Verse Magazine Edition 41 - The Retro Rewind Edition

Dr. Julia Collins The Tarantino Lunchbox Different Strokes

UniCast Radio Club Gen Vintage D&D For Dummies

Edition 41 Free

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Edition 41 | 2021

Verse Spotify Presents...

Be Kind, Rewind Let’s rewind back in time with a set of nostalgic tunes to make you feel like you exist in another era of groove. Working our way back to the music revolution of the 1960s, let this diverse playlist chronicle your flip through the pages of Verse’s Retro Rewind Edition.

Follow us @versemag on Spotify or scan our QR code to listen.

Images Nikki Sztolc Playlist Nahum Gale

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Playlist

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Poetry

The End of The World Words Stephanie Montatore Photo (Left) Stephanie Montatore

Time doesn’t feel so sweet Once you start watching Friends turn to lovers, Lovers to friends & Friends to faces You never really knew.

Take me back to seventeen At the bowling alley, Just your tribe and me.

You held your hands over my eyes, And separated your fingers ‘Till neon filled silver skies.

If you need me, I’ll be here.

I’m lying on a bed of masks, Grieving the loss of The last two years and Latest melodrama To a sad sixties track.

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Edition 41 | 2021

Imag[in]e

Dr. Julia Collins Photo (Right) Miriam Sims Interviewer Miriam Sims

Dr. Julie Collins is a passionate architectural historian, curator and active researcher. I sat down to talk with her in the Architecture Museum in late May. We discussed archive ephemera as lively objects, the role that museums play and the values of archiving. When considering the act of “rewinding”, the further acts of collecting, archiving and preserving come to mind. Without archives we wouldn’t be able to rethink histories, appreciate retro aesthetics and build a clearer picture of what came before us, in order to critically think about the visual aspects our society is built on.

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Thank you for meeting with me this afternoon! What kind of introduction can you offer me to the space and the work that you do here? I can see immediately that you have a lot of drawings and plans and maps up on the wall displayed beautifully, but there are also heaps of archival materials behind us, hiding within scrolls, boxes and filing cabinets.

Absolutely. The Architecture Museum is a collection which has been around for more than 20 years, it has been here at City West in the Kaurna Building since the building opened in 2005. We have got a small display space, which has got architectural drawings on display, but the majority of the collection out the back are the archives. We have got around about over 20,000 architectural drawings from privately practicing South Australian architects, mainly 20th century works [but] we do have a few items that date back a bit further than that. We have maps and plans as well as books and photograph albums; we have correspondence and specifications all relating to the history of South Australian architecture which we hold here.

What do you think is the significance of having all these materials physically as opposed to in a digital archive? I feel like we are so quick to rely on digital technologies for our research these days.

I think one of the benefits of having them physically is we know they are actually going to be around in 100 years’ time, whereas we are still not really sure about digital files, about their longevity; also, in terms of who’s going to remember they are there and to go and look for them. Whereas, when you have actually got physical tangible items like the drawings, you can see them. The other benefit is the history within the object itself; looking at the paper, looking at the coffee stains on the paper and architects’ crossing outs… they are really evocative kinds of marks of people and drawings being worked on. Sometimes with the CAD files which are produced today, you don’t necessarily see the hand of the architect. On these physical materials, you can definitely see the hand and other hints around the use of the drawings. Quite often, if they have been used on site, you will see gravity in the fingerprints and splashes of clay. Things like that can tell the story just as much as the drawing, and the content of the drawing itself.

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Photographs Miriam Sims

That’s really beautiful. What does your role at the museum involve in terms of conserving the collection or researching or helping students with finding materials?

There’s a couple of different roles. There is the preservation of history through the drawings. So, everything here has been donated by architects or their families to the museum and the university. Part of taking those in is the role of becoming custodian of these items. I unroll them, and some of them which have not been rolled out for 40 years or more don’t want to unroll! They have to kind of be told to relax and weigh down until they sit flat. Then we catalogue them and capture the important information about who the architects were, what the projects were, [and] who were the clients and the dates of the project.

Then it is a matter of putting them into plans and working on the catalogue, which is available on our website. Then it’s about access – making it accessible to the general public, as well as students and staff and researchers.

Because we are open three days a week, (Mondays to Wednesdays) anyone from the public can make an appointment to come in and do research into buildings or places or architects or even clients. And we have also got photographs, which sometimes are really useful in terms of raising them together with the drawings to get an idea of what the history was for some of these buildings. So, it’s quite a varied job.

to enable health. Things like tuberculosis sanatoria and quarantine stations, as a matter of fact.

It’s very timely research isn’t it!

Yeah, a bit too timely!

Speaking of time, the theme for this issue is Retro Rewind and you recently put together an exhibition about Modern Living. Would you be able to expand upon the process behind putting the show together?

So, I was the curator for Modern Living at Home in South Australia 1890 to 1960 which is quite a broad time period. The reason I decided to make it that broad time period was to show that modern architecture was not necessarily just mid-century modern architecture that, as a style, is really popular at the moment.

I really wanted to show how the way that we live today and the kind of the modern ways of living date right back to the late 19th century. To show the things which were innovative back then but which we take for granted now, things like internal bathrooms and toilets and plumbing really started to make an impact on the way houses were designed as did the bringing of those spaces indoors.

And then, later on in the 20th century, the way that kitchens and dining rooms started to open up and open plan living became something which we now take for granted, in terms of house design, which was really quite revolutionary in that kind of mid-20th century period.

I also do my own research as an architectural historian.

Lately, it has been looking at the architecture and landscape of health, and buildings which were designed

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The idea of thinking about the interiors as well is really fascinating to me and I am sure to many other people as we spent more time inside recently. The Architecture Museum itself has a really interesting internal environment, as does the Kaurna Building.

There’s lots of interesting layers of history we have going on here because we are in a museum full of design material, inside a beautifully designed building, within a recently rebuilt and reconfigured part of the city. In a contemporary art context, the archival impulse is discussed a lot. In architecture contexts, does it just get more and more stories and multiplicities to it? Do you think that we are going to end up having archives about museums about museums about archives and so on?

I think that’s really interesting, actually, analysing why it is we are keeping these things in the first place and actually starting to think about how we house them. Also, as we were talking about the digital before, there is that added accessibility for anyone around the world to look at something through a digital medium compared to coming in and examining the physical archive. I mean, I am still such a big fan of coming in and actually looking at the paper and going through and seeing what’s on the backs of some of these drawings and the hidden things that don’t necessarily get scanned in when you are looking at digital collections that can be glossed over.

The biases within what is archived is also really interesting. I think it’s important to consider the parts of the buildings that we feel to be significant moments in history. There’s an argument by some against even having museums in the future because of the power imbalances that they hold. How do you grapple with that?

I think significance is really a key issue. It’s a key issue not just in terms of built heritage and culture, but also in terms of everything we decide to keep, and we decide to archive. These decisions play out and you can actually see that reflected in various collections. One of the priority areas [for the UniSA Architecture Museum] is trying to collect the records of women. Not only have

female architects been very late to be recognized in terms of the profession, some of South Australia’s early women architects are still in practice. This shows how that profession has changed, that’s something which I have done a little bit of research into and I found that some women are really reluctant to donate their records. So having to encourage them becomes a really important part of museum curators so that we can get a more accurate representation of what was going on in the profession. So, we need to make sure that, yeah, women feel comfortable donating their records, not just in architecture but across all the sciences and the arts as well. Quite often they will be holding back. Perhaps, out of fear of it losing their authorship because that’s definitely something that has occurred, time and time and time again. It has also been quite interesting in terms of we have had some husband-and-wife architecture practices and the wife has said, ‘I’m happy to donate my husband’s records, but you don’t want to see mine, they’re not good enough.’ So, there is an aspect, which is really sad and involves a lot of conversations in terms of working with donors, and helping them to understand that even though they may not see their records as important, it’s really important to us!

So, archiving aims to reach the impossible task of trying to see archival materials, such as drawing as objectively as possible?

It is kind of interesting because of subjectivities; it has never had objective viewpoints. There is always some bias. The human factor plays into those kinds of significance debates as well. So yeah, it is a really fraught issue.

I think that’s a suitably heavy point to finish on and consider. Thank you for meeting me today to talk about the archives! I personally find this area and act of reconsidering a “retro rewind” fascinating.

Yes absolutely! And students are more than welcome to access collections. ▪︎

Find out more about the UniSA Architecture Museum: @unisa.architecturemuseum The database Julie edits: https://www.architectsdatabase.unisa.edu.au/ www.unisa.edu.au/connect/galleries-museums-and-centres/architecture-museum/

I AM STILL SUCH A BIG FAN OF COMING IN AND ACTUALLY LOOKING AT THE PAPER.

Artwork Lucy Edwards

Edition 41 | 2021

Different Strokes:

Words UniSA Art Club Eliza Abejo & Tony Cheung

Looking Back on Art Movements of the Past Members, Eliza Abejo and Tony Cheung, from the UniSA Art Club look back on the art sphere to highlight some iconic art trends and how they progressed through the decades, right down to their origins, motivations, and most influential art figures!

Pop art was a revolution to the traditional “artsy” style of art. With bold and colourful designs, art no longer appealed to the fine ladies and gentleman in art galleries but instead found its way to the ordinary folks too. Pop art drew heavily from popular American culture and was used mainly for commercial advertising purposes with a rise in mass production. Rather than drawing prestigious architectures or gloomy portraits, pop art incorporated everyday objects into the story: soup cans, cola bottles, chocolate bars, and comic strips... you name it!

Andy Warhol’s Campbell’s Soup Cans is one of the most iconic works in pop art stemming from consumer culture; the man mimicked those mass-producing machines through a repetitive silk-screening process (say that one five times fast).

During the postwar era of the 50s, abstract expressionism was the prevailing art trend that encouraged artists to express emotions through abstract art. For Jackson Pollock and Mark Rothko, this was through action painting and colour field painting, respectively. Action painting involved large, sweeping strokes that may also be described as “attacking” the canvas. For Pollock, this involved laying his canvas on the ground and walking across it, holding a stick dripping with paint in hand. Action painting allowed artists to work intuitively and impulsively by freeing them from the usual delicate brush strokes, encouraging them to think less about the finished results and leave everything up to chance.

On the other hand, colour field painting worked with more restrictions by using only large fields of colours and abstaining from making recognisable figures. Unlike conventional artworks that would usually illustrate a central figure with a supporting background, these paintings’ main protagonists would be the colours themselves. Visually, audiences were impacted by how they were made to stare deep into the emotion conveyed through the space of colours.

In our opinion, both are fun and therapeutic ways to create something new without overthinking... just be prepared to make a mess.

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Different Strokes

Conceptual art was an exciting theme in the 70s. It certainly opened up the channels of art and welcomed various art forms to take place. The special thing about conceptual art is that... well... anything can be special.

The focus is shifted from conveying one’s emotion through painting on a canvas to using whatever medium one desires to show the ideas and thoughts involved with creating the art pieces.

Take Mary Kelly’s Post-Partum Document, for example, a series of documentation detailing Mary’s life as a working mother with her child. It featured up to 139 artefacts, including diary pages, her child’s drawing and even faecal stains on a diaper - all of which Mary considered important milestones in a mother’s journey. Art is no longer about aesthetics but is now a tool for expressing one’s ideas. This goes to show how conceptual art paved the way for many modern arts and designs.

Quickly shifting into a world of personal computers, MTV and cocaine, most artists of the 80s were real quick according to critic Frederic Jameson - to throw out “grand historical narratives” to make that profit and keep up with the demand (whoo, capitalism!). Needless to say, the art world got real political in response to how everyone’s ideals seemed to change in this postmodern world.

On the one hand, we had neo-conceptualists like Barbara Kruger and Cindy Sherman armed and ready to expose the BS in consumer culture (e.g. using sex to sell) with altered media pieces, taken straight from their experiences in graphic design and film. On the other hand, neoexpressionists Georg Baselitz and Anselm Kiefer were painting distorted versions of iconic people and places to criticise society’s faulty understanding - or ignorance - of the past.

Also, who said art had to be confined to bland canvases and hung up in old galleries for the rich to enjoy? With Americans Jean-Michel Basquiat and Keith Haring, street art was on the rise, charged by high and low art with colourful graffiti! People could also appreciate art from the streets that paid homage to the everyday people, past and present.

Now with cable TV, mobile phones, and the excellent World Wide Web (*cue Bo Burnham’s Welcome to the Internet*), the 90s started to embrace many art practices and movements from all over the globe! In a way, this time also marked the “end” of art history because art became too complex to exclude anything. They wanted it all, from your traditionally drawn and painted artworks to live performances, films, and interactive installations.

British artist, Damien Hirst, set up a drugstore complete with empty pill bottles in a gallery space, blurring mundane and visual art boundaries. Daniel J. Martinez printed ‘I Can’t Imagine Ever Wanting to Be White’ on admission buttons and had them hung up on a wall. Felix

Gonzales-Torres piled candies in a corner to reflect his partner’s struggle with AIDS. As you can see, despite having an extensive range of mediums, subjects and themes, all of them have an aim to create either a unique, tangible experience for the public, explore a part of their identity, or spark conversations for social change.

Until now, art continuously evolves and adapts to represent new ideas, people, and cultures. However, if we have tried everything, what do you think art movements will look like in the future? A collage of memes? Projected Tik Toks? Framed tweets? In any case, whatever tomorrow has to bring is sure to be something... exciting. ▪︎

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Edition 41 | 2021

Echoes of Rock ‘n’ Roll

Words Malvika Hemanth Artwork (Right) Sonia Zanatta

They were always there. The influential bands of the 60s and 70s.

Like the fashion trends of the 60s and 70s infiltrating their way back into the styles of today, the same can be said for the music of the 21st century, though in a less subtle manner.

Circle, where she samples Dreams’ drum and bass pattern and uses this as a recurring theme.

Let me introduce you to sampling. Sampling is a technique used by producers whereby they use a section of a song, often one that is not their own, to create another independent song. Through this technique, one can see the influence of popular musicians from the 60s and 70s and their lingering legacy in the music of the modern era.

Whilst the 60s and 70s was an era of bands one cannot forget the lasting impact of one particular band: The Doors. Composed of four key members and notated as one of the greatest musicians of all time by the Rolling Stone, The Doors have influenced the likes of James Blunt and Snoop Dogg. The Doors’ 1971 track, Riders on the Storm, which can be described as eerily spooky with the breaking of a thunderstorm used as the introduction, is sampled in songs including Blunt’s 2004 track, So Long Jimmy, and Snoop Dogg’s 2008 track of the same name.

In Blunt’s song, one can hear The Doors’ sample towards the end where the smooth descending keyboard transition and accompanying drums and guitar of Riders on the Storm is used as an outro. Similarly in Snoop Dogg’s song where The Doors are credited as a feature, one can clearly hear their influence as The Doors’ chorus is used as the song’s chorus as well. In addition to this, Snoop Dogg’s first lines are an ode to the singer of The Doors, Jim Morrison (AKA the Lizard King) as he states, ‘goin’ off of this, off of that, with the Lizard King bumpin’ in the back.’

Take for example the 1968 track You Showed Me by The Turtles. Whilst the band’s genre of music can be categorised as psychedelic rock and sunshine pop with elements of blues, this particular song has been sampled in genres as diverse as electronica to hip hop and even in film soundtracks. The most notable sample from this song is the use of The Turtles’ rising and falling string section. This string section can be heard in DJ Farolfi 2002 electronic track, Burnin’, in which this string section is heard briefly layered over fast dance beats. The same sample can also be heard in Whizzer Dee’s 2016 hip hop instrumental, Illusion, and in the 2005 remake of Fun with Dick and Jane in the track, Job Calls.

However, it’s not just The Turtles that have established their place in today’s music and that of the 60s and 70s but also the ever-timely Fleetwood Mac. Whether it’s the catchy guitar riffs of Jeremy Spencer and Peter Green or the jarring yet warm vocals of Stevie Nicks, one can still hear their prominence in today’s music. Take for example Fleetwood Mac’s 1977 track, Dreams. This song was the only song by Fleetwood Mac that reached the Billboard Hot 100’s number one spot and its influence can be heard in the artistry of Post Malone and Jessica Simpson. In Malone’s 2016 track, Hollywood Dreams/Comedowns, one can distinctly hear the sample of Dreams throughout particularly his use of Dreams’ chorus. Similarly, the same can be said of Simpson’s 2006 track, Walkin’ ‘Round in a

Whilst the scope of popular music today has changed from that of the 60s and 70s leaning towards songs with more bass, catchy lyrics and a significant influence of hip hop over rock, the significance of music of the 60s and 70s can still be heard. So now might be the time to dive into your parent’s old record collection for that real nostalgic feel or just play a 60s/70s playlist on Spotify and see whether you can hear their influence. It might just be a small guitar riff, a subtle drum pattern or an overt sample, but I am sure you will find the legacy of the 60s and 70s hidden in the tracks of today. ▪︎

NOW MIGHT BE THE TIME TO DIVE INTO YOUR PARENT’S OLD RECORD COLLECTION FOR THAT REAL NOSTALGIC FEEL. 16

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Edition 41 | 2021

Retrospective: I Want My MTV Words Nikki Sztolc

“LADIES ROCK

AND ‘N’

EN, GENTLEM ROLL…”

Long before MTV was taken over by Teen Moms and Nev from Catfish, the channel was a beloved staple for many teens in the 80s. MTV launched as a 24-hour music channel, providing music videos of the 80s and 90s with shelter, warmth and visual representation that they couldn’t get through radio. I Want My TV, directed by Tyler Measom and Patrick Waldrop, is a 2019 documentary which recalls the channels’ formative years of sex, drugs and rock ‘n’ roll... … Okay, maybe it wasn’t all that to begin with. But as we find out later it certainly wasn’t out of the equation.

The film undoubtedly champions MTV, established by the documentary’s emphasis on the fact that prior to the 80s, music did not exist in tangent with television. Television, as a relatively new concept, meant that not many households had one. It also meant that teenagers were bored by its programs which catered mostly to older generations and remained relatively conservative. MTV saw this as a challenge.

Between punk and rock music taking centre stage on radio and Walkman, and television making its way into homes, cofounder, Robert Pittman, saw an opportunity.

Writer and musician, Jack Antonoff, makes a statement about money quite early on in the documentary; a topic which continues to be addressed throughout the film. MTV didn’t care about money. They had none. They did it all in the name of bringing music to the youth. So, within the first five minutes of the film we know three things: a) there was little to no music television in the United States before MTV, b) music videos were only just beginning to take off, and c) MTV did not do it for the money.

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Retrospective

Some black and white clips of early live music and dance performances flash on an old-fashioned television to introduce the first major part of the film. ‘If television stations were like radio stations, wouldn’t it be cool if they played music videos?’ was one of the many iconic quotes from the documentary. Another being: ‘We were told “Music doesn’t work on television”.’ The interviewees laugh, knowing the success of MTV contradicted everything TV executives told them in the early days.

questioning the presenter on MTV’s diversity draws mostly to the fact that the presenter felt ashamed of the way he had answered. MTV’s decision to play Michael Jackson’s music is offered in an almost “save face” kind of way, and the two-minute segment on the topic of racism is dropped to discuss Jackson for a further ten. Alas, it is difficult to review this part in more depth since it doesn’t offer much in the first place. The same can be said for the discussion of female representation in music, a fault more-so of the musicians themselves than of MTV, and in a time that was not as progressive as the 21st century is also hard to criticise.

There is something so fascinating about watching the original creators recall MTVs early beginnings. From the pitches, the meetings and rejections, to the naivety and innocence of the first launch. Even though we know now that MTV was a hit, you can’t help but think ‘there’s no way this will work’ as the creators take you through this little project with big dreams. The logo was really a throwaway design made by a studio behind a Tai Chi studio and the employees really went to a dingy bar in Jersey to watch MTV air for the first time. Humble beginnings.

Past employees and music industry professionals discuss the rise of MTV, reiterating the fact that its humble, broke ass beginnings played a big part in its success. That’s not to say that its commercial success is not a milestone to be celebrated too, but its shift to reality shows appealed to a different audience than it had initially set out to attract.

The 90s were still good years for MTV, but the 2000s saw more corporate lean in its programming, slowly eliminating many of the much-loved music shows that began its success (think Headbangers Ball, Yo! MTV Raps, and MTV Unplugged). In the end, I Want My MTV comes full circle with another appearance from Jack Antonoff (now that I think about it, why is Jack Antonoff here?) saying ‘I really only wanted music on MTV.’

Maybe it was their sense of humour, but playing The Buggles’ Video Killed The Radio Star as the first song seems incredibly fitting, and the fact certainly deserves an audible laugh. “The next thing since sliced bread” sounds about right now, but even after its launch, MTV struggled to find more than 200 videos to play on any one rotation.

Jack Antonoff was right; they didn’t do this for the money, mostly because they didn’t have any. With that, the documentary dives into its second act.

The film bounces between home videos, original studio footage, music videos and present-day interviews in a way that immerses you into the 80s as if you were there. It’s nostalgic in a way that makes you feel like you experienced the era, even if you hadn’t. Perhaps it is the fact that vinyl and 35mm photography aesthetics are seeing a major comeback in today’s society, or perhaps it really is just a compellingly structured documentary recounting something that became bigger than was ever imaginable. MTV, love it or hate it... I Want My MTV is ultimately a captivating look back on the channel that changed music and television forever. ▪︎

After more meetings with record labels and even more rejection, they were convinced that the end of MTV was near. It was only when Les Garland joined the team as Vice President that they launched the iconic “I want my MTV” campaign. The animated retelling of the story of Garland going to see Pete Townshend in London makes for almost comedic relief, as if the future of the channel didn’t completely rely on his co-operation (spoiler alert: it did). It’s funny to think that if Mick Jagger and Pete Townshend hadn’t agreed to do this ad- no, not an ad, promo – MTV may have seen its end quite early on. This sparked a succession of artists like David Bowie, Billy Idol, The Police, and Stevie Nicks to agree to this promotional advert asking pay TV networks in the US to add MTV to their local channels lists.

With its new popularity on pay TV, submissions for music videos started flowing in more regularly, meaning MTV could now be more selective with what they play. With this selectivity came great responsibility, and, in a way, this is where the documentary falls short. Perhaps the director is not entirely to blame for this, but when the topic of racism is brought up and white MTV executives start defending their choices, something doesn’t sit quite right. While the film jumps between these shots, and those of musicians of colour claiming MTV did have racial bias, there is no conclusion by the end of it all. David Bowie’s famous video

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Photo Connor Brennan

Poetry

At This Age Words Stephanie Montatore

At this age, everybody’s keeping face, Letting go of their old one, or clinging to it Like they’ve got none, But they’ve got some People to fill the space.

Saturday nights spent wasting away, But they smile while they stumble.

And there’s this girl I used to know, I loved her back in primary, Then we started to grow.

She once told me stories about Thieves with golden knees, Fairies hiding up in the trees, And no responsibilities.

But now she’s holding cigarettes, Tells me the clock is cruel, and I bet.

Because, at this age, no one’s holding my hand, Or asking me kindly if I want to dance.

So, I walk home alone, I guess I’ll learn to like it, but just know – If you ever want to talk about Thieves with golden knees, The fairies still hiding in your trees, Or how much you wish you Still had no responsibilities, Know that that’s okay, because at this age we’re not ready to waste away.

This poem provides a different perspective on the theme with a focus on childhood nostalgia (like fairies and goblin stories) and embracing where you are at in the current moment.

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Absurdist Histories

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Edition 41 | 2021

Great UniSA 30th Anniversary Countdown The

Volume Four (15-11)

30 years. 30 Degrees. 30 students. 30 accomplishments.

Verse is back on that celebratory grind as we are now just counting down the hip hip hoorays in our university’s birthday serenade. Yes, you heard it right, we are almost on the home stretch of this huge cohort-wide countdown!

From designers to journalists, aviators to physiotherapists and midwifes to lawyers, I reckon we have pretty well covered some of the University of South Australia’s coolest student accomplishments. But now we are getting deeper.

Now we are in with the architects, the mathematicians, the engineers and some of UniSA’s technical fields. So please, be our guest once again, as we countdown towards the single digits.

Tune in for Volume Five in our next edition!

Photos Sabrina Sterk

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Sabrina Sterk – Bachelor of Architecture My employment in the Design and Architecture industry has not been possible without the aid of UniSA’s architecture course, laying strong foundations for me to base myself off of. The education I have received has not only provided me with fundamental knowledge and skills, but also with confidence and modesty to pursue jobs in my desired field. I am thankful for my patient and supportive lecturers and tutors, many of which have turned into mentors to me and continue to inspire me. As the Architecture Student Representative, I feel honoured to represent my cohort and be a part of making this degree as valuable and rewarding as possible for all involved.

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30th Anniversary

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Henry Hancock – Bachelor of Electrical and Mechatronic Engineering (Honours) My biggest accomplishment while studying at UniSA has been to take part in a comprehensive study of the solar power array on the Mawson Lakes campus. As a part of a team of students, we were tasked with analysing a years’ worth of data and determining the viability of installing a battery bank alongside the solar panels. This would store excess power generated on sunny days to be used when the sun was not shining such as at night or on cloudy days. Along with data analysis of power generated by the solar array, we also did research on different possibilities to use as the battery, such as lithium-ion batteries, hydrogen cells, and forms of kinetic energy storage. Although it was concluded that a battery pack was not economically viable, it was still a great opportunity to apply our learning to help a real-world issue.

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Dinuk Nanayakkara – Master of Information Technology: Enterprise Management There are quite a few accomplishments that I am proud of. I have been able to maintain a GPA above 6.0 while participating in many extracurricular activities. I love volunteering and networking, and have completed the UniSA+ award and have been a recipient of the BUPA UniSA International Student Grant.

I love meeting new people and I believe all these were a reason for me to be elected as the USASA Postgraduate Student Representative, which has been my biggest accomplishment while studying. It has been a great opportunity for me to develop both my personal and professional skills and to be an advocate for the students.

Photo UniSA

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Charlene Lee – Bachelor of Mathematics: Data Science Honestly, I think my biggest accomplishment has been making it this far in my degree. Choosing to study in this area was a big risk for me; I find maths challenging on the best of days, but I recognise that businesses are driven by people in the background running numbers and analysing data. It’s been difficult at times, and I have certainly felt like giving up, but I have worked hard to understand the concepts in all my courses and am thankful to be set to graduate at the end of this year. I am beyond grateful to the people around me for their continual support, and to UniSA for all the opportunities I have been given during my time here.

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Photo UniSA

Amrit Kumbhar – Bachelor of Arts: Major in Japanese & Applied Linguistics I would say my greatest accomplishment while studying the BA at UniSA was representing South Australia in the 50th National Japanese Speech Competition and winning 1st place in Australia with my speech, The Iroha Song and Optimistic Nihilism. I have had a passion for learning Japanese since high school and have aspired to be a Japanese teacher ever since. As such, under the Bachelor of Arts I chose to specialise in Japanese and Applied Linguistics to pursue my passion for languages and to learn the skills I will need for my future careers. In doing this, I was able to delve deeper and gain a more profound understanding of the complex meaning making processes we engage in when using language in our everyday lives. Furtherly, I was able to realise the integral and inseparable relationship between language, culture and identity; it was the culmination of these understandings and knowledge that allowed me to participate in and win the national Japanese speech competition.

[For further features of Amrit’s work in Edition 41, check out USASA Clubs: UniCast Radio Club on pages 58-61]

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Taboo

Taboo: Fangirl is Not a Bad Word Words Nikki Sztolc Artwork (Left) Lauren Fox

For as long as I can remember, I have been a “fan” of something, from my early teen years spent being obsessed with My Chemical Romance to, more recently, watching Bo Burnham’s Inside every day for three weeks straight.

Why then have I always felt a sense of shame around liking something? Why has the word “obsessed” always left such a bad taste in my mouth?

I spent a lot of time online in the late 2000s when the rise of Tumblr and Twitter brought about a world of amplified fan culture. Where you once had posters on your wall and screamed your lungs out at the concert of your favourite band, now you could also run a micro-blog dedicated to a celebrity and engage with users who were fans of the same thing. It also opened up a pool of opportunity for criticism that judged your gender and your interests as if they have any correlation. If you were too passionate about something or deemed yourself a fan of the “wrong” thing, you would best be prepared for an influx of hate.

I will begin with this: men who attend sporting events, screaming from the stands when their team scores the winning goal, are seen as passionate, while female fans screaming in excitement when their favourite musician comes on stage are labelled as “crazy”. We have heard it all before, I am just not convinced that anyone is really listening. The horrifying and extensive history of violence following sports games haven’t tainted the mainstream, predominantly male sports fan persona, but a primarily female audience screaming when they see The Beatles is enough to label female fans of (almost) anything as insane. How is that fair?

Take the word “fangirl” for example. This word was always thrown around by my male counterparts to have negative connotations. To be a “fangirl” means you are obsessive, overexcited, and neurotic. Even when it’s not intended to be an insult, being called a “fangirl” has never been a compliment. I have always wondered why we gender this expression of passion in the first place. Why is engaging in fan culture seen as such a negative experience by those whose interests don’t align with our own?

While men who are fans of music, movies, and/or celebrities have also faced extensive criticism, I can’t help but feel this might be because of the association with these things being “feminine”. It’s a difficult line to draw where there may not be one at all, but typically men are shamed for being fans of more feminine subjects, where women are shamed for engaging with interests deemed masculine. The fact that this theory doesn’t account for non-binary and gender non-conforming fans is all the more reason not to gender people’s interests. Deciding what is “feminine” and what is “masculine” in popular culture is counterproductive and has certainly left me feeling like I can’t express myself through what I like in fear of judgement.

You would hope that fans with the same interests would support each other, but the truth is - especially in music - there has always been a prominent gender bias. More masculine genres, such as metal, procure a fanbase with a history of gatekeeping and shaming women for listening to the genre. Online fan culture has perpetuated this shame, providing a platform for men to tell women they should like pop music and bands with conventionally attractive frontmen and not bands with heavy guitars that sing about darkness and death.

The rules are unclear, but let me give it a shot… I am allowed to listen to One Direction, but I will be called a “fangirl” and “hysterical”, and I will be made to feel ashamed by everyone around me who isn’t a fan. I am also not allowed to listen to Parkway Drive, because they’re too heavy and I just wouldn’t get it, and if I do I will not be welcome in the scene.

I suppose what I am getting at is that everyone, regardless of gender, should hold the freedom to be a fan of whatever they feel passionate about. Although my way of dealing with this shame has been a mix of choosing not to engage with fandom and no longer feeling as passionate about my interests, this shouldn’t be the case for everyone else. You are allowed to be a fan without feeling ashamed.

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Edition 41 | 2021

Dungeons & Dragons Words Artists, Gamers, Programmers United (AGPU)

D

ungeons & Dragons (or D&D) is a tabletop roleplaying game that has been around since the 1970s. Recently, it has been gaining in popularity through several popular shows such as Stranger Things and Critical Role. The latest ruleset to be released is known as the 5th Edition, having been released in mid to late 2014. Dungeons & Dragons can be rather overwhelming to new players who are not experienced in tabletop roleplay, so this article should help you gain a rough understanding of what the game is and how it is played.

A typical game of D&D consists of a group of friends getting together around a table (COVID permitting) and delving into a world of magic and wonder. There are two roles to be filled, a player who creates a character to be thrown into this new world and the Dungeon Master (or DM) who creates the world and the story for the player’s characters to adventure in.

The DM is the one in charge of the game, dictating how the other player’s characters (or pc’s) actions influence the world. The DM has the task of coming up with encounters for the players to navigate their way through. These encounters typically fall under 3 types: social, combat, and exploration. Social allows for character interaction with the rest of the party and with non-player characters. Exploration covers the trek across the world and its townships, dungeons and cities. Combat is, as it sounds, where your party goes toe-to-toe with creatures and warriors.

As a player, your journey begins with the creation of your character concept; it can be anything, from swashbuckling pirate to a nobleman from a foreign land. Talk it through with your DM and they will help guide you. Your idea can help to determine some of the mechanical decisions in-game such as your class, race or background.

A TYPICAL GAME OF D&D CONSISTS OF A GROUP OF FRIENDS GETTING TOGETHER AROUND A TABLE (COVID PERMITTING) AND DELVING INTO A WORLD OF MAGIC AND WONDER. 28

Dungeons & Dragons for Dummies

Let us begin with class. We have provided you with a generalised summary of each of the 12 base classes: Barbarian: The adventurer who smashes a table because they stubbed their toe on said table. Able to shrug off large amounts of damage due to the pure rage coursing through them, Barbarians are some of the hardest hitting and hardest to kill adventurers in D&D. Fighter: One of the most versatile of the classes, sporting the wildest array of proficiencies in weapon types and armour. Fighter is the class to pick if you enjoy dealing damage at range or in the middle of the fray.

Monk: Masters of hand to face combat, Monks are one of the quickest adventurers you will find in a party. Utilising the flow of the Ki in their bodies, they can attack harder and faster than any other class.

Rogue: Charming swashbuckler, sneak thief and assassin all fall under the Rogue class. Using their stealthing capabilities, these adventurers exploit their enemies’ weaknesses and blind spots to deal vast amounts of damage.

Ranger: Experts of ranged combat, Rangers specialize in a favoured terrain and enemy type. This gains the adventurer large bonuses when fighting within these conditions.

Cleric: Clerics boast a surprising versatility when it comes to their power, from being solid tanks to quick on their feet healers. A Cleric can round out any adventuring party.

Paladin: Following their sacred oath, a Paladin strikes with great power. Being one of the few close ranged spell casters, these adventurers sport some of the highest damage capabilities of the party.

Wizard: Through their continual study of magic, Wizards gain control over the very fabric of reality. Specialising in one of the eight schools of magic, wizards use their knowledge as a deadly weapon, being able to draw upon vast amounts of magical power.

Sorcerer: Sorcerers are people born with magic coursing through their being. Their magic comes from their ancestors either getting gifted power or by having demonic, celestial or even draconic lineage. Sorcerers are explosive charisma casters that sport a variety of ‘Metamagic’ that allows you to tailor your magic experience.

Warlock: If studying is not your strong suit, and magic does not course through your blood, perhaps your adventurer would be interested in making a pact.

Warlocks gain their power from a pact that they have made with a higher being, whether that be a god, a unicorn or even Cthulhu itself. One of the most customisable classes in D&D, Warlocks are great and somewhat beefy spellcasters.

Bard: Bards are charismatic storytellers, musicians and are stereotypically known as the flirts of the D&D world.

Experts at controlling the flow of battle through a wide array of buffs and charms, these adventurers are perfect for turning the tide of a war.

Druid: Devout protectors of nature, Druids are known for their large range of spells and their ability to shift their form to that of a beast.

Aside from class, your character also needs to have a race. The playable races of D&D are as varied as they come – some even having scales or fur! You can also choose to be a human, a long-lived elf, a stout dwarf, a burly half-orc or even a demon-esque Tiefling.

Once you have your class and race, you are ready to fill out a character sheet!

On this character sheet there are 6 main attributes, including strength, dexterity, constitution, wisdom, intelligence and charisma. As the character grows, you will also increase your “proficiency bonus”, which is a bonus to the skills that your character specialises in. These skills are governed by one of the main attributes, which adds a bonus to what you roll. Your background, race and class also add to the list of specialties. Each character starts with a set of equipment which covers everything from your weapons and armour, to little knick knacks you find on the street. Equipment is usually dictated by your background and class.

Once the game starts, the DM may ask you for a certain kind of “check” or “roll”. In combat, this will typically be an attack roll. Outside of combat, it will likely be a skill check. To determine how well you perform your action, you roll a die.

In D&D, the most common type to roll is a twenty-sided die (D20). To get your final score, you roll the die, add your proficiency bonus if applicable, and lastly add the main attribute associated with the weapon, spell or skill.

Ultimately, the best advice we can give you to start playing this amazing game is to pick up and read the official rules from the Player’s Handbook and the Dungeon Master’s Guide. There are many other great resources available throughout the internet. A Crap Guide to D&D on YouTube and the website D&D Beyond are a few we love.

Anyway, that about wraps it up! So, from us to you we bid you adieu.

Happy hunting, role players! ▪︎

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Edition 41 | 2021

The ABCs of Words Maddy Penn Artwork Nikki Sztolc

‘I’m dying.’

‘You’re not dying. You just can’t think of anything good to do.’

It was John Hughes who just about raised Gen X and, as a byproduct of that generation, I found myself having forced viewings of The Breakfast Club and Sixteen Candles just about every weekend as I grew into my teenagehood. My favourite of all time though, both of Hughes’ and just about any movie ever, would have to be his 1986 teen comedy Ferris Bueller’s Day Off. For those who have not had the pleasure, this movie stars Matthew Broderick as the titular Ferris Bueller, your everyday teenage sociopath who drags his mentally unstable best friend, Cameron (Alan Ruck), and dropdead gorgeous girlfriend, Sloane (Mia Sara), on a wild ride around Chicago after skipping school. They do crazy and quirky teenage things, like go to a gallery, watch the stock market, and eat fine food. But, of course, there are two forms of antagonists in the film who take the shapes of the Dean of Students, Ed Rooney (Jeffery Jones), and Ferris’ sister, Jeanie Bueller (Jennifer Grey), who both will stop at nothing to uncover Ferris’ plot and expose him as a “no-good” kid.

In my humble and very unscholarly opinion, I would declare Ferris Bueller’s Day Off to be the most rewatchable movie of all time. It is a brilliantly impossible and bizarre, yet hilarious day-in-the-life film that always manages to draw me in for a rewatch... or ten. I mean, what other movie would have the balls to have a Charlie Sheen cameo where he went completely method for 5 minutes of screen time? Incredible.

So, I will be counting down from E to A, my top 5 picks for the most rewatchable scenes in Ferris Bueller’s Day Off.

I WOULD DECLARE FERRIS BUELLER’S DAY OFF TO BE THE MOST REWATCHABLE MOVIE OF ALL TIME. 30

The ABCs of...

Charlie Sheen’s Cameo ‘Drugs.’

As mentioned earlier, this Sheen scene remains iconic. For context, when Jeanie arrives at a police station in the film she meets a young, smooth bad boy portrayed by Sheen. Apparently, the man didn’t sleep for days to “prepare for the role”. Alongside him, Grey does a marvellous job of acting the love-sick teenager who could do so much better than date the guy who looks like he eats nothing but cigarettes and Monster Energy drinks.

Cameron’s Existential Crisis With The Dream Academy’s Please, Please, Please Let Me Get What I Want playing in the background, I cannot begin to describe how weird and wonderful this scene is. In it, we watch Cameron stare deep into the soul of a painting on the trio’s trip to the art gallery. It’s all supposed to be a metaphor about how the closer you get the less you see, I’m sure... but it certainly makes me giggle.

The Phony Phone call to Ed Rooney ‘You’re an asshole!’

‘What?’

‘Asshole!’

I probably know this interaction off by heart. When Ferris and Cameron attempt to wag school, they are first left to prank call Rooney disguised as their parents, leading to hilarious results. From Grace the secretary’s Dirty Harry comment to the cowboy zoom onto Rooney’s face when he first hears Ferris’ voice on line two completely dismantling his plan to catch the teenagers, this scene fully introduces us to just how invincible our title character truly is... and how gullible his opponent appears.

Abe Froman a.k.a. The Sausage King of Chicago When Ferris looked straight at me through the camera lens and said, ‘you can never go too far’, I was officially hooked. The trio face off against a snooty waiter who is determined to remove them from his fancy restaurant until Ferris throws the name Abe Froman into the mix. Seriously, how insane do you have to be to lie to an angry French waiter (that looks like Neil Patrick Harris) just so you can crunch on some ice? Ferris Bueller... you are apparently insane.

Twist and Shout ‘He’s going to be a fry cook on Mars!’

This must be the most iconic scene in the entire movie! Ferris dances on top of a float, with the entirety of Chicago present, lip-syncing along to The Beatles’ Twist and Shout. As Sloane and Cameron have a conversation about what the hell Ferris will do after graduating, their loose canon of a friend sways wildly in a crowd alongside German backup dancers.

So, there you have it, a lovely stream of consciousness about my favourite movie of all time. The 80s got film right, and if you dodge the occasional flick that might not have aged as well as it could have, you too can delve into the world of some of the best fashion and soundtracks in cinema history. Take a leaf out of the book of Ferris: life moves pretty fast, if you don’t stop and watch some movies every while, you may miss all the good ones. ▪︎

...

Wait, you’re still here? The review is over. Go home.

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Edition 41 | 2021

In[ter]view The Film Reels Unwound

with Astra Vadoulis

& Anna Kimura

Photos Astra Vadoulis Interviewer Nahum Gale

There is something old timey, something grainy, something nostalgically authentic about the filmmaking process that draws one’s attention to its retro roots. Cinema has been, for a long time now, an inventive, stylised and ridiculously popular approach to storytelling, specifically in the Hollywood boom of the late 20th century. From noirs of the 50s to sci-fi of the 80s, the art of filmmaking has continued to evolve with the times, learning from its past to progress into the future.

Here at the University of South Australia, students studying film and television are offered the chance to take part in this medium’s crucial evolutionary steps with the Film Concept Lab. Collaborating with We Made a Thing Studios and Rising Sun Pictures, avid, up-and-coming filmmakers can sign up for an intensive to explore how a film set operates.

This year’s Film Concept Lab feature, being Balaklava, saw a collaboration between three UniSA students consisting of Astra Vadoulis, Anna Kimura and Luke Librino. Not only did the trio venture on-set for the filmmaking experience but also worked to shoot their very own documentary on the whole process. Verse was lucky to catch up with the former two Media Arts students to learn about their time on the set, their influences in filmmaking and how the Film Concept Lab functions.

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In[ter]view

So, how did you initially come to study film? What inspired you both to do so?

Astra: I always really enjoyed watching movies and the “behind the scenes” on DVD’s and I thought that it was something I could do and wanted to learn more about, so I found a course I liked and applied.

Anna: In my final year of high school, I took on a VET course dedicated to film and television and from there sparked my interest and career path.

Just to get to know you both a bit better; what are your favourite films or most influential filmmakers, and how have they inspired you?

Astra: My favourite film genres are fantasy, horror and comedy [whilst] my favourite filmmaker is Tim Burton. I really like that he has a distinctive style and as soon as one of his films starts you instantly know that he made it.

This is something I am really trying to work on, to create a signature style.

Anna: My favourite film genres are psychological thrillers and comedies. Filmmakers who influence my work are those like James Wan and Christopher Nolan. I enjoy how their films impact an audience as well as how much thought and creativity goes towards their work.

What are your preferred types of filmmaking like narrative, documentary, experimental, Arthouse, television, etc.?

Astra: I really enjoy making narrative, documentary and experimental films. It helps to mix up the styles and I find you learn more about filmmaking when you branch out-of-thebox and make experimental films. They help you to learn how to throw out the rule book and to really get creative.

Anna: I enjoy narrative and experimental filmmaking as they allow me to be the most creative.

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Edition 41 | 2021

Prior to your work on Balaklava, have the two of you worked together before in film and when? Have you pursued your own short films and are there any you are specifically proud enough of to speak about?

Astra: Yes, we have! Anna and I usually work together on our uni assignments and have collaborated on upwards of six productions. Prior to Balaklava, I was making short films a semester through uni and making edits for businesses or personal use. I have also been slowly starting to build up my professional portfolio and going out and getting work on professional sets, which has been really exciting.

What is the Film Concept Lab? Astra/Anna: Film Concept Lab (FCL) is essentially a program where UniSA students get to work on a professional set and shadow the lovely people from We Made a Thing Studios. It is an excellent opportunity to get out there and experience a real set and to learn set etiquette.

What careers or roles do you aspire to pursue in the film industry? Tell us a bit about these roles and how practical and important they are to the filmmaking process?

Astra: I aspire, like many others, to become a director.

I also would love pursuing director of picture/ cinematography and producing. I really enjoy seeing a project go from concept to the finished product. All of these roles are really crucial during the whole filmmaking process. There is a lot of planning, time and effort that goes into creating a film and these roles are extremely important. Especially the director and cinematographer due to them having such a large role in how the film visually turns out.

Anna: I aspire to have a career within the film industry, particularly the roles of director, 1st Assistant Director and script supervisor. All roles within the film industry are important, but I believe the director is one of the most crucial people on a film set. They are the person who determines the creative vision and makes the film’s big decisions.

What was your experience like working on the film, Balaklava? Run us through the whole process.

Astra: To be able to participate in FCL you needed to apply with a showreel of all your work. Once you get accepted you sit in on production meetings with the crew. This is an excellent opportunity to hear about how others got into the film industry and get an insight to what we will potentially be doing in the future. From there production starts and you are on set for 3-4 days. This is your opportunity to approach the filmmakers and departments you are interested in and see if you can help in any way. I did this during my first time on FCL and because I put myself out there, I received work in the industry and got jobs through the camera department. Once you move into post production, you don’t have as much involvement. However, we always do a wrap party at a pub where you really get to know everyone in the crew and make your connections.

It was busy, intense, long days, collaborative and fun.

I understand you all shot a documentary for Balaklava; was this part of your study experience or your own creative pursuit? Also, what was the name of your documentary and how did you choose to frame it narratively?

Astra: Yes, the documentary was part of our assessment for this course. We also took the opportunity to make some Reels for We Made a Thing Studios’ Instagram page... so keep an eye out!

The doco is called Balaklava… Behind the Scenes, we chose to focus on the process of filmmaking and the student’s perspective. We all recognised that the uni needed to be able to use it for advertising so that made choosing the narrative slightly easier.

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In[ter]view

IT WAS BUSY, I N T E N S E , LONG DAYS, COLLABORATIVE AND FUN. What were the lessons and challenges you faced making the documentary?

Astra: Timing! You start out thinking that you have all the time in the world and that you will edit as you go, but things rarely happen this way. We also found that we were getting too much footage and it took us hours to go through it.

Overall, how has your experience on a film set shaped your outlook of the film industry and a possible filmmaking future?

Astra: Being on a film set really helps you see if this is an industry you are interested in working in. You have to be okay to work long hours, random hours, like for example the middle of the night or 4 in the morning, and then be creative all day. For me personally it’s made me realise that this is something I could see myself doing long term.

Film is a very retrospective medium, similar to most arts in the way it steals from the past to evolve; are there any older film techniques from bygone eras you wish to keep alive? Also, being the Retro Rewind Edition of Verse, is there a specific era of cinema you are most attracted to and why?

Astra: I really like the German Expressionism movement which would go to showing someone’s inner turmoil outwardly. I think that is something that I definitely want to see more of. The 1940’s filmmaking too, especially the work of Maya Deren, really appeals to me. I love to see that in a time where men had a complete monopoly over filmmaking, women were still producing incredible films. ▪︎

ALL ROLES WITHIN THE FILM INDUSTRY ARE IMPORTANT, BUT I BELIEVE THE DIRECTOR IS ONE OF THE MOST CRUCIAL PEOPLE ON A FILM SET. 35

Artwork Aira De Los Santos

USASA Academic Advocacy Free, confidential & independent advice.

The USASA Advocates are experts in academic policies and procedures. They can help you understand what’s happening and what you need to do if you are facing academic issues.

Common issues Advocates assist with: •

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If your issue is not listed here, an Advocate may still be able to assist you.

Advocates are located at the City West Campus but are available to attend meetings at metropolitan campuses if required. They can also remotely support students at regional campuses and, in certain circumstances, in-person support can be arranged.

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Edition 41 | 2021

Humans of UniSA Presented by On The Record

Everyone has a story...

In Verse’s Retro Rewind Edition, On the Record have turned back the clocks to highlight those unique members of the cohort who bathe in the stylings of a past generation. Having performed incredibly well with previous editions, the OTR team are back to continue their search for the grooviest conversations with the coolest cats on campus. Blast to the past with OTR’s reporters as they investigate vintage in arts and fashion and why nostalgia is the greatest instigator for creativity in the modern day.

Want more? Scan the QR code to visit OTR’s website!

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Humans of UniSA

Iona Eloise Mackenzie Interview by Dani Bozoski

Bachelor of Arts (Performing Arts)

First up, tell me a bit about what you are studying and why.

I study a Bachelor of Arts, majoring in performing arts and social media. I absolutely enjoy the performing arts courses and it suits my personality and my passions really well, but as a part of my life, uni can sometimes be unimaginably hard. Expressing my creativity at home is one of the biggest helps for that.

Photo Iona Eloise Mackenzie

You mentioned you are from Alice Springs; how did the environment itself there influence you?

I grew up always being highly conscious of my impact on the environment, especially in respect to how the Indigenous communities of Alice [Springs] wanted it treated. But the excitement of turning something old into a new trend or reworking it to become something new is very stimulating and will never get old for me.

How do you incorporate “retro” themes into that creativity?

I absolutely adore the “eclectic” décor in my house! Right now, I am loving anything bright orange and muted rose, but I have found that brown is making a bit of a comeback.

Who would have thought? I am also just naturally drawn to clothes and items with a more retro vibe, so I budget for vintage clothes whenever I can.

Not to mention I am an absolute sucker for a retro diner. It just gives me a certain fulfilment I cannot find anywhere else.

So, you think your love of everything retro is something you will take with you for life?

I think it is almost an inherent nature for humans to be nostalgic and long for days passed; we see this in fashion and home trends. Personally, I have always had that connection be strong thanks to my family, and I find peace of mind knowing that I can always create a home out of preloved things. In terms of the rest of my life? Well, I hope to just be unapologetically myself and enjoy my life with all of its kooky collectables and fashion choices.

Tell me a little bit more about that fulfilment; what does this all mean to you?

Being from Alice Springs and growing up around people from all walks of life has given me such a broad taste in fashion, homewares, and food. My “aesthetic” decisions, as some like to call it, remind me of the people who have influenced me. While it is really pleasing to the eye, filling my house with old video game consoles, or wearing clothes from the 60s has a nostalgia that keeps me grounded. My mum is probably my biggest inspiration, but, since moving to Adelaide, I think seeing everyone express themselves so freely at university is a main source of inspiration to me.

What advice can you give people who want to get into the scene?

To anyone who wants to dress vintage, or bring the old back into their home, I would like to bust the myth that it’s expensive. My best piece of advice would be to raid the Op Shop and your grandparent’s shed! Also, just to remember whose life you are living. Try and enjoy it!

I THINK IT IS ALMOST AN INHERENT NATURE FOR HUMANS TO BE NOSTALGIC AND LONG FOR DAYS PASSED. 39

Edition 41 | 2021

Interview by Ashleigh Buck

Ellie Maiorana

Photo Elle Ds Photography

Bachelor of Laws (Honours) & Bachelor of Arts Tell me a bit about your degree and why you chose to study it?

I am studying a double degree in law (Honours) and arts. For my arts component, I am majoring in sociology and cultural studies, and have learnt so many valuable things about people, communities, diversity, and generally how the world around me operates. I also chose to study law as I want to use my qualifications in the field to help those who are most vulnerable: refugees, the Indigenous community, and domestic violence/ sexual assault victims. My degree is enabling me to understand these groups better and is teaching me ways in which I can make a notable and sustainable difference in their lives. I have always had a passion for helping others, and I feel as though my degree is providing me with the best opportunity to do so.

What would be your favourite element of thrifting and reselling and why?

I have always loved fashion and shopping, so it is the fact that it’s a continuous sourcing trip and you never know what’s going to pop out at you! There is soooo much vintage out there lurking, and I love the fact that I can give these pieces a new life, rather than have it end up in landfill. I also love making people feel good, and there is no greater feeling when someone expresses how much they adore an item they have purchased from me that I have carefully curated. It is a creative outlet for me.

Where did the inspiration for your market, No Scrubs, come from?

I think I have taken my own personal style and just broadened it by collecting in all sizes. I hated the fact that I was leaving beautiful pieces that weren’t my size behind. I love that alternative, effortless look, but am not afraid of colour. Add a bit of grandma chic and shazam, that is No Scrubs in a nutshell.

“Retro Rewind” is the theme for this edition, how would you describe the term “retro”?

When I think of the term “retro”, instantly I am transported to the eras of the 60’s, 70’s and 80’s – these periods were iconic for fashion, music and culture.

Gameboys and arcades, flared cords, records, mini dresses, [they] all give me that sense of nostalgia.

What do you hope to achieve in your future career?

With regards to my degree, I hope to use it to help those who are most vulnerable. Ideally, I want to open my own practice whereby I can offer legal and social support services to the groups I mentioned previously. Helping others is when I feel most myself, and I want to use my degree and passion to make a positive change in individuals lives.

With regards to No Scrubs, I want to continue to keep growing my online business and possibly incorporate a website. I also want to attend more local markets and do some more pop ups, maybe even rent out a space! I love the sustainability aspect of selling vintage, and further the culture and nostalgia involved.

It is all very exciting, and I love that I can study and run my own business; both bring me lots of joy. In fact, I have been able to incorporate my degree and passions within my business, and it all just really fulfills me.

Within your own life, how do you intertwine nostalgia with your brand?

I am always incorporating nostalgia within my brand; showcasing classic VHS tapes, collecting vinyl records, sourcing vintage music art posters, listening to my favourite tunes between the 70s and 80s, all in which I share with my followers on Instagram. If a nostalgic object pops out at me at the thrift shop, I will always document that too, just because I love when people get so excited over things they remember loving as a kid; I know it gets me all giddy!

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Humans of UniSA

Interview by Crissalen Jumamoy

Eliza Abejo

Photo Eliza Abejo

Bachelor of Contemporary Arts

What degree do you pursue and what is the usual work you are given?

I am currently studying a Bachelor of Contemporary Arts in the hopes of becoming an art teacher! For my work, we are usually given prompts to inspire new pieces of art we haven’t thought about before or to experiment with new mediums we haven’t tried.

What draws you into wanting to create art that was popularised in previous decades rather than our current decade?

There’s a book I really like called How to Steal Like an Artist by Austin Kleon which is about the idea that “no good art is made just by the artist themselves; it’s always picked and taken from something else.” That’s why I love stuff like pop art, where they take pieces of popular media and turn it into something new, to turn something so ordinary into a higher form of art. It’s the same with 8-bit video games; I wish that style would be included in art gallery spaces, and I hope it makes a comeback soon. Seeing it delights me because it reminds me of my childhood. And I like being told that what was during “my time” is cool.

What do you enjoy most about your degree?

For me, meeting new artists has been the best thing during my course. I have met people who are currently involved in public art projects for the city and getting to see how their backgrounds and cultures have influenced their art is inspiring to me.

What type of art do you create?

I love to draw but nowadays I mostly create digital art, which has included my interest in pixel art that I believe fits in with this nostalgic, retro theme. It’s fun to make something that is a similar style to the video games I play and enjoy. If we’re talking about concepts, I love art that is centred around storytelling.

See, I loved writing books as a kid and made my own illustrations to accompany them.

Were you always interested in retro art, or did this occur because of your course work?

Pixel art was more of a hobby to make more fanart and pay homage to the style of games I like to play.

In general, taking pieces of the past and putting it in the present came from high school because of an artist called Andy Warhol, who repurposed celebrity photographs in art. There’s something about reusing parts of the past to reflect on the present and make changes for the future that interests me and it’s what I’m trying to really do with my practice nowadays.

What has your art been described as by others?

Recently someone described my art as childlike, fun and whimsy. I understand why my art is described like that since a lot of my art is inspired by my own childhood and trying to put fun and play in a lot of the work I do to connect to the past.

What inspires your art process, especially when creating retro art?

The things I consume. So that can include books, games, films, food, and the interactions I have with other people. In saying that, I would say films are the most influential on my work nowadays as I had a lot of fun with film theory and analysis in high school. I’m the one who’s always interested in finding out secret meanings and references to pop culture in movies, especially as they are usually grabbed from the past.

What decades would you consider to be “retro”?

I would have thought the 60s to 90s is retro, but my little sister (a decade younger than me) has told me that their generation thinks anything from the early 2000s is old.

So, I guess I’m retro too. It made me see that “retro” is an adapting concept that changes with each decade and generation that passes.

I LIKE BEING TOLD THAT WHAT WAS DURING “MY TIME” IS COOL. 41

Artwork Eliza Abejo

Edition 41 | 2021

Dragon Ball Z: Perfecting the Antihero Words Nate Drewett

With the lovable and comedic late 80s anime Dragon Ball coming to an end, creator, Akira Toriyama, set his sights on a grander story... his sequel: Dragon Ball Z. Introducing aliens, shocking twists, and planet obliterating battles, he had his work cut out for him. But he never wavered from what he does best: writing and developing characters. In sticking to his guns, Toriyama decided to take the series’ existing villain, Piccolo, and introduce a new one, Vegeta, with plans to turn both complete embodiments of evil into the most beloved characters in the franchise. These skills of Toriyama are hard to ignore,

for the inevitable visit of extraterrestrials, began to show emotion and genuine human attachment towards Gohan.

After a battle breaks out with the merciless aliens, Nappa and Vegeta (we will get to him soon), Piccolo sacrifices himself for Gohan, completing his arc and turning him from reviled to cherished.

Now, seeing that Piccolo already had some development in Dragon Ball, he proved easier to morally “flip”. Vegeta, on the other hand, was a brand-new character, attesting a greater challenge.

PICCOLO WAS MADE A BIT TOO EASY TO DESPISE... UNTIL DRAGON BALL Z LED PICCOLO DOWN ENTIRELY NEW CIRCUMSTANCES. so let us dive into how this artist has perfected the antihero.

An antihero is often defined as a central character who lacks the characteristics an audience associates with a conventional hero. Despite a flawed exterior, a history of bad decisions, and even a questionable moral code, an antihero is ultimately guided by good intentions. This is a definition that can constantly be revisited to help understand the character of Piccolo.

Piccolo is depicted in the franchise as literal demon spawn, hellbent on killing series’ protagonist, Goku.

Truthfully, Piccolo was made a bit too easy to despise... until Dragon Ball Z led Piccolo down entirely new circumstances. Piccolo was soon forced into a partnership with Goku to protect the Earth from a monstrous alien threat. The ensuing allied battle between Piccolo and Goku resulted in both the alien and Goku passing on, with Piccolo, in the aftermath, deciding to kidnap Goku’s son, Gohan, with plans to unleash the child’s untapped potential. However, what was first a sinister act turned sincere as Piccolo, over a series of months training Gohan

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Perfecting the Antihero

Vegeta – boastful, merciless and full of pride with a vengeance to annihilate our protagonist, Goku, and the earth along with him – was an established villain within his first actionable moments. By killing his ally, because he was too weak, it was clear Vegeta was obsessed with power, planning to become the strongest in the universe by any means necessary. Vegeta’s beliefs were tested when fighting Goku, understanding that there were other methods to fighting that he was not aware of, leading Vegeta to abandon his scouter (a piece of technology that the majority of the universe’s fighters utilise).

Vegeta is tested, once again, when realising that Goku has clearly surpassed him by becoming the iconic Super Saiyan. The Saiyan Prince decides that, to complete his goal of strength, it may be fruitful for him to call earth home and rival Goku, rather than be enemies. A back-and-forth friendship (if you want to call it that) ensues between Goku and Vegeta, with clear moral differences that lead to clashes between the pair. Goku, naïve and optimistic, and Vegeta, cynical and merciless, are a contrasted pairing that allows for growing in both characters; a clean parallel. Vegeta’s character growth eventually led to his love for his partner, Bulma, their son, Trunks, the earth and, although he does not admit it, his friends.

This love resulted in a last-ditch attempt to eradicate the unstoppable Majin Buu, by deciding to convert all his life force to energy.

Vegeta used a “final explosion” to kill himself and take Buu with him.

Toriyama proved masterful with Vegeta’s storyline; a character who once killed his own ally because it tarnished his image became developed into an honoured protector who sacrificed himself for a planet he once vowed to destroy.

These once “villains” slowly flipping their moral compass, all while keeping one coherent goal of trying to achieve unforeseen feats of strength, allow for a character that an audience wants to root for.

Toriyama has written incredible battle scenes, a twisting plot and some of anime’s most iconic moments, but when it comes to character writing, his true genius is unleashed, and it’s on full display with Piccolo and Vegeta. ▪︎

AN ANTIHERO IS OFTEN DEFINED AS A CENTRAL CHARACTER WHO LACKS THE CHARACTERISTICS AN AUDIENCE ASSOCIATES WITH A CONVENTIONAL HERO. DESPITE A FLAWED EXTERIOR, A HISTORY OF BAD DECISIONS, AND EVEN A QUESTIONABLE MORAL CODE, AN ANTIHERO IS ULTIMATELY GUIDED BY GOOD INTENTIONS. 45

Edition 41 | 2021

Immortal Engines: A Gamer’s Guide to the Evolution of First-Person Shooters Words Marty Paynter of Artists, Gamers, Programmers United (AGPU)

The year is 1996. DOOM has been installed on more computers than Microsoft’s new operating system, Windows 95. Bill Gates stands in front of a green screen telling everyone that ‘these games are getting really realistic.’ So, where to from here? DOOM made id Software an egregious amount of money and revolutionised the gaming world. By January of 1996, 3D Realms released the third instalment of the Duke Nukem franchise titled Duke Nukem 3D and in June of the same year, id Software released Quake; two games that would change the course of gaming forever.

Quake, on the other hand, went full 3D. It was not made in the build engine like Duke Nukem 3D. It was made in the Quake engine.

This engine was revolutionary. So revolutionary, in fact, that within any modern FPS game you can still find parts of the Quake engine deep within its code. Unlike Duke Nukem 3D or DOOM, you could not put a lot of enemies in a level because it would affect the performance. Still though, the game held the incredible capacity to be full 3D. It ran in software mode, albeit a little choppy, but it was there. The full 3D experience allowed Quake to do something Duke Nukem 3D could not. The moving parts, the sequences and all the simple stuff, like hiding secrets and power ups within a full 3D level.

Firstly, do not let the name Duke Nukem 3D fool you. It was not actually 3D. Duke Nukem was made in this thing called the “build engine”, a first-person shooter engine which presents itself on a two-dimensional grid utilising 2D shapes. While the game looks 3D, there are various tricks used within the build engine to make it seem like the player occupies 3D space. You see, the build engine is typically considered a 2.5D engine.

On top of that, this game was the birth of mainstream esports.

Due to the full 3D engine, the movements within Quake were smooth. Tournaments were held and the all sentient being, John Carmack, gave away a Ferrari to the winner.

But again, where to from here? Well, in 1998, a company called Valve, started by two Microsoft employees, Gabe Newell and Mike Harrington, licensed the Quake engine and heavily modified it for a little game called Half Life.

Without this one game the rest of the gaming industry could not exist.

In fact, Duke Nukem 3D is closer to 2.5D than 3D. Regardless however, Duke Nukem 3D was a technical masterpiece.

Duke Nukem 3D was the first ever game to be fully interactive. You could turn lights on or off, use toilets to gain health, open and close doors at will, play billiards, and much more. At the time, this was unheard of. No one was allowing you to interact with the game world. All we knew as players was “walk over here”, “get the key”, “shoot the enemy”, “walk back over here” and so on.

Duke Nukem 3D changed that.

Half Life was a linear story driven game. There were no

ALL THIS U N B R O K E N F I R S T- P E R S O N WORLDBUILDING W A S UNPRECEDENTED AT THE TIME.

The game also did something that no one else had thought of doing: real life settings. The game’s ability to resemble a real-life place was groundbreaking at the time. The game had cinemas, bookstores, apartments, jails and many other places that could have resembled real life environments. Again, this was unheard of at the time. I highly recommend you go play it... just not the cursed Randy version that is available on Steam (that is another article for another day).

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AGPU

DUKE NUKEM 3D WAS A TECHNICAL M ASTERPIECE.

Half Life was a linear story driven game. There were no diverging story paths or sequence breaks like in Duke Nukem 3D, but you could interact with almost everything.

Vending machines would dispense drinks, vents would break, allowing you to then move and carry the metal scrap. This game was a technical marvel at the time. On top of the full 3D interactivity, it had flawless level transitions.

Up until this point at the end of a map, a screen would show you how many enemies and secrets you missed. In Half Life however, there would be a flawless level transition; a little loading text would pop up and then you would transition into the new level without ever breaking into a statistics screen. And on top of that you had models, NPCs, and scripting. Half Life was the first game ever to do literally any of this. Not only all that, but the game’s set design blew everyone out of the water. In Quake and Duke Nukem 3D, within the first minute of the games, you would kill a few low-level enemies and would make a few explosions, but Half Life was different. For the first part of this game, you would quite simply just ride a train.

Half Life was different for its worldbuilding. It would include things from massive robots loading crates to a cave that would have holes riddled throughout it, allowing you to see the outside world. All this unbroken first-person worldbuilding was unprecedented at the time.

So, what happened from here on? Well, a lot of games still followed the DOOM recipe. You would run around, guns blazing, collecting weapons and keys, and then progressing to the next map. These DOOM-like games were standard for quite a while. Even after the release of Half Life, things continued the same way for quite a while.

It was not until the release of Halo: Combat Evolved that things really started to change yet again. Halo altered the formula, turning regular shooters into cover-based shooters. You could not just go in guns blazing, you had to be strategic and manage not only health but shields as well. From this one game we got the basis of all modern shooters. In fact, some of the biggest franchises in gaming, such as Call of Duty and Battlefield, can all be traced back to these games.

And, as for Valve, well, they went big. After Half Life, a lot of mods started appearing from it, specifically some of the more notable ones such as Counter Strike and Day of Defeat. This then paved the way for Valve to create Steam, going on to build the new Source engine for games such as Dota and Counter Strike: Global Offensive.

The rest is history. ▪︎

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Edition 41 | 2021

Words Nahum Gale

You know what they call a Quarter Pounder with Cheese in Paris?

Quentin Tarantino’s 1994 cult classic, Pulp Fiction, may best be known for its hyper-stylised violence, excessive swearing, and overindulgence in swagger. The low-budget, shlocky, dialogue heavy indie encapsulated not only 90s culture but the mid-20th century pulpy comic and grungy diner cultures simultaneously. And here one may notice the film’s gluttonous obsession with food, particularly fast food. Between Hawaiian cheeseburgers, 1950s diner milkshakes, and tales of bizarre overseas fries and condiment mashups, the film revels in the exciting nature of eating vintage junk food. Pulp Fiction is even, somewhat, symbolically attuned to its foods; the metaphor being that worth can be found in consuming cheap and fatty materials, whether that be indie grunge movies or simple junk food. In short, if it’s entertaining, there must be some value!

And so, at Verse we are paying homage to Pulp Fiction by pairing cinema and food and bringing to life some of the film’s most classic eats. Let’s break away from the metric system and tuck into some funky fiction food recipes!

Jack Rabbit Slim’s $5 Shake You Will Need:

Method: 1. Place ice-cream, milk, cream and vanilla extract in blender. Blend until mixed.

2. Optional add of a shot of bourbon (to warrant the $5’s as Vincent Vega would suggest).

5 scoops vanilla ice-cream ½ cup milk ½ cup heavy cream 1 tsp vanilla extract Bourbon (if desired)

3. Dress with whipped cream swirl and cherry on top.

4. ‘That is some serious gourmet shit!’

To Serve: Whipped cream Maraschino cherry

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Recipes

Big Kahuna Burger You Will Need:

Method:

Beef patty: 110g minced meat (beef) 2 tbsp breadcrumbs 1 tbsp onion, chopped 1 egg 2 tsp tomato sauce 1 tsp soy sauce

2. Heat 1 tablespoon butter in pan. Add red onion and cook slowly over low heat until caramelized, then set aside.

1. For patty, combine mince, breadcrumbs, onion, herbs, egg, tomato and soy sauce, and salt and pepper in a bowl. With hands shape mixture into two individual beef balls. Let chill while preparing/ cooking other ingredients.

3. Use same pan to heat remaining butter on medium until sizzling. Add pineapple slices and sauté till lightly charred on either side, then set aside.

4. Use pan to cook bacon over medium/ high heat with 1 tablespoon vegetable oil until browned for 3 to 4 minutes using tongs. Once cooked, move bacon to paper towel lined plate to drain excess fat.

Burger: 1 red onion, sliced 3 pineapples slices (canned) 2 slices American cheese 2 slices bacon Burger buns 2 tbsp butter, divided 2 tbsp vegetable oil, divided

5. Heat other vegetable oil tablespoon in previous pan or skillet on high. Add beef balls and squash on pan using a spatula until thin. Cook for a minute (or until bottom is crispy brown) then flip and add cheese to the cooked side, allowing it to melt.

6. Remove pan from heat but leave burgers in pan for cheese to continue melting.

7. Dress bun with tomato and teriyaki sauce and top with patties, bacon, caramelised onions and pineapple.

To Serve: Tomato sauce Teriyaki sauce

8. ‘Mm-hmm! That is a tasty burger!’

*HOT TIP: IF YOU WANT TO GO THE FULL TARANTINO, SERVE YOUR BURGER AND SHAKE WITH A SIDE OF FRENCH FRIES AND MAYONNAISE! THEY DO IT IN HOLLAND, SO WHY NOT DO IT HERE AS WELL! 49

In Conversation with...

Lucy Keatch

Tell us a little bit about you; what are you studying and what makes you, you?

I’m currently in my third and final year of a Bachelor of Contemporary Art, focusing mainly on ceramics. My final studio exploration has involved all things to do with peaches and peach seeds. I am currently working on a series of hand carved ceramic peach seeds.

I have always loved art and art making because it allows me to be creative and express myself in the most beautiful of ways.

What do you love the most about clothing/ fashion?

Is this an important means of your self-expression?

Why or why not?

Fashion is a really important way for me to express myself. Similarly to creating art, choosing the clothes and jewellery I wear each day is a means for me to express my creativity and a way to translate my thoughts and feelings into something physical. I often find that I dress for the mood I am in.

What decades/ eras do you take the most inspiration from through your fashion? Why? I would say that my style right now would be mostly inspired by 90s fashion, but has hints of 70s fashion throughout. I find a lot of inspiration for the 70s, mostly due to my love for the rich earthy tones of the 70s.

However, I think the real reason I am drawn to this decade (not only the clothes, but the music as well) is because it was the decade that my parents were teens and so there is this underlying connection and inspiration from them. I also find fashion inspiration

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Photos Nikki Sztolc + Stephanie Montatore

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Looks of UniSA

from the 90s, mostly because I like the streetwear from this era and think it is one of the most comfortable styles of clothing. It also makes me feel confident and usually perfectly embodies how I feel most days.

Where do you find clothing of this style? Did you thrift/ scour the internet? What works best for you and why?

I thrift a lot of my clothes because I really enjoy the process of thrifting. It is almost like a hobby for me. I usually make a whole day out of it. I see it on the same wavelength as spending the day exploring art galleries, but instead at the end of the day you get to take all the cool things you have seen home! As for my jewellery, a lot are either gifted or “borrowed” from my mum.

Are there certain eras that you love the fashion from but don’t typically wear? Why or why not?

I do love the fashion of the Victorian era. The dresses specifically are so incredibly detailed and require so much technical skill and time; these clothes really are grand pieces of art. However, this is simply an era I appreciate from a distance rather than replicate.

Why do you think vintage fashion continues to reemerge in the modern world?

To some extent, I think it is because as a society we have this love for the nostalgic, but at the same time fashion is very similar to music and art in that it is always finding inspiration from what came previously. I think styles are in some ways within this constant loop, reemerging with slight adjustments each time.

And finally, what are some of your favourite clothing pieces and why?

My favourite earrings are these gold fairy earrings from my mum because they have this super delicate detailing and remind me to imagine all the fun memories my mum probably had while wearing them. My favourite pieces of clothing are always fluctuating, but at the moment it would probably be this green oversized sweater which has a little golfer graphic on the front because it is the most perfect shade of pickle green and the blue and red button up shirt I wore in the tennis court photographs because it is my newest thrifted find!

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Edition 41 | 2021

Gen Vintage:

Our Generation’s Fascination with Senior Citizens’ Style Words Lara Pacillo

I went to a cafe on the weekend and saw someone wearing a beautiful brown corduroy jacket. I looked closer at the front pocket and saw the label “Piping Hot”.

I looked closer at the person wearing it and saw a wrinkly grey-haired man.

An article in Orderchamp explains retro fashion of the 60s, 70s, 80s and 90s, has a feeling of nostalgia to it for young people. Even though Gen Z didn’t experience these eras, these times are “always considered iconic and creative in today’s pop culture”. New styles of music, and immortal musicians — which are always rediscovered by young people — immerged in these decades. Classic productions in the film industry were created too. More movies and TV shows of today are being set in this era, building our fascination with these times.

This isn’t the first time I have goggled over an elderly person’s outfit. Is it strange that I admire the fashion sense of our senior citizens? Maybe. Am I the only one who does so? Definitely not. According to online thrift store, ThredUp, 40 per cent of Generation Z buy second-hand apparel, footwear or accessories, and the resale market is expected to double in value by 2023. Instagram account Gramparents specifically admires the street style of our elders. It has over 140,000 followers.

These decades represent authenticity for me where, in today’s world, it’s hard to tell what’s real or fake, and confusion is paramount. There was no internet and social media, things were built to last, and technology was not constantly competing for people’s attention. Also, because I never lived in these times, there’s no association of experienced potential hardships of it too. It’s so easy to glorify.

An article in The Wall Street Journal puts it perfectly.

‘Elderly style role models often hopped off the trend train years ago, so their fashion sense skews more elegantly traditional than normcore,’ it states. There is something nonchalant about their style. Young people admire this about them; our oldies aren’t worried about following fashion trends.

The sustainability of retro vintage clothing, as well as how easy these items are to find, is the icing on the cake. We all know fast fashion is detrimental to the environment; it’s one of the most polluting industries in the world. Shopping vintage is better for the environment as it’s reusing and recycling clothing. While it’s easy to find cheap vintage too, particularly with the ease of access through online resale platforms, I find I often pay more for rare pieces of high-quality. I don’t mind the higher cost occasionally, because I know these clothes have a long lifespan.

Their style is so effortless, but so cool because it goes against the norm. Fast fashion trends come and go and keeping up with them is exhausting. Jumping off this bandwagon is much cooler and refreshing as it takes a stand and a completely different worldview of fashion.

It’s about comfort too. An article in Vogue describes that “retirement-wear” represents wisdom and comfort. It’s about looking trendy without breaking your ankles to do so. As a teen, I always thought I would eventually grow into enjoying wearing high heels. I’ve just hit 22, and I’m still waiting for that moment.

For me, our oldies are just as wise as they look. They have lived through iconic eras and wear that nostalgia on them.

They don’t care about being cool, which makes them cooler and more comfortable at that. Our senior citizens represent authenticity, just like the clothes they wear. ▪︎

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Artwork Lucy Turczynowicz

Edition 41 | 2021

USASA Club:

Interview Nahum Gale

UniCast Radio Club Alexandrina Seager

How does the club work in terms of producing and scheduling?

We just try to find times where everyone within a show is free so we can book that in. You don’t have to record and have air at the same time. You can go live, but you have to do it then and there, or you can find a time that works for you, whether that is at night or in the morning or on the weekend. At the moment, I record my two shows with friends on a Wednesday morning. I want to go live with Good News, but I have yet to do that because I’m too scared!

President of UniCast Radio Club Host of Big Mood with Rylee Cooper: Wed 2 – 3pm Host of Zestful with Ayla Liebenberg and Claire Crittenden: Thurs 1 – 2pm Host of Good News: Fri 9 – 11am What is UniCast Radio and when and why was it formed?

UniCast Radio is a student-run radio station, for students by students, and it’s been around for longer than I know.

Essentially, this year, I have tried to pick it up, get it out there and get more people involved. I am excited to take things forward and create more of a family presence within the club. I think that’s important.

Why do you think radio is such an important medium?

It has urgency to it. When things are live on-air you can literally ring a studio and be put through right away. With news it’s great because if a story breaks you can start talking then and there about it. And for pre-recorded stuff, it’s great to practise and get a feel of things just to develop better communication skills. ▪︎

What is the process for someone who wants to start a show and what is the criteria for someone to have a show?

Essentially you just have to sign up to UniCast through USASA and either let myself, or one of the others know like Neelu [Sharma], Phil [Van Hout], Eddie [McCarroll], Ayla [Liebenberg] or Claire [Crittenden], and be like, ‘hey I want to join!’

Anyone can have a show about anything. It’s up to whatever you want to do.

What shows are you specifically involved in?

So, at the moment, I guess I would say three. There is Big Mood with Rylee [Cooper] and we air Wednesdays and just talk about random stuff, mostly personal goals we don’t achieve which is a “big mood”. [It’s] things that relate to everyone. And then there is Zestful that plays 1 o’clock every Thursday and that is an eco-friendly show where we focus on, not only improving yourself physically and mentally, but also improving yourself for the planet, like finding different swaps and figuring out how we can be a bit more eco-friendly.

I have also tried to start my own specific Good News bulletin, but because of uni work I kind of put that to the side at the moment. I am hoping to pick it back up though.

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HAVE A ANYTHING.

USASA Club

Eddie McCarroll

Media Manager of UniCast Radio Club Host of The Apocalypse Playlist: Coming Soon

Tell us a bit about your new show.

So... for my last semester at UniSA, I thought, let’s go all out and try something a little bit crazy. I am going to primarily be doing a rock show called The Apocalypse Playlist. The main thing that steers it forward is, ‘it’s the end of the world and what is the last song you will play?’ In my head, some people might like a sad song or something, but I reckon most people’s song will be a bit of rock, a bit of rap, a bit of heavy stuff for the end of the world.

When the world is on fire, it’s crumbling, the sky is falling, what is your apocalypse song?

It’s changing every day! What’s the one that I am thinking of right now... Never Miss a Beat from Kaiser! It’s all about resentment. And that’s the thing as well, there could be so many different doomsdays, whether its nuclear fallout, zombies or something else. Its different moods. See [Never Miss a Beat] is a brilliant soundtrack to kill zombies to or run from explosions or seeing a big meteorite coming towards ya! It’s a very stupid, very experimental thing. I think it’s something people will have fun with as well.

music and stuff like that. There was something kind of rebellious about it.

I find now you have to do a lot of stuff on social media to promote and get listeners. Radio shows have always had people calling in, but now, if you apply social media to it as well, it is a lot more accessible for people to contribute.

So that has changed it up a fair bit. The idea of podcasting is another big thing and, I think as well even, setting up Spotify playlists. Like, with my new show, I will have an evolving playlist where everyone can contribute and then the playlist will get bigger and change.

Why do you think radio, in general, is such an important medium?

The fact is, it hasn’t gone away. It is something that has stayed around for ages. Especially because of cars. It has always got that presence there. And there is something about just listening and not seeing as well. You can connect with a person a bit better because, sometimes, when seeing a person, you can kind of automatically, without thinking, write them off. But with voice you just listen. It’s real nice.

Being the Retro Rewind Edition, what is your quintessential favourite time period in the radio medium?

I love the 70s in general, just for how much crazy shit went on.

There was a resurgence of cults, the fallout of wars, everyone loosening up, and I think that really blended itself nicely into music and radio as well. That whole kind of reshaping. ▪︎

Maddy Penn & Sebastian Calvert

How do you believe radio has evolved over time from its origins to now?

Most radio is very linear nowadays. Some good old shows back in the day - the heyday of radio - would use the medium as a kind of storytelling technique. In the 90s, in the U.K., heaps of pirate radios popped up for grime

Hosts of Flick Chicks – Wed 4-5pm, Sat 4-5pm [REPEAT] What is the main purpose behind Flick Chicks?

M: Ours is a discussion show about film. It’s not so much got a purpose as it’s just a bit of fun. Its just something people can listen to if they have a passion about film or if they don’t at all, because it’s a pretty dumb show. We don’t talk much about real film in a sense, it’s just a good time. It’s meant to be a bit of a comedy type thing. Just two people talking about what they love.

How did the show initially come to fruition?

S: Well, there is a whole story here. So, Campus Fair, Maddy and I were wondering around the stalls and we happened to walk up to the UniCast stall and we got talking to some of the people there and they were like, ‘oh if you have an idea for a show, why don’t you just write it down?’ and Maddy proposed a show where we just share outlandish movie theories with one another. After that, they had our names and email addresses on record, we got invited to a workshop [and] got to see how the radio studio worked. It looked really cool, really interesting and then from there we pretty quickly moved to, ‘oh look we are on

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the air now, we have a show.’ So, it felt like it all happened in about a month from initial conception to first broadcast.

What inspired you two to pursue a film focused radio show?

S: We both work in a cinema! We both have a shared interest in films, through being able to see a lot of films at work. But, also, both of us just love movies; we are both studying it in some form.

What does a usual show look like to you?

S: We often break it up into three segments. So, we will first have our large segment which tends to change each week, depending on what our topic is.

M: Usually it corresponds to whatever big movie is coming out and then we have a middle segment which usually changes around. It’s either film theories or we might play games with each other where we insult each other and test our own knowledge. Then, finally, we have the rating show - everyone’s favourite show - where we get some audience participation. We propose a topic each week on UniCast’s Instagram where people get to upload their responses. Then we rank them. For example, last week’s topic was the most punchable character in cinema history... spoiler alert, Scrappy-Doo won (he’s such an evil little dog and I would punch him. So, its facts).

S: And all our music I generally curate. We choose songs exclusively from film soundtracks, so whether that be original compositions from movies or songs that are featured in movies. You get kind of an eclectic mix of songs people know and classic fantasy themes. You may get Hedwig’s Theme, Misty Mountains and then you might get...

M: Be Prepared from Hoodwinked.

it comes to film. You don’t want to put yourself off from watching things just because you might have a perception of what makes a good movie good, because there are so many different aspects. But the 80s are fab.

S: For a long time, I was a “if it was released before I was born then it doesn’t exist” guy, but not anymore. I do still enjoy films from the 2000s, but I think slowly I am starting to reach further and further back in history, like I am really getting into 80s and 90s movies at the moment.

So, on the show do you usually find yourselves then debating traditional cinema v modern cinema?

M: We both have very different opinions and are very different people, so I think that kind of helps out a little bit. It’s often just a lot of running jokes and making fun of things. For example, we have yet to say a white cis male director’s name correctly. We only say altered versions of them. For example, my favourite director, Quincy Taranto.

S: Quis Cumbus, director of Percy Jackson and the Lightning Thief, also. But yeah, we don’t take it too seriously. We have a lot of fun. We hope our listeners do too. ▪︎

What is your favourite era of film to discuss?

M: I do love the 80s. My favourite film of all time is Ferris Bueller’s Day Off, but, honestly, I am an allrounder when

Amrit Kumbhar I will usually have J-Pop, J-Rock, anime and the Vocaloid genre and I talk about how the song relates to the theme I am discussing. It can be very direct on exact lyrics or it can be very, very convoluted, symbolic or metaphorical.

Also, I pick lyrics which I like from the songs, because I like singing. I will be like, ‘this is what it means in English’ and ‘this is how they have achieved this’ and ‘this is what I like about this particular song’ and that usually takes me through. If someone has a suggestion for the week whether that be a theme or a song I will try and implement that in.

But yeah, that is usually how the show will go.

Host of Japan 2U – Tues 1-2pm What is the purpose and idea behind Japan 2U? The idea behind the show is the fact that I love Japanese culture. I am very much into singing Japanese songs. I do covers of them, delve into the genre and from there I was like, ‘well I love singing and I love going into the lyrics and different genres like J-Pop, J-Rock, so I want to share it with everyone.’

Would episodes usually feature different topics, like one on J-Pop, one on anime, etc.?

The usual structure of the show is I will have a central theme for the week and it could be something very simple or convoluted. So, it could be something like “using food” as a metaphor or a symbol, or it can just be about “love”. And for each theme I will pick four songs from the four genres.

And because you also study Japanese, do you sometimes broadcast in Japanese or is this show exclusively in English?

Usually it is a mix of both. I can speak fluent Japanese and, when I am covering the lyrics that are in Japanese, I am showing how that’s translated in English. When I am

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singing, it is also in Japanese. But mostly, I would say it is English dominant. I might experiment though. I might do a show in Japanese. I just don’t want to throw out my usual audiences and have them be like, ‘oh, what is happening?’

How accustomed have you become to working on radio since you have been operating since your first year?

A lot of things have become easier and a lot of things have become hard. So, when I first started, obviously, I was a bit nervous because you are doing a show and you don’t want to mess up. Most of my shows are pre-recorded, so I do have the leisure and reassurance if I have done anything wrong. But the more I listen to it with feedback, the more I can be like, ‘hey I want to do that differently, or I want to improve those aspects.’ I was not very focused on that in the first year. The first year I was like, let’s get this done and not listen again, it’s going to be fine, but things have improved. ▪︎

Jess Dempster & Millie Claire

M: I had the idea in the way of Adelaide Instagram accounts like Adelady, South Aussie with Cossie and those kinds of things. Like, people want to know what’s going on.

So, we just thought, why not do it for uni students and that also just gives some advertising to Adelaide.

J: And then after that, Ally does the “positive quote of the week” segment. Just this week I started doing Jess’s Goodness Goal where I just come up with a goal for the week that people can try and do to feel happy. And then we wrap up the show with songs that got us through the week, typically our favourite songs. We play those to close the show.

Hosts of Goodness Me with Ally Hall – Fri 2-3pm What is the purpose of the show and the general idea behind it?

J: Ally came up with the idea and it’s pretty much a show about gratefulness and good news and spreading positive vibes. We play positive music, we share good news from around the world, we talk about what personally makes us smile and we interview other members of the community on what makes them happy as well.

M: It is kind of trying to stop the stigma of regular news which, especially on broadcast, is usually the worst of the news.

What do you think is the most important era of news and reporting?

M: I would say the fundamentals of the turnover from social media. So early 1999, from that period to now when the social network kind of started and just changed the whole way of journalism and news reporting. It’s just altered how accessible it is because of what happened in the last 20 years regarding technology.

What does a usual show look like?

J: We do follow a fairly standard structure. It has kind of changed now since Millie has come on, so there have been a few extra segments added and dropped, changed up. Typically, we come in and we open the show with a “good news” segment. So, each of us get one or two good news stories, from what used to be around the world but now is just Adelaide, and we do a news bulletin. We then go into some music and then we have the “what made us smile” segment where the three of us take it in turns to talk about what makes us smile. Then, typically we go into...

M: Millie’s Music Corner! So, I pick three to four songs that were released on that day, so like today but 1967, and throw it back. We do about three of those songs and then I also do new releases - a lot of Australian based artists or Adelaide based artists. So, that is just the aspect of highlighting the fact there are a lot of local artists whom people may not know about.

J: Then, after that, we try to have an interview segment where, during the week, we have gone and spoken to people and got 30 seconds or so clips about what has made them smile. Occasionally, if we don’t have that, we will message people and talk about what people have then told us. Along with that, we have a “what is going on in Adelaide” segment which is something that Millie and Ally came up with.

When you contact South Australians for happy stories, what is the process behind that?

J: My favourite part of the show personally is when you look for reasons to smile, you smile more! You actively search for reasons to be happy and, when you ask other people what made them smile this week, they are forced to reflect. They look for anything to give you. Even if they had a bad week, they will still be like, ‘well, me and my cat had a cuddle the other night’ or ‘I saw my mum which was really good.’ So, it is good to also help other people realise something good has happened in their week, even if doesn’t feel like it. ▪︎

MY FAVOURITE PART OF THE SHOW PERSONALLY IS WHEN YOU LOOK FOR REASONS TO SMILE. 61

Edition 41 | 2021

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Contributors Aira De Los Santos Alexandrina Seager Amrit Kumbhar Anna Kimura Artists, Gamer, Programmers United (AGPU) Ashleigh Buck Astra Vadoulis Charlene Lee Connor Brennan Crissalen Jumamoy Dani Bozoski Dinuk Nanayakkara Dr. Julia Collins Eddie McCarroll Eliza Abejo Ellie Maiorana Goodness Me Henry Hancock Iona Eloise Mackenzie Jess Dempster Lara Pacillo Lauren Fox Lucy Edwards Lucy Keatch Lucy Turczynowicz Maddy Penn Malvika Hemanth Marty Paynter Millie Claire Miriam Sims Nahum Gale Nate Drewett Nikki Sztolc Noah Beckmann Olivia Manella On the Record Rylee Cooper Sabrina Sterk Sebastian Calvert Sonia Zanatta Stephanie Montatore Tony Cheung UniCast Radio Club UniSA Art Club Women in STEM

@alexandrinaseager @hi_im_amrit_ @_annakimura @agpu.unisa @ashkbuck @astravadoulis @_charlenelee @visualsbyconnor @crissalen_ @danibozoski @dinuk_nana @edward.mccarroll @lemonadeliza @noscrubs.vintage @goodnessme_jam @eyeownah @jessica_dempster @lara.pacillo @laurenfoxwrites @lucyedwards.creative @lucilepeach @stoopidart.com.au @pennmadd @metchhh @smartz921 @ameliaw.claire @tenacit.y @nahumsphotos @natedrewett_ @arkadiavisuals @noahbeckmann @livroseart @ontherecordunisa @cooper.rylee @sabrinasterk @sonny.and.co @stephanie_montatore_ @unicast.radio @unisa_artclub @winstemunisa

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