BMA Magazine 406 November 07 2012

THE RESPLENDENT REANIMATED REBIRTH ROMP. THE SAINTS+ NOEL COWARD’S ‘PRIVATE LIVES’+ 2MANYDJS+ JEFF MARTIN BMAMAg.COM

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A local infant best characterised MLA Shane Rattenbury’s deliberation between Liberal and Labor when she crapped at the top of a hill and observed that it rolled down.

#406NOVEMBER7 Fax: (02) 6257 4361 Mail: PO Box 713 Civic Square, ACT 2608 Publisher Scott Layne Allan Sko General Manager Allan Sko

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Editor Ashley Thomson

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Sub-Editor Greta Kite-Gilmour Graphic Design Marley Film Editor Melissa Wellham NEXT ISSUE 407 OUT NOVEMBER 21 EDITORIAL DEADLINE NOVEMBER 12 ADVERTISING DEADLINE NOVEMBER 15 Published by Radar Media Pty Ltd ABN 76 097 301 730 BMA is independently owned and published. Opinions expressed in BMA are not necessarily those of the editor, publisher or staff.

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The Capital Region Farmers Market, held every Saturday at Exhibition Park In Canberra from 7:30am, has announced the winners of its Stallholder Awards, bestowing upon its local DIY producers an array of titles. A gourmet pie producer (Gum Tree Pies), an olive grower (Homeleigh Grove) and a saltbush lamb and free range pork specialist (Bundawarrah) were just some of winners. Others include Hillside Orchard for Best Fruit & Nuts, Majestic Mushrooms for Best Vegetables, and Country Valley Highland Organics for Best Dairy, Honey & Eggs. To find out more about the markets, the winners, or where to buy delicious locally produced goods, visit capitalregionfarmersmarket. com.au.

Rahzel & DJ JS-1 Announce ACT Show Best known as a member of hip hop supergroup The Roots, Rahzel is bringing his unparalleled technique to the ACT – and joining him will be none other than the Rock Steady Crew member and tablist extraordinaire, DJ JS-1. Known parochially as the Godfather of Noise, Rahzel made his debut at the nowlegendary Showtime at The Apollo, where his redefinition of the art of beatboxing threw him and his artform into the limelight like no other has before or since. Catch the ‘ultimate iPod’ live at Transit Bar on Thursday December 6.

Tickets are $25 + bf, available now through Moshtix.

Old Bus Depot Markets To Run Overtime For Xmas Beginning Saturday December 1, the Old Bus Depot Markets in Kingston will be open every Saturday and Sunday until Christmas. ‘Our Christmas markets are a breath of fresh air, literally, to crowded shopping malls. With a huge array of unique gifts made

Tropscore 2013 Calls On Australian Composers Entries are now open for the Australasian Performing Right Association (APRA) Tropscore and Tropscore Jr. competitions. From the heyday of silent movies through to Hitchcock’s thrillers and the many reincarnations of James Bond films, scores have been an integral part of the cinematic experience. And for the very first time, Tropscore welcomes young people aged 15 and under to take part in the inaugural APRA Tropscore Jr. This is a rare opportunity for kids to get valuable first-hand experience writing music for film, develop the foundations of a career

in the music and film industry and have the chance win a $2,000 prize. The Tropscore 2013 winner will receive $5,000 cash from APRA, and the chance to perform or have their score performed in front of thousands of film fans at Movie Extra Tropfest Australia live in Sydney on Sunday February 17.

To be a part of Tropscore 2013, visit tropscore.apra.com.au for all the information you need on how to enter and to download the three-minute clip. Entries must be in by 5pm on Thursday December 12.

Boomgates Lift FOR Eddy Current Suppression Ring Those wondering what livewire Eddy Current Suppression Ring frontman Brendan Huntley has been up to of late need look no further than Boomgates.

Following a trio of rapturously received singles, the Melbourne group (which also features members of Twerps and Dick Diver) has just released its debut LP, Double Natural. The record sees the band dialling back the guitar grit of its earlier work, presenting a breezy brand of guitar pop, with Huntley and guitarist Steph Hughes – of triple j fame – sharing vocal duties. Boomgates play Smiths Alternative Bookshop on Friday November 9 with Danger Beach and TV Colours. 7pm. $15 door.

A totem of the underground hip hop movement, Winston Churchill’s peace symbol can be seen in every facet of the four elements.

CRFM 2012 Stallholder Awards Announce Winners

carefully by hand, you’ll find presents and decorations with both meaning and longevity,’ said Old Bus Depot Markets Director, Diane Hinds. At each of the Christmas markets, visitors can leaf through the stalls offering gorgeous handcrafted, personalised homewares. And foodies will love the spread available, including mince tarts, shortbread, Christmas cakes, miniature gingerbread houses, puddings, pan forte, traditional Russian fruit and walnut log and macarons, all inspired by the flavours of Christmas. As always, the markets are free and run from 10am-4pm.

FROM THE BOSSMAN You likely have already caught the news that Disney has bought Lucasfilm and the Star Wars franchise for a slick $4 billion. The wonderful Sean Warhurst has penned a rather enjoyable LOLcol about such in this issue but I needed to add to it. For I have just returned from the future, and it turns out this purchase sets in motion a series of events that will end us all.

Indulge me a moment.

Fresh from penning the sequel to The Avengers, Disney are quick to put plucky scribe Joss Whedon on the case. His first move is to borrow a plotline from old TV series Dallas, where Leia wakes up to hear the sound of a space shower and realises... The three prequels had all been a dream! The force remains a beautifully mysterious metaphysical entity! Midi-chlorians, Jake Lloyd, Jar Jar Binks... None of them ever existed!

It is heralded as the greatest writing move in cinematic history.

Whedon goes on to – in the words of revered critic Roger Ebert – ‘write the shit out of’ the next three films, delighting staunch fanboys and crusty critics alike with compelling protagonists, three-act story arcs existing within a larger story arc and a winning narrative that is constantly surprising and yet builds to a shocking yet satisfying conclusion.

As well as scoring a perfect ten on IMDb from over three billion reviews and convincing the Film Critic Circle of Earth to create a special sixth star rating, the films unite the world; Palestinians and Israelis cast aside their feud; Al Qaeda and America work together to fix third world debt; Catholics and Protestants join the same volleyball team. For the first time in human history, all is right in the world. All, that is, except for one man.

YOU PISSED ME OFF! Care to immortalise your hatred in print? Send an email to editorial@bmamag.com and see your malicious bile circulated to thousands. [All entries contain original spellings.]

Dear people/persons that don’t leave a message: If you call my work phone and leave “beep beep beep” one more time I will hunt you down and force feed you an answering machine, if you then call my mobile (yeah that’s right I put my mobile number in the message for the work phone, freck’n genius!) and leave “beep beep beep” I will probably just cry*. YOU PISSED ME OFF *Cry/beat you to death with a spork.

To the motorist who cut me off in rushhour traffic on Monday morning along Cooyong street thus forcing me to mount the central concrete island and drive like the Blues Brothers for 20mm on two wheels… Thanks a bunch arsehole! As if swerving in front of someone without indicating in Canberra’s 7 minutes of rush hour isn’t moronic enough you then proceeded to swerve back into my lane again once I finally got back on the road. There are not enough hours of angry car horning in the world to rattle your idiocy. Either get off the road or do everyone a favour a drive into a tree. YOU PISSED ME OFF!

In his hollowed out mountain lair, a black-cloaked George Lucas – features battered by harsh elements – stalks moodily back and forth past the dartboard with a picture of Joss Whedon’s face. ‘They’ve ruined everything!’ he snarls daily, in a voice eerily similar to Emperor Palpatine. ‘Storyline? Lovable characters? No CGI AT ALL? Pah! I will make them pay…’

Having taken a punt buying Facebook and turning it into a straight porn site, Lucas becomes the world’s richest man and buys back Lucasfilm for $400 billion dollars. He then proceeds to issue his own ‘Special Editions’ of Whedon’s peace-bringing Star Wars oeuvre, and if ever quotation marks were justified, it is here. Perhaps the most questionable decision in these grim re-edits was to insert a character called Negro McBlack, a darkskinned Scottish-esque character that barks the catchphrase, ‘Oook aye tha noo, Homey!’ every two minutes, even through crucial moments. He even goes as far as to insert the character into the original trilogy.

‘But Luke, I am your fa...’

‘Oook aye tha noo, Homey!’

The ensuing action figures made available were later blamed for 95% of domestic violence. From here old world rifts were renewed; financial infrastructure collapsed; the sixth star was abolished and replaced by a Golden Turd. In the saddest move, Josh Whedon committed suicide using a lightsabre; a device only made possible by the meticulous nature of his original script.

The situation becomes so bad that it accelerates the second coming of Jesus (originally scheduled for 2073). With a sad shake of the head, Jesus pulls a Fonz-like double finger snap and summons the apocalypse, thus ending the human race.

I escaped in a Whedonator just in time to tell you this. Mark my words, my fellow humans. We have all been warned. ALLAN SKO

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WHO: The SideTracked Fiasco WHAT: East Coast Tour WHEN: Sat Nov 10 WHERE: PJ O’Reilly’s, Tuggeranong

So you’re an independent band and you just completed a 17-show tour that saw you playing shows in almost every Australian state – what do you do next? If you’re The SideTracked Fiasco, the answer is: do it all again. The Sydney-based funkcore band has just announced their follow-up tour – Indecision & The Exploding Head Chi – a 13-show tour that will see the band promoting their latest single, Indecision, from EP Enter the Motivational Sasquatch. The tour showcases a more introspective side of STF, addressing complex and intimate subject material via laidback, hip hop style vocals, face-melting bass, delicate guitar lines and Motown-influenced drums. 8pm. Tickets at the door.

WHO: Dwight Yoakam with Lee Kernaghan WHAT: East Coast Tour WHEN: Thu Nov 15 WHERE: AIS Arena

As part of his East Coast Australian tour, iconic country music legend Dwight Yoakam is swinging into Canberra. Widely revered by country fans worldwide, Los Angeles-born Yoakam has sold over 25 million albums, many of which have reached gold, platinum and even the seldom attainable triple-platinum status. Whether you’re a lover or a hater of the dichotomously divided genre, you’re convincing no one if you deny having tapped your toes to one of Yoakam’s hits, such as Honky Tonk Man and Thousand Miles From Nowhere. And who better to accompany Dwight than Lee Kernaghan? 7:30pm. $99-$120 ($249 VIP package) + bf from Ticketek.

WHO: The Next Movement, Part One WHAT: Local Hip Hop WHEN: Thu Nov 15 WHERE: La De Da Bar

Rise and shine, bedroom MCs and hip hop hibernators! The Next Movement is bringing the beat to Canberra through a new night with a few simple aims: get back to basics, raise the standards and inject some hip hop sensibilities into our town. In their first instalment, an array of stellar Canberra talents will take to the mics and decks, including longtime local MC Newsense, duo Dub Seven, and Nix, who’ll be launching his recently released The Nix Tape. All those thirsty for beats should get amongst it, and if you prefer to be behind the mic than in front, find out how to get involved: thenextmovementcan@gmail.com. ‘Bout freaking time. 8pm. $5.

WHO: Spoil WHAT: Final Show Ever WHEN: Fri Nov 16 WHERE: ANU Bar

After a 12-year reign over Canberra’s metal scene, local heavyweights SPOIL are calling it a night. After a slew of shows in almost every venue (and some non-venues) the five-piece groove-metal band knew it was time to call it quits. Having enjoyed a gigathon rollercoaster in their early-naughties heyday, several line-up changes and an unfinished recording, the gradual dwindling of momentum has led to the exodus of the talented lads. With no intention of leaving without a bang, SPOIL will deliver one final night of mayhem, which will be filmed and released as a thank you to supporters. With Tonk and Escape Syndrome. 8pm. $15 thru Moshtix/door, ANU students free.

WHO: Jordie Lane WHAT: EP Launch WHEN: Thu Nov 22 WHERE: Smiths Alternative Bookshop

Having just completed a ten-date tour supporting Billy Bragg around Australia, Jordie Lane is hitting Canberra to release his new single, Fool For Love. His intimate solo show will be supported by local singer-songwriter Hannah Gillespie. Recorded in LA with producer Tom Biller (Beck, Fiona Apple, Kanye West), Fool For Love marks a new direction for this Australian folk troubadour. Receiving glowing reviews nationwide (and an average one in this issue, but don’t mind that), Lane will transport fans with the sweet, soothing melodies of this latest offering from Lane. $15 + bf via trybooking.com.

WHO: Ebola Goldfish WHAT: Sydney’s Finest Punk WHEN: Thu Nov 29 WHERE: The Phoenix Bar

The High Seas Podcast and Heartfelt Records bring you Ebola Goldfish, one of Sydney’s most loved punk bands, playing Canberra as part of their Idol Thoughts EP launch tour. Joining them will be Newcastle fun bandits Excitebike and local veterans Revellers, who will be launching their new four-track demo, copies of which will be available free on the night. Held within the intimate confines of Canberra’s beloved Phoenix Bar, the night promises to be an adventure into the world of East Coast punk rock and a good night out for all fun loving music goers. Also their artwork’s sick.

Cheggit (<<). 8:30pm. Free.

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RETURNED ON A RIVER OF DREAMS. ZOYA PATEL When Corinbank Music & Arts Festival was postponed earlier this year due to unexpected rainfall and flooding, fans were devastated. For a while, it wasn’t even certain that the festival would be replanned for a later date. Amy Moon, General Manager of Corinbank, remembers being onsite at the festival grounds in March and waking up to a flooded site and the news that the grounds were too unstable to risk going ahead with the festival.

‘It was heartbreaking. Two years and thousands of hours of work,’ Amy recalls. ‘At that point we hadn’t even considered when we would hold the rescheduled event. Our priority was to get the message out to our suppliers, through the media, that the festival was not on – we had to make sure no one else came up to the festival site if the road was unsafe.’

Corinbank and I hope that shows when people come out to Corin Forest at the end of the month.’

The forest itself is a big part of the festival, and the Corinbank team are committed to sustainable event management. ‘We operate on a “leave no trace” principle and every year I’m stoked to see how little waste there is at the end of the festival. Our punters just get it. They care,’ Amy says. ‘Corinbank is evidence that you can hold major events without having a negative environmental impact.’ The festival achieves this aim through a range of methods, including using 100% biofuel to power the festival, diverting the majority of the waste from landfill and having stallholders use biodegradable plates and cutlery. Punters can get into the environmentally friendly mood too.

‘Our GreenKulture program has a whole bunch of great presentations from some of Australia’s leading environmentalists,’ Amy explains.

‘Local environment groups host a range of workshops where people can learn how to brew beer, keep chickens, turn food scraps into worm food, turn magazines and bottle tops into funky jewellery or start their own cooperative.’

I realised just how much Corinbank means to the bands and artists in our community. We are so damn lucky

Luckily for us, the festival will indeed continue; CORINBANK [TAKE 2] is scheduled for Friday November 30 to Sunday December 2. Featuring a stellar line-up of musicians and performers, as well as an exciting schedule of workshops, miscellaneous events, stalls, shops and everything else under the sun, it promises to be a jam-packed several days. However, without some significant community support, a Take 2 might not have been possible at all. Postponing the festival left Corinbank with a budget shortfall that meant replanning would have been nigh on impossible. The organisers turned to the crowd-funding platform, Pozible, to try and raise an additional $10,000 and, through staggering community support, managed to supersede that goal to an awesome total of $11,704.

‘Postponing the festival really had some serious silver linings,’ Amy confesses. ‘I realised just how much Corinbank means to the bands and artists in our community. We are so damn lucky to have such amazing people creating in our city!’

Despite setting high goals, Amy wasn’t too concerned when setting up the Pozible campaign; community support had already been demonstrated for Corinbank following the original postponement, with the Corinbank Cancellation Consolation Congregation being held at The White Eagle Polish Club by the Canberra Musicians Club and The Bally. The turnout was huge, showing that despite cancellation Corinbank was likely to live on. ‘When we were planning the campaign I was pretty confident it would be successful. Corinbank means a lot to a lot of people in the Canberra music and arts scene. We were overwhelmed by support when we postponed the festival and I expected we’d get a similar response to the Pozible campaign,’ Amy says, before admitting, ‘I was pretty nervous a few days out from the end of the campaign when we were barely past halfway, though!’

The community effort extends from the audience into the organisational team too. The entire operation is based on very committed volunteers, including Amy herself. ‘Everybody who works on Corinbank does it for love. We all have day jobs, families and other commitments, but we pour our hearts and souls into

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With all this as well as such an incredible line-up, it would be hard not to have a good time. Amy is pleased with some of the bigger ticket names, but is especially excited for the awesome local lineup. ‘Obviously Busby Marou closing the festival on Sunday evening is going to be spectacular. But the local line-up is shit-hot too. We pride ourselves on showcasing amazing local talent, and I think our program team have outdone themselves this year.’ This year’s line-up includes Beth n Ben, Big Score, The Burley Griffin, Cracked Actor, D’Opus and Roshambo, Fun Machine, Hashemoto, Julia & the Deep Sea Sirens and so, so many more.

And if music isn’t your thing (you’re joking, right?) there’s plenty more on offer. ‘You could honestly spend the whole weekend at Corinbank and not see a single band if you wanted to,’ Amy explains. ‘Our program is packed full of workshops, sustainability presentations, films, circus acts, burlesque shows… kids activities, yoga sessions, artist speed dating, installations and sculptures.’

As for whether or not the festival will continue into next year, Amy isn’t even thinking about it at the moment.

‘We’re focusing all our energy on putting on one hell of a festival this year and once we achieve that – once 2000 people leave the festival site with a bank full of memories and experiences, new favourite bands, new friends and smiles plastered from ear to ear – then we’ll start thinking about what happens next, and when.’

Corinbank [Take 2] will be held at Corin Forest in the Brindabella Mountains, Friday November 30–Sunday December 2. Third release weekend passes for $149 + bf and day passes for $39/$79/$69 + bf are available now from corinbank.com.

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ALL AGES Tom Riddle me this: how many Krummy Harry Potter knock-knock jokes would it take for me to decide that it was a good theme for a column? One. And here it is: Knock knock. (Who’s there?) You know who. That’s right. Your very own Harry Potter-themed column has apparated into your hands, Siriusly! No black magic at all. You may have been waiting for this theme (‘12 YEARS OF IT! IN AZKABAN’), but I couldn’t hold it back any longer, because on the Potter obsession scale, going from one to ten, I’d say I’m about a 9 and ¾.

It would be a Seamus for you to miss out on LIVE@BAC on Friday November 9. What more could you want than local acoustic artists and beautiful views of Lake Ginninderra? (I guess Voldemort could’ve wanted a nose more than that…) It’ll be held at the Belconnen Arts Centre. It costs $5 at the door and runs 5:307:30pm. Details on performers are put up each month on their website: belconnenartscentre.com.au.

If they wanted to, the girls of the Canberra Roller Derby League could sing, ‘They see me Rowling, they hating,’ as they Slytherin to their roller skates before the Canberra Roller Derby League Grand Final on Saturday November 17, and I sincerely hope they do. Two games will be held at the AIS, the first to decide third place and the last to decide the winner. Tickets are $14.10 for under 15s and $24.35 + bf for 16s and over. Tickets can be bought online through Ticketek.

Accio amazing gig! If you can whip your hair back and forth at this gig more than Hogwarts whips its stairs back and forth, you can then claim that you’re a true metalcore fan. Parkway Drive are playing at the UC Refectory on Sunday December 16. They’re supported by I Killed the Prom Queen, Northlane and Survival. It would be ridikulus if you missed it. Tickets cost $45.90 +bf and can be bought online at Ticketek.

Earlier this year the Corinbank music and arts festival was cancelled due to unprecedented rainfall. It’s now back, running Fri Nov 30-Sun Dec 2, to promote Australian bands and artists, showcase the Brindabella Mountains, and celebrate life in an explosion of awesomeness. Here’s the line-up: Busby Marou, Dallas Frasca, The Barons Of Tang, Jack Carty, Heath Cullen, Lucie Thorne, Cilla Jane, Amax-Duo, Beth n Ben, Big Score, Brass Knuckle Brass Band, Caity Sarah/This ‘n’ That, Cracked Actor, D’Opus & Roshambo, Fun Machine, Hashemoto, The James Fahy Trio, Julia & the Deep Sea Sirens, Los Chavos, Matt Dent, Drew Walky & the Hypnotic Planigales, Pocket Fox, Moochers Inc, No Hausfrau, Son Of Rut, The Burley Griffins, The Ellis Collective, The Fuelers, Waterford and Zoopagoo.

You’ll find the festival at Corin Forest, Corin Dam Road, Tuggeranong. All tickets that were purchased for the originally scheduled festival in March are still valid for this event. Go to their website for more schedule and ticketing information: corinbank.com.

This column has been just magical for me. I’m out, folks, but one final thing: remember when you’re feeling a bit down, you may have 99 problems but a snitch ain’t one.

ANDIE EGAN allagescolumn@gmail.com

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LOCALITY

If someone told you they’d created a liberal-minded alter-ego named Diva Sheila, the Eco Diva, who voiced half-baked political opinions while displaying multi-instrumental virtuosity during a show in which she lets her alter-ego loose on the audience, you’d rush to see it. And because there’s no question, you can get your tickets at thestreet. org.au for her shows from Thursday November 8 onwards. The same night, the Local Feats series of feature films made in Canberra continue with The Chifleys of Busby St (2008), a peoples’ doco on Ben Chifley’s rise to Australia’s top office, at the Kendall Lane Theatre, NewActon, 6pm & 9pm. See newacton.com.au/localfeats.

Friday November 9 sees the Canberra Musicians’ Club staging a Friday Night ensemble at The White Eagle Polish Club, Turner, from 8pm, with Space Party, The Feldons, Magic Rob Universe and more appearing for $5 (free for CMC members). The same night at Smiths Alternative Bookstore, Boomgates (a spin-off from Eddy Current Suppression Ring) will be appearing with locals TV Colours and Dangerbeach from 7pm for $15. But then again, there’s also the first night of the two-part Bastardfest at The Basement in Belconnen, with I Exist, Blood Duster, King Parrot and more from 7pm. Tix are $28.60 + bf through Moshtix. Basically, there’s no right choice. Or wrong choice. Stop hogging the ether. Bastardfest continues on Saturday November 10 with Psycroptic, Voyager and more from 5pm, but Saturday also sees the culmination of Woden Valley Festival at Eddison Park, Woden. The Carnival will be in full effect from 9am, with a huge array of local bands, markets and family-focused fun, and the Lift Off Festival will take over from 4pm with House vs. Hurricane headlining a massive line-up of local and interstate bands for a 9pm finish. And the whole damn thing’s free, if you can believe that. I don’t. Also on Saturday will be The Last Prom’s year-end finale, An Apocalypse In One Act, from 8pm at Ainslie Arts Centre. If you haven’t seen them yet, this may be the perfect introduction. Presale tickets are $12 + bf through Moshtix.

YOU MADE MY DAY!

Email editorial@bmamag.com to send a message of gratitude, warmth and generosity to the world at large. AWWW. To everyone at Anytime Fitness in Civic who harangued and berated the staff there until they changed the music streaming through the gym from the bullshit anus-drippings of Bieber, Matchbox 20 and Ludacris to sweet, gentle, run-of-the-mill techno house, YOU ALL MADE MY MOTHERFUCKING DAY. There I was, happy to put in my earphones and bear it, gently notching up the volume on Illmatic to painful decibels, savouring the sensation of blood running from my ear canals, attempting to locate the exact placement of my ever-growing stomach ulcers as they cramped and singed at the jetstream whines the 14-yearold jailbait fucktard hoes vomited out, unhappy in the knowledge that I was the only one bothered by the unutterable, Mongograde dickshittery of Top 40 music. I didn’t even think filling out a feedback form was worth it. But you did. You did! You hated it just as much as me and you said so – and last week when I forgot my earphones and braced myself, slipping electrodes onto my balls in case the pain became too much and I had to zap myself to distract from the aural sea of festering muff garbage that would seep into my ears and nose like a stale fart birthed from a sweaty vagina, all I heard was sweet, innocuous, repetitive, energising beats. You all restored my faith in the taste and decency of humankind. Thank you – you made my day.

So as not to spend an entire column on two days, the following Friday November 16 will see Questacon host their next SciNight.

Irresistibly pitched as a night where you can get your drank on and enjoy Questacon without being judged by 12-year-olds, this is Beach Party-themed and runs 6-10pm. $10 door. Also that Friday will be Canberra stalwarts Spoil’s last ever show. The guys are going out with Tonk and Escape Syndrome in support at ANU Bar from 8pm.

Tix are $15 + through Moshtix or free with ID for ANU students.

If you haven’t caught Cracked Actor live yet, make your way to The Phoenix Bar on Saturday November 17 at 9:30pm to see them appear with Hinterland. The same goes for Hoodlum Shouts, who are doing their last Canberra show for a while at The Pot Belly in Belconnen with Looking Glass and A Drone Coda on Sunday November 18 from 8pm. Aaand the rest of this column’s about The Phoenix. Monday November 19’s Bootleg Sessions is presented by the High Seas Podcast and Heartfelt Records and sports a positive bloom of great acts from 8pm. But hold the press for The Phoenix’s 19th Birthday, Thursday November 22! May it be utterly copasetic.

And that’s everything local I care about.

ASHLEY THOMSON - editorial@bmamag.com

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LOST IN THE MOJO JUJU Rory McCARTNEY MOJO JUJU’s name combines references to magical charms and spells used in West African witchcraft. Evocative and mysterious, they are an apt moniker for a lady who casts dark, musical magic.

Mojo’s background is as exotic as her style. Her father heralds from Spain’s Basque region and spent some time living in the Philippines before meeting her mother in the US. They eventually settled in Newcastle and the rich musical heritage on her mother’s side sank deep under the skin. Her musical career started in Melbourne with the curiously monikered group, The Hauntingly Beautiful Mousemoon. ‘I was not part of the band, just helped them out. Then they invited me to move into the studio where they were living and recording, and things kicked off from there.’

I love the romance of that era, the immediacy and urgency of living to the full as war could come again

Her big break came as vocalist and songwriter for The Snake Oil Merchants, a group who adopted the glamorous style of the ‘30s speakeasy, replete with images of tuxedos, gangsters and tommy guns. It was a time of Fats Waller, Weimar Republic cabaret and a manic period between two World Wars. ‘We didn’t have the guns, but I love the romance of that era, the immediacy and urgency of living to the full as war could come again.’ While the Merchants’ repertoire included blues and jazz, Mojo preferred to be elastic with genres.

The band lauded the ocean with shanties and songs of the endless sea. They liked to party too. ‘Excess found its way onto the stage and things would inevitably turn rowdy.’ Mojo is flamboyance personified in her Pachuco style of Latin American dress, beloved by zootsuited street gangs. ‘I’m not in costume, aiming to create an onstage character. I dress like that all the time.’

The Merchants eventually broke into different creative directions, leaving Mojo the exciting chance to drive her creativity without boundaries. ‘Instead of bringing songs to the musos who would input their own creative touches, I could select the musicians I wanted and tell them how I want it to go.’ Her debut album enfolds tales of lust, love, vice and consequence, mostly drawn from personal experience.

‘Train Along The Hawkesbury was inspired by some wild train trips between Newcastle and Sydney. You get to see some of the raw side of life.’ Another album track, Must Be Desire, is particularly hot to trot.

Its accompanying video, which celebrates the low-level sensuality of everyday life, is worth checking out.

Mojo is no stranger to Canberra, having played solo at The Bohemian Masquerade Ball back in 2010. ‘But I especially love the intimacy of The Phoenix, and have had some crazy nights there. The interaction with the punters and a little ‘tween-song chat is what sets the live experience apart.’

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Mojo Juju, supported by local garage surf rockers The King Hits, will rattle the old bric-a-brac of The Phoenix Bar on Wednesday November 7.

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It won’t be preaching, just inviting the audience to check their pulses

NOT YOUR AVERAGE SHEILA RORY McCARTNEY In the ‘70s, cabaret performer, recording artist and film star Bette Midler was the last word in big-voiced, husky, passion-driven songs.

Exposure to this diva through her parents’ cassettes and a VHS tape bore fruit years later in the drive and passion of Canberra’s KATE HOSKING. Kate’s repertoire spans the panorama of performance arts, including music, acting, dancing and choreographing.

While Kate had early experiences in singing, dance and theatre, her introduction to instruments was unusual, as she became part of Australian world music trio Vardos. ‘They liked my performance experience and asked me to join, even though I didn’t know how to play. I was taught the double bass over a couple of intensive months, learning to dance with my fingers.’ Kate was later snapped up by Slovenian quartet Terrafolk when they and Vardos both happened to be playing in Edinburgh. She gained her share of rock experience, too, through Anything For Lucy.

‘Shortly after that band broke up, Something For Kate appeared and people thought that they were us under a new name!’

Some of Kate’s theatre and cabaret experiences came in the form of Squizzy Taylor – The Musical, and Pearl Versus the World with Canberra’s own Jigsaw Theatre Company. Kate’s dance history included doing choreography in Melbourne for events that showed early glimpses of today’s flash mob arrangements. ‘We‘d do guerilla street art – just showing up in night clubs and doing unannounced dance moves.’ This was during a period of stark contrast to a later point in her life in which she began actively challenging facets of society. ‘I got disillusioned with the mainstream and had a break for a while, taking up with environmental groups.’ A longtime activist at varying levels, Kate once performed in a Victorian prison with songstress Mia Dyson, which led to a track on the latter’s Parking Lots album.

One may wonder how a person with so many interests manages their time. The obvious answer for Kate is to try and explore as many of them simultaneously as possible, employing most of the broad range of her talents in an upcoming onewoman show. Using the character of Diva Sheila, a naïve, opinionated person who has lived overseas for some time, Kate aims to be deliberately provocative and make you think. The show is about life choices, acceptance and tolerance, with touching points including sexuality and the prison system.

The Diva will cast down little stories from Kate’s own experiences. ‘It won’t be preaching, just inviting the audience to check their pulses.’

Kate’s show, which appears as part of the Made in Canberra season of works in theatre, music, dance and opera, is a significant milestone for her. ‘I was feeling unfulfilled in my performances and wanted to use my skills to get a message out. It’s important to me on a personal level.’

Diva Sheila, The Eco Diva will show at The Street Theatre from Thu-Sat Nov 8-10 at 7:30pm. Tickets are $20-$35 + bf from thestreet.org.au.

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TEA FOR ONE chris downton A former Canadian now cosily ensconced in his home of several years just north of Byron Bay, a place he describes as ‘paradise’, JEFF MARTIN has already had an eventful year. In July, his main band, The Tea Party, played their first Australian shows for almost ten years, the packed reunion show at the Hordern Pavilion providing testament to the loyalty of the band’s fanbase in this country.

While The Tea Party are very much an ongoing concern, Martin’s imminent tour sees him paring down his extensive back-catalogue and performing the songs solo with just an acoustic guitar.

I want this to be by far the best thing The Tea Party has ever done

Given that he’s going to be on tour right throughout November and December, when I catch up with Jeff on the phone, I’m curious to know whether this is the most extensive Australian tour he’s done.

‘It’s actually more a case of making sure that I go to places I have been before,’ he explains. ‘Over the years, I’ve made lots of friends in places like Tasmania and Ballarat and I want to make sure that I go to all of these places. It’s also because this is the last time I’ll be doing a solo tour for some time – something special before the holidays and a chance to see all the old folk.

‘Then I have to go into a period of hibernation to write the songs for the new Tea Party album,’ Jeff continued. ‘We left people hanging with the live shows so we really have to deliver with the new album.

I want this to be by far the best thing The Tea Party has ever done.

We’ve just finished mixing the audio for the upcoming DVD of the Hordern show and it’s one of the best concert films I’ve ever seen, with some of the best audio. We never did a live album before and I don’t know why. We were talking about it during the symphonic tour of Canada a few years ago, but it never happened.’

Given that The Tea Party’s songs are so texturally layered, one would expect that stripping down to just guitar and voice would present its own set of challenges.

‘It’s not so difficult, actually,’ assured Jeff. ‘All Tea Party songs start with just me and the guitar. They have to pass that ‘campfire test’, you know. I don’t know how much solo stuff I’ll do in the future after this. I was thinking that it might be interesting to do a side record that shows the inception of the new Tea Party album, just me and the guitar, compared to the production extravaganza. A lot of Edges Of Twilight was written by me on my 12-string acoustic in my old house in Montreal. It would be great to have a record that highlights that side of it.’

Jeff Martin will play his solo show at The Abbey on Thursday November 15.

Tickets are $37 + bf from theabbey.com.au. Doors from 6:30pm, support act at 7:30pm.

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baz ruddick THE SAINTS have a reputation that precedes them. Hailed by many, including Nick Cave and Bob Geldof, as one of the most important things to happen to punk in the ‘70s, The Saints sit high on the pedestal of the Australian musician’s consciousness.

Inducted into the ARIA Hall of Fame and with a song (I’m Stranded) stored in the National Film & Sound Archive, The Saints are considered something of an Australian heritage band. But who knows anything about the mysterious Saints post-1979, really?

And how did these long-haired louts from Brissy survive punk and keep on going? Gearing up to come back to Australia for Homebake, founding member and Saints mainstay, Chris Bailey, spoke about who The Saints are, who The Saints were and why he has kept The Saints going strong.

liked those days and I had some great times, it is no different from now. Show business hasn’t changed. Punk rock wasn’t a miraculous wonderful time. It was the same as any other year.’

Ironically, those days in the European punk scene were probably the least ‘punk’ for The Saints. ‘Since 1980, The Saints have been independent. In those early days we were signed to a major label with a big powerful manager, very corporate. Now I often get criticised for using The Saints’ name as a money-making tool, but in fact it was that early band that people thought of as being non-conformist that was the real commercial enterprise.’ If this is the case, could it perhaps be that The Saints aren’t about money because they don’t make money? ‘That sounds so fucking depressing!’ Bailey scoffs at the suggestion. ‘The Saints do make money occasionally, but it’s not the prime motivation for [the band’s] existence.’

I wouldn’t buy a second-hand used vegetable from Bob Geldof. He may have saved Africa but he is a fucking mad Irishman and I wouldn’t believe a fucking word!

Formed in 1974 in Brisbane, the founding members of The Saints quickly outgrew popularity in Australia, finding their home among the English punk scene.

Pre-dating bands like The Clash and The Sex Pistols, The Saints established themselves with rough and ready guitars, fast-tempo drumbeats and raucous choruses. Playing alongside bands like The Ramones, The Saints found fame signing to major imprint EMI, before being dropped by the label in the late ‘70s. Since then, they have remained an independent band, coming out of the woodwork every few years to remind the world who they are.

With a constantly fluctuating band line-up (over 30 changes to date) and with Chris Bailey being the only mainstay, how is it possible that he can keep rehashing The Saints name? ‘It’s relatively easily,’ Bailey assures. ‘I am very cavalier about this.

When the teenage band split up, I kind of worked out that if I wanted to continue with pop music I would always be the guy who used to be the singer in that band. So I thought, “Fuck it, I’ll just keep The Saints’ name”. I have done lots of other things but The Saints is, and has always been, my main focus.’

With numerous other side projects, including a French band and a troubadour folk project, Bailey has always remained devoted to The Saints. ‘Is it a romantic attachment? I’m not sure. I just really like the notion of being in a rock band. The Saints have been up and down in popularity but there is a certain kind of sound that The Saints create, whoever they are – and there are a lot of us!

There is a certain sort of camaraderie that I like from time to time.’

Despite being a part of the glory days of punk, Bailey rarely muses nostalgically over the past, swearing adamantly that his favourite time as a Saint was not those days playing raucous live shows in London but the present, looking forward to the future of The Saints and what lies on the road ahead. ‘We did open for The Ramones. That was one of the first gigs we did in London. I don’t spend a lot of time reminiscing though. God no! Remember, this is show business and a lot of it is myth and bullshit. While I quite

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Unlike many of their 30-year-old band contemporaries, The Saints have gracefully and confidently reinvented themselves year after year into something new and different. ‘One of the beauties of The Saints is every time we play it’s like starting over. We have never been that famous and we have been pretty lucky to have maintained. It’s a reality that you’re only as good as your current work. Forget about that album ten years ago. If you put on a shit show then it is still shit!’

With a solid belief grounded in the reinvention of his band, Bailey takes a humble outlook, wholeheartedly rejecting blind praise of The Saints. ‘There are millions of annoying myths that go with The Saints,’ he fumes. ‘I worked out years ago I would be a much happier man if I didn’t pay too much attention to them.’ Among these myths is Bob Geldof’s famous claim that ‘rock music in the ‘70s was changed by The Sex Pistols, The Ramones and The Saints.’

‘I wouldn’t buy a second-hand used vegetable from Bob Geldof.

He may have saved Africa but he is a fucking mad Irishman and I wouldn’t believe a fucking word!’ responds Bailey, slipping into his native Irish accent. And our very own Nick Cave? ‘Similar. He is a lovely bloke and I love him and all that sort of bollocks, but whatever – his opinion.’

So where does the real truth about The Saints lie? ‘One of my favourite quotes – this is from when I was a teenager – some bloke came up to me and said, “Jesus, mate! Your band is bloody great when you’re drunk!” And I thought, “That is a compliment.” And while I don’t particularly encourage drunkenness as a rule, if you are responsibly inebriated it does enhance the listening experience.’

The Saints will rock Homebake with their new album, King of the Sun, on Saturday December 8 at 11am. Tickets are $105 + bf through Oztix, Ticketek and Moshtix.

THE GIFT THAT KEEPS GIVING melissa wellham THE MUSICAL OFFERING is yet another initiative taking place next year as part of the Centenary of Canberra, to celebrate our city’s 100th anniversary. What is the offering? A musical performance somewhere in Canberra, every day of the year. That’s right. Every.

Single. Day.

In a time when we’re celebrating, being musical in our celebrations is really important – it brings us together

Don Aitkin, former Vice Chancellor of the University of Canberra and the President of Pro Musica, is the driving force behind the event. ‘Every day throughout the year, some musicians, somewhere, will provide music for people. And it will usually be where the people are, so the musicians will come to the people, rather than the people going to the musician. The initiative will be continuing the Canberra tradition of performances in public spaces. The performances will take place mostly in shopping centres, hospitals, outside government departments – wherever people work, play, or even just mill around.’

Some of the performances will be hosted in more isolated locations such as halls, but for these performances, buses will be organised to take residents of retirement homes there so that they can experience the music too. ‘One of our earliest performances in January will be exactly like that,’ explains Don. Exactly what types of music can people expect to see? ‘Expect to hear, rather!’ Don corrects. The performers will be selected to appeal to a wide variety of tastes. There will be acoustic singer-songwriters, choirs, indie rockers, opera singers, school bands, ska-punk bands and more. ‘Just about everything. Except for heavy metal – no music that requires a mosh pit and 3000 watts of power. We won’t be doing that – it will be of a smaller scale.’ These performers are also donating their services to the initiative; the whole project is entirely volunteer-run.

‘The musicians are Canberra people, and they’re giving their time and their music gratis; it’s their offering to the Centenary.’

Don is able to wax lyrical (although he doesn’t actually sing) about why celebrating with music is so important during the Centenary.

‘One of the things about human beings is that everyone is musical.

We all have tunes – we whistle, we hum, we sing. It’s just one of the ways in which we connect with each other. So of course in a time when we’re celebrating, being musical in our celebrations is really important – it brings us together.’ As The Musical Offering proves, there is a wealth of performers in Canberra, and Don doesn’t believe that there’s ‘nothing going on’ here. ‘Canberra is a very musical city. I would argue that there’s just as much going on in Canberra as there is in Adelaide, which is three times larger. It’s a very lively place here.’

365 days of music? Next year, Canberra will be offering up some lively entertainment indeed.

The Musical Offering is still looking for both performers and supporters. To get involved, contact Don Aitkin at donaitkin@grapevine.com.au.

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There is very little holding people back except influence from your peers

an industrial collapse, like Detroit. A city that is half-abandoned is quite bizarre, but definitely makes for some interesting sights and stories. The economy definitely affects the culture of the arts in America – it is definitely different!’

JUST ADD WATER baz ruddick Anyone who has seen BARONS OF TANG live will attest to the fact that their music is not only eclectic and unique, but conducive to the craziest, filthiest, sweatiest dance floor on the planet. With a reputation that precedes them and a sound that can only be described as gypsy punk, the seven-piece Melbourne band have established themselves as a must-see live act. With a ragtag troubadour demeanour (horns, strings and percussion in tow) the Barons are setting out once again this November on tour. I spoke to Julian about their recent US adventures, the dire economic situation and their distinct sound.

Well-seasoned tourers, Barons of Tang (named after the powdered drink) recently made criss-cross tracks across North America before playing a string of European summer festival dates. With show bookings appearing a little more difficult than usual, the band found themselves embarking on a tour of the underground squat culture.

‘It was very punk rock – squats, basements, collectives. The craziest venue we played was this place in Minneapolis that’s a squatted gas station. There are all these amazing places where there has been

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Having initially played together for a six-week theatre show in Adelaide, Barons of Tang decided to continue the ‘sonic experiment’ upon returning to Melbourne. ‘We never really thought that anyone would actually want to hear our music. We were just doing it for kicks because we had never gone down that avenue before. So we started gigging around and straight away there was an overwhelmingly positive reaction. About a year later we thought maybe we should take it seriously and started booking tours properly.’

With a transitional sound, the Barons’ drawcard is their ability to seamlessly shift their sound from jazz to punk to gypsy to metal – all in the space of a seven-minute track. ‘There are a lot of bands thinking out of the box now. Most genres are so splintered and there is very little holding people back except influence from your peers. You can just take anything anywhere you want to go really. It’s kind of nice people are more open-minded now.’

Primarily a live band, Barons of Tang play loud, fast and all over the place, feeding off the eclectic and exciting energy of their fans. ‘That is what we aim for – a good time. There is something a bit louder and a bit trashier for people who are into that, but there is also definitely a strong melodic backbone with Eastern European and traditional modes of music. It is kind of nice because we can draw in opposing audiences to the same gig.’

Barons of Tang play The Phoenix Bar on Sunday November 11 at 8pm.

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DANCE THE DROP

Scores of venues across the territory are nurturing a prosaic breed: the jukebox DJ. Their generic playlists dilute the soul of modern electronic artistry and, although each spin of Titanium, Gangnam Style and Levels slowly chomps away at their dignity like a fat kid stuck in a Twinkie factory, they still turn up each week with the same hen’s party soundtrack stuck on repeat. I applaud those club owners, promoters and DJs who choose to live outside the mainstream cage, slowly chipping away at communist music policies and promoting a healthier and more vibrant local dance music scene for us all.

My favourite local ‘outside the box’ venue is definitely Trinity Bar. November is kicking off with a slew of cracking events, including their liver-destroying Melbourne Cup after-party, featuring glitter house guru Goldroom (USA) alongside Offtapia on Tuesday November 6, electronica legend Shigeto (USA) on Wednesday November 7 and D&B/dubstep producer DJ Madd (UK) on the Friday November 23.

That’s more genres than you can poke a USB stick at.

Academy is another fine purveyor of variety, with psytrance, hip hop and house all headlining the club in the past few months. The main room is set to host a number of huge events in the coming weeks, including trance don tyDi on Friday November 9, TV Rocker Grant Smilie doing his solo thing on Saturday November 10, and the inherently messy SIC Foam Party on Friday November 16.

I’m sad to say that, true to our unfortunate Canberra tradition, we have lost another one of our fine exports in Peking Duk. The lads have Duk’d off to bigger things in Sydney, where they have just been announced as one of the Chinese Laundry’s newest residents.

Godspeed, you crazy Mexican putos!

Today’s Drop Top 5 is brought to you by festival favourite Offtapia.

You can catch him soundtracking your chemical downfall at Foreshore Festival and Field Day this summer.

Major Lazer – Get Free feat. Amber (What So Not Remix) [Mad Decent/Downtown] – AUSTRALIAN REMIX OF THE YEAR!! That’s what I think of this tune. Whenever I have played this, it gets such an amazing response.

Sub Focus – Tidal Wave (Shadow Child Remix) [Ram Records] – I was totally stunned when I found out Shadow Child was actually Dave Spoon. I’m so keen to see what is coming for him in the next year.

Todd Terje – Inspector Norse (Original Mix) [Smalltown Records] – Todd Terje... What can I say? This is the funkiest of funk! With a dash of disco, a hint of house and plenty of happy sex appeal.

Flight Facilities – With You feat. Grovesnor (Original Mix) [Future Classic] – When I first heard With You, I was honestly captivated by the vocals. At the time I had just become a single man so I guess I could half relate to the song and the message in it.

Skrillex & Damien ‘Jr. Gong’ Marley – Make It Bun Dem (Brodinski Remix) [OWSLA/Big Beat] – I thought I might add one of my favourite techno BANGERS! Brodinski has been owning shit this year.

TIM GALVIN tim.galvin@live.com.au

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JADE FOSBERRY Who could possibly fuse the bootylicious beats of Destiny’s Child with Nirvana’s Smells Like Teen Spirit? Or take a Chemical Brothers classic and actually add to it? Hey girl, hey boy, 2MANYDJS, that’s who. The Belgian brothers, Stephen and David Dewaele, were initially known for their mashups, meshing the most unlikely songs to create musical masterpieces.

one of their sets you’d assume dance and electronic music was their bread and butter, as they seem so connected to the music they’re playing. But as far as Stephen is concerned, they actually associate themselves a lot more with the rock world.

I don’t know what we can expect from Canberra, but I think the goal will have to be to get as many people naked on stage, dancing around us.

That will make it legendary

However, they’re now known for much more, including their killer remixes of tracks from artists as varied as our very own pop princess, Kylie Minogue, to electro kings, LCD Soundsystem. They also casually make up half of Belgian alt-rock four-piece, Soulwax.

Many may wonder how the two brothers started out and, perhaps more importantly, how they have been able to stay relevant and successful 12 years after creating the 2manydjs name.

According to Stephen, it helped that they were pretty much born into a world of music. ‘We grew up amongst thousands of records because my dad was a radio and TV DJ. So I think for us, music has always been around. As kids, we went to gigs and music’s always been very much a part of our lives, so it’s not unusual that we ended up doing something with it.’

What is unusual is that the brothers not only took on and took over the electro world, but were able to do so while still making some seriously incredible rock tunes. As Stephen explains, their 2manydjs and Soulwax worlds are interdependent.

‘I think we’ve always fused Soulwax and 2manydjs and I think one influences the other, always. I’ve noticed that without a Soulwax record there’s never really gonna be us DJing. Without Soulwax we would have never made any remixes or ended up DJing, because when we played live we were bored and that’s how we started DJing. So a lot of stuff, even the Radio Soulwax thing that we did, is kind of a reaction to 2manydjs. It always comes down to the band.’ It takes some serious skill to slip from rock to electro but the pair manage to do it seamlessly, interconnecting the two worlds without detracting from either.

With a consistently reliable formula that not even the DJs themselves can fully understand, the duo have no plans to ditch their method. ‘It’s hard to explain. It’s a weird dynamic but for some reason it seems to work. So yeah, we’ll stick with it.’

Listening to a 2manydjs track, remix or mash-up, it’s easy to forget that they are actually rock ‘n’ rollers at heart. If you’ve ever seen

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‘I think the thing with 2manydjs is that we’re rock kids – we’re in bands – so for me, I’ve always felt a little bit like an outsider in this whole dance scene.’

Although they relate much more to rock, it’s clear their love for dance and electronic music can’t be contested.

‘There’s still a lot of electronic music that doesn’t touch me at all, that’s completely indulgent, I think. But there’s also stuff that just blows my mind and makes me really happy. It’s an art form, electronic music. It’s always been looked down on because it was always seen as computer music.

But I’m really happy that a lot of young kids start out listening to Daft Punk or start with Kraftwerk or anything like that because something always comes out of it.’

Because of the sweeping span of their musical tastes, it’s interesting to hear what music Stephen currently has on high rotation. A particularly pleasant surprise is his appreciation of our very own Tame Impala.

‘I think they’re amazing. Something about his voice and the songs he writes. It’s rare that I listen to dance or electronic music that really blows my mind. I do feel even if music’s played on a synthesizer or a guitar or anything like that, I think you can make people dance with just a drum and a guitar or with a synth or with something made on a computer. It’s about the emotion of the song and whatever it is you’re making.’

The emotional connection they make to the music is clearly evident. From Soulwax to 2manydjs, the boys really have the Midas touch with everything they work on. And it’s something we’ll have the chance to witness live very soon.

The brothers have trekked across our lovely country but are yet to visit the capital. So what do they anticipate in their first visit?

‘I don’t know what we can expect from Canberra, but I think the goal will have to be to get as many people naked on stage, dancing around us. That will make it legendary.’

2manydjs play Trinity Bar on Thursday November 29, 8pm, with Offtapia, Eldred, Ladybones Djs, U-Khan (SYD) and Shaolin vs.

Skinny. Tickets are $37 + bf through Moshtix or $40 on the door.

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THE REALNESS Workaholics Dialect & Despair have just released their second fulllength album, Self Evident, and it’s 100% quality all the way. The duo have lovingly crafted music which pays homage to that classic New York hip hop sound, inspired by their recent trip to the famous city.

Despair’s production style is heavily sample-based and reaps the reward of creative crate-digging, and Dialect’s impeccable flow and delivery is both inspiring and engaging. The album features Vordul Mega, Total Eclipse, Beneficence, Melanie Rutherford, Malanin9, S.I.T.H, Majestic Gage and D Flow. This is pure, universal hip hop music that cannot simply be coined as ‘local’ or ‘Australian’ and is one of the best hip hop albums of the year.

West Australian producer Kid Tsunami has spent the last four years working on his new album, The Chase, and the guest list alone is testament to his grind. The album features Kool Keith, Sean Price, Prince Po, O.C., Masta Ace, Sadat X, J-Live, Craig G, MF Doom, KRSOne, Jeru The Damaja and more. It’s available now, so get on that.

It is a pleasure to have Sean Price back with another solo album, in which he informs you that he will beat-wack chumps down and generally cause disarray with his silverback gorilla-like flow. His new record on Duck Down, Mike Tyson, features another classic Sean P album cover and comes complete with ridiculously nice beats from the likes of The Alchemist, Eric G, 9th Wonder, Khrysis, Evidence, DJ Babu, Beat Butcha and more. P has enlisted like-minded foot soldiers Ruste Juxx, Ill Bill, Pharoahe Monch, Torae and Buckshot to join him on the mic. Sean is also featured on the latest album from the ever-underrated Roc Marciano. Roc’s new record, Marcberg, is out now through Fat Beats. The album comes with a previously unreleased bonus track and full instrumentals. Like a baws.

Hip hop veteran Craig G seems to have come to grips with his elderly statesman status in the game, entitling his latest album Ramblings of an Angry Old Man. The new album on Soulspazm is current on the production tip with selections from Marco Polo, Jake One, K-Salaam & Beatnik, Da Beatminerz and more. Craig’s mates Mr Cheeks, Devin The Dude, Styles P, Big Pooh and Sadat X show up for them guest raps.

After it took so long for poor Saigon’s The Greatest Story Never Told album to finally drop in 2011after languishing in label hell for a few years, it is great to see him follow it up so quickly with the second chapter, Bread & Circuses. Credit to Just Blaze and his Suburban Noize imprint for backing Saigon all the way. The new record features beats from Just Blaze, Shuko Clev Trev and Rich Kid. Guest appearances include Styles P, Marsha Ambrosius, Lecrae, Chamillionaire and Sticman.

Brainfeeder keep the releases coming in 2012 with the sophomore album from Berlin-based My Dry Wet Mess. His album Stereo Typing is due Tuesday November 13 and features a mixture of sampled recordings and live instrumentation, with the aim to frame the album ‘like a story’. It’s a family affair with Dad showing up on guitar duties.

To hear music from all these releases and more tune to The Antidote on 2XX 98.3FM every Tuesday night from 9:30pm.

ROSHAMBO AKA CED NADA roshambizzle@yahoo.com.au

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METALISE As hinted in a previous column, the almighty root of heavy metal itself, Black Sabbath, has confirmed a run of shows for Australia in April and May next year. The Darkness Descending tour will cover Brisbane, Sydney, Melbourne and Perth, with the Sydney show to be held at Allphones Arena on Saturday April 27. Tickets go on sale Thursday November 8. Don’t miss out!

My colleague, Mr Scott Adams, is among many who will no doubt be excited at the prospect of seeing the equally classic Deep Purple tour with Journey in early March 2012, with a Sydney date set for Saturday March 2 at The Entertainment Centre.

Finally, the weekend arrives for the biggest two days’ worth of Aussie metal to hit The Basement in the form of Bastardfest. This Friday November 9 features Blood Duster, I Exist, Aeon of Horus, King Parrot, The Reverend Jesse Custer, Daemon Foetal Harvest, Futility and Alice Through the Windshield Glass. Saturday November 10 is equally monstrous with Psycroptic, Voyager, Captain Cleanoff, Disentomb, Aversions Crown, Mytile Vey Lorth, Desecrator, House Of Thumbs, Descending Upon Eden and our own sludgsters Law of the Tongue. It’s a ridiculously huge line-up of talent from across the country and you just gotta come along – no matter what your taste in heavy music, Bastardfest has you covered.

Plenty of press and hullaballoo has surrounded the release of the non-album by Melbourne’s longtime grind fiends Blood Duster, with the new KVlt album doing what I hinted at when first writing about the release – that is, ‘piss a lot of people off’.

Boy, was that an understatement, based on the ten-plus pages of comments that accompany the video of bassist Jason PC ‘unmaking’ the vinyl master on YouTube (search ‘Blood Duster Destroy Vinyl’).

If you missed it, the 14-track album master was taken to with a scalpel and had ‘KVlt’ scratched into the surface, rendering about a year’s worth of effort in creating the record null and void.

The media attention has centred around the fact that the non-album release was a reaction to music downloading – a point that Jason expanded on when talking on triple j’s Racket, stating, ‘If people are just going to download our shit anyway, then we’ll have the album process for ourselves.’ I’d suggest it’s more an idea spawned from humour than any sweeping statement against the music industry, but the reactions have been pretty priceless nonetheless.

All is not lost with the five-track SVck EP, demonstrating what you may have heard had the master not had giant rivulets of acetate carved out of it.

You can check that on iTunes and through various electronic sources.

It features the first recorded works with Psycroptic drummer Dave Haley on the skins. Some absolute bangers too, as demonstrated on the live shows throughout the Bastardfest tour so far.

Don’t forget to check out cacophemisms.blogspot.com.au for the latest recommendations from the warped mind of Unkle K. JOSH NIXON doomtildeath@hotmail.com

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E X H I B I T I O N I S T

A MARRIAGE OF INCONVENIENCE Ben hermann Toby Truslove has been making some wardrobe alterations. Just under a month into the Belvoir Street Theatre’s seven-week sold out season of Noel Coward’s iconic play PRIVATE LIVES, Truslove has broken his foot. Aside from having his mobility significantly impeded during a brilliant Sydney spring, a number of scenes have required some moulding. ‘There’s a fight scene and some chasing. They don’t really work with a broken foot,’ he says. ‘So we changed it around a bit and did some blocking. I now have a car at one point and a cane. My cast is quite big, though. It’s like a moon boot. I look a bit like Iron Man. Or at least the leg part.’

Truslove plays Victor in Coward’s classic romp about two divorcees who re-marry and, by accident, end up staying at the same hotel during their respective honeymoons. The play’s pace, acerbic wit and subject matter of divorce – which although becoming less taboo over time has simultaneously become more relevant and relatable – has made it a beloved comedy since its premiere in 1930, remaining one of Coward’s most well-known and favoured pieces. Truslove’s character, Victor, is the new husband of Amanda, who has recently been divorced from Elyot, who himself is now re-married to Sybil.

Coward famously wrote the parts of the two divorcees (Elyot and Amanda) for himself and Gertrude Lawrence, leaving Victor and Sybil as almost minor characters. Nonetheless, the role of Victor has been played by a slew of renowned actors, including Laurence Olivier in the original production.

‘I’m not sure if there are recordings of that production, but I think it would freak me out to see Lawrence in a role I’m preparing for.

Coward gave himself all the best lines, so the actors playing Victor have always had to bring their own strength to the character,’ Truslove explains. ‘There are lots of stories about Laurence telling Coward that he needed to give Victor more funny lines. But everyone can relate to or identify with Victor a bit. He’s a sweetheart. A guy who’s in love with someone who is out of his league and he knows it. He knows he’s done well for himself but he knows the relationship is probably doomed.’

The production usually gives directors and wardrobe and set designers a great opportunity to indulge in bold ‘30s fashions and interior design, yet Ralph Myers (in his first directing role since becoming Artistic Director at Belvoir) has taken a minimalist approach to the play, encouraging the actors and audience to focus on the dialogue without being distracted by clothing, sets and props.

‘I read it in school and I remember it being such a terribly British play,’ says Truslove, ‘so it was interesting to come to the rehearsal room and

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to be told we’re going to strip it right back to see what’s at the heart of the play and what the words say. “No nice jackets, no cigarettes. None of that,” Ralph said. “We’re going to do it like no one else has done.

It’s going to be the raw material. Just words to make it come to life,”’ Truslove recalls.

Myers became Belvoir’s Artistic Director in 2009 at the tender age of 30, stepping into the prestigious and rather large shoes of the acclaimed Neil Armfield. His age, together with his background in design rather than directing, meant his appointment sparked much controversy and attention throughout Sydney’s theatre scene.

Now in the director’s chair, Truslove suggests Myers was itching to sink his teeth into a production and, in a sense, address his critics.

‘He was excited and nervous in equal parts because there was a sense that people were lining up to take a shot at him,’ Truslove recalls. ‘We read it through for about a day and Ralph then just said, “Let’s start acting it out. Let’s get off our arses and start doing it!” You could see him aching to get into it and that comes out in the play. He had a particular vision of what he wanted and he’s pulled it off brilliantly.

Everyone loves it. Even the die-hard Coward fans who have seen it a hundred times and who love all the British pomp that goes along with it – they love it.’

Yet despite the play’s age and notoriety among theatre fans, Truslove admits the cast and crew are never able to predict, night-to-night, the audience’s reaction to different lines or jokes.

‘It’s a weird magic,’ he explains. ‘You try to figure it out and point to what the audience will do and sometimes you think, “This is a cracker of a line” and then no one will laugh. Then they’ll laugh at a different line and you just think, “Really? You thought that was funny?” It’s the biggest mistake to make. As soon as you plan for a moment to receive laughter, that’s when they won’t laugh.’

While the audience’s sense of humour may be difficult to predict, Truslove agrees that soaring divorce rates have made the play more relevant as time has passed. ‘To me, these characters are very modern,’ he suggests. ‘Elyot and Amanda, they’re incredibly contemporary and recognisable characters. The way they relate and their attitudes to marriage; they’re very brave and very modern.’

Belvoir’s Private Lives is on at the Canberra Theatre Centre from Wed Nov 21- Sat Nov 24 at 8pm (Saturday November 24 matinee also at 2pm). Tickets range from $39-$73 + bf and are available from canberratheatrecentre.com.au.

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PAINTING TO A DIFFERENT TOON karen radford ‘One of the reasons I have pursued a cartoon-like style is the energy efficiency and material-saving inherent in cartooning. For example, the average cartoon hand has three fingers, not four.’ That’s a taste of the rye humour running deep in the work of Canberra painter, drawer and sculptor, STEVE ROPER. Working in the artistic home of humour, the cartoon, Roper proudly takes inspiration from the likes of Michael Leunig and Reg Mombassa. ‘Critics and artists often see humour in art as light or commercial. On the other hand, as Mark Twain said, “humour is tragedy plus time”, or as comedian Frank Woodley has said, “humour works by tapping into our fears and anxieties”,’ he explains.

That’s You in the Corner! is Steve Roper’s fifth exhibition in the region for 2012 and the opportunity to show at The Front Gallery and Café tops off a big year. ‘The Front is a major music venue and a lot of the work is related to making or enjoying music in some way.

I’m excited to see it in a very public venue like this, where my work is visible from the street.’

That’s You in the Corner! is the product of Roper’s reflective internal rambling, but the collection makes a strong connection with the viewer. ‘It’s because they are personal,’ Roper says. ‘People love them or hate them, I find. One of the great things about exhibiting this work is seeing the enjoyment and connection people can get out of it. Many people recognise the behaviour and attitudes of their loved ones – and maybe also their appearance.’

Reflecting on his style and the art he wants to make, Roper says, ‘I like to remember what John Olsen said about contemporary artist Tracy Emin: “There’s no nourishment in this style of art that compels you to linger longer and keep looking at it and return again and again to discover something profound.” ’ That’s You in the Corner! will indeed leave you lingering, but for different reasons. There’s intense use of colour in Roper’s painted works, making for incredibly bright and fun scenes. The sculpture pieces – doubling as garden gnomes – are also rich in colour, but less intense, and are playful, endearing and lovable. Roper’s works convey themes of music, relationships, disconnection, self-absorption and egotism. And the cartoon-like characters he creates through painting and sculpture tell these stories with their own unique voices. ‘These works reflect my longstanding interest in colour and line. Lately I have started to bring tonal qualities into my work, reflecting my respect for a lot of great tonal artists.’ All are welcome to meet the quirky artist and take in the works of That’s You in the Corner! at the opening night on Thursday November 8 at 6pm.

Steve Roper’s That’s You in the Corner! shows at The Front Café and Gallery, Thursday November 8-Friday November 19. Free entry.

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IN REVIEW

Commit No Nuisance Live Art Battle La De Da Bar Friday October 19 A live art battle of epic proportion and endurance took place above the ground at La De Da Bar in Belconnen, where two teams of artists worked within a 90-minute timeframe to fill their two-by-two-metre canvases. Abyss, Jess Mess and Zedar worked together and took out the title, while JRB, Walrus and Micha combined their creative forces and produced an intricate story through the lines of markers.

The result was two incredible and dramatically different canvases that were judged (through a token system) by the dedicated audience, who barely took their eyes off the action.

Organised by the creative collective known as Commit No Nuisance, this was the second live art battle to take place in Canberra. Commit No Nuisance is pushing creativity in Canberra, and the owner of La De Da generously supports these battles. Due to kick off at 9:30pm, the crowd eagerly huddled in and waited almost half an hour for the battle to begin. Party By Jake DJs set the mood for the evening as each team took to their canvases.

On the other canvas, one of JRB’s cartoon creations was constructed from bold, perfectly formed lines. The figure ripped apart his stomach and exposed Micha’s seductive wolf-like female encased within the ribcage of the friendly beast, whose eyes were bulging and tongue was wagging, its heart hanging by a thin thread from one of the creature’s ribs. The trio was rounded off with Walrus’s signature spiralling psychedelic dreamlike eyes and swirls, which consumed the canvas, reflecting silver and black. These artists achieved a detail and precision that was enthralling to watch.

Each team worked to the final minute with a dedicated and enraptured audience supporting them. Although Abyss, Jess Mess and Zedar took out the title of winner with their paint and colourfilled canvas, the competition seemed more like a match between friends. The battle was beyond fascinating, each artist climbing over one another to work their way across the canvas.

Keep an eye out for the next instalment of these live art battles; Commit No Nuisance has big dreams.

Katrina Osborne

Working side-by-side, Jess Mess’s evocative nude female forms not only took shape as a mural on the wall of La De Da but also emerged out of the canvas. With her back to one of Abyss’s unique ‘Seers’ – the figures now ubiquitous throughout the Canberra landscape, this one cheekily poking its tongue out to the audience – Mess’s figure donned an impressive feathered tribal headdress atop flowing, deep red mermaid hair. Zedar’s female profile flanked the other side of the canvas, her hair twisting up into the body of the work, complimenting the team’s dynamic and delicate fine lines that had a tattoo-esque graffiti edge.

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ELK IN THE HEADLIGHTS katrina osborne Have you ever walked through the city and seen the eyes of strange characters peering out of the concrete garden edging? The artist responsible for these curious, intricately created spectators is Luke Cornish, aka E.L.K. Luke has come a long way from his commissions in Canberra and is now located in Melbourne, where he has hit the ground running and given the contemporary art world a lot to think about. Many of Luke’s works deal with social commentary, from a crucified Jesus donning a crown of thorns and gas mask to a portrait of Father Bob (the Catholic Priest that most of us know from triple j) that was a finalist for this year’s Archibald Prize.

Luke specialises in stencil art, a process today associated with the street, which involves creating a stencil image on acetate that is then cut out and transferred to a surface via spray paint. ‘What attracts me to the process is the problem-solving technique. I’m looking at a highly intricate image wondering, “How the fuck am I supposed to make a stencil out of that?” Actually sitting down and figuring it out is what drew me to it.’

Although Luke grew up in Canberra, he says, ‘Melbourne was creatively the best thing I could have done,’ and this couldn’t be truer. No longer pigeonholed as just a street artist, Luke’s work is now seen in a fine art context, giving his practice and technique the credit and respect it deserves. ‘I can’t do what I do on the street.

It’s just not viable to spend 200 hours making a piece, then three days painting it on the street for some fucking kid to come spray paint over it. There is just no point when I can sell it in a gallery.’ Luke is an honest guy with a practice that transcends the street and seamlessly fits into the gallery environment. Street art in a fine art gallery is something that Luke is all for, and is a concept in which he is leading the way.

Luke is moving towards exploring portraiture further. His portrait of Father Bob was not only the first stencil in the history of the Archibald Prize, Luke was also the first street artist ever to be included in the award. The portraits he creates are not only hyperrealistic but, through the process of stencils and spray paint, take on an enigmatic, iconic state. Luke is currently working on a portrait of actor and musician Jack Charles and has been talking to Gotye about preserving him in portrait form sometime next year.

If you’re in Melbourne check out Luke’s solo exhibition, Not With It, at the Metro Gallery from Monday November 12, which will be officially opened on Wednesday November 14 by Father Bob himself.

Luke’s work will be on display at Canberra City Framing Gallery as part of the Wall to Canvas exhibition from Sat Nov 10-Sat Dec 1.

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IN REVIEW Paul Kelly: Stories of Me Canberra Theatre Friday November 2

‘I didn’t set out to make a hagiography, that’s not what I wanted to do, and I think we made a great film’ says Ian Darling, director of the Paul Kelly biographical documentary, Stories of Me. But he kind of did. This is a film for Paul Kelly fans and while he’s not portrayed quite as a saint, it’s close.

Stories of Me is an ‘intimate portrait of Paul Kelly’ – a glimpse into his very private world – and a glimpse into the adoration his family, friends and peers have for him. Adoration the hundreds of fans that came along to see the film and short performance as part of the Canberra International Film Festival last Friday night share.

It’s a wonderful 95 minutes of Paul Kelly, where the viewer gets to know him a little bit better, but if you weren’t already a fan it might become boring. Stories of Me features rare and beautiful archival footage, never-before-seen live performances, and many interviews with Kelly’s family members, former and current band members, music contemporaries and friends.

It’s a bit of a love fest and for the most part that’s okay.

But it is a shame the film didn’t dig deeper into Kelly’s 20-something-year liaison with heroin. It’s mentioned but mostly brushed over, and the crowd is left none-thewiser about the effects of that time.

briefly about the decision to make the film and giving the filmmakers absolute control: ‘It was hard to do, but it wouldn’t be an interesting film if I hadn’t ‘.

‘What I learnt from the film was how much I was influenced by Adam Ant. Did you see those earrings?’ he asks the doting crowd. ‘Well, everyone looked like Adam Ant in the ‘80s.’

Kelly played three songs from his new 19th studio album, Spring and Fall : When a Woman Loves a Man from the spring, Cold as Canada from the fall, and the final song of the album, Little Aches and Pains.

Kelly continues to talk to the crowd in the short performance, sharing that when he and his seven siblings now get together they have a five-minute limit on complaining about their aches and pains.

The ageing crowd loves it. After the three songs Kelly bids the crowd farewell and the director, Ian Darling, and Canberra International Film Festival’s artistic director, Simon Weaving, take the stage for a question and answer on the film. A nice part of any film festival, but a bit of an anti-climax for the full theatre. The crowd was left wanting a bit more Paul Kelly – perhaps he’ll come back for one more song? – but alas, no, three songs was all we got.

KAREN RADFORD

There’s a wonderful dissection of his song, Blues for Skip, ostensibly a simple twelve-liner about writer’s block, but it connects deeply with people about drug addiction, drought or broken relationships. Open to interpretation and a brilliant example of his songwriting and storytelling talent – whether it’s his or someone else’s story.

The film pays testament to Kelly’s almost 40 years and over 350 songs in the business and the incredible contribution he has made to the Australian landscape and its people. The repeated use of Kelly’s handwritten lyrics throughout the film help make it personal and give the viewer another insight to his art. While the crowd is applauding the film as the credits roll on the big screen, Paul Kelly quietly and humbly slips onto stage. He stands alone with his guitar and talks

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Since these early ABC days, Denise has had a go at breakfast radio and appeared on The Glass House, Good News Week and The Circle – the latter of which she recalls particularly fondly. ‘It was a bit daggy with the infomercials, but it was great because you could say anything you wanted. I’m sorry it’s gone as it was the least constrained TV experience I ever had.’

Denise was a regular on Spicks and Specks and appeared in a team with her son, singer Jordie Lane. She doesn’t rate her musical knowledge highly, but thankfully it isn’t always about what you know.

REGRETS? I’VE HAD A FEW... rory mccartney It’s funny how comedians seem to tour Canberra in waves. 2012 has proven to be the year for visits from performers from the groundbreaking ABC skit show, The Big Gig; after hosting two exmembers of The Doug Anthony All Stars, it’s now DENISE SCOTT’s turn. With a 30-year comedic history, it all traces back to beginning as a clown in a regional Albury theatre group, through which she met her future partner, John Lane. ‘There we were: two clowns falling in love, with big shoes and honking horns.’

While The Big Gig was her first TV show, it did not kick her career off in the same way it did for Jean Kitson or the All Stars; she spent every week vomiting with nerves, too terrified to enjoy the experience. Nevertheless, she attests, ‘It was a great show, as it gave inexperienced comics an airing in a way you don’t get anymore.’

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‘It just goes to prove you can succeed in a musical quiz show with no knowledge and lots of personality,’ Denise explains, adding, ‘Jordie sang at the end of one show and people thought I cried – but I didn’t really!’ Spicks and Specks marked the start of bigger things for Denise, as it made her a lot more recognisable to many more people. She now stars in the drama series, Winners and Losers, in a particularly emotionally demanding role. Denise felt a bit of a goose at first, pretending to care about silly things on camera, but happily states, ‘Now I’ve progressed to the stage where I can even cry without having to use a tear stick.’

Denise brings Regrets – which won the Melbourne International Comedy Festival Directors’ Choice Award – to Canberra in her first ever solo show here. It’s a ‘what if?’ tale about the strange synchronicity of life events. Included is an anecdote involving a boy she didn’t shag when she was 16, who weirdly came back into her life 40 years later at her stand-up comedy gig at a chook show.

‘It’s a true story!’ she assures. ‘I have no imagination and am no good at making stuff up. But that’s all I’m saying – the rest is a secret for the show.’

Denise Scott presents Regrets at Canberra Theatre at 7:30pm on Saturday November 17. Tickets are $45 +bf from canberratheatrecentre.com.au.

LITERATURE IN REVIEW 50 Shades of Grey

By E.L. James [Vintage Books; 2011]

Someday, somebody will figure out exactly what perfect trifecta of luck, timing and marketing it took to get this pile of rubbish to the top of the NYT bestseller list – and that person will become very, very rich.

This book is stupid and bad and pointless, and whenever I see people reading it on the bus I want to tear it from their hands and shout, ‘Don’t settle for this! You deserve better! You can get really good porn online with no shame!’ so whatever black magic it took to make it a runaway success must be really damn potent.

Yes, I subjected myself to this book. And though I was braced for it, the sheer mediocrity of it still managed to bore me to tears.

And the suggestion that Christian Grey only engages in these lewd acts due to some deep trauma in his past from which the love of a good woman must heal him is about eight different things that are the opposite of hot.

Perhaps I just have rarefied taste in erotica. But seriously, with the amount of decentquality porn online there is no reason anybody should read this book. emma grist

It was so poorly conceived and written that it barely even managed to be offensive, despite the blatant threads of abuse and basic misunderstanding of BDSM around which the chief ‘romance’ is built.

Like its predecessor and inspiration, Twilight, 50 Shades features a naive everywoman, Anastasia Steele, who becomes entranced with a magnetic, mysterious older man.

In Twilight, he’s a vampire who sparkles in the sun. In 50 Shades, he’s a business magnate with a taste for domination and sadism.

Both of them are controlling arseholes who treat women like dolls. That both ‘heroines’ are basically written as dolls with whom the audience can identify doesn’t actually make it better.

Gosh, it’s hard to enjoy a romance when you hate both parties involved.

And of course, there’s the kink. The book is advertised as if it’s the last bastion of naughtiness, but, despite multiple scenes of bondage, whipping, domination and the use of sex toys, it reads rather drily; kinky for the sake of scoring kinky points.

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IN REVIEW Bill Bailey: Qualmpeddler Royal Theatre Saturday September 1

I was supposed to appear on a prominent talk show to discuss birth control tonight, but I pulled out at the last second. So I decided to nerdrage about a subject very dear to my heart. Earlier this week, Disney purchased Lucasfilm for FOUR GODDAMNED BILLION DOLLARS, a deal which gave them creative control over one of the most beloved franchises ever – Star Wars. There was a time, back in 1999 B.P. (Before Prequels) when the world was on the cusp of Y2K hysteria, which of course was the Millennium Falcon bug, and Star Wars was considered to be pretty fuckawesome. The original trilogy was one of the greatest achievements ever committed to celluloid, incestuous subplots aside, and pioneered advances in special effects that were unparalleled at the time... In short, it was awesome sauce with a sprinkling of gnarly salt.

But, from the depths of his Skywalker Ranch rape dungeon, lumberjack-shirted, bullfrog-necked George Lucas was planning to expose the franchise’s naked, quivering buttocks and forcibly penetrate it with a broom handle covered in razor blades for the better part of the next 15 years. Firstly, Lucas bastardised the saga with Episode 1 – The Phantom Menace; fans were confronted with a visual muffinload of dogwank where ‘The Force’ was turned into a form of Space-Aids (Midi-chlorians, damn you to hell!), Anakin was an adorable little blonde moppet spawned via immaculate conception, like a Moon-Jesus whose voice would eventually become that of an old, black man who voiced a lion once, and Jar-Jar Binks... Fuckin’ rabbit-salamander-looking motherfucker.

Lucas constantly tweaked the original episodes to the point where they were unrecognisable and then flat out refused to release the original iterations on Blu-ray or DVD. When I want to improve something – say, a sandwich – I’ll add some salami, maybe some jalapeños, possibly an extra level if I’m feeling daring. What I wouldn’t do is drive a shit-covered stick through the centre of it and pronounce that it now comes with ‘100 percent more shitty stick!’

Lucas should’ve adhered to this mentality and escaped years of his fans’ wrath rather than releasing two further episodes that he clearly made up as he went along.

Now that the sale to Disney has gone through, fans seem to be asking Alderaan questions. Can Disney really ruin the franchise any more than Lucas himself has? This is a man who once allowed N-Sync to film a small background cameo appearance in Star Wars: Episode 2 - Electric Boogaloo, in order to satisfy his daughters.

Now that Disney is running things it doesn’t necessarily mean that the new trilogy will star the Jonas Brothers and Selena Gomez, or be some bizarre mash up like The Princess Leia Diaries or The Emperor’s New Groove, starring Emperor Palpatine. Heck, we may even get a chance for a Blu-ray release of the original episodes. I hope that they at least make the new trilogy appear to have been filmed in the ‘60s so my kids are super confused when they watch the series in sequential order.

So, for raping my childhood, on a scale of One to Cunt, George Lucas resides at the upper end of the spectrum. Do I want George Lucas to give me a blow job with a mouthful of pop rocks so my dick can feel like a sparkler? Possibly. Do I want to return to a world where Star Wars is once again respected, blowing up on our screens like fucking Alderaan? Most assuredly... And, loathe as I am to say it, with Disney now in charge of the franchise, this may very well happen. We can only wish upon a Death Star.

SEAN WARHURST - Sean is a considerate lover and may have been a product of immaculate conception. When not pondering why neither of the words ‘protractor’ or ‘contractor’ have anything to do with how he feels about tractors, he rants incoherently at: funnyordie.com/mikepattonfan.

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Back when I was in short pants, my rummy English chum and I would traverse the backstreets of London in search of a Bill Bailey show.

Since being made aware of his talents via World Cup Comedy in 1998 – where three English comedians were pitted against three Australian funsters – we had become obsessed with the wispyhaired comedy muso and sought him out at various fringe clubs.

14 years on and Bailey now commands the largest concert halls a city can offer; indeed, the Canberra show was one of the fastest selling on the tour. If you can shift tickets in the notoriously presaleshy capital city, you’re doing something right.

Bailey’s previous Aussie jaunt came under a bit of fire for recycling some of the – admittedly very funny – older material. There was no such criticism to level this time, supplementing his ‘act’ – that is, the meticulously prepared set – with some rare topical humour.

Predictably, with the first day of Canberra spring clocking in just over zero degrees, Bailey opened the set with a crack at the weather and immediately got the avid crowd on side. A magnificent joke about winning the Tour De France because he happened to be on a bicycle holiday and all competitors had been disqualified later, and there was no looking back.

As the show went on it became clear Bailey had an axe to grind against social media language and the culture of instant celebrity which provided his normally lighthearted quirkiness with a certain exciting edge. His confidence as a performer is astounding; capering across every corner of the stage, frequently interacting with the audience, effortlessly diving between classic spoken word humour and musical comedy across a variety of instruments… You get your money’s worth.

The crowd interaction provided the evening’s most enjoyable aspect. Bailey’s repeat performances have allowed a rapport to be built with returning interactions raging on all the brighter. A bit – kicked off by my sister-in-law, no less – where an instrument is incorrectly and repeatedly identified by the audience (‘Is it a mandolin?’) has been carried over from the last two performances and gets funnier every time. The night’s highlight occurred when Bailey – after suffering the third ‘Is it a mandolin?’ heckle – affected a pseudo meltdown. ‘Outside the sun arcs endlessly across the sky; mountains rise and fall as time skips forward… Meanwhile, in Canberra’s Royal Theatre… ‘Is it a mandolin?’ / ‘No, it’s not a mandolin.’ / ‘Is it a mandolin?’ / ‘No, it’s not a mandolin,’ he says, whilst slowly sinking to the floor amidst peals of hearty laughter.

This is Bailey at his best. That he came back on for an encore to perform some classic bits as prompted by the audience clearly shows he is reaping the rewards of 20-plus years of hard graft operating at the highest possible level. See you next year, Bill. I’m pretty sure it will be a mandolin that time.

ALLAN SKO

ARTISTPROFILE: Louise Upshall

What do you do? Mostly collage, as well as small oil paintings and zines.

When, how and why did you get into it? Collage is something that I’ve always done, since I was a little kid cutting up stacks of National Geographics for school assignments.

During my gap years and throughout art school I was making heaps of collagerelated works. But it took me a long time to finally realise consciously, ‘Oh yeah, I’m a collage artist – this is the sort of work I should be making.’ As to why, I think of collage as being a kind of paper alchemy; by cutting up images and arranging them in new combinations, I am able to transmute the power and meaning of an image from essentially being an ad into something that serves my own agenda.

unnecessary Canberra quirk, unheard of in the rest of Australia. One gallery in particular always has super-long boring speeches – and they hide the cheese away during them!

Upcoming exhibitions? My solo show, Scar Clan, opens at CCAS Manuka on Thursday November 8 at 6pm. For this show, I’ve used contemporary images such as lips, eyes and heads from fashion magazines to create talismans, archetypal symbols and characters from folk tales. The exhibition ends Sunday November 18.

Contact Info: louise.upshall@gmail.com, cervixosaurus.com.

Who or what influences you as an artist? This year it’s labyrinths and spirals; prehistoric art and a modern version of it. I’m constantly in awe of collage artists Wangechi Mutu and Fred Tomaselli. My current work is partly about physical and emotional scars. I am also inspired by all the strong women in my life (and a few lovely guys, too).

Of what are you proudest so far? I am proud of how much art I have made since finishing art school. Somehow I have managed to make more work this year than during honours – it’s ridiculous. I’ve been making an average of one work each week.

What are your plans for the future?

I’ve been making a lot of gender-related work and next I want to think about a different aspect of my identity: my relationship to nature and the bush. It’s interesting how awkward most nonIndigenous Australians feel about the idea of a spiritual connection to land; that it is irrelevant to their lives or that it is not culturally appropriate to have this connection. I’ve been reading David Tacey’s Edge of the Sacred and the poetry of Judith Wright. A new series is brewing away at the back of my mind and I’m excited to get started on it.

What makes you laugh? My lovely 14-year-old sister leaves me hilarious and wonderful voicemail messages calling me a poo-poo-head.

What pisses you off? Too many things.

I’m working on it.

What about the local scene would you change? I would love to abolish speeches at art openings. They are a weird and

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UNINHIBITED Arts policy launches in election cycles don’t tend to inspire much these days. There was a time in the ‘90s under Keating where the funding streams flung toward various bodies would create comment and controversy. Conservative administrations since then have starved the arts of cash, provoking an unseemly chorus of whinging filmmakers and writers that endeared neither them nor their cause to so-called middle Australia. These days, in an age of financial fear and trembling, it’s a bit of an afterthought; how do you rate an investment in a painting or poem?

During our recent local elections, Labor’s arts policy was noticeably above and beyond those of its competitors. Costed and targeted, Labor promised to pump cash into the Kingston Arts Precinct and venues in the inner north, plus throw cash at poetry events to name a few key pledges. I’m in two minds about this. On the one hand, of course I welcome investment in the arts and would be disgusted without it. On the other, I think creative types need to view the process with a large grain of salt.

A few years ago, Warwick Smith from Birds Love Fighting Records, Pete Huet and myself decided that we needed to bring the house parties we’d been attending to the public and threw the first Electric

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Lake Festival. The idea was to create something homemade, rough and ready. A music festival without any trimmings. We found a space and prepared ourselves for the logistical nightmare of red tape and authorisations. Turns out that we only needed to fill out some forms saying that no matter what, we wouldn’t sue the Government, get some insurance and pay $25 for a key deposit – that being the key to the power box.

We ran the whole thing off the one power outlet and a phalanx of boards and extension cords. Maybe 150 people came to see eight bands play in blazing heat. We had another a few months later, and over 200 came until a violent storm interrupted Voss’s set and we raced to throw a bit of plastic over the power boards. Electric Lake was homemade, amateurish, and brilliant.

I want my Government to respect the critical work its creatives do in enlivening, reflecting and promoting its city – and I want them to pony up with actual cash. But by the same token, I want creative people to do stuff regardless. Electric Lake happened because a) we wanted it, and b) the red tape was minimal. Creative people must build things themselves. The Government can assist with cash, but they can also assist by clearing the path, opening public spaces and facilitating energetic fools by staying out of the way. If there’s a handout available, artists should by all means take it. But if there’s no cash on the table then another way must be found. And there is always another way.

GLEN MARTIN glenpetermartin@gmail.com

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bit PARTS 4:48 PSYCHOSIS WHAT: Theatre In Yer Face WHEN: Thu Nov 15-Wed Nov 21 WHERE: Courtyard Studio, Canberra Theatre Centre A dark and dynamic theatrical experience, 4:48 Psychosis was the last play written by contemporary British playwright, Sarah Kane, before taking her own life in 1999. A pioneer of the ‘In-Yer-Face’ theatre movement, Kane’s work rebelled against the stalwart servings of the conservative British stage. It was anti-political correctness, anti-conservatist, vulgar, shocking and confrontational material put on stage to viscerally affect its audience, to shake them and wake them back up to the power of the live stage. 4:48 Psychosis is certainly not for kids. The most deconstructed of all her works, Kane showcases an intensely psychotic mind in the midst of an epic battle between survival and self-destruction. Spiked with gallows humour, stripped of character and action, this cast of actors put an impressive stamp on the most challenging of Kane’s sensationally short repertoire.7:30pm. Matinee show Sun Nov 18, 5pm. Tickets $15.50-$20.50 + bf through canberratheatrecentre.com.au.

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THAT ADDED TOUCH WHAT: Tapestry & Embroidery Exhibition WHEN: Wed Nov 7-Sun Nov 18 WHERE: ANCA Gallery This upcoming exhibition showcases tapestries and embroideries

by Canberra artist Carmel D’Ambrosio. Drawing her material from a rich variety of delectable treats, D’Ambrosio is inspired by well-designed food that is both structurally enticing and texturally evocative. D’Ambrosio celebrates the visual appeal of food presentation, introducing viewers to the gastronomic beauty of extravagant cakes the world over. That Added Touch will be officially opened on Sunday November 11 at 10:30am by Diana Lampe, Canberra Times food writer and embroidery author, and will be accompanied by a morning tea that is sure to tantalize your taste buds. Wed-Sun, 12pm-5pm. Free.

WRITING FOR TV WITH FELICITY PACKARD WHAT: Seminar on TV Writing WHEN: Wed Nov 14 WHERE: Belconnen Arts Centre This seminar introduces participants to the realities of writing drama for television in Australia. Australian TV writer Felicity Packard (Underbelly, G.P., Blue Heelers, Home & Away, McLeod’s Daughters and Sea Patrol) will discuss how story departments, networks and independent producers operate and the role of the writer in a variety of TV drama modes. She will also provide tips on how to get your original TV drama ideas past the inbox. Felicity is a lecturer in creative writing at the University of Canberra and has worked as a freelance scriptwriter and editor for over 15 years. 6pm7:30pm. $10-$15 from writingfortv.eventbrite.com.au.

UNDER MILK WOOD WHAT: Audio-theatrical Performance WHEN: Wed Nov 14-Sat Nov 17 WHERE: The Street Theatre Magic will be conjured as the power of poetic word, quiet listening and acoustic voice take centre stage with WildVoice Music Theatre’s reinterpretation of this Dylan Thomas masterpiece. Under Milk Wood is a funny, poetic and heartfelt story of a small village called Llareggub (try reading it backwards), which follows the townspeople from their nightly dreams into their daily business. With a focus on listening, cushions and blankets will be onstage to welcome audiences to recline with eyes closed and be immersed in the sound.

Wed-Fri Nov 14-16, 7:30pm; Fri Nov 16, 10:30am; Sat Nov 17, 3pm. $10$22 + bf through thestreet.org.au.

THANKS ACT WHAT: Paintings of Canberra & Surrounds WHEN: Tues Nov 6-Fri Nov 16 WHERE: gallery@bcs, Belconnen Community Centre

FREQ SUM BLEEPS WHAT: EDM Night & Ableton Tutorial WHEN: Thu Nov 22 WHERE: Trinity Bar

As part of the annual Piece of Mind exhibition series by and for people who use their art as a tool to achieve peace of mind, Tony Ugrinic will present his series of paintings inspired by the sights and scenery of the ACT and surrounding regions. Tony discovered painting as a therapy after being diagnosed with a mental illness around the age of 27. Through this exhibition he aims to highlight the beauty of his city, emphasising local scenic views and nature that is often overlooked or taken for granted. Official opening Tue Nov 6, 6pm. Mon-Fri, 9am-4:30pm. Free.

With an emphasis on live original music, Canberra and interstate EDM producers will use this new night to showcase the latest beats and noises from the local scene. The first instalment will kick off with an Ableton tutorial with DJ/Producer Ben Colin, before Cream crops, Deaf Cat and Rachel Haircut drop a variety of huge sets.

Newcomer Oceanics will also provide a set of downtempo hip hop/ soul, with live visuals from Britamon. Producers, established or aspiring, are encouraged to come check out the best we have to offer and maybe learn a thing or three. 9:30pm. Free.

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47

the word

on albums

parkway drive atlas [resist records]

album of the issue

KENDRICK LAMAR good kid, m.A.A.d city [polydor]

uses it to capture each nuance of each story. From spitting rhymes in a homie’s backseat over beat CDs (Backseat Freestyle) and getting caught up in break-and-enters (The Art of Peer Pressure) to the tortuous mental aftermath of a friend’s murder (Sing About Me/I’m Dying of Thirst) and drowning fear in alcohol (Swimming Pools), good kid runs the gamut of immersive point-of-view storytelling. The key dilemma is summed up in the two title tracks, good kid and m.A.A.d city: Lamar would disconnect from violence but cannot in a city where every young black man is assumed to be a gang member, and is drawn to the tension-release allure of violence.

That only a few great rap albums have been released this year should not diminish the strident, unparalleled brilliance of Kendrick Lamar’s major label debut, good kid, m.A.A.d city.

Lamar’s first LP, Section.80, was a violent rendering of his street-level LA environment and the many twisted channels navigated by its inhabitants in their search for gratification, redemption or both. It seemed the next step for Lamar was to arch his back and graduate from diamond-grit street hustler poet to suit-clad worldstraddling hood king, but there was a serpentine unnaturalness in Lamar that warned against The production deserves a attempting to predict him. review of its own, capturing In good kid, Lamar exercises the thick, syrupy smog of LA in an imaginative ambition and a way not even Dre managed, human-poetic confidence complete with a handful of the likes of which very few the finest hooks and dual rappers have ever possessed. overdoses of enchanting, It is a portrait of the world bass-rich tension and languid Lamar grew up in, complete swagger. good kid is a concept with flawlessly contextualised album with few hitches – none quotes from his mother, father, that do not fit inside the friends and peers. Starting with greater context, which comes stealing his grandmother’s car complete with a powerfully at 17 years of age to see a girl redemptive close. High in in a different ‘hood, good kid the running for album of the takes you on a monstrously year, it is the best hip hop intricate journey through the album of 2012 so far and will Compton that shaped Lamar’s be remembered as one of the youth and which continues to decade’s best in 2020. At 25, shape the youths of others.

Lamar is truly something.

The silkiness of Lamar’s flow has reached fever-pitch and he ASHLEY THOMSON

48

Atlas follows a similar pattern to Parkway Drive’s previous release, Deep Blue, though it contains more experimental sounds layered against the aggression. The band has spent the past two years building a fan base around the world, touring places many bands never go. The experiences along the way have shaped the journey behind Atlas, the title of which is a reference to the Greek god who carries the weight of the world on his shoulders. Parkway Drive similarly carry the weight of expectation and have delivered a piece that will keep the masses happy, wherever they happen to be. There is no doubting that after ten years, the band has become an enormous force. Touring to places such as India, China and South America saw the band confront extreme poverty, among other things they had not expected to see, influencing much of the lyrical content of the album. Some of these issues were presented in the film clip for the song Dark Days, as well as in the Home is for the Heartless DVD.

something for kate leave your soul to science [emi] It’s rare a band can meet already soaring expectations after an annoyingly long absence, but that is exactly what Something For Kate have done with their sixth outing, Leave Your Soul to Science; a great return that cements their place as the classic Australian rock band.

These songs are Something For Kate at their most climatically and sonically expansive, as well as their most calmly restrained and focused. The chorus of opener, Star-Crossed Citizens, screeches like shards of glass while the emotive falsetto of Paul Dempsey howls over the top. The fuzz-bass filled verse of The Kids Will Get the Money burns with scolding intensity before the chorus punches into a vivid ecstasy. The Fireball at the End of Everything builds and grooves with an electronic drumbeat before blasting into filthy rock ‘n’ roll territory.

The album has a huge sound, assisted by producer Matt Hyde (Slayer, Hatebreed, Alkaline Trio). The production brings out a very clear sound, losing some of the edge from Parkway Drive’s earlier releases. The sound includes female vocals and huge ‘woah-oh’ chants, along with the usual fastpaced drumming and McCall’s relentless growl. Atlas is a logical step from Deep Blue, however, some listeners may feel something is missing.

Lyrically, this isn’t Dempsey’s best album. However, he does explore some undoubtedly interesting concepts; from This Economy’s darkly comic take on financial hard times to the transgender hobo living in an underwater subway station of Deep Sea Divers. The clever wordplay of previous releases is still an ever-present force and the melodies are catchy as hell. Leave Your Soul is another reminder of the greatness Something For Kate can produce. This may not win over the skeptical, but the devoted will find themselves more in love with the band than they ever thought possible. This is the long-awaited comeback of which you dreamt.

DANIEL BOYLE

tim o’brien

woods bend beyond [woodsist]

the presets pacifica [modular]

bertie blackman pope innocent x [universal/mercury]

Shinobi against the brave [riot]

The low-key approach to music-making often allows a good melody to shine through, and this has been the case across the seven albums recorded by Brooklyn duo Woods. Mainstay Jeremy Earl travelled a distinctly lo-fi path on the group’s earlier releases, which added a naked dimension to melancholy sentiments wrapped in sparkling melodies.

But the somewhat cleanedup sound on Bend Beyond takes nothing away from the expected charm. The tunes now flow from the speakers in bright technicolour, with Earl’s higher pitched, Neil Young-like vocals an increasingly essential ingredient. The opening title track is closer to what I understand Woods sound like live, with a basement jam vibe inhabiting loose-limbed but beautifully formed rock moves.

The feel is unmoored, garage psychedelia – kinda like sucking on a can of Bacardi rum and coke in the heat haze of the afternoon sun.

I wanted to like this album – I really did – but it just didn’t reach the mark for me.

How on earth do you follow a debut like Secrets and Lies?

That passionate masterpiece introduced an unknowing public to brilliant alt-pop, served up with the deep, breathy, delicious timbre of Bertie’s voice. Not content with playing it safe and delivering more of the same, she has reinvented herself in a startling manner; caution was cast aside in this daring work that embraces the experimental. The strong sensual theme of the debut has morphed into a broader emotional panorama of darkness, insecurity, fear and regret, but especially adventure and sheer imagination. The opener, Tremors, is a music box fantasy, insubstantial as smoke and mirrors with operatic overtones. Superbly orchestrated, the track unfolds like a coiled snake. The radio-friendly Mercy Killing is the closest you’ll come to the sound of her debut record.

But it’s songs like Growl Howl that really capture the listener. Tribal drums and jungle screeches feature in a song that is full of hard angles and sharp edges. While the songstresses are decades apart in their musical eras, there is a similarity in the inventiveness and arrangements of their songs that brings to mind Kate Bush’s brilliant album, Aerial. The landscape becomes increasingly unfamiliar and more bizarre as the tracklist progresses, with the weirdness of Thugs and Lost Boys and the alien croaks of Maps. It’s a real cabinet of clever curiosities, bringing its own spring-loaded melodies in a rainbow of sound.

Shinobi. It’s quite possible that, were it not for the success of their singer, Eric Grothe Jnr, in another field (he’s played Rugby League on the wing for Australia and the Parramatta Eels), you wouldn’t be hearing about them today.

Elsewhere, the band traverses more familiar territory, which is not a bad thing as there is much to admire and absorb.

Earl has a particular talent for crafting two-minute pop nuggets that would fit on The Velvet Underground’s Loaded album. On Is it Honest, he rightly asks “Is it so fucking hard?” in an unsettlingly chirpy voice with electric accompaniment exuding a rustic feel in an off-kilter manner that shares something with the free-folk movement of recent years. But Woods inhabits its own space where the right stuff emerges at the right time.

DAN BIGNA

There are some great standalone tracks, such as the throbbing techno opener, Youth in Trouble, the anthemic Fall and the melancholic synth-laden Fail Epic, but as a whole I didn’t feel it. It was always going to be a challenge for the duo to produce a follow up to their last ARIA award-winning LP, Apocalypso, which successfully straddled the divide between underground club and the festival-friendly Top 40 radio playlist, so maybe a comparison sets the bar too high.

There is a strong feeling of reflection in Pacifica, with references to past loves, regrets and mistakes. Lyrically, there are a few interesting pieces; the songwriting was definitely notable.

Youth in Trouble is an ironic look at media-generated moral panics, while Ghosts has feelings of recovering from a hedonistic past. Some tracks, such as Push, however, just grate, with uninspired lyrics and an outdated electro bassline.

The main gripe is that it feels like the music really takes a back seat in this one, with singer Julian Hamilton’s voice dominating each song, not leaving many chances for the listener to get into the groove.

In essence, this is an electronic rock and pop album – not the journey of heavy-hitting dance anthems expected – and if you take that approach, it might just work for you. peter o’rourke

rory mccartney

That’d be a shame, because Shinobi really aren’t that bad a band at all.

Playing the sort of ‘modern rock’ that finds itself ending up on Channel Ten trailers as much as it does on commercial radio, the only problem is the essentially faceless nature of the music they write.

Against the Brave really could be anyone – any of the dullard post-grunge generation that make up mainstream rock these days. Grothe has a pleasant if ordinary voice, and the songs are just the things you’d want to hear if you think The Foos are the apogee of hard rock music.

Best song on the album, The Finding, breaks the mould slightly as Eric and his boys veer off the path foursquare into Funeral for a Friend’s metallic emo way of doing things – and it sounds all the better for it.

There’s more personality in this one track than in the rest of the album combined and, to these woefully outdated ears at least, it’s this direction the band should be pursuing if they want to find gainful employment moving forward.

Not a bad start but, for now, probably only Eels fans really need apply.

SCOTT ADAMS

49

the word

on films

WITH MELISSA WELLHAM

I know it might be unfair to judge Woody Allen too harshly – after all, if you’ve made a film a year since, you know, the dawn of time, there are bound to be some misses as well as the hits – but as he nears his twilight years I can’t help but think, ‘Surely you should have this shit down by now? And perhaps more importantly, you don’t have much time left! Give me another Annie Hall, goddammit!’ His most recent flick, To Rome With Love, isn’t terrible, but it’s not Allen at his wittiest and most sparkling either.

quote of the issue ‘I am not a socialist.

I can’t even share a bathroom.’

Jerry (Woody Allen), To Rome With Love

the intouchables

argo

to rome with love

The Intouchables has broken box office records in France and across Europe, and it’s easy to see why. It’s an uplifting, irreverent story about friendship and the goodness of people.

Which sounds kind of lame and about as insipid as can be – except that it’s actually beautiful.

Affleck has quickly gone from being considered the lesser half of the Affleck/Damon duo to proving his directing chops with gritty gems like The Town and Gone Baby Gone.

After the stunning Midnight in Paris, Woody Allen has turned his attention to Rome.

A true Affleck convert, I was unsurprised to come out of Argo feeling as though Affleck had done it again.

A young woman (Alison Pill) introduces her parents (Woody Allen and Judy Davis) to her fiancé for the first time; newlywed Antonio (Alessandro Tiberi) accidentally engages the services of a prostitute (Penelope Cruz – oh, happy accident!); a rich architect (Alec Baldwin) takes a trip down memory lane when he meets a young man (Jesse Eisenberg) who is torn between two very different women (Greta Gerwig and Ellen Page); and an ordinary man (Roberto Benigni) stumbles into sudden fame.

Based on a true story, The Intouchables charts the friendship between the millionaire Phillipe (Francois Cluzet), who is paralysed from the neck down, and the excriminal Driss (Omar Sy), who he hires to be his carer. On the surface, the two have nothing in common. But just as Driss sees Phillipe at his most vulnerable, so too does Phillipe see Driss’s insecurities. A friendship slowly blossoms between them and Driss’s role as carer becomes far more than just a job.

A film about friendship that looks at the clash between the classes, The Intouchables could have very easily been a melodramatic, sickly sweet and sentimental mess. However, the writing and directing team, Eric Toledano and Olivier Nakache, make sure that – despite skimming over some storylines that could have made this a more challenging film – they retained a sense of groundedness and down-to-earth humour.

It also helps that the performances from Francois Cluzet and Omar Sy are phenomenal. Cluzet is restricted to acting with only his facial expressions and the range of emotions he can convey with his eyes is remarkable.

Sy is simply magnetic. The Intouchables is irresistible.

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melissa wellham

Based on a true story, Argo follows CIA agent Tony Mendez during the Iranian hostage crisis as he tries to help six Americans who escaped the raid on the embassy to escape Iran without detection.

The plan? To smuggle them out as the Canadian production crew of a fake Hollywood film ‘visiting’ Iran on a location scout.

Audacious and ballsy, to be sure.

Set during 1980, Affleck nails the atmosphere and all of the talent here is top notch; Affleck himself as Mendez, Bryan Cranston as a CIA bigwig, and Alan Arkin and John Goodman as the Hollywood players.

While Affleck does somewhat annoyingly draw out the tension to the utmost degree in the final scenes, this is a pretty solid, interesting and engaging film. Arkin and Goodman work beautifully in their roles and the supports are all wonderful.

Argo is a tense and polished venture that has the right mix of drama, neither forcing the overall seriousness of the situation nor trying to make light of it. Another Affleck classic. How do you like them apples, Damon? megan mckeough

To Rome With Love tries to balance fantasy with farce, with mixed results.

Woody Allen pieces together a series of vignettes and tries to make all the edges match – with only some success. However, while the puzzle might not fit together perfectly, the overall picture is still stunning; he has the scenery of Rome to work with, after all.

I imagine that Allen envisaged the elements of magical realism in the film to act as metaphors for fame and celebrity, but the themes are too unclear for any kind of moral lesson to be imparted. The script is also incredibly creaky and the majority of the one-liners fall flat, particularly when delivered

by Allen himself, whose timing is almost always off.

To Rome With Love is a lighthearted romp and kaleidoscopic comedy, but it fails to capture the heart. melissa wellham

the word on dvds

eastbound and down season 3 [Warner Home Video] Kenny Powers is a vulgar, ignorant buffoon; a tornado of bad decisions and faulty logic, incapable of thinking of anyone but himself. In his heyday he was a baseball star.

Nowadays, he’s well past his prime and on a quest to destroy all that matters, never once learning from a mistake – and there are many. The Kenny Powers character –played with unselfconscious glee by Danny McBride – is possibly the least deserving of a redemptive arc that’s ever existed on television.

You despise him, but you don’t really want him to change.

Making him responsible for his actions would weaken the façade and remove his whole reason for being. With an endless tirade of offensive and ill-mannered comments, Kenny Powers doesn’t deserve redemption. He’s too far gone.

When Kenny’s ex-girlfriend, April (Katy Mixon), unloads upon him his infant son, Toby, there’s a very real risk this season that Eastbound will be all about ‘big lessons’. It’s a threat daring us to write the show off as a jumped shark. But, as with many things in this odd, tasteless and extremely enjoyable series, disaster is sidestepped through attention to detail and rich characterisation. Lots of small interactions conglomerate to make Eastbound bigger and better than its already large anti-hero. Like the moment where Powers consoles his put-upon helper Stevie (Steve Little), who is scrapbooking after his wife leaves him. Like the moment he makes Toby’s toy T-Rex come alive through the transformative power of a dildo. Like the numerous fright wigs and hand-drawn eyebrows Stevie fashions after he shaves off his hair. They humanise Eastbound, squirreling the show under your skin and, when redemption of sorts does arrive, it’s impossible to begrudge. Wayne Kramer’s music supervision is flawless as ever and a star in its own right.

JUSTIN HOOK

the final countdown [Icon]

the cabin in the woods [Roadshow]

Before he became the wish fulfilment of millions as President Jed Bartlett, Martin Sheen had a reputation as a hard-living guy. His behaviour on the set of Apocalypse Now was legendary; on a maniacal booze wipe-out, Sheen can be seen flailing and punching a mirror before collapsing in a heap on the ground in one notable early scene. That wasn’t acting. That was real life. Unsurprisingly, he had a heart attack whilst making the film, which makes his performance in this littleknown cult classic all the more remarkable. Gone is the frenetic sweating and thousand-yard stare, replaced by a calm and measured Sheen voicing the illogical.

It’s been well over three years since Cabin in the Woods finished production. MGM – the studio that funded the film – folded in 2010, leaving it in limbo; no home or studio champion. So confused were circumstances, at one stage there were rumours it was going to get the 3D treatment. Small mercies, it didn’t.

Sheen is Warren Lasky, a consultant sent along by a mysterious benefactor for a ride on the USS Nimitz off the Hawaiian coast. As a non-serviceman he is greeted with natural scepticism and indifference. After a ‘cosmic event’ in the eye of an oncoming storm sends the entire battleship back in time to the hours preceding the Japanese attack on Pearl Harbour, Sheen is the first to recognise the new parallel reality. Nothing has changed on the ship, but once it dawns upon command they face the choice of sitting out the attack or intervening with their (now) vastly superior technology and firepower to change the course of history.

In the fulcrum of this moral dilemma sits Sheen, railing against the rigidity of naval reasoning and encouraging a more philosophical approach to the awkward situation.

The Final Countdown really is an overlooked gem. That phrase is trite but it rings true here. Kirk Douglas and Charles Durning add gravitas to the film’s hokey sci-fi leanings, but it never once feels cheap or B-grade. As naval time-travel films go, this is one of the best and its rerelease should be celebrated.

JUSTIN HOOK

Conceived by Joss Whedon and director Drew Goddard as a reaction to the grim ugliness that horror/torture porn had become, Cabin pays homage to daring horror films of the ‘70s and ‘80s – think Evil Dead or classic George A. Romero.

Throw in a layer of paranoia and dystopia a la 1984 and it’s pretty much a film geek’s wet dream.

Five young friends take a trip to a remote cabin for vacation – the oldest horror trope in the books. But the cabin is part of a controlled environment, manipulated by a team of technicians unattached to and unmoved by the horror playing out on the screens. Dosed with hallucinogens, the friends start getting picked off one by one and it soon becomes a race for survival.

While it is too easy to call this The Hunger Games vs. The Truman Show vs. Ash Williams, it’s not far off.

While a premise need not be original to be enjoyable, it needs to be executed with skill, flair and just the right amount of knowing winks. On these metrics, Cabin in the Woods is a success. Goddard ratchets up the atmosphere of doom for the first two acts, but stumbles towards the end when scale becomes an issue; it simply gets too big.

All of a sudden a small horror film becomes a massive myth struggling for context. Despite this, and though it feels like an academic exercise, Cabin in the Woods is a very good ‘small’ film.

JUSTIN HOOK

51

the word

BLACKBOX

on games

The Unfinished Swan Platform: PS3 (PSN) Developer: Giant Sparrow Length: 2-4hrs Verdict: Take or leave There’s a proven recipe to making a successful indie game. Firstly, get a well-known form of gameplay and inject a novel mechanic. Add to this an artistic style and finish by injecting a quirky story. For the best results, avoid giving closure. Such a formula has worked wonders for Limbo and Journey, and now the same can be said for The Unfinished Swan.

The Unfinished Swan features several standout elements that help justify the price of admission. Most obvious is the eye-candy. The geometric-centric scene design, in its simplicity, looks awesome.

The game uses very little colour, focusing on shadows and tone.

The resulting effect looks as compelling as an Escher painting. Also worth noting is the overall polish of the game, with sublimely crafted menus and cutscenes.

The gameplay is also very engaging. At the start of the game you’ll find yourself navigating an entirely white world by adding many a splash of paint around the place. When glancing back at your efforts, the decor is left looking like an unfinished painting – tying nicely into the game’s theme. Not resting on one mechanic, the game quickly changes this up, making the two or three hours’ gameplay compelling throughout.

Commendably, the game does well to weave this mix of gameplay elements into the narrative. However, this variation comes at the cost of making the gameplay style a bit skittish, with the Tron-esque moments feeling particularly out of place.

While all of these perks make for a game that is immersive, I can’t say I found it equally engaging. As with many indie titles, the game refrains from including a strong narrative. The game does build some steam near the end, but at no point does your character really have an overarching goal or purpose. While this storytelling ambiguity makes for a more mysterious and arty experience, it does so at the expense of making the game feel a bit aimless. Without any purpose, the game relies on the rich visuals and quirky gameplay to hold your attention. They admittedly do this very well, but by the end I was still left feeling unsatisfied. It’s kinda like having a snack; brief and enjoyable, but ultimately leaves you hungry.

In summary, this is the kind of game I would be keen to show my more artistically inclined friends; however, I wouldn’t be as quick to recommend others to buy it. That said, that comes from the perspective of someone who has played quite a few of these indie games; if you are yet to stray away from the mainstream then this is a good title with which to get started. torben sko

52

First up, an apology: last issue, Blackbox suggested that the reappearance of Red Dwarf (ABC1, Wed Nov 7, 9:30pm) was a replay of the original series. In fact, it’s actually the hotly anticipated Season 11. If you’re reading early enough, there’s still time.

Otherwise, it’s available on iView. Plus, it’s Red Dwarf – new or old, you should be watching.

How much better can it get than a telly show about telly shows?

America in Primetime (SBS1, Tue Nov 13, 8:30pm) is part history, part analysis – basically porn for TV geeks. Finding Your Roots (SBS1, Tue Nov 20, 7:30pm) is a spin on the six degrees of separation from Kevin Bacon game that takes two celebrities with similar ancestry and looks at that history. And yes, Kevin Bacon is featured.

Hunted (SBS1, Sat Nov 24, 8:30pm) – created by X-Files producer Frank Spotnitz and produced by the team behind Spooks – has an impressive pedigree, but the proof will be in the second and third episodes. Speaking of spies, don’t miss the double episode of Homeland (SCTEN, Sun Nov 11, 8:30pm), Hit &Miss (ABC2, Mon, 9:30pm) and doco Modern Spies (ABC2, Mon Nov 19, 8:30pm).

Other new shows to catch include: Chris O’Dowd’s latest effort, Moone Boy (ABC2, Fri Nov 9, 8pm), about a chaotic family in ‘80s Ireland; Michael Palin’s Brazil (ABC2, Sun Nov 11, 7:30pm); Devil’s Dust (ABC1, Sun/Mon Nov 11/12, 8:30pm), the mini-series about asbestos campaigner Bernie Banton; Artscape: The Making of the Reef (ABC1, Tue Nov 13, 10pm), which follows the composition and filming behind multimedia performance The Reef (ABC2, Sun Nov 18, 10pm); and dramedy The Wedding Band (11, Tue Nov 13, 7:30pm).

Micronation (11, Sun, 10:30pm), the blink-and-you’ll-miss-it fiveminute comedic interlude with a premise that takes longer to explain than an episode, rises a wry smile and even a giggle. You can’t argue with that, given the small investment of time.

Docos to check out include: Sam and Evan: From Girls to Men (ABC2, Fri Nov 9, 9:30pm), following the journey of two transgender teenagers; America Revealed (SBS1, Fri Nov 9, 8:30pm), which looks at the systems that keep America fed, powered and moving; Quest for the Lost Maya (SBS1, Sun Nov 18, 7:35pm); and Gaddafi: Dead or Alive (SBS1, Wed Nov 21, 9:30pm).

Some interesting series under development here and in the US at the moment include: Heathers, based on the cult 1988 movie but, like other shows of the same ilk, set in the present day with some of the old characters as adults; and a new imagining of Wonder Woman with a Smallville-style plot; Beverly Hills Cop, which focuses on Axel Foley’s son and guest stars Eddie Murphy; ‘60s detective drama Serangon Road, an ABC/HBO Asia co-production set in Singapore; and Steven Spielberg has just bought the rights to Aussie supernatural novel Embrace for a series. Can’t wait for new BBC2 drama The Fall to make it to our shores. With a bit of luck, the psychological thriller starring Gillian Anderson will get picked up by Auntie. Amongst this fortnight’s movies, you’ll find Shane (ABC2, Sat Nov 10, 8:30pm), A Knight’s Tale (7Mate, Sun Nov 11, 6:30pm) and Dune (Go, Sat Nov 17, 12:50am).

Don’t forget to check out the next instalment of Celebrating 25 Years of rage: 2003-2006 (ABC1, Sat 22 Nov, 11pm).

TRACY HEFFERNAN tracyherrernan@bigpond.com @ChezBlackbox

the word

on gigs

Billy Bragg, Jordie Lane Canberra Theatre Tuesday October 23 As we wound our way through the vast crowd milling for Billy Bragg, my gig-going companion noted, ‘I’ve never seen so many middle-aged people getting out of European cars in my life.’ There was indeed something incongruous about seeing Bragg, the patron saint of socialism, in a theatre charging $90 for a ticket. I begrudge him nothing – a man has to eat and if it’s a diet of truffles and swan then so be it – but the vibe was a little off. The question that most intrigued me as we filed in was one of relevance: How does the protest shtick hold up in a new century? You’d be mistaken for thinking that Bragg has the protest field all to himself, even now. It’s interesting to note just how singular a talent he is: There is no slew of impersonators; there really is only one Billy Bragg.

The same can’t be said for support Jordie Lane. It was a pleasant set – rootsy tunes plucked, strummed and sung well – but there was nothing essential in the delivery and the songs didn’t stray from the formula far enough to be anything more than sonic wallpaper.

A set from local Matty Ellis would have suited better; Lane needs a ragged edge.

Bragg is all ragged edges and he was warmly welcomed. The first half of the show took in tunes and stories from the Mermaid Avenue project – the songs of Woody Guthrie re-imagined on record by Bragg and Wilco – sung here solo. It seems fair to suggest that while this half of the show went down a treat it was the second half, Bragg the electric troubadour, which most of the crowd were here to see.

Opening with Sexuality, this section frequently threatened to lift off but never took flight. That question of tone. One doesn’t come to a Bragg show for an ideology-free evening, but something about Bragg’s positioning of certain songs in a modern, Twittertrolling context didn’t gel. Riffs on Murdoch, the ruling UK Coalition Government and tunes like Scousers Never Buy the Sun would have been easy magnets for cheering back home but here they failed to ignite. Meanwhile, jibes levelled against our own conservative politicos felt obvious, even cheap.

The thing with Billy Bragg for me is that his finest, and interestingly his most political, work are the domestic tunes; his songs about relationships of all stripes. We heard Greetings to the New Brunette and A New England and they both came close to bringing the house down. More impressive was a startling version of Tank Park Salute, worth the ticket price alone. A show full of these songs (and Bragg has a bunch of masterpieces like this in the kitbag) would’ve slayed.

Instead, we got an awkward sing-along during There is Power in a Union; I saw four fists raised throughout. If there remains power in a Union, it’s muted. Maybe the awkwardness is best summed up by a rewritten version of Waiting for the Great Leap Forward, where Bragg updated the names and events (instead of Thatcher and Reagan it’s Cameron and Clegg, plus a shout-out to Pussy Riot). It was a cheap thrill, but the update only served to highlight the fact that Bragg remains waiting for that great leap.

25 years have passed and the same song needs to be sung. Many things have changed since that song’s release, not least of which is the very nature of protest.

PHOTOS BY MARTIN OLLMAN

In soapbox mode, Bragg is dated. But when he delivers a domestic narrative with the humanism and empathy underscored by his politics, he remains untouchable.

GLEN MARTIN

53

the word

on gigs

Mumford & Sons, Edward Sharpe and the Magnetic Zeros, Willy Mason Royal Theatre Friday October 26 Mumford & Sons’ show at the Royal Theatre was the first show on the Australia Stopover tour to sell out. Within hours of going on sale, the entire 2460 capacity had been exhausted. Something about the combination of Mumford & Sons, the crossover kings of the folk power ballad, with Edward Sharpe and the Magnetic Zeros, the eclectic folk pop caravan brainchild of Alex Ebert, and Willy Mason, the rough-edged modern incarnation of the all-American folk singer, struck a chord. The crowd in the foyer bespoke an interesting mix.

Gone are all but the faintest remnants of the crowds Mumford & Sons made their name in front of – the fisherman’s pants-wearing, dred-sporting earth-lovers – replaced in large part by, well, normal people (i.e. couples, of whom the women certainly seemed the instigating party) and young girls. As I handed my ticket over I heard a couple behind me ask, ‘Who’s Willy Mason?’ I don’t know if the answer they got enticed them inside but I hope it did.

Willy Mason is now on his third solo album – it was his second, Where the Humans Eat, which hooked me – and his onstage presence is subtle but formidable. Reminiscent of a young Johnny Cash (had singing lessons and humility been his without measure), Mason focused on songs from his latest, yet-to-be-released album, Carry On. He filled the Royal with understated, sonorous guitar-work and vocals, accepting assistance in the form of a few musicians and vocalists from the Magnetic Zeros to close out a captivating set. By contrast, Edward Sharpe and the Magnetic Zeros filled the stage as soon as they took it. Looking like a gawky, bearded beanpole, Alex Ebert and his partner in crime, the pint-sized, devilish Jade Castrinos, launched into the entire gamut of the Zeros’ hits. It is said that Ebert created his alter-ego, Edward Sharpe, as a messianic means of overcoming addiction, but there was something less than heavenly about Ebert. He ducked about the stage, rarely making eye contact with the audience and seeking comfort in Castrinos’s presence, even as they nailed every one of the songs a Zeros fan will love: 40 Day Dream, Janglin, Up From Below. As they were joined

by Mason and a couple of the Mumford boys for their final song, Home, and they reached the charming spoken word interlude, Ebert revealed the reason for his melancholic behaviour: This was the last show on their tour; he was sad to see it end. Throwing themselves into it, they brought down the house with a farewell rendition.

PHOTOS BY MARTIN OLLMAN

54

Mumford & Sons have been described, perhaps not unfairly, as something of a one trick pony. Booming, take-no-prisoners percussion, thrashing banjos and mandolins and hailstorm vocal harmonies could describe at least 90% of their songs. When they strike gold – see Little Lion Man, The Cave, I Will Wait – it has the potential to reach feverish, euphoric heights, and were it not for the thoroughly varied and largely downbeat response of the audience, it could be said they achieved them that night. The softer songs with heart, Awake My Soul and Timshel, also won through. But over the course of 90 minutes, the success of the band’s lesser numbers and newer material fell on their shoulders, and (with deference to the very radio-friendly make-up of the audience) they failed to maintain the joyous connection which came forth when more familiar chords were strummed. Be it the audience’s or the Mumfords’ fault, there was an awful lot of standing around going on. For a band whose recorded music is like live electricity, their live delivery seemed comparatively staid. That said, it was very well-received. If the audience did not dance, they were not displeased, and I count myself among this number. If triple-loaded bills like this are what the economic downturn has reaped upon the live music industry, I cannot say this is a side-effect I mind terribly much.

ASHLEY THOMSON

the word

The Beards, The Snowdroppers, Kim Churchill ANU Bar Thursday November 1

on gigs

No less than 113 beards (eight falsies, but points for trying) were counted in the swarm of people pushing through the doors of the ANU Bar. Honourable mentions go to the girl with the knitted beard and Viking beanie ensemble and the couple who had clearly knitted their own beards, possibly having only encountered the concept of knitting the day before. The security guards who had beards were treated with far more deference than the hairless variety, and the merch guy looked like Animal from The Muppets.

It didn’t stop there. One-man-band wonder Kim Churchill, who opened the show, had clearly grown a beard during the tour in order to gain the trust of his hirsute overlords. In a spot of dexterous multi-tasking, Churchill wielded his acoustic guitar, harmonica, drumming and distortion pedals in a manner that would have left the members of John Butler Trio and Mumford & Sons wondering if that one night of passion had actually led to the production of this scruffy, cherub-haired boy on stage.

His set was an endearing combination of experimental folk and good old-fashioned prison blues.

As The Beards frontman said himself, the next band – rock outfit The Snowdroppers – was only 50% awesome (read: 50% bearded).

My impression of them was a little more charitable, though I couldn’t quite shake the image of the ZZ Top cameo in Back To The Future III out of my head. They were a strange combination of rock and folk, with banjo and harmonica smashed face-first into thrashy guitar and hip-rollingly good basslines and just a dash (i.e. the lead singer) of Elvis Presley thrown in for good measure.

Then the lights went down. The essential bit of machinery for any novelty band – the smoke machine – whirred into life. An ominous voice came over the speakers: ‘It is the year 2012,’ it boomed, ‘and mankind is all but extinct. On this night, a few survivors gather in a decrepit ruin of a building once known as ANU Bar...’ And with a scream like Jack Black on a full moon, The Beards launched into their first song – I’m In The Mood... For Beards – at a furiously scruffy pace.

What followed was a surprisingly educational gig. There were lectures on the appropriate amount of facial hair (with accompanying gift certificates and public shaming of the smoothchinned), social commentary (the anti-anti-beard policy anthems I Won’t Shave and Beards Across Australia Unite), demonstrations of proper beard-grooming (only if you paid close attention to the drummer though, who took to combing his beard in between songs) and, at its core, a simple message: ‘No Beard, No Good’.

What really raised my eyebrows was the high standard of songs.

You’d think there were only so many times you could make the same joke funny, but The Beards hit the same punch line over and over, managing to still convince the listener that they were telling an entirely new joke. I was blown away by the band’s beardified folk song, Big Bearded Bruce, a sinister tale punctuated with a saxophone solo, but I completely lost my capacity for words when the lead singer performed a keytar solo while a leaf blower sent his beard streaming majestically over his shoulder. The crowd, naturally, completely lost its shit when said keytar solo morphed into the hit, Sex With A Bearded Man, to close out the night.

PHOTOS BY DALE WOWK

All in all, there’s only one thing to be said about the show – and I’m quoting the singer directly when I say it – ‘This was a song about beards. Goodnight!’

LAUREN STRICKLAND

55

ENTERTAINMENT GUIDE Wed Nov 7 - Fri Nov 9 Something Different

Dance

Something Different

Arts

Woden Alive: Mental Health Out Loud

Short + Sweet Dance

Woden Alive: Seniors Morning Tea

Exhibition – Notations

BEYOND Q

wednesday november 7

A skilled ceramicist specialising in porcelain objects. 11am-5pm (12-4pm Sat).

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – Crucible Showcase: Neon

Featuring work by Emma Davies and ceramic jewellery by Ky Curran. 10am5pm (Sat 12-4pm).

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – That Added Touch Tapestries and embroideries by Canberra artist Carmel D’Ambrosio.

12-5pm. Free.

ANCA GALLERY

Exhibition – Thanks ACT

Paintings by Tony Ugrinic showcasing the sights and scenery of Canberra and surrounds. 9am-4:30pm.

GALLERY@BCS

Exhibition – Five Exhibitions @ CCAS

By Leah Bullen, Karin Hanssen, Clare Thackway, Liz McNiven, Lyndy Delian.

11am-5pm (10am-4pm Sat).

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Exhibition – The Green Room Disproving critics who say ‘green paintings don’t sell’, works by 20 green-loving artists. 12-5pm.

M16 ARTSPACE

Exhibition – Once More, With Love

Not-for-profit jewellery for sustainability, recycling + ethical production. 11am5pm (Sat 12-4pm).

BILK GALLERY

Exhibition – Domestic Renewal: a table re:set Craft practitioners, designers and architects co-produce a table setting.

10am-5pm (Sat 12-4pm).

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – What a Lovely Crowd

Work by Canberra Art Workshop Portrait artists, who meet weekly at M16 Artspace. 12-5pm.

M16 ARTSPACE

Karaoke Karaoke

From 10pm.

THE DURHAM

Carry-on Karaoke Wednesdays $100 bar tab giveaway every week to most entertaining performer. 9pm.

DIGRESS COCKTAIL BAR

Live Music Cleveland Blues

A unique style of dirty rockin’ swamp blues. 8pm. $5.

THE FRONT GALLERY AND CAFE

Mojo Juju (Melb)

With The King Hits. 9pm.

THE PHOENIX BAR

Sing For Your Supper

Singers, poets, musicians! Feeling hungry? Book your slot for a free meal!

(02) 6230 2484. 6:30pm.

THE GEORGE HARCOURT INN

On The Town Latino Wednesdays

$8 cocktails. 9pm. Free.

MONKEYBAR

56

7pm.

Theatre Bare Witness

What story lies behind the image: the truth or the next front page? 8pm. Tix @ thestreet.org.au.

THE STREET THEATRE

Trivia Transit Trivia

Flex your noggin. Table bookings essential! 2 for $20 pizzas.

7:30pm. Free.

TRANSIT BAR

thursday november 8 Art Exhibition – Once More, With Love

Not-for-profit jewellery for sustainability, recycling + ethical production. 11am5pm (Sat 12-4pm).

BILK GALLERY

Exhibition – Crucible Showcase: Neon

Featuring work by Emma Davies and ceramic jewellery by Ky Curran. 10am5pm (Sat 12-4pm).

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – Domestic Renewal: a table re:set Craft practitioners, designers and architects co-produce a table setting.

10am-5pm (Sat 12-4pm).

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – Notations

A skilled ceramicist specialising in porcelain objects. 11am-5pm (12-4pm Sat).

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition Opening – Scar Clan Collage and portraits by Louise Upshall. 6pm. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Exhibition – Thanks ACT

Paintings by Tony Ugrinic showcasing the sights and scenery of Canberra and surrounds. 9am-4:30pm.

GALLERY@BCS

Exhibition – The Green Room Disproving critics who say ‘green paintings don’t sell’, works by 20 green-loving artists. 12-5pm.

M16 ARTSPACE

Exhibition – That Added Touch

Part of the Short + Sweet Int’l Festival of ten-minute dance works. See shortandsweet.org for info.

CANBERRA THEATRE CENTRE

Film Local Feats: The Chifleys Of Busby St (2008)

Canberra feature film w/ director’s talk.

6pm + 9pm. Tix/info: http://newacton. com.au/localfeats KENDALL LANE THEATRE

Karaoke

Work by Canberra Art Workshop Portrait artists, who meet weekly at M16 Artspace. 12-5pm.

M16 ARTSPACE

BELCONNEN COMMUNITY CENTRE

Theatre Bare Witness

What story lies behind the image: the truth or the next front page? 8pm. Tix @ thestreet.org.au.

THE STREET THEATRE

friday november 9

Karaoke Night!

Art

P J O’REILLY’S (TUGGERANONG)

Exhibition – Once More, With Love

1st place wins cash prize! Plenty of bar vouchers to be won too. 8pm.

‘Tuggies Idol’ Karaoke Competition

11am-5pm (Sat 12-4pm).

BILK GALLERY

$5 before Fri Aug 31 to win $1000 JB HIFI gift card. 8pm. See facebook.com/ events/512928288733928/

Exhibition – Crucible Showcase: Neon

Live Music

CRAFT ACT CRAFT & DESIGN CENTRE

P J O’REILLY’S (TUGGERANONG)

Charles and Dave 9pm.

Featuring work by Emma Davies and ceramic jewellery by Ky Curran. 10am5pm (Sat 12-4pm).

Exhibition – Domestic Renewal: a table re:set

Ashley Feraude

Craft practitioners, designers and architects co-produce a table setting.

10am-5pm (Sat 12-4pm).

KNIGHTSBRIDGE PENTHOUSE

Exhibition – Notations

KING O’MALLEY’S IRISH PUB

9pm.

Too Soon! (Melb)

CRAFT ACT CRAFT & DESIGN CENTRE

With Super Best Friends, Bent Hen, Thrown Up. 9pm.

A skilled ceramicist specialising in porcelain objects. 11am-5pm (12-4pm Sat).

Ben Harper

Exhibition – Thanks ACT

THE PHOENIX BAR

An acoustic evening with the man himself. Tickets through Canberra Ticketing.

CANBERRA THEATRE CENTRE

The Tiger and Me

With Julia & the Deep Sea Sirens.

8pm. $15/10/8.

THE WHITE EAGLE POLISH CLUB

Henry Wagons and the Unwelcome Company

Expecting Company tour. 8pm. Presale $15 thru Moshtix.

TRANSIT BAR

Diva Sheila, The Eco Diva

Takin’ it to The Street, saying what’s on her mind. 7:30pm. $23/$20.

THE STREET THEATRE

Open Decks 10pm.

THE CLUBHOUSE

Eli Wolfe

Exhibition – What a Lovely Crowd

By Warehouse Circus. 7:30pm. Free.

DIGRESS COCKTAIL BAR

Exhibition – Five Exhibitions @ CCAS

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Circus for Life: Bungee Circus Spectacular

For $500 cash. 8pm.

Home Made Jam

By Leah Bullen, Karin Hanssen, Clare Thackway, Liz McNiven, Lyndy Delian.

11am-5pm (10am-4pm Sat).

WODEN SENIORS INC.

Carry-on Karaoke Heats

Tapestries and embroideries by Canberra artist Carmel D’Ambrosio.

12-5pm. Free.

ANCA GALLERY

10:30am.

Solo singer-songwriter competition. 6pm.

CIT WODEN

Roots-centric virtuoso. With Luciana. 7pm. $10 door or online at stickytickets.com.au.

CRAFT ACT CRAFT & DESIGN CENTRE

Paintings by Tony Ugrinic showcasing the sights and scenery of Canberra and surrounds. 9am-4:30pm.

GALLERY@BCS

Exhibition – The Green Room Disproving critics who say ‘green paintings don’t sell’, works by 20 green-loving artists. 12-5pm.

M16 ARTSPACE

Exhibition – Scar Clan

Collage and portraits by Louise Upshall.

11am-5pm. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Exhibition – That Added Touch Tapestries and embroideries by Canberra artist Carmel D’Ambrosio.

12-5pm. Free.

ANCA GALLERY

Exhibition – What a Lovely Crowd

Work by Canberra Art Workshop Portrait artists, who meet weekly at M16 Artspace. 12-5pm.

M16 ARTSPACE

Exhibition – Five Exhibitions @ CCAS

11am-5pm (10am-4pm Sat).

Thursdays At The Bar

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

ANU BAR AND REFECTORY

Indigenous Art from the AIATSIS Collection. 12-5pm. Free.

THE FRONT GALLERY AND CAFE

With uniVibes. Beers, bands and DJs jamming in the afternoon sun. Free.

On The Town 4Some Thursday

Awesome 4Some Drink Specials. 9pm.

Free entry.

ACADEMY NIGHTCLUB

Exhibition – Likan’Mirri II ANU DRILL HALL GALLERY

Dance Short + Sweet Dance

Part of the Short + Sweet Int’l Festival of ten-minute dance works. See shortandsweet.org for info.

CANBERRA THEATRE CENTRE

ENTERTAINMENT GUIDE Fri Nov 9 - Sun Nov 11 Live Music

On The Town

Dance

Something Different

Moment of Truth

Friday Freedom

Short + Sweet Dance

Circus for Life: ACAPTA Gala Fundraiser

P J O’REILLY’S (TUGGERANONG)

KNIGHTSBRIDGE PENTHOUSE

From 7pm-9pm, followed by resident DJ Craig with dancefloor classics/hits.

Bastardfest

Because it’s 5pm. Your happy place.

Free BBQ from 6pm.

Part of the Short + Sweet Int’l Festival of ten-minute dance works. See shortandsweet.org for info.

CANBERRA THEATRE CENTRE

Night one! Blood Duster, I Exist, Aeon of Horus, King Parrot and loads more.

7pm. Tix thru Moshtix.

Something Different

DJ Trent Richardson & DJ Spink

BELCONNEN COMMUNITY CENTRE

DJs Karma/Jswiss/ Hypnotic/MC Tee

Theatre

MONKEYBAR

THE BASEMENT

Havana Nights present Canberra’s hottest Latin night. $5 Coronas. 9pm.

MONKEYBAR

Live@BAC

Over Lake Ginninderra: live music, cruise the gallery, drink, catch up. With nibbles! 5:30-7pm. $5.

BELCONNEN ARTS CENTRE

Live & Funky House Fridays

Acoustic/soul & jazz 6-8pm. Funk house from 9:30pm. (And two happy hours!) Free.

DIGRESS COCKTAIL BAR

The Crunch 9pm.

HIPPO BAR

Friday Nite @ The Polish Club

Space Party, The Feldons, Magic Rob Universe, Little Mac & the Monster Men, John Lollback. 8pm. $5.

THE WHITE EAGLE POLISH CLUB

Mic Conway’s National Junk Band With Gregory Page. 7pm.

THE MERRY MUSE

Woden Alive: Forbidden Fruit (R18+)

Circus for Life: Underground

By Poncho Circus. $18/$15. 7pm.

Bare Witness

What story lies behind the image: the truth or the next front page? 8pm. Tix @ thestreet.org.au.

THE STREET THEATRE

saturday november 10

Live Music

Urban Playground Presents. 10pm.

Goji Berry Jam

A five-piece funk band to ease in your afternoon. 2pm.

MOCAN & GREEN GROUT

Night two! Psycroptic, Voyager, Captain Cleanoff, Disentomb and loads more.

5pm. Tix thru Moshtix.

THE BASEMENT

Art

Last Dinosaurs

Exhibition – Once More, With Love

ZIERHOLZ @ UC

With The Jungle Giants. Tickets through Moshtix. 7pm.

Takin’ it to The Street, saying what’s on her mind. 7:30pm. $23/$20.

THE STREET THEATRE

M16 ARTSPACE

Exhibition – Domestic Renewal: a table re:set

CRAFT ACT CRAFT & DESIGN CENTRE

A skilled ceramicist specialising in porcelain objects. 11am-5pm (12-4pm Sat).

Exhibition – What a Lovely Crowd

Work by Canberra Art Workshop Portrait artists, who meet weekly at M16 Artspace. 12-5pm.

M16 ARTSPACE

Exhibition – Scar Clan

Subsquad Presents. 10pm. $20.

Music @ Mint

Exhibition – That Added Touch

THE CLUBHOUSE

Live music in Mint’s garden bar.

6-10pm. Free.

MINT GARDEN BAR

Ced Nada 9pm.

KNIGHTSBRIDGE PENTHOUSE

Digress Dual Friday

Funk/live 6-8pm (Happy Hr 5-7pm).

Resident DJ + more play allsorts 9:30pm on. $8 J/bombs 10-11pm.

DIGRESS COCKTAIL BAR

Master Control Featuring Grouch (NZ) 9pm.

KRAVE NIGHTCLUB

Boomgates

With TV Colours and Danger Beach.

7pm. $15 door. smiths alternatyive bookstore

Special K/Killing the Sound 5pm/10pm.

KING O’MALLEY’S IRISH PUB

THE STREET THEATRE

sunday november 11 Art Exhibition – What a Lovely Crowd

12-5pm.

M16 ARTSPACE

Exhibition – That Added Touch

Collage and portraits by Louise Upshall.

11am-5pm. Free.

Vaski

What story lies behind the image: the truth or the next front page? 8pm. Tix @ thestreet.org.au.

THE PHOENIX BAR

Disproving critics who say ‘green paintings don’t sell’, works by 20 green-loving artists. 12-5pm.

Woden Valley Festival: The Carnival/Lift Off 9am start/4pm start. Free.

EDDISON PARK

CRAFT ACT CRAFT & DESIGN CENTRE

Diva Sheila, The Eco Diva

Bare Witness

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

9:30pm.

Dose Classics – Breaks Edition TRANSIT BAR

Theatre

Elliot The Bull (Newcastle)

THE CLUBHOUSE

Black Crow album launch. With The Cast Iron Promises and The Wedded Bliss. 8pm. $10.

Marky, Peekz and Phil Jones revisit them breaks. 8pm. Free.

EXHIBITION PARK IN CANBERRA (EPIC)

Exhibition – The Green Room

BILK GALLERY

With Royalston (Syd), Lockjaw, D.Wills, Bury and BRT. 10pm. $20.

AINSLIE ARTS CENTRE

THE FRONT GALLERY AND CAFE

A smorgasboard of kitsch old stuff! O, the smells! 10am-3pm. $3.

Lenzman (NL)

Exhibition – Notations

Nigel Wearne

Fash ‘n’ Treasure

Not-for-profit jewellery for sustainability, recycling + ethical production. 11am5pm (Sat 12-4pm).

The Last Prom: An Apocalypse In One Act

A BITE TO EAT CAFE

BELCONNEN COMMUNITY CENTRE

Bastardfest

Craft practitioners, designers and architects co-produce a table setting.

10am-5pm (Sat 12-4pm).

7pm.

$25/$20. 7:30pm.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Tapestries and embroideries by Canberra artist Carmel D’Ambrosio.

12-5pm. Free.

ANCA GALLERY

Exhibition – Five Exhibitions @ CCAS

By Leah Bullen, Karin Hanssen, Clare Thackway, Liz McNiven, Lyndy Delian.

11am-5pm (10am-4pm Sat).

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Exhibition – Likan’Mirri II Indigenous Art from the AIATSIS Collection. 12-5pm. Free.

ANU DRILL HALL GALLERY

Exhibition - Wall to Canvas

Originals by Anthony Lister, Ghost Patrol, Kill Pixie, VEXTA, Canberra’s ELK. Info: (02) 6248 8328.

CANBERRA CITY FRAMING GALLERY

Exhibition – Crucible Showcase: Neon Featuring work by Emma Davies and ceramic jewellery by Ky Curran. 10am5pm (Sat 12-4pm).

CRAFT ACT CRAFT & DESIGN CENTRE

The final act in the end of the world.

8pm. Presale $12 + bf thru Moshtix.

Nite Society

Bringing your favourite indie bands and making it weird. 8pm.

TRANSIT BAR

Russian Visions

Steven Osborne is guest pianist with the ACO in an entirely Russian program. 8pm.

LLEWELLYN HALL

Diva Sheila, The Eco Diva

Takin’ it to The Street, saying what’s on her mind. 7:30pm. $23/$20.

THE STREET THEATRE

music, coffee

Bass, violin, looped vocals or something similar. 10am-11am.

MOCAN & GREEN GROUT

Exhibition – Scar Clan

Collage and portraits by Louise Upshall.

11am-5pm. Free.

Tapestries and embroideries by Canberra artist Carmel D’Ambrosio.

12-5pm. Free.

ANCA GALLERY

Exhibition – Likan’Mirri II Indigenous Art from the AIATSIS Collection. 12-5pm. Free.

ANU DRILL HALL GALLERY

Exhibition - Wall to Canvas

Originals by Anthony Lister, Ghost Patrol, Kill Pixie, VEXTA, Canberra’s ELK. Info: (02) 6248 8328.

CANBERRA CITY FRAMING GALLERY

Exhibition – The Green Room Disproving critics who say ‘green paintings don’t sell’, works by 20 green-loving artists. 12-5pm.

M16 ARTSPACE

Dance Short + Sweet Dance

Part of the Short + Sweet Int’l Festival of ten-minute dance works. See shortandsweet.org for info.

CANBERRA THEATRE CENTRE

Sebastian McFox

Live Music

KNIGHTSBRIDGE PENTHOUSE

Gregory Page (USA)

9pm.

Blame It On The Boogie Saturdays

Motown/disco/’80s & ‘90s from 9:30pm. Free entry (and get a free drink if you rock an afro).

DIGRESS COCKTAIL BAR

Something Like This 10:30pm.

KING O’MALLEY’S IRISH PUB

The Gaps

Desperado rock ‘n’ roll. 9:30pm. $10 door.

POT BELLY BAR

On The Town Old Skool Saturdays

Mix of Old Skool R‘n’B, 80s & 90s. Free entry. $5 vodka original & flavours 10-11pm.

DIGRESS COCKTAIL BAR

Extraordinary tales of love and optimistic melancholy. With Liz Frencham. 4pm. $10.

THE FRONT GALLERY AND CAFE

Irish Jam Session

Traditional Irish music. 5pm.

KING O’MALLEY’S IRISH PUB

Prinnie Stevens & Mahalia Barnes

6:30pm doors, 9pm main act. $35 through theabbey.com.au.

THE ABBEY

Sunday Best: Sam Mclaren

Original folky vocalist with added harmonica. Tapas from 5pm, happy hour from 6pm. Free.

A BITE TO EAT CAFE

Anni Piper

Playing the blues. 3pm. Entry by donation.

THE ARTISTS SHED

The Barons of Tang 8pm.

THE PHOENIX BAR

57

ENTERTAINMENT GUIDE Sun Nov 11 - Thu Nov 15 sunday november 11 (CONt.) On The Town Sangria Sundaze

$15 sangria jugs, $5 coronas 4-6pm.

Food specials 3pm-late. Tunes from DJs Runamark & Mitch.

THE LIGHT HOUSE PUB

Workshops Workshop – Paper Book and Bauble

Make books and funky decorations with colourful recycled materials. 1:30pm. $55 inc. materials.

BELCONNEN ARTS CENTRE

monday november 12 Art Exhibition – Thanks ACT

Paintings by Tony Ugrinic showcasing the sights and scenery of Canberra and surrounds. 9am-4:30pm.

GALLERY@BCS

Live Music Biscuits

Post-weekend sounds from Ryz, Peekz, Kimosabi, Steve On Weekends! Free pool, 2-4-1 pizza, 9pm. Free.

TRANSIT BAR

The Bootleg Sessions

Exhibition – Five Exhibitions @ CCAS

By Leah Bullen, Karin Hanssen, Clare Thackway, Liz McNiven, Lyndy Delian.

11am-5pm (10am-4pm Sat).

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Exhibition - Wall to Canvas

Originals by Anthony Lister, Ghost Patrol, Kill Pixie, VEXTA, Canberra’s ELK. Info: (02) 6248 8328.

CANBERRA CITY FRAMING GALLERY

Exhibition – Once More, With Love

Not-for-profit jewellery for sustainability, recycling + ethical production. 11am5pm (Sat 12-4pm).

BILK GALLERY

Dance No Lights No Lycra

Dance where no one’s watching.

7:30pm-9pm. $5.

CORROBOREE PARK HALL

Karaoke Karaoke Love

Croon and wail your heart out on the Transit stage. 9pm. Free.

TRANSIT BAR

2-4-1 Steak and Schnitzel Night Exactly what it says.

THE DURHAM

Trivia King O’s Trivia

Free entry and bar prizes. 6:30pm.

Art Exhibition – Domestic Renewal: a table re:set

Craft practitioners, designers and architects co-produce a table setting.

10am-5pm (Sat 12-4pm).

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – Thanks ACT

Paintings by Tony Ugrinic showcasing the sights and scenery of Canberra and surrounds. 9am-4:30pm.

GALLERY@BCS

Exhibition – Notations

A skilled ceramicist specialising in porcelain objects. 11am-5pm (12-4pm Sat).

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – Crucible Showcase: Neon

Featuring work by Emma Davies and ceramic jewellery by Ky Curran. 10am5pm (Sat 12-4pm).

CRAFT ACT CRAFT & DESIGN CENTRE

58

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – Likan’Mirri II

Paintings by Tony Ugrinic showcasing the sights and scenery of Canberra and surrounds. 9am-4:30pm.

Indigenous Art from the AIATSIS Collection. 12-5pm. Free.

ANU DRILL HALL GALLERY

Exhibition – Once More, With Love

Not-for-profit jewellery for sustainability, recycling + ethical production. 11am5pm (Sat 12-4pm).

BILK GALLERY

Exhibition - Wall to Canvas

Originals by Anthony Lister, Ghost Patrol, Kill Pixie, VEXTA, Canberra’s ELK. Info: (02) 6248 8328.

CANBERRA CITY FRAMING GALLERY

Karaoke Carry-on Karaoke Semi-Final For $500 cash. 8pm.

Karaoke

THE DURHAM

Elton John

$100 cocktail party as first prize.

7:30pm. Free.

With his band. Celebrating the 40th anniversary of Rocket Man. Tickets through Ticketek.

The Phoenix Quiz

Victoriana Gaye

THE PHOENIX BAR

THE FRONT GALLERY AND CAFE

Trivia Tuesday

CANBERRA STADIUM

Every week a special Phoenix brand trivia. 7:30pm.

Progressive, psychedelic, folk/rock duo.

8pm. $10.

Fame Trivia

Sing For Your Supper

From 7:30pm.

THE DURHAM

PJ’s Trivia Tuesday

1st place cash prize with Bar and Kitchen vouchers to be won! 7pm.

P J O’REILLY’S (TUGGERANONG)

Craft practitioners, designers and architects co-produce a table setting.

10am-5pm (Sat 12-4pm).

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Live Music

Singers, poets, musicians! Feeling hungry? Book your slot for a free meal!

(02) 6230 2484. 6:30pm.

THE GEORGE HARCOURT INN

On The Town

Exhibition – Thanks ACT

GALLERY@BCS

Exhibition – Notations

A skilled ceramicist specialising in porcelain objects. 11am-5pm (12-4pm Sat).

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – Scar Clan

Collage and portraits by Louise Upshall.

11am-5pm. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Exhibition – That Added Touch Tapestries and embroideries by Canberra artist Carmel D’Ambrosio.

12-5pm. Free.

ANCA GALLERY

Exhibition – Crucible Showcase: Neon

Featuring work by Emma Davies and ceramic jewellery by Ky Curran. 10am5pm (Sat 12-4pm).

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – Once More, With Love

Not-for-profit jewellery for sustainability, recycling + ethical production. 11am5pm (Sat 12-4pm).

BILK GALLERY

Exhibition – Likan’Mirri II Indigenous Art from the AIATSIS Collection. 12-5pm. Free.

ANU DRILL HALL GALLERY

Exhibition – Five Exhibitions @ CCAS

By Leah Bullen, Karin Hanssen, Clare Thackway, Liz McNiven, Lyndy Delian.

11am-5pm (10am-4pm Sat).

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Exhibition - Wall to Canvas

$8 cocktails. 9pm.

Originals by Anthony Lister, Ghost Patrol, Kill Pixie, VEXTA, Canberra’s ELK. Info: (02) 6248 8328.

Art

MONKEYBAR

Exhibition – Domestic Renewal: a table re:set

Talks

Karaoke

Writing for TV with Felicity Packard

Karaoke Night!

wednesday november 14

KING O’MALLEY’S IRISH PUB

tuesday november 13

By Leah Bullen, Karin Hanssen, Clare Thackway, Liz McNiven, Lyndy Delian.

11am-5pm (10am-4pm Sat).

HONKYTONKS

DIGRESS COCKTAIL BAR

DIGRESS COCKTAIL BAR

Exhibition – Domestic Renewal: a table re:set

From 10pm.

On The Town $10 Mojito’s, $7 Nojitos. The best latin DJ’s & Music in Canberra. $7 entry w. free drink.

Exhibition – Five Exhibitions @ CCAS

Taco Tuesdays

Trivia

Mojito Monday

Art

ANCA GALLERY

DIGRESS COCKTAIL BAR

$10 gets you two tacos and a beer!

thursday november 15

Tapestries and embroideries by Canberra artist Carmel D’Ambrosio.

12-5pm. Free.

On The Town

2XX Local n Live presents Party Gravy, Nyash, Moon Landing, Reuben Ingall. 8pm.

THE PHOENIX BAR

Exhibition – That Added Touch

Craft practitioners, designers and architects co-produce a table setting.

10am-5pm (Sat 12-4pm).

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – Thanks ACT

Paintings by Tony Ugrinic showcasing the sights and scenery of Canberra and surrounds. 9am-4:30pm.

GALLERY@BCS

Exhibition – Crucible Showcase: Neon

Featuring work by Emma Davies and ceramic jewellery by Ky Curran. 10am5pm (Sat 12-4pm).

CRAFT ACT CRAFT & DESIGN CENTRE

Latino Wednesdays: ‘Halloween Party’

Home & Away to Underbelly: introducing participants to writing drama for Aussie TV. 6pm. $15/10.

BELCONNEN ARTS CENTRE

Theatre Under Milk Wood

By Dylan Thomas. An acoustic voice event. 7:30pm. $22.

THE STREET THEATRE

Trivia

CANBERRA CITY FRAMING GALLERY

1st place wins cash prize! Plenty of bar vouchers to be won too. 8pm.

P J O’REILLY’S (TUGGERANONG)

‘Tuggies Idol’ Karaoke Competition

$5 before Fri Aug 31 to win $1000 JB HIFI gift card. 8pm. See facebook.com/ events/512928288733928/ P J O’REILLY’S (TUGGERANONG)

Live Music Zoopagoo

With Kid You Not. 9pm.

THE PHOENIX BAR

Exhibition – Notations

Transit Trivia

Juke Baritone

CRAFT ACT CRAFT & DESIGN CENTRE

TRANSIT BAR

THE FRONT GALLERY AND CAFE

A skilled ceramicist specialising in porcelain objects. 11am-5pm (12-4pm Sat).

Flex your noggin. Table bookings essential! 2 for $20 pizzas.

7:30pm. Free.

Maniacal. Brilliant. Belligerent. Like a Muppet with a bad attitude.

7:30pm. $10.

Exhibition – Scar Clan

Jeff Martin

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

THE ABBEY

Collage and portraits by Louise Upshall.

11am-5pm. Free.

Playing solo. 6:30pm doors, 9pm main act. $37 through theabbey.com.au.

ENTERTAINMENT GUIDE Thu Nov 15 - Sat Nov 17 Kira Puru & The Bruise

Exhibition – Likan’Mirri II

Moment of Truth

TRANSIT BAR

ANU DRILL HALL GALLERY

P J O’REILLY’S (TUGGERANONG)

Step Into The Light tour. 8pm. Presale $11.70 + bf thru Moshtix.

Helicopter Showdown 10pm.

Indigenous Art from the AIATSIS Collection. 12-5pm. Free.

Exhibition - Wall to Canvas

Dos Locos

Originals by Anthony Lister, Ghost Patrol, Kill Pixie, VEXTA, Canberra’s ELK. Info: (02) 6248 8328.

KING O’MALLEY’S IRISH PUB

Exhibition – I AM...

THE CLUBHOUSE

9pm.

CANBERRA CITY FRAMING GALLERY

Thursdays At The Bar

Giving artists an opportunity to challenge the way people see disability.

10am-5pm. Free.

With uniVibes. Beers, bands and DJs jamming in the afternoon sun. Free.

ANU BAR AND REFECTORY

Degg 9pm.

KNIGHTSBRIDGE PENTHOUSE

On The Town 4Some Thursday

Awesome 4Some Drink Specials.

9pm. Free entry.

ACADEMY NIGHTCLUB

Theatre Under Milk Wood

By Dylan Thomas. An acoustic voice event. 7:30pm. $22.

THE STREET THEATRE

4:48 Psychosis

A play by Sarah Kane, directed by Karla Conway. 7:30pm. $22/$17 thru canberratheatrecentre.com.au.

THE COURTYARD STUDIO

friday november 16

BELCONNEN ARTS CENTRE

Dance Performance Night

From 7pm-9pm, followed by resident DJ Craig with dancefloor classics/hits.

On The Town SciNight – Beach Party

For big kids only. Experience Questacon without being judged by a 12-year-old. 6-10pm.

QUESTACON

Friday Freedom

Because it’s 5pm. Your happy place.

Free BBQ from 6pm.

KNIGHTSBRIDGE PENTHOUSE

Theatre

Canberra’s best dance crews perform! 9pm.

Under Milk Wood

Karaoke

THE STREET THEATRE

MONKEYBAR

Carry-on Karaoke Final For $500 cash. 8pm.

DIGRESS COCKTAIL BAR

Live Music Claude Hay

By Dylan Thomas. An acoustic voice event. 7:30pm. $22.

4:48 Psychosis

A play by Sarah Kane, directed by Karla Conway. 7:30pm. $22/$17 thru canberratheatrecentre.com.au.

THE COURTYARD STUDIO

saturday november 17

Blending slide guitar, sitar, bass and drums. 7:30pm. $15.

Art

Nick Rheinberger

Exhibition - Wall to Canvas

THE MERRY MUSE

CANBERRA CITY FRAMING GALLERY

THE FRONT GALLERY AND CAFE

With Jan Preston, playing his ‘Fat Blues’ set, about the glories of big people. 7:30pm. $17/14/12.

Originals by Anthony Lister, Ghost Patrol, Kill Pixie, VEXTA, Canberra’s ELK. Info: (02) 6248 8328.

Live & Funky House Fridays

Exhibition – I AM...

DIGRESS COCKTAIL BAR

BELCONNEN ARTS CENTRE

Acoustic/soul & jazz 6-8pm. Funk house from 9:30pm. (And two happy hours!) Free.

Giving artists an opportunity to challenge the way people see disability.

10am-5pm. Free.

Craft practitioners, designers and architects co-produce a table setting.

10am-5pm (Sat 12-4pm).

Celebrity Sex Tape

Exhibition – Five Exhibitions @ CCAS

Exhibition – Crucible Showcase: Neon

With Melanie Horsnell. 8pm. $15/10/8.

Art Exhibition – Domestic Renewal: a table re:set

CRAFT ACT CRAFT & DESIGN CENTRE

Featuring work by Emma Davies and ceramic jewellery by Ky Curran. 10am5pm (Sat 12-4pm).

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – Five Exhibitions @ CCAS

By Leah Bullen, Karin Hanssen, Clare Thackway, Liz McNiven, Lyndy Delian.

11am-5pm (10am-4pm Sat).

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Exhibition – Thanks ACT

Paintings by Tony Ugrinic showcasing the sights and scenery of Canberra and surrounds. 9am-4:30pm.

GALLERY@BCS

Exhibition – Notations

A skilled ceramicist specialising in porcelain objects. 11am-5pm (12-4pm Sat).

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – Scar Clan

Collage and portraits by Louise Upshall.

11am-5pm. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Exhibition – That Added Touch Tapestries and embroideries by Canberra artist Carmel D’Ambrosio.

12-5pm. Free.

9pm.

HIPPO BAR

Buddha and the Bomb

THE WHITE EAGLE POLISH CLUB

Princi 9pm.

KNIGHTSBRIDGE PENTHOUSE

Spoils’ Last Show!

With Tonk and Escape Syndrome. 8pm. $15 thru Moshtix/free for ANU students.

ANU BAR AND REFECTORY

Matt Dent 8pm.

P J O’REILLY’S (CIVIC)

Smokin’ Salmon Trio Live music.

CASINO CANBERRA

Music @ Mint

Live music in Mint’s garden bar.

6-10pm. Free.

MINT GARDEN BAR

Cheese/Retro

Your favourite songs to love to hate to love to hate. 9pm. Free.

TRANSIT BAR

Digress Dual Friday

Funk/live 6-8pm (Happy Hr 5-7pm).

Resident DJ + more play allsorts 9:30pm on. $8 J/bombs 10-11pm.

DIGRESS COCKTAIL BAR

Groundwerk 10pm.

THE CLUBHOUSE

ANCA GALLERY

Chad Croker/Special K

Exhibition – Once More, With Love

KING O’MALLEY’S IRISH PUB

Not-for-profit jewellery for sustainability, recycling + ethical production. 11am5pm (Sat 12-4pm).

BILK GALLERY

5pm/10pm.

Amber Lawrence

$25 (with three course dinner +$38).

Tickets through Casino Canberra.

CASINO CANBERRA

By Leah Bullen, Karin Hanssen, Clare Thackway, Liz McNiven, Lyndy Delian.

11am-5pm (10am-4pm Sat).

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Exhibition – Crucible Showcase: Neon

Featuring work by Emma Davies and ceramic jewellery by Ky Curran. 10am5pm (Sat 12-4pm).

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – Notations

A skilled ceramicist specialising in porcelain objects. 11am-5pm (12-4pm Sat).

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – Scar Clan

Collage and portraits by Louise Upshall.

11am-5pm. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Exhibition – That Added Touch Tapestries and embroideries by Canberra artist Carmel D’Ambrosio.

12-5pm. Free.

ANCA GALLERY

Exhibition – Likan’Mirri II 12-5pm. Free.

ANU DRILL HALL GALLERY

Exhibition – Domestic Renewal: a table re:set Craft practitioners, designers and architects co-produce a table setting.

10am-5pm (Sat 12-4pm).

CRAFT ACT CRAFT & DESIGN CENTRE

Comedy Denise Scott

‘Regrets’ by Denise Scott (Winners & Losers). $45 + bf through canberratheatrecentre.com.au.

CANBERRA THEATRE CENTRE

59

ENTERTAINMENT GUIDE Sat Nov 17 - Wed Nov 21 saturday november 17 (CONT.) Live Music Goji Berry Jam

Exhibition – That Added Touch

tuesday november 20 Art

Originals by Anthony Lister, Ghost Patrol, Kill Pixie, VEXTA, Canberra’s ELK. Info: (02) 6248 8328.

Exhibition – Likan’Mirri II

Exhibition - Wall to Canvas

Exhibition – I AM...

ANCA GALLERY

ANU DRILL HALL GALLERY

Originals by Anthony Lister, Ghost Patrol, Kill Pixie, VEXTA, Canberra’s ELK. Info: (02) 6248 8328.

Cracked Actor

Live Music

Exhibition – I AM...

THE PHOENIX BAR

Sam Buckingham

A five-piece funk band to ease in your afternoon. 2pm.

MOCAN & GREEN GROUT

With Hinterland. 9:30pm.

Cha Cha Char 9pm.

Indigenous Art from the AIATSIS Collection. 12-5pm. Free.

With The Burley Griffin. 7pm. Entry by donation.

HIPPO BAR

THE FRONT GALLERY AND CAFE

DJs Karma/Jswiss/ Hypnotic/MC Tee

Irish Jam Session

Traditional Irish music. 5pm.

MONKEYBAR

Canberra Blues Society’s Monthly Blues Jam

Urban Playground Presents. 10pm.

Nick Rheinberger

KING O’MALLEY’S IRISH PUB

CANBERRA CITY FRAMING GALLERY

Giving artists an opportunity to challenge the way people see disability.

10am-5pm. Free.

BELCONNEN ARTS CENTRE

Exhibition – Crucible Showcase: Neon

Featuring work by Emma Davies and ceramic jewellery by Ky Curran. 10am5pm (Sat 12-4pm).

CRAFT ACT CRAFT & DESIGN CENTRE

A great afternoon of blues hosted by Canberra’s leading blues bands. $5/$3 members. 1pm-4.30pm.

Exhibition – Notations

9pm.

The Feldons

CRAFT ACT CRAFT & DESIGN CENTRE

The Whitetop Mountaineers

A BITE TO EAT CAFE

With Dave Blanken, Steve Bardwell.

8pm. $15/12 door.

THE FRONT GALLERY AND CAFE

Jemist

STATESMAN HOTEL

KNIGHTSBRIDGE PENTHOUSE

Groovy bluesy trio. Tapas from 5pm, happy hour from 6pm. Free.

With Dr Stovepipe. 8pm. $25/20/15.

THE WHITE EAGLE POLISH CLUB

music, coffee

Bass, violin, looped vocals or something similar. 10am-11am.

MOCAN & GREEN GROUT

Surrogates 10:30pm.

KING O’MALLEY’S IRISH PUB

Live Evil Presents...

A night of classic metal. 8pm. Presale $15 through Moshtix.

TRANSIT BAR

Blame It On The Boogie Saturdays

Motown/disco/’80s & ‘90s from 9:30pm. Free entry (and get a free drink if you rock an afro).

DIGRESS COCKTAIL BAR

On The Town Old Skool Saturdays

Hoodlum Shouts & Looking Glass

With A Drone Coda. $10 door.

POT BELLY BAR

On The Town Sangria Sundaze

$15 sangria jugs, $5 coronas 4-6pm.

Food specials 3pm-late. Tunes from DJs Runamark & Mitch.

A skilled ceramicist specialising in porcelain objects. 11am-5pm (12-4pm Sat).

Exhibition – Domestic Renewal: a table re:set Craft practitioners, designers and architects co-produce a table setting.

10am-5pm (Sat 12-4pm).

CRAFT ACT CRAFT & DESIGN CENTRE

Croon and wail your heart out on the Transit stage. 9pm. Free.

TRANSIT BAR

On The Town Taco Tuesdays

$10 gets you two tacos and a beer!

Theatre

High Seas Podcast/Heartfelt Records pres: Outcome, Hygiene, Fuzzsucker, Worthwhile Jones. 8pm. Free.

THE PHOENIX BAR

THE COURTYARD STUDIO

Under Milk Wood

TRANSIT BAR

By Dylan Thomas. An acoustic voice event. 3pm. $22.

THE STREET THEATRE

sunday november 18 Art Exhibition - Wall to Canvas

Originals by Anthony Lister, Ghost Patrol, Kill Pixie, VEXTA, Canberra’s ELK. Info: (02) 6248 8328.

CANBERRA CITY FRAMING GALLERY

Exhibition – I AM...

Giving artists an opportunity to challenge the way people see disability.

10am-5pm. Free.

BELCONNEN ARTS CENTRE

Exhibition – Scar Clan

Collage and portraits by Louise Upshall.

11am-5pm. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

60

A play by Sarah Kane, directed by Karla Conway. 7:30pm. $22/$17 thru canberratheatrecentre.com.au.

Post-weekend sounds from Ryz, Peekz, Kimosabi, Steve On Weekends! Free pool, 2-4-1 pizza, 9pm. Free.

Trivia

On The Town

DIGRESS COCKTAIL BAR

Mojito Monday

Arc Cinemas Presents. 7:30pm.

$10 Mojito’s. The best latin DJs in Canberra. $7 entry w. free drink.

DIGRESS COCKTAIL BAR

2-4-1 Steak and Schnitzel Night Exactly what it says.

THE DURHAM

Theatre 4:48 Psychosis

A play by Sarah Kane, directed by Karla Conway. 7:30pm. $22/$17 thru canberratheatrecentre.com.au.

THE COURTYARD STUDIO

Trivia King O’s Trivia

Free entry and bar prizes. 6:30pm.

KING O’MALLEY’S IRISH PUB

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – Domestic Renewal: a table re:set Craft practitioners, designers and architects co-produce a table setting.

10am-5pm (Sat 12-4pm).

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – Grain

Large-scale abstract aerial photographs above coastal areas but David Flanagan. 12-5pm. Free.

ANCA GALLERY

$100 bar tab giveaway every week to most entertaining performer. 9pm.

Karaoke

From 10pm.

THE DURHAM

Live Music Sing For Your Supper

Singers, poets, musicians! Feeling hungry? Book your slot for a free meal!

(02) 6230 2484. 6:30pm.

THE GEORGE HARCOURT INN

Latino Wednesdays

4:48 Psychosis

THE COURTYARD STUDIO

A skilled ceramicist specialising in porcelain objects. 11am-5pm (12-4pm Sat).

On The Town

The Bootleg Sessions

Biscuits

Exhibition – Notations

HONKYTONKS

Theatre

A play by Sarah Kane, directed by Karla Conway. 7:30pm. $22/$17 thru canberratheatrecentre.com.au.

CRAFT ACT CRAFT & DESIGN CENTRE

DIGRESS COCKTAIL BAR

Live Music

4:48 Psychosis

Featuring work by Emma Davies and ceramic jewellery by Ky Curran. 10am5pm (Sat 12-4pm).

CORROBOREE PARK HALL

Karaoke Love

monday november 19

Exhibition – Crucible Showcase: Neon

Carry-on Karaoke Wednesdays

Dance where no one’s watching.

7:30pm-9pm. $5.

Theatre

THE COURTYARD STUDIO

BELCONNEN ARTS CENTRE

No Lights No Lycra

Karaoke

A play by Sarah Kane, directed by Karla Conway. 7:30pm. $22/$17 thru canberratheatrecentre.com.au.

Giving artists an opportunity to challenge the way people see disability.

10am-5pm. Free.

Karaoke

THE LIGHT HOUSE PUB

4:48 Psychosis

CANBERRA CITY FRAMING GALLERY

Dance

Mix of Old Skool R‘n’B, 80s & 90s. Free entry. $5 vodka original & flavours 10-11pm.

DIGRESS COCKTAIL BAR

Exhibition - Wall to Canvas

Tapestries and embroideries by Canberra artist Carmel D’Ambrosio.

12-5pm. Free.

Trivia Tuesday

$100 cocktail party as first prize.

7:30pm. Free.

Liz and Alex’s Music Trivia THE PHOENIX BAR

Fame Trivia From 7:30pm.

THE DURHAM

PJ’s Trivia Tuesday

1st place cash prize with Bar and Kitchen vouchers to be won! 7pm.

P J O’REILLY’S (TUGGERANONG)

wednesday november 21 Art Exhibition – Likan’Mirri II

Indigenous Art from the AIATSIS Collection. 12-5pm. Free.

ANU DRILL HALL GALLERY

$8 cocktails. 9pm. Free.

MONKEYBAR

Something Different Bad!Slam!No!Biscuit!

With Emilie Zoey Baker, Bacon Cakes. 9pm.

THE PHOENIX BAR

Theatre 4:48 Psychosis

A play by Sarah Kane, directed by Karla Conway. 7:30pm. $22/$17 thru canberratheatrecentre.com.au.

THE COURTYARD STUDIO

Trivia Transit Trivia

Flex your noggin. Table bookings essential! 2 for $20 pizzas.

7:30pm. Free.

TRANSIT BAR

ENTERTAINMENT GUIDE Thu Nov 22 - Sun Nov 25 thursday november 22

friday november 23

Art

Art

Exhibition – Grain

Exhibition – Grain

Large-scale abstract aerial photographs above coastal areas but David Flanagan. 12-5pm. Free.

ANCA GALLERY

Exhibition – Likan’Mirri II

Indigenous Art from the AIATSIS Collection. 12-5pm. Free.

ANU DRILL HALL GALLERY

Exhibition – Crucible Showcase: Neon

Large-scale abstract aerial photographs above coastal areas but David Flanagan. 12-5pm. Free.

ANCA GALLERY

Exhibition – Crucible Showcase: Neon

Featuring work by Emma Davies and ceramic jewellery by Ky Curran. 10am5pm (Sat 12-4pm).

Glasshouse

music, coffee

TRANSIT BAR

MOCAN & GREEN GROUT

Celebrates some birthdays in true style.

8pm. Free.

Bass, violin, looped vocals or something similar. 10am-11am.

Kooky Fandango

On The Town

Live music.

CASINO CANBERRA

Friday Freedom

Sebastian McFox

Because it’s 5pm. Your happy place.

Free BBQ from 6pm.

9pm.

KNIGHTSBRIDGE PENTHOUSE

KNIGHTSBRIDGE PENTHOUSE

Improbable Fiction

By Alan Ayckbourn. Directed by Corille Fraser. Under 30s door $20. Tix at canberrarep.org.au. 8pm.

saturday November 24

CANBERRA REPERTORY SOCIETY

CRAFT ACT CRAFT & DESIGN CENTRE

Art

Featuring work by Emma Davies and ceramic jewellery by Ky Curran. 10am5pm (Sat 12-4pm).

Exhibition – Likan’Mirri II

Exhibition – Grain

Blame It On The Boogie Saturdays

Exhibition - Wall to Canvas

Exhibition - Wall to Canvas

ANCA GALLERY

DIGRESS COCKTAIL BAR

CRAFT ACT CRAFT & DESIGN CENTRE

Originals by Anthony Lister, Ghost Patrol, Kill Pixie, VEXTA, Canberra’s ELK. Info: (02) 6248 8328.

CANBERRA CITY FRAMING GALLERY

Exhibition – I AM...

Giving artists an opportunity to challenge the way people see disability.

10am-5pm. Free.

BELCONNEN ARTS CENTRE

Exhibition – Notations 11am-5pm (12-4pm Sat).

CRAFT ACT CRAFT & DESIGN CENTRE

Indigenous Art from the AIATSIS Collection. 12-5pm. Free.

ANU DRILL HALL GALLERY

Originals by Anthony Lister, Ghost Patrol, Kill Pixie, VEXTA, Canberra’s ELK. Info: (02) 6248 8328.

CANBERRA CITY FRAMING GALLERY

Exhibition – I AM...

Giving artists an opportunity to challenge the way people see disability.

10am-5pm. Free.

BELCONNEN ARTS CENTRE

Exhibition – Domestic Renewal: a table re:set

Exhibition – Domestic Renewal: a table re:set

Craft practitioners, designers and architects co-produce a table setting.

10am-5pm (Sat 12-4pm).

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – Notations

10am-5pm (Sat 12-4pm).

CRAFT ACT CRAFT & DESIGN CENTRE

Film

A skilled ceramicist specialising in porcelain objects. 11am-5pm (12-4pm Sat).

Local Feats: Into The Shadows (2009)

Canberra feature film w/ director’s talk.

6pm + 9pm. Tix/info: http://newacton. com.au/localfeats

CRAFT ACT CRAFT & DESIGN CENTRE

Live Music DJ Madd

Karaoke

Treehouse Presents. Driving synths and intelligent beats from an artist advancing dubstep. 9pm. $20.

Karaoke Night!

MICfest 2012 (Day Two)

KENDALL LANE THEATRE

1st place wins cash prize! Plenty of bar vouchers to be won too. 8pm.

P J O’REILLY’S (TUGGERANONG)

‘Tuggies Idol’ Karaoke Competition

$5 before Fri Aug 31 to win $1000 JB HIFI gift card. 8pm. See facebook.com/ events/512928288733928/ P J O’REILLY’S (TUGGERANONG)

Live Music The Phoenix’s 19th Birthday With The Fuelers. 9pm.

THE PHOENIX BAR

MICfest 2012 (Day One)

CIT Music Industry Centre annual CD launch + School Stars Band Comp. See fb.com/citcmm. 4pm. Free.

CIT MUSIC INDUSTRY CENTRE

Ced Nada 9pm.

KNIGHTSBRIDGE PENTHOUSE

Thursdays At The Bar

With uniVibes. Beers, bands and DJs jamming in the afternoon sun. Free.

ANU BAR AND REFECTORY

The Owls

Swamp Love tour. 8pm. $10 door.

TRANSIT BAR

On The Town 4Some Thursday

Awesome 4Some Drink Specials. 9pm.

Free entry.

ACADEMY NIGHTCLUB

TRINITY BAR

CIT Music Industry Centre annual showcase. See fb.com/citcmm.

6pm. Free.

CIT MUSIC INDUSTRY CENTRE

Live & Funky House Fridays

Acoustic/soul & jazz 6-8pm. Funk house from 9:30pm. (And two happy hours!) Free.

DIGRESS COCKTAIL BAR

Jemist 9pm.

KNIGHTSBRIDGE PENTHOUSE

Hazan 9pm.

Exhibition – Likan’Mirri II

Goji Berry Jam

ANU DRILL HALL GALLERY

MOCAN & GREEN GROUT

A five-piece funk band to ease in your afternoon. 2pm.

Indigenous Art from the AIATSIS Collection. 12-5pm. Free.

Exhibition – Domestic Renewal: a table re:set

On The Town

Craft practitioners, designers and architects co-produce a table setting.

10am-5pm (Sat 12-4pm).

Old Skool Saturdays

Mix of Old Skool R‘n’B, 80s & 90s. Free entry. $5 vodka original & flavours 10-11pm.

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition - Wall to Canvas

Originals by Anthony Lister, Ghost Patrol, Kill Pixie, VEXTA, Canberra’s ELK. Info: (02) 6248 8328.

CANBERRA CITY FRAMING GALLERY

Exhibition – I AM...

Giving artists an opportunity to challenge the way people see disability.

10am-5pm. Free.

BELCONNEN ARTS CENTRE

DIGRESS COCKTAIL BAR

sunday November 25 Art Exhibition – Grain

12-5pm. Free.

ANCA GALLERY

Exhibition – Notations

Exhibition – Likan’Mirri II

A skilled ceramicist specialising in porcelain objects. 11am-5pm (12-4pm Sat).

I12-5pm. Free.

ANU DRILL HALL GALLERY

Exhibition - Wall to Canvas

CRAFT ACT CRAFT & DESIGN CENTRE

Exhibition – Crucible Showcase: Neon

Info: (02) 6248 8328.

CANBERRA CITY FRAMING GALLERY

Featuring work by Emma Davies and ceramic jewellery by Ky Curran. 10am5pm (Sat 12-4pm).

Exhibition – I AM...

10am-5pm. Free.

BELCONNEN ARTS CENTRE

CRAFT ACT CRAFT & DESIGN CENTRE

Live Music

Live Music

Evil Eddie

Bleeding Knees Club

Let It Go tour. 8pm. Presale $12 + bf thru Moshtix.

TRANSIT BAR

Grandmaster Monk

With No Hausfrau, Josh Newham.

9:30pm.

THE PHOENIX BAR

HIPPO BAR

Faux Real

Music @ Mint

HIPPO BAR

Live music in Mint’s garden bar.

6-10pm. Free.

Motown/disco/’80s & ‘90s from 9:30pm. Free entry (and get a free drink if you rock an afro).

Large-scale abstract aerial photographs above coastal areas but David Flanagan. 12-5pm. Free.

9pm.

Welcome To Flavour Country album tour.

6pm. Presale $15 + bf thru Moshtix.

TRANSIT BAR

The Black Sorrows

6:30pm doors, 9pm main act. $55/$125 w. dinner through theabbey.com.au.

THE ABBEY

Irish Jam Session

Traditional Irish music. 5pm.

KING O’MALLEY’S IRISH PUB

MINT GARDEN BAR

Improbable Fiction

By Alan Ayckbourn. Directed by Corille Fraser. Under 30s door $20. Tix at canberrarep.org.au. 8pm.

CANBERRA REPERTORY SOCIETY

Digress Dual Friday

Funk/live 6-8pm (Happy Hr 5-7pm).

Resident DJ + more play allsorts 9:30pm on. $8 J/bombs 10-11pm.

DIGRESS COCKTAIL BAR

Eyehategod

With I Exist and Law of the Tongue.

8pm. Presale $51.25 + bf through Ticketek.

ANU BAR AND REFECTORY

Moment of Truth

From 7pm-9pm, followed by resident DJ Craig with dancefloor classics/hits.

OUT

NOV21

the musicact music awards (Mamas) macy gray bleeding knees club the black sorrows ...and more!

P J O’REILLY’S (TUGGERANONG)

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FIRST CONTACT

SIDE A: BMA band profile

David van Dijk Where did your band name come from? It took a lot of thinking, but I came up with the idea to go with my name.

Group members? I write and produce all of my stuff, but I’ve worked with vocalists like Joanna Kerr in the past.

Describe your sound: I’d describe it as a blend of trance and progressive house, but my sound is a little different!

Who are your influences, musical or otherwise? Armin van Buuren – his work was what first got me into trance. Others include Cosmic Gate, Dash Berlin, Joop and Team Bastian.

I also really love Deadmau5 and Swedish House Mafia.

Otherwise, my Mum (Hey, Mum! LOL) and all of my family. My godparents and godsisters go into that category as well!

What’s the most memorable experience you’ve had whilst performing? I’d have to say being in the middle of a massive house track and someone requesting a Kiss song for laughs.

Also a huge dude fell through a wall at that party mid-set.

Of what are you proudest so far? Producing my first EP. When I held that first copy of the EP in my hands, that was be a pretty proud moment! Check it out!

What are your plans for the future? Keep producing and start playing in clubs. Long-term – travel the world with my music! I’d say that and playing at a club in the Netherlands or Ibiza would be the big dream!

What makes you laugh? My friends and family. Dancing like an idiot is always fun. Seinfeld, Always Sunny… I love those ‘Difference Between Wogs and Aussies’ videos.

What pisses you off? People who are inconsiderate or intolerant of others, hypocrites. Musically, it pisses me off when I’m working on a sound or a melody or something and it’s SO close but I just can’t get that final tweak or note right!

What about the local scene would you change? I’d always love less Top 40 generic bullshit music and more music that is actually involved and stimulating: trance, the good house and electro...more like Europe basically! There are some great DJs here trying to do that so fingers-crossed.

What are your upcoming gigs? I’d love to organise a launch for my EP! In 2013 I’m really going to start getting out there.

Contact info: davidvandijkmusic@gmail.com, facebook. com/davidvandijkmusic, @theDavidvanDijk, soundcloud. com/davidvandijkmusic.

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Aaron Peacey 0410 381 306 Activate Jetpack activatejetpack@hotmail.com Adam Hole 0421 023 226 Afternoon Shift 0402 055 314 After Close Scotty 0412 742 682, afterclose@hotmail.com Alcove Mark 0410 112 522 Alice 0423 100 792 Allies ACT (Oxfam Group) alliesact@hotmail.com/ myspace.com/alliesact Amphibian Sound PA Clare 0410 308 288 Amplif5’d Classic rock covers band Joy 0407 200 428, joybarac-heath@hotmail.com Annie & the Armadillos Annie 6161 1078/0422 076 313 The Ashburys Dan Craddock 0419 626 903 Aria Stone, sax & flute, singer/ songwriter (guitar) Aria 0411 803 343 Australian Songwriters Association (Keiran Roberts) 6231 0433 Arythmia: Ben 0423 408 767/ arythmiamusic@gmail.com Backbeat Drivers Steve 0422 733 974, www.backbeatdrivers.com Big Boss Groove Andrew 0404 455 834, www.bigbossgroove.com.au Birds Love Fighting Gangbusters/DIY shows - bookings@birdslovefighting.com Black Label Photography Kingsley 0438 351 007 Blister Bug Stu 0408 617 791 Bridge Between, The Rachel 0412 598 138, thebridgebetween.com.au Bruce Stage mgr/consultant 6254 9857 Capital Dub Style - Reggae/Dub Events + DJs facebook.com/CapitalDubStyle Rafa 0406 647 296 Caution Horses Nigel 0417 211 580 Chris Harland Blues Band 0418 490 640 chrisharlandbluesband@yahoo.com.au Clear Vision Films rehearsals/film clips/stunts - 0438 647 281 wcoulton.clearvisionfilms.com Cole Bennetts Photography 0415 982 662 /colebennetts.com Cris Clucas Cris 6262 5652 Crooked Dave 0421 508 467 Danny V Danny 6238 1673/0413 502 428 Dawn Theory Nathan 0402 845 132 D’Opus & Roshambo hifidelitystyles@yahoo.com DJs Madrid and Gordon 0417 433 971 DJ Latino Rogelio 0401 274 208 DJ Moises (RnB/Latin) 0402 497 835 or moises_lopez@hotmail DNA Vic 0408 477 020 Drumassault Kate 0414 236 323 Easy Mode Daz 0404 156 482, easymodeband@gmail.com Entity Chris 0412 027 894 Epic Flagon band@epicflagon.com Fighting Mongooses, The Adam 0402 055 314 Final Warning Brendan 0422 809 552 Fire on the Hill Aaron 0410 381 306/ Lachlan 0400 038 388 4dead Peter 0401 006 551 Freeloaders, The Steve 0412 653 597 Friend or Enemy 6238 0083, www.myspace.com/friendorenemy Gareth Hailey DJ & Electronica 0414 215 885 GiLF Kelly 0410 588 747, gilf.mail@gmail.com Groovalicious Corporate/Weddings/ Private functions 0448 995 158 groovalicious@y7mail.com Guy The Sound Guy live & studio sound engineer, 0400 585 369, guy@guythesoundguy.com HalfPast Chris 0412 115 594 Hancock Basement Tom 6257 5375, hancockbasement@hotmail.com Happy Hour Wendy 0406 375 096 Haunted Attics band@hauntedatticsmusic.com Hitherto Paul 0408 425 636 In The Flesh Scott 0410 475 703

Inside the Exterior Nathan 0401 072 650 Itchy Triggers Andrew 0401 588 884 Jacqui Seczawa 0428 428 722 JDY Clothing 0405 648 288/ www.jdyclothing.com Jenn Pacor singer/songwriter avail. for originals & covers, 0405 618 630 Jim Boots 0417 211 580 Johnny Roadkill Paulie 0408 287 672, paulie_mcmillan@live.com.au Karismakatz DJ Gosper 0411 065 189/ dj@karismakatz.com Kayo Marbilus myspace.com/kayomarbilus Kurt’s Metalworx (PA) 0417 025 792 Little Smoke Sam 0411 112 075 Los Chavos Latin-Ska-Reggae facebook.com/loschavosmusic Rafa 0406 647 296 Andy 0401 572 150 Manilla Green Herms 0404 848 462, contactus@manillagreen.com, Mario Brujo Gordon world/latin/ reggae/percussionist and DJ. 0405 820 895 Martin Bailey Audio Engineer 0423 566 093 Words for You: writer/publicity/events Megan ph 6154 0927, Mercury Switch Lab Studios mercuryswitch@internode.on.net Missing Zero Hadrian Brand 0424 721 907 hadrian.brand@live.com.au Moots aspwinch@grapevine.com.au Huck 0419 630 721 MuShu Jack 0414 292 567, mushu_band@hotmail.com MyOnus myonusmusic@hotmail.com/ www.myspace.com/myonus No Retreat Simon 0411 155 680 Ocean Moses Nigel 0417 211 580 OneWayFare Chris 0418 496 448 Painted Hearts, The Peter 6248 6027 Phathom Chris 0422 888 700 The Pigs The Colonel 0422 412 752 Polka Pigs Ian 6231 5974 Premier Audio Simon 0412 331 876, premier_audio@hotmail.com Rafe Morris 0416 322 763 Redletter Ben 0421 414 472 Redsun Rehearsal Studio Ralph 0404 178 996/6162 1527 Rhythm Party, The Ross 0416 010 680 Rob Mac Project, The Melinda 0400 405 537 Rug, The Jol 0417 273 041 Samsara Samahdi 0431 083 776 Sansutra J-Ma 0403 476 350 Simone Penkethman (Simone & The Soothsayers, Singing Teacher) 6230 4828 Soundcity Rehearsal Studio Andrew 0401 588 884 Solid Gold Peter 0421 131 887/ solid.gold@live.com.au STonKA Jamie 0422 764 482/ stonka2615@gmail.com Super Best Friends Matt 0438 228 748 Surrender Jordan 0439 907 853 Switch 3 Mick 0410 698 479 System Addict Jamie 0418 398 556 The Morning After (covers band) Anthony 0402 500 843/ myspace.com/themorningaftercovers Tiger Bones & The Ferabul-Zers Danny feralbul@aapt.net.au Tim James Lucia 6282 3740, LUCIAMURDOCH@hotmail.com Top Shelf Colin 0408 631 514 Transmission Nowhere Emilie 0421 953 519/myspace.com/ transmissionnowhere Udo 0412 086 158 Undersided, The Baz 0408 468 041 Using Three Words Dan 0416 123 020, usingthreewords@hotmail.com Voodoo Doll Mark 0428 650 549 William Blakely Will 0414 910 014 Zero Degrees and Falling Louis 0423 918 793 Zwish 0411 022 907

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