City Hub 3 November 2016

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Opinion

St John’s Anglican Church Darlinghurst: a deal with the devil?

by Andrew Woodhouse The money-motivated devilry attached to the Anglican Church of Saint John of Darlinghurst is dubious. As is its attempts to squinch dollars from an adjoining car wash site fronting both Darlinghurst Road and Victoria Street, Darlinghurst, a site technically owned by the Anglican Church property trust. The church draws about $100,000 per annum rent but this isn’t enough it says. It wants more.

The most recently amended $17.5 million DA/2016/476, the third by this church for this site, was lodged last week before Sydney Council for a seven-storey hospital-type facility for 28 medical and psychiatric seniors patients/customers some of whom may be potentially homeless. Sydney Council is already compromised because it’s both the consent authority and a financial partner in the project, having handed over $1.5 million of ratepayers’ money to support the DA. It has a conflict of interest, a matter referred to the ICAC by our heritage society. It is proposed to be built

by Hammond Care, council’s partner, with which the church also has a working relationship. It’s a cosy little ménage à trios.

Nobody knows how much more ratepayers’ money will be used to support the DA. Council refuses to say, hardly an exemplar of openness and accountability in local government.

It’s the third DA by this church for this site.

The first DA was opposed by Clover Moore as Member for Bligh, our local heritage society, the Darlinghurst Residents’ Action Group, The Greens Party, South Sydney Council planners and hundreds of local residents. It proposed a penthouse rectory on the church hall site and new apartments on the car wash site to raise money.

The DA was flipped from the former South Sydney Council to the City of Sydney Council after a forced amalgamation. It was then opposed

by Lucy Turnbull, Lord Mayor. The church was not happy and by-passed council to appeal to the

St John’s Anglican Church, Darlinghurst. These landmark views of “one of the few unaltered Edmund Blacket buildings in Australia, the most richly executed Gothic Revival parish church in Australia” (NSW Heritage Council) are to be compromised for money. The fate of the Jacaranda is unknown.

Photo supplied: Andrew Woodhouse

NSW Land and Environment Court direct. The former Rector, Greg Thompson, argued from the court’s witness box under oath that St John’s good works were an overriding important consideration whilst thundering and raining fire and brimstone from the pulpit against the heritage society, which was allegedly “against God’s work” as if he had he had the mind of God in his pocket.

Council offered to buy the car wash site for a park but a former Deputy Lord Mayor told me, “This is the most unchristian group I’ve ever met”.

The court agreed with us, locals and other professional experts and dismissed their mega-DA appeal: the church’s good works were irrelevant: this was a planning law matter it said, adding sharply: “If you can’t see a landmark building it

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ceases to be one”. Amen to that.

St John’s church was in debt and divided. I called for the Rector to resign, which he then did.

In this strong-arm wrestling match the score was heritage society 1, church 0.

Mr Thompson was then promoted to Bishop of Newcastle and was recently queried over paedophile acitivities in his parish under his watch. He admits he was offered an inducement to turn a blind eye to such activities.* The church then sold its rectory for cash and moved the new Rector into an expensive rented, trendy Paddington home.

DA 2 was horrendous and also blocked significant views of the church and its spire from Victoria Street, the same principal issues

as before. We were shown pre-DA plans and listed over a dozen objections in writing the next day including setbacks and overshadowing of significant heritage stained glass, but the church’s money-lust propelled it to deceptively claim we were supportive. Their designer said in a recorded meeting that” there will be no overshadowing of stained glass”. Plans showed the opposite. Was this a lie or just loose inventiveness with the facts?

However, Sydney Council and the NSW Heritage Council have rejected DA 2 with their “14 non-negotiable points” of contention including views to the church, setbacks and overhadowing of stained glass.

So the newly–amended DA 3 is another deal with the devil. But it shows an even higher, sevenstorey building (including basements) with greater losses of views to the church from Victoria Street and overshadowing of precious, prized stained glass, still. If you can’t see or appreciate precious, prized stained glass from within an entombed church then all you have is a blackboard.

Their DA 3 supporting letter, dated 25th October 2016, page 12, admits: “ … the eastern transept windows are fully shadowed .. “, adding arrogantly as a two-fingered salute to heritage: “the Church explain[ed] that the social benefit [of its works] are … more important than … a specific stained glass window.”

But this church doesn’t belong to any one group: we belong to it: it’s part of our common national heritage. They are crying in the wilderness.

DA 3 is like all its predecessors. It has three principal objections, location, location, location.

It’s in the wrong spot, as our legal team correctly say, preparing another court appeal.

So the half-time score is heritage 2, Church 0.

This is The Word of the Lord, for now. Thanks be to God. Andrew Woodhouse, President, Potts Point and Kings Cross Heritage and Residents’ Society

Waverley Cemetery community welcomes heritage listing

BY LUCAS BAIRD The Waverly community has welcomed a move from the Heritage Council of NSW that will see the historical Waverly cemetery classified as culturally significant to NSW. The cemetery, located on the cliffs of Bronte, was opened in 1877. It is the burial place of the famous poet Henry Lawson, Olympic swimmer Sarah Durack, and over 200 war graves from various conflicts including the two World Wars.

The heritage listing was announced by Heritage Minister Mark Speakman, last Wednesday October 23rd. The Minister commended the “genealogical, historical, architectural and artistic character” of the site.

The listing has put an end to around ten years of speculation that a new pavilion would be constructed on the site.

“Receiving Heritage Listing means the cemetery will be permanently protected from developments that we don’t believe are compatible with the heritage and coastal environment of the cemetery,” said Secretary for the Friends of Waverley Cemetery group Emilia Salgado. “[State Heritage listing] will protect its iconic significance and, with future funding, enable more people to appreciate the history, stories and uniqueness of the grounds.”

The Friends of Waverley Cemetery group have been fighting against unwanted developments at the site since their formantion in 2002 to oppose the construction of a crematorium at the site.

Heritage Minister Mark Speakman said: “It’s not only the people buried in Waverley that make it special to the city and the state - the cemetery’s location on some of Sydney’s most spectacular coastlines adds to its rich history.” Photo: Winston Yang

Since 2012 they have focused on combating suggestions to construct a new pavilion on the cliffs. The group were the ones to submit the application to the Heritage Council asking them to consider the cemetery for listing.

Waverley Mayor Sally Betts congratulated the group on their successful proposal and welcomed the heritage listing.

“The listing allows us to get heritage grant funding from state government and federal government,” Ms Betts told City Hub. “Since 2008 my council has continually put money into the cemetery from Waverly’s operating budget. In the last year we have spent $7.8 million on the cemetery fixing up

the roads, but we don’t have the resources to return the cemetery to the wonderful place it could be.” Ms Betts said that the additional grant funding would go to the general keeping up of the cemetery as well as the restoration of the monuments located on the site.

State MP for Coogee Bruce Notley-Smith also welcomed the cemetery’s listing. He said: ““The eastern suburbs community will be delighted with the cemetery’s listing because the community has an important connection with the site’s 140-year history.”

Mr Notley-Smith also commended the Waverley Council’s efforts at “protecting and preserving” the cemetery over time. city hub 3 NOVEMBER 2016

3

LET SCA STAY down but not out

BY LUCAS BAIRD LET SCA STAY has declared that a police intervention into their record breaking occupation of the University of Sydney’s Rozelle campus will not end their protests regarding the Sydney College of the Arts (SCA).

The group has claimed they have further action planned to protest funding and staff cuts, in addition to the SCA’s proposed move to the Camperdown campus.

“Part of having an occupation is an assumption that at some point you are going to get kicked out,” said LET SCA STAY spokesperson, Thandiwe Bethune.

“Now we are just planning for future events [...] We don’t know if it is going to be a rally or another vigil outside an arts event.”

‘We are hoping to do stuff with the [Museum of Contemporary Art Australia], but for now it is more about finding people to help us.”

However, the University of Sydney has warned against further protests on campus, indicating that they have “the right to exclude anyone who has been party to the occupation from its campuses” and that “any further attempt to occupy could see the University exercise this right”.

A spokesperson for the University said that they were reluctant to take action against the protesters, as students have the right to protest peacefully.

But after the occupiers showed “little respect for people or the laws governing safety for themselves or others” and they

Cartoonist: Peter Berner @peter_berner

Police and university security put an end to the record breaking 65 day long occupation of the Rozelle Campus on the morning of Tuesday, 25th of October. Photo: Andy Mitchell

received complaints from students and staff “distressed” by the occupations, they were left no choice.

Ms Bethune said that the University’s actions reflect more on them than the protesters.

“They didn’t give anybody the chance to come out peacefully [...]

They didn’t give anyone the time to get their stuff together, one of the occupiers weren’t even allowed to put their shoes on.”

“This is the second time [The University] has gone around

destroying our art and actively tearing it down in this really aggressive attitude towards the students.”

“It was just aggressive and manipulative tactics from the university to scare people from not speaking out.”

Ms Bethune also claimed that she was not scared of being excluded from University grounds. She said that it wouldn’t be “strategic” for the University to follow through with that threat after previously affirming the student’s right to protest.

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Reclaim The Night hits Sydney CBD

BY CHARLOTTE GRIEVE On the evening of Friday October 30th, hundreds gathered in Hyde Park for the 40th anniversary of Reclaim the Night, an annual community-run march that protests violence against women “in all its forms.”

The evening featured live music, Mama Linh’s dumplings and free glitter. People of all ages and sexes sat on the grass opposite St Mary’s Cathedral writing messages on banners such as “One in Three women have experienced physical violence” and “Feminism is the answer.”

This year’s march was organised by a group of university students, led by Courtney Thompson and Jenna Schrodes.

Ms Thompson first got involved with the movement through the UNSW Women’s Collective. Having grown up in a family of domestic violence herself, Thompson says she is “very passionate” about the issue of violence against women.

“It was a really wonderful atmosphere, it felt great to be united with so many people,” “People brought their boyfriends along too, and I think that was great. Men and boys now understand what we’re bitching about,” Thompson told City Hub. Originally from the Blue Mountains, Reclaim the Night was Thompson’s first protest and has since inspired her to get more involved in community activism.

“It’s made me rethink my degree and trajectory,” she said.

On the night, Ms Schrodes and Thompson co-announced the “Mick Hughes Award” to the crowd.

“This award is given to a man in a position of power who fails to fight against violence against women,” Schrodes told the crowd.

Reclaim the night, Hyde Park. Credit KRay Inspirations

Named after Detective Inspector Mick Hughes, who in 2015 controversially suggested that women should refrain from being alone in parks at night after the murder of a 17-year-old girl.

This year, the mock-award was given to Prime Minister Malcolm Turnbull and Premier Mike Baird for funding cuts to domestic violence services, such as Community Legal Centres and women’s refuge shelters.

Speaking at the event, Judith Wright from the Australian Services Union spoke about the “We Won’t Wait” campaign pushing for paid domestic violence leave throughout the

country, among other things.

“The work we do is the difference between life or death,” Ms Wright told the crowd.

She also spoke to the government’s privatisation of “frontline services” for victims of domestic and family violence, such as the rape and violence hotline.

“We now have a situation where people are profiting from violence,” said Wright.

Also speaking at the event was Mia Pittia and Polly Luang, two migrant sex workers who are members of the Scarlet Alliance, an advocacy group for sex worker rights.

Ms Luang, a university student originally

from Hong Kong, said she is a sex worker for financial independence, “I do it so I can focus on my studies.”

Frustrated by stereotypes and stigmas, Luang told the crowd, “discrimination is created by a lack of understanding and most of the time we [sex workers] do not feel safe.”

“Sex work is my choice,” she said. “We are human beings just like you, do not judge us.”

Ms Pittia, also a migrant sex worker said that on the job harassment is ever more prevalent for women whose second language is English.

“The primary way to decrease risk of harassment is to support the decriminalisation of sex work,” she said.

“We do not need to be rescued, we need our rights.”

The final speaker of the night was Fran Hayes from the Coalition for Women’s Shelters, who spoke about the “catastrophic” impact the “no wrong door” policy is having on women’s refuges. The policy maintains that public housing and community housing providers are not to deliver a specialised housing service, such as those fleeing domestic violence.

“Refuges must accept women who have just left jail or who are suffering from drug addiction or psychiatric conditions. People who have complex needs that refuge workers are not equipped to deal with.”

“We need specialist domestic violence women’s refuges run by women for women and their children,” said Wright.

Speeches were followed by a peaceful march around the city, an action that is designed to symbolise the empowerment of women. The Reclaim the Night movement is recognised internationally, first occurring in Belgium in 1976.

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7

When Australia said ‘no’ to conscription Michaela Morgan Peace activists gathered at Addison Road Community Centre in Marrickville last week to commemorate the 100th anniversary of the defeat of the WWI conscription referendum.

Two referenda took place under the Prime Ministership of Billy Hughes, the first one in October 1916 and then again in December 1917—both were unsuccessful.

Speaking at the event, activist Hall Greenland said it was “the greatest victory for grass roots democracy in the history of Australia.”

Mr Greenland said the “no” vote defied those in power at the time and that during both campaigns anti-conscriptionists fought hard to battle the strict censorship regulations that were introduced as a war time measure.

“In favour of conscription were five of the six state Premiers, the Prime Minister, all the leaders of the opposition, every major newspaper, every chamber of commerce.

Everybody expected conscription would carry the day,” said Mr Greenland.

Historian and author Douglas Newton said it was important to commemorate this unique event.

“When one of the nations involved (in WWI) asked its people, are you willing to give a blank cheque to the generals to fight on as long as it takes, the people said ‘no’.

“They defied all the editorials, the great weight of the press, the emergency legislation and the government and said ‘no’,” said Mr Newton.

The greatest victory for grassroots democracy’. Photo Michaela Morgan

Drew Cottle is an historian and senior lecturer at the University of Western Sydney and said the anniversary was a timely reminder to acknowledge the important issues underlying the vote.

“We’re in a period now that glorifies ANZAC and glorifies Australia’s military record but doesn’t consider that Australians in two referenda, in separate years, narrowly voted against military conscription.”

Dr Cottle credited the defeat of the vote to unions such as the Industrial Workers of the World (known as Wobblies) and the Labor Party.

He also noted the important role that women played in defeating the conscription referenda.

Dr Cottle said that despite widespread censorship, “mothers, wives, sisters, aunts were learning of the young men who were being killed at the front.”

Historian and poet, Colleen Burke said women’s groups such as the Women’s Political Association and the Women’s Peace Army were instrumental in rallying for the anticonscription cause.

“They organised a huge anti-conscription demonstration in Melbourne. It started off with a few thousand people, but by the time they got to the Yarra bank they had between 50 to 80,000.”

Ms Burke said that while it was a peaceful rally, the newspapers at the time reported it differently.

“The Age headline was: ‘Acts of Violence-Wild scenes of disorder attended a women’s anticonscription demonstration in the city,’” she said.

Hannah Middleton, a lifelong peace activist, said it was important to remember the carnage of WWI in order to understand current worldwide conflicts.

“The loss of life in WWI is an exemplar of just how appalling war is. We should have reached a stage of civilisation in how we resolve matters in other ways. Humanity is precious and we see the destruction of thousands upon thousands of young men, again and again, just for a few yards.

“And as we say it about WWI, about Passchendaele and Ypres, we have to say it about Syria.”

The event also recognised the anticonscriptionists of the Vietnam War period and an honour wall for peace was unveiled at the entry to the community centre.

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Coogee Sports Club AGM leaves MEET the locals member questions unanswered Pho Sure Coogee Beach, Image supplied

BY KRISTEN TSAIMIS The Annual General Meeting of Coogee Sports Club was held Sunday 23rd October, and left the members with the belief that their Club will likely become insolvent in the near future.

Two weeks ago, City Hub received an anonymous tip from a concerned local who said the future of the club was looking bleak.

The meeting was chaired by the Administrator Greg Parker and alongside him the Clubs Solicitor Mr Tony Johnston and auditor Garry Day. Members who wanted to ask questions at the meeting had to submit questions a minimum of seven days earlier. City Hub’s source said that they believed the questions were “brushed over and not answered satisfactorily.”

They also said that “any question that related to the board or Management of the Club were ignored as they were viewed as defamatory”

The meeting itself was charged with emotion with Directors and members frustrated as members “continually asked questions to get the answers they believed they weren’t receiving.”

Prior to the commencement of the meeting the Club’s solicitor made it clear the meeting was being recorded, warning attendees to be careful of anything said as members could be liable for any defamation.

The Auditor’s Report to the Members states, “the Administrators has issued a report dated 1st July 2016 setting out his concerns and the accounting deficiencies. During the year little to no accounting records were maintained inlcuding.... relatively few Financial Reports, Balance Sheets, or Profit & Loss Accounts, which lead them to the conclusion that the system of internal control, proper check and balances, especially for receipts and payments were not in place.”

The lack of financial records could have contributed to the club going into administration.

The audited Annual Reports obtained from the Club’s website shows that the funds transferred to the Coogee Sports Club on amalgamation in May of 2015 with the Drummoyne Sports Club totalled $1,215,508. On request, the Administrator advised that the Club’s cash balance as of the AGM was approximately $100,000 plus a frozen investment with Macquarie Portfolio Investment of $32,083.

After the Club pays the administrator for their services, it will leave the Club with less than $25,000.

Control of the club was handed back to the Club the following Monday and the new board has the same four directors that led the club into administration. In accordance with the new constitution only one bowling member can be on the board for two calendar years after completion of the amalgamation between Drummoyne Sports Club Limited and the Coogee Bowling Club Limited in 2015.

The club is no longer in administration, but the future of the club appears shaky. With minimal funds to keep the club going, members fear the club will close its doors within the next year.

The Club declined to comment.

Authentic Vietnamese cuisine has finally hit Balmain through Pho Xpress Foodhouse. Husband and wife duo Tracey and Henry hail from Vietnam and Hong Kong respectively before moving to Australia.

Tracey says that “pho is our star” and the menu certainly caters for pho-aficionados with options like the ‘beef classic’ to more traditional versions such as the ox-tail pho.

The all-important pho broth is brewed for at least 16 hours to ensure maximum flavour and delicacy.

Tracy and Henry both believe in the value of healthy eating. Pho Xpress Foodhouse has gluten-free and vegetarian options with dishes that will please even the most health-conscious among us.

Tracey says that, “We use the freshest quality ingredients, we don’t take shortcuts.”

Pho Xpress Foodhouse unites the past with the present as traditional Vietnamese dishes and techniques are paired alongside modern cooking methods to retain flavour and increase the nutritional value. Tracey says customers have been impressed with the food.

“People come in and tell us the food they have here is similar to the food in Vietnam.”

Tracey is excited about exhibiting Vietnamese food to an educated, socially aware and environmentally conscious community in Balmain.

This summer, Pho Xpress Foodhouse is offering a summer menu which boasts weekly specials. These specials include healthy vermicelli noodle and rice dishes for something different from pho.

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9

Webcasting downvoted in City’s Council meeting Image: Supplied

been no case to say why not to have it, and nothing to say if you want to do it here are the costs and reasons why – It’s not a massive investment on a trial period.”

Cr Forster said that re-introducing the motion to council happened because “the resolution of last council was that it should be

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BY KRI STE N TS IAM I S At the City of Sydney Council meeting on Monday October 24, a notion to webcast Council meetings was brought forward by Liberal councillor Christine Forster.

Cr Forster’s motion was rejected by a vote of six to four.

Cr Forster brought forward her motion declaring “this has been the subject of discussion several times over the last couple of years in Council. The last time it was discussed, a resolution was passed that was in favour of it. The CEO was asked to investigate the costs and come back to the new council with a proposal to put this in place. I asked them to get on with it and do that.”

“Sadly the Lord Mayor and all her new councillors don’t believe it’s something we should be doing, which strikes me as unusual…Many councils have introduced webcasting to meetings. The City claims that they want to embrace innovation but will not put forward a simple measure to broadcast our meetings.”

Cr Angela Vithoulkas said Cr Forster’s motion “was a follow up on what had already been resolved; and given that the memo from the CEO asked for consideration before a new council began in September, it was an ideal time to see the discussion reopened and to see where we stand.”

“We still don’t see where we stand, we don’t know when or if webcasting can happen. It feels very much like its not wanted. There has

brought back to new council for discussion.

They have slapped it down out of hand.

I haven’t been told about cost or that the community doesn’t want it. Anything Council can do to making its public meetings more accessible to the public is a good thing” she said.

The motion didn’t result in any debate and Cr Forster said that the swiftness with which the motion was overturned shows that in her opinion the councillors who voted down the motion “aren’t prepared to engage in a simple technological change that would make our meetings much more accessible to our community, more transparent, and would enable people to get involved.”

Cr Vithoulkas also said that people want to participate in the Council process, and doesn’t think that Hansard is a feasible option to webcasting. She said “I don’t believe Hansard is going to meet the ways that people want, it’s probably not a cheaper option that webcasting.”

“I think this is a great item to come to a briefing for the Councillors, so we can have a discussion in an open and frank way. Let’s have the ins and out explained to us so we can understand it.“ According to Cr Forster, this isn’t the first time the notion of recording council meetings in one way or another has been brought up.

She said that she “put up a motion regarding Hansard being installed as a method a couple of years ago that was passed, and nothing has happened. That just shows me how much they are digging their heels in.”

“They are hell-bent on preventing this from happening,” she said.A City spokesperson told City Hub : “The additional cost of live streaming Council meetings hasn’t been supported by evidence of community demand for the service.”

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FEATURE

BY GREG WEBSTER Let’s face it, jazz music has long been a bit of a ‘boys club’. Sure, there have been some brilliantly talented female jazz vocalists over the years, but when it comes to jazz musicians, it’s been pretty much skewed towards the lads. Segue to the upcoming Sydney International Women’s Jazz Festival. Now in its fifth year, it is not just a spectacular line-up of some of the world’s best players, it’s also changing the gender balance for the better.

Ellen Kirkwood, who co-leads the Sydney Women’s Jazz Collective, is passionate about getting more women into jazz and improvised music. For her, the festival is a chance to showcase female talent and accordingly change people’s stereotypes of what a jazz musician is.“One of the things that this festival does is to show that you don’t have to be male to be a fantastic jazz musician. I think it’s especially important that young women and girls see jazz as a thing they can do,” said Kirkwood.

Kirkwood takes the stage at least twice during the festival with the Sydney Women’s Jazz Collective, a ten-piece powerhouse of some of Australia’s best up-and-coming jazz stars. Joining them on stage are Canadians Ingrid and Christine Jensen, who are well known in the North American jazz scene.As a trumpet player and on the lookout for role models, Kirkwood discovered Ingrid Jensen and was immediately enamoured:“She is a beautiful player with a very distinctive sound. I am really stoked that we are going to be playing with them.”

Tumbling through her short-list of festival ‘must-sees’, Kirkwood’s enthusiasm is infectious.“I really love Shannon Barnett – she’s a trombonist based in Germany – and is this amazing, energetic, fiery player.

Gian Slater is an extraordinary vocalist and not your average jazz singer.

She is like a vocal instrumentalist, an expert improviser with a very distinctive, pure voice. I definitely want to see Melissa Aldana and Tara Tiba – I want to see everything!”

Brimming with similar enthusiasm is the festival’s co-artistic director, Zoe Hauptmann, who resembles the proverbial kid in the lolly shop.

“One of the great things about being an artistic director is that you can say ‘I’d like to see this and I’d like to see that’, so I can ring them up and give them a gig,” said Hauptmann. Her list of ‘must-see’ performances is equally imposing, with opening night an obvious highlight. “We have Melissa Aldana, who is New York based but originally from Chile. She is an amazing Sax player and the first woman ever to win the Thelonious Monk International Jazz Competition.”

Melissa Aldana.

Photo: supplied by SIWJF

Jensens from North America or the South American influences of Melissa Aldana, the festival is a melting pot of different styles and cultures.Always eclectic, jazz music has constantly blurred the boundaries of genre, endlessly fusing with various cultures and styles. For Hauptmann, these influences “just seep into your playing”.Which begs the question,“Is there an Australian sound to Jazz?” As a self-confessed jazz nerd, Hauptmann is certain she can hear the Australian accent.“It sounds like where we’re from – it sounds open. I can hear the sound of the bush and the sound of our cities and maybe even suburbia. It has an edge to it – a rambunctiousness.You can hear our lifestyle in the music.”

Like Hauptmann, Kirkwood is upbeat about the future.“Hopefully one day we won’t need to have specific festivals for women in jazz, because there will be equal representation across genders and it won’t be such a weird thing to see so many women around.”

SYDNEY INTERNATIONAL WOMEN’S JAZZ FESTIVAL Nov 2–13. Various events + venues inc. Foundry 616, Venue 505, Lord Wolseley Hotel, Ultimo, Wollongong Conservatorium, The Powerhouse Museum.

Tickets & info: www.sima.org.au

Reflecting on the lack of presence of women in jazz music, both Hauptmann and Kirkwood suggest a variety of reasons.“I guess it was historically less socially acceptable for women to be associated with such a risqué style of music”, says Kirkwood.“It started with men and the cycle kept perpetuating.” She also points to the notion that certain instruments and styles were not seen as feminine.“When kids pick up instruments, a girl might not want to play the bass or trumpet because they are seen as a boys instrument. I think that has been quite damaging to music because society tells kids that they have to do ‘boys things’ or ‘girl’s things’.“ Hauptmann agrees, though she is less clear on the reasons for the gender disparity. Having recently joined a taskforce chaired by one time GoBetween, Lindy Morrison to look into gender equality in music, Hauptmann believes that the lack of research is a problem.“It is the thing we all want to know.We see it even in schools, that a lot of young women drop-off in music.That is why we target them in the young women in jazz workshops.”

Whilst the festival is doubtless a celebration of women in jazz, it also has a consciously international flavour.Whether it be award-winning French chanteuse Tricia Evy, or the distinctively Iranian tones of Tara Tiba, the

FESTIVAL HIGHLIGHTS

Melissa Adlana Trio (CHILE/US): Nov 2, 8.30-11pm. Foundry616. $25-$45.

Ingrid and Christine Jensen (CAN/US) with the Mike Nock Trio: Nov 3, 8.30-11pm. Foundry616. $25-$45.

Sydney Women’s Jazz Collective (AUS) led by Ellen Kirkwood: Nov 4, 8.30-11pm. Foundry616. $20-$40.

Shannon Barnett Quartet (GER/AUS): Nov 6, 8.30-11pm. Foundry616. $15-$30.

Tara Tiba Sextet (IRAN/AUS): Nov 11, 8.30-11pm.

Foundry616. $25-$40.

Gian Slater, Barney McAll & Simon Barker (AUS): Nov 12, 9-11pm. Foundry616. $20-$35.

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ARTS & ENTERTAINMENT Flood

Theatre can be fun, confronting, and challenging – but maybe it’s at its best when it provokes conversations about the sort of society we are and want to be. Flood is about the implicit racial bias that pervades Australian culture and the damage it has done to Aboriginal Australia.

A group of privileged but naïve twentysomethings take a camping trip to outback Australia and unknowingly stumble onto a sacred site. It brings them into direct conflict with a local indigenous landholder, beginning a domino effect of personal and group implosion.

For Aaron Lucas, who plays one of the privileged few, there are plenty of real life parallels. Having grown up on the Northern Beaches of Sydney, with an independent school education behind him, the play hit very close to home. “The way these people react is quite

Dads

Olivia Jubb, Aaron Lucas (at front), James Wright, Chandel Rose, David Harper, Cate Burley, Jackson Williams.

It’s hard to think of a typical dad being inclined to dance. However, after discovering that her father likes to wear headphones and secretly dance in his room while banging a tambourine, Miranda Wheen of Dance Makers Collective realised there was a hidden underworld of dancing dads.

This revelation sparked the idea for Dads, a new production based on discussions about “dance” between the performers and their fathers. The soundtrack is a combination of toetapping music and snippets of the actual interviews conducted with the dads.

“They’ve been very generous, extremely generous with us using the material,” acknowledges Wheen, describing the entire experience as enlightening and emotionally complex.

“It wasn’t all lighthearted…some of the dads had quite sad stories that are associated with dancing.”

For one father, the sudden inclination to dance

close to how I’d imagine my friendship group would react,” said Lucas.

The perennial funding challenges of independent theatre led to a series of yard sales where the cast sold their clothes, DVDs and other items to raise money for the production.

This led to unexpected conversations. “People were really interested to talk about the play,” said Lucas. “That’s been personally very exciting, to see people getting as passionate as we are.”

Some other reactions have been more surprising, with people pushing back saying “there is no racial problem” and “we just need to get over it and move on”. “[This denial] is what we are saying is the dangerous thing that we have been doing,” added Lucas. (GW) Nov 8–19, various performance times. 505 Theatre, 5 Eliza Street, Newtown. $25-$35.

Tickets & info: www.old505theatre.com

My Father’s Left Testicle

Set in a fictional world inside a detention centre with Australian refugees, the latest play at The Depot Theatre asks the question,“what would it be like if an Australian needed to seek asylum?” We go on an emotional journey of discovery and learning about the asylum seeker crisis with My Father’s Left Testicle.

A black comedy with elements of satire, this production is based on Commedia dell’arte, an ancient Italian form of comedy which translates as Comedy of the Arts. Many of the cast are trained in this technique, which initially implemented masks and was used as roaming street performance.

My Father’s Left Testicle starts with a group of “boat people” whose journey is intercepted by a coast guard who takes them to a detention centre called Camp Assimilation.We witness their personal stories as themes of love, loss and searching unfold.

“The aim is to put ourselves into the shoes of the refugee, show that people seeking asylum are human, it could happen to anyone, it’s a type of biological roulette, it has nothing to do with the individual but more the situation in which they are born,” said actor Emily McGowan.

“It’s something quite different to anything ever done before.There’s physical comedy and slapstick, which is unique considering it’s a story about the refugee crisis. It’s an emotional rollercoaster, with lots of turns, one minute you’re laughing, the next feeling a lot of pain.You can expect a human story, that’s at the core of it,” explained McGowan.

“There are elements that reference the modern political world and Australia’s attitudes, comments on the system that is in place but we try to keep it neutral, and not take sides. It’s critical of the process without really blaming the government,” she concluded. (MS) Until Nov 12,Wed-Sat 8pm + Sun 5pm.The Depot Theatre, 142 Addison Rd, Marrickville. $22$32.Tickets & info: www.thedepottheatre.com

a&e

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city hub 3 NOVEMBER 2016

12 STAGE 13 Sounds 14 SCENE 15 SCREEN

was a sign his long bout with depression was ending; for another, dancing prompted memories of a lost partner; and one of the dads had only ever danced once in his life – on his wedding day.

Wheen says the fathers were candid and approachable, although their interest in dance varied. There was the motor mechanic who is “kind of perplexed by his sons contemporary dance practice”. On the other hand, Wheen told of another dad who “has even started choreographing for us, he gives us improvised structures to work with – which is fantastic!”

While there were some tensions and challenges, overall the experience has been positive. There was one group of people who were a little miffed, however… the mums! (RB) Until Nov 5, 8pm (Nov 4, 12:30pm with Q&A).

Riverside Theatres, Cnr of Church and Market Streets, Parramatta. $28-$35.

Tickets & info: www.riversideparramatta.com.au

Review: The Turquoise Elephant Photo: Brett Boardman

Griffin Theatre’s latest offering is urgent, hilarious and uncomfortably close to reality.

The staging is immediately tremendous and imposing, jutting into the unreserved audience seating. A bejewelled Roomba patiently perambulates about the clinically white stage as the audience files in.

The Turquoise Elephant takes place inside the triple-glazed luxury compound where the outspoken and restless Basra lives with her grandmother, the formidable matriarch Augusta Macquarie (elite socialite, patron of the arts, fossil fuels advocate) and Augusta’s sister Olympia (a tragedy tourist who travels the

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

world spectating environmental disasters, only eats endangered animals).

Basra is exasperated by the ignorance of the powers that be, she is determined to save the world one blog at a time. Meanwhile, a radical environmentalist artist group would rather take more drastic methods to save the planet.

The Turquoise Elephant is like Absolutely Fabulous meets The Hunger Games in a post-greenmovement Sydney on the brink of apocalypse.

The actors are all a joy to watch as they lose themselves in the bizarreness of their characters, hurling insults and reason back and forth, the more outlandish characters parading in and out in an interchangeable array of clownish highfashion costumes.

The urgency and momentum of the unfolding events make this play relentlessly entertaining, the small stage area and single set become anything but hindrances.

The agenda may feel a touch on the nose at first, however everything soon blends nicely into the marvellous absurdum of the play.An impeccable work of contemporary theatre. (AM) Until Nov 26 (Mon-Fri 7pm, Sat 2pm + 7pm, additional matiness). SBW Stables Theatre, 10 Nimrod St, Kings Cross. $35-$55.

Tickets & info: www.griffintheatre.com.au

Contributors: Carmen Cita, Craig Coventry, Greg Webster, Alicia Sim, Peter Urquhart, James Harkness, Leann Richards, Lisa Seltzer, Mark Morellini, Mel Somerville, Rocio Belinda Mendez, Sarah Pritchard, Athina Mallis, Leigh Livingstone, Joseph Rana, Shon Ho, Jacqui Rothwell, Emily Shen, Andrew Hodgson, Irina Dunn, Caitlin Burns, Zeiya Speede, Rita Bratovich, Chantal Walsh, Raffaele Piccolo, Barbara Karpinski, Taylah Felice, Georgia Fullerton, Bobby Stephenson, Olga Azar, Kaiti Haviland.

African Rhythm & Roots Festival Lucky Lartley. Photo by Shane Rozario

A highlight of the multicultural arts event calendar, this weekend the African Rhythm & Roots Festival will showcase the sounds, sights, tastes and spirit of West Africa.

The Festival is launching for the first time in Sydney thanks to the efforts of the West Africa Festival Inc (WAF), a not for profit organisation which has been promoting and celebrating the rich and diverse African and African-Australian culture in Sydney for six years running.

“We are thrilled to be bringing back such a vibrant and unique cultural festival with a brand new look,” said Rachel Bangoura, Festival Director

of WAF.“It will be a thrilling and fun event for the whole family.”

Rachel’s excitement for the event is palpable:“There will be many interactive activities for children including a kids drumming workshop, face painting and some great African craft activities in the Kidz Zone. For the adults, as well as a stellar line up of some of Australia’s finest African musicians, there are free interactive African drum and dance workshops.”

“There are a few highlights in the musical program including King Tide, who will join the line up with their Reggae beats.Afro Moses from Ghana will also grace the stage with his powerful vocals and colourful personality, and of course Keyim Ba who are taking Australian audiences by storm with their unique blend of traditional West African music, funk and African rap.”

In addition to live entertainment and activities, colourful artisan market stalls will offer a wide range of African textiles, arts and crafts, musical instruments and artefacts. (AM) Nov 5, 12noon–9pm. Addison Road Community Centre, 142 Addison Rd, Marrickville. $15-$25 ($5 for kids aged 3-12, kids under 3 are free).Tickets & info: www.westafricanfestival.com.au

Live Music Guide LIVE WIRE Sydney

By Jamie Apps

The Black Sorrows: In the music of The Black Sorrows there are consistent threads and themes, a faithfully consistent darkness that adds depth to every note they play.

Join Joe Camilleri and his band as the celebrate the release of their 20th album Faithful Satellite.

Thu, Nov 3,The Basement Kudos: Sharp tongued, quick witted and ravenous in ambition; introducing Melbourne based rapper, poet and spoken word artist, Kudos. Kudos (James Tretheway) is an unconventional figure in the hip hop community, his passion for the artform is palpable and incredibly contagious.

Thu, Nov 3, OAF Gallery The Hard Aches: The Adelaide indie-punks arrive in Sydney tomorrow night to support the recent release of their EP I Freak Out. One of the most hard-working bands around, The Hard Aches have supported the likes of Frenzal Rhomb, Tired Lion and Luca Brasi.

Fri, Nov 4, Newtown Social Club Mezko: Sydney dark synth pop duo MEZKO have just released their latest single ‘Trust’, which carries on the rock-meetselectronica vibe and is the first taste off their forthcoming debut EP. With multi-instrumentalists Kat Harley and Laura Bailey at the helm, MEZKO’s sound avoids cliche and defies easy labels.

Fri, Nov 4,The Metro Theatre The Balmain Sinfonia: Following sell-out success with its first concert at the Italian Forum last August, the

Balmain Sinfonia returns to the wonderful venue with an allTchaikovsky program featuring outstanding Australian cellist Georg Pedersen playing The Rococo Variations.

Sat, Nov 5, Italian Forum E^ST: Capping off what has been an important year for the teenage overachiever. In July she shared an incredibly assured 6-track EP, and has been kept busy touring with the likes of Japanese Wallpaper and Little May. 2016 has also seen E^ST spend time in the studio, collaborating with new and exciting international artists.

Sat, Nov 5, Newtown Social Club Ben Noir Presents A French Cabaret: Coinciding with a CD release, Ben Noir (Ben Palumbo) has created a fun and poignant show that blends together music with dance and theatricality in the form of two accordions and two double bass players on one bass.

Sun, Nov 6, Camelot Lounge Saviour: Perth’s Saviour arrive in Sydney this weekend to showcase their new lineup and sound featuring the extraordinary talent of dual vocalists Shontay Snow and Bryant Best. The freshly rebooted Saviour features three brand new members, including the addition of Shontay Snow as a full time member now. Snow’s addition to the band as a full-time member not only rejuvenated the line up, but it also helped reshape their sound for the next leg of their journey.

Sun, Nov 6, Bald Faced Stag

Rosie Waterland – My Life On The Couch (With Vodka)

Rosie Waterland brings the outspoken humour, honesty and humility that has become synonymous with her writing work to her onewoman show My Life On The Couch (With Vodka).

In her own words, Rosie describes the show as “a true mixed bag” – sourcing stories from a turbulent childhood spent in and out of foster care, through to “some awful tinder dates, a few awkward sex situations” and her reflections on the twenty-something experience.

She brings the show to Sydney this weekend following a sold-out debut run at the Melbourne International Comedy Festival. Her hometown shows are in such demand that an extra performance has been added to the bill this Sunday after both Saturday night sittings sold out!

Rosie is careful not to be labelled a stand-up

comedian, and demonstrates this literally by delivering her stories from the comfort of a couch on stage.And although it has been awhile, she is no stranger to the stage, with a drama degree under her belt before writing became her main output, before she became most recognisable for her recaps of The Bachelor and a viral nude photo.

“Writing tends to be quite a solitary activity and its nice to tell your stories to a room full of people and get their immediate reaction…it’s definitely really good fun for me, I’m having a blast,” said Rosie.“It’s basically just a girl who had a pretty rough childhood and is now sort of doing ok, and here are some stories. Please don’t come expecting me to teach you anything about life...” (AM) Nov 5 (SOLD OUT) + Nov 6, 3pm. Giant Dwarf Theatre, 199 Cleveland St, Redfern. $50.45.Tickets & info: www.giantdwarf.com.au

The Pretty Littles

By Jamie Apps As much as we all like to think musicians do what they do purely out of passion for the craft, we all, including the musicians themselves at times, have to remember that music is a business and should be treated as such in order to reach it’s full potential.

For Melbourne band The Pretty Littles, 2016 has been an awakening in regards to the difference in success which can be achieved by planning and strategising a release schedule.

“We’ve never been particularly savvy with our strategy, we used to just finish something and put it out,” explained lead singer Jack Parsons.

“We’re thinking more about the formula and procedure of releasing a CD now.This is probably the first time we’ve actually done that, so I think that’s probably the biggest difference, which has really, really helped.“ This year the band have seen success both on

Harry Coulson – Blue Dogs

radio and with their live shows drawing an ever-growing audience.After slowly bubbling away in the local music scene around Melbourne for a number of years, the band finally realised that they needed to do more if they were going to breakout out into a grander scene “I think we just decided ‘fuck it’ if we’re going to spend all this time and money recording music we should do the best we can to get the most out of our releases. It’s a shame it took us so long because fuck man it’s not that hard, it’s not rocket science, we just made it hard for ourselves,” said Parsons regretfully.

Fans may be afraid that this new strategic way of thinking could change the bands music and the topics they explore, but Parsons is quick to dispel those fears:“We’re a pretty left-leaning group of fellas and we simply put our stance forward, so if people don’t like it they’re free to

Harry Coulson’s Blue Dogs is a lively solo venture. It isn’t a polished grouping of songs, so worked over that they lose a tiny but noticeable bit of life. No, Blue Dogs is not polished, it is a fun batch of music which revels in an uncontained direction.

Like dancing without the steps, there is a grand feeling of freedom in choosing your own direction and going there with a burst of enthusiasm and an undercurrent of unfettered joy.

Bounding like the dogs that Coulson is so fascinated with, there is no room for unnecessary thought. Listeners will get wrapped up in the mission and they will know where they are going. Equally impressive and enjoyable, Coulson’s solo debut album is very welcome to its listeners.

Follow that instinct that canines are so good at hearing – dance, sing, bound and forget everything else. (SP) WWW

unlike our page or not come to gigs, we’ve always done and always will do that.”

Following the controversy that engulfed the band earlier this year thanks to their single ‘Sam’s Mob’, Parson’s words are clearly not just bravado. So if you’re planning to head to their show this weekend be sure to take an open mind and focus on just having fun.

Nov 5, 8pm. Brighton Up Bar, 77 Oxford St, Darlinghurst. $12+b.f.Tickets & info: www.brightonupbar.com.au

Deborah Conway & Willy Zygier – Everybody’s Begging

This is a beautiful album. Following the acclaimed Stories of Ghosts – an unbeliever’s take on the Old Testament – Conway and Zygier continue to mine the Hebrew Scriptures, a rich source of inspiration for millennia.

From the driving opening track ‘Everybody’s Begging’ through to the final surrender of ‘Serpent’s Tooth’ – “you won’t need that moat around you, I surrender” – it is lyrically gorgeous, repaying every listening.

It’s all gritty and personal. It’s struggle, lament, sex, death and redemption through tears.

Zygier’s guitar work is bright and direct with scant processing but it’s Conway’s voice that makes this album. Smokey and clear, it’s fierce, defiant, broken, gentle – and probably a national treasure. (GW) WWWW

city hub 3 NOVEMBER 2016

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THE NAKED CITY

PETRONAS TOWERS FOR KINGS CROSS – WHAT NEXT? With Coffin Ed You might have read about it in one of the Sunday tabloids.

Shock and horror – the plans to demolish a great slab of the glittering mile in Kings Cross and erect Sydney’s answer to Kuala Lumpur’s futuristic Petronas Towers.Apparently owners of real estate on one side of Darlinghurst Road, between Bayswater Road and Roslyn Street, have formed a cartel to flog the entire block off to a potential developer.

Disillusioned with vacant shops and a massive downturn in pedestrian traffic, it’s easy to see why the landlords are bailing out.

Whether it was a good idea to suggest that the land be used to erect two massive Petronas style towers is certainly open to debate. Basic logic suggests that they would have been better in suggesting some kind of sympathetic redevelopment rather than going the whole grandiose hog and proposing the building of two massive monoliths.

Needless to say, even before the first wrecking ball swings into action, there have been howls of public protest, from residents, politicians and those that still see some benefit in preserving the character of Kings Cross. Unfortunately the city of Sydney has ‘form’ when it comes to this style of projected development and there are some very ugly precedents.

Here’s how it’s worked in the past: developers buy up real estate and immediately set about knocking down all existing structures. Even whilst DA’s are being lodged and Council battles being fought they excavate

the site, replacing what was once an active area of the city with an enormous ugly hole.

Witness the demolition of the historic Anthony Horderns building, which once occupied almost an entire city block bordered by Liverpool,

Nitsua: Prescribed Dreaming

Nitsua is Austin backwards.

Austin is an artist living in Byron Bay who paints murals, furniture, skateboards, surfboards, and designs clothing and fabric patterns. He uses the name “Nitsua” because it reflects his unorthodox, flipped around approach to creating art: “Anything that isn’t being done – I like to explore that!”

His artwork has a strong pop/beach culture feel with solid shapes and bold colours, something he attributes to his former career as a graphic designer.

“If you see my work now, there’s still a lot of clean lines in it,” he explains.

Prescribed Dreaming is Nitsua’s recently opened exhibition in Sydney. A solo show comprising old and new works, it’s his biggest in eight years.

Nitsua has been a long time fan and collector of vintage and retro items, a lot of which he uses as “canvases”. Stools, lampshades, bedside drawers and coffee tables are amongst his collection of works, all painted with vibrant patterns and colours reminiscent of the ’60’s and ’70’s.

When so much time, effort and skill has been put into these items, you would expect he’d want them treated as art works, but Nitsua is more than happy for them to be used as intended, even skateboards and surfboards.

“It’s functional art at the end of the day, I think thats even better than something that just goes on the wall,” he notes, adding that more people actually get to see it if it’s being used.

True, not many people have ever seen someone catch a wave on a Monet. (RB) Until Nov 24, Mon-Fri 10am-5pm.

The Fostered Gallery, Lvl 4, 72-84 Foveaux St, Surry Hills. FREE. Info: www.facebook.com/FosteredAUS

Graphic Festival

Photo: Prudence Upton 14

city hub 3 NOVEMBER 2016

George, Pitt and Goulburn. Raised to the ground in 1986 for the controversial World Square development, it remained a cavernous hole for some two decades before Meriton and the other big boys moved in.A similar fate met the once heritage listed Regent Theatre in George Street, levelled in 1988 and another great bloody hole in the ground, untouched until 2004.

Once you have your enormous cavity established, and as long as you are prepared to wait, regardless of endless rulings in the Land and Environment Court, the law of attrition applies. Eventually the Council, local residents and the public at large, sick to death of the gaping subterranean sore that’s festered year after year, throw up their hands and say “go ahead, build anything you want”.

Whether that scenario will ever play out in Kings Cross remains to be seen. One thing that should definitely not occur is the demolition of that side of Darlinghurst Road before final plans for any development run through the entire legal process. It seems highly unlikely that we will ever see the shadow of a Burj Khalifa or Taiwan 101, block out every inch of sunlight on Darlinghurst Road. If the site is eventually sold off we could well see a more restrained development, albeit at least the height of the nearby Omnia building.

The Cross has certainly taken its share of kicks to the guts in recent years.The last thing it needs is its own block-long archaeological site, although who knows what and whom may be discovered, buried beneath the rubble!

GILLIE & MARC’S ONCE-IN-A-LIFETIME EVERYTHING GOES AUCTION

Artists Gillie and Marc are rebuilding their Alexandria studio, which means that every little piece is up for grabs. All artworks (even those from years ago), photographs, sculptures, prints and furniture need to go to make way for a bigger, brighter, better studio and gallery!

Gillie and Marc are also seeing this as an opportunity to throw a party to meet all their amazing fans and collectors. There will be a sausage sizzle, an early preview and wine tasting of The Gillie and Marc Wine Collection, and entertainment galore.

Rabbitgirl and Dogman, the iconic characters who appear throughout much of the artistic duo’s work, will of course be featuring heavily in the auction offerings. (This is also a great chance to get your hands on your own Dogman sculpture if you didn’t manage to snatch one off the streets of Sydney during the ‘Lost Dogs’ experiment.)

This auction will never happen again so you’ve

Bart Simpson and The Sydney Opera House don’t have much in common (except perhaps that one regrettable episode of The Simpsons). But Bart and fellow Matt Groening creations will be amongst the star attractions at this year’s Graphic festival.

Now in its sixth year, the festival has managed to draw together (excuse the pun!) heavyweights of comic book art, illustration, animation and music in a two-day program of screenings, talks and displays – all in Sydney’s most prestigious venue.

“It’s amazing that an organisation like Sydney Opera House will put all of their heft behind recognising these art forms as valid,” remarks co-curator Jordan Verzar.

The 2016 highlights include: a co-presentation by Matt Groening and Lynda Barry; a live-by-satellite Q&A with Neil Gaiman; free talks by Michael Leunig and an Australian premiere screening of George Lucas’

Photo: Jessie Schattne

got to make sure to come down and explore their current three-storey studio before the revamp. If however you are unfortunately interstate or have a previous appointment you can check out all of the artwork and bid on them online.

Every purchaser will also receive a FREE Gillie and Marc Rabbitgirl or Dogman art vase valued at $350. (JA) Nov 6, preview: 9am-11:30am, auction: 11.30am. Unit 16, 77 Bourke Rd, Alexandria.

Pre-bidding: www.invaluable.com Info: www.gillieandmarc.com

first film re-scored by Asian Dub Foundation and played live.

“Graphic is a festival of ‘firsts’ in so many senses,” says Verzar, explaining that the works shown are new, re-imagined or presented in an unusual way. Music, in particular, plays an important collaborative role: “It’s another emotional texture that can be used in a piece of art.” Verzar believes that all artists are crossdisciplined to some extent, and merging music and visuals is a natural fit.

“A lot of the musicians I know – they’re well versed in visual art… quite a few are avid comic collectors too!”

Apart from featured ticketed events, Graphic will have free screenings,talks, foyer displays and merchandise sales provided by Kinokuniya Books. (RB) Nov 4 + 5, various events. Sydney Opera House.

Tickets & info: graphic.sydneyoperahouse.com

Hacksaw Ridge Mark Rogers

It’s horrifying, brutal and unsettling – but Hacksaw Ridge is likely to be the most powerful film you will see this year.

It’s based on the incredible true story of Desmond Doss (played by Andrew Garfield), the first conscientious objector to receive the Medal of Honour after serving in World War II. Despite his religious beliefs and steadfast refusal to pick up a weapon, Doss heroically rescued 75 men.

Director Mel Gibson has done justice in enshrining Doss’s legacy with strong performances by Garfield,Vince Vaughn and the largely Australian cast including Sam Worthington, Teresa Palmer, Luke Bracey, Hugo Weaving and Rachel Griffiths.

The battle scenes take on a life of their own, frighteningly realistic and unflinching in their blood-and-guts detail. This is war, and Gibson has not shied away from its atrocities, yet somehow balanced messages of its futility with the amazing bravery and courage men are capable of. An absolute must-see. (ASim) WWWWW

This French language psychological thriller from director Paul Verhoeven opens with a violent rape scene which sets the tone for the disturbing, dark and puzzling journey ahead.

Isabelle Huppert crushes female archetypes with her stoic depiction of Michéle Leblanc, the CEO of a successful video game company who conducts both business transactions and personal relationships with the same ruthless approach. Her world is shaken when she is violently attacked by a masked assailant in her own home, and the film ensues with Michéle attempting to go about life as normally as possible whilst she pursues tracking down her attacker by her own

The Light Between Oceans This co-production between the UK, New Zealand and the USA is an intensely moving and visually mesmerising romance drama which should entrance audiences.

Set in 1918 the story surrounds a man (Michael Fassbender) who returns from war and accepts a job as a lighthouse keeper on a remote island off the coast of Darwin. He marries and soon after his wife’s (Alicia Vikander) second miscarriage a boat is swept to shore carrying a dead man and baby. At the insistence of the wife they secretly raise the child as their own, and it’s happy families until the biological mother enters their lives.

Based on the bestselling Australian novel by M.L. Stedman, this exquisite film stars a stable of ‘A class’ Aussie actors in supporting roles including Jack Thompson, Garry McDonald and Bryan Brown.

If audiences aren’t deterred by the implausible

Elle

means – which leads her and the abuser into a twisted game of cat and mouse.

Huppert’s character interestingly walks the line between victim and anti-hero as she undertakes dubious activities. The much darker truth of her past is slowly excavated as the waining task of identifying her antagoniser carries out.

This film is bafflingly difficult to rate, it is much more complex than your average rape-revenge thriller. Elle will either leave you hungry for more lingering European cinema, or happy to avoid more adventurous cinematic outings in favour of light, safelypredictable Hollywood blockbusters for the foreseeable future. (AM) WWW

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THE PROMOTION COMMENCES DURING THE PADDY’S MARKETS PACIFIC FESTIVAL OR WHILE STOCKS OF ENTRY FLYERS LAST (“PROMOTIONAL PERIOD”). TO ENTER VISIT PADDY’S MARKETS DURING THE PACIFIC FESTIVAL (DATES OF FESTIVAL ARE: 04/11/2016, 06/11/2016, 11/11/2016, AND 13/11/2016) AND SIGN UP TO BECOME A ‘FRIENDS OF PADDY’S’ MEMBER TO RECEIVE AN ENTRY FORM. COMPLETE YOUR DETAILS (NAME, ADDRESS, DATE OF BIRTH, TELEPHONE NUMBER AND EMAIL ADDRESS), AGREE TO RECEIVE MARKETING MATERIAL FROM PADDY’S MARKETS, AND SUBMIT YOUR ENTRY FORM DURING THE PROMOTIONAL PERIOD. THE PRIZE DRAW WILL TAKE PLACE AT 14:00 EDT ON 13/11/2016 AT LEVEL 3, SYDNEY MARKETS PLAZA, PARRAMATTA ROAD, FLEMINGTON NSW 2129. THE FIRST VALID ENTRY WILL RECEIVE THE PRIZE. THE WINNER WILL BE NOTIFIED BY TELEPHONE AND EMAIL AND THEIR NAME PUBLISHED ON WWW.PADDYSMARKETS.COM.AU WITHIN TWO DAYS OF THE DRAW. PRIZE CONSISTS OF ONE (1) TRIP TO SAMOA FOR TWO (2) ADULTS VALUED AT UP TO AUD $4,000 (RRP $4,000.00). THE PRIZE INCLUDES RETURN ECONOMY CLASS AIRFARES FOR TWO (2) ADULTS (INCLUDING ALL AIRLINE AND AIRPORT TAXES) FROM SYDNEY (KINGSFORD SMITH) AIRPORT TO SAMOA; THREE STAR ACCOMMODATION FOR TWO (2) ADULTS FOR FIVE (5) NIGHTS; AIRPORT TRANSFERS; AND FULL HOTEL BREAKFASTS FOR TWO (2) ADULTS. ALL OTHER ANCILLARY COSTS INCLUDING BUT NOT LIMITED TO INSURANCE, TAXES (EXCLUDING GST), MEALS, DRINKS, TRANSFERS (EXCLUDING THOSE INCLUDED) AND ANY AND ALL OTHER EXPENSES ARE THE RESPONSIBILITY OF THE WINNER. ENTRY IS OPEN TO RESIDENTS OF NEW SOUTH WALES WHO ARE 18 YEARS AND OVER. SEE STAFF FOR FULL TERMS AND CONDITIONS. THE PROMOTER IS SYDNEY MARKETS LIMITED OF LEVEL 3, SYDNEY MARKETS PLAZA, PARRAMATTA ROAD, FLEMINGTON NSW 2129. ABN 51 077 119 290. NSW PERMIT NUMBER LTPS/16/07939.

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