Darwin Deez are cliquey, culty, cooler-than-thou dorks of the curly-haired variety. They play folk-tinged rock wearing trademark headbands and naff overshirts. Their songs are lo-fi and low-rent wonders with lyrics that are vaguely literary. Think Ben Lee vs The Flaming Lips, or Vampire Weekend Vs. Two Door Cinema Club, and you've got a synopsis of their sound. Darwin Deez call what they do "a little bit Thriller, a little bit Dismemberment Plan”, and experiment indiscriminately with ironic Michael Jackson moves and petulant nu-hippy love. They have the threads, but not the attention span of Weezer, Nirvana and Adam Green. The more you try and work out why Deez's onstage calisthenics are so cartoonishly appealing, the more confused you will become. It's difficult enough determining whether Darwin Deez is the guy with the crazy perm who sings their songs and dances, or whether the name pertains to the entire band. The four of them present shows that are shambling extravaganzas of unbridled energy, unfettered shame and infectious enthusiasm. They are known to break into spontaneous bouts of synchronised yet completely deranged dancing on stage, and evoke everything from island beach parties to French soccer stars. Supported by Owl Eyes, Darwin Deez will help you burn a hole in your dancing boots with their songs about twinkly stars and wrinkly scars at The Metro.
Taking up residence at the North Sydney Oval, the 2010 Starlight Cinema kicks off with a preview screening of the hilarious British political satire In the Loop. Then for the next two months the varied program promises something for every cinematic palate with titles including (500) Days of Summer, An Education, the challenging Precious, James Cameron’s epic Avatar and the Pixar perfection that is UP.There’s fun to be had watching Matt Damon lie his way through The Informant! or Meryl Streep cooking up a storm in both Julie & Julia and It’s Complicated. You can walk the hallowed halls of Vogue in The September Issue, the winding streets of Genova or venture into the afterlife with Peter Jackson’s The Lovely Bones. This season the Starlight Cinema will also host special Bollywood night, a Brazilian Festa, the short film festival FLiCKERFEST as well as a free screening of environmental documentary The Age of Stupid. Cinemagoers can pack a picnic, enjoy a drink in the Chillout Zone, or splurge on Star Class with a VIP area, deck chair and an antipasto snack box. The program is brimming with 45 films, so take your pick and see the stars from the northside. https://youtube.com/watch?v=dQrqMkCuHqA https://youtube.com/watch?v=Q-woBHhOjjo https://youtube.com/watch?v=3qQ1ihiS_-4
Sydneysiders have always liked cheese, but in recent years things have gotten serious. Dedicated fromageries have popped up across our fair city and recently we've enjoyed festivals dedicated to cheese, cheese wheels filled with pasta and bottomless raclette. Our stomachs are working overtime to digest all the lactose — and, honestly, we've never been happier. And the love affair continues with this latest cheesy announcement. France (or more specifically, a Parisian centre for cheese, which is a real thing) is bringing Bon Fromage, a free three-day festival celebrating European cheese, back to Sydney — with double the cheese. The whole thing will be taking over Carriageworks from October 18–20. First and foremost is cheese — the venue will be transformed into a cheese marketplace and wine bar from 10.30am till 6.30pm each day (and 5–7.30pm on Friday night). Organisers will be bringing in over a tonne (that's 1000 kilograms) of cheese for the festival, and it will all be free of charge. Just to recap: free entry and free cheese. But the cheese festival isn't just about eating so much cheese you puke. Masterclasses will be held on how to match cheese with wine, how to tell the difference between varieties and, we assume, the correct way to draw a cheese fondue bath for yourself. There will also be a collection of stalls selling cheese for you to take home and eat later. If you would like to drop some cash on more cheese, you can do that, too. There'll heaps of cheeses available to buy and take home and one-off cheesy desserts from the likes of Koi Dessert Bar, BL Burgers and LoLuk Bistro. While entry is free, you will need to register for a session (5.30–7pm on Friday, or 10.30am–2pm and 2.30-6.30pm on Saturday and Sunday) via the website.
STC's musical adaptation of Muriel's Wedding is like a perfect high school reunion – maximum '80s nostalgia without having to tell any of your old friends you're in HR now. When Muriel Heslop realises that the small town of Porpoise Spit has nothing in store but grim futures, she decides to take off, with only her parents' chequebook, a couple of ABBA albums memorised note for note and a vague sense that the wider world has something that she is hungry for. PJ Hogan, who wrote and directed Muriel's cinematic adventure, has adapted and updated the script for the stage, while Kate Miller-Heidke and Keir Nuttall have built the music around ABBA's towering back catalogue. There's a real buzz around Muriel. Sure, it's a chance to re-immerse yourself in the unadulterated joy of Muriel's hijinks, but it's also because Muriel hasn't stopped holding the mirror up to our desperate, fame-hungry society since she first hit the screen. As director Simon Phillips points out: "Muriel's governing delusion is becoming a celebrity and becoming famously married. The world has caught up with Muriel." Image: Christine Messinesi.
Ever wondered what goes on deep under the ocean, after dark? This month, you'll get a taste of exactly that, when Sea Life Sydney Aquarium keeps its doors open late for an after-dark session, uncovering all the murkiest of deep-sea secrets. Running on Wednesday, June 26, from 6–8pm, the event will show off the aquarium's Jellyfish Garden in a whole new light (or lack thereof). While you'll have access to the full aquarium — so you can get up close and personal with all the turtles, sharks, dugongs, fish and penguins — there'll be a special focus on its luminous, venomous and gelatinous residents. Marine experts will chat about the many facts (and myths) circulating around jellyfish, discussing mortality, painful stings, antidotes and urine. You'll also get to meet everything from blubber jellies to moon jellies and even upside jellyfish. The talk will run from 6.45–7.45pm, with the doors opening at 6pm for aquarium exploring. The $40 ticket includes aquarium entry, an alcoholic beverage and snacks. You'll be able to purchase more drinks (and more snacks) on the night, too, if you please.
The Museum of Contemporary Art remains the place to be on the last Friday of the month when MCA ARTBAR takes over the gallery with an adults-only party of art, music, design and performance. Each month is curated by a different artist, making the series an ever-changing yet constant facet in Sydney's after-dark culture scene. This month, the party has been curated by Chris Fox, the artist/architect behind the Interloop installation at Wynyard Station and recipient of the 2018 National Trust Heritage Award for the Most Outstanding Project of the Year. Fox has enlisted the help of interactive performer and producer Daniel Nimmo to turn the MCA gallery spaces into a mini-games carnival, with a heavy dose of nostalgia. Think of it as a trip down memory lane to all of those backyard games you played as a kid — but with music, booze and more impressive surroundings. Program highlights include a three-legged dance-off, an egg-and-spoon rave and a combo sack race/life drawing class. There'll also be a 'Dungeons and Drag Show' hosted by The Bearded Tit, a Pong World cup tournament and something described as 'Flaming Jenga' — sounds dangerous(-ly fun). Plus, some good news if you're still harbouring pent-up frustration from the work week: the night will kick off with a piñata pounding as the opening ceremony. It'll all go down on Friday, October 26 between 7–11pm. Tickets can be pre-purchased for $18–$24 online or at the door for $28. Images: Jacquie Manning (1), Leslie Liu (2, 3, 5) and Bree Corvell Photography (4). Courtesy of the Museum of Contemporary Art Australia.
Beneath the thin veil of silliness in Voltaire’s Candide, little escaped his vicious attack: religion, art, politics, theologians, governments, armies and philosophers – especially Leibniz and his theories of the world's inherent order and goodness – were all shredded to pieces with writer's weapons of sharp wit, advanced insight and glorious absurdity. Based on the wild trials and tribulations of a wide-eyed boy named Candide who is indoctrinated in the cult of optimism by his tutor Dr Pangloss, the 100-page novella was an instant bestseller across Europe when it was published anonymously in 1759. Since then the story has been routinely revisited through derivative texts, showing up society’s complacency in the face of evils whenever it is told. Thankfully, Tom Wright’s adaptation stays close to the erratic and unrelentingly OTT plot. True to the original text, the humour is blacker than burnt tar painted in shoe polish at midnight, and the tone dryer than slow roasted chalk left in the Atacama Desert. Painstakingly detailed accounts are given of the characters being brutally pack raped, sold, abused, partially eaten, forced to watch their loved ones be slaughtered en mass, or getting subjected to natural disaster, war, STDs, slavery, and, worst of all, boredom. Sound like a barrel of laughs? Actually, it is. With references to circus clowns, Broadway musical, pantomime, marionette and vaudeville, this is a highly entertaining production, reminding us that Voltaire’s humour is aligned with that of slapstick: laughter in the face misfortune. At its crux is the notion that to live in hope against all evidence is one thing, but to think ‘whatever happens is for the best’ is just irresponsible. The problem with optimists is that if they don’t see what’s wrong with the world they won’t do anything to change it for the better, and with this message Voltaire sowed some important seeds for the French Revolution, which broke out 11 years after his death. The live music sequences are at times a little awkward but the airhostess-derived choreography for the sombre rendering of Black’s Wonderful Life, led by Amanda Bishop, is a memorable highlight. The performances are generally strong, especially from Barry Otto as the dogmatic Pangloss and Frank Woodly as the sanguine Candide; and Anna Tregloan’s carnivalesque set and costumes propose a semi-familiar world where everything is a bit off. Directed by Michael Kantor, Optimism is co-produced with Sydney Festival, Melbourne’s Malthouse and Edinburgh International Festival where it opened the theatre program in 2009, winning a Herald Angel Award for Frank Woodley. The production coincides nicely with Leonard Bernstein’s Candide which is showing for free in The Domain at the end of the month as part of Sydney Festival. Photo by Jeff Busby.
If war is hell, then military boot camp is purgatory. So told Full Metal Jacket, with Stanley Kubrick's masterpiece making that observation echo and pierce with the relentlessness of machine-gun fire. Now, The Inspection stresses the same point nearing four decades later, plunging into the story of a gay Black man enlisting, then navigating the nightmare that is basic training. This too is a clear-eyed step inside the United States Marine Corps, but drawn from first-time fictional feature filmmaker Elegance Bratton's own experiences. New Yorker Ellis French (Jeremy Pope, One Night in Miami) is the Pier Kids documentarian's on-screen alter ego — an out queer man who has spent a decade from his teens to his mid-20s homeless after being kicked out by his ashamed mother Inez (Gabrielle Union, Strange World), and pledges his post 9/11 freedom away for a place to fit in, even if that means descending into a world of institutional homophobia and racism. It would've been easy for Bratton to just sear and scorch in The Inspection; his film is set in 2005, "don't ask, don't tell" was still the US military forces' policy and discrimination against anyone who isn't a straight white man is horrendously brutal. Life being moulded into naval-infantry soldiers is savage anyway; "our job is not to make Marines, it's to make monsters," says Leland Laws (Bokeem Woodbine, Wu-Tang: An American Saga), Ellis' commanding officer and chief state-sanctioned tormentor. And yet, crafting a film that's as haunting as it is because it's supremely personal, Bratton never shies away from Ellis' embrace of the Marines in his quest to work out how he can be himself. There's nothing simple about someone signing up for such heartbreaking anguish because that's the only option that they can imagine, but this stunning movie is anything but simple. Gulf War veteran Laws is indeed The Inspection's own R Lee Ermey type, seeing Ellis' sexuality as his major malfunction — as do many of the privates training with him, plus Inez. The latter's derision gives agonising context to Ellis' eagerness to don the uniform; being dismissed and denigrated for being gay started at home long before he's at the recruit depot on South Carolina's Parris Island. In fact, Inez's abode, with religious iconography everywhere and her prison-guard hardness festering, is where she unburdens her disappointment during her son's early visit. Unlike for audiences, this isn't the first time he's hearing it. Ellis needs his birth certificate, Inez is as malicious with her words while handing it over as the military's worst, and having a parent who won't accept you for who you are is hell as well. Under the abhorrent Laws, nothing about boot camp in The Inspection comes as a surprise. Played with can't-look-away menace by the ever-reliable Woodbine, he doesn't just set the tone for his charges to follow — he makes punishing any derivation from his perceived norm a cruel and compulsory sport. Accordingly, when Ellis' sexual orientation becomes apparent, it's hazing open season among his peers and superiors. Only drill instructor Rosales (Raúl Castillo, Cha Cha Real Smooth) offers sympathy and kindness. And, in a place where every difference stands out, Muslim enlistee Ismail (Eman Esfandi, King Richard) is largely the only other target. Second-generation Marine Harvey (McCaul Lombardi, Patti Cake$) couldn't relish being a bully more, but it isn't difficult to get the bulk of the cadets sharing his hostility. Writing, directing and also ensuring that cinematographer Lachlan Milne (Minari) shoots with the raw intensity of a memory so unshakeable that it always feels fresh, Bratton stares head-on at his protagonist's distressing ordeal. The physical training is gruelling and grinding, and the abuse fierce and ferocious — but Ellis' determination to stick it out, retain his place and continue asking his mother to attend his graduation is equally as resolute. So is Bratton's, actually, with The Inspection grappling with the contradiction that is shaping one's sense of belonging around an institution that so overtly doesn't want you as you are. His feature is all the better because it refuses to make obvious and unchallenging choices, even when it's at its most arduous and depicting one of cinema's most well-documented routines; IRL, as informs this flick, the filmmaker patently never did either. There's a thick and lingering feeling to The Inspection, too, that peering at this time in Bratton's life was always going to be a thorny process. Based on the details, how could an autobiographical affair like this have proven anything else? His movie depends and thrives on that air, with every move made behind the lens — including whether skewing poetic and dreamlike, or seeping the picture in pain and grimness — letting the knottiness of what he went through, and what Ellis now endures, swish and swirl. Cue those inescapable Full Metal Jacket vibes and the terror that comes with it, but also nods to Moonlight in how The Inspection examines what it means to be Black and gay. Cue, as well, a kindred piece at times to Claire Denis' Beau Travail in visually surveying its military figures and honing in on stolen glances. Bratton was already a talent before The Inspection, and already directing his gaze inwards in a way, earning the Film Independent Spirit Awards' Truer Than Fiction prize in 2021 for Pier Kids and its focus on Black and homeless queer and trans NYC youths. Backing that gong up with a Best First Feature nomination at the same awards in 2023 isn't just his feat alone, however. A contender for two 2019 Tonys for Choir Boy and Ain't Too Proud, and for a 2020 Emmy for Netflix's Hollywood, Pope has also been receiving deserved attention for his debut feature lead portrayal — a simmering, sinewy and soulful turn that nabbed him a Golden Globes nod (albeit losing out to Elvis' Austin Butler) and is as magnetic as performances come. He's powerfully supported by the fear-inducing Woodbine, the subtle work of Castillo and the blistering efforts of Union. Bring It On isn't just the name of a movie she's still well-known for, but a description of how she commits to an emotionally strenuous part in a beautifully complicated film.
It can't be easy coming up with new angles on the time-travelling thing, at least not until time travel actually becomes possible (at which point I plan to go back and pitch Back to the Future to studio execs before Robert Zemeckis is even born). So for that reason alone, Looper deserves fair credit. Not only does writer/director Rian Johnson (Brick) take the genre in a clever new direction, he playfully avoids all the mind-numbing exposition about paradoxes and so forth by saying to the audience: look, since you've already come along to this movie about time travel, let's just agree it works and skip past the whole 'how' part, okay? Fine by us. Set several decades into our future, it tells the story of a hit man, or 'looper', named Joe (Joseph Gordon-Levitt), whose hooded and anonymous victims are sent back in time via mobsters living 30 years into his future. For the gangsters, looping provides expedient and untraceable assassination, while for Joe it's a lucrative profession in an otherwise debt-ridden dystopia. It also comes with a unique retirement plan: Loopers unwittingly assassinate their older selves in return for a massive pay day and precisely 30 more years of complete freedom in which to spend it. It's a kind of eerily desirable suicide, and the only hiccup is when a looper's older self (ie Joe Snr, played by Bruce Willis) manages to escape and throw the whole system into chaos. The film's fascinating premise gives rise to a novel motivation for its protagonist: Joe Jnr must track down and kill his older self so that he can retire and finally enjoy the good life before being sent back to be killed by his younger self 30 years later. They don't call it 'closing the loop' for nothing. Both lead actors put in excellent performances, though the make-up used to transform Gordon-Levitt into the younger Willis tend to distract more than they impress. There are also some fine supporting performances by Jeff Daniels as the loopers' contractor, and Emily Blunt as a no-nonsense farmer whose interactions with Joe Jnr flesh out the third act with both sentiment and suspense. Unlike other recent sci-fi offerings such as In Time and Surrogates, there's more to Looper than just a great idea. It's intelligently written, well paced, and achieves a commendable balance between dialogue and action. What's more, in a market increasingly flush with remakes and reboots, the discovery of something genuinely imaginative makes for more than a welcome surprise.
PAN Magazine. Is that in a goat-legged Greek deity/wow that initial bit of Narnia was creepy/The Secret History kind of a way? Or an out of the frying PAN magazine into the fire deal? PAN, as in 'across the spectrum' is probably a better guess, like how a pandemic is different from an epidemic. But then again, looking at those categories, PAN is pandemic in that it's crowdsourced, takes submissions openly, is definitely hot stuff, and this week its second issue is being launched in a den of satyrs. The World Bar has long and commendably dedicated its Wednesday nights to affairs of The Arts in an atmosphere that is soundtracked and as boozy as you need it to be. The launch of PAN's second edition (after a first that sold out two whole entire print runs) is a stand-up addition to this calendar, with people like Penguin Plays Rough's Pip Smith reading out words and people like Kirin J. Callinan playing musical sounds and live drawings, and tigers, and bears, OH MY!
Before you ever watched your first horror movie, you probably learned one of the genre's undying truths: that, by turning out the lights, things instantly get spookier. That idea also proves accurate at The House After Dark, which sees the Sydney Opera House opening its doors for late-night tours. Returning for a new season between Thursday, May 19–Thursday, June 30 — after a successful couple of runs in 2021 — the tour marks one of the rare occasions that you'll be able to explore the Opera House when all of its performers, patrons and staff have gone home. And, if that isn't eerie enough — because wandering through big public spaces when they're free from crowds is always a little disconcerting, as the pandemic has taught us — you'll also hear ghost stories, learn secrets about the site and discover all the mysterious occurrences that have taken place in the famed venue's halls. And, you'll mosey through hidden tunnels and passageways, too. Tickets cost $55 per person, and you've got six chances to head along: on Thursday, May 19; Friday, May 20; Sunday, May 22; Thursday, June 23; Friday, June 24; and Thursday, June 30. Each session kicks off at 10pm, with arrivals at the State Door at 9.45pm. There's a maximum of ten people per tour, so you won't have much company. And, when tickets go on sale at 9am on Wednesday, April 27, getting in quick is recommended — as the first round of tours sold out quickly. [caption id="attachment_797498" align="aligncenter" width="1920"] Trent Parke[/caption] Top image: Hamilton Lund.
There's no better way to get a much-needed change of scenery from your apartment's bland four walls than by heading to one of Sydney's many parks and soaking up some vitamin D. The good news is that, although it may still be winter, we're coming into some warm and sunnier days in Sydney. But, real talk: the weather apps aren't super reliable. So, if an outdoor soiree was planned so spontaneously you forgot to pack snacks, we've got you covered. We've partnered with DoorDash to round up some of the top feasts to get delivered to whatever patch of green you've settled on. Read on to discover the perfect bite to eat for your next impromptu park picnic, whether it be a first date, a group hangout or a solo sunshine dining sesh.
Following last year's fantastic season, The Silver Rose is a fittingly powerful way for the Australian Ballet to usher in 2010's quartet of performances. Originally commissioned in 2005 by the Bavarian State Ballet, the work was conceptualised and choreographed by Graeme Murphy with Janet Vernon, whose style is evident throughout. Though based on Richard Strauss's 1911 comic opera Der Rosenkavalier, Murphy has, as is his way, reworked every detail, allowing it to sit nicely alongside both recent narrative and abstract choices of the company. The Silver Rose opens in the bedroom of a famous actress canoodling with her younger (secret) lover Octavian. Thankfully, the Marschallin has more of an air of Moira Shearer in The Red Shoes than Courtney Cox in Cougar Town. Their tale unspools over three acts, all in quite finite settings and slight shifts in tone. The arrival of the Marschallin's impresario Baron Ochs signals the unravelling of a romance, and the beginning of two others. Ochs sends Octavian to offer the titular flower to his young fiancee Sophie and in doing so, she and Octavian fall in love. Ochs is angered and at the same time lustful of another character, the Marschallin's maid (Octavian in disguise). The paparazzi are there, following every move. From bedroom to ballroom to a folksy inn, the narrative ranges from languid and romantic to straight slapstick. The production of the ballet is steeped in nouveau details, with an overwhelming Klimt aesthetic: rich and romantic. There is also a dramatic '40s Hollywood feel, and towards the end, the set lends itself to Black Forest fairy tales. The action onstage is bolstered by occasionally kitsch visuals that add to the plot's playfulness, but one of the particularly nice moments is the sudden fall of a silver scrim right at the start. These small moments of simplicity are crucial to this ballet; the constant razzle-dazzle of the set and costuming occasionally threatens to hide the elegance and agility of the dancers. For all its flash and fun, The Silver Rose begins and ends with the Marschallin and her struggle with time, love and loss: the essence of this lovely comic melodrama. Discount tickets available if you're 26 or younger.
People of North Sydney now have an extra reason to swing by The Greenwood Plaza — and it's a hefty one. After first popping up in the shopping centre in 2014, Burgers By Josh has returned serve up even more meat between two piece of bread. Fans and locals probably won't have to cast their mind back too far to remember kicking back on the Upper Deck and salivating over chef Josh Arthur's creations three short years ago. Since then, he's expanded his repertoire even further, taking inspiration from Aussie personalities. Try getting your mouth around the Angry Anderson (double wagyu, crispy bacon, cheese and special sauce) or the Fat Tony (double wagyu, rocket-smoked Texan BBQ sauce, crispy bacon and potato buns), then washing it down with one of Josh's spiked milkshakes or a craft beer or two. "My first ever pop-up was at Greenwood Plaza, so it's great to set up our new residence in the same place," Josh said. "We will be introducing weekly and daily specials alongside our regular menu to celebrate the opening. I look forward to meeting lots of new and, hopefully, regular faces!" While BBJs is making a comeback, it'll be joined at Greenwood by a newcomer, with Blue 36 Cafe Restaurant making its debut. Headed by school buddies Jin Ko and Thomas Kang, the eatery is bringing you dishes influenced by both Aussie classics and Asian flavours. For brunch, you might tuck into a Vegemite cheese toastie and, for lunch, a super food salad (with quinoa, seeds, nuts, balsamic vinegar, grilled haloumi, lentils, Spanish onion, parsley, lemon dressing). Find Burgers by Josh and Blue 36 in The Atrium, the Greenwood Plaza's revamped food court that's also home to the Italian Street Kitchen, Thr1ve, Swiss Deli, Bun Me and Fogo Brazilia. For more information, visit the shopping centre's website.
Author Lee Child describes Jack Reacher as 6' 5" and 115 kg, with ice-blue eyes, dirty blond hair, and a 50-inch chest. So I know what you're thinking: Tom Cruise was born to play this role, right!? No? Well, it seems fans of the Jack Reacher series agree with you. To them, casting Cruise as their burly hero was akin to having Gilbert Gottfried play Superman, or putting Russell Crowe in a musical. But does size really matter? Because for those who've not read the books, Cruise fits the bill perfectly: a no-nonsense military cop and Iraq war veteran turned modern-day Ronin, moving anonymously from town to town in search of wrongs that need a-right'n. He's cool, he's calculating — he's everything you'd expect from Tom Cruise in an action film. And yet, in defence of the fans, he is utterly irreconcilable with the character from a physical perspective and that does count for something. Movies based on books should reflect those books as best as possible, and in that respect Jack Reacher earns itself a big black mark. But what of the film itself? To begin with, producers could not have chosen a worse week in which to premiere a film featuring a mass public shooting, coming just days after Sandy Hook. Yet even without that horrific real-world backdrop, Jack Reacher's opening scene remains both terrifying and unsettling. It's also probably the most original aspect of an otherwise by-the-numbers thriller, which may explain why director Christopher McQuarrie frequently revisits it. Overall the plot is simple but confused, the writing is largely mundane save for the odd zinger and — despite an impressive cast that includes Rosamund Pike, Robert Duvall, and Werner Herzog — even the acting feels periodically hammy. If you're a fan of his work, it's hard not to like Tom Cruise, but compared to last year's fantastic Mission Impossible 4: Ghost Protocol, not even he can get Jack Reacher to fire on many fronts. So again we ask: does size really matter? Who knows, but a decent script sure as hell does.
A lie that people will tell you about techno is that it’s dead. That the glory of the trancy dance music that sprung out of subgenres in Detroit has been eclipsed by crappier subgenres, and by people who claim that techno is made up of Moby, Fatboy Slim, copious amounts of alcohol and even tunes that rely on LYRICS. Well regardless of how the techno scene is faring in Detroit (according to Eminem, nobody listens to it) it’s far from dead in Sydney. The proof is in the MOTORIK! parties, which combine techno only with things that don’t detract from the beat. These things include secret locations that you have to RSVP to get the address for, and sometimes they include costumes. That’s right, in honour of MOTORIK! #5 falling on Halloween weekend they’re inventing yet another subgenre. But this subgenre isn’t about house, disco or electro — it’s about techno zombies doing the bang gang with techno vampires, moshing with techno werewolves and hardstyling it with techno Vikings. The Finger Prince and special guest Jensen Interceptor will also be there along with Slow Blow, Cosmonaut and The Kat, so you know it’s still all about the music too. RSVP to motorik.motorik@gmail.com for venue details.
Drawing thousands of visitors over the first weekend in June, The Taste of Manly brings together culinary samples from Manly's best restaurants and NSW wineries, plus live entertainment and pop-up inspiration points, like the Sustainability Hub. Spread out along The Corso and Manly Beach from 11 to 5pm on June 2 and 3, there will be tasting and market stalls from eateries including Chat Thai, Le Kiosk, Hotel Steyne and the Troubadour and from big name wineries like First Creek, Lindeman's and RidgeView. Two entertainment stages will be blasting out blues, folk, indie, rock, reggae and '60s rock 'n' roll across both days, as well as comedy acts and two major cooking demonstrations from the chefs at Hugos (Saturday) and Garfish (Sunday). Manly's Sustainability Hub will be the focal point for community initiatives such as car-sharing, green-fingered inspiration in the form of organic produce and native plants, plus advice and special offers on eco-friendly stuff like electric bikes, solar panels and chemical-free cleaning products. Feeling low on cash? Don't miss 'Treat Street' — a cheap way to sample fare from local suppliers like Booza, Gourmet Dinner Service and Infinity Sourdough Bakery. Fill your belly with the goodness of organic lemonade from Bionade and traditional Dutch treats from Poffertjes Please.
This may shock you, but not all people who have Fine Arts qualifications end up as successful practising artists. I know, right? Who'da thought it. When Good Curators Go Bad is an exploration of what happens to the people who get degrees in art and are working in the arts but not as artists. "Was there a point?" the exhibition asks, and "What are you doing now?" and "Hey, wanna be in a show?" Conceived by Michael D'Agostino, who is Studio Co-ordinator at Parramatta Artists' Studios, the show features artists who are known for their careers as arts professionals. Kon Gouriotis is director of visual arts for the Australia Council, for instance, Lisa Havilah is CEO of CarriageWorks, and Bec Dean Michael Rolfe is CEO of Museums & Galleries NSW. These are people who are doing pretty well. But, one must ask, is it ART? What art is comes up in a slightly different way in Jodie Whalen's Sixty Kilograms, a body of work that take the 'body' part of that phrase very seriously. The title comes from a weight that falls into the ideal zone for Whalen as calculated by BMI, and her work investigates and documents regimen and ritualisation as part of an attempt to 'succeed' both in reaching this 'ideal' weight and having her work displayed in an art gallery. It's a performance - including a live performance in the gallery space - but it's also a crossover between art practice and 'real life.'
Strawberry Fields' Tocumwal home has remained quieter than normal of late, after the site was inundated by flood waters last October, forcing the annual music festival to cancel. But it's about to score its glorious comeback, with brand-new one-day fest Good Times heading along to give it a proper workout this autumn. Making its debut on Saturday, March 25, Good Times is set to deliver a hefty lineup of Aussie talent, with acts like Cash Savage & the Last Drinks, garage four-piece Floodlights and blues legend CW Stoneking & His Primitive Horn Orchestra already revealed to be making the trip to Tocumwal. [caption id="attachment_887375" align="alignnone" width="1920"] Will Hamilton-Coates[/caption] Now, organisers have dropped the full artist lineup, throwing big names like jazz-funk four-piece Surprise Chef, Music Victoria Award-winning songstress Bumpy and dance-floor favourite Wax'o Paradiso (aka Simon TK and Edd Fisher) into the mix. Joining them in this bush oasis on the banks of the Murray River are rising stars Glass Beams (with their signature masks), Yorta Yorta blues act Benny Walker and Alice Springs-based folk artist Charly. And you'll catch even more diversity of sound from the likes of JUMAN, Collingwood Casanovas, PBSFM's Mz Rizk and a stack of others. [caption id="attachment_887378" align="alignnone" width="1920"] Will Hamilton-Coates[/caption] The family-friendly one-stage festival is set to be capped at just 1000 guests, with camping passes available for those keen on sleeping over, as well as shuttles running to and from Tocumwal's town centre. Alongside the tunes, there'll be offerings like a flame-driven culinary program with eats by Three Blue Ducks' Mark La Brooy, Wild Pie (a new collaboration from Jo Barrett and Louise Daily), and the purveyors of wild game at Discovered Wildfoods. Plus, attendees can also enjoy a strong lineup of natural wines, a series of riverfront hot tubs for unwinding in between sets, and a pop-up lounge for resting and relaxing. And as is the case with Strawberry Fields, you'll be able to cool off with a refreshing dip in the river whenever you like. Best of all, the entirety of Good Times ticket profits will be rolled into the Strawberry Fields Community Grants Fund, going to support local community organisations and non-profits. Berrigan Shire locals have access to half-price tickets. [caption id="attachment_887377" align="alignnone" width="1920"] Will Hamilton-Coates[/caption] Here's the lineup in full: GOOD TIMES 2023 LINEUP: Benny Walker Bumpy C.W. Stoneking & his Primitive Horn Orchestra Cash Savage & the Last Drinks Charly Claps Collingwood Casanovas Don Glori Floodlights Friday Young Glass Beams JUMAN Kuzco Mz Rizk Surprise Chef Wax'o Paradiso Good Times will take place at the Strawberry Fields site in Tocumwal, NSW, on Saturday, March 25. General admission tickets start from $119, available online. Top image: Duncographic.
It's only the fourth day of 2021, which usually means sweltering weather and blue skies. But summer in Australia is also synonymous with storms, and one is coming Sydney's way — so if you're currently reading this from somewhere dry and cosy, we suggest that you keep it that way for the rest of your Monday afternoon. Sydney isn't just in for any old wet weather, either. In a 'Detailed Severe Thunderstorm Warning' released this afternoon, the Bureau of Meteorology has advised that "flash flooding and damaging winds" are likely as storms sweep through Richmond, Camden, Penrith and Picton, then hit Parramatta, Campbelltown, Liverpool and Bowral, and then affect Hornsby, Sutherland, Wollongong, Sydney Airport, Sydney Olympic Park, the Sydney Harbour Bridge and Cessnock. The wild weather is predicted to impact Parramatta from around 4.20pm, then make its way to the CBD by 4.50pm. BOM will issue another update by 4.55pm. https://twitter.com/BOM_NSW/status/1345952681748291585 Sydneysiders can also expect large hailstones and heavy rainfall, BOM noted on Twitter, as the line of severe storms makes its way across the city. As the storms approach today, the usual common sense tactics obviously apply: secure loose outdoor items and stay inside. NSW State Emergency Services' number is 132 500 if you need its assistance. While the storms are only expected to make their presence known today, wet weather is forecast to hang around until the weekend. There's a 60-percent chance of showers on Tuesday, 70 percent on Wednesday, 50 percent on Thursday and Friday, and 40 percent on Saturday. Stay dry out there. And remember to check Live Traffic, Transport Info and BOM for warnings and updates.
Art plus bar. This almost universal gallery opening deal is a pretty tasty mix already. But the MCA adds extras to this time-honoured tradition with its now SMAC-winning series ARTBAR. They’re evenings of strange and interesting things at play among the art, recurring monthly and curated by a rotating cast of local artists. This month, it's the Primavera artists' turn. Come and see Jacqueline Ball, Jackson Eaton, Heath Franco, Thomas Jeppe, Jess Johnson, Juz Kitson, Kusum Normoyle and curator Robert Cook take on the gallery space. There'll be installations; video works; music performances by Steele Bonus, Roman Wafers, Horse Magyver and Standish Carlyon; and a stairwell soundscape. Not to mention that Primavera Edition also features artists as DJs all night long.
Four Seasons Hotel Sydney's cosy whiskey bar Grain is joining forces with Belvedere this Vivid Sydney to transform into a blue, glowing wonderland called Light the Night. Just a minute's walk from Circular Quay, it's the ideal spot to escape the crowds for a warming, top-shelf tipple in front of a fire. Plus, Grain's bartenders have created a bunch of new Vivid-inspired cocktails to serve up during the month-long celebration, including The Ghost of Mary, a transparent twist on the bloody mary made with Belvedere, house-made tomato consommé and frozen cherry tomatoes instead of ice cubes. Meanwhile, the hotel's restaurant Mode Kitchen & Bar will be dishing up a three-course Vivid-inspired menu. Settle in to sample head chef Francesco Mannelli's favourite and most-comforting winter creations. Think wood-baked rounds of Italian cheese and Rangers Valley wagyu cheek. Topping off your feast will be a majestic 'glowing' pavlova and free parking (for Mode guests) from Monday to Thursday between 5:30-10pm. If you're keen to stay over — and lose yourself in the Four Seasons' Sydney Harbour panoramas — then check into one of the luxe harbour view rooms or suites. The hotel is offering a ten percent discount on stays of two nights or longer during Vivid Sydney. Four Seasons Hotel Sydney's Light the Night experience and restaurant and accommodation specials will run for the duration of Vivid Sydney, from May 25 to June 16. For more information and to make a booking, head to the website. Images: Alana Dimou
Objects: The Beehive "In terms of dental prosthetics, printing's been used for a long, long time. That's where it all really developed." says the Beehive's Adam Long. 3D printing — formally known as additive printing — and laser-cutting are the province of the Beehive, a Gladesville outfit that shares space next to an expansive mechanic's garage with the Robots and Dinosaurs (a local hackerspace). Adam is one third of the Beehive, along with Daniel Almagor and Daniel Sutherland. They say they founded the Beehive almost in reaction to design school. "Why make a million things the same, when we can make one million, customised. The other element we wanted to bring to it was sustainability, the complete opposite of everything we were taught at university, essentially." 3D printers can print pretty much anything you can squirt out of a tube or whose powdered form can be melted. In theory, it's sustainable from "cradle-to-cradle" — unwanted printed things can just be melted down and printed again at "equal or higher quality." And you really can print almost anything: steel, paper, cardboard, plastics or even chocolate. The Beehive makes consumer products, like notebooks, and are moving into corporate gifts. When we met them, they had been planning to move into printing designer glasses as well. Getting the plastics in the glasses just right for someone's prescription lenses is usually tricky, but a 3D printer can just melt down a bad prototype and print it out again until it fits right. Their laser-cutter can also come up with surprisingly three dimensional products, either assembling cut pieces like a model kit, or burning through thicker materials to give the illusion of solidity. And laser-cutters can also cut into a surprising number of things. Toast, for example. "We've done bread on there, and engraved a pattern into that." says Daniel Sutherland. "You could've eaten it. I had a bite. It wasn't any good." They mention other places that are doing tattoos with laser-cutters, seaweed for sushi and even burning some designs onto fingernails, engraving away nail polish to make patterns. "You have to line up fingers perfectly, on that." The Beehive makes and engraves a lot of wooden products with theirs, but are comfortable cutting out perspex jewellery as well. For some local artists, this process means they can get an order for a piece jewellery, then print it and post it to their customer. It's like an accelerated form of "just in time" manufacturing. At the moment they're also running an (already successful) Kickstarter campaign to produce a line of customised, sustainable, bamboo notebooks. The Beehive's laser-cutter uses a high-powered laser that runs at 100 watts — the same as many incandescent lightbulbs. A massive laser tube in the back of the machine bounces a beam off a series of mirrors until it reaches nozzle at end, where a lens focuses it down to the size of a pinprick. And all this energy punches right through timber, plastic or paper. Artists wanting to use the laser-cutter send a design off to the Beehive, be it a hand sketch or computer file. Translated in the computer, it becomes series a series of mathematical lines (vectors) that get translated into a machine code, telling the laser where it needs to cut. "Then you pretty much just hit go." says Long. And assuming the first one comes out ok, that's about it. For 3D printing there are two main types of printer; selective laser melting uses a laser to melt tiny layers of powdered plastic or metal into a solid object, and fused deposition modeling uses a moving nozzle, squeezing out plastics melted from long, white loops of plastic string (or chocolate) in an endless sausage, snaking out the layers of the object from bottom to top. They're still tricky to operate. Daniel says the designs at the moment "aren't focusing on usability. They're focusing on resolution." It took us a while to get something decent to come out, says Long. "It took us a while for something decent to come out. I'd say the learning curve was about six months." He adds: "They're about as useable as a PC was in 1981." With this technology you can make locally for the same cost as you could in China. When the machines are doing all the work, it doesn't matter where that machine is. What we're really excited about seeing in the future is that everything gets made local, custom and from sustainable materials." One of the first things they made themselves with their first printer was second 3D printer. This is an ongoing theme with 3D printing, the dream of a printer printed entirely by another printer. The technology isn't there yet to print a whole machine, but you can print a reprap — a hybrid machine with some printed and some made parts. This second printer cost them about $500 to make. In the photo below, the white parts of the machine were printed. Printing circuit boards, though, is still a bit of a dream. Although it keeps on getting closer. "Anyone can join up to a [hackerspace] like this and have access to all this kind of equipment." says Long. "It's like, you know those videos you'd see before DVDs: You wouldn't steal a handbag, you wouldn't steal a car. Well, you know, if you could print one, you might actually steal a car. If you could download a Ferrari and print one at home? Yeah, yeah. I'd probably steal one." < Prev | 1 | 2 | 3 | 4
We all remember slide show nights, right? Somewhere in the decades between storytelling around a campfire and Facebook, they reigned supreme as the most effective means of rubbing one's super-thrilling life in the tired faces of one's nearest and dearest. Sadly, in this digital age of instant uploading, generations to come will be robbed of the sheer joy that hours of pixelated projections of naff family holidays and honeymoon play-by-plays can provide in the slightly uncomfortable intimacy of a living room. But here to dust off the cobwebbed tradition is Cross Projections, a reinvention of the good ol' fashioned slide show, with upgraded effects, cinematic tricks and content actually worth donating precious minutes of your life to. In 2001, founder Roslyn Sharp, inspired by slide show nights run by photographer friends in their backyards and living rooms, decided to put on a screening event called F99. Nine years later, F99 has evolved into Cross Projections, a sophisticated multimedia slide show night of still and moving imagery. Dealing with a broad range of themes from eating disorders to cane toads, the screenings will be held over four days and will showcase the personal photographic essays of sixteen esteemed photographers whose approach to their imagery varies from fine art photography to photojournalism. Receiving very little government funding, Cross Projections is run with local community support — an admirable feat considering it’s now in its eighth season. So if you’re interested in a night of social and historical documentary presented by some of the country’s finest professional and emerging photographers, make sure you book in advance for a slide show night like no other. They might even let you bring popcorn.
Plenty of Aussies have found themselves captivated by US TV drama The Handmaid's Tale, and the image of a dystopian society that is — even 30-odd years after the book was published — a little too close to home. And now, you'll have the chance to dive even deeper into that world, as Margaret Atwood, author of the original books that inspired the show, heads Down Under for an exclusive Australian appearance. Taking the stage at the Sydney Opera House in March 2019 in the lead-up to International Women's Day, the acclaimed Canadian writer will speak as part of the UNSW Centre for Ideas 2019 program. Atwood, celebrated for her storytelling prowess, prescient imagination and thought-provoking ideas, will share her insights into how present-day behaviours might be used to foretell any grim futures coming our way — just like those fictional worlds that hit so close to home in the likes of The Handmaid's Tale and Atwood's other works like The Blind Assassin, Alias Grace and, more recently, the MaddAddam Trilogy. The author's set to dish up her thoughts on the key issues of today and the future realities they might herald, from extremist politics, to climate change. It should be an interesting, if not eyebrow-raising, talk — as well as being an obvious advocate for women's rights, Atwood came under fire this year for her controversial take on the #MeToo movement and her reluctance to call The Handmaid's Tale feminist. Maybe she can visit Gliead while she's here.
If you're feeling uninspired by your roster of lunch spots — and you have a desire to get out in the spring air — you can swap your regular desk sandwich for a taco feast this October. Usually reserved for its Cinco de Mayo celebrations, the Neutral Bay's SoCal will bring back its all-you-can-eat taco offer for three weekday lunches, across October 2–4. So best start making room in your stomach now. For $30, you can tuck into as many tacos as your tum can handle. Think varieties like fish with pineapple and coriander salsa; smoked brisket with peanut mole; octopus and chorizo; and mushroom with agave and jalapeno cheese sauce. For drinks, the bar will be slinging margaritas for $12 all afternoon, too. You'll need to book a table between 12–4pm for the deal. So if you work on the lower north shore, we suggest you rally your colleagues and do so ASAP.
Back in the day, punk music was pretty scary. There were crazy piercings, dudes fashioning mohawks with eggs — even the ladies of punk were pretty scary. You may have noticed that punk is experiencing a revival (or new-wave) at the moment, something that Amy Franz and Hayley McKee of Super Wild Horses say they're accidentally a part of. "[It’s] mainly because of the bands that we play with", Franz tells me, but that's not entirely true. The essence of first-wave Punk was defined predominantly by an attitude — that you were in control of your own future and if you wanted anything from it, you'd have to just do it yourself and stick it to 'the man'. Franz and McKee kind of say that. They've just released their first 12-inch, Fifteen which they recorded on an 8-track in one weekend, on their own. It's the eve of their launch tour so you can see just how DIY they are when they're onstage too, playing multiple instruments simultaneously, which Franz says started "because there [is just] two of us. We never really thought about having any extra people in the band." Punk has two pretty, new faces.
There are two reasons why this concert has made our list. First up, it involves the Town Hall's grand organ. That thing, which was the biggest organ on the planet when it was installed in 1890, can make 'Chopsticks' sound like Beethoven. Secondly, Anna von Hausswolff won’t be performing 'Chopsticks'; she’ll be playing and singing her dark, dramatic meditations on life and death. Genre-wise, they're tough to categorise, combining the influences of opera, film scores, black metal, the Cocteau Twins, Jefferson Airplane and her famous, avant-garde composing dad, Carl Michael Von Hausswolff. Plus, she'll be supported by New Zealand's Aldous Harding, a '60s-influenced folk artist who dazzled Australian audiences earlier this year. Anna Von Hausswolff is one of our top ten picks of the Sydney Festival. Check out our other favourite events over here.
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If looks are anything to go by, Cloud Control are a neat, quaint and homely band — but your mum was right when she told you looks can be deceiving. The kids from those mountains of blue are making waves in this city — waves of crowds so large they can't be contained in single venues. Having come from meek (but by no means mild) beginnings as Triple J Unearthed Artists, Cloud Control were catapulted into the high-rotation ranks of album of the week at Triple J, FBi Radio and 3RRR with the release of their debut album Bliss Release, which also earned them a slew of shiny reviews across a myriad of media. The Annandale has snagged them for a Friday night set as they skip through town; it's the venues 10th birthday, and they're celebrating all week with a lineup of the finest Australian bands they can muster. There's also no shortage of talent supporting them with Kyu and We Say Bamboulee joining in on the party fun. If you missed the Sydney launch of Bliss Release at the Oxford Art Factory, it was because they filled that venue to the brim; don't be so blase about pre-booking tickets this time around. https://youtube.com/watch?v=MexDd9q4QdY
The Justice and Police Museum is part of Sydney Living Museums, a collection 12 unique historic houses and museums telling the story of the city. This museum will capture your imagination as it takes you through the city's history of crime, punishment and policing. Explore the chilling 1890s holding cells of this heritage-listed courthouse, once graced by some of the areas most infamous criminals, then cast your eye over genuine weapons used over the years. The museum is also home to the remarkable New South Wales Police Forensic Photography Archive, which is made up of around 130,000 negatives, taken between 1910 and 1964. Image: Wiki Commons
Guzman y Gomez has no shortage of Mexican eateries in NSW. It has 43, in fact. But, it's continuing its tasty expansion and opening one more on the lower north shore on Thursday, February 27. And to celebrate, it's offering up $5 burritos and burrito bowls for a whopping seven hours. Taking place in store at the new Chatswood shop, the $5 eats will be available from 12–7pm. So, you can pop by on your lunch break, swing past after work or, throw caution to the wind, and do both. The burritos see a flour tortilla stuffed with rice, beans, pico de gallo, cheese and your choice of meat or veggies — a totally acceptable meal for both lunch and dinner, right? Well, we think so at least. Guzman y Gomez's Victoria Street opening is just a small part of the brand's 2020 expansion plans, which also include its first stores launching in the US. We could be seeing a lot more of it — and its $5 burritos — in the near future. $5 burritos are available from 12–7pm
What do fashion photography, Catholic iconography and dirty rock stars all have in common? Firstly, they’re all full of foxy ladies. But more specifically, they all serve as inspiration for Sydney-based artist and go-go dancer Bridie Connell. Drawing on personal and fictional narratives, visual metaphors and dark humour, Connell investigates an ongoing interest in representations of women and femininity in art and popular culture. She’s also the brains behind Gaffa’s latest group exhibition Hello Dolly, for which she’s amassed a whole bunch of artists (both male and female) to contribute their own visual perspectives to her venture. Along with Connell’s own work Hello Dolly will involve performance artist Liam Benson’s exploration of how our cultural environment influences the conventions of gender roles, Stephen Giblett’s hyperreal oil paintings and Simon Lovelace’s sexy neo-pop art heroines. Along with other excellent local artists including hilarious duo The Motel Sisters, who are “hotter than Twitter and sweeter than a Wendy’s Sherbitt Whip”, they’ll all pay tribute to the personas we create, admire and desire through the use of fashion, costume, make-up and disguise.
Ah, the mysteries of the cosmos. Stargazers everywhere, both sciencey and romantic, can rejoice at this exciting time because the Astronomy Photographer of the Year 2013 competition exhibition is showing at the Royal Observatory Greenwich in London through 23 February next year. We've come an awfully long way from the first photo of the moon taken ca. 1826, what with our insanely high ISOs these days, and our tripods and our knowledge and our penchant for standing around all night while our Canons painstakingly track the path of the stars. Now in its fifth year, the competition received more than 1200 entries from 49 countries. Turns out, it's not only nerdy Hubble astronomers and National Geographic lensmen training their eyes on the skies — all manner of enchanting and mind-bending space images are being made by inspired amateurs year-round (even a 14-year-old's work has earned some laurels this year). You're sure to deeply enjoy pondering the beauty of infinity as you check out these selects. So who's been judged the ultimate astrophotography kingpin? Australia's Mark Gee with his photo 'Guiding Light to the Stars' — and we just happen to have the Concrete Playground Bluffer's Guide to Astronomy Photography on hand, featuring all the advice you could need from Mr. Gee himself. It's not so easy making sharp and correctly-lit images of the night sky (Lord knows I've tried and failed), which makes Gee's wisdom, and the shots in the exhibition, even more impressive. Soundtrack while you are shooting meteors? 'Constellations' by indie quirkster Darwin Deez. The Astronomy Photographer of the Year 2013 book is out now, and the Flickr pool has all the submissions for your viewing pleasure. Top image: Hi.Hello photographed by Ben Canales (Runner up – People and Space Category) Guiding Light to the Stars by Mark Gee, winner of the Astronomy Photographer of the Year “Snowy Range Perseid Meteor Shower” shot by David Kingham (Highly Commended – Earth & Space Category) The Waxing Crescent Moon by 14-year-old Jacob Marchio (Highly Commended – Young Astronomy Photographer Category) Green Energy by Fredrik Broms, capturing the Aurora Borealis (Runner Up – Earth & Space Category) Moon Silhouettes by Mark Gee (Winner – People and Space Category) Celestial Impasto Sh2-239 by Adam Block (Winner – Deep Space Category) Floating Metropolis – NGC 253 photographed by Michael Sidonio of Australia, showing the rare appearance of a starburst galaxy, with many stars being born at once (Highly Commended – Deep Space Category) Via Hyperallergic
If you didn't already get goosebumps walking past Paddington's mysterious Reservoir Gardens at night, you sure will now. The rejuvenated public park has been bathed in a light installation that makes it look like its full of water, complete with a single swimmer. This is Top5Feet, an intervention of light, glass, sound and projection that playfully nods to the history of the Paddington Reservoir. For local residents, the Paddington Reservoir Gardens are a serene pocket of green sunk beneath busy Oxford Street, but there once was a time when the eponymous reservoir served as a water source for a growing Sydney. Unfortunately, the reservoir's use was limited by a design flaw that meant only the top five feet of catchment could run to nearby properties. It's this quirk that gave inspiration to Australian artist and architect Dale Jones-Evans, who collaborated with Axolotl Art Projects in the creation of Top5Feet. “The artwork references the reservoir’s original purpose and emphasises its shortcomings," says Jone-Evans, “reflective lighting from the lower floor will create an illusion that the reservoir is full of water, while lighting of the upper arches will help create a beautiful, ethereal atmosphere." Visitors to the Gardens will share this space with a ghostly, lone swimmer who laps continuously from one end of the pool to the other. Art & About is famous for its springtime art installations across Sydney. This is the first time the festival is presenting artworks outside of its traditional schedule, aiming to reach and delight a wider audience throughout the year. Top5Feet is free to visit and will start each day at dusk until May 24.
Get ready to cosy up this winter at the Sydney Tea Festival. If you have a yearning for an Earl Grey or a passion for Russian Caravan, this event is sure to warm your cockles. When the festival opens at Carriageworks on Sunday, August 19, you'll find all manner of tea-related talks, workshops and tastings to extend your appreciation of the finest brew. One workshop, held by Ryan Gavin from Rockpool Group and sponsored by Archie Rose Distilling Co., will explore tea-inspired cocktails, and tell you how you can add some booze to your next tea party. In another, you'll learn all about pairing your favourite beverage with cheese. Or, take sessions on everything from blending and brewing to Japanese green tea and Taiwanese Oolong — when you're not trying four different blends of tea wine, that is. There'll also be plenty of stallholders showing their wares, a tasting table for small groups and a tea degustation dinner to celebrate the fest's fifth birthday. Tickets range from $16.50 in advance to $20 on the door, and you should book ahead for the workshops and talks. Get ready to curl those frosty hands around a warm cuppa and escape Sydney's winter chill. Images: Madeye Photography.
It's already well-known for its unique offering of fried chicken, doughnuts, Champagne and kicks, and now Butter is throwing another element into the mix — helping to make some lives a little easier by hosting a charity sneaker drive. Coinciding with National Sneaker Day, this Tuesday, October 9, the drive will see Butter collecting a heap of shoe donations for Shoes for Planet Earth — a non-profit organisation that provides recycled running shoes for those in need. Head in to either store (Surry Hills or Parramatta) between 11.30am and 10pm on the day, drop off a pair of pre-loved, hole-free sneaks, and you'll score one of Butter's hot buttered cinnamon doughnuts for your efforts. You'll be doing your tastebuds a solid, clearing out your wardrobe and helping some well-deserving folk put their best foot forward — that's winning all round.
Each year, Curryfest transforms the town of Woolgoolga into a bustling centre for celebrating the Punjabi heritage of the region. On September 23, the festival celebrates its twelve years by showcasing Indian music, dance, culture and of course, plates upon plates of curries. Head to the Woolgoolga Beach Reserve where the town's breathtaking Sikh temple is visible from its hilltop location. Apart from the Australian beachside views, you'll feel transported to the vibrant streets of India with all of its sights, sounds and smells. While a host of events take place in the lead up to the festival day, the main draw is of course the 170 food and market stalls that draw in thousands of visitors each year. The aroma of the brightly coloured curries will make for one mouthwatering day and a food coma should be expected by the end of it. The tents also include a mindfulness and meditation zone, along with a a special kids zone with rides and entertainment.
Your must-see movie list just keeps growing, but your wallet doesn't want to play ball. Call Dendy Cinemas' latest special a case of great timing, then, with the chain offering up discount tickets that'll solve your problem. From May 10–15, as long as you purchase online, you'll only pay $8 for your movie of choice at Dendy Newtown or Opera Quays. Or movies. With everything from Avengers: Infinity War to Unsane to Breath currently screening, there's plenty to watch if you're keen to spend as much time in a darkened room as possible. And if you'd like something a little more luxurious, you can nab a Dendy Lounge ticket at Newtown — aka their version of gold class — for $20 during the same period (they're usually $26).
It's no secret Chippendale has been one of the fastest growing cultural hubs of late and, for the third year running, BEAMS Arts Festival will again light up Balfour Street and seven surrounding laneways (including public park 'Chippendale Green') with all sorts of creative works sprawling across colour, light, movement and sound dimensions. The not-for-profit Chippendale Creative Precinct has invited over 350 buzzing minds to showcase their creative works and expect a 10,000-strong turnout on the night. This year's theme is (buzzword alert) 'Utopia' and is all about celebrating urban landscapes, starting up conversations looking forward to the future. For five hours, you can gawk at art and light installations and video and interactive works from established and emerging creators like VIVID Light artists John Wright and Vincent Buret. Creative workshops, dance collectives, comics, poets and other performers will keep attendees entertained, along with a never-ending stream of live music featuring Splendour performer Benjamin Bleyerveen, reggae band Frieda's Boss, MCA Art Bar regular BATTERIE and more. There's no chance of a rumbling tummy either, with culinary showcases from local faves Ester and Brickfields, as well as a host of other food trucks to satisfy all palates. Chippendale is bringing the party to your arty senses.
Since opening earlier this year, Cadenza Floral Cafe has been serving up elaborate brunches in an even more elaborate flower-filled pink space to North Sydney locals. And now it's ready to officially launch to the wider public — with three days of $1 coffees, no less. On February 12, 13 and 14, you'll be able to head into the cafe — which sits under the Skye apartments on the Pacific Highway — for a one-buck coffee made on Adore Boutique Coffee beans. The deal is just for regular coffees, so if you want something extra (say, soy milk or an extra shot) you'll need to cough up a bit more. Best part is that the cafe is open from 7am right through until 5.30pm, so you can get your gold coin cup before, during or even after work. You're only allowed one each day, though. While you're there, you can check out Cadenza's Korean-influenced brunch offering, which includes waffles, bulgogi burgers and giant bacon sandwiches.
Born in warehouses, cafes, breweries and backyards around Sydney, Freshflix showcases some of the best indie short films from across Australia and beyond. Now, it's bringing its Film Festival back for the seventh season in conjunction with Vivid Sydney. And this year, it'll be held on the top floor of Circular Quay's Museum of Contemporary Art — which means, as well as watching some top quality shorts, you'll get to enjoy some impressive views of the Vivid lights, too. Running from 5pm on Saturday, June 8, the night begins with live music (paired with some soaking up of Vivid lights), then a slew of independently made short films will screen. If you're a horror fan, we recommend you stick around until 9pm, when a series of blood-curling, creepy and gory thrillers and sci-fi flicks will screen. There'll be awards handed out throughout the night, too, as well as a heap of beverages available for purchase. Tickets start from a very reasonable $10 a pop, too.
It's going to be a spicy summer in Bondi this year with the arrival of one of the country's most beloved hot chicken chains. Belles Hot Chicken has built a passionate fanbase — and landed on our favourite Sydney fried chicken spots — through its Circular Quay, Glebe and Barangaroo eateries in Sydney, alongside multiple Melbourne venues. Now, it's heading east with an inaugural Bondi outpost set to open on Hall Street in October. The Belles team is transforming the former site of Fonda into a 70s-inspired American-style diner serving up all of the Belles hits. While the menu hasn't been locked in yet, it's safe to expect plenty of fried chook available in the signature spice levels ranging from Original to Really F**kin Hot — plus chicken sandwiches, next-level sides and top-notch bevs. The drinks selection is always a highlight at Belles, with playful cocktails, top-shelf spirits, a refreshing house lager, natty wines and boozy slushies all mainstays across the Melbourne and Sydney locations. If the pairing of spicy fried chicken sandwiches and spiked whisky slushies at the beach on a hot summer's day sounds like an absolute match made in heaven, you are not alone. "After opening the doors to our CBD flagship at Circular Quay, we pounced at the opportunity to transform Fonda's iconic location to our new home," says Managing Director Joss Jenner-Leuthart. "Belles is a place to kick back, dig in, get messy or just chill — and Bondi Beach always felt like a natural fit." [caption id="attachment_645113" align="alignnone" width="1920"] The now-closed Fonda Bondi[/caption] Belles will be the latest edition to the vibrant culinary precinct that is Hall Street, joining the likes of Da Orazio, bills and the recently-revamped China Diner, as well as nearby favourites like the Bondi outpost of Chaco Ramen and sunny brewery-bar Curly Lewis. [caption id="attachment_910913" align="alignnone" width="1920"] Belles Circular Quay, Dexter Kim[/caption] Belles Hot Chicken Bondi will open in October at 85 Hall Street, Bondi Beach.
It’s a festival that’s taking place right at your doorstep. And there’s wine. Lots of wine! Clear your social calendar for the next couple of months Sydneysiders - the grapes are coming to you! The swirling, sniffing and sipping kicks off with Sydney Cellar Door (Feb 25-26) at Hyde Park. This a weekend-long outdoor event that brings together the best drops from 90 wineries across 14 regions in NSW. To stop you from falling over after the first lot of tastings, there’s a large array of tasty snacks on offer from 25 of Sydney’s culinary hotspots and from regional sellers. Porteno, Zushi, Almond Bar and Hunter Valley Cheese Company are just some of the stalls you can look forward to salivating over (tasting packages are available for purchase from the festival website). Once you’re done trawling, kick back on the grass and sway along to live jazz, blues and reggae in a blissful pinot noir haze. Carrying the good times forward is NSW Wine of the Month (Feb 27 – Mar 31). New to the festival, this event has got the city’s best wine bars (TBA) on board to offer patrons a glass of premium NSW wine accompanied by a scrumptious bar snack for the bargain price of $15. On top of that, restaurants featured in the SMH’s Good Food Guide will be offering set menus matched with great regional drops as part of Dine with NSW Wine. For those looking to step things up a notch, the Tour of the Region Dinners in March sees four hatted restaurants (TBA) offering a unique degustation menu to compliment the finest wines from a leading NSW region. Those lucky diners who get their act together and book will have the opportunity to meet Sydney’s top chefs and seasoned winemakers. Finally, you’ll want to circle March 3 for the SMH Growers’ Market wine tasting, where SMH wine experts pass their expertise on to market-goers who will be treated to a selection of fresh market produce. With so much wining and dining to do, there has never been a better excuse to postpone your detox. Happy quaffing!! Images: Courtesy of NSW Wine Festival
Summer is over, but you can still channel its carefree feels with a spot of outdoor cinema — especially when the flicks are free. This April marks the return of Darling Quarter's ever-popular al fresco film screenings, delivering 12 nights of outdoor movie magic for young and old (and in between). Taking over the precinct's Village Green from Thursday–Sunday each week between April 1–18, the annual Night Owls Film Festival will this year kick off at 5.45pm nightly with a special family-friendly program — think kids' entertainment and a family feature film from 6.30pm. If your inner child (or actual child) loves movies like Big Hero 6, Sonic the Hedgehog, Finding Dory, Despicable Me and The Addams Family, you'll want to head along then. But come nightfall on Fridays and Saturdays, it's the big kids' turn, with a program of grown-up movies screened from 8.30pm on select evenings. Well, mostly for adults — because Little Women, Ride Like a Girl and In My Blood It Runs are on the lineup, alongside Oddball, Go! and My Spy. Be sure to bring along your picnic rug and accompany your cinema experience with eats from one of the many nearby vendors — Thai, sushi, pizza, Brazilian barbecue and gelato are all a short stroll away.
In Mark Wahlberg's performances, men are patriotic heroes and fun-loving dads. With his Funky Bunch and Boogie Nights days long behind him, that's the image he's been cultivating on-screen of late. The actor's resume has become littered with gung-ho action and family-friendly comedies — Patriot's Day, Mile 22 and Transformers sequels on one side; a pair of Daddy's Home movies and now Instant Family on the other. As different as the two might seem, both types of film basically allow him to play the same character. He doesn't disappear into his roles or make every part feel distinctive, but simply adds to his particular portrait of masculinity. While Wahlberg might hunt down terrorists in one flick, battle shape-shifting robots in another and then face the challenges of being a father in the next, he's really just painting the same picture one movie at a time. Instant Family, Wahlberg's latest all-ages affair, slides seamlessly into his recent filmography. As for the actor, he steps into the shoes of Pete Wagner, a take-charge kind of guy who renovates and sells houses for a profit with his wife Ellie (Rose Byrne). The couple's life is comfortable and happy, but they've fallen into a rut. So, being at the age where everyone comments about their lack of kids, they start thinking about helping children in need. Approaching becoming foster parents like they're remodelling a rundown home, the pair considers their new task a spiritual and emotional revamp. And the arrival of teenager Lizzy (Isabela Moner) and her siblings Juan (Gustavo Quiroz) and Lita (Julianna Gamiz) goes smoothly at first; in fact, Pete and Ellie are initially pretty pleased with themselves. It's easy to see why Instant Family appealed to Wahlberg, who gets to play another tough but tender everyman facing a challenge, looking out for his family and doing what his type of guy does. That said, there's more to this specific story, with the film inspired by the life of director and foster parent Sean Anders. There's an evident ring of truth to many of the movie's scenes — the awkwardness of adoption fairs, where potential caregivers browse for kids like they might a new pet, coo over cute tykes and steer clear of teenagers, provides just one example. Anders hasn't come up with an offbeat scenario solely for laughs, and it shows in the script penned with his regular co-writer John Morris. Certainly, the authentic side of Instant Family shines through on occasion. It definitely shines brighter than the picture's unremarkable imagery. But Anders also wrote and directed the broad, formulaic Daddy's Home and its equally grating follow-up, and he's not giving up his by-the-numbers ways yet. As a result, Instant Family is a movie with its heart firmly in the right spot, yet it doesn't trust that audiences will buy in without the expected array of physical mishaps, kids saying the darnedest things and adults getting frustrated in the usual cliched manner. It's a film that feels caught between what it wants to say and what it needs to be — and while supporting actors Octavia Spencer and Tig Notaro bring genuine comedic chops to the more overt comic moments, the movie just can't reconcile its various parts. Think the Bad Neighbours flicks, but pitting new parents against actual children in a kid-friendly fashion. Think the aforementioned Daddy's Home duo, too, but much less stale and more sincere. Instant Family is never as entertaining as the first set of films or as excruciating as the second, and if you prefer the former to the latter, Byrne is obviously here to help. Like her co-lead, she's doing something that she's done before, however the Aussie actor never makes her character feel like a stock-standard part. That she manages such a feat while being saddled with some of the movie's most routine material — playing a thirty-something woman who suddenly gets maternal and regrets her life decisions, namely — confirms why she's one of today's great, often underrated comedic performers. When it comes to enlivening an otherwise run-of-the-mill role, Wahlberg might want to take note. https://www.youtube.com/watch?v=JCWHr6AUxwI
Much-loved nerdy white guy and Seth Cohen-endorsed musician Ben Folds is bringing his upbeat brand of piano pop back to Australia at the end of this year. Though you might remember his music best from the battered walkman you rocked in the late '90s, rest assured that this talented US Adelaide enthusiast is still a force to be reckoned with. And nothing proves this more than the fact that his backing band will be the nation's best symphony orchestras. From mid-November, Folds will be touring all of Australia's major cities (except Brisbane, oddly enough) performing with each state's respective orchestral talents. Taking both excerpts of his new Concerto for Piano and Orchestra as well as jazzed up versions of his old pop hits, this dynamic musician will be creating an exciting and unique show in some of the nation's best venues. Of course, this is a tour Folds is familiar with. He's performed with some of the world's best orchestras over the past decade, and before he gets to our shores this year, he'll be taking the Ben Folds Orchestra Experience all around Europe. Hardcore fans might even remember that Australia was the site of his first orchestral work — this performance with the Western Australia Symphony Orchestra was immortalised on film in 2005. But you don't need to know all that to enjoy the show. Whether you have a long history with 'Brick' and the rest of his early work, or just really like that Triple J Like A Version he did of 'Such Great Heights' — this is a show not to be missed. Ben Folds tour dates: November 14 and 15 — Sydney Opera House with the Sydney Symphony Orchestra November 28 and 29 — Perth Concert Hall with the Western Australia Symphony Orchestra December 5 — Festival Theatre with the Adelaide Symphony Orchestra December 10 — Wrest Point Entertainment Centre with the Tasmanian Symphony Orchestra December 19 and 20 — Arts Centre Melbourne with the Melbourne Symphony Orchestra Ticket prices range from $50-$129 and will be available through each orchestra's website from July 4 at 9am.
On the hunt for a Halloween getup that'll cement your status as a costume genius? Or maybe that wardrobe of yours just needs a little extra pizzazz going into the silly season. Whatever your needs, you'll find a veritable treasure chest of fashion gold at Opera Australia's costume clearance sale this weekend. On October 21 and 22, the company will be throwing open the doors to its Alexandria warehouse to clear out over 2000 pieces of retired stock, with prices starting at a mere $2. Items up for grabs run from the weird to the downright wacky, including outfits spattered with fake blood, suits of armour, period costumes, military garments, head-turning retro designs and a swag of everyday wardrobe pieces. Doors open at 10am but, if you're serious about this, we suggest getting there earlier than that.
As a movie, it's a masterpiece. As a stage musical, it's one of the most famous there is. And, returning to Australia for the first time in almost 20 years with Sarah Brightman starring as Norma Desmond, Sunset Boulevard is going to be big. Andrew Lloyd Webber's Tony-winner, which first took the leap from the screen to the stage in 1993 — and picked up Best Musical, Best Original Score, Best Book of a Musical, and awards for leading actor, leading actress and featured actor for its efforts, among more — is bringing its Hollywood story Down Under again in 2024. The production will bring its new Aussie run to the Harbour City from Wednesday, August 28, playing at the Sydney Opera House. As Desmond, Brightman will make her global debut in the part, taking on her first theatre role in over three decades. She'll also add to a spectacular career that includes originating the role of Christine in The Phantom of the Opera back in the 80s. Here, she's stepping into a part that saw Gloria Swanson nominated for an Oscar in 1951 and Glenn Close win a Tony in 1995. Debra Byrne played the part in Australia back in 1996, while Nicole Scherzinger of the Pussycat Dolls has done the same in West End. [caption id="attachment_921590" align="alignnone" width="1920"] Simon Fowler[/caption] As Billy Wilder's 1950 film first covered in a feature that's been influential not just in inspiring stage adaptations, but on every other movie about Tinseltown since, Sunset Boulevard follows silent star Desmond. With her career getting small with the advent of the talkies, she dreams about making a comeback. The movie famously starts with a man's body floating in a swimming pool, then flashes back to Desmond's time with screenwriter Joe Gillis, her latest attempts to reclaim her success and the events that bring about that watery end. On the stage, Sunset Boulevard will echo with tunes such as 'With One Look', 'The Perfect Year' and 'As If We Never Said Goodbye' as it tells the above tale. [caption id="attachment_956091" align="alignnone" width="1920"] Ben King[/caption] Top image: Ben King.
A not-so-sleepy mining town known as the ‘capital of the outback’, Broken Hill has many stories waiting to be uncovered.Nice Dreams centres around one true story known as The Battle of Broken Hill: a tragic and bizzare event involving a persecuted halal butcher, his neighbour, a marijuana-peddling ice-cream vendor, and their attack on the entire British Empire, embodied in an unfortunate train carriage full of picnickers.Sumugan Sivanesan and Gustavo Böke’s reimagining of this event draws on both contemporary dialogues about terrorism and Broken Hill’s history of Australian genre film to transform this series of accidents into an absurdist comedy of hallucinations and confused dreams. If you happen to visit this exhibition at the right moment, you may even experience Sivanesan’s hilarious yet historically accurate narration or Böke handing out ice-creams in costume.
