's an often-disjointed air and, unshakeably, there's a pervasive sensation that simply following in Ragnarok's footsteps is the only realm aim. Wanting to love something is different from finding something to love, obviously — and while Love and Thunder isn't quite something to thunder at, lightning doesn't strike twice, either. Top image: Photo by Jasin Boland. ©Marvel Studios 2022. All Rights Reserved.
While a lot of people are wondering about the future of journalism in general, some people are thinking about the future of just the magazine in particular. Craig Mod, once part of the team behind slick, newsreading app Flipboard, coined the genre name of a new kind of small magazine: "Subcompact Publishing". It's an interesting new form that's getting played over in the States, especially on the iPad, and most notably by the Weekend Companion of pioneeringly-profitable blog the Awl, the Atlantic Weekly and — inspiration for Mod's original manifesto — the Magazine. Now Australian publication the Lifted Brow is throwing its hat in the subcompact ring, one of the first publications to try it over here. Though not the first, as it turns out. The Brow is a literary mag — originally with a strong McSweeney's influence — that grew up amongst a bunch of Brisbane writing students in 2007 and now runs big name, international authors alongside local Australian talent. Now based in Melbourne, they've got a back catalogue that includes literary wunderkind David Foster Wallace, Aussie comics star Eddie Campbell and sex advice from Benjamin Law. And his mum. It's big. To say, as a reader, that each issue can be hard to finish isn't exactly a flaw: it's just that they each have so much stuff in them. Because, First World Problems Craig Mod's idea of the subcompact magazine is kind of the opposite aesthetic to the Brow's all-inclusive, physical incarnation. It describes a world of smaller digital publications that eschew the idea of replicating print's design, size and digital slowness. Following his style lets you avoid a few first world problems. Downloads, for a start. A single issue of Wired on the iPad, say, can weigh in at just over 600 megabytes. A month or so of mobile phone data for some people. Subcompact-only the Magazine, by contrast, can go from pressing download in the the app, to reading its trial issue's opening story about roller derby, in about 18 seconds. One of these small magazines will typically have just a few articles, so it's much easier to get your head around the range of stuff in it. These, and other, small usability problems addressed by the subcompact format seem really do seem like first world issues. But we read magazines for fun. It's nice not to have to kill yourself to enjoy reading one. Ease and comprehension are good things. Less is More Mod saw the rise of small, mostly iPad-based magazines through the historical metaphor of Honda's development of subcompact cars. In his telling, Honda's cars weren't as big or feature-heavy as the big US cars they were competing with. But they were good enough, efficient enough, nimble and cheap. He suggests that the magazines of this new digital world should take a similar approach. An important word here is closure. The idea of internet addiction, with accompanying thoughts of switching off and the "digital sabbath", is a bit of a rising meme. Closure isn't a thing that you run into too often online. I mean, how often do you get to the end of the internet? A lot of sites are easy to browse, but hard to finish. Think Tumblr, Twitter or Facebook. Design = Journalism Australian immigration detention monitor, Detention Logs had already got its subcompact on before the Lifted Brow hit the app store. It uses freedom of information requests to the Department of Immigration and Citizenship (DIAC) to gather and publish records of incidents at immigration detention centres. They have over 7000 of these records up so far, each incident encapsulated into its own tiny and individual webpage. On their Principles page they specifically single out Mod's Subcompact Publishing Manifesto alongside their other ethical and design considerations. For them, this nimble and lightweight form seems to actually be a kind of journalistic muscle. "Small parts loosely joined" is how Detention Logs co-founder Luke Bacon describes it. He adds that using selections from Mod's manifesto publishing model is, essentially, a case of reporting form following function. "The form in which we received this information from DIAC could be seen as the opposite [of an appropriate and useful format]: one enormous, inaccessible PDF file, poorly labeled and thoroughly redacted. Transforming this complex information into easy to access and understand chunks is an act of design and journalism." Why Change What Now? So will "easy to access" work for the Brow? The new Lifted Brow iOS app is pretty slick. It's published by 29th Street Publishing, who put together minimalist iPad periodicals like Maura Magazine, the Awl's Weekend Companion and free, investigative subcompact ProPublica. The Brow is voluminous and dense in a way that 29th Street's publications are not. By going subcompact, the Brow is using the format both to boost, and cut through, their print legacy. They have a strong bench. Their all-star back catalogue of local and overseas writers sold the idea to 29th Street, according to Brow Digital Director Elmo Keep. "It has a great mix: a very strong roster of international writers, and an amazing cadre of Australian writers, so it was a perfect way for both 29th Street to reach outside the US and for the Brow to reach outside Australia." This small format makes that reach easy. Every fortnight, in a small, digestible format, you'll get the chance to catch up with new work, and their back catalogue. "It's going to be a mix of sort of teaser content from upcoming issues with reprinting stuff from the archives which a lot of people only joining us now could have missed." It will be a finite amount of short articles bimonthly, distributed via Apple's Newsstand service. There's a free trial, but the model banks on you being interested in subscribing. (Old issues will remain, if you unsubscribe.) Pixels Make It Better It's low maintainance. And that's no mistake. "There's so much opportunity to do things on digital that would be not be so cost effective to do in print," says Keep. She feels like a lot of the hard work has been done for her already. "I just move some things around in a content management system, and TA DA. (Not really, but kind of.)" The plan is to split the money the digital version makes between the writers and 29th Street. "There isn't a huge amount of money to be had by anyone in this entire transaction, so we want there to be ways for writers to make money beyond what we can pay them initially [in print]." In an age where it's easy to be asked to write for free the Brow prizes paying its contributors. PLEASE BUY OUR MAGAZINE So the Brow's writers will get a little more money, the Brow finally gets a wider audience ("realistically, there will only ever be so many printed copies that can be produced") and the public gets a newer gobbet of casual reading. (29th Street's Creative Designer, Tim Moore, compares the subcompact style to a cheap Pengiun paperback.) It all seems like a pretty good deal. And, on the iPad, an Aussie first. But these new digital steps aren't necessarily part of a war between online minimalism and print. "There will always be the magazine, in its dense and intense full-page glory," says Keep. "PLEASE BUY OUR MAGAZINE THANK YOU FOR YOUR TIME." Photo of Honda N360 by Tennen-Gas, Looking for Loretta artwork by Total Bore. Revised myth of superman artwork by Colin Panetta. Update: Luke Bacon's full email response, quoted in part for this article, is worth reading. It's up now at his blog Equivalent Ideas.
A 90s-set musical directed by Lin-Manuel Miranda. A crime thriller starring Gal Gadot, Dwayne Johnson and Ryan Reynolds. Amy Poehler's latest stint behind the camera. Leonardo DiCaprio and Jennifer Lawrence teaming up in the newest film from The Big Short's Adam McKay. They're just some of the big new movies heading our way in 2021 — and they're all coming to Netflix, with the streaming platform revealing its slate of features for the year. Miranda's tick, tick…BOOM! will mark his filmmaking debut as a director, while Johnson plays an FBI profiler forced to team up with rival crims played by Gadot and Reynolds in Red Notice. As for Poehler, she's directing (and co-starring in) Moxie, about a 16-year-old fed up with the sexist attitudes at her high school. And the collaboration between DiCaprio, Lawrence and McKay — and Jonah Hill, Timothée Chalamet, Cate Blanchett and Meryl Streep, too — happens in Don't Look Up, about two astronomers trying to warn humanity that a comet is about to wipe out the earth. [caption id="attachment_796892" align="aligncenter" width="1920"] Moxie. Colleen Hayes/NETFLIX © 2020[/caption] They're just some of the films on Netflix's lineup for 2021 — and if you can't wait to check them out, the streaming service has released a sneak peek that rounds up a heap of its other titles for the year, too. Thunder Force sees Octavia Spencer and Melissa McCarthy play superheroes; western Harder They Fall features everyone from Idris Elba and Lovecraft Country's Jonathan Majors to Watchmen's Regina King and Atlanta's Zazie Beetz; and Escape From Spiderhead plunges Chris Hemsworth into a futuristic tale about experiments on inmates using emotion-altering drugs. Or, there's a remake of The Guilty, this time starring Jake Gyllenhaal; the third and final films in both the Kissing Booth and To All the Boys trilogies; The Power of the Dog, the latest movie from filmmaker Jane Campion; and Robin Robin, the newest release from Aardman Animation, featuring the voices of Gillian Anderson and Richard E Grant. Some flicks, like the Zendaya-starring romantic drama Malcolm & Marie, already have release dates. Plenty of others don't as yet, including zombie movie Army of the Dead, starring Dave Bautista; Blonde, a fictional portrait of Marilyn Monroe featuring Knives Out's Ana de Armas as the real-life figure; Halle Berry's directorial debut Bruised, about an ex-MMA fighter; and thriller O2, which starts with a woman waking up in a medical cryogenics unit that's no larger than a box. Either way, though, Netflix has announced that it'll be releasing at least one new movie a week for the entire year. More than a few of these titles might hit cinemas, too. The Vanessa Kirby-starring Pieces of a Woman already has in Australia, while The White Tiger, an adaptation of the Man Booker Prize-winning novel of the same name, will release on the big screen in January — as will fellow page-to-screen affair The Dig. And, some were originally supposed to screen in theatres, but have made the jump to streaming due to the pandemic, such as The Woman in the Window with Amy Adams. Whether Netflix's 2021 movies get a cinema run or not, they'll obviously pop up on the platform. So, expect a hefty list of star-studded flicks sitting in your streaming queue throughout the year — and making sure that you're still well-acquainted with your couch. Check out Netflix's trailer for its 2021 films below: https://www.youtube.com/watch?v=L9t86v_JMG0&feature=youtu.be New movies will hit Netflix every week throughout 2021 — head to the streaming platform for its current catalogue.
This moving Aboriginal story is the directorial debut feature film from Stephen Page, from the highly acclaimed Bangarra Dance Theatre. The theatre troupe brings their incredible dance moves to the screen in SPEAR, creating a visually stimulating and intimate piece of art. The film follows the cultural connection of the Aboriginal people, from the Australian outback to Sydney's backstreets. It’s an outright powerful film showing at Sydney’s most iconic venue — and at only $25 a ticket. Check out more of the best Sydney Festival events under $50 here. Image: Edward Mulvihill
A true champion of Australia's independent music scene, FBi Radio is turning 15 this November — and it's throwing an enormous Aussie music festival, fundraiser and birthday party to celebrate. It's all going down across three stages at Sydney Uni's Manning House on Saturday, November 3 from 2pm. Headlining the all-Australian lineup are alt-rock heavy-hitters Cloud Control (winning FBi's Record of the Year 2017 for their album Zone). They'll be joined by psychedelic punk-rockers Tropical Fuck Storm, hip-hop powerhouse Sampa the Great, disco queens CC:DISCO!, cosmic progressive rock group JAALA and the ferocious Miss Blanks. FBi has certainly done its part to launch many of the acts taking the stage, so you can expect one helluva tribute to go down. All proceeds from the night will go towards fundraising the not-for-profit radio station, which relies heavily on volunteer and community support to operate. It's an 18s-only event and tickets are on sale now — head over here to nab some while you still can. FULL LINEUP Cloud Control Tropical Fuck Storm Sampa The Great CC:Disco! Jaala Miss Blanks Body Type Kwame Andy Garvey Divide and Dissolve Jensen Interceptor Adi Toohey Dispossessed DEN Party Dozen Stereogamous Slim Set DJ Plead Freda and Jackson Spike Fuck CLYPSO Bored Shorts e4444e Maia Bilyk Heaps Gay DJs Sidehustle Image: Isabella Kerstens
NAIDOC Week, the annual celebration of the achievements and culture of Aboriginal and Torres Strait Islander people, is set to return this month from July 8–14, and Klub Koori is always a highlight of the week. The mini-festival, which will take place on Saturday, July 14, is hosted by Sydney's only First Nations radio station Koori Radio and presented in collaboration with contemporary art space Carriageworks. The event promotes the talents of established and young Indigenous artists to a large and diverse audience while also advocating for a broader appreciation of Indigenous arts and culture. For $15, you can expect a great mix of hard-hitting beats and sultry tones across the night, with things kicking off at 8pm. Adelaide electro-soul act Electric Fields are top billed. The award-winning duo's clash of traditional Indigenous culture — including member Zaachariaha Fielding singing in his traditional language — with electronic music has made them a sought-after outfit across Australia and the world. They'll share the stage with the honeyed neo-soul vocals of Kaiit and upcoming artists including rapper Dwayne Broome, Chloe Grant-King and Kakyra Ocean. Organiser Koori Radio 97.3FM has been on-air since 1993, offering listeners a 'live and deadly' cultural mix of Australian and International Indigenous music interspersed with discussions on news, current affairs and community information. Klub Koori will take place at Carriageworks on Saturday, July 14 from 8pm onwards. To purchase tickets, visit the Carriageworks website. Koori Radio will also broadcast the performances on-air and online. Image: Matsu Photography.
In many ways, our objects and possessions define us. In choosing to own something, we make a conscious (or perhaps subconscious) decision about its significance to our lives, who we are and, often, who we want to be. But in a time of mass production, excessive consumption and disposal incomes, perhaps it is the very same 'stuff' we choose to define ourselves by that in fact dilutes our true selves. Whether out in the open or organised neatly into cupboards and shelves, does the collective weight of our belongings mentally drag us down? New South Wales-based artist Lottie Consalvo has embarked on a yearlong performance piece that explores the effect our physical items have on us. Her project — Compartmentalise — was conceived after the birth of her first son, a time where Lottie felt she'd lost control over her time, life and home. In an attempt to find some sense of clarity and regain control, Lottie committed to living with minimal possessions — two tops, two pants, one dress, three pairs of underwear, one knife, one fork, etc. — for 12 months. Despite living with her husband and baby boy, working at a gallery, developing her artistic practice and maintaining an active social life, Lottie has remained within the performance since August 7, 2013, documenting her experiences and musings along the way. With three months until the conclusion of Compartmentalise, we spoke to Lottie about the discomforts and satisfactions of her minimal lifestyle, and whether de-cluttering her possessions has led her to find the clarity she so desperately sought. It's really interesting to see your development through the Compartmentalise entries. Do you feel you have become kinder to yourself throughout the process? I went to a talk this week by performance artist Tehching Hsieh who has done one-year performances, and a 13-year performance. One performance he spoke about was Time Clock Piece, where he punched a time clock every hour for the entire year. He said he got a bit lazy half way through the performance, slept through the occasional alarm and was late to punch, but when he only had three months left he focused more again — although you could hardly call his efforts lazy. When you are being so extreme, after time you start to relax a little and become kinder to yourself, as you say. For example, recently when my pyjamas were in the wash and I was freezing in just a t-shirt, I finally got up and put my husband James' clothes on. I also started letting myself accept and buy books and plants. I would never have done that in the first few months of the performance. However, now that I'm reaching the nine-month mark and the end is in sight, I think I'll be harder on myself again, perhaps so the ending feels more satisfying. I didn't foresee having to replace so many items — my dress, shoes (two pairs have broken though have only replaced one pair), belt, pants, sunglasses, cup, my car (the engine of my old one died). I used to feel guilty when I had to replace something as if I had failed the performance, but as time has gone on I have been more forgiving and accepted it as a part of the performance. So yes, I have become kinder to myself as the performance progresses in that respect. You sold off many of your possessions in a garage sale, but buyers were only allowed to purchase if they could justify why the needed/wanted the item. Why was this significant to you? I hoped that it would make people think beyond the satisfaction of their purchase and the satisfaction of the desire driving them to buy. It really stirred something uncomfortable in people beyond what I had hoped for, and I liked that. What has been the most satisfying aspect of Compartmentalise? Finding out how little I need to live and no longer being scared to let go of things in case I need them in the future. And the most difficult? The discomfort. As the performance has progressed I have become greatly uncomfortable. I often have to wear dirty clothes and wet underwear. I also don't have a cosy outfit to put on other than my pyjamas. Even right now my feet are cold as I have no thick socks. What will you retain from Compartmentalise? I hope to always question what I need before buying more, now knowing that everything I bring home will not only fill my home but also my mind. I hope still to live with limited possessions, though a few more than now. I hate the idea of having a full wardrobe, cupboards and cluttered surfaces again — I have a phobia of it now. I want to carry on buying fewer things that I really love and are better quality even if they cost much more money. I will also treat my belongings with much more respect. Come August 7, what do you think will happen when you finish Compartmentalise? Do you feel like it will be difficult to transition back to having (a few) more possessions? I think I will wake up and put different clothes on. I imagine that I will get pleasure out of the feeling of different clothes hugging my skin in different ways and wearing some colour, however the novelty will probably wear off quickly. I don't think it will be difficult. In fact, it would be very easy to fall back into the habit of buying and collecting — but I don't want this. I want to take it very slowly, it will be a slow transition to a more balanced place. You started this project to help you find clarity. So far, do you feel like you've found some? I'm not sure if I have found clarity so much as I have found a sense of weightlessness. When I look at my empty home I feel the clarity, but through the performance I have found that technology (as wonderful as it is) and work are what stop me from continuing this clarity through my days. Perhaps I need to remove technology, and time. Images courtesy of Lottie Consalvo. Follow the remainder of Lottie's performance via her Compartmentalise blog.
It has been more than a year since Static Vision hosted its last physical film festival, with Hyperlinks pondering the online world and taking over Marrickville's Pink Flamingo Cinema back in February 2020. For the film collective's follow-up fest, it's getting dreamy — in the same spot, and via a three-day, 12-movie program that's all about imagined worlds, fantastical visions and the places we journey to when we slumber. Running from Friday, May 14–Sunday, May 16, Dreamscapes: A Static Vision Film Festival kicks off with a 15th-anniversary screening of Satoshi Kon's Paprika — which is the type of movie absolutely everyone needs to see at least once on a big screen. The premise: in the near future, a device lets a therapist enter patients' dreams. And yes, you now know where Inception got its inspiration. Other highlights: documentary Ecstasy, which features music by David Lynch and Lykke Li; Slow Machine, about an actress who meets a NYPD counter-terrorism specialist; Window Boy Would Also Like to Have a Submarine, which plays with magical portals; and Dreaming Under Capitalism, an experimental doco that tasks 12 people with remembering and analysing their dreams about work. Naturally, A Nightmare on Elm Street is also on the bill — the original 1984 horror flick, not the terrible remake. And the sublime Waking Life has the honour of closing out the program, with Richard Linklater's Ethan Hawke, Julie Delpy and Wiley Wiggins-starring animated film marking its 20th anniversary. Shorts films will also grace Dreamscapes' screens, with the lineup also including DJs, a live-streamed opening night set and an area that's all about dreamlike games. https://www.youtube.com/watch?v=SBrUhQ0_qYA
The Museum of Contemporary Art's monthly ARTBAR has become a firm fixture on Sydney's after-dark cultural calendar. After knocking off work on Friday, head down to Circular Quay for an extra dose of art, a splash of wine and your choice of fun-filled activities — with the added bonus of panoramic views of the harbour from the Sculpture Terrace. Past curators have included the likes of Rosie Deacon, Pip and Pop, Blak Douglas, Haines and Hinterding, and Kate Scardifield — each building uniquely flavoured late-night events. Wander in on the last Friday night of the month and you can expect a lively conglomeration of art, music, design and performance. It's an excuse to let loose alongside some of Sydney's best artistic talent. First, you'll want to brush up on the MCA's New Romance: art and the posthuman with our handy deconstruction of the exhibition, as July's #MCAARTBAR is curated by contributing New Romance artist Wade Marynowsky. The theme of the night is 'Exquisite Corpse' which, much like the take-in-turns drawing game from which it takes its name, will bring together a collection of local artists to create a wonderful collaborative masterpiece. Joining Marynowsky's robotic Moonwalker sculpture, which is currently suspended from the foyer's ceiling for the exhibition, will be works by aural artist Luke Killen, performances by Garry Bradbury and Kazumichi Grime and episodes of guitar violence from Kriss Hades. Providing the soundtrack will be FBi's Ears Have Ears program and Tyson Koh on the decks. Plus, there'll be a first-time collab between Sydney artists Gail Priest and Ruark Lewis. You'll need all your senses for this one. By Annie Murney and Lauren Vadnjal.
Over the past seven years, Hamilton has become a cultural phenomenon — and, thanks to its fame and acclaim, so has the hip hop musical's creator Lin-Manuel Miranda. But that's not the only stellar stage show to the multi-talented composer, actor, singer and playwright's name. Before he took on US history (and before he helped bring Bring It On to the theatre, too), Miranda turned life in Manhattan's Washington Heights into four-time Tony-winner In the Heights. While every Hamilton fan dreams of the day that it gets adapted for the big screen, his debut musical is actually making the leap to cinemas first — this year, finally, after its original 2020 release date was postponed due to the pandemic. Yes, the recorded version of Hamilton hit streaming last year, and was as phenomenal as everyone hoped, but In the Heights hasn't just filmed a stage performance. When it releases Down Under on June 24, In the Heights will do so with a stacked cast, with Crazy Rich Asians director Jon M Chu behind the lens, and via a movie primarily shot on location in its titular spot. Quiara Alegría Hudes, who wrote the text for the stage version, has also written the feature's screenplay. And Lin-Manuel Miranda is involved, naturally, producing the movie, overseeing the music and popping up on-screen as well. On Broadway from 2008–11, Miranda played the lead role of bodega owner Usnavi de la Vega. In the film, that honour goes to Anthony Ramos — an alumnus of the original production of Hamilton who has also featured in Patti Cake$, A Star Is Born and Godzilla: King of the Monsters. Usnavi works hard, saves everything he earns and strives for a better life. He also sits at the centre of a vibrant community just beyond the 181st Street subway stop, with In the Heights charting the lives, loves and dreams of the Latinx neighbourhood through colourful, energetic and — as seen in both 2019's first trailer for the movie and the latest, just-dropped sneak peek — exquisitely choreographed song and dance numbers. Joining Ramos and Miranda (who plays Piragua Guy, the owner of a shaved ice dessert stand) are Corey Hawkins (Straight Outta Compton), singer Leslie Grace, Melissa Barrera (Vida), Dascha Polanco (Orange is the New Black), Marc Anthony and Jimmy Smits — plus original In the Heights stage star Olga Merediz, Rent's Daphne Rubin-Vega and Matilda the Musical's Gregory Diaz IV. Brooklyn Nine-Nine's Stephanie Beatriz also features, after Miranda made an appearance on the hit sitcom in 2019. Check out the latest trailer below: https://www.youtube.com/watch?v=V4CRPvel2Vc In the Heights will release in cinemas Down Under on June 24.
Whether you came to Daniel Johnston via a precious dubbed cassette passed on as a young teen, or seeing Kurt Cobain consistently wear a "Hi, How Are You?" T or even by hearing Casper the Friendly Ghost on the Kids soundtrack, he is a much loved figure in an increasingly bigger but once off-kilter circle. The subject of the excellent documentary The Devil and Daniel Johnston (SEE IT!), he is a prolific creator of idiosyncratic tunes and images who have a kind of must-I-use-this-word outsider vision that is part and parcel with his well documented trials with mental illness, often referred to as "cosmic mishaps." While his songs are covered by similarly loved bands such as Yo La Tengo, The Pastels and Mary Lou Lord (all three have covered Speeding Motorcycle, a slow pop classic), and bigger fish such as Tom Waits, it's Johnston's art that is becoming more and more sought after. His work is comprised mostly from illustration of characters of his own making, rooted in a comic book language spoken also by Gary Panter. Both his musical and visual outpourings combined make for the kind of experience that best befits Johnston's process, so it's a rare treat that he will perform at the opening of his upcoming show Dead Lovers Twisted Heart in Sydney. In a kind of Johnston-styled superhero one-two punch, the iconic music journalist and musician Everett True will support. It's as if Monster Children buried a time capsule dream in 1990 and only just now have decided it was time to dig that sucker up. I, for one, am grateful.
Surry Hills is more casual than most markets, yet at the same time, it's the market you're most likely to run into a street fashion photographer or budding fashion designer. It really is a particularly well-dressed crowd. Surry Hills is also where you'll dig up some of the greatest things. Held on the first Saturday of every month at Shannon Reserve on Crown Street, it's a mix of emerging designers, specially sourced vintage and people hocking their old junk. The stall-holders really put in the effort here. Someone will offer you the history of your $10 skirt as you're rifling around for cash, while others will be happy to knock up a customised pair of earrings for you on the spot, and one nice man once helped my friend carry a pile of old 60s suitcases to the car. Along with great people watching and finding hidden treasures, these markets offer up some prime dog spotting, too.
For almost five years, Daisy's Milkbar was an homage to rockabilly and retro diner-style meals. But you'll no longer find tattoo-covered inner westies sitting in its pink booths sippin' Iced Vovo milkshakes or diggin' into banana splits — the Petersham stalwart has shut up shop. For good. Owners Jess and Jake de Varine-Bohan announced the closure in a Facebook post last week, saying they'd made the hard decision to "not reopen Daisy's in 2020". "Daisy's has been an incredible experience," Jess and Jake said in the post. "We've collaborated with so many amazing people and other businesses, hosted weddings and special events, had the space used for filming and photo shoots, done some fun pop ups and best of all met so many great people and made some of our closest friends through the cafe." https://www.facebook.com/daisysmilkbar/photos/a.1498607127046339/2493783160862059/?type=3&theater While the Petersham shop has closed forever — and the space is now up for lease — Jess and Jake have kept the business name, Daisy's Milkbar, and haven't ruled out opening another version of the retro milkbar in the near future. "I'm really going to miss so much about having the cafe," Jess said in the post. "But for Jake, Veronica [the couple's baby] and I now is the right time to finish up this chapter - I'm nervous and excited for whatever will come next!" We'll let you know if and when a new Daisy's Milkbar is announced. Daisy's Milkbar in Petersham is now closed.
There's the parade, yes. But before that, nearly a month of cultural and celebratory events of all stripes makes up the festival of Sydney Mardi Gras, and there's something for everybody, even Straighty McStraight-Straight. Who relates absolutely and 100 percent to the social expectations of their gender and sexuality? Nobody, probably. And that's something to love, savour, and take away from this most iconic of Sydney events. This year, there's a push to establish a Mardi Gras Museum, starting off with a temporary exhibition of Sydney's queer history. Then there's family-friendly fair day, art, roller derby, and one of New York's premier cabaret artists, among all the parties between February 8 and March 3. With gay marriage rights so firmly on the agenda at the moment, 2013's Mardi Gras will definitely be one that's remembered. Here's our pick of the ten best events. 1. Sydney Mardi Gras Museum Could this be the most colourful museum in the world? In the 35 years since its inception, the Mardi Gras has been the site of not only liberation and artistic extravaganza but also fiery controversy. Take a wander through the spectacular events and extraordinary lives that have contributed to making Sydney’s proudest parade what it is today. From February 12-19, catch special evening talks featuring the likes of Julie McCrossin and C. Moore Hardy. January 30 to March 3; 11am-7pm; free entry; cnr Oxford and Palmer Streets, Darlinghurst; http://www.mardigras.org.au/events/sydney-mardi-gras-museum/ 2. Fair Day Preen your pooches and pack your picnic in preparation for Fair Day. Every year, tens of thousands of Sydneysiders and visitors come together at Victoria Park to celebrate the arrival of Mardi Gras season with international food, stalls, and carnival rides. Main Stage has the music pumping all day long; the Youth Hub keeps the young 'uns out of trouble, and Doggywood plays host to some of the most fabulous canines you could ever hope to lay eyes on. One little tip: you might want to secure yourself a front-row position for the late afternoon Tug-o-War. Sunday, February 10; 10am-7.30pm; free entry; Victoria Park, City Rd, Camperdown; http://www.mardigras.org.au/events/fair-day/ 3. Justin Vivian Bond Is Mx America Is there anything Mx Justin Vivian Bond can’t do? In a career spanning more than 20 years, the cabaret hero has played Huck Finn as a tranny prostitute; reinterpreted the likes of Radiohead, Kate Bush, and Tracy Chapman; and written an award-winning autobiography (Tango: My Childhood, Backwards and in High Heels). Along the way, Bond has picked up an Obie Award (2001), a Bessie Award (2004), an Ethyl Eichelberger Award (2007) and a Tony nomination (2007). On a return visit to Australia in late February, Bond will present a new show: Justin Vivian Bond Is Mx America. February 16; 8pm; Carriageworks, 245 Wilson St, Eveleigh; http://www.mardigras.org.au/events/justin-vivian-bond-is-mx-america/ 4. Mardi Gras Film Festival If all the partying starts to tire you out, you can always recharge your batteries by dipping into Mardi Gras' quieter side: the Film Festival. Some of the picks of this year's program include Joshua Tree 1951: A Portrait of James Dean, a stunning black-and-white re-creation of the Hollywood hero's life on the edge; the Australian premier of Kyle Henry's quirky, funny Fourplay; and Head On, the movie that set the benchmark for queer filmmaking in Australia. February 14-28; $14-$18; http://www.mardigras.org.au/events/mardi-gras-film-festival-presented-by-queer-screen/ 5. Queer Thinking What happens when you blend fashion, art, music, technology, and a fearless desire to transcend the outer limits of convention? Chicks on Speed, that's what. For 10 years now, Melissa Logan and Alex Murray-Leslie have been blowing boundaries out of the water with their artistic experimentations. As part of Queer Thinking, they'll be discussing and performing with their latest creations, 'Objekt Instruments'. Other thinkers on the day include Mx Justin Vivian Bond. February 16; 12pm-8pm; $15; Seymour Centre, Cleveland St, Darlinghurst; http://www.mardigras.org.au/events/queer-thinking/ 6. Battle on the Bent Track If Chicks on Speed aren't fast enough for you, don't despair. You're sure to be struggling to keep up when some of Australia's quickest, toughest roller girls battle it out on the Bent Track. This major roller derby festival is the brainchild of the Australian Vagine Regime, a queer association committed to raising cash for charity. Where do the country's fastest girls go after the country’s toughest race? The bar! The Standard, to be specific. DJ Sveta and Adele Moleta have teamed together to magic up an http://www.mardigras.org.au/events/battle-on-the-bent-track-official-after-party/">all-night party. Expect sexy, danceable beats, live cabaret, and some serious roller action. Guests include burlesque performers Lillian Star and Miss Kelly Anne Doll and DJs Sveta, Lady Bones, Ariane, Del Cat, and Mall St. Saturday, February 16; 5pm; Hordern Pavilion, 1 Driver Ave, Moore Park; http://www.mardigras.org.au/events/battle-on-the-bent-track/ 7. History Walk with the Order of Perpetual Indulgence Don your walking shoes and your wildest imagination for a rollicking journey through the history of gay activism in Sydney. Sisters from The Order of Perpetual Indulgence, a group of locally based gay male nuns and lesbian monks, will meet you at Hyde Park Barracks at 10am. As you traverse the sites where significant events of protest have occurred, the Sisters will be letting you in on all the intimate details. Like the history of most fights against institutional discrimination, it's not all pretty, but the Sisters are sure to keep the mood high with their irreverent humour. Sunday, February 24; 9.45am-3pm; free; Hyde Park Barracks, Macquarie St, City; http://www.mardigras.org.au/events/history-walk/ 8. Take My Breath Away - Daniel Mudie Cunningham In 1977 in Belgrade, Marina Abramovic and Ulay created a video titled Breathing In, Breathing Out, in which the two kneel face to face, with their mouths locked together and their noses obstructed with cigarette filters. For twenty minutes, they depend upon one another entirely to breathe. The intimate physical interaction that results, as the two struggle to work together to survive, leads us to ask questions about human interdependence. Take My Breath Away is a remake of this seminal performance. This time, however, the breathing is channelled through a white balloon, giving rise to a whole lot of sucking and blowing and putting a postmodern spin on the concept. February 8-23; 1pm-5pm; free; Peloton, 78A Campbell St, Surry Hills; http://www.mardigras.org.au/events/take-my-breath-away-daniel-mudie-cunningham/ 9. Confessions of a Grindr Addict Gavin Roach's one-man monologue makes its way back to Sydney after sell-out seasons at the Edinburgh Fringe 2012 and the Melbourne Fringe 2011. It's an expedition through the intimate emotional and physical world of Felix, who is about to go on a date for the first time in a year. Accustomed to interacting in cyberspace, Felix grows increasingly uncertain and frightened and starts to wonder why he ever wiped his Grindr app off his smartphone. According to Stage Whispers, Confessions of a Grindr Addict is one of those rare one-man shows that enables you to "forget that's what you're watching". Tuesday, February 19, to Friday, March 1; 8pm; $20; TAP Gallery, 278 Palmer St, Darlinghurst (upstairs); http://www.mardigras.org.au/events/confessions-of-a-grindr-addict/ 10. The Parade On June 24, 1978, a few hundred people gathered on Oxford Street to voice their opinions against anti-homosexual discrimination. Late in the evening, when the numbers rose to 2000, the police put an end to the march and arrested 53 of the protestors, many of whom lost their jobs as a result. Thirty-five years on, the Mardi Gras is the largest gay celebration on the planet, with about 10,000 participants and hundreds of thousands of spectators. It’s a glamorous, glitzy, outrageous, fun expression of every individual's right to love freely. Get there early if you want a view. Saturday, March 2; 7.45pm; free Oxford and Flinders St, Darlinghurst; http://www.mardigras.org.au/events/sydney-mardi-gras-parade/ Mardi Gras is on from February 8 to March 3.
A dip in Walsh Bay itself might not seem all that appealing, but some summertime splashing in a harbourside pool sure does. So tomorrow — just in time for the balmy days to come — harbourside hotel Pier One is launching a pop-up called The Pool, featuring an actual plunge pool out on its private pontoon. Promising a luxe poolside experience for hotel guests and visitors alike, the space has been kitted out with lush foliage, umbrellas, deck chairs and pool toys to complement an upscale food and drink offering. In between dips, punters can enjoy classic Aussie-style barbecue dishes from on-site smokehouse The Kerrigan, like spiced calamari rings and fried chook wings. Pier One's Sydney Harbour Bar will be slinging a summery array of signature cocktails, while local DJs will grace the decks, bumping up the party vibe. It's all on offer Fridays through Sundays from noon till sunset throughout summer, and open daily from 3pm between December 26 and January 1. Access to The Pool will cost you $30, including a towel, use of the pool toys and an alcoholic beverage. It's for adults only and they don't take bookings, so you'll want to get in early to nab a primo poolside spot. If you've got a spare $499, you can also get on board The Pool's huge New Year's Eve party, taking advantage of that prime, harbourside fireworks-viewing real estate.
Telly Tuita, Sydney Festival's Visual Artist in Residence at The Thirsty Mile, is bringing his vibrant "Tongpop" aesthetic to this year's Festival precinct, celebrating his Pacific heritage and the energy of Sydney. Drawing on his Tongan roots and maritime history, Tuita's work features extravagant totems, dancing divas and immersive spaces transformed into trippy dreamscapes. Born in Tonga, raised in Western Sydney and now based in Wellington, Tuita's art combines kaleidoscopic chaos with urban vibrance. His installations for Sydney Festival 2025 include SS John Oxley, a transformed historic steamship featuring Tuita's signature textiles and patterns; Moonshine Bar, where you can discover colourful totems and digital screens showing dancing Tēvolo (ghosts); Flags & Festival 'S', a large scale work throughout the festival precinct featuring Tongpop-inspired flags and a giant 'S' adorned with Tēvolo divas; and Colour Maze, a collaboration with Amigo & Amigo conjuring a playful, immersive art experience for all ages. Images: Neil Bennett
It was back in September 2022 that Weird: The Al Yankovic Story first hit screens, premiering at the Toronto International Film Festival with its happily ridiculous take on its namesake's life, and with Daniel Radcliffe (The Lost City) sporting a mop of curls to play the titular part. And, it was in November last year that the film became available to stream in the US, releasing via The Roku Channel. Since then, however, there has been no sign of the movie Down Under. That is, unless you took Weird Al's advice. The man himself noted on Twitter at the time that "Roku's working on it. In the meantime there's VPN (Very Probably No) way to watch it legally. I'm sure you have a TORRENT of other questions, but I have to move along, sorry." Roku's working on it. In the meantime there's VPN (Very Probably No) way to watch it legally. I'm sure you have a TORRENT of other questions, but I have to move along, sorry. — Al Yankovic (@alyankovic) November 5, 2022 Thankfully, come Thursday, March 2, Weird: The Al Yankovic Story will finally hit streaming in Australia thanks to Paramount+. When you're not getting yourself and egg and beating it, you might want to mark that date in your diary. This is the 100-percent Weird Al-authorised take on his own accordion-playing existence, so expect 'weird' to be the word in more ways than one. Indeed, in too many music biopics to count, a star is born — and also rises to fame after putting their talents towards a dream that's inspired them as long as they can remember. Weird: The Al Yankovic Story follows that same formula, but also parodies it. It wouldn't be a movie about Weird Al if it didn't take something that already works, then give it a satirical spin, now would it? "My whole life, all I wanted was to do... was make up new words to a song that already exists," Yankovic, as played by Daniel Radcliffe (The Lost City), says Weird's full trailer — which, yes, looks gloriously ridiculous. This line bookends glimpses of a childhood Al happily thumbing through accordion magazines and getting caught at a polka party. In other words, this humorous look at the man behind oh-so-many humorous songs takes the exact approach a film about Weird Al really has to. Viewers can also expect: accordions, obviously; recreations of Weird Al's film clips and live performances; oh-so-many Hawaiian shirts; chaotic meetings with Madonna, as played by Westworld's Evan Rachel Wood; and origin stories behind tracks like 'My Bologna' and 'Like a Surgeon'. Beneath wire-framed glasses, those shirts, that hair and Yankovic's instantly recognisable moustache — and in a piece of casting that seems like it jumped straight from the internet — Radcliffe looks to be having the time of his life as the musician behind 'Another One Rides the Bus', 'Smells Like Nirvana' and 'Amish Paradise', plus comedic riffs on pretty much every other big song of the past four-plus decades that you can think of. Yankovic is one of the screenwriters, alongside director Eric Appel (a TV sitcom veteran with Happy Endings, New Girl, Brooklyn Nine-Nine and top-notch cop-show parody NTSF:SD:SUV on this resume). If the man in the spotlight's career has taught us all anything apart from the wrong words to pop hits, it's that he doesn't take a single thing, including himself, seriously. Weird: The Al Yankovic Story will hit Paramount+ in Australia with perfect timing, because Yankovic is touring the country in March, playing Melbourne, Adelaide, Sydney, Perth and Brisbane. Check out the trailer for Weird: The Al Yankovic Story below: Weird: The Al Yankovic Story will stream in Australia from Thursday, March 2 via Paramount+.
What does Brisbane have in common with music superstars Beyoncé, Björk, Lady Gaga and Rihanna, and also Oscar-winners Cate Blanchett and Tilda Swinton? An appreciation for fashion designer Iris van Herpen. The avant-garde Dutch talent has dressed them all, including creating the breathtaking Heliosphere dress that proved a showstopper on Beyoncé's Renaissance tour. The latter gigs haven't made it Down Under, but the Australian-exclusive Sculpting the Senses exhibition at the Queensland capital's Gallery of Modern Art will take you into the world of the haute couture figure who played a part in it. Fashion lovers have until Monday, October 7, 2024 to explore one of GOMA's big showcases for 2024, which continues to plunge the South Brisbane site into an enchanting and ethereal realm after Fairy Tales, its huge summer exhibition, did the same. Pieces by van Herpen can't be mistaken for designs by anyone else, sitting at the intersection of couture, art and design, while also exploring technological advancements such as 3D printing. In that field, she's widely considered the first to make a garment this way. From gowns to accessories, a massive 130 of van Herpen's pieces are now on display in the River City. Across nine chapters — some nodding to the dreamlike sheen that accompanies the designer's pieces, others focusing on skeletal structures, inspirations, and how the sea and the cosmos are an influence — Iris van Herpen: Sculpting the Senses steps through the work of a creative who boasts stints alongside Alexander McQueen and Claudy Jongstra on her resume. It was almost two decades back, in 2007, that the Maison Iris van Herpen came to life in Amsterdam. Evoking her studio, complete with a cabinet of curiosities, is also part of GOMA's celebration. In this section of the exhibition, attendees will also see a space dedicated to fashion shows and unpack the various development stages of a dress. [caption id="attachment_966403" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses'. Iris van Herpen / Netherlands b.1984 / Daniel Widrig (Collaborator) / United Kingdom b.1977 / Materialise (Collaborator) / Belguim est.1990 / Crystallization top and skirt, from the 'Capriole' collection 2011 / 3D-printed polyamide using selective laser sintering, eco-leather, cotton, nylon thread / Purchased thanks to the patronage of Doctor and Madam Léon Crivain, 2018 / Collection: Musée des Arts Décoratifs, Paris. Courtney Mattison / United States b.1985 / Malum Geminos 2019 / Glazed stoneware and porcelain / Courtesy: The artist. Iris van Herpen / Netherlands b.1984 / Nicholas Koscinski (Collaborator)/ United States b.1992 / Futurama gown, from the 'Meta Morphism' collection 2022 / 3D-printed Bluesint (upcycled polyamide) using selective laser sintering, silver, silk, organza, tulle / Courtesy: Iris van Herpen atelier. © The artists / Photograph: C Callistemon © QAGOMA.[/caption] Hitting Brisbane after a run in Paris, co-organised by the Musée des Arts Décoratifs, and boasting the organisation's Dr Cloé Pitiot and Louise Curtis on curatorial duties alongside QAGOMA's Nina Miall and Jacinta Giles, Iris van Herpen: Sculpting the Senses takes its name seriously. This is a feast for the eyes, clearly, but also comes paired with a soundscape by Dutch sound artist Salvador Breed — not just a collaborator of van Herpen's, but her partner — to enhance the experience. Among the specific fashion gems featured, the exhibition draws from 2010's water-themed 'Crystallization' collection, which took its cues from water being splashed at models; 2020's 'Sensory Seas', with hydrozoa such as the bluebottle an influence; and 2012's 'Micro' and 'Hybrid Holism', each teeming with microscopic detail that mimics the natural world — just for starters. Elsewhere, van Herpen's designs use X-rays, MRIs, neuroscience, mythology, alchemy, biotech, NASA's James Webb space telescope and more as guides. Visitors will equally spy a range of complementary pieces surrounding van Herpen's designs, weaving in Yayoi Kusama, Cai Guo-Qiang, Japanese art collective Mé and Kohei Nawa, for instance. Megan Cope, Philip Beesley, Anne Noble, Damien Jalet, Casey Curran, Rogan Brown, Ren Ri and Courtney Mattison also have works in Iris van Herpen: Sculpting the Senses, as does the Living Architecture Systems Group. Natural history objects add yet another layer. The dramatic staging, especially when van Herpen's work is set against a black background, achieves the same. Similarly featuring: installations, videos and photographs. [caption id="attachment_966407" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses'. (l) Iris van Herpen / Netherlands b.1984 / Water dress, special project 2010 / Heat-moulded PETG / Collection: Groninger Museum, Netherlands / © Iris van Herpen. (r) David Spriggs / Canada b.1978 / Origins 2018 / PET film, acrylic Plexiglas, LED, acrylic paint, metal / Collection: Dr Pierre Miron / © David Spriggs. Photograph: C Callistemon © QAGOMA.[/caption] Top images: Installation view of 'Iris van Herpen: Sculpting the Senses' including (front l-r) Symbiotic asymmetric dress, from the 'Shift Souls' collection 2019 by Iris van Herpen; Fractal Flows dress, from the 'Sensory Seas' collection 2020 by Iris van Herpen with collaborator Perry Hall; and Cosmica gown, from the 'Shift Souls' collection 2019 by Iris van Herpen with collaborator Kim Keever / © Iris van Herpen / Photograph: C Callistemon © QAGOMA. Installation view of the Cabinet of Curiosities in 'Iris van Herpen: Sculpting the Senses', Gallery of Modern Art, Brisbane / © Iris van Herpen / Photograph: J Ruckli © QAGOMA. Iris van Herpen: Runway films 2017-23 (installation view, 'Iris van Herpen: Sculpting the Senses') / Video, colour, sound, 57:51 minutes (total, looped) / Editor: Simona Gol / Music selection: Salvador Breed / Courtesy: Iris van Herpen Atelier / © Iris van Herpen / Photograph: C Callistemon © QAGOMA.
Entering an Australian supermarket at the moment, you can be forgiven for thinking that you're walking into the set of a post-apocalyptic film. People are everywhere but shelves are bare, with shoppers panic-buying everything from toilet paper and hand sanitiser to pasta and milk. As the COVID-19 situation has evolved over the past few weeks, local supermarket chains have been implementing item limits. They've also set aside dedicated shopping times for the elderly and people with disability as well. But the hoarding keeps happening and everyday staples keep selling out, leading Coles and Woolworths to roll out further caps. Announced today, Wednesday, March 18, both big chains have mandated restrictions on a number of items — in addition to previously revealed limits. At Coles, there's now a two-pack-per-person cap on eggs, sugar, frozen vegetables, frozen desserts, canned tomatoes, pasta, all dry rice regardless of size and liquid soap. And additional limits may be placed on other items on a store-by-store basis, too, so it's best to pay attention to the signage while you're shopping. Over at Woolies, it's limiting such a wide variety of items that it has actually listed what isn't restricted. There are no caps on fresh fruit and vegetables, fresh milk, yoghurts, deli items, seafood, bakery items, canned fish and meat other than mince — or on drinks, baby food, wet dog food, wet cat food, and Easter confectionery and merchandise. If you're after anything else, however, a two-pack-per-person limit applies in general, with some items down to one-pack-per limit. Already in the restricted category at both chains — as anyone who has tried to buy groceries recently well knows — are toilet paper, serviettes, baby wipes, antibacterial wipes and bulk rice over two kilograms, which are down to one pack per person. Tissues, hand sanitiser, dry pasta and flour have all been limited to two packs per person at both companies for days now. And paper towels vary, restricted to one per person at Woolies but two at Coles. Aldi and IGA haven't announced any new limits as yet, although Aldi already has caps on toilet paper (one pack), dry pasta, dry rice, flour, paper towels, tissues and sanitiser (two packs). At IGA, it's a store-by-store decision. "Each store has placed purchase limits on items that are critically low in stock. These limits are being managed on a store by store basis and are increasing day by day," the chain advised in a statement. All four brands have also released a collective plea for consideration, stressing the need to stick to product limits — and reminding shoppers something that should just be a given, aka that hardworking supermarket staff should be treated with courtesy and respect. For more details on Australian supermarket item limits, keep an eye on Coles, Woolworths, Aldi and IGA's websites. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
Sri Lanka is facing an economic and political crisis, and the country is in dire need of support. Inflation is soaring, and so is the cost of basic goods — and daily power outages are also making daily lives difficult. In response to this devastating humanitarian crisis, Sydney's Sri Lankan restaurant community is getting together to celebrate their beautiful culture and raise funds for immediate food relief to people in need in Sri Lanka. This ANZAC Day, six Sri Lankan restaurants will be hosting Long Lunch for Lanka: Colombo Social in Enmore, Dish: Sri Lankan Street Food in Glebe, Indu in the CBD, Lankan Filling Station in Darlinghurst, Sri Lankan Bites in Glebe and The Fold in Dulwich Hill. The six eateries will be collaborating for a one-off event hosted at the Plate it Forward Headquarters in Darling Harbour. Expect an array of delicious Sri Lankan cuisine from Lankan ceviche and empanadas to curry and spiced ice cream. Plus, there'll be welcome LongLeaf Tea vodka cocktails infused with Sri Lankan tea. The lunch kicks off at 12.30pm on Monday, April 25, with World Cup cricket hero Russel Arnold on hosting duties. Tickets cost $125 per person, which covers a drinks, snacks plus a banquet feast — giving you a perfect way to wrap up the long weekend — and all funds raised will be going to on-the-ground charities. [caption id="attachment_850941" align="alignnone" width="1920"] Nikki To[/caption]
Remember a time when holidays used to feel endless and the nagging anxiety of an overflowing inbox was a foreign concept? If you're struggling to recover this feeling of unhindered expectation and excitement, wind the clock back to simpler times by charting out a holiday that chases the kind of unbridled joy you used to feel as a kid. Because being an adult doesn't mean you have to stop having fun. Seek out spectral encounters on a ghost tour, conquer the wildest waterpark rides, cuddle rare animals or hit the waves at surf school. Whatever kind of youthful magic you're looking to revive, one of these trip ideas is sure to speak to your inner kid.
When Harry Met Rico. It might not quite have the same ring as the classic rom-com but could the upcoming Ricos Tacos x Harry's Terrace Bar collaboration elicit a response similar to Meg Ryan's sandwich? We're willing to find out. Ricos' mastermind Toby Wilson knows his way around a bloody good taco. And this month his tortilla slinging operation will be teaming up with Hotel Harry to host Ricos Tacos x Harry's from Monday, May 15 to Friday, May 19. Expect classic fillings — like pork belly carnitas, chicken achiote, and lamb shank birra — alongside Ricos signature sides to fill out your table of tacos every evening after 5pm. And you'll be accompanying them with a haul of beverage options with Drinks Director Josh Reynolds serving up all-new adult slushies alongside wine by Shun Eto. While walk-ins are welcome, if you want to be sure you've locked in a table to set down your tacos, we really recommend you make a booking at hotelharry.com.au or call 02 8262 8800.
What do you get when you assemble 24 international artists who are famously unafraid of taking risks and pushing the envelope? The result looks something like Hot Blood — an unapologetically bold exhibition set to hit White Rabbit Gallery in March. Championing the raw and the dramatic, and reminding us that art's not always easy to digest, this contemporary artistic lineup promises not to pull any punches. The likes of Sydney-based emerging artist Cindy Yuen-Zhe Chen and Macau multimedia artist Peng Yun will be among those showcasing their penchant for the subversive, through works that completely smash concepts of gender, age and identity. Expect to dive right into the deep end with this one, exploring concepts ranging from sexual desire and bodily frailty to psychedelia and spiritual ecstasy. Check out our top five works to see at the exhibition. Top image: Electromagnetic Brainology (2017).
You'd be hard-pressed to find anything more universally loved by Sydneysiders than the gorgeous stretch of coast along the Bondi to Coogee walk. And now that the daylight hours are getting longer and spring is well under way, there's no excuse not to don our walking shoes to enjoy the iconic scenery. Perhaps the one time of the year when Sydney really outshines itself in the looks department is during the annual Sculpture by the Sea, the world's largest public art exhibition of its kind. It's been 19 years since its inception, but the views evidently haven't gotten any less tiring to look at, with visitors growing more and more every year. This year, over 100 works from artists around the globe will dot the landscape from Tamarama to Bondi once again. There'll also be sustenance on the trail — and holistic, ultra-Sydney sustenance at that. The Grounds of Alexandria is running its pop-up cafe, The Grounds by the Sea, for the duration of the exhibition, this year taking their inspiration from the Hobbits of the Shire. Image: Cave Urban at Sculpture by the Sea in 2014.
El Jannah well and truly has cult-like status in Sydney. There are those who swear by the roasted bird, chippies and the renowned garlic sauce — and there are those who won't hear even a syllable towards the idea that the Lebanese-Australian joint doesn't reign supreme. And with locations now popping up in Melbourne, we're sure this mentality is going to cross state lines, too. But, fans are not only in love with the food, but the people behind the counter and pass, too. "[Our customers] treat us like an extension of their friends and family," Brett Houldin, CEO of El Jannah, shares. "They know people by name, they can tell you a lot about their first experience, and that seems to resonate." Together with Uber Eats, we cruised over to El Jannah's Earlwood venue and fired a few quick, fun questions at Houldin to catch his vibe (and to pursue that garlicky recipe). Have a watch below, and read on for the low down. https://vimeo.com/756998413 STICKING TO YOUR STRENGTHS We're all better placed if we stick to our strengths. Knowing when you're out of your depth is a key life skill — as Houldin learned. When was the last time he donned a hairnet and jumped in the El Jannah kitchen? "I'm only really effective on the chip station," he laughs. "That's all they'll let me do." He leaves the cooking to the pros, who smash out order after order (after order) for customers who are more than willing to stand in a lengthy line (or order via Uber Eats) to chow down. Houldin does still manage to get his fill of charcoal chicken, though. His weekly El Jannah count? Three or four times a week. "There's probably customers out there who eat it just as much, if not more, as I do," he laughs, well aware of the chicken shop's hype. THE BUSINESS OF BUSYNESS Given he's a busy man, you'd be forgiven if you think Houldin's El Jannah count is higher in actuality. So what was the last thing he cooked when he did have time? "Does it count as 'cooked' if I bought lasagne, put it in the oven and fed it to the kids?" he asks. THE SECRET IN THE SAUCE Sadly, Houldin kept mum on El Jannah's lauded garlic sauce recipe. We did press him on the issue — and have the unedited footage to prove it — but, through a big ol' smirk, he said, "I'll have to die with that one. That is only a family-known secret." All this chat put you in the mood for El Jannah chicken? Head to the website to find a location near you, or place your order via Uber Eats. Top image: Jarrad Shaw
The team behind Circular Quay's new multi-level venue Hinchcliff House is set to open an all-day cafe, bakery and bistro called Bondi Promenade in the newly renovated Bondi Pavilion. Tenancy of the Shop Four site within the precinct was awarded to House Made Hospitality's Scott Brown, Justin Newton and Stephen Seckold. Waverley Council announced the list of dining and retail tenants for the soon-to-open precinct earlier this month. Bondi Promenade will serve coffee and freshly-baked goods to beachgoers while offering a casual bistro dining experience featuring charcoal seafood and vegetables, with something available "for everyone and at every price point", according to Brown. Light healthy breakfast options, pizza-style flatbreads and seasonal fruit gelatos designed for a summer's day are all planned for the venue's menu. Other tenants at the building include clothing brand Between the Flags, previous tenant Surfish Cafe and Glory Days Bondi, a sister venue of North Sydney's Glory Days from the owners of Glorietta and Woolpack Hotel. "The Bondi Pavilion is truly an iconic building and we're excited to be opening our doors here with Glory Days, with a design that is both fresh and respectful of this incredible heritage building," Glory Days' Aaron Crinis said. The restoration and conservation of Bondi Pavilion was first announced back in 2015 and is now set to be completed early next year with expansive refurbishments to the building and its existing rooms, plus a new grand entrance and new toilets, showers and change rooms. The full plan for the historic building includes several new cultural facilities alongside the improvements made on the building's facade and facilities, with the beachside spot set to feature a new art gallery, community radio station, pottery studio and a flexible cultural space. [caption id="attachment_810676" align="alignnone" width="1920"] Grana at Hinchcliff House[/caption] Bondi Pavilion is located at Queen Elizabeth Drive, Bondi Beach and is set to reopen early next year. You can stay up-to-date with the building's refurbishment at the Waverley Council's website.
It seems like every rooftop, garden and open-air space in Sydney has been transformed into a winter wonderland this year (not that we're complaining). And the latest venues to join the wintry pop-up trend are harbourside spots Untied and Bungalow 8, which have teamed up to bring the cosy cold weather vibes to the inner city. Over at Bungalow 8 on King Street Wharf, a tree-lined path leads to six apres ski-inspired timber 'cabins' with plenty of blankets to keep you warm and heaps of skiing paraphernalia, too. Sip on a range of French Alps-inspired cocktails, including a honey mead-spiked iced tea, or stop by a pop-up bar dedicated to the drink of the moment: espresso martinis. Here, it's served nitro and comes with DIY optional toppings such as dark chocolate, hazelnuts, marshmallows and even fairy floss. You can pair all this with woodfired pizzas, cherry wood-smoked hummus, plus skillets of s'mores for dessert. Each 'cabin' fits four to eight mates, and bookings are recommended. A stone's throw away, Barangaroo's rooftop bar Untied has been transformed into a luxury ski resort. It comes complete with magnums of Champagne, absinthe-misted highballs and a new winter menu — with honey chicken wings and crème brûlée waffle cones. Bungalow 8's Winter Wooodlands is now open and Untied's Apres Ski Bar launches on Friday, June 21.
"Would you rather wear a hat made of spiders, or have penises for fingers?" It's not just an intriguing question. It's also one of the most memorable lines in modern Australian literature, as anyone who has read Jasper Jones will no doubt agree. Now, thanks to the film adaptation of the best-selling Aussie novel, it's one of the most interesting pieces of dialogue uttered on screen too. That said, pondering such an obviously important topic isn't the only highlight of the beloved book or its new big screen version. For the record though, author Craig Silvey — who wrote the shooting script for movie as well — would choose the first option. Contemplating arachnophobia versus added appendages is one of the lighter moments in a film that starts with a dead teenager, follows the efforts of an outsider to clear his name, and dives into the murky waters of discrimination in a small rural town. At the same time, the seemingly silly question provides an excellent example of exactly the kind of movie that Jasper Jones is. When you're 14 years old, life is filled with mysteries and surprises, both humorous and scary. One moment you're having a laugh with your friend. In the next, you're coming to terms with tragedy, prejudices and the fraught nature of race relations in Australia. After the eponymous Jasper Jones (Aaron McGrath) comes knocking on his bedroom window one summer evening, Charlie Bucktin (Levi Miller) experiences both. By day, he pals around with his best friend (Kevin Long) talking about superheroes and exaggerated dilemmas. By night, he helps Jasper cope with the suspicious death of his girlfriend, for which Jasper fears he will be blamed. That Charlie has a crush on the dearly departed girl's sister (Angourie Rice) complicates matters. That the mixed-race Jasper is viewed with suspicion by most folks in the fictional Western Australian town of Corrigan does too. Australian filmmakers have been keen on coming-of-age tales lately, with Paper Planes and Red Dog: True Blue (which also starred Miller) both gracing cinema screens over the past few years. Still, there's always room for a smart, thoughtful and engaging take on a well-worn premise, and Bran Nue Day director Rachel Perkins delivers just that. The book has earned comparisons to To Kill A Mockingbird, while Perkins has cited Stand By Me as an influence — and blending the two together perfectly sums up Jasper Jones' charms. Of course, a great text and a fine director are only part of the equation. Jasper Jones wins big on both fronts, but it also benefits from a stellar cast. There's a reason that Miller keeps getting work, and if the gifted Rice seems familiar, that's because she stole the show opposite Ryan Gosling and Russell Crowe in last year's The Nice Guys. The pair, along with the soulful McGrath and the amusing Long, offer an impressive snapshot into the future of Australian acting talent, which is no easy feat given some of the veterans they're playing against. Toni Collette pops up as Charlie's unhappy mum, and it just wouldn't be a local film without Hugo Weaving doing wearied and grizzled like only he can.
In 2008, the famous DKNY mural disappeared. For sixteen years, its re-imagining of the New York City skyline towered over the intersection of Broadway and Houston Street, unofficially marking the entrance to SoHo. Now, the concept has undergone an international revival. In ten cities around the world, artists have come up with works inspired by the original. Retaining the DKNY logo as their framework, they have produced 21st century interpretations, involving sculpture, photography, projections and paint. So, not only New York, but also London, Paris, Milan, Dubai, Kuwait, Tokyo, Hong Kong, Shanghai and Seoul, have become host to their own DKNY creations. According to the DKNYARTWORKS site, 'Each original work captures an artistic expression of the New York City skyline within the frame of the DKNY logo, bringing New York to the world.' Twin brothers, How & Nosm, whose iconic black, white and red murals appear in several major cities, have brought their intricate, graffiti-influenced style to an installation for New York. 'If you look at our artwork, you see an iconic face that keeps popping up in our paintings,' they explain in their DKNY interview. 'We've multiplied that face, so that it can represent all the faces of New York City.' Other artists include Amy Gartrell (New York), Roids (London), Maurizio Galimberti (Milan), Christophe Hamaide-Pierson (Paris), Sasan Nasernia (Dubai), Calvin Ho (Hong Kong), Nod Young (Shanghai), junk house (Seoul) and Yamaguchi Soichi (Tokyo). [Via PSFK]
In 1963, "muckraking" journalist Jessica Mitford (the staunchly left-wing sister-in-law to the UK's most famous pre-war fascist leader) wrote the seminal expose of the funeral industry: The American Way of Death. Mitford revealed funeral-parlour up-selling, lay-by burial rip-offs and a whole seedy underbelly that would sound pretty familiar to anyone who was scared of the undertaking competitors in Six Feet Under. For Matters of Life and Death, the Performance Space has pulled together a number of productions with a similar urge to pry into our fears of the workings of the unspeakable hereafter. Each ruminates on death and our anxieties about this looming personal apocolpyse. To get a better idea of how the undiscovered country has affected their mindset, Concrete Playground asked some of the people behind this season's productions their views on a few pertinent, eschatological questions. Unsettling Suite Is there a theory of death from life, myth or fiction that appeals most to your work? In Bone Library, which will be presented in Unsettling Suite as only a fragment of a much, much larger work. This work was inspired in its earliest stages by the historic repatriation of burial pouches, full of incinerated bone meal, to the Aboriginal people of Tasmania by the British Museum. Traditional Aboriginal burial rituals are really beautiful, I think, if it were still possible under Commonwealth law, which it isn't, of course, I'd love to meet my end in a traditional way. The body of the person is left out, above ground, inside a cave or a hollow log. The animals and insects feast on the remains, and after the bones have been picked clean, the skeleton is retrieved. The bones are regarded as objects of absolute preciousness, of course, they are the only physical remainder of your loved one. So the bones are distributed among the family, who carry the bone with them. One of the most shocking and irreconcilable things about death is the sudden and absolute absence of the person. Even if a person declines slowly, the moment of death is always sudden and always a shock to us emotionally and spiritually. I really think we have been stripped of whatever tools we once had to deal with this most basic fact of our humanity. I do wish that that I could carry the bones of the people I love, and that they could carry mine, with the knowledge that the rest of me has gone back into the land to nourish the continued cycle of life. Sarah-Jane Norman's Unsettling Suite is on February 23 to March 10. Photo by Penelope Benton. The Last Supper What is your production's view of death? It's odd that the word production is used in the same sentence as death — they don't sit well together. I'd never say that our Last Supper project is about death. It's about a lot of things: life, history, fame, executions, revolution, change, eating too much, eating too little. We serve last meal requests from prisoners who were on death row Texas. It takes the title of an event from a man who was also to be executed 2000 years ago, but we're serving food. And some of that food has meant the death of something else. If I start to get involved in this thought process, I find myself becoming stuck in a repeating cycle. You know the experience of experiencing this performance will die away, eventually. Or it will change. Or it might inspire another performance. I do hope so. Mole Wetherall answered on behalf of Reckless Sleepers. The Last Supper runs February 27 - March 9. NightTime: Live and Let Die Is there a theory of death from life, myth or fiction that appeals most to your work? Albert Brooks' 1991 Defending Your Life is my favourite movie about the afterlife. Purgatory is an LA courtroom where your life is examined to see if you're brave enough to go to heaven. Also Meryl Streep is really good in it. Our edition of Nighttimes will hopefully be a similar. People being as brave and adventurous as they can, while you sit back and judge them. With some death metal thrown in. Eddie Sharp is the guest curator for Matters of Life and Death's Nighttime: Live and Let Die on March 2. Photo by Lucy Parakhina. Mortality talking - Gas Bag What is your production's view of death? If we have an intimate relationship with the fact that our life — all life — will and does end, then this impacts on the choices we make, and the quality of our time in this fleshy envelope. This gasbag. This is why it's imperative to get the social and cultural practices around death (eg the funeral industry) and dying (as a medicalised experience) re-contextualised as the inevitable extension of our birthright. Back into our vocabulary, our thoughts, understanding and — for those who want to — our hands. How to create death literacy? That's what my practice as a death literacy educator, celebrant, artist and counselor is about and those are the ideas that Mortality Talking is playing with. Victoria Spence responded on behalf of Mortality Talking- Gas Bag. It plays on March 9. There's also a questionnaire feeding into the performance. Photo by Heidrun Lohr. Death (cha) Kucha What is your productions' view of death? At the Centre for the History of Emotions we are particularly interested in the emotional aspects of death and dying. One powerful example is suicide. Suicide is hard to talk about. It involves immense psychic pain, both on an individual level and amongst society more broadly. If we can uncover various forms of emotional response to suicide from various cultures across history, then we can begin to place our own understanding of that impulse and its consequences in perspective. This kind of historical understanding has the potential to inform current medical practices. At Death(cha) Kucha we will be discussing suicide, as well as executions, infanticide and other social taboos. Our aim is to critically engage our audience with their own attitude towards death; right before they sit down to Reckless Sleepers' The Last Supper. Gabriel Watts responded on behalf of the death-focused pecha-kucha, Death(cha) Kucha: with the Centre of Excellence for the History of Emotions, on March 8. Image of the Dance of Death. Performance Anxiety What is your production's view of death? Some of the characters die, some are killed, some kill, some stare death directly in the face; and some are consumed by the overwhelming sense of loss that the death of a loved one can bring. Performance Anxiety acknowledges that death is inevitable. Alongside this acknowledgement of death, though, it also seeks to embrace life,and especially an approach to life that is not unnecessarily encumbered by fear and anxiety. Brian Lucas's Performance Anxiety is on February 27 - March 8. Photo by Fiona Cullen. Desensitising Death: A Night of Film What culture do you think deals best with death? In comparison to other cultures, the Western World shrouds death in secrecy and still refuses to integrate it into our lives. This cannot be said when it comes to popular culture and the world of entertainment. Since the birth of cinema, death has been exploited on the screen for its entertainment value. Miss Death and Jay Katz's Desensitising Death: A Night of Film plays at the Clubhouse program, March 9. Image from Psycho.
Maybe you like to slather it all over everything you're about to eat. Perhaps you like to get your doses in more restrained dips and dollops. Either way, if you're a mayonnaise fan, Japan's latest food trend has you covered. At a mayo cafe, two things are on offer: the condiment in the spotlight, of course, and the ability to indulge in its creamy goodness in your ideal fashion. Here's hoping that your preferences include mayo on pasta, salad, seafood dishes, with hot and cold eggs, turned into a custard pudding, and served as a variety of dips, because you'll find all of the above on the menu — and more. Don't just expect any old egg-and-vinegar concoction, though. The cult favourite that is kewpie is not only the variety everyone will be gorging on, but also the company behind the dedicated eateries. The first Kewpie mayo cafe opened its doors in Tokyo's busy Shibuya district on March 1 to mark NationalMayonnaise Day (yes, it's a thing), with a second due to follow in Nagoya in central Honshu from April 1. Both will shower eager customers with all the kewpie they could dream of (not literally, of course) for a full month; however, we're guessing this won't be the last time mayo-centric establishments pop up. Via Munchies. Image: Takeaway / Creative Commons.
Sydney's number-one party hype crew Astral People is set to expand, bringing its Summer Dance series mentality to these cooler months for the first time. The inaugural Winter Dance will take over UNSW Roundhouse for one day only on Saturday, June 22. To drive the winter theme home, the multi-stage lineup features international artists from cold North American climates. Headlining are Detroit's lauded techno producer Omar S, Vancouver's house music guru Pender Street Steppers and, another Detroit import, techno pioneer K-HAND — this bad-ass business woman and multi-media artist has been given the official title of First Lady of Detroit by the city council. There'll also be heaps homegrown talent on the docket, including DJ sets by Sydney's own Ben Fester, Lex Deluxe and Maia Bilyk, along with Melbourne's Roland Tings. This all out party starts at 3pm and runs late, so get ready for a long day of dancing. Early bird tickets have already sold out, general release tickets are set at $60 and final release at $70. Astral People's Summer Dance series regularly sells out, so expect the same and snag yours now.
If you've ever wondered how variety can be the spice of life if simplicity is the ultimate in sophistication, it will do you good to head along to Sagra, one of Darlinghurst's most talked about Italian restaurants tucked inside a cute corner terrace on Stanley and Riley Street. With a juicy reputation in and around the eastern suburbs for unpretentious, humble Italian like Nonna used to make, on a menu that changes daily, you’ll soon understand how tasty this so-called paradox can be. Literally translating to 'festival' (of the small town variety), Sagra is owned and operated by head chef Nigel Ward (Lucio’s, Sean’s Panaroma and Trullo in London), and it’s safe to say the main attraction here, apart from the thoroughly inviting home-like and sparse-yet-still-cosy interior, is his philosophy of seasonally inspired food without the frills. Throw in traditional and cheeky Italian service with a genuine appreciation of the dishes in-hand, as well as knowledge of wines back home from The Boot, and you’ve got yourself plenty of reasons to nab a space at one of the 11 or 12 tables scattered inside. Luckily, you can book. When in Rome we began with a Negroni ($15) as we munched on the complimentary house-made bread and plump Sicilian green olives. Then one of the few long-term dishes made its way to our mouths: garlic soup (if, like on our visit, this isn’t displayed on the menu, definitely ask). Made from pureed Aussie cloves and olive oil, pepper, bread and cheese, this friendly little bowl packs a punch without any aftermath, smacking fellow diners in the face via your breath and their nostrils. The visible menu is divided between antipasti, primi (pasta) and secondi (main courses usually in the form of one meat and one fish). Skipping the antipasti in favour of the aforementioned favourite, we moved onto the pappardelle ($17) mingled with mascarpone, rocket and 'nduja (spreadable, spicy pork sausage) and some seriously good malfatti in sage butter (blob-like pasta balls literally meaning “badly formed”). Both dishes were perfectly proportioned, leaving plenty of room for the pork ($31), gemfish ($29) and rosemary potatoes ($7) that followed. The pig was tender and accompanied well with cabbage and verjuice salsa, while the thick white fish kept its natural flavour alongside cauliflower and heirloom carrots. Wine-wise our waiter helped us out with a powerful bottle of Italian Nebbiolo from the Piedmont region (also not on the menu). As we say here in Oz: too easy. At the end of the night and a little time poor, in search of something sweet we sadly had to substitute the house-made ice cream with a shot of thoroughly satisfying house-made lemoncello. But to be honest, after a couple of hours eating, drinking and generally being as merry as those fabulous Italians themselves, we’re not ashamed to admit “in search of something sweet” actually meant finding any excuse not to leave. Hey, simple variety. We love it.
