CITY HUB June 2024

TANYA PLIBERSEK

FEDERAL MEMBER FOR SYDNEY

The Albanese Labor Government is helping people who are under pressure right now, while setting Australians up for the future.

Tax cuts

On 1 July, Sydneysiders will receive an average tax cut of $1,915. Labor’s tax cuts for all taxpayers give greater relief to low and middle income taxpayers.

New power bill rebates

From 1 July every household will receive a rebate of $300 and eligible small businesses will receive $325 for electricity bills in the coming year.

HECS-HELP relief for students

Making the HECS-HELP system fairer by cutting $3 billion from student debt, backdated to 1 June, 2023. Over 28,000 Sydneysiders will benefit.

More super for parents

We said we’d help families by paying superannuation on Government-funded paid parental leave. Payments begin for eligible parents with babies born or adopted on or after 1 July, 2025.

Fee-free Uni Ready courses

We are investing $350 million over 4 years to help students who would otherwise miss out, go to university with Fee-free Uni Ready courses.

Payments for prac work

Eligible students will receive $319.50 per week from 1 July, 2025 for mandatory placements in teaching, nursing, midwifery and social work.

Housing Relief

Investing $1 billion for transitional housing for women, children and youths affected by domestic violence and women at risk of homelessness.

The biggest national investment in housing in a generation totalling $32 billion.

Care Economy

Strengthening Medicare with $2.8 billion to provide more mental health services and higher rebates for many common medical tests.

Investing $468.7 million to support people with disability and to help get the NDIS back on track.

Opportunity economy

Our 2024-25 Budget is a $22.7 billion investment in a Future Made in Australia to bring secure new jobs and opportunities to all parts of our country with a stronger economy powered by clean energy and investment in strategic industries.

$22.7 billion to attract investment to make Australia a renewable energy super power.

$1.5 billion to strengthen battery and solar panel supply chains.

$48 million to improve the Australian Carbon Credit Unit Scheme.

$27.7 million to better integrate rooftop solar and household batteries into the grid.

People & Places

We are supporting the places and people who help make the Sydney electorate a vibrant and creative area to live.

We are providing $220 million to revitalise Sydney’s Circular Quay precinct including upgrading the train station.

$8.6 million to support live music venues and festivals showcasing Australian bands and artists

$1.5 million to help upgrade Qtopia, the home of queer history and culture located at the old Darlinghurst Police Station.

A new Active Transport Fund for building bicycle and walking paths.

This is a Budget for every Australian, from a government working for Australia.

Oxford Street construction halts, businesses suffer (See p. 14-15)

HubARTS: MODERN CLASSIC

Death of a Salesman director talks mammoth production. (See p.26)

Clover Fields Forever: Is it time for change?

BY GRACE JOHNSON

After 20 years in the role, Lord Mayor Clover Moore announced on May 25 that she will be seeking a record sixth term in this year’s elections. But critics say it’s time for change, especially as commentary about the decline of Oxford Street intensifies.

Moore has promised voters to continue fighting against climate change, improving green space and affordable housing, and revitalising city precincts.

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“City making takes time. It is about having a vision, doing the consultation and research and having tenacity and courage to see plans through, regardless of the shortsighted criticism from vested interests or tabloid media,” she said.

Council is in a strong financial position to “fund new projects, facilities and asset renewals” and to transform Oxford Street, Broadway and Chinatown,” she continued.

But critics say that if this hasn’t been able to be achieved in 20 years, it’s not likely now.

Independent councillor Yvonne Weldon, who will be challenging Moore this September, said, “The demise of Oxford Street has occurred over many years on Lord Mayor Clover Moore’s watch.”

“It’s time for fresh leadership and a renewed vision.”

THE DECLINE OF OXFORD STREET

City of Sydney previously approved a plan to revitalise the once-iconic strip, which would see the creation of a parallel street behind Oxford Street (Foley Street) in a Melbourne-style laneway that offers outdoor dining and entertainment. Three buildings on the northern end would also be redeveloped to have new retail, commercial and creative spaces. But construction recently halted, which has exacerbated the already devastating impact construction works have had on local shopfronts and businesses. This is in addition to the disruptions that the forthcoming cycleway has caused, which Moore claims will jumpstart the street’s revival.

Moore told The Sydney Morning Herald that a sixth term would allow her to see through the rejuvenation of Oxford Street, which was on “the cusp of a renaissance.”

But Weldon said that Oxford Street is rather “set to be a construction site for at least another couple of years.”

“It’s really hurting neighbouring retail business and vacancy rates on the strip are higher than ever,” she continued. Currently, more than one in ten shops on Oxford Street between Darlinghurst and Paddington are empty. Out of 190 shopfronts from 1 Oxford Street to just before Glenmore Road, 22 were not in business, representing a 11.5 per cent vacancy.

Ken Holmes from Aussie Boys told City Hub that foot traffic is disastrously low since construction started.

Nick Nistazos from Corkscrew Cellars said business had never been so tough, with business down 20 per cent.

“I DON’T THINK I PERSONALLY MAKE MISTAKES”

Earlier this week, Moore was quoted as saying, “I don’t think I personally make mistakes because I’m careful about what I do.”

In response, Ken told City Hub, “How dare she say that?”

Labor councillor and former Deputy Lord Mayor, Linda Scott agreed, saying “After 20 years in office, Lord Mayor Clover Moore’s inability to admit her mistakes is astonishing.”

“The City’s parks remain closed after months of deadly asbestos contamination, and Oxford Street is boarded up after years of construction delay in City-owned properties.”

In a statement provided to City Hub, Moore attributed the ghost state of Oxford Street to the construction of

Westfield shopping centres, online shopping, and landlords sitting on vacant properties.

“The City of Sydney is entirely committed to the revitalisation of Oxford Street and the stars are really aligning to see the famous strip reach its full potential,” she said.

“While delayed, the redevelopment of these properties will contribute enormously to the revitalisation of the precinct.”

Independent councillor Adam Worling agreed: “The City has worked incredibly hard to revitalise the strip, including new planning controls that incentivise cultural use, massive investment in redevelopment and assets like Qtopia, and soon a new bike lane. All this will help.”

 It’s time for fresh leadership and a renewed vision 

“Those calling for change offer no new vision or indication of what they’d do different,” he continued. “It’s time we start talking up Oxford Street and working together to give it new life.”

Weldon said the work should have been done 10 years ago, as the Council owns half the properties on Oxford Street.

“In fact, the only work that has been complete in recent years is the installation of the City of Sydney’s wildly unpopular and pedestrian-impeding advertising screens,” she said.

When asked about Moore seeking a sixth term, Ken said, “I think she should give up as Lord Mayor, and I think she should leave us alone on Oxford Street.”

Sydney Lord Mayor Clover Moore has been in the position since 2004.

Photo: AAP Image, Dan Himbrechts

Student protests ramp up against Rafah invasion

BY RAQUEL BLANKEVOORT

Student strikes and protests ramped up ahead of Israel’s military invasion into the southwest city of Rafah in Gaza. Activist groups have kickstarted protests as the community voices their support to end the genocide in Gaza.

On Thursday afternoon, May 9, students marched from the University of Sydney’s (USyd) Quadrangle lawn, flags in hand, to the front of the University of Technology Sydney’s (UTS) central building.

Activist groups included Students Against War, Families for Palestinians, and Palestine Action Group Sydney.

 Young people...today are standing on the right side of history

As they chanted “UTS we know what side you’re on. Remember South Africa, Remember Vietnam,” droves of students joined the protest demanding their respective universities to cut ties with Israeli institutions.

“I think that what we’re seeing right

now is a really awesome mobilisation against the genocide that’s raging in Gaza that has been raging for the last seven months,” said Shovan Bharrarai, an activist for Students for Palestine, to City Hub

“We’re out here demonstrating not only against the insane cruelty, indiscriminate bombing being meted out against millions of people in Gaza right now, but also to protest against our own universities’ complicity in this genocide.”

“I think that young people, all at this rally,

the high school students and university students who’ve walked out of class to come and protest today are standing on the right side of history,” she continued.

ONGOING PROTESTS ACROSS SYDNEY

Protests like the one at UTS are not new, with Families For Palestine gathering and protesting outside of Prime Minister Anthony Albanese’s office in Marrickville every Thursday since the 16th of November 2023. The 24-hour sit-ins have been ongoing since February,

with the aim to pressure the Albanese Government to initiate an immediate ceasefire, call for an end to the occupation, and end all ties with Israel. Albanese’s office has since been abandoned by his staff, with signs calling for a free Palestine decorating the outside walls of the office.

Protests similar to the one in Sydney have been occurring globally with some of the major student protests happening in the United States, as well as across Europe, including Amsterdam, Berlin, and Paris. Police have become more involved, arresting students as tensions rise. In Sydney, students, staff, and community members have continued to encourage and organise protests throughout the week.

Protest outside University of Technology, Sydney, May 9. Photo: Raquel Blankevoort

Activist Shovan Bharrarai. Photo: Raquel Blankevoort

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Ex-Waverley councillor who attacked elderly woman could be at large

BY GRACE JOHNSON

City Hub can reveal that a former local councillor who attacked an 81-year-old woman in her home recently tested positive to multiple substances and was immediately discharged from his rehabilitation centre. He is yet to turn himself into police.

Police confirmed to City Hub that an investigation has commenced in relation to a possible breach of District Court bail. At this stage, there is no warrant for his arrest.

If it is found that the assailant breached his bail conditions, police will not be able to arrest him if he shows up at his court date.

THE ASSAULT IN APRIL 2022

Sam Einfeld, 44, attacked Margot Priday in her Surry Hills home in April 2022. He repeatedly rammed his car into her garage door until it buckled, then made his way onto her property.

Priday, who knew the assailant since he was a baby and was a friend of his mother’s, tried to make a break for the front door.

“Oh no, you don’t,” he said, and pushed her roughly to the ground.

He kicked the elderly woman repeatedly while she was on the ground, trying to protect herself.

As soon as she hit the ground, Priday’s smart watch automatically dialled triple-0. The attack reportedly stopped as police sirens approached, and Einfeld fled from the garage.

Priday was left with cuts and bruises to her arms and legs, and two fractured fingers.

Einfeld was taken to Surry Hills Police Station, where it was noted that he was “affected by drugs”.

He remained in custody for eight months before he was granted bail by the District Court in December 2022 to seek treatment in a residential rehabilitation program at Odyssey House.

He pleaded guilty to aggravated breaking and entering to commit a serious indictable offence (the assault on Margot), as well as two separate counts of common assault against Margot’s daughter, Polly, and his own elderly mother.

In April this year, Polly told ABC, “We felt a lot more comfortable when he was in jail.”

“Seven-and-a-half months in jail and just over a year in rehab seems a bit light for a person that broke into an elderly woman’s home and attacked her for no reason.”

In 2019, Einfeld came under the media spotlight after being accused of assaulting his father and causing actual bodily harm during an altercation in a Bondi Junction home.

He was elected as a Waverley Councillor in 1999 at age 18, becoming one of the country’s youngest local government representatives.

He is credited with transforming Australia’s immigration policy to offer refuge to Holocaust survivors. Consequently, Australia accepted more refugees per capita than any other country and took in more Jewish refugees than any nation except Israel.

He was also President of The Executive Council of Australia Jewry three times between 1953 and 1962. The overpass to Bondi Beach past Westfields, formerly known as Bondi Junction Overpass, was opened by him in 1979 and renamed Syd Einfeld Pass.

According to a report by The Daily Telegraph, Payton told the court that “the vectors toward the commission of this offence” were no longer present and that his client had “proved himself worthy of trust.”

Judge Jane Culver acknowledged the “perfect storm” which led Einfeld to committing the offences – his poor mental health, long-term addiction, caring for his mother with dementia, and his father being in care.

After he left council in 2004, Einfeld went on to practice law with Minter Ellison before taking on a variety of consultancy roles, according to his LinkedIn page.

Sam Einfeld is also the cousin of former federal court judge Marcus Einfeld, who went to jail for two years for lying about a $77 speeding ticket. Before he was convicted of perjury and perverting the course of justice, Marcus Einfeld was the inaugural president of the Human Rights and Equal Opportunity Commission and a director of the World Jewish Congress in London before becoming one of Sydney’s most prominent barristers.

Marcus Einfeld’s father, Sydney David (Syd) Einfeld, was a local member of Parliament and a prominent Jewish community leader.

EINFELD’S DISCHARGE AND CONTINUOUS BAIL VARIATIONS

On Wednesday, June 5, Einfeld was allegedly discharged from the rehabilitation centre after testing positive to multiple substances.

According to our source, whose identity City Hub has promised to protect, Einfeld allegedly had at least seven court appearances for bail variations, granting him more freedom.

In November 2023, Einfeld’s lawyer James Payton applied for a bail variation 19 days before the sentence date. The application was to remove a requirement, allowing his client to leave the rehabilitation centre, as approved by staff, without supervision.

But there was an “unacceptable risk” to the victim’s safety, she said, saying though 19 days was not a long time, it was potentially enough for another offence to occur.

Judge Culver rejected the application and Einfeld remained scheduled to be sentenced on November 27, 2023.

It’s unclear what has happened since then, and what bail variations he did succeed in securing. But clearly, the process has been dragged out. It’s now been two years and two months since Einfeld assaulted Priday in her home. When explaining why they are coming forward to media, the source explained, “I’m doing this because I know that woman and her granddaughter are scared of him. And he’s not where police know him to be.”

“I’m sure their daily habits would change a lot if they knew that he was back in the suburbs driving around.”

Former Waverley councillor, Sam Einfeld. Photo: Facebook

Students condemn universities’ disciplinary action

BY DOUGAL TSAKALOS-STEWART

Students across Sydney have spoken out against their universities taking disciplinary action for expressing pro-Palestinian views.

Since early April, tertiary students have set up encampments and organised protests and class announcements, calling for their universities to cut ties with weapons manufacturers and Israeli universities.

 They have stopped us publishing anything to do with Palestine

Angus Demody, a student at the University of Sydney, was given an immediate one-month suspension for making announcements at the start of classes about Palestine and encouraging students to get involved.

In a statement, activist group Students Against War (S.A.W.) said the suspension was an attempt by university management to “silence students exposing USYD’s ties with genocide, and an attempt to reinforce support for Israel as it commits genocide in plain sight.”

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“This attack on free speech and the right of students to expose USYD’s support for genocide goes against the principles of open debate and learning that USYD supposedly holds so dear,” the statement continues.

University of Sydney management had also reportedly sent an all-staff email encouraging teachers to refuse the right to make announcements in classes about Palestine.

Announcements are typically made before teaching begins, and have been made regarding several political issues in the past. They are considered “a routine part of campus life”, according to S.A.W..

SETBACKS OF FREE SPEECH

Similarly, Grapeshot, a student-run magazine at Macquarie University, has suffered setbacks of free speech as a result of university involvement.

Deputy Editor Holly Mitchell told City Hub, “They have stopped us publishing anything to do with Palestine, whether that be opinion or fact pieces.”

“It’s really backlogging our system, we’ve had to publish weeks and months later than we would have liked to.”

University response to pro-Palestinian

activism has sparked protests across Sydney. And despite University of Sydney Vice Chancellor Mark Scott previously defending students’ right to free speech, he apologised for the students’ behaviour and said that he would rather the encampments and protests “not be here”, on a live 2GB Broadcast earlier this week.

Macquarie University Vice Chancellor Bruce Dowton had also sent an email to all students earlier this week to remind them that there will be no toleration of “antisemitic or anti-Islamic hate speech or acts of intimidation”

On May 22, students from Macquarie University marched from Central

Courtyard to Vice Chancellor Bruce Downton’s office to “Stop the Genocide”, a demonstration organised by MQ Students for Palestine.

S.A.W. also met the same day to discuss the encampment, an upcoming rally, and next steps to build the movement.

According to the Department of Foreign Affairs and Trade, Australia is continuing to send arms and munitions to Israel, already having sent $3.25 million since early 2022, when Anthony Albanese entered office.

Over 1,000 academics and professional staff at Australian universities have signed an open letter in support of the student encampments.

Greens call for action following apology to queer community

Recently, we welcomed a formal government apology for utterly shameful laws that were in place in NSW until 1984 that criminalised consensual sex between gay men.

Arrest and prosecution under laws against homosexuality had unimaginable consequences for LGBTQIA+ people in NSW. Many LGBTQIA+ people faced fines and imprisonment. Some were subjecte d to painful court-sanctioned medical treatments. Many died by suicide or lived through a suicide attempt.

It was an important moment for the Parliament to pause and recognise the pain and anguish felt by so many members of the LGBTQIA+ community at the hands of the government, the state and the police.

But we should also acknowledge that this apology did not stem from a government’s altruism or self-refle ction – it came as a direct result of the decades of activism and queer struggle.

That same activism also brought about the decriminalisation of homosexuality. At the forefront was the Campaign Against Moral Persecution (CAMP), which was founded in the inner west of Sydney in 1970. CAMP protests led to Australia's first ever queer rights march i n Sydney in June 1978, which would eventually become the wonderful Sydney Gay and Lesbian Mardi Gras.

Importantly, we know that there have been apologies to the LGBTQ+ community over the years from politicians, NSW Police and the media. Apologies about the treatment of the 78ers and for police failings in the investigations of gay hate crime victims. These apologies don’t necessarily bring justice for those impacted.

This apology was important, welcome and overdue, but apologies only go so far.

The government’s apology sits in stark contrast with what is still happening to LGBTQIA+ people at the hands of this government. NSW has some of the worst laws in the country for LGBTQIA+ people.

We urgently need to bring NSW closer into line with other states by allowing trans and gender-diverse people to update th eir ID without the need for surgery, protecting queer people from discrimination, including in religious schools, and legally recognising children in rainbow families.

The Greens continue to stand with the queer community. We stand together to remember NSW’s shameful past, and push forward on the critical reforms to ensure all queer people can live safely and with dignity.

Scan the QR code below to order s ome pride stickers to show your support for the queer community this Pride Month.

This regular column is authorised by Jenny Leong

Jenny Leong MP Greens Member for Newtown

The Pro-Palestine encampment at the University of Sydney.

Photo: AAP Image/Dean Lewins

Why the NSW Apology is so important

BY CHLOE SARGEANT

In 1984, the Crimes Amendment Bill decriminalised homosexuality across NSW. But before that, our community faced persecution and unspeakable traumas because of who we are or who we loved. And the state of the NSW will finally deliver a formal apology to those who were victimised under laws that criminalised our existence.

The Hon. Penny Sharpe is the Leader of the Government in the NSW Legislative Council, Minister for Climate Change, Energy, Heritage and Environment, and a proud lesbian and devoted LGBTQI+ advocate.

She says is “proud and relieved” that NSW will finally be delivering a formal apology.

“It has taken 40 years since the decriminalisation of homosexual acts for NSW to truly understand the long lasting and detrimental impact of laws that criminalised gay & bi men and many trans men and women,” Sharpe tells Star Observer

Bafflingly, there were 22 entire years between the first and last state passing decriminalisation and considering Sydney’s modern status as the gay capital of Australia, NSW is interestingly toward the end of that list.

The first was South Australia, who swiftly passed reform in 1975 after the shocking gay hate murder of Dr George Duncan. The ACT came right after in 1976, Victoria in 1980, and NT in ‘83. NSW’s law reform happened in 1984, followed by WA in ‘89, Queensland in ‘90, and bringing up the rear was Tasmania in 1997.

ALL-EMBRACING DISCRIMINATION

Sexual activity between women may never have been outlawed, and buggery laws may have been specific in affecting gay and bisexual men, but the entire LGBTQI+ community were targeted in a myriad of legal loopholes. Like using ‘public indecency’ entrapments at beats or in toilets, public space laws being used to punish any same-sex attracted people for showing one another affection. So while the decriminalisation of homosexual acts may have appeared specific to gay and bi men on the surface, it was a moment for celebration for all, and much-needed good news for a community trying to stay alive through a viral epidemic.

First Mardi Gras founder and longtime activist Ken Davis shared that NSW’s 1984 decriminalisation had an enormously positive effect on the community’s ability to fight through the HIV/AIDS epidemic.

“The victory in 1984 was extremely hard

fought, enormously symbolically and politically important,” says Ken. “It really changed our ability to respond to the threat of HIV in Australia.”

In the years of the AIDS crisis soaring, lesbians were the ones who mobilised our community and cared for those who had fallen ill from the virus.

“Lesbians have been there alongside gay men and others in every aspect of the epidemic. [The HIV/AIDS epidemic] mobilised people to united community action and created a powerful voice for our community with [the] government, which then helped to achieve legislative reform,” said Stevie Clayton, in her reflections on her time as CEO of ACON.

CRIMINALISATION WAS A “FREE PASS” FOR DISCRIMINATION

Before legal reforms, homosexuality being a criminal act meant that those who wanted to discriminate against us were essentially backed by our own government, whether it was our own families, our neighbours, our employers, the courts, or the local police officer whose supposed sworn duty was to protect all citizens. “Criminalisation

gave a free pass to institutions and the community to discriminate against members of the LGBTIQ+ community,” says Sharpe.

Arrests, and the fear of, were not the sole consequence of criminalisation. The effects were even more insidious; it seeped into every aspect of lives and every moment of days. It is wholly impossible to avoid committing crime when your natural state of being is criminalised; your crime is your existence.

 It doesn’t materially change people’s history, but it’s enormously politically important

“People who were caught under the laws were outed to their families and employers. They lost jobs, lost relationships, were unable to travel overseas, they were banned from some forms of employment & suffered state sanctioned harassment,” Sharpe laments. “The stigma of being outed meant that too many took their own lives.” Penny

Those who experienced legal repercussions for their sexuality could also face fines or jail time. Heartbreakingly, some were subject to court-sanctioned “corrective” medical treatments – these ran the gamut from potent medication, electroshock therapy, even complex brain surgeries.

Many experienced lifelong effects from these tortures, which were touted as cures for something that did not need to be cured.

“The consequences for being arrested... were enormous in terms of your family, lost jobs and scholarships, even mandated psychiatric intervention,” says Davis.

“And a lot of situations where people were facing prosecution or psychiatric intervention, or the social cost of their family, career, education, or just their overall social standing were simply too great. And people killed themselves.”

NSW APOLOGY WON’T “PAPER OVER” HARM BUT IS A WAY FORWARD

The intention of this formal apology is not to forget these atrocities our community experienced or bury our grief and pain. This is a slate that cannot, and should not, be cleaned.

Both Sharpe and Davis believe that instead, it will be another key moment in Australia’s queer history that will help us to move even further forward.

“The apology is important because it’s an apology from the state itself,” explains Davis.

“It doesn’t materially change people’s history, but it’s enormously politically important, and feeds into a trajectory of continuing to struggle for justice and equality and freedom.”

“The apology will not paper over all the harm caused but is another way of committing NSW to continuing the law reform that is needed to achieve equality for the LGBTIQ+ community,” Sharpe says. And to look forward, we must make sure we look back, learn where we have come from, and honour those who fought hard to achieve victories like decriminalisation and LGBTQI+ law reforms around the country.

“[This apology] will be an opportunity to thank those activists who have fought for equality for many decades, often at risk to themselves and those that they loved,” says Sharpe.

“I am able to do the work I do, have the family I have and live the life I want because of the tenacity and sacrifices for our communities those activists have made. I stand on their shoulders”.

Sharpe at Darlinghurst Jail. Image: Mark H Dickson / Deep Field Photography[/ caption]

Penny Sharpe MLC at Darlinghurst Jail. Photo: Mark H Dickson / Deep Field Photography

“Only one step”: Calls to tackle extremism

BY GRACE JOHNSON

Activist group Pride in Protest have written to Cumberland City Council following the controversial ban of a same-sex parenting book, saying the ban’s reversal is only one step in tackling homophobic extremism.

In an open letter addressed to Mayor Lisa Lake and Deputy Mayor Ola Hamed, whose family received threats for supporting the overturning of the ban, the group expressed strong concern for “the number of extremist bigots who also flocked to the meeting, and the drag story time ban which remains in force.”

“This extremism saw organised bashings of queer people following World Pride, and a Nazi-backed campaign against drag queen story time,” the open letter continues.

“Overturning the book ban is just, but will be only one step in dealing with these issues.”

Last month, the western Sydney council made national headlines for voting to ban same-sex parenting books from its libraries. The motion was put forward by Councillor Steve Christou, who said the contents of the book did not align with the values of the community.

The move was met with extreme backlash, culminating in a clash between protestors council chambers as a motion to reverse the ban was debated.

At the forefront of fighting to overturn the book ban was Pride in Protest, who organised a speak out at the protest. This was countered by a heavy presence from community members who supported the book ban, who yelled phrases like “leave our kids alone” and “piss off back to Newtown.” Several signs accused members

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of the LGBTIQA+ community as being paedophilic.

TACKLING THE ISSUE OF HOMOPHOBIC EXTREMISM

Pride in Protest requested the meeting “to discuss the repeal of the ban on drag storytime, and how to tackle the issue of homophobic extremists attempting to import US style culture wars into the area,” according to the open letter.

The group elaborated in response to City

Hub inquiries: “We want to see a reversal of the previous council motion to ban Drag Story Time, which is an obvious example of invoking queerphobic talking points for political pandering.”

“Furthermore, we want to see a broader commitment, in both Cumberland and across local councils broadly, to see community-led efforts to quell homophobia and transphobia.”

 Overturning the book ban is just... one step in dealing with these issues

“This means establishing and resourcing queer youth hubs, incorporating antiqueerphobic education into school curricula, and sponsoring of queer community events which enable out-andproud LGBTQ expression.”

The group also reiterated calls for the Labor government to pass the Equality Bill, saying “Homophobia and transphobia are present in any community, but they are inflamed when bigots see that their leadership is willing to excuse, ignore or condone their hatred.”

Every donation makes a difference. Please visit our website to donate.

Purrs & thanks

www.catprotection.org.au /catprotectionsocietynsw

Rehoming Organisation Number R251000224

City Hub - Cat Of The Month

Name: GLADYS, Age: 1.5 years (est) Colour:

Gorgeous Gladys has a heart of gold. This gentle girl is full of purrs and on a mission to win you over. Nothing pleases Gladys more than a little bit of pampering and relaxing in a super soft cat bed, she is especially excited to explore her forever home and find the comfiest place to sun herself and curl up for a quick cat nap. Gladys would prefer a nice quiet home where she can take her time to settle in and find her paws. Don’t be taken in by her shy nature, when Gladys feels safe, she’s a real snuggle bug and will appreciate a steady supply of pats to keep her purring. This lovely lady is also very partial to playtime and adores her little micey toys and batting balls around her circuit toy. Gladys is looking for an indoor-only forever home due to her shy temperament and so her medication can be monitored. Green-eyed Gladys will gladden each and every day with her generous purrs!

INTERESTED IN ADOPTING?

Call the Cat Protection Society of NSW on 02 9519 7201 or visit www.catprotection.org.au

Rehoming Organisation Number: R251000224

Protestors at the speakout organised by Pride in Protest outside Cumberland City Council Chambers.

Photo: Grace Johnson

Leaving abuse payment leaves victims vulnerable

BY CHRISTINE LAI

Crisis services report that vulnerable women are facing delays of up to nine months to receive the federal government’s recently funded leaving violence payment.

In May, the government revealed a comprehensive package allocating almost $1 billion to provide financial support for women leaving violent relationships. Under the ‘leaving violence’ payment scheme, women seeking refuge from violent domestic situations would have access to financial support amounting to $5000.

However, criticism of the government’s response to the escalating gendered violence crisis has emerged, citing the long delay before victims of domestic violence can access the payment, and the lack of financial security for victims.

Despite Prime Minister Anthony Albanese’s commitment to “act with urgency” in combating violence against women and children definitively, his nearly billion-dollar investment won’t commence for another 14 months. As of June 2, 35 women have lost their lives to violence in Australia this year. This means a rate of one death every four days, as reported by the advocacy group Destroy the Joint’s initiative, Counting Dead Women.

RISING FINANCIAL TOLL ON VICTIM-SURVIVORS

In 2017, research conducted by the Australian Council of Trade Unions

(ACTU) revealed that victim-survivors typically spend an average of $18,000 and 141 hours to disengage from a violent relationship.

Seven years since the ACTU’s report, the financial toll of leaving an abusive relationship has likely increased further.

 The leaving violence program is one piece of the puzzle

Expenses such as legal fees, housing costs, and mental health services have continued to rise, amplifying the financial burden on victim-survivors. Additionally, the ongoing cost of living pressures, coupled with inflationary trends, exacerbate the challenges faced by those seeking to break free from abusive situations. $5000 is simply not enough.

According to Monash University Business and Economics Professor Kate Fitz-Gibbon, financial insecurity remains a significant obstacle for victim-survivors contemplating leaving abusive relationships.

“The leaving violence program is one piece of the puzzle but it’s critical that it is implemented alongside increased funding for the range of wrap-around supports that victim-survivors so desperately need at the point of leaving an abuser,” she said.

“We need to ensure that the specialist support sector is funded to provide the critical safety supports ... and that we have available housing for victimsurvivors who should not have to choose between living with an abuser or homelessness.”

Tanya Whitehouse AOM, manager of the Macarthur Women’s Domestic Violence Court Advocacy Service, highlighted the significant obstacles faced by many women in dangerous situations when trying to access the emergency payment.

“One of my caseworkers had a client 12 months ago who took nine months to get her EVP sorted,” Whitehouse stated as reported by The Australian.

“We currently have another one with a current application where we did a support letter in November 2023 and she is still not finalised”, she added.

CALL FOR CASH ASSISTANCE IN DOMESTIC VIOLENCE PAYMENTS

CEO of Domestic Violence NSW Delia Donovan emphasised that the payment should be entirely in cash, rather than the current split between cash and controlled spending.

Under the current arrangement, $1,500 is provided in cash, while $3,500 is allocated to a caseworker to facilitate services.

“Victim survivors need to know that they can instantaneously get that payment and that the turnaround time to get that payment is fast and that its cash”, Donovan said.

As the payment is restricted to those fleeing a violent partner, victimsurvivors attempting to escape an abusive family member or caregiver do not qualify.

However, the payment will now be extended to individuals on temporary visas, a group previously excluded from eligibility during the pilot phase.

LIMITED FUNDING AND PERMANENCY CONCERNS

According to Social Services Minister Amanda Rishworth, fewer than half of the applicants for the government’s escaping violence payment were granted funding.

“This payment is specifically for leaving an intimate partner relationship, that is not currently looked at as being expanded. This is an important part of the system, but not the only part of support in the system”, she told The ABC.

While the payment will be adjusted for inflation next year, the increasing cost of living has diminished its value by approximately $740 since its inception. Rishworth declined to comment on whether the government would consider raising the baseline figure.

“We’ve made this payment permanent, there was no money in the budget for this payment to continue.”

“It was due to end on the 30th of June because the previous government had made it only temporary”, she said.

The Leaving Violence program will be open for applications from July 2025.

Strict eligibility requirements for the leaving abuse payment can leave victims vulnerable or in poverty. Photo: Ground Picture, Shutterstock

THE GREEN ELEPHANT EARLY LEARNING CENTRES: Embracing Community, Care and Excellence

For nearly a decade, The Green Elephant Early Learning Centres, a family-owned and operated childcare establishment, have been a cornerstone in their communities, grounded in family values and community spirit.

More than just an early learning centre, The Green Elephant offers a unique approach to early childhood education. Tailored to each child’s individual needs, their approach fosters a love for learning and ensures a strong sense of belonging and security.

The Green Elephant Early Learning Centres provide a curriculum that aligns with the Early Years Learning Framework and the National Quality Standard, guaranteeing children receive a high quality education at each stage of their development. The Green Elephant’s programs are designed to accommodate children from as young as six weeks to six years old, spanning from nursery to preschool.

Parents Share Their Stories of Success with The Green Elephant

Many parents have praised The Green Elephant, sharing heartfelt stories of their children’s success.

Sarah, a mother of two, shared how her shy daughter became a confident and eager learner.

“The transformation is incredible,” she says. “She used to cling to my leg every morning, but now she runs to her teachers with a big smile. The Green Elephant has become her happy place.”

James, another parent, commended the centre’s holistic approach.

“It’s not just about academics here. They teach kids to be kind, respectful, and curious

about the world. My son has learned so much about sustainability and nature, which is amazing.”

From Passion to Practice: Our Educators at The Green Elephant At The Green Elephant, the educators serve as the foundation of the centres, embodying its values. Their love for teaching and devoted care for the children have cultivated an atmosphere of warmth and confidence. They go above and beyond to uncover each child’s individual talents and interests, fostering a lifelong love of learning. Samantha, a teacher at one of the centres, reflects on her experience: “Working at The Green Elephant is incredibly rewarding. It’s amazing to see the children grow and develop, knowing that we’ve played a part in their journey. We are like one big family here.”

The Green Elephant has woven itself into the community’s fabric, touching the hearts of families everywhere.

Over time, the centres have received recognition both locally and nationally, with a significant milestone being the prestigious 2022 award for Outstanding Early Childhood Centre. This award is a testament to the unwavering dedication

of The Green Elephant’s team and their commitment to providing exceptional care and education. The Green Elephant is more than a centre for children; it is a nurturing community that welcomes families with open arms.

Discover how The Green Elephant Early Learning Centres can make a difference in your child’s early education journey today!

LOCATIONS:

The Green Elephant Beaconsfield, 20 – 22 William St, Beaconsfield,

The Green Elephant Rosebery, 55 Mentmore Avenue, Rosebery,

The Green Elephant Waterloo, 15 Allen Street Waterloo

WEBSITE: www.thegreenelephant.com.au

EMAIL: info@thegreenelephant.com.au

PHONE: 1300 353 742

Councillors concerned about funding Waterfront company with Star casino links

BY WENDY BACON

In a new series, City Hub explores a NSW government plan to introduce a new privatepublic model into the planning of urban space. It has labelled them, “Community Improvement Districts”. In Part 1, Wendy Bacon reports on a trial improvement district in Inner Sydney and its relationships with Star Casino and the City of Sydney.

The City of Sydney has written to business organisation Western Sydney Harbour Business Improvement District (BID) expressing councillors’ concerns about its links to Sydney’s Star casino, which has been involved in money laundering and other illegal activities over a long period.

The City has provided $90,000 of grants to the Western Sydney Harbour Star BID, which also uses the name New Sydney Waterfront Company.

Star Casino is a founding member, holds one of 12 directorships and claims to have contributed hundreds of thousands of dollars to the BID. Star appoints a representative director who shares responsibility for key decisions and governance of the BID.

Until 2022, Star was represented on the BID board by Chief Casino Officer Greg Hawkins who will face trial next year on charges that he failed to manage risk at the casino. He resigned from the BID

Board in early 2023 and was replaced by a new CEO Robbie Cooke. Cooke resigned from Star after he admitted that he failed to improve the casino’s management and casino.

Other founding members of the Sydney Waterfront Company include global companies, property developer Lendlease, real estate company Markham, office manager GPT and Crown Casino. The only non-business members of its Board are the University of Technology, Sydney and the Powerhouse Museum in Ultimo which have fewer voting rights than the business members.

Council has provided two lots of funding to the Sydney Waterfront Company.

In 2021, it provided $40,000 for a “knowledge exchange grant” followed by a further $50,000 in 2023 for a research and feasibility project to develop an “Environmental, Social and Governance (ESG) vision” for the Western Sydney Harbour Precinct. The previous LNP NSW government also granted $400,000 to the BID.

Since 2021, the BID has developed relationships with smaller businesses inside its selected inner Sydney precinct. This includes 7 kilometres of foreshore from Walsh Bay to Fish Markets and the entire Pyrmont -Ultimo precinct down to Broadway. These businesses include Darling Harbour restaurants and other organisations including Australian

Chamber Orchestra. It has set up and chairs working groups to plan for the future of the area, several of which include the City of Sydney and NSW government departments. According to its website, its strategic partners include the global real estate firm Colliers and PwC consultancy.

Through these activities, the BID is working to achieve one of its core purposes which is to trial a controversial model of public-private partnerships in which business leads the future development of public places in collaboration with local governments and community organisations. Both major parties have supported the New Sydney Waterfront Company’s trial of the Business Improvement District model.

The BID model has been used in the UK and United States. The Minns Labor government has little known plans to introduce legislation this year which will enable BIDS to be rolled out across NSW, although it has renamed BIDS as CIDs or Community Improvement Districts. (More on Community Improvement Districts in Part 2 of this series.)

ELLSMORE: NO GRANTS IF STAR IS A GOVERNING MEMBER

City of Sydney’s letter expressing Councillors’ concern about Star casino’s role in the BID resulted from a motion moved by Former Deputy Mayor Greens

Sylvie Ellsmore that Council withdraw from any association with Star or with any organisation in which Star was a governing member or a beneficiary. This is the second time Ellsmore has recommended against the City of Sydney granting the BID money. Last year she described the $50,000 grant to develop a governance model as neither “appropriate nor ethical”.

Independent Councillor Adam Worling moved an amendment that deleted the reference to City of Sydney not supporting any organisation with which Star is a governing member or beneficiary. In its place, he moved that Councillors write a letter expressing their concern about Star’s involvement in the BID.

Worling argued that if Ellsmore’s motion passed, it could lead to Council withdrawing support from community organisations that receive Star sponsorship including popular community activities, Christmas at Pyrmont and the Pyrmont Food and Wine Festival. In fact, City Hub has confirmed that although Star sponsors these organisations, it has neither a governing role nor receives financial benefit from their activities.

Councillor Imelda Davis, who lives in Pyrmont, also argued against Ellsmore’s motion both on the basis that Star sponsors valuable community activities and also on the grounds that the BID “brings together many

Looking across the BID precinct from the smokers’ lounge in the Sydney’s Star casino. Photo: Wendy Bacon

local businesses and organisations …under a common vision to develop the Western Harbour to be a key strategic and economic asset. “If we [City of Sydney] don’t remain involved we will lose the ability to help shape the future of an important area for our local government ... we will also lose the opportunity to support our local business community and ensure that the local community issues are considered during these processes.” Worling’s amendment was passed with the support of Independent Councillors and Labor Councillor Linda Scott.

DANGEROUS TO TREAT STAR LIKE ANY OTHER ORGANISATION

In response to Councillors’ failure to support the thrust of her motion, Councillor Ellsmore told City Hub, “It’s absurd to keep treating the Star like any other local business. More than that –it is dangerous. Right now, the business association led by the Star and Crown casinos that the Council has been funding - ‘The New Sydney Waterfront Co’ – is working to extend its control over the Harbour.

“Through a quiet program called the Business/ Community Improvement District program) the NSW Labor Government is even considering introducing a law which could give The New Sydney Waterfront Co. unprecedented powers, like the power to tax local businesses and have greater control over public space. Ellsmore continued, “Now more than ever is the time for Council to stand up to the Star casino, not add to their legitimacy by continuing to support their involvement in a business association with public money. Given that the City is the Local Government Authority, I find it odd that councillors would be worrying about having a seat at the table in the planning of such a substantial area of the City - isn’t the City’s role to ensure everyone has a seat at the table including residents and community organisations.”

STAR’S INVOLVEMENT IN CRIMINAL ACTIVITIES

It is not hard to grasp why any organisation might want to steer clear of associating with an organisation that has Star Entertainment on its board. In August 2022, Adam Bell SC found Star was guilty of anti-money laundering and counterterrorism breaches, that it regularly side-stepped rules and had a poor corporate culture. For these and other reasons, the company was unsuitable to manage a casino. Rather than shut down an “illegal cage” through which bags of dirty cash were funnelled through a private gaming room, Star staff had moved the activities into an unbranded room inside the Sydney casino. The company was fined $100 million and a number of its directors and senior executives have been charged by Australian Securities and Investment Commission and will face trials early next year. They include Greg Hawkins who was on the New Sydney Waterfront Company BID board until early 2023.

AUSTRAC has also taken legal action against Star for allowing 117 high-risk VIP patrons to churn billions of dollars of criminal proceeds through its Sydney, Brisbane and Gold Coast casinos for years.

Star was allowed to continue operating under the supervision of a manager appointed by the Independent NSW Casino Commission. But when new allegations emerged that Star had not reformed, Bell was appointed to conduct a second Inquiry this year.

 It’s absurd to keep treating the Star like any other local business

The Inquiry has heard evidence that Star was still falling short in many areas, including a widespread practice of falsifying records of interactions between customer service staff and gamblers and using malfunctioning cash machines that allowed gamblers to defraud Star of millions of dollars. It also has poorly trained and inadequate staff to manage gambling activities. Last week, counsel assisting Caspar Conde told inquiry head Adam Bell, SC that there is no evidence that Star is fit to hold a casino licence, even under a special manager. Some of Star’s own Board members admitted under questioning that Star is not fit to hold a licence. One of the most embarrassing revelations at the second Inquiry was when Conde asked Star CEO Robbie Cooke to explain a message he sent to the then Chair of Star David Foster shortly before a meeting with the Special Manager. “We are meeting Monday to get ready for war,” he wrote. In response,

Foster referred to a plan to get rid of both the regulator and its special manager. Cooke, Foster and other executives left Star during the Second Inquiry. Cooke has also presumably resigned as a director of the BID although a company search still reveals him as a director.

STAR CLAIMS TO HAVE GIVEN $500,000 TO BID

When they became aware of Ellsmore’s intention to move the motion, both BID CEO Geoff Parmenter and Star were worried.

They subsequently wrote letters which were tabled at the meeting. These letters contradicted each other.

CEO Parmenter wrote, “The Star is one of dozens of Business Members and has nominally held a position on the company’s Board. I say nominally, because The Star has also been arguably the most passive member” of the BID Company. He explained that Hawkins did not attend meetings and that his replacement CEP Robbie Cooks attended just two meetings over 18 months.

He said that the motion was both “perplexing and concerning. We are worried that the Waterfront Company risks suffering significant collateral reputational damage, and we fear for the dozens of our other Members, whose investments and reputations do not deserve to be compromised in this way.” He called on Councillors to reject the motion and support “the effective, constructive and collaborative partnership that has been established and maintained between’’ City of Sydney and the BID. At risk, he argued, was $25 million that the BID’s commercial landowners and leaseholders “may wish to contribute” into “further Precinct enhancing activities over the next five years.”

Parmenter, who worked at Events NSW before being a Star marketing executive from 2013 to 2018, does not seem concerned that having “passive”

directors might itself be seen as a problem or that the links to Star might not be causing other BID partners “reputational damage”.

Star’s acting CEO Janelle Campbell took a strikingly different tack in her letter. According to her, Star is far from “passive”.

She outlined Star’s contribution to the community and employment in the area and stated that “Star’s involvement and support for the Sydney Western Harbour precinct proposal has included a funding investment of over $500,000 in the last two years alone.” The Star is “eager to continue our positive engagement in the bid proposal project, demonstrate our commitment to the Pyrmont community and continue to work hard to return to suitability.” She offered to engage constructively with the Council to address any concerns and invites them to meet with her.

As Campbell suggests, Star will have contributed more funds to the BID in earlier years. If her statement is correct, this means that rather than being passive, Star is a substantial contributor to the BID which states on its website that in the financial year ending June 2023, it received $875500 from private members and $845,200 from government grants.

Campbell’s only mention of Star’s current legal problems was the reference to the casino’s “hope to return to suitability.”

Even the Star recognises that its corporate behaviour has made it unfit to hold a licence. BID Chair Parmenter is clearly more worried about the loss of legitimacy that the City lends to the BID’s activities than he is of the reputational damage to his organisation’s links to with Star, which Bell SC described as a case study in “unethical conduct and cultural failure”.

Meanwhile the City told City Hub it is confident it will receive the BID’s social, environmental and governance plan for the precinct that it funded in June. Hopefully, the public will be able to read it and consider if the funds were well spent.

Why does a partnership including huge global companies need public funds to develop a social, environmental and governance plan? Will the information underpinning the plan be available to all members of the community? If community groups do not agree with the plan, what opportunities will they have to object? How do the for-profit purposes of the BID’s key companies, including casinos and real estate giants, fit with the social and housing needs of the general public?

Wendy Bacon is a retired Professor of Journalism. She has supported the Greens in previous local government elections.

Greens councillor Sylvie Ellsmore.

Photo: Facebook

Screenshot of New Sydney Waterfront Company BID chair, then Star executive Geoff Parmenter, at a Leadership Summit in 2017

Construction halts, Oxford Street businesses suffer

BY GRACE JOHNSON

Local businesses and shopfronts on Oxford Street are set to take another hit after construction on the Oxford & Foley project halted last week, with contractors locked out of the sites on Wednesday evening - security guards were seen cutting the locks off and replacing them.

Construction works have already severely impacted the vibrancy of the iconic strip, the original heart of Sydney’s gay community, on top of the devastating effects of the 2014 lockout laws and the pandemic.

Originally slated to be completed by mid2023, and in time for the 2024 Sydney Gay and Lesbian Mardi Gras parade, the project is nowhere close to finished, and is now guarded by around-the-clock security.

 It’s massively impacted the vibrancy and commercial viability of Oxford Street

Robert Tait, a local resident and former retail shop owner, told City Hub that the local council, City of Sydney, had a lot to answer for.

“Development is already at least a year overdue. You’ve got three blocks that are boarded up for a very long period of time,” he said.

“It’s massively impacted the vibrancy and commercial viability of Oxford Street. Just look at all the empty shops and businesses.”

More than one in ten stores on Oxford Street between Darlinghurst and Paddington are empty.

Out of 190 shopfronts from 1 Oxford Street to just before Glenmore Road, 22 were not in business, representing a 11.5 per cent vacancy.

He also pointed to the council neglecting much of fundamental development on Oxford Street in favour of cosmetic improvements.

COUNCIL NEGLECT

Several sources told City Hub that contractors have repeatedly faced significant difficulties in progressing on the heritage sites, which date back to the 1900s - walls collapsed, asbestos was uncovered, and then there was the questioning of adding an extra two storeys. Obviously, the developers didn’t realise how bad the three blocks are, one said.

Ken Holmes, owner of Aussie Boy, a twostorey store selling men’s swimwear and undergarments, told City Hub that there was only one word for what’s going on.

“Disastrous,” he said. “If it goes on for another two years, we just won’t be here.”

“We don’t get anybody that walks past that construction since it started, maybe one or two people a day. They’ve been out there for the last three years, you realise that?”

Three years ago, Ken was told to move out of his old shop within three weeks. Neither he, nor other businesses on the street, have heard from Council or building developers about progress on the construction site. Years later, he estimates that construction works are about 30 per cent completed.

The delayed construction has had a serious impact on businesses at the northern end of Oxford Street.

Nick Nistazos, co-owner of Corkscrew Cellars at 108 Oxford Street, told City Hub that business has never been so tough.

“It’s been a nightmare,” he said. “It really hurts financially and it’s been a hard grind since the lockout laws. It’s just been a steady decline.”

The business is down 20 per cent, he told City Hub.

“We used to do something like 1300 customers a week,” he said. “Now we’re doing close to 700.”

“There’s the traffic and parking issues and just the disorder of the place. Oxford Street isn’t going well anyway.”

REVITALISATION EFFORTS

In response to City Hub enquires, a City of Sydney spokesperson confirmed that Ashemorgan and Toga had recently changed contractual arrangements, but reaffirmed that the council is “committed to the revitalisation of Oxford Street.”

“From the introduction of planning rules to encourage a vibrant mix of new development and protecting important heritage, to grants for cultural projects like the recently opened Qtopia, we are continuing to breathe new life into the iconic strip,” they said.

Regarding delays on the project, the spokesperson said, “City officers have visited the site and sought assurances

Ken Holmes from Aussie Boys.

Photo: Aussie Boys website

Map of the Oxford & Foley project. Photo: Oxford & Foley website

from the developers to ensure the construction site is secure, heritage is protected and all fire safety standards are complied with during the handover period.”

“We look forward to Toga and Ashe Morgan completing the project,” they continued, without specifying a completion date.

Independent councillor Adam Worling told City Hub, “We’re hopeful this transition happens quickly and that any potential delay to the project being completed is minimised.”

“We thank the community for their patience through this development, which will ensure the precinct combines the best of the past with a unique new retail and business offering sure to reignite the glittering mile.”

“IT’D

BE LIKE WALKING DOWN YORK STREET”

Oxford Street, the 46-year home of Sydney Gay and Lesbian Mardi Gras, is widely acknowledged as a pale version of its former self, despite efforts to reinvigorate the strip.

Temporary lane closures and traffic changes on Park, Pitt and Castlereagh streets, Sydney between 10 and 15 July 2024

To enable the safe removal of the second tower crane supporting construction work on the Gadigal Station North site, temporary lane closures and bus stop relocation will occur on Park Street, and traffic changes will be required on Pitt Street and Castlereagh Street. Weather permitting, these changes will take place between 8pm and 5am Wednesday 10 July, 10pm Friday 12 July and 8pm Sunday 14 July, and between 8pm and 5am Monday 15 July

Alternatively, if the work cannot be completed within these dates, the removal may occur during the following two weeks, on the same sequence of weekdays and times.

During the lane closures, traffic controllers will be in attendance to facilitate smooth pedestrian and vehicular traffic.

For more information please contact the Gadigal Station Stakeholder and Community Team on 1800 171 386

Contact us

 1800 171 386 Community information line open 24 hours

 PittStreetMeltro@transport.nsw.gov.au

 Sydney Metro City & Southwest, PO Box K659, Haymarket NSW 1240

 If you need an interpreter, contact TIS National on 131 450 and ask them to call 1800 171 386

sydneymetro.info

In 2018, in an effort to revitalise the area, City of Sydney began a campaign seeking interest in a 99-year lease for three commercial Oxford Street buildings.

The bid aimed to repeat the success the city had had in getting private operators for assets such as Queen Victoria Building on George Street and Haymarket’s Capitol Theatre.

At the time, Lord Mayor Clover Moore said, “Oxford Street is one of Australia’s most renowned retail and entertainment strips and is home to independent businesses that attract visitors from across the city and overseas.”

“The potential redevelopment of these properties is an exciting opportunity that will improve opportunities for local residents, attract greater numbers of visitors and help boost the local economy.”

Developer TOGA Group is behind the project, in partnership with commercial investors AsheMorgan, who signed on 99-year leases on the buildings in 2019.

The project aims to create a parallel street behind Oxford Street (Foley Street) in a Melbourne-style laneway that offers outdoor dining and entertainment.

The three properties are situated at the northern end of Oxford Street, numbers 56-76, 82-106 and 110-122, and occupy more than 40 per cent of the street frontage between Oxford Square and Taylor Square. That’s a combined 14,500 square metres of gross floor area.

The project also includes major commercial office and retail development in the precinct, adding to the heritage sites a stepped-back rooftop extension. This will provide 9200 square metres of commercial space for creative, tech and new businesses, 2300 square metres of retail and a 75-room boutique hotel.

Toga managing director Allan Vidor previously said, “The quality of the commercial and retail spaces will really make this a success, and we hope the transformation of these buildings will be a catalyst for other developments along the street.”

However, Robert says that it seemed like the council’s goal was to corporatise the whole street, “which is what the building industry has wanted for the last 30 years. They wanted to have Oxford Street just as another city street.”

“It’d be like walking down York Street rather than Oxford Street.”

Temporary road closures and traffic changes on Pitt and Liverpool streets, Sydney, between 12 and 14 July 2024

To enable the safe removal of a tower crane supporting construction work at the Gadigal Station South site, a temporary weekend road and lane closures will occur on Pitt Street, with traffic changes on Pitt and Liverpool streets. Weather permitting, these changes will take place between 9pm Friday 12 July and 6pm Sunday 14 July. Contingency dates are reserved for three following weeks: 19-21 July, 26-28 July and 2-4 August 2024.

During the closures, traffic controllers will be in attendance to facilitate smooth pedestrian and vehicular traffic.

Pick-up/drop-off and taxis area on Pitt Street will remain closed for the duration of work.

For more information please contact Gadigal Station Stakeholder and Community Team on 1800 171 386.

Contact us

 1800 171 386 Community information line open 24 hours

 PittStreetMeltro@transport.nsw.gov.au

 Sydney Metro City & Southwest, PO Box K659, Haymarket NSW 1240

 If you need an interpreter, contact TIS National on 131 450 and ask them to call 1800 171 386

sydneymetro.info

Nick Nistazos from Corkscrew Cellars on Oxford Street. Photo: Supplied

Sydney locals outraged at horrific greyhound death

WARNING: THIS ARTICLE CONTAINS MATERIAL WHICH MAY BE DISTRESSING.

BY GRACE JOHNSON

Another horrific death of a greyhound at Wentworth Park has outraged the local community, reigniting calls for the dangerous racetrack to be shut down.

On Friday night, May 17, three-year-old greyhound Self Sink fell during race 10, suffering a fractured spine. He was euthanised by the on-site vet.

The distressing footage of the dog writhing in pain, unable to stand, was then removed from the racing video by Greyhound Racing NSW.

At the time of publication, Self Sink’s death marks the third since the beginning of this year at Wentworth Park. Across Australia, he is the 51st greyhound to die on a racetrack in 2024.

Animal welfare advocates are calling for the racetrack to be shut down before its lease expires in 2027, while the racing industry continues lobbying for a lease extension.

Petitions to close the track and retain the original planning proposal have gained more than 10,000 signatures.

LOCAL OUTRAGE

The continuous suffering of greyhounds at Wentworth Park, which has seen a startling 167 greyhounds injured this year alone, including 26 serious injuries, has outraged local residents.

Kylie Field, NSW director of the Coalition for the Protection of Greyhounds (CPG), said that if Sydneysiders saw the footage of Self Sink’s suffering, greyhound racing in the city would end tomorrow.

“People in the local community who have seen the video of Self Sink writhing with a broken back can’t believe this abuse is happening in their backyard. They’re both distressed and furious and want racing to stop immediately,” she said.

“Greyhound racing no longer meets community expectations and has no place in a modern, cosmopolitan city. Wentworth Park must be returned to the community and racing replaced by parkland and housing.”

Local Glebe resident Tom Keenan, who started his own petition on Change.org, said, “I was appalled about recent reports in the media on the NSW government’s plan to keep greyhound racing at Wentworth Park beyond the current license expiry in 2027.”

The move is completely out of touch with the community’s interests, he stated.

“Judging by the empty grandstand at every race meeting, the local community has no interest in greyhound racing.”

He went on to say that Wentworth Park could be transformed in a space that local communities and schools could enjoy.

“It could serve as a hub for outdoor activities, sports events, a green oasis amidst our urban landscape.”

COUNCIL OPPOSITION

City of Sydney has long opposed the existence of greyhound racing within their municipality, and have called for Wentworth Park to be returned to the community as green space.

Lord Mayor Clover Moore said, “This parkland should be for the benefit of the community, not an industry that has admitted to killing up to 17,000 healthy dogs each year, has been shown to livebait, and causes people with a gambling problem real suffering.”

“Reforms introduced by previous NSW Governments have not improved animal welfare.”

Greyhound racing was set to be outlawed from July 1 2017, but then-NSW Premier Mike Baird overturned the decision just three months after it was passed, promising instead to “clean up” the industry.

In February this year, both the Minister for Lands and Property, Steve Kamper, and the Minister for Gaming and Racing, David Harris told Parliament that they were considering supporting the

Greyhound Breeders, Owners and Trainers Association’s proposal to extend its lease at Wentworth Park after it expires in 2027.

“I am extremely concerned that the NSW Government is considering reversing a commitment made to the community and to the City,” the Lord Mayor said in March.

In light of the overall push for increased housing, Wentworth Park would provide green space to one of the most densely populated areas in Australia - the Ultimo/ Pyrmont area has one of the highest residential densities at 14,000 people per square kilometre.

 People in the local community...can’t believe this abuse is happening in their backyard

Kylie Field from CPG agreed with calls to return the space to the community, saying “Greyhound racing no longer meets community expectations and has no place in a modern, cosmopolitan city.”

“Wentworth Park must be returned to the community and racing replaced by parkland and housing.”

“WE

NEED TO BRING BACK THE BAN”

Animal Justice Party upper house member Emma Hurst told City Hub that anyone who cares about animals, and sees the footage of Sink Self’s fall, would be “horrified” to hear that Minister Kamper is considering renewing the lease at Wentworth Park.

“While the Wentworth Park greyhound death toll continues to rise, Minister Steve Kamper has still failed to confirm if the NSW Government will renew the lease, which would allow one of the deadliest tracks to remain in operation in NSW,” she said.

City Hub reached out to Greyhound Racing NSW (GRNSW) for comment, and confirmation that the track at Wentworth Park meets minimum safety requirements, but did not receive a response.

As previously reported by City Hub, Wentworth Park is a notoriously dangerous track. Most greyhounds who fall and get injured do so at the first turn, incurring serious fractures.

Despite efforts to improve safety, namely by trialling a double-arm lure, designed to prevent dogs bunching together, injuries are still regularly occurring.

Ms Hurst said the track should be shut down immediately.

“Keeping the track open is unconscionable and proves that this industry does not care about animal welfare. We need to bring back the ban.”

Member for Balmain Kobi Shetty also expressed her devastation at the continuing cruelty at Wentworth Park.

In a statement provided to City Hub, she said, “I’m heartbroken to hear about another dog dying at Wentworth Park track. The footage of the incident is horrific and highlights the cruelty of this industry.”

Such cruelty does not align with community values, she asserted.

The continuous suffering of greyhounds at Wentworth Park have left locals distressed and outraged.

Photo: Stefan Ott, Shutterstock

is a highly qualified and accomplished Musician, Accompanist, Music Lecturer and Piano Teacher, with more than 25 years’ professional experience including as a successful lecturer in piano at the Australian Institute of Music (AIM).

www.centralmusicschool.com.au Based on Jones Street, Ultimo

Hours: 7am – 6:30pm

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WALKING ON CLOUDSTREET

Laura

Jones is euphoric;

not only has she just won the prestigious Archibald Prize, but she did it with a portrait of her idol, Tim Winton.

BY RITA BRATOVICH

Jones has wanted to paint acclaimed writer and noted spokesperson for the environment, Tim Winton, for many years.

“I’d done a series on the Great Barrier Reef a few years ago and met him back then at an environmental advocacy event, and so the seed was probably planted then,” she told City Hub “But it was after watching [the ABC documentary on Ningaloo Reef, Ningaloo Nyinggulu] that I thought, really now is the time. We’re at crisis point for the environment, the Great Barrier Reef is suffering its fifth major bleaching event in something like eight years, so now is the time — and luckily he said yes.”

Like Winton, Jones is passionate about saving the stunning oceans and landscape of this country from the impact of human indifference. Born and raised in Kurrajong in the leafy, picturesque Blue Mountains, Jones has always felt a special connection with nature, something she expressed through visual art.

“As a little girl in Kurrajong, I dreamed about being an artist. I’ve been lucky enough to make that dream come true. More than any other event, today shows that I wasn’t completely crazy,” she said in her acceptance speech during the Archibald announcement event at the Art Gallery of NSW. Jones also noted that she is only the twelfth women to have been honoured in the Archibald’s 101 years of prize-giving.

“I hope this moment inspires more young girls to pursue a career in the Australian art world.”

This Archibald win represents an apex in a career that is peppered with distinctions including being an Archibald finalist in 2023, 2022, 2019, and Wynne Prize finalist in 2021. Jones also has a painting (Sliding doors) in the Sulman Prize shortlist this year, and is featured along with fellow artists, Ed and David Liston, in Daniel Kim’s Blue jeans and flowers, another Archibald finalist.

Jones was first introduced to Tim Winton the same way many Australians were, through his break-through 1991 novel, Cloudstreet

As a little girl in Kurrajong, I dreamed about being an artist

The popular Australian writer was born, raised, and, after several overseas jaunts, now resides in Western Australia. His literary work, which includes novels, children’s books, short stories, and nonfiction, frequently has themes of ocean and nature thread through the narrative.

Winton himself has been named a “living treasure” by the National Trust and received an Order of Australia in 2023 for distinguished service to literature as an author and novelist, to conservation, and to environmental advocacy

“I wanted to do Tim justice because he’s just an incredible artist and author. He’s so inspiring and he has enchanted generations of Australians, so I really cared about trying to convey his message for the world,” says Jones, describing how she approached the portrait.

“We didn’t have long together, just a couple of hours, so I took a couple of

photos of him in Fremantle where he lives, and then did a watercolour, which was quite quick, and, because it was fast, the background was abstracted.”

She didn’t have time to paint the full portrait there and then, so Jones returned to Sydney and then worked from the watercolour she’d hastily created. She also made the initial drawing in pencil as a way of finding affinity with Winton, who writes all his books in pencil.

“And I like that’s it’s a bit dreamy and blurred, but I like that his face is really direct…”

Winton’s expression in the portrait is focused and intent. He is looking away, slightly off to the side.

“I wanted him to almost look like he was in motion, and not place him in any particular time — like, I didn’t want him to look photographic, I think he’s so much bigger than that, he’s a timeless

Laura Jones acceptance speech.

Photo: Mark Dickson

Curator, Wayne Tunnicliffe next to Archibald Prize 2024 finalist, Kirsty Neilson’s ‘Cheng Lei – after China’.

Photo: Mark Dickson

Photo: Mark Dickson

character,” explains Jones. “I really hoped that the paint would speak a bit to him by letting it wash over the canvas and leave a bit to the imagination.”

Despite the fact that Jones has been an Archibald finalist four times already, and has received a stack of prestigious art awards, the announcement that she had won this year’s top honour came as a genuine surprise.

“I’m honestly so shocked. I had no idea. Every painting in here deserves to win,” says Jones. “Archibald is enormous recognition and you really become part of this great tradition of portrait painting, which is also a reflection of how the arts evolves in Australia, and it’s a beautiful kind of cross-section of painters and obviously incredible talent, so to be honoured in this way is mind-blowing.”

The announcement of the Archibald, Sulman, and Wynne Prizes is preceded by a level of secrecy equivalent to that of the Oscars. The moment the winners are named, there is a media frenzy as journalists rush to get their pithy headlines posted. For curator, Wayne Tunnicliffe, the revelations bring a mix of relief and joy.

For only the second time in its history, the Archibald, Wynne and Sulman prizes were all won by women artists, and more notable still, the Wynne and Sulman were awarded to indigenous women artists.

“I think both the winning works [Archibald and Wynne] are absolutely fantastic, so powerful…I think gender is irrelevantthey’ve chosen three amazing artists who happen to be women,” says Tunnicliffe.

Jones is acutely aware of the enormous exposure this prize will give to her as an artist and to the cause she passionately shares with Winton.

“The eyeballs on the Archibald are extraordinary… And I think it’s an incredible opportunity to be able to talk about Tim as a person, and his life’s work, and yeah, shine a light on everything he’s doing for the environment.”

I really cared about trying to convey his message for the world

“It’s a moment of great excitement, actually, to have it out there who’s won… to have that circulating in the world. I think getting to this point, when the exhibition’s installed, having the winners chosen and announced and the public about to arrive tomorrow is extraordinary,” says Tunnicliffe.

The fact that the prizes are judged on the morning of the announcement perhaps makes the secret easier to keep. The board of trustees arrives at 7am and must make a decision by 9am so that the relevant artists can be notified and prepare. The trustees select the Archibald and Wynne prizes by majority vote; this year, the Archibald choice was unanimous.

“Tom Polo is the judge of the Sulman Prize and he selects the winner there. I think it’s a very meaningful work by a senior artist.”

The Sulman Prize is awarded for the best subject genre painting or mural. This year’s winner is Anangu Pitjantjatjara Yankunytjatjara elder, Naomi Kantjuriny for her synthetic polymer on linen, Minyma mamu tjuta.

“And then the winner of the Wynne is extraordinary…mesmerising, at scale, one of the largest barks ever made. The artist, again, a senior community member painting at the peak of their powers.”

The Wynne Prize is awarded for best landscape of Australian scenery, or best example of figure sculpture by an Australian artist. The winner this year is Djankanu Yunupinu for Nyalala gurmilili.

Earlier this month, the Packing Room Prize, chosen by staff, was awarded to Matt Adnate for his stunning portrait of Baker Boy, titled Rhythms of Heritage Still to be announced are the prizes for the Young Archies (July 27) and the People’s Choice award (August 8).

All finalists are now on display at the Art Gallery of NSW until September 8, 2024.

WINNER of ARCHIBALD PRIZE, Tim Winton by Laura Jones.

Photo: Mark Dickson

WINNER SULMAN PRIZE 2024, Naomi Kantjuriny Minyma mamu tjuta, synthetic polymer paint on linen, 197 x 153.5 cm © the artist. Image: © Art Gallery of New South Wales, Jenni Carter

WINNER of PACKING ROOM PRIZE, Baker Boy by Matt Adnate.

Photo: Mark Dickson

WINNER WYNNE PRIZE 2024, Djakaŋu Yunupiŋu ‘Nyalala gurmilili’, natural pigments on bark, 263 x 154 cm © the artist.

Image © Art Gallery of New South Wales, Jenni Carter

ARCHIBALD FINALIST, Daniel Kim’s Blue jeans and flowers. Photo: Mark Dickson

COFFIN ED’S NAKED CITY

SING A SONG OF SILICON

In the good old days of creative song writing, budding musicians tinkled for hours on pianos or strummed away on guitars; teenage bands sought inspiration in suburban garages and professional songwriters churned out hit after hit in New York’s legendary Brill building. It was all very romantic – the idea of crafting a popular song from just a catchy lick or inspired lyric and making a motza in the process.

Enter Artificial Intelligence and suddenly everything is about to change, almost overnight.

When HAL9000, the heuristically programmed algorithmic computer, started calling the shots in the 1968 movie 2001: A Space Odyssey, many dismissed the concept as just a scaremongering piece of sci-fi fantasy. We still hold to the belief that computers are going to make our lives a lot easier in the future but good old mankind will always be in charge. When it currently comes to employing AI to entirely write and record a song, that may well still apply, but to quote the immortal Bob Dylan, ‘The Times They Are A-Changin’.

Grab yourself something like a Loudly AI Music Generator and, as they advertise, you could be making AI music with the click of a button. There’s even a library of so called musical stems you can download to start with. Then it’s just a matter of: “simply input your commands and Loudly will do the rest, delivering unique AI music results every time”. Already, a rash of AI generated songs have hit the internet, many of them

MOZART’S SISTER –AN INTERVIEW WITH DIRECTOR MADELEINE HETHERTON-MIAU

BY MARK MORELLINI

Moviegoers should be intrigued by this true-life mystery that has been hidden for hundreds of years.

Mozart’s Sister tells the forgotten story of Maria Anna Mozart, the sister of Wolfgang Mozart, who herself was a child prodigy. She was a gifted pianist but was forced to retire at 16 as her talent was not permitted to flourish in the 1800’s owing to her gender.

The role of women at the time was to be stay-at-home wives and serve men. It was stated that ‘women possessed no artistic sensibility or genius’ and performances by women were considered equal to prostitution, until attitudes changed in the late 18th century.

Could Maria have been as brilliant as her brother if given the chance? Did she assist her brother in his orchestrations?

“This documentary retraces her life story to see if we can find out whether she composed herself, and if so find out

what happened to her music,” explained screenwriter and director Madeleine Hetherton-Miau.

“Luckily the Mozarts themselves were energetic correspondents. There are hundreds of letters they wrote between them, so they were a fantastic original source,” enthused Hetherton-Miau.

“Looking at these old letters was a wonderful experience because it’s as close as we can possibly get to these historical figures who have touched the world with their music.”

Searching for original autographed musical scores of the Mozart family from archives around the world and speaking to musicologists, authors, forensic document examiners and researchers who spent their lives in the Mozart story, also aided in this lengthy research process.

It’s not widely known that Wolfgang Mozart had a sister. “I had no idea myself until I came across an article written about it,” confessed Hetherton-

parodies posted more for a cheap laugh than actually generating money. Sites like Obscurest Vinyl have become popular on YouTube and Instagram with a retro series drawing on old school soul, funk and country. They claim to write the actual spoof lyrics and supply the base melodies but it’s AI that pumps out the finished product.

There are countless opportunities here for parody and satire but so far the

Miau. “Women at that time did not have public profiles, thoroughly discouraged and prevented, they weren’t seen as important, and nothing was written about them. So, I’m not surprised that few people know about Maria-Anna Mozart.”

Hetherton-Miau explained that this is a cautionary tale for today because if we don’t critically look at the things that prevent people from flourishing and creating, then we are literally losing incredible music, art, science etc.

Hetherton-Miau said the moment she

obsession seems to be with toilet humour and male genitalia. Unfortunately, similar sites display the same scatological and crudely sexual bent. Perhaps the only saving grace are the accompanying retro album covers, some of which are remarkably clever.

With the Pandora’s box of AI generated songs only partly open, there’s a looming legal battle awaiting over copyright and artistic infringement. For starters, even if you and your AI buddy come up with the next big hit, you may never be able to claim true authorship and reap the bounty of millions in royalties. At the moment the U.S. Copyright Office only recognises works “created by a human being”, stating “users do not exercise ultimate creative control over how AI systems interpret prompts and generate material.”

It’s all rather sad, and maybe in another ten to twenty years the bulk of the Spotify library will have been orchestrated almost entirely by computers. A futuristic version of HAL9000 will be deciding what’s a good song or not and human beings will not even get to push a button. Somebody please pull out the power lead!

discovered that her documentary would be screening at the Sydney Film Festival was super exciting as this is one of the greatest festivals around the world. Mozart’s Sister has been nominated for the Best Australian Documentary Award. “If we won this award, it would be incredible but there is an amazing competitive group of films and they’re all deserving of the award. Just being nominated is an honour.”

Playing at Sydney Film Festival, June 5-16

HubARTS

LIMBO: THE RETURN

BY RITA BRATOVICH

Blanc de Blanc was always going to be a hard act to follow, but Scott Maidment and co at The Grand Electric have done it with flying colours — literally. Limbo is a frenetic spectacle of beauty, silliness, wonder, and lots and lots of feathers.

Unlike Blanc de Blanc, there are no MCs in Limbo – in fact, barely any words are spoken. The effective ringleader is Sxip Shirey, who hails from New York and looks like a mad professor. He is responsible for the esoteric electronic music featuring instruments that include a modified Mini Moog synthesiser, a harmonica, a marble

rolling around a glass bowl, and his own processed voice.

Also in the band is Grant Arthur (Melbourne) on several instruments, but most notably, a sousaphone — a type of tuba — that appears to be indestructible. Mick Stuart (Sydney) provides the rhythm and the beat on drums and bass, as well as miscellaneous instruments.

Hilton Denis is the very charismatic choreographer who dazzles in a couple of old-school tap routines.

The performing troupe is an international elite: Ben Loader (London); Clara Fable (Sydney); David Marco Pintado (Spain); Maria Moncheva (Austria); Mikael Bres (France).

BY JOHN MOYLE

Driving into the Riverside Theatre this June is Highway of Lost Hearts, a production that has been described as captivating, magical, and transcendent. The play follows a woman named Mot who discovers that her heart is missing. With her dog in tow, Mot embarks on a trip down the Highway of Lost Hearts on a journey to find her heart.

The play is penned by Mary Ann Butler, whose plays have been described as ‘poetic, evocative and muscular.’ Bringing it to life is theatre-maker and actor Kate Smith of Bathurst-based theatre company Lingua Franca.

“It’s an exquisite road trip with a female sense of narrative. It’s funny and moving and Mary Ann’s writing is very poetic; like a living, breathing Paul Kelly song or Dylan Thomas poem,” Smith said.

Smith’s been creating theatre in Bathurst for 16 years after getting her start in Sydney, and returning to Riverside Theatre in June is a fond homecoming for her.

“Riverside is always exciting to perform at, it’s an incredibly well run and beautiful theatre with great audiences,” Smith said.

“It’s a great place for theatre and going back to Riverside for the last shows on this tour seems like the perfect full stop.”

With Highway of Lost Hearts, Smith and her fellow Lingua Franca artists want people to see that country theatre is just as highquality as inner-city productions: “This is such high-quality work, and it celebrates artists outside the metropolitan area.”

That is reason alone to see this production. June 14 – 15 Riverside Theatre, Parramatta riversideparramatta.com.au/whatson/highway-of-lost-hearts

MACHINE HALL

New go-to venue for arts and events

(See p.28)

They each have extraordinary multifaceted talent and their distinct individual showpiece.

Mikael Bres’ Chinese Pole routine is a heartstopper. Clara Fable’s fire-breathing act is unbelievable, the very last bit of which was almost unbearable to watch.

There is walking/sitting/spinning on the slack-rope; aerials on dual chains; rope aerial; swinging on vertical poles; whips, and, as mentioned before, lots and lots of feathers.

The purpose-built Grand Electric is the consummate venue for a show like this; its old-world interior has elements

of spiegeltent and vaudeville theatre.

The conventional stage at the front and peninsula stage coming out into the audience allow for performances that are grand or intimate.

This is a production that fully engages the audience, making the show feel like one big party. Everyone will be talking about Limbo: The Return - don’t be left wondering why.

Playing now

The Grand Electric, 199 Cleveland St, Surry Hills strutnfret.com/limbo-the-return

BY RITA BRATOVICH

True to its premise, this production pulls you up a very steep incline, pauses precariously at the top before entering free-fall on a bumpy ride. Ride The Cyclone is a novelty musical with interesting ideas but struggles to stay on rails.

Set in Uranium City, Saskatchewan, Ride

The Cyclone is written by Jacob Richmond & Brooke Maxwell and tells the story of six teenagers from St Cassian High who ride the Cyclone roller coaster and are killed due to faulty equipment.

The teens are in limbo when a fortunetelling machine says she can restore only one teen to the mortal realm, and a vote ensues.

Despite astute direction by Richard Carroll and great musical direction by Victoria Falconer, Ride The Cyclone remains uneven due to the writing, and a difficult premise.

We never get a chance to truly understand any of the eclectic characters either – however, each actor shows their remarkable chops in individual moments. Musically, its campy, glam-rock soundtrack echoes music from Rocky Horror; each character’s song is modelled on their personality, covering numerous genres.

Clever set design, utilization of lighting and choreography all assist greatly too, often making the staging feel grander than it is while creating necessary variance.

A curious, dark piece, Ride The Cyclone is nonetheless worth seeing for the quality of performances on display and its uniqueness.

Until June 22

Hayes Theatre, 19 Greenknowe Ave, Elizabeth Bay hayestheatre.com.au

NEIL ARMFIELD DISCUSSES DEATH OF A SALESMAN

BY JOHN MOYLE

Australian director Neil Armfield has breathed new life into a classic text with his production of ‘Death of a Salesman’, which will enter the theatre annals as one of the best versions of the play ever staged.

Armfield was hesitant when producers first approached him to do Arthur Miller’s mid-twentieth century classic, but soon came on board.

“I had seen the Philip Seymour Hoffman and the Dustin Hoffman performances of Willy Loman in New York, and I felt that the play had a layer of dust on it,” Armfield said.

“I wanted to reveal something new while still being respectful of the ambition of it and Arthur Miller.”

Casting the central role of Willy Loman was settled when Australian actor Anthony LaPaglia was suggested for the role, who Armfield had worked with before.

“I worked with Anthony on Holding the Man and his sense of containing huge resentment and huge love was so powerful, and I thought that he could bring so much,” Armfield said.

“Now he’s the right age to be playing Willy Loman; it’s all perfect.”

For the all-important role of Willy’s wife Linda, Armfield arrived at Alison Whyte, whose previous stage roles included Olive in Ray Lawler’s classic Australian work Summer of the Seventeenth Doll

“I sensed that Alison was a brilliant contrast to Anthony, who has a darkness about him. Meanwhile, there’s something astringent about Alison on stage,” Armfield said.

In Salesman’s first act Linda delivers a powerful speech to her two sons Biff (Josh Helman) and Happy (Ben O’Toole) about respecting their father, perpetuating the lies on which the Loman family is founded.

“We worked on that big speech where she

tells the boys about Willy and it goes on for two or three pages,” Armfield said.

“I suggested that she work from anger all the way through this, and she just worked and worked at it and it is riveting.”

The set of bleachers on which all the characters sit was inspired by Miller’s visit to Syracuse in Sicily where he saw an amphitheatre that held 10,000 people nightly.

“We have transferred that to Ebbets Field which is so important to the emotional heart of the play and the heart of the plot,” Armfield said.

“It became clear that all those faces up there were like an unspoken Greek chorus or memories that had just come into Willy’s head.”

Miller saw the play as a warning that the American Dream was built on lies and Armfield agrees that this is still the case.

“There are absolutely parallels in the play with what is happening now,” Armfield comments; another reason to see this mammoth production of a modern classic. Until June 23

Theatre Royal, 108 King St, Sydney www.theatreroyalsydney.com

NEVER CLOSER: FRIENDSHIP AND LOVE DURING THE TROUBLES

BY IRINA DUNN

G

race Chapple chose to draw on her Irish background in her latest work Never Closer, which focuses on how the relationships change among a group of childhood friends during “The Troubles” in 1987 as they progress into adulthood.

The Troubles” occurred over a 30-year period from the early 1960s as the IRA waged a guerrilla war against the Brits to gain control over Northern Ireland and make it join the Irish Republic in the south.

Chapple was particularly concerned to explore how the political sphere could interfere with and disrupt relationships.

“The benefit of setting this story in 1987 Northern Ireland is that the political is absolutely inescapable – it informs everything, simmering beneath every word spoken, threatening to boil over at any moment,” she explains. What relevance does the play have to today’s world?

“My hope is that, although the play is set thirty years ago, audiences will feel

like it’s about right now,” says Chapple.

“The themes and relationships should feel very familiar; we’re exploring universal experiences of home and friendship, though the context may look a little different.

“That said, the kind of conflict and division in this particular time and place is by no means unique. Look to anywhere around the world that has experienced British colonial rule and you can see the patterns and problems that plague Ireland playing out today”.

Belvoir Artistic Director Eamon Flack writes, “I haven’t seen anything so assured and accomplished in ages [as Grace Chapple’s Never Closer]. It’s a tight, mature piece of writing with some finely detailed performances in an exquisitely directed production by Hannah Goodwin.”

This is a chance to see a thoughtful, crafted new play by an Australia writing of her ancestral land, In six characters and a single room, Grace catches the tremors of a whole country and a whole time, with some striking resonances for here today”.

Belvoir St Theatre, 25 Belvoir St,

BERNIE DIETER’S CLUB KABARETT

BY HOPE PRATT

Sydney’s Spiegeltent comes alive again with Bernie Dieter’s Club Kabarett, a dazzling display of the weird and wonderful that carefully balances campy comedy with truly amazing, gravity-defying feats.

From her first song, a raucous cover of Come Together by The Beatles, Dieter fully commands the stage and audience alike. She is quick witted and wildly inappropriate in the best of ways. As she weaves through the lines of seats, she’s able to draw people onto the stage, to participate in the fun. The audience is in stitches by the end of the song, ready for a night of fun.

Each performer Dieter introduces to the stage completely owns it in their own way. Whether being suspended mid-air

or playing with fire, each brings their own charm and daring to the stage. You’ll either be on the edge of your seat or doubled over belly laughing the entire night.

It’s not all wild tricks and passionate singing, though: before the final performance of the night, Bernie comes out to sing once more – Fake Plastic Trees by Radiohead, an oddly fitting and raw stretch of the show that provides an appropriate moment of pause before the fun returns.

Not for the faint of heart but worth it all the same, Bernie Dieter’s Club Kabarett is a strikingly courageous romp that will leave you in awe.

Until July 28, Sydney Spiegeltent, Moore Park sydneyspiegeltent.com/clubkabarett

THE UNFAIR ADVANTAGE AT THE PYLON LOOKOUT

BY MARK MORELLINI

The Unfair Advantage at the Pylon Lookout is one of the most extraordinary, unique night outs you can have for VIVID 2024, where 25 observers can watch Australia’s leading magician and hand artist Harry Milas expose some of the world’s most intriguing and jaw-dropping magic tricks.

Participants will feel Milas’ passion and enthusiasm as he humorously enchants and entertains, displaying his skill at card trickery whilst talking about his globe-trotting past experiences.

It’s astounding that playing cards provide so much enjoyment and interest! As the tricks upscale from easy to complex, everyone is saying, “It’s got to be magic!”

Yet on the night, Milas explained to the stunned audience: “It’s not magic, it’s devotion, time…33 years of my life so far.”

One of the night’s many highlights was watching Milas memorize the position of each card in a deck, then perform tricks that left audience members speechless. Another was a trick using four coins that Milas said was very easy, but nonetheless left the whole room dumbfounded.

This show is interactive, and audiences are part of the magic. They will be asked to participate and can ask questions at appropriate intervals. But DO NOT interrupt the card master in deep concentration!

Appropriate for audiences over the age of 18, it’s not a pre-requisite to be an avid card games player for full enjoyment of The Unfair Advantage. But just remember – pay attention… Until June 14, South-East Pylon of Harbour Bridge. pylonlookout.com.au

FROM THE STREETS TO THE HALL: KATE WICKETT

BY JOHN MOYLE

Helming Sydney WorldPride and programming

Sydney’s most esteemed orchestras may seem contradictory, but Kate Wickett, new CEO of City Recital Hall, says it all makes sense.

“It’s an impressive venue, and there’s an opportunity to elevate the hall to one of Sydney’s most soughtafter venues,” Wickett said.

In Angel Place, the City Recital Hall stages over 200 events a year with a program ranging from premium orchestras to dance music.

The 1200 seat venue was built to exacting acoustic details in 1999, and has been loved by musicians and audiences ever since for its purity of sound and comfort.

“The room and its acoustics are world class, and we want the audience to experience that too,” Wickett commented. “We want the Hall to become a cornerstone of cultural and artistic excellence.”

The City Recital Hall has long been synonymous with classical music performances, being home to

multiple orchestras and opera troupes. That won’t change under Wickett’s leadership; she’s looking to expand the classical audience while showcasing a range of other creators at the venue.

The current program includes artists like Blonde Redhead, Patti LuPone, and Sam Neill for the Sydney Writers Festival.

Furthermore, Wickett has become CEO as major renovations occur. “We’re replacing all our bars, and bringing in new furniture and carpeting. Additionally, the back-of-house is being upgraded for a better artist experience,” she said.

The Hall’s city-centre position presents an opportunity to activate a precinct filled with various restaurants, enhancing the experience of attending a show.

Wickett will be looking to put the City Recital Hall on your radar as a go to place for premium entertainment in Sydney; be sure to surprise yourself with a look at their current program.

cityrecitalhall.com

MACHINE HALL: A NEW, FLEXIBLE CBD VENUE

BY JOHN MOYLE

Hidden in Sydney’s CBD is a brand-new venue that’s aiming to become a goto venue for arts and events.

Machine Hall, originally built as a liquor warehouse in 1909 and readapted as Sub Station No. 164 in the 1930s, has become the benchmark for re-adaptive use of disused industrial spaces.

Jono Cottee, development director for construction company Built, said that the company saw an opportunity in the 183 Clarence Street property back in 2014.

“To pay for the re-adaptive use we needed to build an extension above, so we spoke with the City of Sydney and talked about creating something unique that respected the heritage with a modern twist.”

As such, it was designed to accommodate four venue spaces, all of which respect

the skin of the building and make use of its 1000sqm space and 12.5-metre-tall ceilings.

Paul Schulte, Co-Founder and Partner of the Machine Hall, comes to the venue with experience in the US hospitality and events industry and says he’s still finding his way with the venue’s adaptability.

“We’re still figuring out what’s right and wrong with the various setups that we need in the future,” says Schulte.

“The height and scale of the room is unique in an Australian context, and the Kent Street entrance is huge for car launches and bringing in equipment,” he continued.

“The Mezzanine is a real plus and lends itself to a great spectator experience, such as when we put an orchestra up there.”

The design has seen the space taken back to its bare bones, with new elements like staircases and lighting rigs only lightly touching the skeleton.

“We left the space as a blank canvas intentionally. We have the ability from a sound and lighting perspective to make it different every time,” Schulte said.

“There is a rigging system that lets us add speakers for music parties, and then there are different lighting levels and settings for various events.”

All those tools will be tested this month when the Machine Hall hosts a Vivid breakout program, as part of their agreement with the City of Sydney.

“The Vivid program is traditionally in the Opera House, but they wanted a space for smaller acts this year. I think that the program that Vivid have put together shows a variety of performers,” Cottee said.

“These are potentially performances that you won’t see in the CBD.”

Cottee adds: “What we love about this is that the building is given its second or third life, and the fabric is much richer than a new building.

“It has a story of the history of what came before it.”

Machine Hall is located at 183-185 Clarence Street, Sydney. https://machinehall.ai

G FLIP TO PLAY OXFORD ART FACTORY IN ONE-OFF GIG

BY JOSH KERWICK

Queer Aussie artist G Flip, in collaboration with Jack Daniel’s, has announced a one-night-only show at Sydney’s Oxford Art Factory to raise money for local artists.

Set for Saturday July 13th, all proceeds from the intimate show will go towards Support Act, a local charity who supports artists in the local music industry.

G Flip is keen to be returning to Oxford Art Factory, which is where they performed their first show in 2018. “It’s such an iconic venue and is so special to me and many other artists,” they said. “I’m stoked to be partnering with a brand that stands for good times and good music.”

The show is G Flip’s first show back in Australia after an extensive North America tour, where they’ve played festivals and iconic concert venues like the 9:30 Club.

The multi-instrumentalist topped the ARIA Charts with the release of Drummer in 2023 and has been bringing wicked drum solos and poprock across the globe since.

The July 13th show is an exclusive chance to catch the singer-songwriter in one of Sydney’s coziest venues.

Tickets for G Flip at Oxford Art Factory go on sale at 9:00am, Wednesday 12th of June and are $28pp.

VALE IGNATIUS JONES

BY AARYAN KAPOOR

Ignatius Jones, frontman of 1970s shock-rock band Jimmy and the Boys, passed away in the Philippines on May 7th, 2024, aged 67.

Jones had an illustrious career during the ‘70s and ‘80s before becoming a prolific artistic director. He received an Order of Australia in 2019 from Queen Elizabeth II for his contributions to entertainment and literature; his legacy is a result of boundary-pushing.

Born Juan Ignacio Rafaelo Lorenzo Trápaga y Esteban in the Philippines, Jones moved to Wahroonga with his family in 1963.

In 1976, he became lead singer of Sydney-based band Jimmy and the Boys, who were a huge band in the Australian music scene by the end of the 1970s.

Rock Australia Magazine described the band’s performances as “[featuring] politics, simulated sex and violent humour”. Their 1981 single “They Won’t Let My Girlfriend Talk To Me” reached the Australian Top 10.

The band broke up in 1982, the same year Jones debuted his first solo single titled, “Like a Ghost”. Later, he was part of jazz cabaret band Pardon Me Boys with sister Monica Trapaga. Jones was many things outside of music, but most notably a creative director. He co-directed the Sydney 2000 Summer Olympics opening and closing ceremonies, and he was the artistic director of the Sydney Gay and Lesbian Mardi Gras Parades.

He is survived by husband Novy Bereber, mother Margot Martin, brother Luis Miguel, sisters Rocio and Monica and “a gaggle of nieces and nephews.”

Sister Monica Trápaga said:

“His friends and family will remember Iggy as a bon-vivant, a lively raconteur and a real Renaissance man, immensely and passionately knowledgeable in history and the arts.

“The arts community in Australia has lost a champion, and dinner parties will now be less interesting with his passing.”

PIANO + PLACE: POP-UP RECITALS AROUND SYDNEY

BY JOHN MOYLE

Midnight Oil’s Jim Moginie is bringing four pianists into some of Sydney’s historic, secret spaces to unleash their sonic potential like never befoare.

“The idea is to bring the piano into unusual places in Sydney that have a real story to them, not well-known pubs and clubs.” Jim Moginie said.

The musicians joining Moginie for the program are Chris Abrahams, Sophie Hutchings and David Bridie for all four Fridays in July.

Moginie will start the series with a performance in Hyde Park’s ANZAC Memorial Auditorium with a performance that will draw from the vast Midnight Oil

catalogue and stories from his own family’s history in military service.

Abrahams is keen for his Elizabeth Bay House performance, the grand colonial-era mansion known for its domed ceiling and curved staircase. Hutchings is playing in Paddington Town Hall’s Stapleton Room, looking to immerse audiences in a world of tranquility through the piano’s sounds. Lastly, Bridie will bring the sounds of his band, Not Drowning Waving, and selections from his album, The Wisdom Line, to the State Library’s Paintings Gallery.

“The whole thing is about special places that people don’t normally visit,” Moginie said. “Both the audience and the artist will be influenced by these places which contain so much history in the walls. Find show dates at pianoplus.com.au

HIGH & LOW: JOHN GALLIANO

BY RITA BRATOVICH

J

ohn Galliano changed the fashion world when he emerged into the haute couture world in the mid-1980s.

In this interview-style documentary by Kevin McDonald, we gain insight into Galliano’s work and psyche through his words, those close to him and a vast collection of footage.

At his height, Galliano was arguably the most unique and influential fashion designer on the scene, putting on extraordinary fashion shows with an operatic edge.

He worked incessantly, often collapsing from exhaustion at a show’s end. That pace was sustained by drugs and alcohol which gave him discipline while he was

working, but fuelled his chaotic abandon when he relaxed.

McDonald gets the erratic Galliano to sit for a long interview where the designer tells all: everything from his coming out, status as a fashion doyen, and his public fall from grace.

This interview is interspersed with comments from big names, segments from fashion shows, personal moments, and the incidents captured on video that led to his downfall.

This is an intriguing film with lots of footage (perhaps too much) for high fashion fans and those fascinated by the human mechanics of a creative genius.

In cinemas now

BY MARK MORELLINI

The Sydney Film Festival is presenting Ousmane Sembène– A Revolutionary With A Camera, a retrospective of the legendary filmmaker.

Ousmane Sembène’s films aren’t easily available, so this retrospective allows cinephiles and festival attendees interested in the evolution of African cinema to come along and watch a classic from a cinematic master. Sembène was a pioneer, considered the ‘father of African cinema.’ A film director, producer, and writer, he is considered as one of the best African authors. His work has impacted many great filmmakers, including Martin Scorsese,

who said: “None of us would be here without the people who come before us. Whether it is De Mille, Hitchcock or the Senegalese filmmaker Ousmane Sembène…”

The program includes nine of Sembène’s feature films, including Black Girl, Xala and Moolaadé, as well as three of his short films.

SFF Director Nashen Moodley said: “Sydney Film Festival is honoured to showcase the films of Ousmane Sembène, a filmmaker whose works should be more widely seen. I hope this retrospective will go some way in rectifying this.”

June 5 – 16 at Art Gallery of NSW for SFF

THE BEAST

BY OLGA AZAR

Billed as a drama/sci-fi thriller, The Beast has wildly imaginative interpretations of genre that make it difficult to label. The visually striking film travels across time and space in a kaleidoscopic journey of pervasive dread and love perpetually postponed.

Léa Seydoux plays Gabrielle, who has an all-pervading sense of doom. The beast, which is of her own making, lurks around every corner. Meanwhile, a young man named Louis (George MacKay), attempts to awaken her muted joy throughout her travels. Gabrielle’s immersion in black goo while revisiting past lives sometimes feels like a feverish pitch shared by

Kubrick and the Wachowskis, but it works.

Each lushly portrayed period and place – a fancy ball in 1910 Paris, the electric 2014 Los Angeles where Gabrielle goes clubbing, the cold AI dystopia of Paris 2044 – is disturbing in its own way. Paris 2044 is the most chilling, a lonely place echoing with aimlessness. It hardly matters if there are more AIs than people when the goal is a population without memory. When Gabrielle goes out clubbing again in 2044, she realises she might have been better off dancing with her beast after all.

1/2

In cinemas now

FURIOSA: A MAD MAX SAGA

BY MARK MORELLINI

Furiosa: A Mad Max Saga finally crashes into cinemas with 148 minutes of nonstop action and death-defying stunts.

A prequel to Mad Max: Fury Road, Furiosa is devilish fun and surely the loudest, most visually stunning postapocalyptic action film ever produced.

The story follows young Furiosa’s kidnapping by underlings of the Biker Warlord Dementus (Chris Hemsworth) who executes her mother, sparking a tale of vengeance.

Chris Hemsworth is unrecognisable as Dementus, his portrayal often seeming as if he was parodying his character’s psyche with silliness and irreverent humour.

Anya Taylor-Joy plays adult Furiosa, handling the role with minimal dialogue

and maxed-out facial expressions that highlight her private angst.

Visually the movie is mesmerising, and the CGI is spectacular – though at times looks cartoonish and overloaded. There are numerous clunky sequences involving vehicles and sets which are indisputably models.

While watching Furiosa, audiences may feel they’ve seen it before; the story seems borrowed from previous instalments, focusing on retribution and warring rogue gangs.

However, it’s certainly still entertaining – there’s never a dull moment. Action movie buffs and Mad Max fans won’t be disappointed.

In cinemas now

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THE SEED OF THE SACRED FIG

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