City Hub 31 August 2017

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Eyebrows arch as sculpture’s costs soar skyward BY ALEC SMART Sydney is renowned for many things, including home to two of the world’s most enthralling pieces of modern engineering: the Opera House and a giant coat hanger bridge that crosses its picturesque harbour. However, one thing for which it has never been known is the manufacture of elastic. In the past week City of Sydney residents were informed that their council has decided, after two year’s delay and more than triple the original estimated cost, to impose a sculpture upon the city centre that resembles a giant piece of white elastic. An enormous garter. Known as the Cloud Arch, this lasso-like structure will soar 58 metres above George Street in a pedestrianized zone, ‘framing’ Sydney Town Hall, providing a wonderful spot for our avian companions to perch and poop on the new light rail trams that will pass through below. Sure, there’ll be debate over its symbolism. Some will claim it looks more like a white ribbon than a garter. Others will insist it is closer to a shoelace, or an electrician’s cable tie. “It will be the most significant artwork built in Australia in

decades,” Lord Mayor Clover Moore gushed last Friday, apparently unaware of the annual Sculptures By The Sea Festivals in Perth and Sydney, the latter of which attracts around 500,000 spectators to the Eastern Suburbs every year, or renowned sculptor Sir Antony Gormley’s Inside Australia statues on Lake Ballard. “It will become an icon synonymous with Sydney and help raise our city’s profile on the world stage.” One thing it won’t be is cheap. Designed by Japanese architectural artist Junya Ishigami, the Cloud Arch, initially more of a wonky peanut shape than an arch - was first revealed in July 2014 as one of a group of three public works intended for Sydney, at a combined cost of $9 million. Since then the arch has almost doubled in size – from an original 28.5 metres high to a massive 58m, requiring 140 tonnes of steel. Unfortunately, with a 43% increase in the price of global steel since December 2015, the overall price tag has also soared, to $11.3 million for the arch alone, without the other two public works. Clover Moore defended the

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Artist’s impression of the Cloud Arch sculpture by Sydney Town Hall. Credit: Supplied

cost increase on the grounds that the “additional investment will be repaid many times over through the hundreds of thousands of visitors who will visit Sydney to view the artwork.” Due for completion in March 2019, to coincide with the opening of the NSW Government’s CBD and South East Light Rail, the primary reason the Cloud Arch was enlarged and converted from a peanut shape to an arch was to allow trams to pass beneath it. City of Sydney Councillor Christine Forster was scathing in her criticism of the project. Drawing a comparison to other giant tourist attractions around Australia, such as an apple, banana, merino ram and lobster, she christened the Cloud Arch ‘The Big Tapeworm.’ “I’m not convinced Sydney’s big tapeworm is going to drive quite the same visitation that Goulburn and Coffs Harbour have achieved with their investments,” she said. Councillor Angela Vithoulkas was also highly critical. “I don’t think any of them [business owners and ratepayers] will be walking past this project and looking up in awe,” she said. NSW Premier Gladys Berejiklian also weighed in on the discussion stating that it was “not something I would choose.” “I don’t find it appealing. That’s my personal opinion,” she added. Councillor Linda Scott was initially critical of the cost of the

Cloud Arch. “The $8 million cost blow-out by Lord Mayor Clover Moore for this project is significant, and will inevitably mean cuts in residents’ services, less new green spaces, fewer affordable housing places or delays in new City infrastructure planned for the future.” However, on August 29 she suddenly back-flipped and announced her endorsement in a Council vote that went 6-4 in favour of the arch. “I voted to support the City of Sydney going ahead with building our CBD public artwork Cloud Arch.” The Cloud Arch has its admirers, including architect Penelope Seidler, wife and professional partner of the late Harry Seidler, responsible for Australia Square as well as Blues Point Tower. The latter regularly tops critics’ list of Australia’s ugliest buildings. “Cloud Arch will be the most exciting design to emerge on the Sydney scene since the Opera House,” she stated. “I know it will become a Sydney icon... it is puzzling and beautiful as well as an engineering masterpiece, I hope they construct it with haste.”
 “This sculpture will be a major talking point and will enhance the city’s pulling power,” said Patricia Forsythe, Chief Executive of Sydney Business Chamber. Dr. Michael Brand, Art Gallery of NSW Director, weighed in with his considered opinion: “I am delighted to support this dynamic and inspiring project and look forward to seeing the centre of

Sydney further enlivened by this elegant and technically brilliant public sculpture.”
 “Our residents and businesses have consistently told us they want more public artwork,” Clover Moore announced last Friday. “Cloud Arch is our gift to the people of Sydney - a stunning marker of the day the city is finally handed back to its people.” Yet when City Hub showed some Sydney residents an artist’s impression of the arch, we received a mixed and often comical response. “I like it,” declared Jake. “We’ll call it the Runaway Dunny Roll!” “Looks like a big rubber band,” said Christian. “$11 million? What’s it made of, kryptonite?” “I like the kind of Hot Wheels track look about this,” said Ken. “If only it was a rollercoaster,” said Mark. “Or another monorail!” joked Rob. “A giant wishbone would be better,” he continued. “Some people will consider it lucky, others will just think ‘pull the other one!’” “That doesn’t look like a cloud,” said Martin. “Looks more like a portal!” added Dean. “Why not spend the 11.3 million on entertainment and artistic grants?” asked Dion. “Folks will just walk past this giant ribbon without blinking after 3 weeks.” Considering the recent eviction of homeless tents in Martin Place, many critics of the arch insisted dealing with public

housing was more important than funding public art. “They could build a homeless shelter for that money,” suggested Myriam, “or is that actually the homeless shelter?” The other two sculptures in the original package of three public works were similarly controversial: a 13.7m high ‘whimsical’ blue milk crate and 30 bronze birds, the milk crate now deferred, the birds postponed. The latter was designed by Tracey Emin, she of the infamous Close Up Of My Bed piece exhibited at London’s Tate Gallery in 1998, which featured used condoms, cigarette butts and her menstrual-stained underwear discarded around an unmade double bed. A giant shopping trolley might be a wittier substitute to a milk crate, saluting the commonest item abandoned in our waterways. And instead of 30 bronze birds, a flock of swooping seagulls snatching chips from tourists, or a large white ibis - ‘bin chicken’ - scavenging rubbish. As for an arch to replace the garter, the City Hub proposes an indigenous-themed piece that would acknowledge cultural history whilst paying respect to Sydney’s original custodians. It’s so obvious, combining practical and aesthetics; one wonders why the design committee foisting Cloud Arch upon us never considered it. An enormous boomerang. city hub 31 AUGUST 2017

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Moore Park could become less park BY ALEX EUGENE Sydney’s precious green space could be under threat again, this time as a result of roadworks and the redevelopment of the Allianz football stadium at Moore Park. Dubbed the “green lungs of Sydney” by the Centennial Park & Moore Park Trust, the 360-hectare wonder is lined by the jam-packed bottleneck South Dowling Street, where the Eastern Distributor constantly spews out hundreds of cars. The Roads and Maritime Authority wants to chop off a slice of the park so it can build an extra road lane to lighten the traffic load. But Michael Waterhouse, Convenor of Saving Moore Park, says there are other ways to alleviate the influx of cars. “We have serious misgivings about this, as it will result in the loss of a strip of Moore Park and seven mature trees, perhaps more,” he said. “There is another option which seems currently in the too-hard basket: close off the ramp lane from the Eastern Distributor, which feeds directly into the bottleneck. This would remove one lane of traffic, and South Dowling Street may not need to be widened, with the loss of trees this entails,” added Mr Waterhouse. Alex Greenwich MP, the independent member for Sydney, said: “I share the growing community view that the government must adopt strong protections to prevent unnecessary loss of trees, tree canopy and wildlife, with a new vegetation program that

Moore Park may become less park after roads and developments end. Credit: supplied

compensates for the loss of canopy.” Mr Greenwich said he had met with a horticulturist, Kathlene Hennessy, and Professor of Landscape Architecture, Dr Helen Armstrong, who had both confirmed, “vital trees [in Moore Park] are being disregarded.” The experts had also said that trees were often lopped at night, which made it difficult to determine if any wildlife was being affected. “There is great concern for the wildlife that lives in the trees,” Mr Greenwich said. Mr Greenwich has written to the Minister for Transport and Infrastructure, Andrew Constance asking him to take the issues into consideration amongst the plethora of projects planned for the area.

Mr Waterhouse said that if the government could find the money to take over the lease of the ANZ Stadium, another billion-dollar project currently touted by the Berejiklian administration, they could surely put up the funds to close one lane of road traffic. “Any compensation is likely to be small as closure will not affect [Transurban’s] revenue,” he said. Mr Waterhouse also said he believed the government should give “a sizeable financial contribution” towards the Moore Park Master Plan, which was first drafted in 2000, to better manage and preserve the area over the next 25 years. Mr Waterhouse justified the comment given that the NSW Premier Gladys Berejiklian had recently announced

that the government was in “a strong financial position”, and that she was ready to pour more money into the stadium upgrades if necessary. “At this stage the government has made no commitment to fund any of the Moore Park Masterplan. “As we see it, there’s a bias in government expenditure towards ‘hard’ infrastructure, such as stadiums, as distinct from ‘soft’ infrastructure such as parklands. Centennial Park receives 25 million visitors a year --more than all the stadiums combined,” Mr Waterhouse added. And if chomping into the park for roadworks wasn’t bad enough, the impending redevelopment of the Allianz Stadium is feared to increase the size of the venue and eat up even more green space. Mr Waterhouse said the Sydney Cricket Ground Trust, who owns the stadium, had refused to confirm whether the renovations would encroach on Moore Park or Centennial Parklands. “Given past history, this is a cause for concern,” he said. Mr Waterhouse has now written to Premier Berejiklian asking for her assurance that the stadium will not be enlarged, but is yet to receive a response. The Premier announced last week that the government would fund the stadium upgrade to the tune of $1.6 billion - or possibly even more - which would also include the ANZ Stadium in Olympic Park.

High profile community figures, including 2GB’s Alan Jones, have been arguing over which stadium should be upgraded first, but it has now emerged that work may commence on both of them at the same time. A spokesperson for the SCG last week championed the double upgrade as a win because it would create jobs, but also “$678m per year to the NSW economy in turnover and add more than $300m to the Gross State Product every year,” they said. Mr Waterhouse said, “This park is more than 150 years old and has suffered serious degradation and under-investment over many years. “Different agencies of government have progressively taken slices of the park - not least for the Eastern Suburbs light rail. Some areas are used extensively for car parking. Facilities for community use are limited. Kippax Lake is often seriously polluted by water run-off from surrounding streets. The list goes on,” he said. A spokesperson for the Lord Mayor of Sydney, Clover Moore, said the council would not make specific comments on the issue until a full proposal had been viewed. “After a long history of blatant land grabs and empire building, our community’s learnt not to take the SCG Trust’s pitches at face value. The Lord Mayor will need to see the full proposal, including full details of the impacts on the park, before making judgment,” they said.

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Randwick elections will be a close call BY ANITA SENARATNA In the forthcoming 2017 Local Council Elections, the political outcome of the City of Randwick is unpredictable. Although Randwick Council used to be a Labor stronghold, the Liberals and the Greens have had success there in recent years. But the failed merger with Waverley and Woollahra Councils could see a couple more seats headed Labor’s way at the upcoming council election on September 9. According to election website The Tally Room, no one party is expected to dominate this election but “it wouldn’t be surprising if Labor bounced back to seven seats” from the five they currently hold in Randwick. Unlike neighbouring councils Waverley and Woollahra, which are made up largely of Liberal councillors, Randwick Council consists of a fairly equal mix of the major parties. The Liberal and Labor parties currently hold the most seats, while the Greens hold the balance of power. Randwick Council covers most of Sydney’s south-eastern suburbs, from Clovelly to Botany Bay. The Council is divided up into five wards: Central, North, South, East and West. The Labor and Liberal parties are running candidates in all five wards, and the Greens in four. The potential swing towards Labor could be explained by the State Liberal Government’s failed attempt to merge Randwick, Waverley and Woollahra into one large ‘Eastern Beaches Council’, a policy that attracted criticism from residents and councillors alike.

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Randwick mayor Noel d’Souza Matson. Credit: Anita Senaratna

On July 27, Randwick Mayor Noel D’Souza announced that the council would be seeking $460,000 in compensation from the NSW Government for costs incurred preparing their internal systems for the merger. “The NSW Government’s now defunct Fit for the Future program was orchestrated to force council mergers. They told us ‘no change is not an option’ and created a process that forced mergers,” he said. “I will be seeking full compensation from the Government for Council’s incurred costs in preparing for their merger. It’s not fair that Randwick ratepayers should pay for the Government’s backflip and indecision.” NSW Premier Gladys Berejiklian has confirmed that these costs will be “taken care of” by the State Government, however they will not be covering the

Randwick Greens. Credit: Anita Senaratna

$80,000 that the council spent on legal fees fighting the merger in court. “Randwick City Council’s position has always been that we oppose mergers and would prefer to stand alone. Our Council is one of the largest, strongest and most financially viable in the state.” Randwick Council’s strong financial position can be traced in part back to Greens councillor Murray Matson, who introduced the council’s first long term strategic plan and an environmental levy during his time as mayor in 2004. These policies brought in extra revenue while also allowing the council to fund environmental initiatives like their annual Eco-Living Fair. Cr Matson was first elected to council in 1995 and has been Randwick’s Mayor twice. He will be running again this election in the East Ward. He supports the mayor’s

decision to seek compensation from the State Government and is relieved the merger is no longer going ahead. “Candidates can now participate in the election without the previous worry that we might all have been dismissed a few months after being elected seats if the Government had won the court challenge,” he said. But now that the prospect of a merger is no longer on the cards, Cr Matson says the Greens want to focus on issues like renewable energy, affordable housing, tenant’s rights and integrating bike paths into the South East Light rail project. Labor MP Tony Bowen also thinks Randwick “dodged a bullet” with the amalgamation, and says that from what he’s seen, the community agrees with him. “The impression I have just from being out and about and talking to

people, is that they are very pleased that the amalgamation has gone away, because there was a lot of suspicion,” he said. “It seems to me the real reason [for the merger] was to deliver a commercial benefit to developers. If it wasn’t for the amalgamation being stopped, I’d hate to think what Randwick city would look like in a few years.” He was also critical of MPs who were running for election after supporting the merger, particularly after the community voiced their disapproval of the policy. “I just think anyone who has supported the merger cannot go into this election with any sort of credibility on that issue,” said Cr Bowen. “I’m very grateful our community is having the opportunity to have this election.” Cr Bowen is running for re-election in the East Ward of Randwick. One issue he wants to focus on is overdevelopment, which he says is “keenly felt” in the area. “The story of urban Sydney since the election of this state liberal government has been ‘out with the old, in with the new’, and the new being high-rise developers,” he said. “People have had enough. When they see Moreton Bay fig trees being cut down on Anzac Parade, that’s symbolic of a loss of Sydney’s identity. I think that’s a real undercurrent, certainly in my area. People feel powerless that these changes are happening and no one’s accountable. Hopefully this election will give residents an opportunity to make their feelings heard.”

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Captain Cook’s monumental controversy BY Alec Smart Graffiti vandals hit the Captain Cook statue in Sydney’s Hyde Park last weekend, demanding an inscription on its plinth be rewritten or erased. After standing in the park with its right iron arm aloft for over 130 years, long after its esteemed human progenitor was clubbed to death on a Hawaiian beach, the Captain Cook statue is weathering a fresh storm of complaints. The words ‘No pride in genocide’ and ‘Change the date’ were spray-painted on the statue, the latter a reference to a growing campaign to change Australia Day from 26 January - the day the First Fleet arrived in Botany Bay in 1770 – to a date more agreeable to our Aboriginal population. A statue of Queen Victoria and a monument to Lachlan Macquarie, the fifth governor of New South Wales, were also attacked. The issue was ignited when indigenous ABC journalist Stan Grant criticised the inscription on the memorial to Captain Cook, which states the British explorer ‘Discovered this territory’ in 1770. Aboriginal campaigners have long argued that Europeans didn’t ‘discover’ Australia. The British proclamation after Cook claimed the territory for the Crown, that the newly found Terra Australis was ‘terra nullius’ – i.e., no man’s land – conveniently ignored the fact that the land was already occupied and settled, and had been for 65,000 years. Although he stopped short of demanding the statue be removed, Mr. Grant claimed it was a reminder of ‘the violent rupture of Aboriginal society,’ when his ancestors were displaced through disease and ethnic cleansing by European settlers. Over the past month, pitched battles erupted in Charlottesville, Virginia, in the United States following plans to remove a statue of Confederate army general Robert E. Lee, because of his association with racist policies and keeping black

The Captain Cook statue in Hyde Park is weathering new storms. Credit: Alec Smart

slaves. The ensuing public battles saw the notorious Ku Klux Klan and swastika-carrying Nazis rally to the statue’s defence, and resulted in the death of a young woman when a white supremacist drove his car into a crowd of anti-fascist protestors. In an article Mr. Grant wrote for the ABC, the indigenous advocate claimed the Captain Cook statue, “speaks to emptiness, it speaks to our invisibility. It says that nothing truly mattered, nothing truly counted until a white sailor first walked on these shores. “Captain Cook’s statue stands in the centre of our biggest city. There are Indigenous people who for good reason would prefer to see it removed,”

he wrote. ‘Personally, I accept that it remains; Cook is part of the story of this nation.’ Labor Party Leader Bill Shorten echoed Mr. Grant’s complaints and said he supported the introduction of a new plaque on the statue, one that would acknowledge the presence of indigenous Australians when Cook arrived. “This country works best when we work together so an additional plaque on Captain Cook’s statue is fine by me,” Shorten said. “Our history didn’t start when Captain Cook sailed into sight of Australia in 1770.” Lord Mayor Clover Moore revealed she has sought advice from the council’s Indigenous advisory panel concerning replacing the inscription on the Captain Cook statue. However, neither the NSW government or Prime Minister Malcolm Turnbull, who condemned the graffiti attack as ‘deeply disturbing’, support a new engraving on the statue, or the addition of a reworded plaque. “Vandalism of statues of James Cook and Lachlan Macquarie is a cowardly criminal act and I hope the police swiftly find those responsible and bring them to justice,” Turnbull stated. “It is also part of a deeply disturbing and totalitarian campaign to not just challenge our history but to deny it and obliterate it. “This is what Stalin did. When he fell out with his henchmen he didn’t just execute them, they were removed from all official photographs — they became non-persons, banished not just from life’s mortal coil, but from memory and history itself. Tearing down or defacing statues of our colonial era explorers and governors is not much better than that.” Mr. Grant’s call to change the Captain Cook statue’s inscription and the subsequent graffiti demanding a new date for Australia Day came after two Melbourne councils voted in favour of not celebrating Australia Day in 2018. Both the city of Darebin and the City of Yarra councils

passed resolutions in August to stop referring to January 26 as ‘Australia Day’. Darebin Council acknowledged it marked the beginning of the ‘British invasion’, while Yarra Council promised to replace their annual citizenship ceremonies with indigenous-themed events. In retaliation, the Federal Government stripped Yarra Council of all its powers to hold any citizenship ceremonies and Prime Minister Malcolm Turnbull criticised it as an ‘attack on Australia Day’. “We recognise that the history of European settlement in Australia has been complex and tragic for Indigenous Australians,” Turbull said. “We recognise the complexities and the challenges of our history. But on Australia Day, we recognise the greatness of our achievement as Australians.” Aboriginal leader Nyunggai Warren Mundine, former chairman of the Federal Government’s Indigenous Advisory Council and a former president of the Labor Party, strongly supports the call to create a new date for Australia Day. “For as long as I can remember, indigenous people have referred to January 26 as ‘Invasion Day’, he said in January this year. “More recently we’ve also used the term “Survival Day”, to commemorate our achievements and survival of our nations against the odds. However, Mr. Mundine was critical of calls to remove the Captain Cook statue in Hyde Park. “All this nonsense about changing things — we cannot look back at history with our modern minds otherwise we would have to tear down the pyramids because they were built by slaves,” he said. “In Australia the problem is an absence of memorials, we need more about our own people, our indigenous people.” There are multiple possibilities for statues to commemorate outstanding indigenous Australians, from historical figures to contemporary sporting and cultural heroes and activists.

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Ashfield election insider: Labor and the Greens come head-to-head BY GEORGIA CLARK With early voting opening this week for the Inner West Council elections, the battle for one of three positions on the Ashfield ward is escalating, with predictions swaying in Labor’s favour. The race is braced to be a close call, after the number of Councillors was slashed following the 2016 amalgamation of councils across the district. According to Ben Raue, election analyst at the Tally Room, although the Greens have historically been the weakest in the Ashfield ward they are, along with Labor, likely to win a seat. “Labor’s vote is better in Ashfield than the Leichhardt and Balmain wards, but usually less than the Marrickville ward. I think Labor and the Greens should each win a seat, but this ward will be the hardest ward for the Greens to win, judging by underlying political trends,’” he said. Labor has typically dominated the Ashfield ward, which spans Dulwich Hill, Summer Hill and southern parts of Ashfield. Mary Drury, Labor candidate, is confident that Labor will continue to receive popular support in the area. “Labor has for over 100 years selected candidates to represent Ashfield. We have rarely had a majority on council but we have managed to have some very fine Labor Mayors, like Lucile McKenna. We hope that the policies and people we are putting

The Inner West’s youngest candidate, Tom Kiat, is running as a Councillor for the Ashfield ward. Credit: supplied

forward will again attract a strong level of support from the community.” The September 9 election has drawn both new and old-timers from the former Councils into the running, including the former Mayor of Ashfield, Morris Mansour, who is running as an Independent. Former Councillor Julie Passas and her team of Liberals are also running, as is the Socialist Alliance’s Susan Price and Liberal Democrat’s Simon Henderson. According to Ms. Price, the local Council and the upcoming elections play a crucial role in grassroots democracy.

“Councils can take a lead on issues of the day, when state and federal governments do not. For example, in supporting equal marriage rights, or proposing inclusive events on January 26 that face up to the realities of Australia’s colonial past, or in welcoming refugees into our community,” she said. The Greens have dealt the Inner West election’s youngest candidate, Tom Kiat, who is vying for a position on the Ashfield ward at just 25-years-old. With 36% of Inner West residents aged under 30, Mr Kiat is hopeful that the Greens will win a seat.

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“Greens on both Councils have a proven track record,” he said. “I think that’s why we have a strong support base. We’ve got plenty of runs on the board, often through working productively with Labor and progressive independents. More recently we’ve been able to amplify local issues by working with our Greens colleagues in the NSW parliament. This is an important reason people trust the Greens in the Inner West - we don’t say one thing at a local government level and another in a state campaign.” According to Mr Raue, although the Greens have experienced more success in other wards, the odds are still stacked in the 25-year-old’s favour. “Tom Kiat is the Greens’ lead candidate and thus has a good chance of winning,” he said. “Councils tend to be dominated by older councillors but young candidates are not that unusual, and sometimes they win. Young voters make up a large part of the council and often have different interests to the home-owning older residents, and having young candidates can provide a different perspective.” It’s been a tumultuous year for Inner West Council and constituents alike, as the amalgamation shakeup saw an administrator govern the newly founded mammoth council. After 16 months without a democratically elected council, Mr Kiat says that the constituents

are desperate for a contender who is community-driven. “Since the forced amalgamation and the destruction wreaked by WestConnex, I’ve spoken to many people who are feeling powerless,” he said. “I’m running for Council because I want to see Inner west communities confident in their own collective power, the power to say no to idiotic projects and plans imposed by developers and the state government, and the power to take positive action.” The election comes as Inner West Administrator Richard Pearson vouches that significant progress has been made in the Council over the past 16 months, but admits that a lot more is yet to be done. “The next 12 months will be a pivotal time for the incoming Council to continue to support staff with their job of building an organisationally merged Council,” Mr Pearson said. According to Ms. Price, the time is ripe for the people of the Inner West’s voices to be heard. “People are sick of being trampled underfoot by greedy governments and corporations”, she said. “They worry that the forced amalgamation of the inner west’s three councils will mean a less representative and less accountable local government,” she said. With less than a week left until ballots open, the battle for the third seat on the Ashfield ward is set to be a close one.

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This role iS for you: 4 If you relish the opportunity to work in a real news environment 4 If you are passionate about Sydney having an independent local voice 4 If you want on-the-job experience and training for your portfolio 4 If you love talking to interesting people and telling their story succinctly 4 If you are organised and can hit deadlines

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11

Glebe harbour park to go dry Inner west’s empty nests BY JOEY FENAUGHTY A proposed extension of the alcohol-free zone in Jubilee Park has provoked ire among some Glebe locals. Police have stepped up patrols of the alcohol-free area in Jubilee Park in Glebe, coinciding with a proposal to extend the prohibition zone to the foreshore. An alcohol-free zone gives police the power to move on any person suspected of drinking alcohol within the area outlined. If a police officer reasonably suspects that you have been, or are about to consume alcohol in an alcohol-free zone, they also have the power to confiscate or tip out your alcohol. This extension seems out of sync with the current tone of the City of Sydney council, which has recently removed as many as 62 alcohol-free zones around the inner city and harbour. Glebe Point Residents’ chair Susan Cleary says it’s not the first time an attempt has been made to cut booze out of the foreshore. “Two to three years ago an extension of this zone was proposed by the council, and in discussions with them it was agreed the action was not necessary, as we have no problems in the park. I don’t know why the matter is on the table again”

Glebe parks by Rozelle Bay may become completely alcohol-free. Credit: Alec Smart

However, Police Inspector Gary Coffey from the Leichardt Local Area Command, in charge of the area, said, “Leichardt LAC has [recently] received two resident complaints in relation to late

night drinking in Bicentennial/ Jubilee park.” A formal application has been made for the extension of the alcohol prohibited zone and will be available for public view in September.

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Glebe resident Hannah Dusta (22) thinks that any extension of the current zone would be overkill. She told City Hub, “I’ve lived near the park for 2 years and I’ve never experienced people being drunk in it or causing a nuisance. “I haven’t seen people drinking in the park in a way that would be cause enough for a council order to facilitate new laws. It seems ridiculous to me. There is already an alcohol night curfew in place, which curbs anti-social behaviour. I think this is probably more a result of the gentrification of the inner west.” A spokesperson for Keep Sydney Open shared her concerns, stating “It looks like there’s no end in sight to Sydney’s war on fun. The locals are locked out, the homeless are locked out and now it looks like the backpackers are getting locked out too. These backpackers are trying to make their own fun because they’re not allowed to go out in the city.” The proposal to change and extend the alcohol prohibited areas in Glebe to include: • Bicentennial Park area 1 • Bicentennial Park area 2 • Federal Park area 1 • Jubilee Park • Pope Paul VI Reserve • Blackwattle Bay Park

BY TOMMY BOUTROUS New figures from the 2016 census reveal that nearly one in 10 homes in the Inner West are presently unoccupied, inciting calls for a crackdown on investors who leave their properties vacant. A record 10,525 homes have been left vacant in Sydney’s Inner West, Canada Bay, Burwood, and Strathfield districts, showing an increase of 1,525 e mpty homes since the 2011 census. Yet waiting lists of up to 10 years are apparent for people requiring public housing. Laurence Troy, research fellow at the UNSW City Futures Research Centre said, “Investors might keep a house untenanted because it’s easier to resell in future if they don’t need to wait for the end of a lease.” The Inner West Council has launched an investigation into these figures, following a motion put by former councilor John Stamolis. “We need to find out why vacancies are increasing before charging headlong into building more units,” he said. Jenny Leong, Greens MP for the Inner West, suggested an Empty Homes Levy to increase rates for homes that have been vacant for 12 months or more. “By creating an incentive for investors to rent out properties,

Abandoned homes could house people on waiting lists. Credit: Supplied

Councils will not only increase the number of homes available for tenants – they can also create a new revenue stream to build community housing,” she said. “Councils will work in partnership with the State Government to increase rates for homes that have been vacant for 12 months or more – an Empty Homes Levy.” “We should approach the issue of housing in the same way that we approach health care and other services, which is to recognise that all people have a right to live somewhere they call home. “The Greens will stand with them to make sure that whomever is in government takes action to make sure that targets are delivered for affordable housing.

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FEATURE

By Rita Bratovich It is one of the most tightly packed festival seasons in this city, yet each year the Sydney Fringe Festival (SFF) adds more to its program. This year it has even grown geographically - extending west to Penrith and Homebush Bay. “Its terrific to be able to engage with creatives who aren’t right in the city and who want to be a part of the festival,” says Festival Director, Kerri Glasscock, acknowledging the growing arts community in the Greater Sydney region. The fringe is, as Glasscock describes it, “open access”, meaning they try and say yes to anyone who submits a work, as long as they can find a performing space. Many theatres, art houses and other venues leave their calendar clear during September to accommodate the Fringe program and this year they’ve managed to add some new spaces. For the first time the SFF will have a festival hub thanks to a vacant commercial building being offered for lease by HPG Property Group. The building is massive and, apart from the endless creative possibilities, it also affords the SFF a chance to do some concrete research into how to use temporary large scale space for arts.

Life On The Fringe “Hopefully by the end of our tenancy there we’ll be able to have a fantastic report of facts and figures saying ‘this is how you can do this, this is how developers can engage creative organisations and how you can do it safely.’ And that just smashes open a whole new world of opportunity,” explains Glasscock. The HPG Festival Hub is located in Alexandria and will mostly be open during the evenings. Due to its distance from shops, the hub will host a bar and food trucks.Visitors can walk in and explore exhibitions as well as looped videos from the Stockholm/Nordic Fringe festivals. Special events at the hub include The Library of Babel, an interactive maze of hexagons within which are mysteries and surprises. If you’re vegan you’ll want a seat at the table for Alfie’s Kitchen Vegan Feast - a five course meal for 200 guests. Get tickets early for this rare opportunity. The Heaps Gay Masqueerade (not a typo!) is a masked ball that will take place on two nights.The converted party space will include lots of nooks and crannies and a great entertainment line up and everyone will be masked. “You can’t tell who’s a performer and who’s an audience member, so you never know what’s about to happen!” says Glasscock. Fringe Ignite, the traditional SFF opening ceremony will debut

with modern and perennial issues facing women daily. One theatre group taking full advantage of the expansive space in the HPG Hub is Mongrel Mouth. Their new work, Undertaking, co-written/co-produced by Duncan Maurice and Sharon Zeeman is, according to Maurice, “A psychological immersive thriller, where the audience are free to go wherever they want, whenever they want within the space.” That space being twenty rooms in which various scenes occur, all forming part of a narrative but able to be manipulated so that audiences discover, influence or redirect the plot.While there are some established boundaries, audiences are given a lot of latitude to speak another new space: Kensington McGrath has created some truly and interact with performers, or Street Village at Central Park. magnificent cranial adornment, simply watch passively as the story Ignite, hosted by unique multiselected examples of which will be unfolds. faceted artist, Ngaiire, will kick off exhibited at Broadway Centre. “We’ve had moments where the festival with a nine-stage, Cinewest is a permanent alternative audiences have barricaded off mixed program, afternoon/evening cinema in the Newington Armery rooms in previous shows because of food, music and fun. at Homebush Bay.They have they know what’s about to befall a SFF will occupy Kensington Street teamed with SFF to present a series particular character because they’ve for the whole month of September of film festivals:Women Media Arts just overheard another character with two buildings at the end of the and Film; Sydney International saying what was going to happen,” street being converted to a comedy Transgender Film; Children’s Film; says Maurice. club and vaudeville/burlesque style and Flexiff - Experimental Film. With the central theme revolving theatre respectively. Girls, Girls, Girls is an all-female, around exploitation of power, some “You’ll be able to go down and eat feature length dance performance scenes include images or references and drink and see some shows - it’ll presented by Bonnie Curtis to violence, so the performance be really, really fun,” assures Projects in the wonderfully comes with a trigger warning, but, Glasscock. transformed church that is now as Maurice explains, people can Elevating headpieces beyond haute Annandale Creative Arts Centre. simply leave a scene if they feel couture, wig master, Shaun The politically charged show deals uncomfortable. Feathered and Fierce. Image supplied by Lauren Eisinger & Amy Mills Samba

SFF’s central objective is to bring new works into being, but it also believes in bringing old works to new audiences. Hence, the globally acclaimed classic thriller, Deathtrap will play as part of the festival in the modest King St Theatre. Lead actor, Nicholas Gledhill believes “it’s quite a wonderful space to put the show on because it’s actually quite a claustrophobic theatre if you set it up the right way.” The flat stage means there is no division between audience and performers, giving a sense that everyone is in the same room. The play was written and set in the 1970s and is a suspense thriller with so many surprises and twists it is virtually impossible to discuss the plot without giving too much away. “I’m desperately trying to keep my wife and my children away from any spoilers!” says Gledhill. With regard to this very iconic, mainstream play being part of a fringe festival, Gledhill argues that Deathtrap is an archetypal murder mystery and example of superlative stage writing that is usually only available to elite audiences, that is now available to all. “This is about access to theatre - that’s a good thing.”

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15

ARTS & ENTERTAINMENT The Gulf

Lume Productions are bringing an intimate new performance to Australian Theatre, hoping to immerse audiences into Audrey Cefaly’s play The Gulf. Lovers Kendra (Diana Popovska) and Betty (Brenna Harding) are alone in the Alabama Delta, searching for red fish on a summer evening. Stranded on a boat together, they are forced to confront their differences and untangle the issues they’re faced with. Actress for Betty, Brenna Harding said, “It’s a really beautiful love story about two women… they are at the point in their relationship where they know each other really well, but there’s a restlessness, with each starting to want something different out of life… there’s a lot of joy but there’s also a lot of tension.” With a lesbian relationship at the heart of the play, The Gulf is an honest representation of the challenges all relationships can endure, no matter the sexuality. Director, Mia Lethbridge explained, “It’s an exploration of two human beings trying to navigate their way through being in love… the focus is off their sexuality and more on the emotions that connect us all as human beings, so that’s an aspect that I really wanted to shine through.” Producing the play independently, the team behind The Gulf are excited to share the story they have created over the past few months. “I’d really love for audiences to fall in love with the play and the characters the same way that Diana and I have, I think we found such beauty in these characters and we find them so loveable in all their flaws and idiosyncrasies and I just hope that audiences will come completely on the journey with us throughout the 60 minutes that we are on stage.” Harding said. (JM) Until Sep 5. Flow Studios, 57 Denison St, Camperdown. $25-$35. Tickets and info: www.trybooking.com

REVIEW

My Fair Lady

Heading into the Capitol Theatre with zero prior knowledge of Lerner and Loewe’s My Fair Lady I had relatively middling expectations, although my partner for the evening who is a big fan of the musical was incredibly excited which rubbed off on me slightly. I am pleased to say though my expectations were far exceeded by the 60th Anniversary rendition of My Fair Lady. This beloved musical tells the tale of a Cockney flower girl named Eliza Doolittle (Anna O’Byrne) whose world is forever changed by the brilliant and somewhat arrogant phoneticist, Professor Henry Higgins (Charles Edwards).The clash of cultures sparks a raft of witty dialogue and wonderful songs. Anna O’Byrne is sharp and loveable in her role as Eliza which contrasts fabulously with the demanding and quick witted Higgins. The ensemble cast which supports O’Byrne and Edwards are also flawless vocally and physically with their choreography. Visually the production is breathtaking with captivating set design and brilliant costumes, each and every dress/gown is unique (except

city hub 31 AUGUST 2017

for when, for the sake of comedic effect, they’re not). My one and only criticism of the production would be the placing of the interval, which has the first act feeling slightly too long whilst the second act is almost over before you’ve settled back in to your seat.

The Father With television’s most addictive show airing its season finale earlier this week many Sydneysiders are already jonesing for their Game Of Thrones fix. Luckily the Factory Theatre has just the solution for them. Hot off a sold out and critically acclaimed run in London’s West End, the United States and a number of Fringe festivals comedy Graeme Of Thrones makes it’s way to Sydney. Avid ‘Thrones’ fan Graeme just wants to recreate his favourite fantasy saga on stage. He doesn’t quite have the same budget as the TV show, or as many cast members, or the performance skills required, but he’s sure George RR Martin would

a&e

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Photo: Jeff Busby

16 STAGE 17 SCENE 18 Sounds 19 SCREEN

André was once a tap dancer. He lives with his daughter Anne and her husband Antoine. Or was he an engineer whose daughter Anne lives in London with her new lover, Pierre? Either way, he’s still wearing his pyjamas and he can’t find his watch. He is starting to wonder if he’s losing his mind. “The Father is about the lifelong processes of how families love each other”, says Damien Ryan who makes his STC directorial debut.“Most of our lives are spent within the inclusivity of the family unit, yet most of us die in the hands of strangers.”

approve – and that’s what matters. But when news reaches him that an influential theatrical producer is in the building, Graeme decides that this could be his big break - as long as nothing goes wrong... Created by a team of some of the UK’s top comedy writers, Graeme Of Thrones is an original and un-authorised parody of the international phenomenon that is Game Of Thrones. A treat for fans and an introduction for the unenlightened. (JA) Sep 4-10. Factory Theatre, 105 Victoria Rd, Marrickville. $40+b.f.Tickets & Info: www.factorytheatre.com.au

This adaptation of the beloved musical is faithful to the originally whilst also injecting plenty of biting wit and humour to keep the audience invested. (JA) Until Oct 8. Capitol Theatre, 13 Campbell St, Haymarket. $59.90-$169.90+b.f. Tickets & Info: www.myfairladymusical.com.au

Florian Zeller wrote The Father only a few short years ago. It announced him as one of the hottest young literary talents in the world.Yet, according to Ryan, the beauty of the play belies this youthfulness.“There’s a huge amount of restraint and wisdom in Zeller’s work. It’s highly sophisticated – almost obsessively so - in the way he’s put it together. Even when he was in the room for the very first run of the play, I think they changed about one sentence. He’s certainly a clever kid.” The return of theatrical royalty, John Bell to the STC stage makes The Father a must

see.“What a career and what an extraordinary actor he is”, says Ryan.“He is such an exquisite and technical actor. It’s a big role, he’s continually on stage, there is a lot of dialogue, there is an absurdist quality to the play, so there is a lot of repetition. It’s quite a task. It’s remarkable how switched on John is as an actor that he can handle that kind of material.” (GW) Until October 21. Sydney Theatre Company, The Wharf 1, Pier 4-5, Hickson Road Walsh Bay. $79-$101.Tickets & Info: www.sydneytheatre.com.au or Ph: 02 9250 1777

Graeme Of Thrones

Arts Editor: Jamie Apps For more A&E stories go to www.altmedia.net.au and don’t forget to join the conversation on Twitter at @AltMediaSydney

Contributors: Alannah Maher, Alicia Sim, Athina Mallis, Barbara Karpinski, Caitlin Burns, Chantal Walsh, Craig Coventry, Daniel Jaramillo, Emily Shen, Georgia Fullerton, Greg Webster, Irina Dunn, Jade Morellini, James Harkness, Joseph Rana, Leann Richards, Lisa Seltzer, Mark Morellini, Mel Somerville, Olga Azar, Peter Urquhart, Rita Bratovich, Rocio Belinda Mendez, Sarah Pritchard, Shon Ho, Zeiya Speede, Jade Morellini,Vanessa Powell, Olivia Lyle, Alex Eugene, Ellouise Bailey, Manuel Gonzalez, Tommy Boutros.

The Australian premier of American Beauty Shop is both comic and tragic, giving a human face to the struggles faced by blue collar workers in middle America during the Global Financial Crisis. After decades of pressure on the minimum wage and with manufacturing/factory jobs leaving American shores, this play indicates the social consequences of poverty and lack of social services that has led to the current political situation. Set in 2010 in Cortez, a small

town in Colorado,American Beauty Shop evolves around the lives of five women inside a hair dressing salon, the Sugar Shack. Because of financial difficulty, the business owner Sue has relocated her shop from the main street to the basement of her home. The big issue is the new Walmart which has just opened; it’s destroying local small businesses. Walmart has everything all under the one roof, including its own internal hairdresser which offers a basic service but at a cheaper rate.

Cait Burley & Janine Watson

Sue’s hairdressing is unique, more of an art, but it’s proving difficult to compete, and she’s being squeezed out of the market. It’s a naturalistic narrative piece, an all-female cast, with the characters ranging in age from 17 to 81. Older audience members especially will be entertained by Helen, played by Jill McKay, an 81-year-old whose fantastically dynamic and the most IT savvy character of them all, with her own Blog and Twitter account. “We’re hearing female voices, voices across three generations and while some things have changed for women over time, some things have remained the same.You’ll be laughing one moment but feeling tremendous empathy and pain, so experience all colours of the rainbow in terms of emotion,” said the play’s director, Anna McGrath. (MS) Until Sep 16. KXT, 244 William St, Kings Cross. $25. Tickets & Info: www.kingsxtheatre.com

Where The Streets Had A Name

A brand new Australian play based on the novel by Randa Abdel-Fattah will make its premiere this coming week thanks to the award winning theatre company for young people, Monkey Baa. Written and directed by Monkey Baa Creative Director Eva Di Cesare (Diary of a Wombat) and developed after an extensive engagement program with school students, educators and members of the Palestinian community, Where the Streets Had a Name will explore themes of occupation, displacement, family and friendship. The play will introduce audiences to Hayaat, a thirteen-year-old girl on a mission. Hayaat believes a handful of soil from her family’s ancestral home in Jerusalem will save her

THE NAKED CITY

CASPER THE UNFRIENDLY POST

With Coffin Ed Sydney needs the giant metal “Cloud Arch” (aka the ‘tapeworm’) like it needs another monorail, another two years of light rail construction or an enormous milk crate in Belmore Park. Call it the proverbial hole in the head! Only last week it was revealed that the cost of this absurd public artwork had blown out from $3.5 million to a staggering $11.8 million. Regardless of its aesthetic appeal it’s a shocking waste of public money, especially when there are so many more important issues for the cashed up City Of Sydney Council to address.Already a number of Councillors opposed to the construction have indicated that the money would be much better spent elsewhere. Labor’s Linda Scott suggests it “will inevitably mean cuts in residents’ services, less green spaces,

fewer affordable housing places and delays in new city infrastructure”. And what of the Arch’s actual green credentials. It would take a shitload of concrete to erect this monster and we all know how concrete rates when it comes to the amount of carbon emissions involved in its process. Maybe the plan is to build the ghostly structure out of recycled pizza boxes and even then the demand for such could easily lead to an increase in obesity. Last week I touched on the Council’s obsession with the ‘big picture’, often in the name of attracting tourists from overseas and putting Sydney on the international map.Whilst it will no doubt make a good photo opp, it still reeks of a kind of North Korean, neo-Stalinist monumentalism. Maybe our civic leaders could concentrate more on leaving behind a vibrant and bustling metropolis, accessible to all socio

economic groups, than something you would find in Pyongyang. I was surprised to see so many CBD shop keepers and business leaders welcome the announcement of the Arch – the same people suffering the collateral damage of the incredibly drawn out light rail construction.Well, when it comes to disruption, they ain’t seen nothing yet.Wait until a whole city block is demolished to make way for a vast concrete wasteland (i.e. the City Square). I would be lodging my compensation claim now. And has anybody questioned the safety aspects of such a large structure smack dab in the middle of Sydney. The ‘tapeworm’ will have to be under 24-hour surveillance with costly security guards to stop louts, adventurous young children, pole sitters and other thrill seekers from attempting to scale its lofty heights. Then there’s the very problematic matter of its aero-dynamic integrity.The new Sydney square could easily become a turbulent wind swept zone and one good puff could see the ‘worm’ go crashing in any direction. If it fell to the South West it could easily wipe out the Town Hall, possibly when the Council was actually sitting. Likewise if it crashed in the direction of the Queen Victoria Building it would take out the bronze statue of Queen Victoria and her enormous baggy dress – which admittedly might not be such a bad thing. I suspect it would be just my luck to be browsing one lunchtime in the nearby Kinokuniya bookshop when the horrendous ‘wiggly woo’ (yes another name for The Cloud Arch) fell in that direction, burying me and a host of other innocent shoppers under tonnes of rubble and coffee table books. What a way to go!

beloved grandmother’s life. But standing between her and her goal is the impenetrable wall that divides the West Bank. Monkey Baa is dedicated to creating work that offers young people a truly multifaceted reflection of the world they inhabit; and this story will not only reflect Randa’s Palestinian and Egyptian heritage, but the experiences of many other Australians who were displaced from their homelands. “Seeing the story of a Palestinian girl on a stage in Australia feels like the culmination of all my activist efforts over the years,” said Randa Abel-Fattah. “For me, this play is an affirmation that what defines our intrinsic humanity is our capacity for story-telling. Showing people

Aanisa Vylet. Photo: Chris Pavlich

American Beauty Shop

the human intricacies of life and relationships is infinitely more powerful than any oped I will ever write.” Sep 4-5. Lendlease Darling Quarter Theatre, 3/1-25 Harbour St, Sydney. $29.Tickets & Info: www. monkeybaa.com.au

Ian Kingsford-Smith Afterlife Ian Kingsford-Smith’s latest exhibition Afterlife will feature a solo exhibition of painted sculptures and aquatinted teachings. Throughout his exhibition, Kingsford-Smith combines narrative associated with fundamental dimensions of human experience (the cycle of life, love, despair), rituals associated with ancestor worship, burial, the impact of the dead on the living and mythological representations of the relationship between the earthly and heavenly realms. The exhibition entails an adult female in the fetal burial position seated on a wooden block. She is bounded by her personal effects and the relics required for her voyage into the afterlife. Nineteen bordered aquatint etchings, titled Scenes from daily life, line the gallery walls referring to the ancient Egyptian exercise of painting scenes from the life of the departed onto the walls of their tomb. Signalling diverse cultural traditions associated with burial practices Kingsford-Smith seeks to create a vehicle for the viewer to reflect on their own relationship to spiritual ideas and their mortality. “Spirituality and religion permeate history. Most people have believed that at the end of life there will be an afterlife. Many cultures buried the dead with their personal effects, weapons, pottery and food to guarantee nourishment for eternity. The grave or tomb was filled with

goods considered important for the survival in the next world.“ I have combined pictorial narratives associated both with the perspective of the individual and with those associated with collective understandings of ancestor worship and funeral practices. Each item in the installation is a repository of life narratives, historic myths, the cycle of life, ancestor worship, archetypal experiences (love, despair, faith) and more personal levels of experience. These take the form of painted narrative fragments on each work. When asked what this exhibition represents and means to him, Ian Kingsford-Smith replied, “This exhibition is a continuum of my seeking an understanding of life, spirituality and the meaning of existence.” (TB) Sep 5-17. ARO Gallery, 51 William Street, Darlinghurst. Info: www.arogallery.com city hub 31 AUGUST 2017

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Live Music Guide LIVE WIRE Sydney By Jamie Apps

By Jamie Apps Following an incredibly successful debut album, Blue Planet Eyes, The Preatures had some unexpected obstacles thrown in their path ahead of the release of their latest record, Girlhood. Rather than let that hinder their creative process they saw it as an opportunity to further develop their craft. The two major obstacles the band had to overcome were the departure of Gideon Bensen and an injury to Luke Davison which meant he would be out of action for an extended period of time. This however allowed the remaining members of the band, Thomas Champion, Isabella Manfredi and Jack Moffitt to slow the writing process down and revise a method they had used as teenagers. “Being two members down, one was coming back and one wasn’t, it was still kind of worrying because our fate hung in the balance but it wasn’t really in our control so we devoted that idle time to getting good material down. We could sit down, take our time and work things out to give the songs and ideas room to breath.” reflected Tom. By being allowed to develop this record over a longer period of time it allowed the group to take in outside influences from other creative mediums and incorporate those into music. On such example is highlighted on lead single Yanada which was influenced by the Sydney Theatre Company’s production of Kate Granville’s novel The Secret River. “After seeing The Secret River

Chase The Sun. Photo: Glen Morgan

The Klezmatics: Get ready for a double dose of outstanding international world music stars - with the wildest world-jazz crossover ever seen in Australia.The Klezmatics are the world-renowned, Grammy-award-winning superstars of klezmer music whilst virtuoso clarinetist David Krakauer has been reinventing and remixing the Jewish music of his ancestry with the sensibility of a contemporary musician for decades. Both will make their Australian début tonight. Thu, Aug 31,The Factory Theatre A Fist Full Of Rock: Features a huge line-up and unites the Hoodoo Gurus and You Am I, fresh from a run of sell out shows around the country, with their old mates Jebediah and Adalita. Thu, Aug 31, Enmore Theatre Red Bull Music Academy Weekender: Makes its highly awaited return to Sydney this weekend with techno pioneer Carl Craig, alt-R&B star ABRA and revered activist Bunna Lawrie headlining the offerings scattered throughout the city. From boat cruises to breathtaking views and pop-up radio station events this weekend event is bound to have something for everyone. Thu-Sun, Aug 31-Sep 3.Various Locations Chase The Sun: Celebrating 10 years together in 2017, Chase The Sun established themselves from the get go as crowd favourites at festivals all over the country, and have taken their loud guitar blues, blazing hard funk and a cranking 70s southern rock feel around the world. Tomorrow the celebration arrives in Sydney. Fri, Sep 1, Leadbelly Balthazar: Inspired by Afro-Uruguayan culture, Balthazar explores themes of migration and the fusion of cultures – stories of cultural survival, integration and the birth of new communal awareness.To do so, the production

combines elements of theatre, music, dance and the UNESCO recognised drumming art form of Candombe. Sat, Sep 2, Riverside Theatres Steve Lane: Has been writing songs and playing in bands since he was legally able to enter the pub. His debut solo album The Revenge Of The Lawn is a culmination of some great and some shit life experiences shared with band mates and long time collaborators. To celebrate the release Lane arrives in Sydney to showcase and share the experience of the album with fans. Sun, Sep 3, Lazybones Lounge Henning Kraggerud: It would be difficult to find a musician more well-rounded than Norwegian violinist Henning Kraggerud.The Scandinavian virtuoso is famed for his extraordinary reach as an artist, with a career that spans across performer, artistic director, composer, arranger and improviser. Early next week Kraggerud join forces with the Australian Chamber Orchestra to showcase his talents. Tue, Sep 5, City Recital Hall Sløtface: It hasn’t taken long for Norway’s Sløtface to make a huge statement. Every opportunity they get, the fire-starting four piece bring their fearlessness and defiance to the live stage. The group arrive in Sydney for a midweek party this coming Wednesday. Wed, Sep 6, Oxford Art Factory

The Preatures

Izzy started writing a song with the indigenous Dharug language in it,” explained Jack, “Izzy took that journey mostly on her own because she knew exactly what she wanted to find but couldn’t find the best way to express that or which resources to draw upon but that eventually led to us working with Jacinta Tobin.” The Preatures certainly understand how lucky they have been to be given the opportunity to work with both Jacinta and the Dharug language and would love to continue to do more so in the future having now had their “eyes opened.” From even their earliest releases The Preatures have always written about their reality and what is

Maricelle – Love Drunk

Triggerfinger - Colossus

Love Drunk is poppy yet atmospheric. It is romantic yet sad. It is control and play. Maricelle’s EP is a blend of styles, mixing a large serve of pop with airy atmosphere. At times there are hard breaks dotted through the music and at others a hint of jazz sneaks in. The resulting electricity is not just surrounded, but poked and prodded by its own ambiance. Her eclectic influences don’t

The newest album from Triggerfinger is an intentional mix of a raw energy and experimentation, it strives to differentiate itself from the bands earlier work and it makes a quagmire of musical feels in the process. The listener can feel their shoulders start to move in the gut hitting groove, twisting from the inside out and holding them, dancing in place. It’s thick and sticky like musical molasses, resulting from

take turns in shining through, instead fighting each other for their share in each millisecond. Over the top, Maricelle’s voice takes centre, rising out and running down the sides of each piece with freedom and ethereal presence. Her EP tells a story in small pieces of love, one person is hooked on another but the feeling is not necessarily mutual. Maricelle has built up her creative work through

much study and it shows in Love Drunk. (SP) WWW

The King’s Choice In the tradition of Land Of Mine, last year’s WWII epic from Denmark, comes this profoundly intense cinematic offering from Norway. Set in 1940, the film depicts Germany’s invasion of the sovereign nation as their neutrality was challenged. The royal family and government have fled the capital and King Haakon VII (Jesper Christensen) who exclaimed “I cannot leave Norway”, is in hiding. Norway’s prospects as a nation are bleak and resistance is futile. 18

city hub 31 AUGUST 2017

Should the king prevent war and negotiate a solution with the German envoy to stop a bloodbath from spiralling out of control or abdicate and make way for military resistance which would indisputably lead to further bloodshed? Based on true events, this is one of the most engrossing films to surface from the Scandinavian Film Festivals. Unlike recent wartime blockbuster Dunkirk, the story effectively focuses on the behindthe-scenes political upheaval with minimal

attention given to actual warfare. This works well for the film, momentum and suspense building owing to a skilfully orchestrated atmospheric musical score and a script which intricately reveals the fear and horror of one of Norway’s darkest chapters in history. An unsettling sub-plot also surrounds a youthful soldier which highlights the horrors of war these children were forced to endure. (MMo) WWW1/2

happening around them so it comes as no surprise that this latest record often delves into what it means to be a woman in the modern Australian music industry. As both Tom and Jack explained it was easy to foster that vision for the record. “It’s Izzy’s reality being a woman in the music industry but it’s also our reality as well being in a band with a woman.” said Tom before Jack added, “Especially now during the writing of the record she [Izzy] found herself in the position of front woman without sharing that with anyone, especially a man.” Sep 2. Enmore Theatre, 118-132 Enmore Rd, Newtown. $49.Tickets & Info: www.thepreatures.com

unfettered time and freedom in their own space. Groove on groove makes the listener crave it, they have no desire to free themselves from the hold the record places over them. They would imbibe until their brain was filled with nothing else, mentally digesting it slowly and feverishly until they could physically take no more. Colossus is a positive result of creative freedom and active destruction of inhibition,

resulting in a melting, sticky mass of mental candy. (SP) WWW1/2

47 Meters Down

God’s Own Country Touted as a British version of Brokeback Mountain this is much more visceral, stark and intense by comparison. Set in Yorkshire, England, the story centres on a young adult man, Johnny Saxby (Josh O’Connor) who lives on a desolate, chronically misty farm with his parents, Deidre (Gemma Jones) and Martin (Ian Hart). With his father reliant on a walking stick, Johnny is charged with most of the muddy, bloody, callous building work around the farm. His only respite is getting drunk and having covert casual sex with men in the small village. When a handsome, sensitive

migrant worker, Gheorghe (Alec Scareanu) is hired to help out on the farm the mutual sexual attraction between the two men leads to emotions that challenge Johnny’s efforts to remain sentimentally aloof. This film by director, Francis Lee, unfolds at a painstakingly slow pace with documentary level detail, immersing its audience in the grit, grub and gore of a harsh, Northern English farm. It is minimalist and raw with vivid, graphic sex scenes and realistic depictions of animal husbandry - and that makes it thoroughly engrossing. (RB) WWW1/2

The Hitman’s Bodyguard Motherf@%^ing awesome! Pardon the language here but there’s no other way to describe The Hitman’s Bodyguard, considering it’s practically a Samuel L. Jackson ode to his iconic expression. The movie is Jackson at his best - swearing, shooting, swearing, kicking ass, swearing some more, you get the drift. Deadpool, I mean Ryan Reynolds, is well, Deadpool without spandex and mask. The movie itself is dated, but the rivalry and banter between these two leads is reminiscent of the good part of the Die Hard action movies.

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The Hitman’s Bodyguard is an all out action comedy bromance, with the basic gist being the good guy (Reynolds) protects the not so good guy (Jackson) from the bad guy (Gary Oldman) and they all mix up to create a pretty decent action blood fest. Despite being a Jackson ride, Salma Hayek almost steals the show from the boys, delivering a fine cameo as the bad-ass wife of Jackson’s character. It may be predictable and to a point unoriginal, but it delivers on all counts as an action movie, making it to be a great way to end the winter blues. (JR) WWW1/2

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Ever since Jaws went down in cinema history as a masterpiece that made people stay away from beaches, Hollywood has recognised the power of the natural world and our fear for killer animals on the big screen. 47 Meters Down is the latest horror survival film about two young sisters (played by Mandy Moore and Claire Holt) who adventure out on a holiday to Mexico and get lured in by two local young guys to step inside a cage that will take them underneath the ocean to witness some of the biggest and most dangerous sharks on earth. Of course the worst outcome you could imagine becomes the sisters reality as the cage breaks and they are plummeted down to the bottom of the ocean with very little oxygen and killer sharks swimming all around them. Directed by Johannes Roberts, 47 Meters Down has a very basic plotline and it really is for filmgoers who enjoy a good fright or shock but otherwise it doesn’t really impress on any other front. (DJ) WWW

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