City Hub 27 June 2019

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2019 Sydney Update

Page 11

• I asked the government to work with the music industry to better regulate music festivals to ensure they are safe and viable.

• I became deputy chair of the committee inquiring into Sydney’s late night economy where we will recommend how to improve Sydney’s vibrancy at night while ensuring safety.

• I accepted a position on the Premier’s Council on Homelessness where I will work to end homelessness.

• I called for a strata commissioner to support owners in dysfunctional

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buildings including those with serious disputes or major defects.

• I was voted chair of the Parliament’s environment and planning committee where we will recommend measures to make NSW more environmentally sustainable.

• I met the planning minister to ask for an independent planning process for the multi-user facility at Glebe Island to protect residential amenity.

I look forward to continuing to work for a liveable, sustainable and progressive Sydney for all.

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city hub 27 JUNE 2019

Inaccessible elections

By KATHERINE RAJWAR While this year’s Federal election has drawn to a close, for people with a disability, the road to access is certainly not over. One month on the from the Federal Election, the efficiency of the Australian Electoral Commission (AEC) voting process has been questioned by disability campaigners.

Visitors of the Pronger household are greeted

by Archie, Alan Pronger’s guide dog. Alan is blind as a result of Optic Neuropathy, a degenerative condition affecting the optic nerve. His daughter Sophie, 18, is also visually impaired. This is Sophie’s first year voting.

“I find it a little bit difficult,” Sophie said, “because you just don’t know, you can’t read out every single one of the options.”

As a result of their condition, both Alan and Sophie are reliant on Jenny Pronger, Alan’s wife, to fill out their respective ballot papers.

“He’s trusting that I’m going to write the right thing!” Jenny said.

While services like the postal vote are available, for families such as the Pronger’s, there is still a lack of access for visually impaired people who would like to vote in person. As a result, the Pronger household has found their own ways to participate in the election.

“On the day it’s just sort of overwhelming, so you just do a vote above the line,” Alan said. “I’d actually like to do a vote below the line, but really if you miss just one number, your vote is invalid apparently.”

Important as many people as possible vote National Disabilities officer Will Edwards of the National Union of Students advocates for the best interests of students with a disability.

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Voting booths don’t take into account their inaccessibility to those with a wide range of disabilities. Photo: Supplied

Edwards also identifies as a person with a disability and believes that margininalised voices are often lost in elections.

“If you believe in democracy, you have to think it’s of absolute importance that as many people as possible vote,” Edwards said, “because you want the highest possible voter turnout.”

The AEC is required to give each polling place an accessibility rating on a scale of one to three. These ratings are: Wheelchair Accessible; Assisted Wheelchair Access, and Not Wheelchair Accessible. However, Edwards believes that despite their importance, these ratings can be somewhat limiting.

“The names of those rankings are framed in terms of wheelchair accessibility,” he said, “which, firstly, is a very important aspect of disability inclusion, but the majority of people with a disability aren’t wheelchair users. There are a lot of other disabilities...

“That middle category of ‘Assisted Access’ could mean anything. It might mean quite good access, but there will be a bit of difficulty, meanwhile, at other [voter] sites that might mean an extreme struggle, but with a lot of help you might be able to do it.”

“The Australian Electoral Commission’s shortfall around access may be a result of a lack of government funding,” Edwards said. “The AEC has made efforts, and in many, many situations those efforts haven’t been good enough.

“But I wouldn’t put the blame for that on the AEC, I’d put the blame for that on the level above the AEC. Like many public departments, though, their work is limited by the support and resource and funding that they get from governments.”

No accommodation for someone of lower stature Doctor Debra Keenahan is an Artist and a Humanitarian and Development Studies’ academic with a focus on disability aesthetics.

Between lecturing at the University of Western Sydney, Dr Keenahan spoke of a poor experience at the NSW State Election, earlier in March.

“What distressed me, when I came to vote,” she said, “is that I have Achondroplasia Dwarfism, which means I am the height of an average 8-9-year-old, about 123cm. But what it also means is: I stand about the height as someone who would be in a wheelchair.

“When it came to voting, I went and there were no booths to accommodate someone of lower

stature, which meant I had to cast my vote in a relatively open environment. So, there was a lack of privacy.

“Now for some people being confronted with that situation, they could potentially do a donkey vote, not vote at all, or do something that means their vote doesn’t count.”

In democracy, it’s of absolute importance that as many people as possible vote Dr Keenahan says that changes must be implemented to achieve equality in our electoral system.

“First and foremost, that the facilities in the polling booths actually do allow for accommodation for people with different abilities.

“Secondly, that there is clear information about the facilities that are available for people with disabilities,” she said The AEC didn’t reply by deadline. It is understood there are no plans to improve the voting system to cater for those with varying disabilities.

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AntiSemitism rising in the east Racism on the rise Joshua Kirsh, the Political Director of the Australian Union of Jewish students and a University of New South Wales student, spoke about his thoughts on the rise of antisemitism.

“It’s alarming but it’s not surprising.

I think the experience of anyone living in the Jewish community in Australia would know. You hear more reports of Jewish people feeling intimidated or stressed, you hear more concerning rhetoric out in the public square, about people and Israel, and that makes us feel excluded.”

Kirsh also delved into his own experiences and other Jewish people’s that had been reported to him. “I still remember my first year of university walking out of a lecture on Israel. The way that the content was put was not educational, it was accusatory, it was a challenge and it wasn’t helpful.

“We also had a young woman last year who was spat at and called ‘filthy Jew!’, and really, it’s an uncomfortable atmosphere.”

People interested in Libertarian or Conservative politics are being pushed towards hatred of Jews While antisemitic incidents have increased, antisemitic discourse also seemed to be on the rise. Research Director Julie Nathan explained that

Poland as well, and it’s reaching us here, obviously.”

Joshua Kirsh, the Political Director of the Australian Union of Jewish students.

Photo:Vanessa Lim

antisemitic incidents were things done to Jewish people or Jewish institution, whilst antisemitic discourse was something said about Jewish people or a Jewish institution.

She further elaborated on the increased antisemitic discourse and why quantifying it was difficult.

“Because discourse is such a broad term, you could be talking about discourse within the political field or the mainstream media.

“But once you get online, it’s a bottomless pit of what’s out there. It’s really hard to quantify what’s going on,

but from what I can see, looking for anti-Semitism by Australians online, yes there is an increase.”

Jewish Eastern Suburbs resident Lara Rebecca Schilling explained how antisemitic discourse online led to her family losing a friend. “I see a lot of antisemitism on Facebook. Some of it is casual, some of it is blatant antisemitism.

“Someone we considered a family friend recently started posting news on Facebook that was very anti-Semitic in nature, all in Polish. There has been a lot of anti-Semitism coming out of

st We ar e tin kl g yp Au la gu yd st ay 20 s 19

By VANESSA LIM Last year the Executive Council of Australian Jewry reported that antisemitic incidents in Australia increased by 59% from 2017 to 2018, affecting the large Eastern Suburbs Jewish population.

As the previous 2 years only had an increase of 10 percent, the unprecedented rise was alarming to Julie Nathan, the Research Director at the Executive Council of Australian Jewry.

“When last year saw a 59% percent increase that was of great concern.

Antisemitism had gone quiet after the Holocaust, but 70-odd years later Antisemitic people think they can come out. They think they can say Jews are evil, or whatever they want to say about Jews, and call for the killing of Jews.”

This year antisemitic incidents have continued in the Eastern suburbs, such as the repeated antisemitic graffiti at the Bondi murals and antisemitic emails sent to Jewish politician Kerryn Phelps.

About two-thirds of the NSW Jewish population is located in the Eastern Suburbs, making the community both a clear target for antisemitic activity and concerned for their own safety.

Jewish Eastern Suburbs resident Lara Rebecca Schilling expressed her feelings at the drastic increase with antisemitic activity in Australia.

“We’re scared, we’re scared as anybody else would be,” she said.

“People have this idea that Jews aren’t persecuted for being Jewish and if you look at a history textbook, that idea is quite false.”

Anti-Semitic views happen on the right and left Joshua Kirsh gave insight into what was happening in social media. “People are becoming radicalised in their antiSemitic views and it’s happening on the right and the left.”

Joshua explained how people searching conservative politics could be affected. “It’s really unfortunate when we see people who might have a casual interest in Libertarian or Conservative politics, being pushed by YouTube’s algorithms, Facebook’s algorithms towards extreme content, which often involves hatred of Jews.”

Kirsh also explained how progressive people could become part of the far-left, and enable aggressive behaviour made by the far-right.

“On the left, where students might be drawn to the more progressive side of politics, we’re seeing anti-Israel discourse being inflamed. Being distorted to the point where it becomes, ‘Jewish people are committing genocide.’”

For Kirsh, the most important thing was to take action against any antisemitism that arises. “We can’t have any tolerance for people who refuse to learn the lesson that anti-Semitism is wrong.

“You know far right, and neo-Nazi groups are trying to worm their way in, they’re trying to find gain and purchase and it’s scary, because Jewish students know who the ultimate target of that kind of stuff is.”

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Kerry Phelps’ reflection on elections

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Kerryn Phelps ponders her next election. Photo: Supplied

By JOHN MOYLE Kerryn Phelps is used to running for elections, whether it be the first woman to head the Australian Medical Association, as councillor for the City of Sydney, or as the history making game-changer in the Wentworth by-election.

Throughout her long public life, she has maintained ‘the sensible centre’ along with an approach to policy exemplified by intelligence, strength, and a sartorial flair to rival Meryl Streep’s in The Devil Wears Prada.

Just one month out from a bruising loss in Wentworth to the Liberal’s paratrooper candidate, Dave Sharma, Councillor Professor Phelps is reflective when she says “We were a lean and efficient team as every donated dollar mattered and we were up against a political machine that was spending millions.

“We ran an honest campaign based on policy and I think that to do as well as we did was remarkable given the David and Goliath battle we faced.”

In spite of the unequal playing field in terms of dollars spent, Cr Prof Phelps polled remarkably well, losing only a few thousand primary votes, and she eventually conceded on October 20 when the Sharma vote reached 51.67 per cent to her count of 48.33 per cent.

“It was a lot closer than a lot of people thought it would be,” Phelps said.

Dirty campaigning by persons unknown It was also one of the dirtiest campaigns ever seen in Australian federal politics, starting with Phelps’ campaign posters being torn down three times and escalating to a vicious online misinformation campaign and personal messages being dropped into mail boxes.

Eventually the Federal Police and cyber terrorist squads were called in. They are yet to draw any conclusions on who was responsible for these attacks, reminiscent of those perpetrated by Cambridge Analytica during Trump’s presidential election campaign.

‘It was pretty aggressive,” Phelps said.

Despite her loss, Phelps’ can look back on her seven months in federal politics with a sense of achievement remarkable for a parliamentary novice.

Phelps had gone to Wentworth promising action on refugees, climate change and local issues, such as a new high school for the area, and won on many issues.

“Holding the government to account for that length of time and to shine a light on some of the things that were going down the wrong path was

one of the hallmarks of my time in parliament,” Phelps said.

“The legislation that was passed on Medivac was historic as it had been 90 years since the government had lost the vote on the floor.

“I am very proud of that legislation; it was an extraordinary exercise in cross-party and independent cooperation, and for the people stuck on Manus Island and Nauru in permanent detention, this was an enormous step forward.”

Hard to know where Sharma stands It did not take long for the Liberal’s Dave Sharma to take notice, taking many of Phelps’ policies to the electorate a second time around, after the bruising 20 per cent swing against him to Phelps in the October 2018 Wentworth byelection.

“It’s hard to know where he stands, as in the election he said that the government was doing plenty on climate change and that he was going to be a spokesperson on climate change. We have heard nothing further about that,” Phelps said.

Forming a party to contest the next elections is something I would look at “He also said that he was going to see that the eastern suburbs got a new high school, but I don’t think that we are going to see that.

“It’s easy to make promises, but it is not easy to follow through.”

During her time in federal politics Cr Prof Phelps also kept up her commitments as a City of Sydney councillor, an arena where she was first elected as a member of Clover Moore’s team in 2016.

Appointed Deputy Lord Mayor, she would only serve a few months under Moore before resigning from Clover Moore’s Independents’ team and sitting on Council as an independent.

Lord Mayor Moore said that Phelps left when she found out that the deputy position was a rotating 12-month term, while Cr Prof Phelps states other reasons.

“The ability to think independently was, and remains, extremely important and that is why I stood as an independent in Wentworth and why I left Clover Moore’s party.

“Forming a party to contest the next elections is something I would look at but I haven’t made any decisions yet,” Phelps hinted. “Good governance does require renewal from time to time.”

Not an easy task, but watch this space.

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7

Opinion

Lockout laws: a defence

by Andrew Woodhouse When the 2014 lockout laws were introduced, Kings Cross residents hoped they’d get their streets back and the night-time economy would cease butchering the daytime economy.

The legal amendments were introduced by the O’Farrell government to reduce alcohol-fuelled violence; all other measures having failed.

Teenager Daniel Christie died in January 2014, the victim of a one-hit punch. He had been celebrating New Year’s Eve in Kings Cross. His random assault at 9:00 pm was just metres from the site where another teenager, Thomas Kelly, had been fatally punched in July 2012.

Christie’s family petitioned for new laws. Within weeks the O’Farrell ministry introduced legal amendments to address widespread community concerns. They imposed 1:30am lockouts (now extended to 2am) and 3am last drinks at bars, pubs and clubs in Kings Cross and elsewhere.

Public safety enhanced?

A 2016 independent, forensic review by a former judge, The Honourable Ian Callinan QC, AC, examined 1,800 submissions, 30 stakeholder sessions and three roundtable conferences.

He shattered a few shibboleths and found: Local Liquor Accords are not enforceable; lockout results in Victoria were ambiguous in their meaning and reach and only had very brief life of three months; public safety has now been enhanced; lockouts reduced fatalities.

Robert Borsak, Shooter and Fishers Party, is bringing a Bill to Parliament anyway abolishing all lockouts.

Research by Roman Marchant, Sydney University Centre for Data Science, claims the NSW Crime Bureau’s data may be misleading. But Dr Wedderburn, head of the crime bureau, hits back, noting the data science centre’s results were inconsistent with their own or those of UTS and aren’t peer reviewed.

Night time patronage of Kings Cross has almost halved since the lockout laws were introduced. Photo: Wikimedia Commons

Failed state election candidate, Tyson Koh, from campaign group Keep Sydney Open, claimed 30 licenced venues had closed because of lockouts. Callinan noted “I cannot be satisfied that the closures were caused by the lockouts … the two precincts (KX and CBD) at night had been grossly overcrowded, violent, noisy, and in places dirty. After the lockouts they were transformed into much safer, quieter and cleaner areas … lockouts remain appropriate.”

Pubs and clubs were then granted another 30 minutes trading for a twoyear trial.

Dr Grabs, St Vincent’s Hospital, saw a 60% reduction in face fractures after lockouts started and no alcohol-related deaths. “There is little or no evidence

I D N BO T FEAS

patrons have spread to other areas.

Nearby hospitals report no increases,” he says.

Ralph Kelly, father of Thomas Kelly, says “lockouts can be relaxed if but only if the city is safer”.

We want people to enjoy a night out without fear or threats of violence Premier Berejeklian says we need a “balance … it’s time to take stock.”

But why? Lockouts save lives. What we really need is safety and security first.

Her Deputy says Kings Cross should be exempt from changes.

Obviously.

Central Sydney: not violent, safe Potts Point waitress, Rebecca Soderstrom, 24, says lockouts work. The area is “not violent … it’s pretty safe”.

Maddie Day, Policy Officer, Foundation for Alcohol Research, says “This review ensures Sydney’s night-time economy is safe for all to enjoy by retaining the live-saving late night measures … having reduced alcohol harm” The 500 metres of kitsch neon signage, buck’s nights, footpath blood, police and ambulance klaxons, screaming fights and club doof-doof noise all signalled Kings Cross had reached saturation point.

The vomit-metre was off the scale.

Then pub/club crawling stopped, ID scanners arrived and assaults dropped by a staggering 49%. Police were pleased. Hospitals could now use precious funds for other emergencies.

The Review Committee compromises ten politicians; three Liberal, one Independent (Alex Greenwich MP), one Greens, two National Party, two Labor Party, and one One Nation Party representative.

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Alex Greenwich and Mark Latham support easing lockouts for safe venues.

The committee’s terms of reference are to examine “any measures required to: (a) maintain and enhance community safety; (b) maintain and enhance individual and community health outcomes; (c) ensure existing regulatory arrangements in relation to individuals, businesses and other stakeholders, including Sydney’s lockout laws, remain appropriately balanced; (d) enhance Sydney’s night time economy; and any other directly relevant matters.”

Natalie Ward, Committee Chair, says “we want people to enjoy a night out without fear or threats of violence … [and] ensure there are options available …”.

But there are already options, Natalie. Sydney Council’s night-time diversification grants provide $30,000 cash to businesses to attract customers in the evenings.

Council backs VIVID. Later opening hours are incorporated into its planning regimes. Council allows later hours in local centres; new late areas for new communities; extended hours for unlicensed businesses; a new late cultural precinct in Alexandria; expanding existing areas, and additional hours for performance and culture events.

So will the Committee examine Sydney Council’s decision to approve a mega, live music and drinks venue at 32 Orwell Street, Potts Point, directly opposite residents’ bedrooms but with no patron limits (D/2019/498)?

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THE BRAG

Lockout laws lacklustre at least

By ALLISON HORE New data released last week casts doubt on the claims that Sydney’s controversial ‘lockout laws’ have led to a decrease in violence in the CBD areas that they cover.

The University of Sydney research involved using new methods of statistical analysis to look into existing violent crime data. The preliminary findings show that the effect of the lockout laws on non-domestic violent crime statistics may only be indirect, because, as a result of the laws, overnight foot traffic has nearly halved in Kings Cross.

These findings come as the NSW cross-party Parliamentary Committee looks into the laws as part of a review of the city’s night time economy kicks off.

The committee will be consulting with NSW Police and health, community, entertainment and music groups.

“After five years of operation, it makes sense for us to now take stock and examine whether any further changes should be made,” NSW Premier Berejiklian said in a statement to the media upon announcement of the committee.

Are these laws actually effective?

The committee is made up of both members of the Legislative Assembly and Legislative Council and is chaired

by Liberal party member Natalie Ward with Independent member Alex Greenwich playing deputy. In a pre-election interview with CityHub, Greenwich said addressing the city’s lockout laws and bringing vibrancy

back to the CBD was one of his key priorities.

Dr Roman Marchant from Sydney University’s Centre for Translational Data Science told the Sydney Morning Herald that he hoped to submit the findings of this research to the committee. He said the data “raised questions” about whether or not the laws were effective.

“With this analysis we’re showing that lockout laws don’t have an effect in the CBD, where actually the bulk of the crime is happening,” he said.

“So, therefore, it obviously allows you to have a think about are these laws actually effective?”

Research from the NSW Bureau of Crime Statistics and Research (BOCSAR) in 2017 showed that alcohol-related violence was down 49% in the Kings Cross precinct and 13% in the CBD entertainment precinct.

But Dr Marchant says this trend started well before the lockout law took effect in 2014, and that these numbers can also be accounted for by the overall reduction in foot traffic in the area.

People are substantially more inebriated entering the city since lockout laws began The BOSCAR data also showed that in surrounding areas, where CBD and Kings Cross drinkers have been ‘displaced’ to (such as Chippendale, Ultimo and Surry Hills), alcohol-related

Darling Harbour, part of Sydney’s entertainment precinct impacted by the lockout at night. Photo: Allison Hore

violence had risen by 12%, and in the eastern suburbs and Newtown by 17%.

Lobby group and political party Keep Sydney Open said that since the BOSCAR results were released in 2016 they ‘called bullshit’ on the way the data has been quoted and analysed and welcomed Dr Marchant’s new analysis.

“A reduction in assaults has always been, and remains, at the heart of any defence for the lock outs,” they said in a Facebook post. “Three years on, researchers using far more sophisticated techniques are making the same observations. Theirs is an important and timely contribution to the evidence

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base as we ramp up the pressure on our legislators to fix the mess.”

Queensland’s lockout laws also ineffective Earlier last week, separate results of analysis by The University of Queensland, Griffith University and Queensland University of Technology into the effectiveness of Queensland’s lockout laws were released. The research concluded that Queensland’s laws were ineffective in curbing alcoholfuelled violence.

The study revealed that the state’s laws had encouraged punters to

“preload” on alcohol before arriving at the venues meaning that people were showing up to popular night spots already drunk. It also showed that there had been no change in the number of assaults since the laws were introduced.

From 2014 to 2017 researchers took blood alcohol readings on pub and club-goers in Brisbane’s night time entertainment districts (NEDs) as well as interviewing them about their behaviour.

“Study results were consistent with our predictions that following the introduction of the legislation, patrons increased their alcohol preloading and entered NEDs later,” Griffith University Associate Professor Grant Devilly said. “People were substantially more inebriated as they entered the NEDs after the legislative change.”

NSW Committee chair Natalie Ward said the inquiry into the law’s effectiveness is important, not only to ensure that the city remains safe for night time punters, but also that the city provides the kind of night time economy expected from a world city.

“We want people to enjoy a night out in Sydney’s entertainment districts without the fear or threat of violence.

We also want to ensure that there are options available for those people who are able to enjoy Sydney’s nightlife responsibly,” she explained.

Dr Marchant’s research is yet to be peer reviewed. But should it clear the peer review stage it could be a powerful piece of research for the committee’s consideration.

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9

Retired Doctor still cares for trans patients

By MICHAEL HITCH and RHIANNON SOLIMAN A leading Sydney endocrinologist has responded to the transgender community following his sudden retirement earlier in June, claiming “unnecessary restrictions” were placed on him by the Medical Council of NSW. Dr Jonathan Hayes, who has provided hormone treatment to trans patients for over thirty years, responded to concerns from his former patients still requiring healthcare in a letter to Trans Health Australia.

“As I am no longer registered as a medical practitioner it would be remiss of me (and illegal) to be providing medical advice,” he said.

“I can however provide a health summary to my patients which I am endeavouring to do.”

Dr Hayes continued, mentioning the difficulty of providing these summaries without payment, a condition required of him by the NSW Medical Council.

“This is a service I am providing without receiving payment, whilst at the same time employing two full time staff and incurring significant overheads,” he said.

“Obviously, due to financial constraints, this is not a service that I can continue to provide indefinitely. I would also put it to you that it is not normal to continue working (harder than ever) for free following retirement.”

Hayes was based at St Leonards in Sydney’s North and provided healthcare for thousands of trans people over his career through his tailored treatments and his niche use of hormone implants, which is a service rarely offered by other endocrinologists.

His decision to retire alarmed existing and potential patients who see him periodically and rely on his hormonal implants. Implants allow a steady release of hormones directly into the bloodstream, as opposed to hormone pills which can cause side effects by passing through the liver, and injectable hormones.

Dr Hayes will leave behind a complicated legacy as he retires - but his work isn’t finished yet. Photo: Free-Photos

Ongoing dispute Hayes, who notified the Australian Health Practitioners Regulatory Authority on June 4 of his decision to cease practising, said in a June 15 letter to Trans Health Australia that he was in an “ongoing dispute” with the Council, which had allegedly “expressed disapproval regarding the increasing focus of [his] practice on transgender medicine.”

“The Medical Council have placed conditions of my ongoing practice which I consider unreasonable,” he said.

The fact that he’s doing this work proves how much he cares about us “I have therefore decided to cease practicing, effective immediately.

“It saddens me to be finishing up after more than thirty years practicing medicine. I believe in the work that I do and I am sure that I make a difference to my patients. Unfortunately, the circumstances are out of my control.”

The NSW Medical Council denied Hayes’ allegation, which was shared on social media, saying that the Council was not in dispute with Hayes and denied claims that they placed conditions on his medical registration.

“The Council has not placed conditions on Dr Jon Hayes’ medical registration. The Council understands that Dr Hayes made a personal decision to cease practising and informed his patients of his decision earlier this week,” the statement read.

“The Council has never expressed disapproval or a view of a recognised medical sub-speciality, including transgender medicine.

“The Council is concerned that Dr Hayes take steps to ensure immediate continuity of care for his former patients, in accordance with the Medical Board of Australia’s Code of Conduct.”

Since then, Hayes said he must now complete the “herculean” task of ensuring immediate continuity of care, despite his decision being made as a consequence of the NSW Medical Council’s actions.

“Transgender medicine is a neglected area of health care. I am therefore being charged with the task of finding alternative services for my patients when none exist,” he said.

While the lead-up to the alleged dispute remains unclear, trans community members are already calling for better, more accessible hormone treatment alternatives.

Founder of Trans Health Australia, Melody Moore, said that while the community will be affected, the task for finding other alternatives was always on the horizon.

“Long-term, the other providers are going to pick up from where he’s left off. I think that it’s up to us to do more and find more alternatives, we can’t be too co-dependent on one provider,” she said.

“He’s got a mammoth task in front of him already, so people need to be proactive in getting onto him about their records.

Caught off-guard “His retirement was going to happen at some point. It caught everybody off guard but then again, what happens if a medical practitioner suddenly passes? Or gets sick and has to retire?

People have got to pick up the pieces and find other alternatives, that’s just the situation we’re in here – it’s very unfortunate.”

Jess Dillinger, a former patient of Hayes’ said that his commitment to helping his patients without remuneration was a testament to his skills as a Doctor.

“I think it sucks that he has to stop. But the fact that he’s doing this work, if nothing else, this proves how much he gives a shit about us,” she said.

If you are a former patient of Dr Jon Hayes and have previously been prescribed Oestradiol Implants, such implants are available from Stenlake Compounding Chemist which can be inserted by your GP or endocrinologist.

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city hub 27 JUNE 2019

FEATURE

Vision For The Future

Photo: Supplied by Optometry Australia

By Rita Bratovich A lot of people in this world are near-sighted and that’s not figuratively speaking. The incidence of myopia and high-myopia (extreme near-sightedness) globally has increased dramatically over the past few decades and is predicted to reach epidemic levels by next year.

Estimates suggest that by 2050, more than half the world’s population will be myopic. In Australia, almost 36% of the population has myopia. Not only has the incidence increased, but children are developing eye problems at a younger age; the onset of myopia has moved from around age 11 in 1983, to age 8 in 2000.

It’s a startling statistic which is, in part, attributable to modern lifestyle.

Two main factors will contribute to the probability of developing eye-related problems.

The first is genetics. If it runs in the family, then you’re almost certain to be myopic at some stage in your life. The second factor has to do with behaviour. Kids are engaging in near-tasks such as reading and screen time at an early age and for long periods at a time. This, coupled with reduced exposure to light and lack of distance viewing, is seriously compromising their eyesight. Early detection can help redress eyesight deterioration, but unfortunately, most parents don’t think about a visit to the optometrist in the same routine way as they do a visit to the dentist.

Unlike in the United States where there is a commitment to improving childhood vision and a push for compulsory state-sponsored pre-school eye examinations, Australia has no government funded programs or adequate awareness campaigns.

“One in five children have an undetected vision problem,” says Trinity Scarf, marketing manager

for Optometry Australia, the peak national body for optometrists and community eye health. “The most important exam should be an eye exam before starting school.”

Scarf manages Optometry Australia’s consumer-side advocacy through their new arm, Good Vision For Life, which provides detailed information about eye health, practical advice on prevention and management, and a guide to seeking professional help.

“We’re just trying to encourage people to see an optometrist as part of a general health regime throughout their life […] and there are lots of examples to show that seeing an optometrist can alert to other health issues,” says Scarf. One example she cites is that of a 31-year-old woman whose routine eye examination led to the discovery of a brain tumour and consequent sight/life-saving surgery. This also highlights the importance of having a proper examination by an optometrist, as opposed to a superficial eye-sight test which will not only fail to pick up many possible issues but will give the false sense that eyes have been checked and are okay.

Good Vision For Life is supporting Susanne Gervay’s new book, The Boy In The Big Blue Glasses, a beautifully illustrated story aimed at young children who have just been told they need to wear glasses. Gervay is a successful children’s author and specialist in child growth and development, as well as being bespectacled since she was 12.

“It was a teacher who just noticed I was tripping over myself. I had no idea. I just knew I had to sit right in the front of the class. I didn’t know. I was wondering why I couldn’t play sports so well. And then…miracle! I remember getting my first glasses and I just couldn’t

believe it!” Gervay describes a common experience among children, and one of the main reasons that universal examinations are important: kids don’t know they have a problem.

“You actually don’t know that you’re not seeing the world. You think everyone sees the world the same way,” she explains.

Undiagnosed vision impairment is a problem that multiplies. It leads to misconceptions about a child’s coordination skills, sports abilities, intelligence, and even personality. Kids can appear to be clumsy, lazy, slow at learning, anti-social, and this, in turn, leads to bullying, low self-esteem, under-performance, missed opportunities.

“A lot of people just take glasses for granted, but when you take off your glasses you are actually vision impaired. Life prior to glasses… people would have been disabled,” says Gervay.

Yet, miraculous as two glass discs in a frame can be, they have a downside, especially for children and young adults.

“Wearing glasses as a child or teenager is just a nightmare,” explains Gervay.

“Looking after glasses…they break, they smash, they hurt the back of your ear. For a child who’s little, it’s horrible. And for a teenager you’d rather go out blind than wear glasses!”

There is still a lot of stigmas attached to wearing glasses. Superman wears thick-rimmed glasses when he is mild-mannered weakling, Clark Kent. There’s the cliche of the dowdy girl who is transformed into a raving beauty when she lets down her hair and removes her glasses. One saving grace recently has been bespectacled boy hero, Harry Potter.

“He’s been an absolute God-send, he really has, because he’s made heroes wear glasses,” says

Gervay. (Although she still thinks he is perceived as a nerd, and no one actually wants to wear “Harry Potter glasses.”)

In The Boy In The Big Blue Glasses, the protagonist, Sammy, is a young boy who has just been prescribed glasses. He has a hard time adjusting; they are uncomfortable, they make him look different to everyone else, and he gets teased. Adults make the mistake of telling him he is handsome, pretending they don’t recognise him or treating him like someone new and exciting, but these are things that upset him even more. He purposefully “loses” his glasses or refuses to wear them, but then the world becomes blurry and strange. In the end, through humour and friendship, he is able to accept the glasses as a positive addition to his face, even donning a pirate patch.

The book identifies problems that are often overlooked. Glasses make kids stand out and look different at a stage in their lives when they desperately need to feel accepted and part of a tribe. Image is important, as is a strong sense of self. Very young children can become confused by the reactions around them. When Susanne’s own grandson was first prescribed glasses, he kept rejecting them because “he believed that when he put on his glasses, no one could see him and he disappeared.”

Think about Clark Kent - every time he puts on his glasses no one can see Superman.

Gervay’s story stresses the importance of listening to children and taking their concerns seriously. Glasses are a simple marvel that solve what could otherwise be a debilitating problem, and kids can learn to live with and even appreciate them - as long as the adults around them aren’t short-sighted.

More info: www.goodvisionforlife.com.au, www.sgervay.com city hub 27 JUNE 2019

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ARTS & ENTERTAINMENT Prima Facie

Muriel’s Wedding The Musical

A globally successful movie and smash hit musical adaptation prove that this iconic Australian work is anything but terrible. The story of Muriel Hislop and her nuptial ambitions is now as embedded in local folklore as the story of Miranda lost at Hanging Rock. When Muriel’s Wedding:The Musical made its debut at the end of 2017, the response was so overwhelming that the production is being remounted less than two years later. With a revamped script by PJ Hogan, original songs by husband and wife team Keir Nuttall and Kate MillerHeidke, and of course, the eternal magic of ABBA, this show is as warm and delightful as a cup of tea and a lamington.

“Aside from it being one of the most iconic stories in Australian pop A one-woman show with lead character Tessa being played by acclaimed Australian performer Sheridan Harbridge and directed

by Helpmann Award-winning director Lee Lewis, Prima Facie is a poignant and hardhitting piece of theatre.

The piece follows the life and experience of Tessa, a criminal lawyer who is at the top of her game. Working on countless cases of sexual assault, even defending those charged with the crime, her life is turned upside down when she becomes the victim and finds herself on the other side of the courtroom.

Although a fictional work, Prima Facie is a strong representation of Australia’s current legal climate in regard to these issues.

Sheridan Harbridge takes the stage for this piece as the sole performer and spoke with City Hub about the challenges of this piece.

“Rehearsals were very intense. Because it’s just me. I just felt such an incredible heat and microscope that was on me. It was really challenging but super rewarding when we got to the other side of it.”

Sheridan also spoke of the on-stage energy of the piece, despite it being a one-woman piece saying, “The show has really hit its stride and it’s actually very energetic and life-affirming for the audience and for me.”

Prima Facie throws the downfalls of our legal system out into the blaring lights of the stage. Of the audience’s experience, Sheridan concludes: “People have described it as very intense, but ultimately it’s a call to arms. It’s frightening, tense, but it’s hopeful. I think ultimately it’s a very intense journey that really cracks open where the legal system is and its flaws.” (MB) Jul 3-6. Riverside Theatres, Cnr Church & Market Streets, Parramatta. $50-$62+b.f.

Tickets & Info: www.riversideparramatta.com.au

city hub 27 JUNE 2019

Photo: Jeff Busby

level,” she says. “She’s not sort of like your leading lady ingenue character; she’s flawed, she’s incredibly flawed. She’s a bigger girl who makes terrible, terrible mistakes and says awkward things and is just awkward and she makes

bad choices. And everyone’s like that, everyone can relate to that.”

(RB) Until Sep 1. Sydney Lyric, 55 Pirrama Rd, Pyrmont. $59-$185+b.f.Tickets & Info: www.sydneylyric.com.au

REVIEW: Matador

Dark, sexy and sultry this immersive extravaganza, which is the creation of Bass Fam, is a sweltering red-hot integration of burlesque, dance and circus. The production is a mesmerising and unashamedly arousing theatrical experience, which should appeal to all mature audiences.

Fourteen young talented performers take to the

Once

The highly anticipated musical Once which is based on a film by the same name and is the only Broadway show in which the music has won Academy, Grammy, Olivier and Tony Awards, finally premieres in Sydney.

It’s the story of an Irish singer-songwriter named Guy who simply isn’t being taken seriously in the music industry. He meets a Czech girl named Girl, who is a piano player and a strong relationship builds, which rejuvenates his life.

Cameron Daddo who leads a fine cast of 11 plays the role of Da (Irish way of saying dad), Guy’s father who is a widower, runs a vacuum store and lives on top of the store with his son.

“Our production is not the original Broadway show. This is the same play, but we are basically

a&e

12

culture history, it’s also just incredibly funny, incredibly moving, it’s deeply saddening and it’s also just about the bonds of female friendship,” says Natalie Abbott who scored the much coveted role of Muriel over a field of hundreds of hopeful auditioners.

“It’s a dream come true,” she says.

Abbott prepared diligently, watching the movie, the documentary, and interviews with Toni Collette, though she’s very clear she doesn’t intend to imitate. “[I’m] definitely bringing my own experiences and my own quirks and whatever to the role,” she insists.

Abbott feels a special affinity with Muriel as they are both coastal girls who moved to a big city to escape their lives.

“I can relate to her on a personal

12 STAGE 14 SCENE 15 Sounds 15 SCREEN

stage in this predominantly fast-paced show which takes audiences on an emotionally charged roller-coaster ride as themes of love, lust, samesex attraction, infidelity, sexual identity, friendship, and acceptance are explored.

Vibrant and physically demanding dance pieces are inter-fused with contemporary and ballet acts, pole-dancing and spectacular breathtaking aerial acts amongst many others.

All the segments are performed to the loud music of popular artists including George Michael, Kylie Minogue, Whitney Houston, Snow Patrol, Ed Sheeran and to the classic theme from the animated film Beauty And The Beast.

Audiences will be collectively toe-tapping to the music and hysterically clapping as the raunchiness escalates in the second half.

workshopping a brand-new show,” explained Daddo. “This show has received such accolade because it has heart, it’s humorous, it’s sad and the music has also won eight Tony Awards. It’s cleverly woven and I feel that given all the actors on stage are playing instruments we are the orchestra and that gives it a point of difference.

The style of music given it’s mostly played with acoustic instruments including fiddles, cellos, and guitars, delivers a good thumping rhythm and you feel part of it.”

Ultimately, is this show suitable for all audiences? “I don’t think it’s for little kids because there is some Irish profanity in it – a little bit, not too much – but every word is very well placed and for that reason, I think my 13-year-old daughter will come along and see it. It’s a show for anyone who wants to be moved by theatre at

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

A feast for the eyes and senses, Matador stimulates the imagination. Audiences who are totally consumed by the sheer artistry and splendour of the production and not familiar with interpretive dance and movement may lose their way in the intertwining themes, owing to the minimal narration.

This, however, will not hinder the enjoyment level as it’s a show where audiences can just sit back and absorb the beauty of the radiant costumes, the atmospheric lighting, the incredible acts, the semi-clad performers and ultimately be enveloped by the hypnotic power of love and seduction….that is Matador. (MMo) Until Jun 29. Sydney Opera House, Bennelong Point, Sydney. $59-$99+b.f.

Tickets & Info: www.sydneyoperahouse.com

Cameron Daddo.

Photo: Robert Catto

any age beyond that – but for kids no, it’s not Aladdin. It’s not a kid’s musical.” (MMo) Until Jul 21. Eternity Playhouse, 39 Burton St. Darlinghurst. $58-$76+b.f.Tickets & Info: www.darlinghursttheatre.com

Contributors: Irina Dunn, Mark Morellini, Olga Azar, Rita Bratovich, Joseph Rana, Madison Behringer, Allison Hore, Renee Lou Dallow, Alannah Maher.

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REVIEW: Trevor

Trevor is a chimpanzee who was once a popular TV star but has now been relegated to life as a pet to his coddling human owner.

Nick Jones’ brilliantly conceived play was inspired by the true story of a woman in America who was mauled by her pet chimp. Clearly, the incident drove Jones to delve into the motivations and preceding events that led to such a horrible outcome. In his play, Trevor, the title character is a bored and restless chimpanzee, disillusioned with his life, dressed in overalls and t-shirt, speaking English and looking like a human, though walking and acting like a chimp. Consummately played by Jamie Oxenbould, Trevor is tempestuous and sulky, yet also endearing. The play uses the very clever device of having all the characters speak in English so that the audience understands everyone, yet indicating that Trevor and the humans do not understand each other’s language. That

Photo: Clare Hawley

With Coffin Ed It could well be a hot contender for the Macquarie Dictionary’s word of the year for 2019, keeping in a recent tradition with recent winners which were actually two words – last year’s omnipresent ‘Me Too’ and before that the very hard to come at ‘Milkshake Duck’, preceded by the globally popular ‘Fake News’. So what I am talking about? ‘Cli-Fi’ that is, and for the uninitiated that spells ‘Climate Fiction’.

Yes, it’s the relatively modern day genre of film and literature that deals with climate change and global warming often driven by a message that we need to change the world. You might also say that most of the environmental comment that comes out of the mouth of One Nation senator Malcolm Roberts is also ‘climate fiction’ but that’s another story.

Whilst there’s a growing number of contemporary novels that deal with the perils of climate change, it’s film that perhaps presents the greatest opportunity to put the scare up an often apathetic population. Not that the climate disaster movie is anything new.

As early as the 1950s director Irwin Allen could see the box office appeal of combining science with global catastrophe. One of his earliest efforts was a documentary based on the award-winning book by Rachel L. Carson entitled The Sea Around Us, in which the author warned that the ‘frigid top of the world is very clearly warming up.’ That was nonfiction of course but he soon followed with a string of fictional epics such as Voyage To The Bottom Of The Sea in which the Earth is

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THE NAKED CITY

CLIMATE PULP

threatened by a burning Van Allen Radiation Belt.

In 1995, one of the most expensive movies ever made, Waterworld presented a postapocalyptic scenario in which the polar ice caps have melted and most of the planet is under

Apollo 11

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city hub 27 JUNE 2019

communication barrier evokes a lot of subtext and contributes to very strong tension and pathos in the plot.

Di Adams plays Sandra, Trevor’s owner, a late middle-aged woman, recently widowed, whose whole world revolves around Trevor. Her obvious devotion, frequently challenged by bridled exasperation, is heart-wrenching to watch. David Lynch weaves deftly close to caricature as the local sheriff; Ainslie McGlynn is deliberately and effectively unlikeable as the nervous neighbour; Jemwel Danao is the sweet if slightly pitiful Animal Control officer; Garth Holcombe is deliciously camp and cheeky as the has-been chimp, Oliver, replete in white jacquard tuxedo. Performing some outrageous scene-chewing as Morgan Fairchild (80s soap diva) is Eloise Snape.

This is a riveting play with an emotional pendulum that swings from hilarity to pathos to horror to introspection.You must see it. (RB) Until Jul 6. Kings Cross Theatre, 244 William St, Kings Cross. $20-$42+b.f. Tickets & Info: www.kingsxtheatre.com

On July 21, 1969, American astronaut, Commander Neil Armstrong climbed down a short ladder, put his heavily weighted boot onto the ground and forever inscribed his name in the annals of human endeavour.

It’s hard to believe it is 50 years since Armstrong and fellow astronauts Edwin “Buzz” Aldrin and Michael Collins made their extraordinary journey to the moon and back. To commemorate the event, the Powerhouse Museum (MAAS) is holding a special exhibition, Apollo 11, featuring over 200 objects; some on loan from overseas, some that belong to the museum.

“We’re really fortunate that the museum already has a fantastic collection of space technology, replicas and models related to the Apollo missions and things like the Mercury missions…” says Assistant Curator, Sarah Reeves. Much of the museum’s total collection is kept in storage with selected pieces only coming out for special exhibits - some have never been displayed. One such item is a full-sized replica of the Mercury space

water. A number of humans have survived and a few, like the lead actor Kevin Costner, have developed gills in an amazing speed up of evolutionary science. Costing a whopping $175 million at the time, the movie was panned by most of the critics and generally considered a

capsule which first took American astronauts into space. It measures eight metres tall and a platform has been built alongside so that visitors can peep into the cockpit. On loan from NASA is a small, insignificantlooking rock preserved in a prism which happens to be a four-billion-year-old bit of Moon. Other special items include a replica of the Apollo 11 space suits worn during the Moon walk; parts from the Redstone (launch) Rocket engine; an Olivetti Programma 101 computer which was used to help perform calculations for the Apollo mission; and a feed horn from the Parkes Radio Telescope which was critical in receiving the initial live images from the Moon and transmitting them to televisions around the world.

A highlight of the exhibition is a specially commissioned version of Luke Jerram’s renowned Museum Of The Moon installation. The seven-metre wide spherical sculpture is internally lit and covered with authentic imagery of the Moon’s surface. The commissioned version shows the surface as it would be viewed from the Southern Hemisphere.

flop but almost 25 years later it has achieved a newfound relevance – particularly if you are a citizen of some of the low lying South Pacific islands.

With a growing worldwide acceptance that climate change is real, both amongst politicians and the public, the time is certainly prime for a flood or Cli-Fi movies. With the technical advantage of today’s sophisticated CGI, filmmakers should be able to recreate any kind of weather-driven disaster for considerably less than it took the makers of the ill-fated Waterworld. Australia, which is currently plagued by drought and debate of over carbon emissions could well be at the forefront of this new sub-genre of the ever popular disaster movie.

Let’s start the onslaught with a kind of Mad Max Afloat in which dune buggies and other ramshackle vehicles are replaced with ferocious looking jet skis and other feral aquacraft combing the oceans in search of some long abandoned deserted oil tanker. The enemy in question would be a diehard group of climate deniers, holed up at the very top of the Centrepoint Tower, convinced that the rising waters will soon subside and the city will eventually emerge from its watery grave. In the meantime, they have commandeered an old Australian navy submarine intent on annihilating every one of the sea bound Mad Max crew. The commander bears an uncanny resemblance to a certain One Nation senator.

Hey, the possibilities are endless. Who needs an Elvis biopic shot in Queensland when the world is about to turn to dust or be consumed by the oceans?

Museum of the Moon. Photo: Neil James

As part of the Apollo 11 exhibition MAAS is also running a series of talks; night tours and Moon viewing at Sydney Observatory; and kids activities. (RB) From Jun 29. Powerhouse Museum, 500 Harris St, Ultimo. $8-$15+b.f.Tickets & Info: www.maas.museum

ATLVS - Memoir

LANY

Photo: Emman Montalvan

By Jamie Apps When American group LANY first began working on music together on an inexpensive Dell laptop in the kitchen they only had small expectations, but quickly exceeded those. Now the group is heading down to Australia with their second album hoping to connect with fans on an even deeper level than before.

Prior to embarking on the long journey down under Paul Klein spoke to City Hub via telephone about their dramatically different approach to album two and the impact that has had on fan reaction.

In those very early days together as a group, LANY had one clear priority, “never make the

same album twice!” In order to maintain this vision following their successful self titled debut album, the group took some time to scout new producers to work with on the follow-up. After meeting with multiple options LANY would eventually settle on Mike Crossey because he was “older, wiser and knew more” than they did at that early stage of their career. Reflecting back on the time working with Crossey Klein said, “we grew so much as musicians, composers and producers by spending four months in a room with him trying to learn as much as we could.”

Introducing Crossey into the mix for Malibu Nights wasn’t the only change that LANY made.

The group also totally altered the way they

approached the songwriting process according to Klein.

“As far as songwriting goes, the first album was written primarily around preexisting drum beats/ loops but this time around every song started at the piano.”

This change was brought about because of significant personal life changes for Klein.

“At the end of 2017 I was open to experimenting with different songwriters in order to stretch myself, so when I came into 2018 I didn’t necessarily think I was going to be writing towards album two.

“However, when I went through a breakup, which fucked me up pretty bad, I had a lot to get off my chest and work through. So I would walk into these sessions with other songwriters sit at the piano and just go through a lot of those thoughts and emotions. Then by the end of the day, we’d have a song which was fully written.”

Thanks to this more melodic and emotional approach to Malibu Nights the group has found during their current 100-day world tour that these songs “1000% hit different and connect on such a deeper level.” This is something they expect to see continue when they arrive in Sydney in July because these songs are no longer just their stories.

“Nobody is thinking about me or my story when they hear these songs, attend these shows and sing along. They’re thinking about themselves.

Everyone can identify with heartbreak and loss.

It’s really beautiful and rewarding to walk into a room and see people sing their guts out because it means so much to them. I can’t ask for much more than that.”

Jul 14-15. Enmore Theatre, 118-132 Enmore Rd, Newtown. $69.50+b.f. Tickets & Info: www.enmoretheatre.com.au

Anna’s War

From Russia comes this incredibly realistic and disturbing award-winning drama which highlights the resilience and strong determination of a young Jewish girl to survive the Nazi’s ongoing slaughter of Jews.

Set in Ukraine in November 1941, the opening scene is the most frightening and

confronting ever witnessed in films of this genre. The screen is darkened for 30 seconds as horrifying screams and the sound of firing machine guns can be heard - then silence.

The screen lights up to a seemingly endless sweeping shot of dead bodies semi-buried in shallow graves, as a young girl named Anna wriggles away from the dead and escapes.

Anna’s ‘war’ to survive, staying miraculously hidden in the chimney of a Nazi’s headquarters, will haunt moviegoers long after leaving the theatre.

The success of this film lies principally in the astounding performance of the child actress (Marta Kozlova) who doesn’t speak but conveys her emotions through facial expressions. The minimal dialogue/

subtitles utilised and the technique of fading momentarily into darkness after every scene succeeds in resonating the girl’s disconnection from the world and the desperation as she clung onto life.

Gripping and heart wrenching to watch, the effect of being isolated with zero human contact for a long period of time is conveyed to audiences, who should be appalled that a young child had to endure such an ordeal in what must be considered the darkest chapter in history. (MMo) Jun 30. Note: ** One session only at 3:30 pm. ** Event George Street Cinemas.

From $16.Tickets & Info: www.eventcinemas.com.au WWWW

Toy Story 4 After a gap of nine years, everyone’s favourite toys are ready to amaze us again on the big screen. Woody’s gang of misfits and naughty toys is back in action, and they sure pack a punch.

Woody (Tom Hanks) leads the show, with a heavy supporting cast including Buzz Lightyear (Tim Allen) & Woody’s long-lost friend Bo Peep (Annie Potts) providing pleasant company. A lot of humour comes from the series

latest addition, Duke Caboom (Keanu Reeves).

In their fourth outing, these toys go on a rescue mission to save Bonnie’s (a little girl who the toys belong to now) new craftproject-turned-toy, Forky (Tony Hale). The best part about the movie is that it’s got its heart in the right place, is extremely funny, heartwarming and just a pleasure to watch. The animation like the previous Toy Story movies is on

par and doesn’t disappoint either.

There has always been something special about the Toy Story series, and this latest outing not only brings back joyful memories for

the kids & adults alike who grew up with the series, but is also sure to turn the present day kid base into ardent fans. (JR) WWW1/2

The debut EP from Gippsland,Victoria metalcore group ATLVS immediately hit the listener with an aggressive wall of sound which rarely relents.

The group deliver incredibly fastpaced, punchy metalcore breakdowns throughout the six-track EP. Upon this heavy foundation, the group layer their music with a deep, thoughtful lyricism which focuses on memories of anger, betrayal and the subjective nature of truth.

The compelling lyricism is delivered by lead vocalist Francis King and bassist/backing vocalist Matthew Borthwick. Both of whom command an impressively wide vocal range.

Two tracks, in particular, stand out from the pack on Memoir. Those two songs are the interlude track, Yvth, which is a hardcore genre mainstay in albums but rarely employed in the EP format. Finally, the closing track, Sick, was the EP’s true stand out as the preceding songs all build to a crescendo which this song delivers upon.

Whilst there is nothing groundbreaking or genre redefining on this release it is an impressive first outing which shows incredible promise from ATLVS. WWW

Yesterday

Jack Malik (Himesh Patel) is a struggling singersongwriter with mediocre talent and a near extinguished career. One night, while riding home on his bike he is hit by a bus. At the exact same moment, a solar flare causes a barely perceptible shift in reality.

Malik wakes up to a world in which The Beatles never existed and he is the only one who remembers them.

He can now lay claim to some of the greatest songs ever written. It’s an interesting conceit that garners a few laughs, but it’s a much bigger concept than the filmmakers realise and it becomes clear fairly quickly that they don’t know where to go with it.

The plot is helped a little by a surprisingly funny, selfeffacing Ed Sheeran (playing himself); the loveable if buffoonish roadie, Rocky (Joel Fry) and the delightfully nasty Debra Hammer (Kate McKinnon) as Malik’s American agent. Lily James feels inconsequential as Malik’s manager, friend and wannabe more, Ellie.

It might have seemed like a good idea at the time, but they should have just let it be. (RB) WW1/2 city hub 27 JUNE 2019

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