Art: Alice Guo | @aliguoart

Chinese New Year, an auspicious time of family, food and fortune in the form of lucky red pockets. Or if you’re like me, it’s a glorified bribe to attend a dinner with your extended family who you only see once a year but nonetheless ask you dull questions about why you’re still single, when you’re going to finish your law degree and when you’re going to get a real job. In the spirit of festivities, I’ll be giving you the highs and lows of the Year of the Pig in 2019.

The Chinese zodiac is made up of 12 animals that each represent a year in a cycle equivalent to a full orbit of Jupiter. According to your birth year, yin and yang, and elements of water, wood, fire, earth and metal, Chinese astrologers can determine what kind of year you’re going to have. And if you’re still not convinced, old wise Chinese people have been this shit doing this since the Qin dynasty! What have you done recently?

 Rat 

Born in 1948, 1960, 1972, 1984, 1996, 2008.

Let’s be honest, you had kind of a shitty year in 2018 but don’t stress because things are looking up. Your career will be a priority and big gains are waiting for you at the beginning of this new year. This means you have to hustle hard in the next few weeks if you want to get that bread. Overall, 2019 is all about relaxation and working smart, not hard; be patient and know when to act and when to wait. As the Year of the Rat is fast approaching after the Pig, a period of transition awaits you, it’s time to declutter and shift your priorities.*

*Paid sponsorship for the KonMari method.

 Ox 

Born in 1949, 1961, 1973, 1985, 1997, 2009.

A few ups and downs await you in 2019, especially at the beginning of the new year, but things will eventually settle down and you’ll find yourself craving more independence towards the end. At work, you’ll experience a few curveballs in the next few months, so buckle up and get ready for a challenge. This year is a good time to embrace your creative passions and go travelling, but be wary of fatigue and food poisoning.

 Tiger 

Born in 1950, 1962, 1974, 1986, 1998, 2010.

Although 2018 left you feeling confident, success will not come as easily this year and you’ll be forced to rely on your pals to get you through tough times. Validation at work and positive changes are forecasted in your career but plot twist: a jealous colleague, one who helped lift you up, may now stab you in the back — et tu, Brute? On the upside, excluding back stabbings, your health is looking mighty fine! Sorry single Tigers, but love may not be on the cards this year and it may be better for you to cut your losses and focus on strengthening your friendships (thank u, next).

 Rabbit 

Born in 1951, 1963, 1975, 1987, 1999, 2011.

Rabbits can expect a more fruitful year as long as you stay focused and avoid distractions. When you do experience some bad luck though, it’ll affect your health first so remember to exercise and soak up that vitamin-D. Over in the romance department, single Rabbits will meet a lot of interesting new people but alas, may not find The One. Already loved up Rabbits will see the Year of the Pig as a test of patience that could potentially end in failure if they’re not vigilant. Be extra careful in August of theft and bodily injury. If you have travel plans, there’s no shame in whipping out that dusty beige neck pouch.

 Dragon 

Born in 1952, 1964, 1976, 1988, 2000, 2012.

This year will see less obstacles compared to the last, however the Dragon is not entirely compatible with the Pig, so be aware of your stubborn nature. You’ll see significant improvement in your studies and believe it or not, it’s going to be a great time for exams! Dragons are dreamers at heart and are constantly thinking about your next big project. The Year of the Pig will prove to be a spiritual time where you reflect on past achievements and spend time with family.

 Snake 

Born in 1941, 1953, 1965, 1977, 1989, 2001, 2013.

Sorry to break it to you, but while 2018 may have been a lucky year for you, the Year of the Pig will bring mixed results peppered with many small disappointments. Since a lot of negative energy will surround you in 2019, use this time to rest and avoid taking big risks. If it’s any small consolation, all my fellow part-time employees will discover new opportunities this year but will simultaneously find it hard to stay focused in your studies. Don’t even think about romance and prepare yourself for a big let down. All in all, it’s sort of going to be a crappy year. Bummer!

 Horse 

Born in 1942, 1954, 1966, 1978, 1990, 2002, 2014.

Prepare to enter your cyclical hibernation, an organised withdrawal to reflect on the past 11 years. Your existential development and relationships with family and friends will be strengthened as you find more time to rejuvenate at home. 2019 is the perfect year to prioritise long-forgotten hobbies and plan ambitious future projects. The biggest thing you have to worry about is reckless driving — buckle up, buttercup!

 Goat 

Born in 1943, 1955, 1967, 1979, 1991, 2003, 2015.

The past two years may have left you down in the dumps but the tides have finally turned. You will finally reap the rewards of your peaceful nature and gentle creativity so count your lucky stars because success is yours for the taking! Power, affirmation, love are all things that await you this year — you name it, let’s get it.

 Monkey 

Born in 1932, 1944, 1956, 1968, 1980, 1992, 2004, 2016.

The Year of the Pig is going to be a decent year with steady growth for you. However, you may find yourself encountering challenges in your studies, making some subjects seem impossible from the very beginning. It might be a good time to befriend the smart kid in class. Brush up on your love language because romance is on the horizon for single Monkeys, flirty pals will seem to appear left, right and centre and passionate emotions are on the cards — someone already in your circle of friends may surprise you this year. Meanwhile, monkeys already in a relationship will experience reignited passions.

 Rooster 

Born in 1933, 1945, 1957, 1969, 1981, 1993, 2005, 2017.

Settle in for a comfortable year that will certainly be less stressful than 2018. In work and studies, you’ll still need to really hustle and put more effort in to see any positive strides. While there may be some significant changes in your love life (a mixture of good and bad), there’s a high chance of the return of an unexpected problem from the past that will have some seriously bad juju. Spooky!

 Dog 

Born in 1946, 1958, 1970, 1982, 1994, 2006, 2018.

Last year was undoubtedly an absolute shit show; 2018 was the Year of the Dog, which pretty much meant that you were surrounded by all the unlucky stars and destined to fail. The good news is that it’s over! Congrats my fellow Dogs, you’ve made it and we’re going to have a killer year. The focus on home will become a vital source of energy, while your career prospects will soar with hard work and charm. Dress to impress, because budding romances are coming your way and those in a relationship will find it to be a good time to take things further.

 Pig 

Born in 1935, 1947, 1959, 1971, 1983, 1995, 2007, 2019.

As we all approach the last cycle of the zodiac and wrap up one full orbit of Jupiter, you’re entering your zodiac year. Contrary to popular belief, it may be your year, but it won’t be your year. I’m not going to sugarcoat it: you’re fucked. For you, the Year of the Pig will be your most unlucky year with trouble and danger lurking around every corner. To sum it up, don’t take any big risks, don’t change jobs, don’t invest, don’t even go outside. My word of advice is to lay low and wear red to ward off bad energy. Good luck, you’re going to need it.

The post Rags or Riches: Your Year According to Chinese Zodiac appeared first on VERTIGO 2020.

We sat down with Kristelle de Freitas to chat about her upcoming exhibition at Goodspace Gallery, Soft Remarks. Read on for a discussion on anthropomorphised drawing machines, the return of analogue processes, and photocopy envy.

Find more info about Soft Remarks, here.

VERTIGO: Do want to start by giving me a bit of background on Soft Remarks?

KRISTELLE: It started off as a bunch of experiments, just working in uni I had been given this drawing machine to play around with.

V: Yeah, I read that in your bio for the exhibition and I was like, what is a drawing machine?

K: (Laughs) Well, it’s kind of more simple than it sounds. It’s basically a printer with none of the shell crap hiding what it does, so its a single arm that runs on two axes and you can give it any drawing device that you want—I like to use charcoal—and it will just plot an image. It’s really simple, which is good because it seems technical and code based, which it’s not, and I can’t do any of that stuff.

V: So, the whole idea was borne out the the equipment you were using?

K:  I was meant to be using [the drawing machine] for my masters. Long story short: I’m no longer doing my masters but I still liked using the machine, I kind of grew an attachment to it. We named it Ernest, because he kind of earnestly does what you want it to and it’s really sweet.

V: So, what’s the product you’re left with after using Ernest?

K: He’s essentially a printer. I run a series of prints through him and that’s what we’ll have in the exhibition. I am, I guess you could say  an amateur photographer; it’s really something I do in my spare time. I’ve been using an analogue camera since about 2011. I’ve never really intended to go anywhere with it, but I really like just playing around.  So I’ve got this huge collection of random stuff from my life, I guess, stuff that kind of seems like nothing. Like a shit-tonne of photos of trees. So what I do is I pass them through the computer and I get Ernest to draw them out for me. I’ve got this small collection of sketches by him and not by me, which is kind of a reflection of my own practise and how it has moved away from myself a little bit.

V: That’s so interesting because I was going to ask you about the process you followed to execute your concept, but it seems like you concept was borne more out of your process.

K: (Laughs) Yeah, that’s a very me thing to do. My honours work in visual communications was practise based; you kind of do your research and document your making, and my research and making were all about this idea of process. Specifically asking: how does analogue process and digital processing relate? I found myself being obsessed with process, so it’s kind of sweet that you picked up on that.

V: Right now we’re seeing this trend, or a shift back to people wanting to use analogue things, film cameras, we’re going back to vinyls. Do you want to speak to why young people have this need to be tactile again rather than everything being instantaneous in the digital world?

K: I’m not sure we really ever departed from it. I mean, I grew up being tactile like that. I think it’s just returning to the things we always have been doing, making it clear that we aren’t just this overtly digital generation. I was showing my Dad a camera over the weekend, and he was talking about how he sees kids coming back to film, and I was like, “Dad, I never really left it, you gave me your cameras, I started using them.”

V: Did you encounter any challenges when you were working on this project?

K: Well, I  never really intended for this project to go anywhere. It was just this fun thing where I was like, “what would it be like to get a machine to start using charcoal?” I don’t know if you’ve seen but on Twitter there’s a lot of drawing machine videos that go around —

V: I’d never even heard of a drawing machine before this!

K: Right, I think it’s this weird insular world I live in (laughs). But anyway, there’s so many ideas of these machines doing the same thing, just using a pen and drawing the same geometric shapes, and I got really sick of it. I wanted to go one step further to the left, and gave it something messy like charcoal, which it made into something beautiful, so I kept making more and I was left with this pile of stuff and I was like, “maybe we can hang them up in Goodspace Gallery!” So I can’t really speak to any challenges because I didn’t know what I was doing, and I kind of leave all the mistakes in my work as well.

V: Is there a story line which runs through your piece, for someone who wouldn’t know how you serendipitously created this project, is there a through line or a narrative?

K: I think the through-line is my own practise and me trying to understand what that is. In my byline for the exhibition I mention photocopier envy, because when I was little I used to try so hard to draw super realistically, and I got to a point and I thought I could draw to a level of a photocopier — which is not true. It’s such a kid thing to be that proud, but I have this memory of wishing that photocopiers didn’t exist so I could do their job. Ever since then it’s been me trying to figure out what can I do with my work and where I sit within a world where there are digital machines making art. I reached this point of being fine with it, and I can let Ernest finish the work.

V: In terms of inspiration, where did you draw from?

K: It started with my masters work, which was a lot of digital materiality and new media art, so there are a lot of figures in there which influence the work I make now. People like Wendy Chung, who looks at the feminisation of digital media.

V: I think this is a common theme of drawing inspiration from mediums outside the one you’re working on, like a musician looking to literature or film. Do you find inspiration in spheres you’re not exclusively working in?

K: My inspiration is often from the people I’m working around, and the things they are talking about, it’s kind of huge and so personal it’s kind of hard to pinpoint it.

V: Maybe this is a personal question then, but how much is your art a reflection of true life?

K: The quick answer is that art has always been a huge part of my life. At a simple level I’ve always enjoyed making it and thinking about it. Lately, because I studied design, I’ve departed from this idea that I do art and rather that I just make things and think about materials, so whether its a reflection of life, or if it’s more a reflection of my thinking.

V: If we flash back, what kind of a role did art play in your life as a kid?

K: God, that’s a hard one. Art was no big deal as a kid, just a way to spend quiet time on my own. I had a large family so having your own space, sitting at your desk to draw, is something of a safe haven. I’m quite quiet and a keep-to-myself kind of person.

V: (Laughs) And I’m here interrogating you!

K: I’m pouring it out! The exhibition is kind of the same feeling. I’ve never really shown stuff on my own. I have this feeling where I don’t really know why people will want to see it — which I know is dumb and that there’s value in all work.

V: Do you feel particularly vulnerable putting your work out into the world?

K: I definitely do. It’s getting feedback, or worrying that people will try to read too much into my work because there’s not this huge underlying concept.

V: I’m kind of curious to ask you about art and accessibility. For people who don’t have a background in art how accessible is not just your exhibition, but modern art in general to young people?

K: I think places like Goodspace definitely facilitate comfy casual places for young people to experience art, and I’m kind of glad that’s where I’m placing my work. Art has a history of being inaccessible; I myself used to be intimidated of art in galleries, maybe because of the myth of the “artistic genius”, because we think there’s this big, huge person, often male, behind the work, which is entirely false. That’s maybe why people are intimidated by trying to interpret art, but is just stuff made by people, it’s just conversation, and in places like Goodspace there’s no need explain it in one way, you can just absorb it in anyway you want.

V: So following that is there a specific message or take away you want audience to leave with after seeing Soft Remarks?

K: (Laughs) No, not at all, I just want them to enjoy it. I’ll hopefully have the drawing machine working there so it’s a chance for people to acquaint themselves with him. People can spend time with the machine and not be intimidated by machine art, because it’s so beautifully simple.

See Kristelle and Ernest’s work at Goodspace Gallery this Wednesday. Find more event information: here. 

The post In Conversation with Kristelle de Freitas appeared first on VERTIGO 2020.

Are you looking for something different and exciting to do this Sunday evening? Head to Cafe Lounge in Surry Hills at 8pm for Sydney’s best (and only) late night show with Pat Doherty and Alfie Cannock. The best thing about it: it’s free!

I sat down with the show’s co-host Alfie Cannock to chat about what punters can expect.

He explains Pat Doherty’s Late Night Show (PDLNS) as, ‘a live comedy, variety and chat show.’ Think Jimmy Fallon or Seth Meyers, only this show won’t cost you a penny, and is much closer to home.

‘If you’ve ever stayed up late and had a chuckle at those guys who sit behind a desk interviewing celebrities and playing silly games, you’ll love our show.’

He’s not wrong when he says variety. Unlike a standard comedy show, ‘at PDLNS you’ll see some of Sydney’s favourite comedians, along with hilarious interviews, interactive games and the hottest up-and-coming music acts.’

One of the greatest things about PDLNS is its versatility. Are your parents visiting you for the weekend? Bring them along! Or as Alfie says, it’s a great place to head for a low-pressure Bumble date.

‘We just aim to attract a fun crowd. The sort of people who aren’t afraid to head out on a Sunday night. It’s the perfect hangover cure after a big weekend.’

You can find the boys at the amazing Cafe Lounge in Surry Hills. ‘It’s not only one of Sydney’s best small bars it’s one of the best comedy and music venues in the city.’

‘Our show has something for everyone. We deliberately book a diverse range of guests, comics and musicians to ensure everyone has a great time. Previous guests include activist theatre critic Suzy Wrong, Oscar winner Ben Osmo and model/actress/everything Moreblessing Mature.’

Pat Doherty’s Late Night Show takes place on the first Sunday of every month at Cafe Lounge. Keep up to date with their events and content here.

The post Sydney’s Best (and only) Chat Show appeared first on VERTIGO 2020.

When it comes to lessening our impact on the earth, it’s easy to get preachy or disheartened. It’s important to acknowledge that we’re all on a journey and although guilt and shame (the kind we should all feel for the destruction of our planet) can be a powerful motivator for change, I think there is a more constructive way. So before we get to my personal list of practical stuff here are a few steps to take:

1. Acknowledge that you are part of the problem and therefore also the solution. Be open. Read. Listen. Act.

2. Get back in touch with how awe inspiringly diverse this world is and should continue to be. Knowing a little more about our natural world will help rid you of apathy and kindle the fire that moves you to protect it even when you’re feeling lazy. This is as easy as watching David Attenborough or taking a stroll through one of our many national parks or beaches.

3. Foster selflessness. Recognise the impact your actions have on others.

4. Affirm small victories and changes. Tell your local cafe how happy you are that they don’t use plastic straws anymore. Tell your friend that their reusable cup is fantastic.

5. Remember your privilege and use it for good. Often making sustainable choices in a fast paced capitalist society takes more time and access to resources.

Some Handy Tips:

Carry a lunchbox with cutlery inside

– I like to capitalise on all the leftovers because what’s better than getting another meal out of the one you already paid for while avoiding food waste. If you love sushi as much as I do keep some chop sticks and a soy fish in there. Think of this soy fish as your refillable travel size container. Refill it by squeezing the air out and suctioning some soy from a big bottle at home.

If you do forget your reusables aim to eat somewhere that won’t use plastic

– If you really can’t avoid the plastic, take it home to wash and reuse it. I use my (decreasing) plastic stash to gift baked goods without the worry of collecting my container from them later.

Coffee is cheaper and a better drinking experience if you have your own cup

– No need to have a branded keep cup, most coffee shops will accept a humble mug if you smile and ask politely. Make sure it’s clean to keep your barista friendly! If you forgot your cup just wait for a time in the day where you can go have a sit down coffee. Why are we always rushing to be somewhere else? Try to slow down and take it all in. You might even take a laptop and work from a cafe for a change of scenery.

Buy second hand or support local makers who are making ethical choices with their materials

– Investing in fewer but well made clothes and objects benefit you, their makers and the environment.

Replace tampons and pads with a menstrual cup and period underwear

– Did you know that period undies feel just like normal underwear and menstrual cups can go all day without being changed! I now wear white linen pants during my period which is the height of confidence.

Replace cling wrap, baking paper and paper towels

– This easily done with bees wax wraps, silicon baking sheets and dishcloths.

Home-made cleaning sprays really do work!

– Search up a recipe and start experimenting. I like a boiled mix of lemon, ginger, vinegar and bicarb for tough stains.

Buy fruit in season and freeze

– You’ll be able to make the cheapest most delicious packaging free smoothies. Simply chop and put into containers. Ice cube trays are great for storing liquids like fresh squeezed lemon or lime juice.

Eat more vegetables and less meat

–  If meats are a must in your family try swapping out beef and lamb for kangaroo. Offer to cook and make a delicious vegetarian or vegan meal. Buy vegetarian recipe books for your family! Slowly reduce the number of days you eat meat.

The post Waste Not Want Not appeared first on VERTIGO 2020.

Just in case Love Actually has been on loop this Christmas, here are five of our favourite Netflix films to binge this festive season.

The Princess Switch

Think Prince and the Pauper, but make it Christmas. Vanessa Hudgens stars as both the Duchess of Montenaro and Chicago pastry chef in a switch-a-roo situation where romance

inevitably follows. A family classic reminding us of love, sacrifice and the spirit of holidays.

Trailer: https://www.youtube.com/watch?v=-WBhj57fHeI

The Holiday

Unlucky in love, two strangers looking for a getaway swap homes on opposite sides of the world. This feel good classic will give you a little push to cherish the little things in life and stay true to yourself. Sweet and seasonal, a light-hearted rom-com to warm your heart this Christmas.

Trailer: https://www.youtube.com/watch?v=BDi5zH18vxU

The Christmas Chronicles

Ever wanted to catch Santa Claus red-handed? This family friendly adventure follows the scheme of two children who find themselves in all sorts of trouble catching the man in the red suit. A quirky tale that diverts from your traditional Santa storyline. He may even end up in jail.

Trailer: https://www.youtube.com/watch?v=YaeDa_Uempk

Elf

A man with a heart the size of the North Pole, Buddy ventures into the real world after being raised by toymaking elves. On a quest to find his biological parents the now self-aware human encounters life obstacles like escalators, revolving doors, and love.

Trailer: https://www.youtube.com/watch?v=a54yC1etmVc

The Polar Express

Wrestling with the existence of Santa Claus, a young boy climbs aboard the Polar Express headed for the North Pole. A fantastical, eerie, nostalgia-filled film that rekindles the child in us all. The Polar Express is a tale reminding us of things beyond paper-wrapped goodies and hot cocoa before the clock strikes twelve.

Trailer: https://www.youtube.com/watch?v=TQhRqtt-Fpo

Cover image: Ady Neshoda | @adyneshoda

The post Best Binge-Worthy Netflix Movies appeared first on VERTIGO 2020.

Ma Belle Music is a Sydney musician and UTS student. Her dreamy Voice Memos // Love Songs are best enjoyed among those you love the most, preferably as the sun is hanging low in the sky on a slow and easy day. Listen below to her playlist full of songs that feel like summer.

This is a playlist for sticky skin touching: hands lingering, thighs pressing tight together, back-of-chair vinyl slick with sweat. Listen and feel jacaranda rotting underfoot, gardenia heady in the air while beer gets warmer, the days getting longer and longer. Strain your voice to speak over this playlist, laughter billowing up and out. We know every word, the melody deep in our bones, the beat pounding in time with our chest. The heat is heavy, a summertime haze.

Find Ma Belle Music on Soundcloud and Facebook.

Cover image: Marissa Vafakos

The post Songs That Feel Like Summer | Ma Belle Music appeared first on VERTIGO 2020.

Art by Joyce Cheng @_joycecheng_

Don’t get me wrong, I love Queer Eye as much as the next gay. I’ve binged every season. I’ve started French tucking my shirts. I’m buying sulphate-free shampoo (thanks, Jonathan). And I’m a sucker for queer representation in whatever form it comes. But maybe that’s the problem. In a media landscape that suffers from an underrepresentation of queer folks, we’ve learned to jump on whatever queer content comes our way.

When Queer Eye for the Straight Guy first came out 15 years ago, seeing five gay men at the centre of a hit TV show was nothing short of revolutionary. Today, rebooting the show while changing almost nothing about the original structure feels out of touch and a little regressive. Since the term ‘queer’ was reclaimed in the 80s and 90s by activist groups like Queer Nation, it has evolved to become something of an umbrella term to speak about the LGBTQIA+ community. By the current-day meaning of the term, Queer Eye is not all that ‘queer’. The conversation has expanded to include spectrums of difference across gender identity, sexual and romantic divergence, and an understanding of how race, class, ability and gender shape access to social and political capital. With this in mind, is it useful to position five wealthy, cisgender, gay men as the face of queerness in 2018?

Perhaps part of the problem is the lack of queer content on our screens, leaving the shows that do exist with a heavy load of representation to bear. I know that one show can’t be everything. But Queer Eye could be more. And I can’t help but feel bitter about the mainstream attention and critical acclaim Queer Eye has enjoyed, when shows like Janet Mock’s landmark series Pose, which includes the largest ever cast of transgender actors for a narrative television series, received only a fraction of this response. In Queer Eye’s one episode featuring a trans man, in which the Fab 5 makeover Skyler just weeks out from his top surgery, their good intentions are equal to their ignorance. Tan remarks that he has “never met a trans person before”, and Bobby makes fun of Skyler’s personal expression of his queerness (“flags are to be flown, they’re not décor”). E. Oliver Whitney (2018) notices a that “There’s an uncomfortable, though unsaid, exchange going on within the episode: essentially that the Fab 5 will makeover Skyler’s life in exchange for some basic trans education.”

Another jarring aspect of the series is the unacknowledged classism inherent in the premise of each episode. While Karamo’s advice is internal, focussing on confidence and self respect, the solutions put forward by the rest of the crew are all material. The message goes a bit like this: ‘Buy expensive skin care products, buy better clothes more often, renovate your house, and you’ll be the man your family deserves. You’ve been letting it slip with your lack of spending, but we have money and we’re going to fix you.’

It’s gruelling to watch the Fab 5 enter a home where parents work themselves to the bone to provide for their families, only to criticise their furniture and second hand clothes. I’m sure these families would love to have the budget and spare time to maintain the refined and sophisticated image of the Fab 5 but the reality for them, and for the majority of Americans, is they actually just don’t. There is never a critique of the system that creates and sustains wealth disparity, because both the creators and intended audience for this show do not want the merits of the neoliberal American Dream challenged.

This is pretty typical of a ‘progressive’, libertarian American TV Show. Queer Eye fits politically with America’s libertarian left, which strives to be more ‘tolerant’ and ‘accepting’, but fails to meaningfully challenge the systems of power that underpin oppression. In the trailer, Tan France claims “The original show was fighting for tolerance, our fight is for acceptance.” However, the line between acceptance and assimilation is narrow. Is the show trying to make queerness a celebrated and legitimate part of American society, or are they trying to make the LGBTQIA+ community more palatable to a conservative audience?

The whole show is about listening and meeting at common ground. This kind of show is useful, as it’s the best way to help racists become slightly less racist, or homophobes to be more polite to queer people, but it’s weak. It’s an excellent resource to show your religious auntie to help her come on board with gay marriage. It’s the show you watch with your sister’s rude, masc boyfriend so that he feels more comfortable washing the dishes and wearing clean clothes. It’s also a space to feel safe, loved and entertained by a bunch of funny and insightful TV personalities that genuinely want people to thrive. I watch it when I’ve had a bad day at work and need cheering up. But it’s not an emblem for our queer utopia.

It’s important to realise that a show like Queer Eye has a specific purpose. It is a show that trains straight audiences in treating everyone with dignity and respect. The truly self-representative stories that celebrate the diversity of queer culture and unwaveringly demand its legitimacy are yet to come.

References:

Oliver Whitney, E. 2018, ‘Netflix’s ‘Queer Eye’ doesn’t do right by the first trans man on the show’, Screen Crush, <http://screencrush.com/queer-eye-trans-man-skyler-episode/>

The post Does Queer Eye need a makeover of its own? appeared first on VERTIGO 2020.

PYT Fairfield’s PLAYLIST is a poignant and powerful reflection on feminisms in pop culture. Structured as a series of conversations around what it’s like to grow up as women, the performance delves into the ways that different systems of oppression can compound the pressures and disadvantages that women experience, as well as the moments that music has shaped their sense of identity and provided rushes of relief, humour and connection.

The performance shows incredible breadth, undulating between honest and intimate reflection on identity-based struggle, unashamed celebration of personal and cultural triumph, and exceptional comic timing. In a similar vein, the work shifts seamlessly between dialogue, dance and musical interludes. The tightness with which this is achieved is a fantastic symbol for the cohesion and solidarity that exists between the cast.

Director Karen Therese points out in the Director’s Notes that when collaborating to bring the piece to life, the crew had a few rules: no talking about men, and no putting each other down, men or women. The crew sat together for up to two hours every morning, creating a decolonised space with shared languages, listening and exchange. All of the show’s dialogue came from this collaborative process.

It is rare to see so clearly the trust that performers place in each other. This work showcases examples of sharing and learning, proving that the cast is at its most powerful when united and determined to lift each other up.

PLAYLIST is a highly skilled example of art created from the inside out, platforming personal stories that are frequently suppressed or guided toward silence. If you missed out on seeing the run of performances in August, be sure to catch it at the Sydney Opera House from May 14-16 in 2019.

Keep your ears to the ground for future work from Ebube Uba, Mara Knezevic, May Tran, Tasha O’Brien & Neda Taha—a gripping cast with important stories to tell.

The post In Praise of PLAYLIST—Where Women’s Stories Rise appeared first on VERTIGO 2020.

Noname began as a poetry slam champ from Bronzeville, Chicago, before making a name for herself as a celebrated musician. On Tuesday night she graced the stage of Sydney’s Metro Theatre in a sideshow leading up to this weekend’s Listen Out festival. After entering the scene with an appearance on Chance The Rapper’s 2013 mixtape Acid Rap, Noname released her debut mixtape Telefone in 2016 and has been breaking ground with her hip-hop, jazz, spoken word fusion ever since.

The 27 year old brought a youthful, vibrant energy to her performance, radiating pride in every lyric. There was an immediate sense of rapport, with Noname letting her cheeky playfulness shine throughout each song.

With the crowd frequently encouraged to join in, she kept her audience tethered in presence to every line. In full control of the flow and volume of the crowd, the band and her own voice, the rapper-come-conductor made the show her own and defined the night for herself.

Noname shows no fear when addressing the political injustices that have shaped her life. ‘Casket Pretty’, from Telefone, ruminates on racialised police brutality, while ‘Blaxploitation’, from her new album Room 25, reflects on representations of women of colour in politics and media.

She carries with her the air of a star on the rise. She’s fresh, she’s new, and audiences are loving everything she’s put out into the world. Noname’s debut album, Room 25, was released in September 2018 and has been met with wide acclaim. Give it a listen!

The post Noname Live Review—Radiating Power and Rhythm appeared first on VERTIGO 2020.

Set in Truvy’s Beauty Parlour in 1980s Northwest Louisiana, Steel Magnolias brings to life the intricacies of small town America in a charming and poignant display of community spirit. The play follows the lives of six women from America’s South as they navigate shifting family dynamics and unrelenting illness. UTS Backstage’s adaptation of the 1989 comedy-drama, which is running until Saturday July 7 at the Bon Marche Theatre, is executed with a level of professionalism and precision to be congratulated for such an intimate production.

What stands out about this play is the control over pace and tone which the cast maintain. A trap of having long conversations that take place in a single location is that they have the potential to drag, but this all-star, all-wom*n cast provide a dynamism and wittiness that keeps engagement high and humour flowing.

Director Gabrielle Stapleton has done a phenomenal job of balancing the atmosphere throughout the entire production, orchestrating seamless ventures from laughter to sorrow and nourishing a palpable chemistry on-stage. Individuals shine at times, particularly Lauren Meola, who plays an older woman in M’Lynn Eatonton with a debonair ease and gift for gravity and magnetism, however it’s the interplay between characters and knack for cheekiness and comedic timing that makes the ensemble shine as a whole.

This is a fantastically fulfilling play that had me from the start and never let go. Get your tickets while they last!

The post Steel Magnolias review—A Celebration of Love, Beauty Parlours and Neighbourhoods appeared first on VERTIGO 2020.