City Hub 28 September 2017

from Bondi to Balmain...

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ENTERTAINMENT QUARTER EXPANSION

HOMELESSNESS CRISIS

The push to change planning controls for the Entertainment Quarter could see visitor accommodation, sporting complexes, and more car parking and entertainment facilities in the parklands.

More people can be seen sleeping on the street, and in parks and squares. In Parliament I asked the Minister for Social Housing for action to help rough sleepers in Woolloomooloo, Belmore Park, Martin Place and Wentworth Park, where homelessness rates seem to be growing. Concerted action to increase low cost

Previous governments promised the former showgrounds site would be used for film and related purposes; that commitment must be honoured and open space protected for the growing adjacent populations.

I told the minister the Moore Park Master Plan must exclude further commercialisation and development before it is finalised.

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We also need a second Common Ground project like that in Camperdown, which provides long term homeless people with complex needs a home with onsite support and homemaking skills to help them get back on their feet.

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Bondi Pavilion perseveres

BY ANITA SENARATNA It was a scene that might never have been possible again had former Bondi Mayor Sally Betts got her way. Last Friday night, the Bondi community threw a party to celebrate Bondi Pavilion staying in public hands, after a two-year long campaign against the $38 million upgrade proposed by Cr Betts during her time as mayor.

The Pavilion was packed with residents, activists, artists, actors and musicians, most notably Australian actor Michael Caton and Hoodoo Gurus’ frontman Dave Faulkner, who got the crowd moving later in the night with some of the band’s greatest hits.

The proposal would have seen the community space on the top floor replaced with a kitchen and function centre, which led to concern along residents that the council intended to privatise the space.

Fittingly, the Save Bondi Pavilion campaign held their victory party in the very space they’d been fighting to keep.The balcony itself was decorated with ‘WE LOVE BONDI PAVILION’ banners left over from a hard-won campaign, which ended in the Liberal party losing their majority on council at the last election and effectively ending their plans for further upgrades.

On the beach below, children took their time playing in the surf and skate park, running in to join the celebration as the sun went down.

Inside, more children in glittery dance costumes darted in between the adults talking politics, enjoying the party before they had to get up on stage for the Bondi Dance Company’s showcase.

Along with live performances by local artists, there were speeches by campaign figures, thanking the crowd for their support. One of the loudest rounds of applause was saved for Save Bondi Pavilion’s group convenor Kilty O’Brien, who spearheaded the star-studded campaign.

“Tonight it will all be about celebrationcelebrating our community, celebrating the fantastic space that is Bondi and enjoying ourselves,” said Ms. O’Brien, ahead of the event.

Hoodoo Gurus’ Dave Faulkner performs at the Save Bondi Pavilion party. Photo: AlecSmart

“The community of Waverley has spoken, and they’ve said in no uncertain terms that Bondi Pavilion is to remain for public use.

“This has been a true grassroots campaign and it would not have been successful without the input of thousands of people doing a whole range of different jobs to ensure that our voices were heard on this.”

The night also marked the official end of the Save Bondi Pavilion campaign, which Ms. O’Brien said would ‘wrap up’ now that the future of the Pavilion was in safe hands, with the Labor and Greens councillors who now form the majority in Waverley signing a pledge not to

go ahead with the second stage of the upgrade proposed by the Liberals. However, the group’s parent organisation, Friends of Bondi Pavilion, would continue to stay active.

Ms. O’Brien says that although they might have saved the Pavilion for now, it wasn’t the first time developers had tried to privatise the space and it was unlikely to be the last.

In 1987, Bondi Mayor Carolyn Markham along with the rest of the Liberal councillors at the time were considering a very similar proposal to privatise Bondi Pavilion, a policy which saw them lose the next council election to the Labor Party.

“They won that campaign by throwing that council out of office, and we won this campaign thirty years later by doing the same,” said Ms. O’Brien, who is encouraging people to support Green’s MP David Shoebridge’s bill to protect Bondi Pavilion against future attempts at privatisation when it is introduced into State Parliament later this year.

“We need to ensure that our children don’t have to fight for this again. It was set out in law to be a site of public recreation, it is a Crown land asset, it is for the people. We need to ensure that no developers with friends in high places ever get their hands on Bondi Pavilion.”

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BY JOSEPH FENAUGHTY A group of UNSW students decided that doing a full time engineering degree is not enough of a workload for them, so they built a solar car to enter the 2017 Bridgestone World Solar Challenge.

The car they built, a four-door sedan named ‘Violet’, looks like most cars you see on the road, with the exception of the roof which is completely covered in solar panels.

The group of students behind this incredible vehicle form this year’s Sunswift team, which was founded in 1995 with the pure aim of winning the Bridgestone World Solar Challenge.

Most of their cars from this period were designed to carry one driver and were not particularly comfortable. However, in 2013 their focus shifted with the creation of ‘Eve’, a two-seater that resembled a normal road car with the potential to be commercialised.

‘Eve’ was also the first zero-emissions, roadlegal vehicle to be solar powered, and broke the world record for travelling at an average of 100kmph over 500km on a single charge.

Violet is a natural progression from there.

The outstanding feature of Violet is that it is a four-door, four-seater car, uncommon in solar-panel cars entering solar races. It has a top speed of 130kmph and can run for 800km at a time on solar or 400km on its battery alone.

When driving at under 60kmph, the car can run completely on solar power without using its battery and can completely recharge its own battery when left in the sun.

“Violet looks like a family sedan, but uses as much power as a four-slice toaster,” said Sunswift team leader Simba Kuestler. “She’s

UNSW students and their solar-powered car, ‘Violet’.

Photo: Quentin Jones

got entertainment and air conditioning systems, including navigation, reverse camera parking sensors; there’s even Wi-Fi aboard. And she’s got plenty of front and rear boot space.”

All this gear does not come cheap though, and the budget for the project was $480,000.

It hasn’t all been sunny skies for the team, however as they had some issues during testing at Eastern Creek Raceway. A suspender on the front left side of the car fractured during highspeed brake testing, causing the car to drop onto the roadway and slide 30 metres. None of the crew or students was hurt and Mark Hoffman, UNSW’s Dean of Engineering, said the challenge was a learning opportunity.

“The car is operating at the cutting-edge of what’s possible,” he said, “and the students are putting it through strenuous testing ahead of a race where they will face intense conditions, so it’s no surprise they will face setbacks.

“That’s what an engineering degree should be about, learning about demanding, real-world challenges.” Despite the setback, Violet will be ready to go come race day, thanks to the hard

work of undergraduate students who spent their nights and weekends working on getting the car back on the road.

The team are currently driving Violet up to Darwin to get to the World solar race, which has 47 teams from 21 nations as well as Australia.

The teams will race 3,021 km from Darwin to Adelaide and it will be Sunswift’s ninth Bridgestone World Solar Challenge, with the team gaining many podium finishes in the past.

As stated on the Bridgestone World Solar Challenge website, “Based on the original notion that a 1000W car would complete the journey in 50 hours, solar cars are allowed a nominal 5kW hours of stored energy, which is 10% of that theoretical figure.

“All other energy must come from the sun or be recovered from the kinetic energy of the vehicle.”

The cars entering the competition are amongst the most energy-efficient electric vehicles in the world. city hub 28 SEPTEMBER 2017

3

Inner-west Liberal-Labor pact

BY ALEC SMART A deal between Labor and the Liberal Party in last week’s Inner-West mayoral election has critics furious that democracy has been subverted, with The Greens claiming they’ve been marginalized.

The Mayoral election pitted former Leichardt Mayor Darcy Byrne (Labor) against first-time councillor Pauline Lockie (Independent), in a contest that was ultimately decided by former Marrickville Mayor Vic Macri (Independent), who cast the deciding vote.

However, what infuriated critics and councilors alike was that Liberal Party candidate Julie Passas was sworn in as Deputy Mayor, seen as a reward for backing Labor, despite the Liberals being a minority party in the 15-seat Inner West Council.

In the September 9 Local Council Elections, a swing against the Liberal Party was recorded across the inner west region, which saw Labor and The Greens take five seats each of the fifteen available, with three going to Independents. The Liberals took two seats, in Ashfield and Leichardt, respectively.

The swing was attributed to voter backlash against the NSW Liberal Party, which forced the amalgamation of the former Marrickville, Ashfield and Leichardt council wards into the new Inner West Council, as well as dissatisfaction with the WestConnex road scheme and high-rise housing construction across the district.

The Inner West Council area, comprising approximately 186,000 residents, covers suburbs immediately to the west of Sydney city centre and east of Strathfield and Canterbury-Bankstown districts, within natural boundaries of the Parramatta and Cooks Rivers to the north and south, respectively.

Councillor Pauline Lockie (Stanmore ward), an Independent, was the primary opponent of Byrne with the backing of The Greens and fellow

Independent Councillor Pauline Lockie, Inner-West Mayoral candidate. Photo: Supplied

Independent John Stamolis (Balmain).

She was passed over by the deciding vote of Councillor Vic Macri (Marrickville), who claimed her position as a new councillor made her ‘inexperienced’, despite four other new councillors on the Inner West Council, thus sealing the Liberal-Labor pact.

Councillor Stamolis declared, “It is far too simplistic to say that Councillor Lockie lacks experience. She has a long professional career and has spent years fighting for and leading her community on one of the biggest and most complex issues in the State.

“The bid by Councillor Pauline Lockie was positive and strong. It would have created a fresh

start and it would break away from the tired old party politics that communities all over the Inner West have had enough of. Councillor Lockie offered change but many of the old guard of Councillors were not comfortable with change.

The old-style deals had served them well in the past and continue to do so now.”

In her response to the Mayoral election result, Councillor Lockie said, “It was pretty obvious from the reaction within the chamber and on social media that many residents feel extremely disappointed, if not betrayed, by this result. The Liberal vote plummeted in the Inner West Council election as voters overwhelmingly rejected the state government’s destructive agenda for our area, and 12 out of 15 seats went to progressive candidates.

“The reason I decided to run as Mayor was because I was very worried that a Labor/Liberal alliance would see compromises made on issues such as WestConnex. The majority of Councillors elected (12 out of 15) ran on explicit antiWestConnex platforms, so I think it’s fair to say residents expect our Council to deliver on this.

“The last thing residents would have expected was a Labor/Liberal alliance that gave the Deputy Mayor position to a Liberal Councillor.”

The deal between Labor and the Liberals brought back memories of the secret meeting between the two parties on 2 June 2016, which controversially voted in favour of a rescission motion proposing that council consider a merger of Leichhardt, Ashfield and Canada Bay. However, the subsequent merger, which excluded Canada Bay and instead amalgamated Marrickville and Ashfield into an interim Inner West Council, saw then-Mayor for Leichardt Darcy Byrne sacked.

Furious about the dismissal, Byrne then stated at a press conference, “The interim council has been set up to serve the Liberal Party’s interest...

It is important for the unelected administrator and the Premier to know that we will be scrutinising them from now until democracy is restored in our communities.”

The Greens’ Colin Hesse (Marrickville ward) said of the Mayoral election, “This is a desperate bid for power which is all about supporting Councillor Byrne’s tilt at the State seat of Balmain in 2019. Council should not be held to ransom while Councillor Byrne focuses his energy of his political ambitions.”

“The Greens were consistent in negotiating to form a progressive alliance on Council, working in coalition with anti-WestConnex Independents, and Labor to deliver strong campaigns which put people and community first,” added Rochelle Porteous, Green’s Councillor for Balmain.

“The Greens proposal of sharing the Mayoralty and Deputy Mayoralty between Labor, the Greens and Independents was fair and represented the will of our community.

“Labor’s failure to support a progressive alliance on Council indicates that Labor still hasn’t got the message that people want community representatives on Council, not careerists.”

“Our community sent a huge message to the Liberals to lift their game,” said Councillor Stamolis. “Then, Labor do a deal with the Liberals giving them the second highest position of leadership for our community. This is exactly the same political behaviour that we saw on past Councils. How can this be explained to our community?

“We may have a new Council but the politics have not changed at all. If anything the politics of the past will become more entrenched. The results of the Mayoral election already clearly show this.”

Inner West Labor had still not responded to City Hub’s request for comment by the time we went to print.

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5

Cyclists need more bike lanes to ride

BY JESSICA DE VERA One in five cyclists has abandoned battling other motorists in Sydney because of the safety risks associated with riding, according to the Austroads’ Australian Cycling Participation Survey 2017.

But the upcoming Sydney Rides Festival, a month-long event by the City of Sydney Council, is hoping to change that statistic and promote safer riding practices.

The map on Sydney Cycleways’ webpage reinforces just how disjointed and scattered the dedicated, separated and bicycle-friendly roads are for cyclists. This presents greater safety risks for cyclists, as they are required to navigate through varied traffic conditions in a single journey.

Kim Lavender, Communications Manager at Bicycle NSW, said, “It just requires providing that infrastructure to get into riding. A lot of people struggle when they first start riding to find safe places to ride and then once they get the confidence to go longer distances, they still don’t feel comfortable riding on the road, so it is about providing that safer route for them.

“The more cycle ways or paths where cyclists can ride is what we’re going for,” she said.

Rohan Venatraman, Coogee resident and regular rider, said, “The relationship between cyclists and motorists isn’t the most amicable.

I definitely see motorists as, not an equal, but people who’d pose far graver danger should you run into them. I’ve

Cyclists need proper bike lanes to encourage them to ride. Photo: Alec Smart

never bought the whole ideology of the roads there for all to share. I don’t think that’s a fair assessment given one person might be in a metal vehicle weighing a couple of tonnes.

“Just the past week, I went on a ride to North Sydney from Coogee. I think it was twice I thought I wasn’t going to survive because a fellow cyclist cut me off in the middle of a cycle lane and the second time was when I almost got t-boned by a motorist who didn’t notice me at all,” he said.

It’s up to local councils to push the agenda and make cycling an attractive and safe alternative to a private car, he suggested.

A spokesperson for the Inner West Council said, “Council believes that as part of its efforts to encourage more people to cycle more often, the development of new cycle routes across the local government areas that provide safe and convenient connections to places where people want to get to is essential.”

But a lack of infrastructure is not the only aspect working against cyclists on the roads. It’s also other cyclists, claimed Rohan Venatraman.

“Even though the number of cyclists on Sydney’s roads are increasing, and Sydney Council are putting out a lot more - slowly but steadily - cycle lanes around the city and inner city, I do think there should be a lot more awareness on simple things like right of way.

“Even a decent cycling map of Sydney’s routes would be pretty good,” he added.

A new dedicated cycling lane is in the works to connect the city and the Harbour Bridge, the City of Sydney Council announced recently.

Lord Mayor Clover Moore said in the statement, “Conditions for riders will greatly improve with this smoother, more accessible connection, enabling more people to feel safe riding in Sydney.”

“The City of Sydney is very good at the moment,” said Bicycle NSW’s Kim Lavender, “they’ve actually got the highest rate of cyclists in New South Wales and I think this comes down to the Council’s view towards cycling and a lot of the infrastructure within the area that is very positive towards cycling.”

The Inner West Council is riding a similar wave and a spokesperson for the Council said, “Reducing dependency on private car use and encouraging more sustainable forms of travel such as cycling is a key Council objective – this will aid efforts to reduce carbon output, reduce pressure on parking and

encourage healthier and more socially inclusive communities.”

In the Randwick region, Rohan Venatraman claims Randwick Council has their sights set on other priorities.

“I did go to one of the council meetings a couple of months ago, before the council elections, and it was brought up to introduce a lot more cycling paths.

“But that didn’t seem to get a lot of traction from the council members, or at least the local representative for Randwick City Council didn’t seem to think a big deal about it.”

This has made a month-long event like the Sydney Rides Festival ever more important for re-engagement and encouragement, claims Kim Lavender.

“I think it’s about getting people back into cycling. People, in that month, might get more experience riding so for the rest of the year they’re more likely to actually ride. It’s that month that celebrates cycling and makes it more available to people.”

The City of Sydney’s Sydney Rides Festival would be a good place to dust off the old two-wheeler. There’s over 30 events on the calendar.

There’s a bike event for everyone whether it’s the suit ride, foodie ride, cycle speed dating, ride for chocolate or the spring cycle. You could even pop in for a free tune up or participate in the mechanics challenge.

For information, visit: www.whatson.cityofsydney.nsw.gov.au/ major-events/sydney-rides-festival Randwick Council declined City Hub’s request to comment.

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7

Refugees left for dead by government

BY ALEX EUGENE The Australian federal government has thrown more than 20 asylum seekers out of government housing and stopped their assistance payments, despite lining up for a place on the UN Human Rights Council. These are just the first of up to 400 people who will be affected by the new policy.

The Federal Immigration Minister Peter Dutton announced earlier this month that the Final Departure Bridging Visa E would be issued to refugees and asylum seekers who were brought to Australia from Nauru or Manus Island for medical treatment.

The new visa allows the people to work, but cuts off any welfare payments immediately and requires them to move out of government housing within 21 days. The visa will also expire after six months, at which time they will be expected to leave Australia.

“The Australian Government has made the decision that [they] are no longer entitled to government welfare support including accommodation and income support,” a document issued by the Department of Immigration states, though no reasons are given for the change.

But Ali Zamir, a Pakistani refugee, said his health concerns had been neglected for so long up until now, he felt the move was only an excuse to find a way of booting him out of the country altogether.

“I am confused why they moved me now because I am suffering from this pain for the last three and half years,” said Mr Zamir, who has a stomach ulcer.

Luckily, the NSW Alliance for people seeking asylum (NAPSA) have stepped in to provide assistance in the form of coordinated services, including legal assistance, casework, housing, food and living allowances to the people in Sydney.

90 staff and almost 1000 volunteers run the organisation.

Representatives of the four agencies who make up NAPSA: Carolina Gottardo, Lyn Harrison, Tanya Jackson-Vaughan and Kathryn Clark.

Photo: St Francis Social Services

Amy Smith, a Caseworker from NAPSA said the poor health of many people made it entirely inappropriate to have withdrawn financial and housing assistance so abruptly.

“Many of the people impacted by this decision have acute mental and physical health concerns which seems to have not been taken into consideration. People should have been given support and time to transition into independent living,” she said.

“They did not have work rights prior to this decision so [assistance with finding suitable employment] was not an option before. Finding work will further be hampered by the six month visa deadline,” Ms Smith added.

The Asylum Seeker Resource centre estimates that the poverty line is an income below $412 per week. On average, an adult on NewStart receives $318 a week, while refugee or asylum seeker payments are around $227 a week.

But even obtaining this amount only comes after a lengthy wait.

d n a x le A in m e G n e d A Hid

“While there are some exemptions, most asylum seekers have a number of requirements to meet before being able to access an ASAS or CAS [Asylum Seeker Assistance Scheme or the Community Assistance Support Program] payment, such as having to have been waiting for a protection visa decision for at least six months.

The maximum amount of an ASAS or CAS allowance is always set at 89% of the Centrelink NewStart benefit,” the Resource Centre’s website says.

Shadow Minister for Immigration and Border Protection, Shayne Neumann said the Liberal government had “sunk to a new low”.

“By purposefully making these people destitute and homeless, the Turnbull government can only be exacerbating the health conditions which asylum seekers were originally transferred to Australia to be treated for,” he said in a statement.

The Department of Immigration says on its website that “the Australian Government’s policy is clear—anyone who attempts to enter Australia illegally by boat will never be permitted to settle in Australia. They are not eligible for a Temporary Protection Visa or a Safe Haven Enterprise Visa in Australia.”

But the Refugee Council of Australia said none of the people had arrived “illegally” by boat.

“Asylum seekers do not break any Australian laws simply by arriving on boats or without authorisation. What may be considered an illegal action under normal circumstances (e.g. entering a country without a visa) should not, according to the Refugee Convention, be considered illegal if a person is seeking asylum,” said a spokesperson for the organisation.

“Refugees are, by definition, people fleeing persecution and in most cases are being persecuted by their own governments. It is often too dangerous for refugees to apply for a passport or exit visa or approach an Australian Embassy for a

visa, as this could put their lives, and the lives of their families, at risk.”

The Refugee Council dubbed the recent move a “brutal crackdown on vulnerable people.”

Several organisations including NAPSA and the Refugee Council have appealed to the public for donations to assist the people left penniless and homeless by the government.

CEO of the Refugee Council of Australia, Paul Power said they had been “overwhelmed with offers and messages of support from compassionate Australians.”

The Turnbull government has also drawn international criticism over the harsh policy.

Lucy McKernan, Geneva representative for the Global Initiative for Economic, Social and Cultural Rights, said recently that leaving people in poverty was a breach of human rights.

“Subjecting vulnerable people to deliberate destitution is morally and legally indefensible. It is also embarrassing to Australia as it trumpets its credentials as a candidate for the UN Human Rights Council.”

Ms McKernan said it was “deeply harmful” to people when they were subjected to such poor conditions.

“It also deeply harms Australia’s claim to be a principled protector of human rights,” she said.

The cringe worthy comments come as Australia readies itself for a position on the UN’s Human Rights Council in November. Only two other countries, Spain and France, are vying for a place on the council, but speculators are asserting that Australia is assured to win a three-year term.

NAPSA are running a crowd-funding campaign entitled “Compassion over Cruelty” to raise $93,000 to assist the refugees affected by the new visa. So far they have raised around $15,000.

To donate, go to chuffed.org/project/ compassion-over-cruelty-in-nsw

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9

City of Sydney turns up the music

BY ANITA SENARATNA Sydney was once a city known for its live music scene, where bands like AC/DC, Cold Chisel and the Divinyls played in crowded pubs with permanently sticky floors, building up loyal followings before going on to become rock icons.

But the NSW Government’s 2014 decision to introduce 1:30am lockouts and 3am last drinks at licenced venues in the city’s CBD effectively pulled the plug on the city’s live music scene. As fewer and fewer people went out in the city at night, venues that had once been mainstays of Sydney’s nightlife were forced to shut their doors for good.

In an attempt to breathe life back into the city’s dying live music scene, the City of Sydney Council announced a new funding program for live music and performance venues earlier this month. The council will be offering matched funding up of to $30,000 in grants, with the first round of applications open until November 13.

“This new grant program provides targeted support to increase the diversity of businesses open in the city at night, and help live music venues make the improvements they need to put on more performances,” said Lord Mayor Clover Moore.

“We know the lockout laws have had a significant impact on Sydney’s night-time economy, so we are finding practical ways to support local businesses and live music venues. We look forward to hearing from businesses across our community with their ideas for creating a more diverse and dynamic city after dark.”

The announcement has been met with enthusiasm from local business owners, many of whom are experimenting more with their entertainment offerings in an attempt to attract more punters.

Jake Smyth and Kenny Graham are the coowners of Mary’s in Newtown, the Unicorn Hotel

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city hub 28 SEPTEMBER 2017

DeeMinor & The Dischords perform at Frankie’s Pizza.

Photo: Alec Smart

in Paddington and most recently the Lansdowne Hotel, an iconic Chippendale venue where bands like Powderfinger and You Am I played some of their earliest gigs. The Lansdowne closed in 2015 after a fire, but the pair bought and renovated the building with the intention of restoring it to its former glory as a live music destination.

“We were under no illusions that running a live music venue would be easy. But we didn’t open it to for an easy run to the bank, we opened it to challenge the current status quo in the hospitality industry, which prefers pokies to art,” they told City Hub. “Bringing music back to the Lansdowne was the only reason we undertook this new venue. It has influenced every decision that we have made, from the decor to the removal of the pokies. How can we support musicians more? How can we improve the experience of the punter there to see the band?

The challenges are myriad, but also expected.”

Frankie’s Pizza in Sydney’s CBD is proof that there is definitely still a market for rock‘n’roll in a city that loves its dance music. Not only do they have live bands playing every night of the week, but they’re also a popular destination for international acts and their crews on tour in Sydney. Famous guests include rock legends Debbie Harry, Dave Grohl and Billy Corgan.

Prior to the introduction of the lockout laws, Frankie’s stayed open until around 4am most nights, making it a popular destination for hospitality workers finishing late. Owner Jordan McDonald admits that having to turn so many people away was frustrating, especially when he didn’t agree with the laws himself.

“Not everyone receives the news too well when they’ve caught a cab from an hour away and they can see there’s a party raging within, but we say ‘Look, there’s a funky little law that doesn’t make a huge amount of sense but it’s up to us to uphold it, you’re not allowed to walk in these doors and join all these people,’” he said.

But the change led them to start putting more bands on their program in an attempt to get more people through the doors. It was an unusual move at a time when live music venues were shutting down all over Sydney, but it paid off.

“It was just a matter of adapting to the circumstances and putting stuff on earlier which would drive a new mob of customers. We were always doing the live music thing, but we just put on more of it and much earlier. We used to actually have bands kick off at midnight which was totally badass but we’ve shifted that up a bit.”

He thinks the City of Sydney’s grants are “pretty cool” but says he’d also like to see more grants available for musicians themselves.

“Grants for performers would also be a great help,” he said. “In this great southern land it’s

quite taxing to tour, being that it’s so spread out.

For most acts, certainly club-level acts, touring is not economically viable. It costs you more than you get back. But musos are crazy and passionate, they do it for love of the game.”

David Abram has been working in various creative fields in Sydney for the past decade, and he’s watched it change over time. He was originally an architect before becoming a DJ at GOODGOD, a small club in the CBD known for its eclectic programming. He eventually opened Freda’s, a multi-purpose venue in Chippendale that serves as a bar, live music venue and gathering point for like-minded creative people in the area.

“It’s kind of embarrassing where the city’s ended up,” he said. “It’s like generational damage.

It’s done damage to a city that had developed over hundreds of years, to venues and businesses that had been in areas for decades. They’ve decimated the city and we’re going to look back at this time and be ashamed of it.

“They don’t make it easy for creative people in this city... We’re definitely not a city that’s been attuned to creative pursuits even though there’s a lot of really great creatives in the city,” said Mr. Abram.

He says Freda’s will definitely be applying for one of the City of Sydney’s grants, which he expects will “go a long way.”

But despite all the damage that’s been done to the city by the lockout laws, Abram is optimistic about the future.

“Sydney’s a great city and people lose track of this.

What makes a great creative city is people coming in with ideas, collaborating with each other and coming up with new ideas as well.

“I feel like the energy is shifting but we’ve lost a lot of spaces that have been there for decades. There’s definitely a lot of exciting stuff happening in the city even if you don’t see it on the surface so easily.”

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11

Meet a grey day when down with the dogs

By Taylor Martin Almost a year after backflip on the Greyhound Racing Ban, a special event will be held at Darling Walk on Harbour Street in the city this Friday, September 29.

‘Meet a Grey Day’ gives people the opportunity to see and interact with rescue greyhounds while raising awareness about the inhumane treatment of the animals involved in the sport of greyhound racing. The event is being hosted by Greyhound Rescue, a foundation dedicated to finding homes for retired greyhounds that would otherwise have been euthanized for no longer being able to race.

The ‘Meet a Grey Day’ event occurs almost a year after the government’s refusal to ban greyhound racing as a sport, despite evidence of piglets, possums, and rabbits being tied up to machines and used as live bait for training the greyhounds - a practice that is illegal in Australia.

As part of an on-going investigation into greyhound racing, animal activists also found evidence of mass culling and euthanizing of greyhounds that trainers deemed unfit for racing - normally due to age, injury from the sport, or because the animal was not deemed fast enough to race.

Following an in-depth report issued by a Special Commission of Inquiry, Former NSW Premier Mike Baird declared in a July 2016 Facebook post that, “In

Meet a Grey Day encourages people to re-home ex-racing greyhounds.

Photo: Alec Smart

response to widespread illegal and unconscionable activity, including the slaughtering of tens of thousands of dogs… NSW is putting an end to greyhound racing.”

Within months of that statement, and following the NSW Parliament’s contentious approval of an industry ban, Baird announced in October of 2016 that he “got it all wrong,”

and abolished the ban on greyhound racing, in support of the industry.

The NSW Greyhound Breeders, Owners & Trainers Association responded positively, saying they were, “Completely committed to making the people of NSW proud of their greyhound industry.”

While organizations like Greyhound Rescue continue to

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challenge the legality of the sport, they hope that events like ‘Meet a Grey Day’ will bring more awareness to the cause, and break any stereotypes about the hounds in order to find them loving homes.

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To meet the hounds and learn more about Greyhound Rescue and their stance on the issue, visit the ‘Meet a Grey Day’ stall at the forecourt of the Commonwealth Bank Darling Walk at C4/1 Harbour Street, Sydney from 11am-2pm on Friday 29th of September.

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FEATURE

Podcasts Killed The Radio Star?

Rita Bratovich According to a recent ABC survey, Australia has become one of the fastest growing markets for podcast creation and consumption, especially among the tech driven Gen Y. When MP3 players were integrated into smartphones, the convenience of access led to an increased in interest in podcasts.

Couple that with the low cost and ease of creating a podcast and you have a proliferation of genres, styles, formats and fans.

So what makes a good podcast?

“I think authenticity is incredibly important… I don’t like podcasts that sound overly scripted,” says Head of ABC Audio Studios Kellie Riordan.

ABC Audio Studios is a specialist department within the ABC that focuses on creating new, original podcasts as opposed to listen-again, post broadcast radio programs.

Due to the ease of creation Riordan believes podcasts create an environment which “gives a voice to the more marginalised communities” and thus there is much more growth to come.

Local podcast producer Jono Pech is a shining example of how simple it can be to gain a following through podcasting. Pech began his weekly podcast Puttin’ In Work in February and though the audience is still small, it’s gaining traction.

Pech interviews creative people (authors, artists, film makers etc) about their work and their process. Being part of a network of pop culture enthusiasts who are already connected through social media and other channels, means Pech has a ready made audience and immediate access to potential guests. With his profile rising, his opportunities are expanding.

“Now almost every second week I’m talking to someone in the US or England or anywhere really - its not really a barrier any more.”

Pech’s background in journalism makes podcasting a natural fit.

“I have a love for telling stories and just talking to interesting people.”

The four hours or so he puts in each week to do research, record, and edit is for love, not money. He’d do it if only 20 people listened, as long as they enjoyed it and were helped by it.

He himself feels he learns more about writing, creativity and work processes, so it’s worthwhile regardless.

Within Pech’s pop culture network there are around 12 other

Jenn White, host of the Making Oprah podcast.

Photo: Xencia Ayling for ABC

people who put out a weekly podcast. They all share ideas, tips and interview each other.

“It’s a great network of people supporting each other and supporting what each other is doing.”

As a creator and avid listener, Pech completely understands why the medium is growing.

“The appeal of podcasts is that it’s on demand.You can listen whenever you want, wherever you want…there’s always something for whatever you’re in the mood for.”

This idea of essential on-demand radio has led some to speculate that podcasting could severely impact the viability of radio in the future.

For radio futurologist, writer and speaker James Cridland this speculation was the perfect niche for his podcast Radio Futurologist where he explores the changing shape of audio media.

Cridland doesn’t anticipate a rapid demise in radio regardless of the accelerating growth of podcasting.

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“Well over 9-out-of-ten people listen to radio every single week.

In the US, it’s more popular than television. So there’s not much to be concerned about… It’s an astonishingly popular medium,” explains Cridland.

He sees podcasts and radio co-existing happily for some time yet.

Part of the reasoning behind Cridland’s belief for the coexistence of both mediums is that podcasts tend to focus on very defined subjects of storytelling. In America one of the most popular podcasts is Jenn White’s Making Oprah which tells the stories of the people who helped create the Oprah phenomena.

Despite being employed by WBEZ Chicago White says it was still difficult to get noticed in an ever increasingly saturated market.

Her advice: be authentic and original.

“Replicating someone else’s style or success is a choice, but being intentionally authentic in developing your brand and in choosing the focus of your podcast can make you stand out.”

Among Australian podcasts, the true crime series, Casefile is a stand out success.

In less than two years, it has not only risen to the top of its genre, but is cited as one of the most popular overall podcasts, locally and overseas.

The podcast which began, as many do, with the host recording in his bedroom has now grown into a micro-enterprise which employs researcher/writer Anna Priestland, a producer and two freelance writers.

Despite Casefile now also having several sponsors it is still very much a labour of love as these sponsors simply cover the costs of producing the show.

For Priestland podcasts have become so popular because they have an authentic feel to the conversations and everybody “is fascinated by the reasons people do what they do.”

All of the podcasts mentioned in this article can be found at the various websites below. www.abc.net.au www.wbez.org www.james.cridland.net www.casefilepodcast.com www.puttin-in-work-with-jono-pech.pinecast.co

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The Winter’s Tale

ARTS & ENTERTAINMENT Ghost Jam

A new kids show, Ghost Jam is playing for the September school holidays, providing young families with a great excuse to take their kids on a fun day out.

Delivering a comedic take on classic Japanese ghost stories, comedian Sean Murphy and instrumentalist Sophie Unsen interact and challenge the audience, while playing an array of traditional Japanese percussions to build a compelling atmosphere for kids and adults to enjoy.

“It’s all about challenging and interacting with the kids,” comedian Sean Murphy said, “it’s always a lot of fun and a lot of improvisation but based on some really solid classic stories

Photo: Peta Addy

“We go along to Shakespeare never quiet knowing what you’re going to get, which is one of the points of going to Shakespeare. It’s like a circus, you don’t know what to expect but you always hope you’re going to experience something that will stimulate and surprise you.”

Produced by Secret House, a Shakespeare classic, The Winter’s Tale has been brought to life. It will be showing at The Depot Theatre from September 29 with director, Sean O’Riordan giving us some insight into the production.

“Childhood, innocence and playground friendships are subtextual themes throughout the play” The story explores the many aspects of human relationships, filled with emotional pools of love, jealousy, revenge and passion.

A tragic romantic comedy with a twist.

“The childhood of the two main kings inspired me to make the beginning of the show a kind of childhood reference, which I won’t say too much about, it will be a surprise for the audience. The characters may be adults but the kids are still inside” The two-part structured play follows the King of Sicily as he is convinced that his wife is carrying his best friend’s child, causing him to destroy his family and friendships.The second part is set sixteen years later, acting out arguably one of the best endings in literature.

“When I’m doing Shakespeare, I find I have to reinterpret the meaning because the text is often very dense and obscure. By cutting things out I’m able to find the play within…” explained O’Riodan before adding,“The hurdle with this play is that it starts as a tragedy/drama and then turns into a comedy. How do you reconcile a real tragic start with a pastoral comedy at the end? There are quiet a few puzzles, how you’re going to solve those is where your imagination comes in.” (RH) Until Oct 7.The Depot Theatre, 142 Addison Rd, Marrickville. $22-$32+b.f.

Tickets & Info: www.thedepottheatre.com

Review: The Nether

Alec Snow. Photo: Ross Waldron

It’s the future - the near future and the Internet has morphed into a place where people can live alternate realities. Sound familiar?

city hub 28 SEPTEMBER 2017

The boundary lines between reality and virtual reality have begun to blur. So, does it matter what you say, think or do in this make-believe

before, it isn’t Dracula, it isn’t zombies, it’s from a whole new storytelling tradition, so that’s one thing that is definitely new to people,” Murphy said.

“Parents and kids can come and feel absolutely no judgement if they want to make a sound, react, get up or sit down. We keep the back doors open so you can come and go as you please and it’s really set up for all sorts of people, particularly to offer access to kids with sensory or learning challenges…” Murphy concluded. (JM) Until Sep 29. Giant Dwarf, 199 Cleveland St Redfern. $16-$17.50.

Tickets & info: www.giantdwarf.com.au

world? And if it’s not inhabited by people but merely virtual substitutes, then is it anybody’s business what goes on? After all, it’s not reality, is it? Welcome to Jennifer Hayley’s, The Nether, directed by Justin Martin.

This is a disturbing, uncomfortable play. Not in a graphic ‘hit you in the face’ kind of way but in understatement and suggestion. Much is told in flashback, or is it more like a ‘grainy’ recovered memory? Your imagination is left to fill in the gaps.

The set is a forest of flat computer screens juxtaposed with real trees. At the centre is a ‘creepy’ kind of Victorian nook.

Detective Morris (Katie Fitchett) interrogates Sims (Kim Knuckey), who procures under-aged girls for men to engage with in the Nether.

He’s calm and almost ‘grandfatherly’.

There are the men, Doyle (Alan Faulkner) and Woodnut (Alec Snow), handsome and dapper yet profoundly broken.

Then there is the girl, Iris. Danielle Catanzani is deeply unsettling as the dramatic crux of this play. Naieve but knowing - removed and distant, yet exuding a Victorian kind of innocence. She can hold a soft toy or an axe with equal conviction.

As Morris says, at one point in pregnant understatement, “images and ideas create reality.” It’s an idea that stretches back to Plato, but reinvents itself today, where online anonymity meets real world consequences. (GW) Until Oct 7. Reginald Theatre, Seymour Centre, Cnr City Rd and Cleveland St, Chippendale. $38-$42+b.f.Tickets & Info: www.seymourcentre.com or Ph. (02) 9351 7940

REVIEW: In Real Life While set in the future, In Real Life is within the realm of possibility, not far removed from where we are now and the direction we’re rapidly heading.

The play centres around a domineering single mother, Theresa, who is the CEO of a global digital company that invented ‘The Drum’, a must have personal digital device.

She’s estranged from her troubled selfharming daughter Eva, who has relocated to their country holiday retreat.

When Eva goes missing the line between reality and fantasy blurs as Theresa grapples with grief and uses technology to bridge the gap between the digital world and real life.

Australian playwright Julian Larnach has created an entertaining psychological thriller that is driven by narrative.

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and beautiful instruments all of which are fresh to both adults and kids in Sydney.”

This show isn’t merely for the entertainment of the audience, but rather it is a strong learning experience, exposing them to new and unique stories and sounds that they most likely haven’t heard before.

“One thing that people love in these new stories is that they’ve never heard it

14 STAGE 16 SCENE 18 Sounds 19 SCREEN

This world premier is thought provoking as it touches on the science fiction concepts of human cloning, robots and how ‘The Drum’ device can be programmed to assist with grief support and ease the pain of loss.

The set is minimalist and captures the essence of futuristic luxury; ‘The Drum’ device and simulated nature sounds are surreal.

In Real Life is spot on with its relevance to our rapidly changing world and appeals to a wide-ranging audience. It’s emotional, raw and touching. (MS) Until Oct 15. Eternity Playhouse, 39 Burton Street, Darlinghurst. $38-$54.

Tickets & Info: www.darlinghursttheatre. com or Ph. (02) 8356 9987

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 @CityHubSyd

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

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REVIEW: Bob Downe Love Boat Cruise

Reviewed by Lynda ehipeihana MUSIC EXECUTIVE BOB DOWNE (the comic creation of Mark Trevorrow) Australian comedian/ entertainer performed a good show on Friday night on Sydney Harbour the Rhythmboat - Love Boat Cruise.

Bob has been entertaining us since the 1980s, you may remember Bob as the menswear salesman ‘Darryl’

in TV series Kath and Kim and The Bob Downe Show.

Known for being The Prince of Polyester, Downe entertained and engaged with the audience and had us eating out of his hands each time he performed his dorky dancing, geek gestures, and strategic deep throat singing pretending not to know the lyrics, which was hilarious.

The audience was forgiving of Mark’s character’s borderline racist comments, as only he could get away with by moving to other dorky gestures so that we would forget about what had just been said.

Bob Downe’s Love Boat Cruise show was belly laughing funny.

Later in the evening during the ABBA show Downe performed a few songs.

Bob Downe is worth seeing and is performing a series of shows on Sydney Harbour the Rhythmboat throughout September and until October 25.

Tickets & Info: www.rhythmboat.com.au or Ph: 1300 551 804 Cruise leaves from No. 6 King Street Wharf.

Forever Crazy

From a somewhat inauspicious beginning in Paris over sixty years ago, through to today where their shows regularly draw sell-out crowds, Crazy Horse Paris comes to Sydney – and tickets are selling fast.

Variously described as iconic cutting edge performance art, a Parisian cultural phenomenon or even risqué burlesque - it is a high kicking celebration of the feminine form.The cast of ten, stunning, classically-trained dancers are clothed mostly in just textured lighting.

Candy St. Louis – we don’t know her real name - has been dancing with the show for eight years and is doubtlessly having the time of her life.“I’m a Brooklyn girl, living in Paris and then on tour in Australia. I think I’m just flying – I haven’t touched the ground yet”.

Conceived by Alain Bernadin in 1951, his vision has always been for a highly specified,

uniform body shape amongst the dancers – even down to centimeter precision.“The way he chose his dancers, his women, for his show – that’s what he wanted”, says St. Louis, “There could be a million reasons why he did what he did but I love the fact that it remains those rules.”

Whilst the show has no shortage of fans - not the least amongst A-list celebrities - it doesn’t fit with everyone’s gender politics. However, the cast see it differently.“Our show does open your mind, especially for women in my opinion”, says St. Louis,“We stand for class, confidence, elegance and femininity. If women let us in, they can walk away with their shoulders a bit higher and proud to be who they are.” (GW) Until Oct 1. State Theatre, 49 Market Street, Sydney. $100.80-$142.60+b.f.

Tickets & Info: www. ticketmaster.com.au

THE NAKED CITY

OPEN AND SHUT SYDNEY

With Coffin Ed Darlinghurst Police Station It’s a once in a year chance for the general public to sticky beak inside some of the more intriguing and often downright quirky structures that have helped define the Emerald City. As their blurb states “Sydney Open invites the curious and intrepid to see inside the heritage treasures that trace the city’s beginnings and the architectural wonders that are shaping its present and future”.

On November 4 and 5 there’s a unique opportunity to visit the top of the old AMP Building in Circular Quay, once the tallest building in Sydney or take a happy snap in the politically rambunctious bear pit of It was here in the late 70s that the Macquarie Street’s Parliament House.That’s shamefully corrupt and homophobic NSW just a taste of the seldom seen spaces and Police frequently bashed gay men and over forty historic buildings that are throwing anybody else they disliked, well behind open their doors to let Joe and Josephine locked doors and any public scrutiny. They public in – along with the kids of course. enthusiastically embraced a tradition of There is however another darker side of brutality that dated right back to the Sydney that’s unlikely to be encompassed 1800s where just up the road at the by such a family friendly tour and maybe Darlinghurst Gaol, public hangings often needs to be explored in the interest of drew crowds in their thousands. Any tour revisiting some of our more notorious and of this facility, now the National Art sinister buildings. What better place to School, would best be conducted at night start than the old Darlinghurst Police to see if the ghosts of the executed still Station near Taylor Square where in the inhabited the convict built sandstone walls.

1970s the Yellow Pages were more likely Not far away in Kings Cross a walking to be used as an instrument of tour could trace the last hours of Juanita interrogation than finding a phone number. Nielsen from her tiny terrace in Victoria 16

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Street to the backroom of the old Les Girls in Darlinghurst Road.The tour could also take in KC strip clubs Porkys and Dreamgirls, soon to be converted into an office building, although apparently some of the neons will remain.There’s not much else left in the Cross that bears historical interest unless some kind of archaeological dig is instigated.

Who knows what or whom may lie beneath the rows of vacant shops, el cheapo backpackers and battling businesses.

Meanwhile in Sydney’s new party central, Newtown, the old Hub Cinema would be an essential stopover on the seedy city tour.As our slice of New York’s 42nd Street, in the 1980s it was home to nonstop screenings of such arthouse gems as Behind The Green Door and The Little French Maid, complete with ‘erotic’ live acts, shuttled from the Oxford Street ‘Sinema’. Only a few shop facades remain from the old blood and guts days of Newtown in the 70s although the site of the much loved Elizabethan Theatre (which burned down or was torched) back in 1980 would certainly be worth a visit.

There’s obviously much, much more that could be incorporated into a ‘sinister’ Sydney tour and it’s certainly a project that could be looked at. In the meantime you’ll just have to do a quick tally when you visit the bear pit in State Parliament House as to how many former members are currently residing at her majesties pleasure.

REVIEW: Hot Mikado

The original Gilbert and Sullivan operetta,The Mikado from 1885, is a subtle satire on British politics but set in Japan to disguise its true intent.This 1986 jazzed up version is the creation of American duo David H. Bell (book and lyrics) and Rob Bowman (arrangement); the satire is much less subtle and there’s no hiding any intent.

Chatswood Musical Society’s current production of Hot Mikado is bright, bawdy, bold and brassy with a slight hint of Japanese decorum. Plot, characters, place and basic elements of the songs have remained fairly close to the original, but the costumes, period, dialogue and reworked orchestrations reflect a 1940s Chicago sensibility.

The band is super hot - a small ensemble made up of piano, drums, guitar and brass that create a sound three times their size.They accommodate a troupe of dancers - including some youngsters - who perform

some sizzling choreography.

All the lead characters are strong and confident. Blake Lovely croons like a matinee idol as Nanki-Poo. Karen Oliver defies gender boundaries as Pooh-Bah, playing him with vaudevillian aplomb.Tish Keleman is matriarchal yet elegant as The Mikado, while Rachael Gillfeather’s Katisha is like a composite of villainous Disney dames. Chewing up the scenery each time he appears is David Verdejo as Ko-Ko. He is camp and nerdy while still managing to be malevolent, using vocal and physical humour to clinch two show stopping numbers.

Director, Declan Moore has done a superb job with this production.

It’s a great show at a great venue. (RB) Until Oct 1.The Independent Theatre, 269 Miller St, North Sydney. $30$45.Tickets & Info: www. chatswoodmusicalsociety.org

The Sky Is Falling made by child artists. The aim of these unique artworks is to emphasise the importance of protecting nature and to teach children and communities to care for trees and the arts.

City Hub spoke to one of the local artists taking part in The Sky is Falling exhibition, painter Gabbi Lancaster on how the title came about, “It came from Jennifer O’Brien the curator, TRACES V by Gabbie Lancaster we had a few discussions about it, I just went along with it and In our modern cities, buildings made my own interpretation appear to be replacing nature, but it’s really about how the trees seem to be visible only trees are falling and we can see when visiting a park or going the sky where the trees were”. for a bush-walk. A new group Gabbi’s paintings have a dream of artists working under the like quality. She paints beautiful name of “Project Kollective leaves and trees that are no Spaces” are putting together an longer here with us but are exhibition that combines visual very much alive in her memory art with a strong message of and imagination. The Sky Is conservation titled, The Sky is Falling is a meditation on our Falling. complex relationship between The exhibition consists of 10 humans and trees and is sure to local artists practicing their be inspiring and awaken us to individual crafts in different be more environmentally mediums such as painting, friendly. (DJ) photography, sculpturing as Sep 19-Oct 1. Bondi Pavilion well as filmmaking, mixed Gallery, Queen Elizabeth Dr, media and as a bonus there will Bondi Beach. More Info: be two special video works www.waverley.nsw.gov.au

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city hub 28 SEPTEMBER 2017

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Sydney Live Music Guide LIVE WIRE

By Jamie Apps

James Vincent McMorrow: Having previously played to rapturous audiences across the country at the start of this year, McMorrow’s bond with his Australian fans is stronger than ever. As a special treat for those fans he will return to Sydney tonight for an intimate club show.

Thu, Sep 28, Factory Theatre AJJ (formerly Andrew Jackson Jihad): The Phoenix, Arizona garbage pop veterans return to Sydney tomorrow night armed with their unique collection of scuzzy punk screeds. This group is no stranger to our country having recently released the music video for Goodbye, Oh Goodbye which captured the attention of The Wiggles for its witty and playful use of their distinctive coloured shirts.

Fri, Sep 29,The Lair Le Butcherettes: The tex-mex garage punk band will be bringing their sophisticated punk’n’roll to Sydney this weekend for a one off headline performance.

Joining them for this show is Sydney’s very

own Heavy Lids, who have been described as the ‘gay version of Black Flag.’

Sat, Sep 30,The Lansdowne Hotel Sorority Noise: The Connecticut-based quartet consisting of Cameron Boucher (guitar/vocals), Adam Ackerman (guitar/ vocals), Charlie Singer (drums) and Ryan McKenna (bass/vocals) bring their distinct sounding cathartic record to Sydney this weekend.

Sat, Sep 30, Oxford Art Factory Dune Rats: After finally rolling home from a six month non-stop world tour, including 69 shows around the globe, a Number One ARIA Album, and capturing the whole train wreck for Dunies TV Season Two, Dune Rats are immediately heading out to do it all again.

Sun, Oct 1,The Big Top - Luna Park Aled Jones: In a very special treat for his Australian audiences, Aled takes to the stage alongside projections of his younger self to sing duets from his latest album, One Voice.

He will also be joined on stage by a local choir for an extra treat.

Mon, Oct 2, City Recital Hall Brenton Foster 6tet: Hit the road in celebration of their acclaimed second album, The Nature Of Light. Featuring some of Melbourne’s finest jazz musicians and improvisers, the band will showcase Brenton’s stunning compositions, masterful piano playing and soulful vocal stylings.

Mon, Oct 2, Lazybones Lounge Everclear: For over two decades, worldrenowned, multi-platinum rockers Everclear’s sound has reflected the rock, post-punk and singer/songwriter influences of lead singer Art Alexakis, including acts like X,The Replacements, Pixies, Bruce Springsteen,Tom Petty, and Elvis Costello.

Tue, Oct 3,The Metro Theatre Valerie June: Following the release of her critically acclaimed new album The Order of Time,Valerie June will be visiting Sydney early next week alongside Nashville’s Old Crow Medicine Show.

Tue, Oct 3, Enmore Theatre

Citizen Kay

By Jamie Apps Originally hailing from Ghana but now based out of Canberra after emigrating at six years of age rapper/producer Citizen Kay certainly has a compelling life story to tell within his music.

With his latest record, Belly Of The Beast, telling his story and ensuring he had a depth to his lyricism was the primary focus.

“With my last album I focused on the production and sonics but sacrificed the depth of my lyrics in doing so,” explained Kay, “therefore for this album I wanted to keep that musicality but also wanted to have layers to my lyrics so that people could enjoy them on the surface level

but if they wanted to dive deeper they would be able to do that.”

Citizen Kay told City Hub that his decision to take this approach was inspired by the rapid rise of rap superstar Kendrick Lamar.

“Kendrick is the perfect example of the music I’ve always wanted to make but never knew how it should have sounded. He has really set that bar which has made every rapper in the world think oh crap we’ve got to step up our game.”

Some people may find it strange that a rapper has such a modern hip-hop influence but as Kay explained to us his love for the hip-hop genre took some time to develop.

“I was actually under the impression that I hated hip-hop for a long time because I’m originally a guitarist who played in a rock and funk band.” said Kay. Two key figures though changed his thinking rather quickly. “My older cousin Miracle got signed to Sony as a rapper and around that same time I discovered Kanye West.” Now in retrospect Kay also says he realises that two of his favourite bands, Red Hot Chilli Peppers and Rage Against The Machine, were heavily rap/ hip-hop influenced.

Since realising he had this deep seeded love for hip-hop Kay dove head first into the Canberra rap/ hip-hop scene.

“I was always under the impression that I would have to leave Canberra to experience a rap scene but what we have here has kept me around because it’s actually amazing.”

Not only has Kay embedded himself within the scene as a performer but he is also attempting to give back to other emerging Canberran artists by setting up his own recording studio.

“Over the course of the last six years I’ve realised that to get top quality studio recordings costs a lot of money and I think that’s one of the things that deters a lot of people when they start out. So being a massive advocate for the talent we have here in Canberra if I can offer that to people here at an affordable price why wouldn’t I do that?”

Oct 6. Lansdowne Hotel, Cnr City & Broadway Road, Broadway. $17.85+b.f. Tickets & Info: www..oztix.com.au

Pete Tong & The Heritage Orchestra - Ibiza Classics

Legendary DJ and iconic voice of BBC Radio 1 Pete Tong is coming down under this November for a very special arena show combining his skills with those of the Heritage Orchestra.

Pete Tong, along with conductor Jules Buckley and the 65-piece Heritage Orchestra will hit Australia for the first time. Blending and re-working iconic anthems from the past 20 years of house and dance music with a full scale orchestra this is yet another bold, brilliant move from one of the most influential figures in dance

music. With modern, live reworking’s of classic club anthems from Daft Punk, Fatboy Slim, Eric Prydz, Robert Miles and more, as well as a hand selected list of guests, Tong’s latest foray into arena shows promises to be a dance party like no other.

One part large-scale club show and one part stage performance this show is a fresh and welcome change for fans of both classic house and modern dance music. With its infectious, energetic brand of club music reworked by artistic director Chris

Wheeler and The Heritage Orchestra, and the acclaimed conductor Jules Buckley at the helm, Pete Tong’s new show has already managed to captured the hearts of millions, with sold out shows around the UK, including the legendary O2 London.

Nov 1. QUDOS Bank Arena, Edwin Flack Ave & Olympic Blvd, Sydney Olympic Park. $122.45-$317+b.f.

Tickets & Info: www.MJRPresents.com

The East Pointers What We Leave Behind Canadian folk trio The East Pointers continue to elegantly blend traditional folk with contemporary pop on their second album, What We Leave Behind.

Throughout the record the group have created a unique soundscape which has an incredible depth to the percussion, instrumentation and sparingly employed sweeping vocals.

The way the band weaves folk 18

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and pop here is expertly done and allows the tracks to be both accessible and compelling for fans of either genre.

Two tracks in particular stand out in this regard. 82 Fires is a deep emotional song which is very much in the stadium pop vein conversely title track What We Leave Behind is a slower instrumental only folk offering.

Instrumentally this record is exquisite however it remains to be seen whether the vocal work

Food Court – Good Luck

will be as gripping for fans of The East Pointers. (JA) WWW1/2

Food court’s new album Good Luck is fast.

Quick in delivery and quick in recording come the band’s eleven new tracks. They’re style is nostalgic of simple energy driven music, invigorating fans with their immediate connection, untainted and unpolished, nothing separating them from each other.

Heartache and mistakes roll through the feet forward melody, shot through with a thread of positivity. The music bounces

along with light-hearted intensity, amiably following the skipping voices. The music is fun and feeling, vibing with its unseen audience, connecting the band members in universal storylines through their instruments.

Food court’s eagerly anticipated album is an easy-going, rambling combination of young innocence and understanding, the kind of music that is not for particular moods or particular people, it will easily change the

minds of the unsure and the moods of the morose. (SP) WW1/2

Kingsman: The Golden Circle Kingsman: The Golden Circle is too much style, not enough substance.

It’s a wanna-be cool movie but in its second outing (the first one was pretty farcical too but somehow managed to turn Colin Firth into an unlikely action hero) it just tries too hard, missing the mark that would have catapulted it into a pretty decent action movie. It’s not that it’s bad (in-fact in comparison to some of the movies this year it’s praise-worthy), it’s just that it’s too much for no apparent reason.

There’s simply a plethora of information in most scenes, without giving audiences the time to actually digest the minutia and appreciate the next scene. Kingsman: The Golden Circle

sees Eggsy (Taron Egerton) and Harry (Colin Firth) reprise their ‘proper’ spy roles and team up with an array of who’s who of Hollywood (Jeff Bridges, Channing Tatum and Halle Berry) to fight against a whimsical and psychopathic drug baroness (Julianne Moore) who lives in the wilderness and controls The Golden Circle (her crime organisation of mayhem). Oh yes, she also has Elton John as her prisoner/pet/personal performer.

For what it’s worth, this film is entertaining nonetheless, with some cool gadgets, car chase scenes, humans being chopped up into burger meat and the likes. It is not the best, yet it’s fun. (JR) WWW

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Battle Of The Sexes On the rising swell of the second wave of feminism, women in the early 1970s were demanding gender equivalence in all things, including prize money for a sport in which they had always been equally proficient tennis. Couple this social agitation with a loud-mouthed, unapologetically chauvinistic retired male tennis star who is in dire financial straits due to his gambling addiction and you get the gladiator style tennis match billed as The Battle Of The Sexes.

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respective personal lives of King and Riggs.

Riggs struggles with his job, marriage and insatiable need to make big bets. Carell plays him bombastically while still managing to portray several emotional levels.

Stone’s King, on the other hand, is insipid and flat. Her affair with Marilyn Barnett (Andrea Riseborough) is depicted candidly, but this only divides the films focus so that no one story is told thoroughly.

The eponymous tennis match is genuinely thrilling but because of the soft lead-up, it doesn’t really feel like the climax of the story.

And perhaps, arguably, it isn’t.

Still, it’s worth a view, if only to see Margaret Court (Jessica McNamee) get thrashed by Riggs. (RB) WWW

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