With the St Kilda Festival scheduled on a Sunny Sunday, I set off in the opposite direction of the beach and into town to the Art Gallery, hoping that the festival would draw crowds away from the Escher exhibition. What I wasn’t expecting was a Metro meltdown.
No buses, no trains and no trams! The 246 bus decided to by-pass my area, in an effort to avoid picking up or dropping people off to the bayside shuffle. The trains were off, due to track work and the trams had a ‘disruption’. The lone carrier was the notorious ‘Replacement Bus’ that answers to no schedule.
Boarding the bus required tactful manoeuvring as the commuters jostled for a seat and standing room, the less skilful were left behind. Just as the ‘Replacement Bus’ has no timetable it also has no set route and maundered it’s way through the inner suburban neighbourhood, like a scenic tour.
I passed places where I used to live and Cafes I once frequented and what began as a commute had become a journey, instead of taking 45 minutes to reach my destination, I arrived at the Gallery, after 2 hours. The girl at the ticket desk, attempted to talk me out of buying a ticket, as only an hour of viewing remained. My restraint was thinning.
Despite being rushed through the exhibition by enthusiastic guards saying;
“30 minutes to go and 6 more rooms!”
“20 minutes to go and 4 more rooms!”
“10 minutes to go and 2 more rooms!!”
The one prediction in my favour was that it was not crowded.
The exhibition soothed my fatigue and quickened the light of inspiration that thrives beneath the surface of mediocacy. Escher is a Master printmaker, designer, artist and architect; it is of no surprise that his father was an engineer. The exhibition weaves through the development of his style and skill, which is illustrated within landscapes and town streets, that journal his travels through Europe
The exhibition combines the Art Star with the works Nendo that compliment the show, with ambient structures and light shows. Like an Escher’s design; the art patron is led through props and floor space that dupes the eye and challenges those that are prone to vertigo. The layout of the show combines the physical and visual journey, it incorporates the optical illusion within the simple building blocks of drama. Beautiful work and a brilliantly curated.
“We played your song to John Lee Hooker, and he liked it”Matt Taylor remembers being told.
Chain performing in Melbourne at the Sidney Myer Music Bowl in the 80’s
In 1971 Sunbury, tried to deliver a concert like Woodstock, but apart from being an outdoor concert, the two had little in common and most sources will confer that theirs was a ‘Love-in’ and ours was a ‘Drink-on’; yet for $1 you could enjoy Chain and Phil Manning blowing the breeze with cool blues and sweet guitar. Decades later they are together in Chain, playing in St Kilda at MEMO, just doing their stuff…living music.
Chain is like a Classic Harley Davidson, it doesn’t grow old but rather more impressive. I don’t doubt that the crowd on Friday night were just as alive to the music as they could ever have been. The artists ability hadn’t dimmed nor had their creativity faded, they were effortless, clean sound welded together with musical precision . They are not an old band regurgitating one hit wonders, this is a band of genuine artists perfecting their craft.
There was a mixed crowd of those that grew up with the music and younger folk that were new to it.
“It’s not an age thing man, you love them for their music and like them because they are good at their music”Josh (20something)
Matt Taylors relaxed and inviting stage presence between songs gave the night an unexpected charm. The session closed with ‘I remember when I was young’ and it set the crowd alight.
An A+ Melbourne band, Fulton Street is Smooth, Smart and Sophisticated. The purple Vinyl spins throughout the day, filling the lazy Sunday with a rich ambience. This band is beyond an emerging band of young musicians, as the finished quality of their sound begs disbelief.
FULTON STREET interview with Shannen Wick; Lead Singer.
The Start
I started Fulton Street in 2012 with our drummer, Daniel. We studied Indonesian language together at Monash Univeristy, and it wasn’t until we were forced to work together on a group assignment that we both discovered we had a passion for music. After smashing an oral exam, we decided to start a band. We placed ads up all around campus, asking for anyone to join our soul/funk outfit. It was another 6 months before we had found a crew that was committed to our idea of writing and performing originals. Soon, we were being booked for gigs but we didn’t have a band name. Our then saxophonist, Hanna suggested that we name ourselves Fulton Street – the name of the street we rehearsed on every Monday night for about 4 years.
Australian Influences
We’ve been influenced for many years now by the sounds of Daptone Records – Sharon Jones and The Dap-Kings, Charles Bradley, Menahan Street Band, Budos Band, etc. Recently, we’ve discovered the amazing artists coming out of Colemine Records too. Locally, our musical heroes include: The Bamboos, Cookin’ On 3 Burners, The Putbacks and The Meltdown. We’re very lucky to have worked with and even been taught by some of these local legends!
Family
Both sides of my family are claiming I get my voice from them, haha. My whole family loves to sing. We have a couple of guitarists in the family too. Music has always been apart of my life ever since I can remember, but apart from my great-uncle, no one has pursued a career in music – except for me.
Check Yourself!
‘Check Yourself’ was written during the US elections, 2016. At the time, I was seeing and hearing a lot about migrant family separation, and the disturbing impact of displacement and alienation faced by those affected children. Jamie and I wanted to write a song, urging future generations to take complete ownership of their race, skin colour, religious beliefs, etc. We wanted to challenge everyone to let go of their judgments for a better future.
Our Generation
I feel that young people are not often listened to and are often underrepresented. If you think about the current political climate, how many young voices do you see or hear? It’s a shame – I think young people have a lot to offer in terms of fresh new ideas, and helping us move forward in this ever-changing world.
Are you happy with the Album? MP
We’re super happy with the release! We’ve learnt a lot from our first ‘soul baby’ and Ivan Khatchoyan (Cookin’ On 3 Burners, The Traffic) was an amazing mentor and producer throughout the whole process. Our next single has already been tracked, but that won’t be released for a little while yet. We’re still enjoying the ride that ‘Problems & Pain’ is taking us on.
Where do you see yourself in 5 years? MP It’s crazy how fast the last 6 years have gone! I’m hoping that in 5 years time, Fulton Street will still be playing, continuing to develop our sound and stage performance, writing and releasing music, and touring!
What are some of the challenges that you have faced? MP I manage Fulton Street. I book our gigs. I write our songs. I’m also the front lady. I never studied Business, Events or Music. So, there are always new challenges I’m faced with in the running of the band! But it’s all a big learning curve, and I am a huge believer in that you ‘learn by doing.’ The guys are always supportive. Thankfully, we also have a lot of musician friends and mentors who have guided us and given us advice when we’ve needed it! Fulton Street is quite a large group. There can be anywhere between 7 to 12 people involved in our live shows. We all juggle study, work, rehearsal and other gig commitments. But at the end of the day, we all make the band our priority, and I think that’s why we work so well. We’re in a niche little market in terms of the soul/funk scene. There’s not a huge demand for it. But at the end of the day, if we write music with a positive social message and give our 110% onstage, people will take notice.
Are you planning a tour, local or o/seas?MP We’d love to do a regional and interstate tour, so hopefully we can get that happening in the next few months. I think our long-term goal would be to head overseas for recording and touring.
You played Fed Square on New Years, how did that come about and what was the night like? MP Multicultural Arts Victoria contacted us about playing Federation Square for New Years Eve, 2017. The atmosphere on that night was incredible. We’d finish playing a song and the cheers from the audience would just wash over the stage in waves. It is definitely a show and NYE we’ll never forget.
The rain held off, on Saturday night, as Ormond Point hosted a free outdoor filming, of the bays unknown marine diversity.
The lights -out, Earth Hour night may have been overshadowed by the Grand Prix and AFL annual kick-off. From the vantage point of the vista, the City never slept and kept its lights on.
‘Ride on Cinema’ generated a film using pedal-power, a documentary that explained the complex marine-life that lives within our humble Port Philip Bay. Elwood’s symbol of the Seahorse drew from the local under-water life that is populated with the species. Unbeknown to the bathers that have enjoyed the shores this Summer, there are 3 species of Dolphins that call the bay their home
Within the Bay are schools of fish, lazy seals that rest on man-made platforms, sting rays and penguins. Sea-dragons camouflaged as seaweed, suck up shrimp as they pass and thousands of crabs climb over one another, growing out of shells and creating new ones, leaving a trail of skeletons.
“For some its best to hunt alone ..and the best way to get a meal is to hide from it”
Star-gazers bury themselves in the sand and with eyes that float like balloons on strings, watch hungrily for their victims, the razor sharp teeth on top of their head, resemble a bear trap. Large Octopus grab Sharks as they pass by and their miniature counterpart, the Blue Ring kind, kill their prey with venom.
The Cold waters of the South Pole and the warm waters of our Continent create a habitat that breeds unique marine-life. Protecting and exploring this quiet world is a Melbournian privilege.
This Charming Man, the very affable Matt Stewart draws in a full house as he gives a ‘Dry’ dose of ‘Very Dry’ at The Chinese Museum in Chinatown. He has taken his routine out of The Fringe and into the Melbourne International Comedy Festival, for a fresh round of laughs.
Getting to the venue is half the adventure, up the street hustle of Chinatown and into the historic site that sets the tone for the nights event. Stewart is unassuming, able to ‘break your guard’ whist never pouncing..
The key to his art is his unflinching delivery as he stares into the bright lights that veil the audience. He promises to give ‘A pretty Good Show ‘ It’s most likely one of the top ‘Pretty Good Shows’ on the circuit.
Even though Matt’s not your mate, he could be. With comic cool he creates a friendly rapport as he spins absurd Aussie tales and butters it with wacky wisdom. He is edgy with a blunt delivery. ,
As a Caped Crusader, Stewarts superpower is to engage, indulge and transfix.
‘Pretty Dry’ at the CHINESE MUSEUM Review by A. Forward
Michael Shafar held his own at the momentous Trades Hall, that scrubbed up nicely, awash in neon for the MICF 2017.
Shafar is an eclectic blend of cultural experiences that have shaped and unshaped him. He is sorta Jewish, sorta Aussie,sorta cool, sorta nerd, sorta serious but definitely funny. His shows are selling out because the word is out, Shafar ‘nailed it’ this year.
Shafar examines his Jew-ish-ness with perplexed wonder. His grandfather was a Holocaust survivor and its more the ‘religousness’ than the faith that is up for review. He has a wealth of material to draw from that keeps the audience in stiches through out the performance. The crowd loved him and there was a reluctance for the show to end
MICHAEL SHAFAR is Jewish-ish at TRADES HALL Mar 30-Apr 23 8.30pm (no Wed & 7.30 on Sun)
TRADES HALL
Whitlam adoration
Workers rights
Entry Stairs to Show
An interview with Michael Shafar
“I used to encounter a lot of anti-Semitism when I was playing football for my Jewish school. I played from the ages of 12-16 and it was interesting and sad to encounter kids making anti-Semitic comments. I’m interested in whether those kids actually understood what they were saying, or if they were just repeating taunts that they had heard from their surroundings.”
How do you feel about your performance this year?
So far I’ve been really happy with the shows. I’ve changed up a lot of the content since I last performed it in Perth and have also changed the overall structure to make the theme about being culturally Jewish a lot stronger. I think it’s definitely working better now.
What type of reaction have you experienced from Jewish-ish?
So far the reactions have been great. A lot of people have messaged me to let me know they enjoyed the show. It’s interesting to me how different people tweet different jokes to me from the show, so it’s nice that there are a lot of different jokes in there that people remember and relate to.
What has been your most profound experience? MP
“The Comedians I met in the US were young, emerging comics who taught me a lot about work ethic. In the US, comedians are often gigging 15 times per week, which is why their development is accelerated. I tried to absorb that work ethic as much as possible so I try to gig as much as possible around Melbourne.”
Do Comedians support each other?
“Whenever there is a controversy about something that a comedian has said or done, comedians tend to help each other through it.”
Is MICF different for you this year?
It’s different because it’s my first solo show, so it’s definitely a lot busier than any other year. I also need to manage my time a bit better than previous years, making sure I still get enough sleep, eat well and exercise (which I have failed to do for the first few nights, so hopefully I get more disciplined!)
The Australian Ballet presents new original work from current Choreographers that explore dance within our contemporary setting. The three acts are Faster,Squander and Glory and Infra.
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There are no tutu’s , all are stripped down, very physical performances with strong male leads and a sense of urgency.
” I love the story telling and its ability for anyone to create their own interpretation and take away a unique experience.”Kevin Ho
INFRA
The richness and pain of life takes place behind closed doors in our most intimate spaces. The drama of being unfolds, between the gaps of daily life. The ‘must do’s’ have no time for the intimate condition. The ‘must do’, is the daily travel to the daily toil. The other stuff is the real us.
English Choreographer Wayne Mc Gregor of the The Royal Ballet, explores the intimate in contrast to the business of life. As rich and deep as our lives are or are not, we dwell within a larger context . Those that fall out of the ‘infra’-structure, fall alone.
The ballet explores social and political content in dance, yet it is deeply sensual. There is a tribal call away from the world into the instinct. The male soloist that stands in for that call, is memorable in its power.
SQUANDER AND GLORY
Both Australia and Melbourne can be glad to boast of a choreographer as creative and insightful as Tim Harbour. Like INFRA, Harbour seems to be exploring the complexity of intimacy and power. Kevin Ho’s structure appears like a sculpture but looms as much more. The dancers sway to the cult of obedience as though the monument dominates them.
“The negative spaces that surround me…an instinct to carve out those shapes” Harbour
Visually every aspect of the work is sculptural, even the music seems to be in the act of carving. Every muscle of the dancers bodies cuts into a cubist texture, using light and shadow to enhance the effect.
FASTER
Faster opens the triple bill, created in 2012, the year of the London Olympic Games, choreographer David Bintley recreates the drama.The Games are the ultimate statement of giving up everything to be first. To place it last rewinds us to how we got there. Faster, Greater and Better? How much personal ambition does it take to be a winner.
The dancers within Bintley’s work interchange into human and non-human parts. They may be a spinning disc or an abstraction of an ego. It explores the outer and inner world of the athlete, the frustration and self-abasement to the harmony of the work coming together within a united self.
This Triple Bill offers contemporary Ballet lovers, a physical. emotional and creative journey. They are raw and sensual Ballet’s that allow the dancers to explore new physical boundaries of space and movement.
Ironically, it is a storm that opens the tale of The Tempest, but here on the banks of the Maribyrnong River it is a brewing storm that ends it. Melbourne’s fickle weather has once again cast its cold spell on an outdoor event. It has ‘undid’, subverted and prevented the ambition of this ‘goodly’ play. The stunning performance that was on Friday and Saturday was ‘naught’ on Sunday.
What could have been is; Prospero, performed by Brendon Ewing, dark with revenge and drawing his past into the currents of his macabre island home, seeking familiar company with unkindly aims, that give way to kindness sway. This tale untold, due to weather, it had to fold, so the cast did the next best thing, they sang.
Sly Rat Theatre Co.’s artistic directors Alan Chambers and Andy Harmsen have created a unique vision for The Tempest, inspired by science-fiction classics. The Pipework’s Natural Museum is a beautiful outdoor space, rich in atmosphere and a perfect setting for a summer picnic, weather permitting.
“It’s a Rock and Roll version of Shakespeare, it’s very loud and very big”Director Andy Harmsen
Within the warm hub of the group, a buzz with laughter, singing and the smell of burnt sausage, it is easy to forget that the cancellation of a show could be disappointing, they are taking it so well. It’s a chance to catch up with some of the actors and chat about their role’s, the few that aren’t belting out a tune.
First up is Todd Levi
“We like to push the boundaries but still tell a great story.. it’s Shakespeare, how he would like it done today…Its bawdy, its real and it is entertainment first and foremost. Prospero has been marooned on a magical island, betrayed by his sister and he’s been there for 12 years. He spies the evildoers sailing by and raises a tempest, a storm that shipwrecks them on the island where he prepares to take his revenge. It’s the search for redemption the final words of the play are; ‘As you from crimes would pardon’d be, let you indulgence set me free’
What made you choose this venue? MP
“It’s a magical place, it’s a place where the community comes and we played here last year to over 2000 people … most of them had not seen live theatre before, let alone Shakespeare, and playing to an audience like that and seeing them fall in love with it”
Did you factor in the weather? MP
“You don’t expect to have nine shows of good weather every-time, hopefully this is our one and only cancellation.”
Next up is Tara Hauton
“Steph and I play the clowns, technically it’s the Court Jester but Andy and Alan have re-invented it to be two women who have been to the races all day long and have arrived at the play. We exist outside the world of the play and that’s where the comedy of the role happens…we are very drunk.
and Ty Holdsworth
It’s a play about weather, most Melbournians can relate to that.
Sly Rat Perfomance
Tempest in the park
Pipework’s Natural Museum Park on the banks of the Maribrynong River
One doesn’t need an excuse to head to Fitzroy. Melbourne’s old bohemia and the new swank of money have morphed the district into the cutting edge of style and art. Even Charcoal Lane has had a makeover and looks like a cool Club.
I’m heading up Smith Street to the Gertrude Street Projection Festival. The cafes, restaurants, barbers and bars are a light show, each establishment competing to win ‘the most ambient award’. It’s a feast of visual splendour and I haven’t yet arrived at ‘Gertrude’.
Gertrude Hotel
The Builders Arms hotel, on the corner, is awash with Kate Geck’s gay colours and crisp designs of her composition Apeiron, exploring decay’s victory over the force of materialism.It’s the gateway into the creative heartland, flanked over the road is the Gertrude Hotel also vividly lit, with the design Imaginary Atlas by Sean Capone. Within the festival there are a diverse display of styles; the bright, subtle,intriguing and the sublime.
Luzon Adams sensual work Reverie, was utterly captivating, in a liquid dance by underwater videographer Peter Bucknell, she explores the mystery and epic power of the red-haired character. For the viewer it appears as though a woman is emerging, like new life out of the building exterior.
The most charming display was the neon light on the Housing Commission building that read ‘HOME’. In its simplicity it encourages a non threatening view of the estate and reminds us of the sacred spaces where we all live. Its is no longer a block.
Banner Photo: Gloss by Petrina Hicks
Title from the Lyric’s of Charcoal Lane by Archie Roach
Crowds gathered around NGV International on the crisp cool Saturday night, to enjoy the White Night projections. The mood was relaxed as the audience waited for the remains of the day, to become night.
The projection used the entire space of the facade, a perfect blank canvas for award-winning artist Josh Muir. Emma Donovan and James Henry provided the haunting soundscape, it was a flawless collaboration. Still Here was a visual feast with a political edge.
It began with a bird flying peacefully across the building, followed by an eruption of circular abstract formations, representing creation. The new scene was of Aboriginal men on the beach, with a catch, as the women sat in circles, chatting.
On the horizon, crosses that symbolised the coming of a new culture, draw closer and a storm thunders down, closing the curtains on that era.
In the new scene ,the landscape is less sympathetic, however the newly clothed Aboriginal people continue on with family life. A white van drives down a road to a family sitting together. A white man comes out of the van and pulls the child away, the parents fight the intruder but they are over powered. The child is put into the van and driven off. The mother wails as the father collapses with despair.
There is a shocked murmur in the audience.
“They are taking the kids” is voiced throughout the large gathering.
In the next scene City life has taken over, trams ‘ding’ and cars roar by. It was a blatant statement. Muir was evoking the viewer through the power of Art. It was stunning.
‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation.’ WhiteNightMelbourne
If you saw no other projection, White Night Melbourne was a great success.
Reko Reno at Fed Square
Other Aboriginal Artists represented on White Night Melbourne were Reko Reno at Federation Square and Pitch Makin Fellas, a group work at The Exhibition Buildings.
White Ribbon Ambassadors are men who recognise the importance of taking responsibility and playing a leadership role in preventing men’s violence against women. They are formal representatives who have the knowledge, skills, attributes and determination to influence Australian men to critically evaluate their attitudes and behaviours toward women.
Brent with his mother Bernie
Brent Howard, a White Ribbon Ambassador, ran the Medibank Melbourne Marathon to raise money and awareness for the prevention of violence towards women. He is a young father and committed to the it’s objectives.
“Eva (his daughter) is why programs like White Ribbon are so important. I for one, don’t want my daughter to grow up in a country where Domestic Violence is a common occurrence. When she grows up I want to be able to look her in the eye and say I didn’t stand by, I did something to make her world a better place.
Howard was the grandson of a caring woman who was a victim of domestic violence.
The person I think of most when I run is my Nan. My Nan was subjected to domestic abuse by the man she married. He died long before she did and with it so did the abuse. But what he left behind was a wife and 6 kids. My Nan was the most determined, caring and courageous woman I’ve known. She earned the nick name Sadie as she worked 3 cleaning jobs to keep a roof over her children’s heads. Growing up my Nan was an avid runner, but I never knew her as a runner. This along with many other things is something you have to give up when left to pay the bills and look after a house full of kids.
I run for White Ribbon, for those like my Nan. – for those who can’t”
Not Silent
“Men’s violence against women is a serious social issue in Australia and has been for decades. Now this issue has a more focused spotlight, it is a critical opportunity for government and services to better work together, to create real social change”claims Libby Davies, CEO of White Ribbon Australia
Ms. Davies also called on governments to increase support for violence prevention:
“There is evidence that prevention is working. We have data showing that White Ribbon programs are driving the attitudinal and behavioral change needed to stop men’s violence against women.
Brent Howard raised $5,792.32 for the protection of women
“I use my love of running to raise awareness and funds for White Ribbon Australia.”
‘Existentialism the uniqueness and isolation of the individual experience in a hostile or indifferent universe, regards human existence as unexplainable, and stresses freedom of choice and responsibility for the consequences of one’s acts.’
THE PERFORMANCE
SAUCE
Simon Godfrey’s Dadaistic comedy is a complex ,high energy, minimalist work, marked by the absurd.
“Let us take the rest of Ukraine”
There are over a dozen characters in Simon Godfrey’s ‘Sauce’, each distinctive and brilliantly performed, in his one-man show. He needs nothing more than his imagination to bewitch. Godfrey turns a condiment into a high stakes adventure. He is a force.
GENDER SPANNER
If you can fix a pipe are you an old man or a little girl? Jessica McKerlie ‘throws a spanner’ into gender prejudice. What defines our sexuality, is it our body or our mind? Can a woman who believes she is a man become a transsexual? McKerlie challenges the status quo of being, in a solo show. It’s an exploration into our humanity, told with tricks and slips.
“Don’t confuse my sex with my gender”
Her eyes flash into the souls of the audience as she keeps them tittering on the edge.
“Thank you for letting me label you.”
DEAR DIARY
Andi Snelling got a standing applause for her solo performance, as a girl growing through the banal experiences that ‘rocked her world’. The witty script compounded a couple of decades with multi-media and song, whist exploring the philosophy of time and self. Snelling mocked the self-indulgence of the autobiography, that the audience related to, with bursts of laughter.
“Guess what? I found four dollars at Timezone!”
It was a beautifully crafted work, packed with clever charm and brilliant timing.
Milliners, Kim Fletcher and Kerrie Stanley claim that occasional dressing is part of the fun of going to events like the Melbourne Cup. This is their accessory forecast for racegoers this season. They want to see less fluff on the ends of combs; they want more substance and structure.
“We’ve grown up,” claims Ms. Fletcher
There are more materials available for them to develop their craft and to be more experimental. They are looking for non-traditional millinery items. They would like to see Melbournian women distinguish themselves by being more adventurous in head fashion. Their aim is for our Cup to be a unique fashion statement.
“Using stuff ‘outside the square’ and making them more modern.” Ms. Fletcher adds.
The women agree that Melbourne has some of the best milliners in the world and claims that the industry has stood the test of time due to the Melbourne Cup.
“We have a more casual lifestyle that’s why dressing up for the racers is such a big deal, even some weddings are quite casual in reference to their dress code.” Ms. Fletcher points out.
The primping and priming that Kim and Kerry agree on, is a major incentive for attending the event. The economic flow-on affects a myriad of other industries such as hairdressers, manicurists; make up artists and so forth. We are given a Public Holiday to attend and play our role in its success.
Kim Fletchers headpiece that she dons sprouts red flowers that move whimsically in the breeze. In contrast Kerrie Stanley wears perky bud ariels reminiscing pixie ears.
melbourne press 