Sydney-siders, if you’re fiending for live music in 2021, you’re in luck – because a brand new outdoor music festival is coming to The Domain this January/February.
Running from Friday 29 January until Sunday 21 February 2021, Summer In The Domain will feature Ball Park Music, Vera Blue, Client Liaison, Hayden James, Bjorn Again and more.
Vera Blue and the Sydney Symphony Orchestra will debut her Everything Is Wonderful show. As she puts it, she will showcase some of “your favourite songs and more with a yummy hybrid of electronics and lush orchestral sonics while you kick back on a picnic rug on the grass with your peeps.”
Tickets for Summer in the Domain go on sale 12 noon on Boxing Day. Full lineup and ticket info below.
Summer In The Domain 2021
Royal Botanic Garden & Domain – Sydney, NSW
Friday 29 January – Vera Blue & The Sydney Symphony Orchestra ‘Everything Is Wonderful’
Friday 5 February – Björn Again
Saturday 6 February – Client Liaison, Confidence Man and Touch Sensitive
Friday 12 February – Hayden James, Mallrat and Sycco
A number of high-profile artists, including The Weeknd and Halsey, have taken to social media to accuse the Grammys voting membership of shady behind-the-scenes practises.
Halsey, whose 2020 albumManic failed to receive any nominations, has come out to say:
“The Grammys are an elusive process,” she wrote in an Insta story.
“It can often be about private, behind the scenes performances, knowing the right people, campaigning through the grapevine, with the right handshakes and ‘bribes’ that can be just ambiguous enough to pass as ‘not-bribes’.”
She also suggested that in order for artists to be considered for a nomination, they must commit to performing to “help the Academy make their millions in advertising.”
“Perhaps its unbecoming of me to say so but I can’t care anymore,” Halsey continued.
“While I am THRILLED for my talented friends who were recognised this year, I am hoping for more transparency or reform.”
She concluding her post by saying that she expects to be blacklisted. She also made mention to the backlash regarding The Weeknd being excluded, writing he “deserved better.”
After Hours, The Weeknd’s 2020 album that broke records by holding the #1 spot on the US charts for a month, also failed to receive a single nomination.
In response to not being nominated, he took to Twitter to accuse the Grammys of being “corrupt”.
Drake, Kid Cudi, Elton John and Charlie Puth have all sided with The Weeknd. Drake wrote in an Instagram story:
“I think we should stop allowing ourselves to be shocked every year by the disconnect between impactful music and these awards and just accept that what once was the highest form of recognition may no longer matter to the artists that exist now and the ones that come after,”
“It’s like a relative you keep expecting to fix up but they just can’t change their ways.”
This year marks the first time that women have been included in all five nominations for best rock song, and for best country album.
Hold onto your jocks and socks because metalcore pioneers Ice Nine Kills have just unveiled a freaky new trailer for their upcoming interactive horror experience, “The Silver Stream“.
Hosted by the band and cult horror icon, Bill Moseley (“House of 1000 Corpses”, “The Devil’s Rejects”, “The Texas Chainsaw Massacre 2”), “The Silver Stream” will launch fans into a spine-chilling interactive experience that will feature concert footage from their upcoming live album, “I Heard They KILL Live!!“.
Speaking on this groundbreaking interactive horror experience, Ice Nine Kills frontman Spencer Charnassays:
“The only thing scarier than the horror that has been 2020 will be “The Silver Stream.’” Don’t miss THE event of the spooky season hosted by the one and only Bill Moseley.”
Renowned for his roles in cult horror films like “The Texas Chainsaw Massacre 2”, “House Of 1000 Corpses”, “The Devil’s Rejects”, and “Three From Hell“, Moseley has solidified himself as one of the most prolific actors to ever grace the horror genre.
He has received numerous honours and awards since he first stepped into the limelight, including Guest of Honor at the 2006 World Horror Convention; two Spike Awards, two Fangoria Chainsaw Awards, an Eyegore Award, the 2010 Song of the Year Award from the RockSolidPressure radio show for “Stupid Life of A Mom Eater” from Bill’s Spider Mountain album “No Way Down,” the 2011 SyFy/NBC/Universal Fantasy Horror Award for Career Achievement and the 2011 Crypt Icon Award. He is also a member of the Fangoria Magazine Horror Hall of Fame.
LIVE STREAM EVENT WILL BE HELD THIS FRIDAY OCTOBER 30.
While Australia throws stones at the US for its ongoing racist police brutality, we should first scratch beneath the surface of our own history and social fabric to acknowledge the injustices Australian Aboriginals continue to experience.
Forget the ‘lucky country’ bullshit; if you’re unaware of how the rights of Indigenous Australians are being undermined, it’s time to educate yourself.
Take for instance the final words of 26-year-old Dunghutti man, David Dungay Jr, who died in a south-eastern Sydney prison in 2015 after prison officers restrained him and left him unable to breathe.
An inquest in 2019 showed footage of Mr Dungay being restrained face down by up to five jail officers as he yelled “I can’t breathe” twelve times.
Not only did this case fail to pierce the public sphere and gain media attention, but it also failed to result in disciplinary legal action. But, is this a surprise?
Since 1980, despite there being more than 500 First Nations deaths in custody, there has been not one successful homicide prosecution laid down in court.
However, police brutality is just a sliver of what First Australians have had to endure since colonisation – ever since the flag was hoisted in Botany Bay in 1770, the plight of the Aborigine has remained constant.
From one of the darkest chapters of Australian history – the stolen generations – to the ongoing scourge of forced remote community closures, our country’s paternalistic approach to policy has restricted Indigenous Australians from retaining their cultural identity.
To provide a broader perspective, we’ve compiled a list of 4 documentaries that investigate some of the issues underlying current Aboriginal disadvantage.
Our Generation
Our Generation is a documentary feature from Sinem Saban and Damien Curtis that takes us on a journey into white Australia’s relationship with Indigenous Australians.
Addressed by the media as the “emergency intervention”, the NTER automatically suspended all existing Aboriginal land rights across 70 remote communities in the Northern Territory due to “widespread child abuse” – a claim made by the Indigenous Affairs Minister at the time, Mal Brough.
However, after an 18-month investigation from the ACC, they concluded that there was not one shred of evidence to support “organised paedophilia in Indigenous communities”. A shocking finding that proved that racism was still well and truly alive in Australian politics.
Looking at the complex issue of indigenous rights in Australia – with the NTER as a catalyst – the film aptly examines the ongoing policies of assimilation, while explaining the real issues underlying Indigenous disadvantage in the country that gives everyone a “fair go”.
Our Generation is very much a call to action for a new generation of Australians, to ignite the spark of a much-needed discussion.
Back in school, do you remember learning about the massacres that took place against Indigenous Australians in the years following Captain Cook’s arrival? Probably not.
Aboriginal filmmaker, Trisha Morton-Thomas, bites back at the historical narrative that Captain Cook “discovered” Australia and claimed the land “peacefully” with her humorous yet serious filmic fact-check.
Using satire to her advantage, Trisha Morton-Thomas adjusts this traditional viewpoint that we are taught in schools to explore themes of historical acceptance, untold history, the frontier wars, and slavery.
Occupation: Native proves that there are always two sides to one story, and by doing so cleverly, tells the forgotten history of Aboriginal Australia’s fight against white domination.
When Kevin Rudd apologised to Australia’s Indigenous population in 2008 for “indignity and degradation” to their people, they thought perhaps it heralded a new era of race relations.
Unfortunately, twelve years, and countless ‘good-willed’ efforts later, not a lot has changed.
Made by award-winning journalist and filmmaker, John Pilger, Utopia brings the plight of Indigenous Australia to the big screen, addressing issues like The Stolen Generation, deaths in custody, and the NTER intervention.
At centre stage, however, is the poverty experienced by those living in the communities of Utopia – an Indigenous region in Northern Territory that is without basic services like proper housing and running water.
For those looking to educate themselves on the widespread disadvantage experienced by Indigenous Australians, Utopia is a great place to start.
“Utopia will live forever and be like a fire stick in the darkness for all generations to come the more you view it, the more you see it, we are proud of you.”
Noongar elder, Robert Eggington
Kanyini
Directed by Melanie Hogan, ‘Kanyini’ is a story told by Uncle Bob Randall, an elder of the Anangu people who resides next to the monolithic Uluru. Based on his own personal journey and the wisdom he learned from his own people, Uncle Bob tells us why Indigenous people are now struggling in a modern world bound by white laws.
In a simple but effective way, Uncle Bob Randall explains the Anangu people′s relationship to all that is around them, and how white settlement led to the disruption of a 40,000 year old culture and a philosophy that underpinned Aboriginal life – Kanyini.
Kanyini teaches us about the people who are at the heart of our country and their unbreakable connection to the land, while holding up a mirror to the white man’s unspoken past.
Casey Barnes is continuing a hot streak with his new album ‘Town Of A Million Dreams’ rocketing to the top of the charts debuting as the #1 Australian Country album on the ARIA Chart.
Celebrating a whole slew of wins, ‘Town Of A Million Dreams’ landed at #16 on the Albums Chart, #4 on the Australian Albums Chart and #2 on the Country Albums Chart.
‘Town Of A Million Dreams’ also took the top spot at #1 on the AIR 100% Indie Album Chart and #2 on the AIR Indie Label Albums Chart.
The album is the #1 album across all genres on the iTunes Chart, has already been streamed over 2.34 million times, and landed Casey on the front cover of Amazon’s Country Hits.
Casey is set to continue the celebrations later this week with four nominations at the Gold Coast Music Awards in the categories; Artist Of The Year, Live Act Of The Year, Song Of The Year and Video Of The Year.
‘Town Of A Million Dreams’ offers a much-needed hiatus of hope and happiness with a glorious injection of 10 superbly crafted tracks that meld slick country, pop and rock production with relatable lyrics that can’t help but make you smile.
The lead single Sparks Fly has ignited across Australia, holding the top spot on The Music Network’s Hot Country chart for four weeks out of five weeks, showing some strong competition against The Dixie Chicks latest Gaslighter, and rose to the top of Australian Country Radio’s Top 10 chart twice since release.
“Sparks Fly centres on that magical moment when you look at someone and they look at you and you both have that instant ‘spark’. A feeling that’s hard to beat! It was inspired while on a writing trip in the U.S last year where I teamed up with Nashville based songwriters Brown & Gray and we tapped into the back story of when I first met my wife… and that initial chemistry between the two of us,” said Casey.
The album features the chart-topper A Little More, which has generated over a million streams and peaked at #2 on The Music Network Hot Country Chart, and a gorgeous number with Missy Lancaster, No Other You that Stack Magazine’s Jeff Jenkins called “one of the year’s finest ballads”.
“‘Town of A Million Dreams’ is an album title that leaves it’s interpretation up to the individual listener and that’s the beauty behind this album; how in essence everybody starts out in their own home town with hopes and dreams of where they want to be,” said Casey. “On a personal level, the title is a lyric drawn from one of the tracks on the album ‘Bright Lights’ which focuses on my ongoing relationship and love of Nashville over the last 10 years. It’s this incredible melting pot of talent, from all genres. Musicians, artists, producers all with their own unique story and dream. It just felt like the perfect title for the album.”
Continuing on with high energy, Casey has captured his fans with new and creative ways to stay connected during the harrowing atmosphere of COVI-19. His live-streamed performances and catch-up chats, hosted every Wednesday and Sunday are consistently reaching over 75, 000 fans.
Looking to the horizon, Casey is thrilled to head out on new dates for his ‘Town Of A Million Dreams Tour’, which will kick off September 17 and takes his stellar band across our beautiful east coast to venues near you.
The Used have officially announced they will be releasing their 8th full length studio album, ‘Heartwork’, on April 24th, after months of anticipation.
As an added bonus for fans, The Used have released the second single from the forthcoming album, “Paradise Lost, a poem by John Milton.”
The song carries emotion and imagery unique to the band, and ties in influences from one of front man Bert McCracken’s favourite authors.
“I’ve always been a bit obsessed with Paradise Lost,” shares McCracken.
“I really dug deep into the poem and its author, John Milton. As I was reading a lot of his political essays I realized that a lot of what ’Satan’ says in Paradise Lost are quotes directly from John Milton’s own mouth. A lot of people thought he was the devil back then. He had a huge problem with the show of opulence from the Church. He thought it was disgusting. His poem is about the failed revolution against the Church of England, which is Satan’s failed revolution on earth. And what’s more incredible or exciting than a failed revolution?”
‘Heartwork’ marks the return of John Feldmann to The Used family as he is producing the album and also the head of A&R at Big Noise.
“I couldn’t be more honored or grateful to have one of my favorite bands of all time at my record label! They are one of the most influential bands of the last 20 years and we are making a career-defining album at the minute,” shares Feldmann. “They are one of the best live bands I’ve ever seen and Bert is quite possibly the best singer I’ve ever worked with. This has been a dream of mine since I met them in 2001.”
Feldmann signed The Used to Reprise Records in January 2002, one year after the band formed in Orem, Utah. He also produced some of the band’s most monumental albums including their self-titled debut, ‘Maybe Memories‘, ‘In Love and Death‘, ‘Lies for the Liars‘, ‘Vulnerable‘and ‘Imaginary Enemy‘.
According to McCracken,
“The new album plays on the emotions, the sincerity, and the vulnerability of the first record and In Love and Death, with a little bit of the flair from Lies for the Liars.“”Standing in the streaming circle pit with Kesha and Halsey, the album is just as modern sounding. John Feldmann’s production is that professional. It sounds really good. Those are two really random examples, but I think if you listen to both of those records, the songs are all over the place: dance, pop, actual punk rock riffs and drums. I think music is so all over the place right now that The Used fits in perfectly.”
It’s been almost twenty years since The Used blessed the alternative-rock scene with their high energy live shows, gut wrenching relatable lyrics, and melodies that blended pop sensibility and hard rock.
There’s no denying that Todd Phillips‘ direction of Joker is largely rooted in some of Hollywood’s most renowned films. One of the best things about the film, however, is that draws from an array of different themes and genres. Whether it be psychological thriller or dark comedy, Joker successfully incorporates a whole lot of style into its two-hour dark journey, all while paying homage to a list of Hollywood classics.
Below is a list of 5 must-see movies if you enjoyed Joker!
1. The Man Who Laughs (1928)
In a recent interview with IGN, Joker director, Todd Phillips explicitly cites this as one of the films that he and co-writer Scott Silver drew from, and he claims it was a coincidence that it happens to be an original inspiration for the Joker character.
“I think you have to start with ‘The Man Who Laughs,’ which is a silent film that really was a huge inspiration for us and oddly was a huge inspiration for the original creators of Joker, which we didn’t even know, believe it or not, as silly as that sounds. At the time we were like, let’s look at that.”
Todd Phillips, 2019
The Man Who Laughs is an adaptation of Victor Hugo’s 1869 novel and is unquestionably a direct inspiration for the creation of the Joker for the comics in 1940. Regarded as a romantic melodrama, The Man Who Laughs is known for the character, Gwynplaine: a carnival character with a disfigured, freak-like grin inflicted by a surgeon named Dr. Hardquannone.
Roger Ebert stated, “The Man Who Laughs is a melodrama, at times even a swashbuckler, but so steeped in Expressionist gloom that it plays like a horror film.”
Similar to Arthur Fleck in Joker, Gwynplaine is a poor, clown-like professional who has grown up to endure a large degree of hardship. Unlike Joker, however, the film ends tragically with Gwynplaine drowning himself following the death of Dea, the girl he fell in love with at an early age.
2. The King of Comedy (1982)
Phillip‘s concept for Joker seems to stem largely from The King of Comedy – a Martin Scorcese classic that tells the story of Rupert Pupkin, a stand-up comic wannabe who aspires to perform on Jerry Langford’s Tonight Show program.
Much like Arthur Fleck, Pupkin fantasises about being admired his favourite talk show host – a fantasy which leads to Pupkin kidnapping Langford and demanding airtime for ransom.
Similar to Arthur Fleck, Pupkin is also an atrocious stand-up comedian and lacks the basic understanding of how jokes work. One could attribute this to their inability to empathise with their audience and the general understanding of human emotion – a trait that is absent amongst sociopathic characters like Fleck and Pupkin.
To make the connection between “Joker” and“King of Comedy” clear, Phillips cast De Niro in the Jerry Lewis-style role of Murray Franklin.
3. Taxi Driver (1976)
Another Martin Scorcese classic that inspiredJokeris the 1976 crime-thriller, Taxi Driver. Ever since the inception of Joker, Todd Phillips has made it clear that Martin Scorcese was a major influence behind Joker, and if you’ve seen the film, you’ll understand how.
Much like Joker, Taxi Driver is largely set in the lower-class suburbs of a metropolis environment, with littered streets and dim street lighting serving as an added backdrop. Like Arthur Fleck, the protagonist of Taxi Driver also resides in a dilapidated apartment overlooking New York city.
Another direct similarity is their personality. Both men are downtrodden souls who have become consumed by their own desires. The first is their desire to assassinate a popular media figure, and the second is their desire to date beautiful, unattainable woman.
The “Taxi Driver” influence in “Joker” is so heavy that Phillips even has Zazie Beetz‘s character imitate Travis Bickle’s gun-to-the-head shooting motion with her hand.
4. You Were Never Really Here (2017)
Much like Phoenix‘s character in Joker,You Were Never Really Here depicts a disturbed individual by the name of Joe who goes to extremely violent lengths to achieve his goals.
In the film, Phoenix plays a jaded war veteran who after a series of traumatic events decides to pursue a life of morally-justified violence, working as an antihero vigilante rescuing trafficked girls.
More accurately, You Were Never Really Here displays an almost-warped version of Arthur Fleck, where violence and brutal acts are intended for good instead of evil.
Similar to Arthur Fleck, Joe comes from a background of abuse. From the beginning of the film, we witness Joe hiding in his bedroom wardrobe while his father abuses his mother. But despite the deeply-rooted dark atmosphere that exists throughout the film’s entirety, there are still moments of sweetness. Much like Joker, these moments are mainly short but sweet exhibits of Joe and his mother engaging in mother-and-son activities.
5. Dog Day Afternoon (1975)
The admiration both Phillips and Silver had for gritty crime-thrillers that came out of 1970’s Hollywood is more than obvious. When they conceived the idea for Joker, they were immediately drawn to this era of Hollywood – an era which is largely recognised for its list of grimy, crime-ridden films that glamorise lower-class anti-heroes.
One particular touchstone of 1970s cinema that Phillips used to pitch Joker to Warner Bros was Sidney Lumet’s, Dog Day Afternoon.
Starring Al Pacino, the film revolves around a man who decides to rob a bank only to become a famed celebrity when the hostage situation gains national attention.
Similar to Joker, the Oscar-winning script does a tremendous job depicting a character that is pinched by his social upbringing. Regarded as one of the best movies of 1970s, Dog Day Afternoon is filled with violence, grit and social commentary – a staple to producing a film in the same vein as Dog Day Afternoon.
“My mama always told me someday I’d be good at something. Who’d a guessed that something’d be zombie-killing?” Tallahassee (Woody Harrelson, Zombieland)
Everyone’s favourite zombie-killing squad is back for another double-tap this Spring!
Starring Woody Harrelson, Jesse Eisenberg, Abigail Breslin and Emma Stone, the famed team has reunited with director Ruben Fleischer and the original writers Rhett Reese and Paul Wernick to unleash perhaps this Spring’s most bloody and anticipated film.
Written by Rhett Reese & Paul Wernick and Dave Callaham, Zombieland: Double Tap will see the four zombie slayers traverse across the baron, zombified landscape that was the US to face off against the many new kinds of zombies that have evolved since the first movie, as well as some new human survivors. But most of all, they have to face the growing pains of their own snarky, makeshift family.
Just like the original featured prominent locations like Bill Murray’s luscious mansion, Zombieland: Double Tap will see comic mayhem stretch from the White House and through the heartland, providing a hilarious backdrop to their extreme zombie hunting methods.
What’s even better about the release of Zombieland: Double Tap is YOU have the chance of winning free tickets to a very special preview in your nearest city.
To win a double pass to a very special preview screening of Zombieland: Double Tap in Sydney, Melbourne, Brisbane, or Perth on October 16, all you have to do is answer this very simple question: which Hollywood superstar did the gang encounter in the first Zombieland movie?
All you have to do to go in the draw to win is email your answer to competitions@filmink.com.au. Winners will be notified of exact venue and timing details in each city.
As a bachelor qualified art teacher, Natalie Lynch of Studio Yellow in Manly West has spent most of her professional life helping children and teenagers express their ideas and opinions visually.
After her husband of 22-years lost his battle with depression, she decided to shift career paths and start a business that catered to adults searching for creative ways to improve their own outlook on life.
Now in its third year, Studio Yellow has recently been awarded $11,000 as part of the Brisbane City Council’s‘Creative Sparks Grants Program’.
Targeting locals of Wynnum and Manly, the grant will support the development and implementation of Natalie’s unique pilot program called A.D.A.P.T. (A Dementia Art Program for Today).
Set in a relaxed environment, Natalie will use her knowledge as a teacher and art therapist to help people living with dementia learn to visualise, plan, communicate, design, create and reflect by utilising drawing and mixed media materials.
Over 15 weeks, up to 60 participants will have the opportunity to learn new art skills so they can express their feelings and emotions visually, providing meaning and purpose for people living with dementia.
“People with dementia need to focus on enjoying life now. The pilot program will give participants and their carers the opportunity to come to terms with their diagnosis by learning to process their feelings in a way they may have never tried before,” says Natalie.
As part of the program, participants will be given mentoring and exhibition opportunities to help them positively navigate their future after diagnosis.
The A.D.A.P.T. program’s culminating exhibition hopes to raise awareness within the community about dementia.
“The exhibition will be a celebration of what participants can do, rather than what they can no longer do,” says Natalie.
Extensive research strongly evidences that creative expression plays an integral part in enhancing the well-being of people living with dementia by giving a sense of accomplishment and purpose.
Studio Yellow’s A.D.A.P.T. program is set to commence in early 2020. If successful, the program will be rolled out to other precincts within Brisbane.
After recording with renowned producer Dann Hume (Amy Shark, Matt Corby, Tash Sultana, Troye Sivan), Didirri returns with one of his most captivating and moving tunes yet – ‘Blue Mood Rising‘.
Holding true to his mission to make music for ‘Lovers & Overthinkers’, Didirri’s latest song-writing echoes charm and raw power. Not only is it captivating, but it magnifies important issues and motivates crowds to feel, move, think and heal.
After releasing his debut EP “Measurements”, Didirri has been inundated with success and support from all angles. From a collective 30 million streams, to playing Splendour In The Grass, to having 4x singles added to triple j rotation, and holding a US and UK tour, Didirri has exploded globally.
The achievements are impressive and humbling, and ultimately highlight the universal language of music and its power to resonate with any audience.
His lyrics are set apart from the average singer-songwriter and usher you into his mind, ultimately connecting you with his inner psyche. It’s modern music with a classic twist.
“I have always been wary of being led down the garden path. However, it is a beautiful path to tread. It is a colourful and engaging life to lead but only when walked by you. Have you ever looked at a photo of yourself and thought that you were different back then? Has your confidence changed? Are you easily shaken now? But, how can your feet be swept away if you have them firmly on the ground by your own decision?,” says Didirri.
“Blue Mood Rising” is a thunderstorm of deep lyrics, lush guitar tones, elevating percussion and smooth backing vocals. As the tune plays, you can’t help but self-reflect and become immersed in the dynamics and uniqueness that is Didirri.
“Remember who you do this for. Whatever ‘this’ is. There will be others that help you down the path but remember where your core is. Your self-worth should be based on your own choices. If there is ever a crack to appear in your footing, you’ll feel it.
You’ll feel a blue mood rising before it appears.” – Didirri
Written by Didirri Peters and George Taylor, and produced by Dann Hume and Hayden Calnin, “Blue Mood Rising” is now available on all digital platforms!
Didirri will be playing The Riverstage in Brisbane with City & Colour for Bris Fest later this month before This That Festival in Newcastle November 9th, headlining Loch Hart Music Festival in Princetown November 15th-17th, as well as joining Middle Kids on their national album tour!
September 28th – Riverstage – Brisbane, QLD (w/ City & Colour) November 7th – Astor Theatre – Perth, WA (w/ Middle Kids) November 9th – This That Festival – Newcastle, NSW November 14th – Enmore Theatre – Sydney, NSW (w/ Middle Kids) November 15th-17th – Loch Hart Music Festival – Princetown, VIC November 17th – The Forum – Melbourne, VIC (w/ Middle Kids) November 21st – The Tivoli – Brisbane, QLD (w/ Middle Kids)
