A large mural of talented Aussie Rules football player Adam Goodes graces the side of a building on the corner of Foveaux and Crown streets in Surry Hills. More on Surry Hills By ALEC SMART Less than 1km from the SCG, the Sydney Swans’ home ground, fans can walk past it on their route between Central Station and their team’s home games. Foveaux Street Art Adam Goodes, 2014 Australian of the Year, dual Brownlow Medal recipient and two-time grand final winner with Sydney Swans football team, played a record 372 games in the national premiership from 1999 to 2015 - all for the Sydney Swans. During that time he kicked 464 goals. Photo: Alec Smart However, despite twice winning the Brownlow Medals for sporting excellence, the football league’s highest honour (in 2003 and 2006, respectively), Goodes was subjected to sustained racism and retired early at the end of the 2015 season. Goodes is of Indigenous heritage through his mother’s Aboriginal ancestry (Adnyamathanha and Narungga clans, from the Flinders Ranges and Yorke Peninsula, respectively). In June 2021, Goodes turned down an invitation by the Australian Football League (AFL) to induct him in their Hall of Fame of legendary players. This is attributable to the racial harassment that dogged the latter years of his career, which the AFL leadership eventually admitted they were negligent in suppressing. The racial harassment, launched and perpetuated by several high-profile conservative commentators in the media, spread to hostile spectators who continuously booed his on-field playing. Goodes was also repeatedly condemned for campaigning on behalf of Aboriginal and Torres Strait Islanders and, among other things, criticised for suggesting that the game of Aussie Rules may have been inspired by an historic Aboriginal game. Photo: Alec Smart Marn Grook Goodes wrote an essay in which he speculated that the modern game may have been derived from the Aboriginal ‘Marn Grook’, which significantly predates it. In 1859, when Aussie Rules was founded by Tom Wills in Victoria, Indigenous clans across south-eastern Australia played a competitive type of football known as ‘Marn Grook’ (from a Woiwurrung or Gunditjmara word meaning ‘ball game’). Although no goals were scored, the ball (typically a stuffed animal skin) was kicked back and forth between two rival teams and ‘marked’ – coincidentally called a ‘mumarki’ – for a free kick by whomever caught it in the air. Tom Wills spent his high school years at Rugby School in England, where he played an early version of the game we now know as rugby football. When he returned to Australia, he devised a version of football – the first in the world to be formally codified - that would keep cricketers active during the winter months. Central to the competition, players kicked a ball back and forth and caught it for a ‘mark’. As a boy, Wills socialised with the Djab Wurrung Aborigines living near his family farm in The Grampians. Wills also spoke their language and almost certainly watched his Indigenous neighbours playing Marn Grook. The AFL, along with many sports’ historians, now agree Marn Grook influenced Aussie Rules and in June 2019 they issued an official statement confirming this. Aboriginal campsite 1857 - in the background a game of Marn Grook is being played. Illustration by Gustav Mutzel The Surry Hills mural of Goodes, completed on 11 June 2020, took five artists eight hours to complete. The artists were from Apparition Media advertising agency and art studio, which paid for the commission. They achieved the three-storey high portrait whilst stood on the extendable platform of a cherry-picker. The mural is based on a 2010 photo taken by Getty Images’ chief photographer Ryan Pierse. Apparition Media, Australia’s leading agency specialising in hand-painted advertising, approached the landlord of the building at 120 Foveaux St in late 2019 for permission. Luckily the landlord happens to be a Swans fan, and consent was given to decorate the north-facing exterior wall. (However, it took four months for Covid-19 restrictions to be eased before the artists were able to commence the painting). Apparition are also responsible for the mural of Goodes’ team mate Buddy Franklin at 245 Bondi Rd, near the beach. Photo: Alec Smart =======================================

Bundanon, artist Arthur Boyd’s former residence, has opened the doors to its new Bundanon Art Museum and Bridge for Creative learning, which will house three exhibition season annuals, with a dramatically expanded range of on-site events. Bundanon, near Nowra on the NSW South Coast, is a unique national arts organisation and the former home of the late painter Arthur Boyd. Boyd (July 1920 - April 1999), was a leading Australian painter in the mid-20th century whose work featured landscapes inspired by the Impressionist style. The Bridge. Photo: Zan Wimberley Bundanon was founded to create learning programs for art students of all ages and it currently operates Australia's largest artist-in-residence program. First established in 1993, Bundanon represents one of the most significant acts of philanthropy in the history of the arts in Australia. Arthur and Yvonne Boyd’s gift of Bundanon in 1993 was driven by a big vision, which has been built upon by subsequent acts of private generosity and government support. Bundanon’s mission is to operate the property as a centre for creative arts and education, scientific search, and a place to explore landscape and engage with First Nations history and culture. There is a residency program for artists, writers, musicians, dancers, performers and Scholars. Discover Bundanon for Yourself! Bundanon is now offering overnight experience packages where guests are invited to immerse themselves in the stunning natural landscapes. Your experience includes two nights’ accommodation at the Bridge, fine dining and a tour of the opening exhibition which features twelve new commissions by Australian contemporary artists, alongside drawings of Arthur Boyd. There is also a visit to the Homestead and Arthur Boyd’s Studio where the Australian painter lived and worked. Bundanon Art Museum Accommodation Packages - The Discover Bundanon package is a year-round introduction to everything Bundanon has to offer. The two night packages include accommodation, drinks on arrival, all meals and two art tours! 1 person - $1,329 2 persons - $1,650 See website for available dates: Bundanon.com.au Painter Arthur Boyd and his wife Yvonne at Bundanon. Photo: Emily McTaggart/Wikimedia ====================

40 Years of Broadcasting in Marrickville More on Marrickville By ALEC SMART 88.9FM Radio Skid Row broadcasts from the Addison Road Community Centre in Marrickville. We caught up with Col Hesse, DJ and ex-Marrickville councillor, to find out more about the pioneer station. History of Radio Skid Row Skid Row community radio station, aka 2RSR, can be found at Addi Road among the community arts and cultural organisations in the heritage-listed former Army depot. For the full sonic experience, tune in to 88.9 Mhz on the FM dial, or live-stream from their website. Col Hesse, environmental campaigner and former Inner West Councillor, hosts a topical and popular Thursday morning program, ‘Close to Home’. When and how did he become involved with RSR? “Just over eight years ago I read a story in the local paper about Skid Row looking for breakfast presenters,” he said. “I'd served a term on Marrickville Council, and felt that a program that looked at what local government did may fill a space in the media. Gladly the Board agreed, and I've been presenting the program for eight years this January.” Col’s two-hour broadcast from 7am features guest interviews, local news updates and music. “I like to mix in some music with two or three live interviews about local government/local issues,” Col reveals, “and often some local music or arts news. I tend to focus on local new Australian music as I think it's important to respect local musicians, and to play new sounds… We have so many great musicians making wonderful music right now, and I think it's vital their music is heard. I love the music I grew up with, but we don't need another radio station playing the same 250 songs from the seventies, eighties and nineties.” Radio Skid Row history starts in 1981, when it was a dial-in service that broadcast to neighbourhood drop-in centres, inmates at Long Bay Gaol and Community Youth Support Scheme venues that assisted the young unemployed. In 1983, RSR secured a community radio licence to broadcast to inner-city Sydney. From humble beginnings in the graffiti-strewn basement of the Wentworth Building on Sydney University campus (beneath what is now student kitchens), Skid Row emerged as a diverse and pioneering station. Run by volunteers and Initially broadcasting from morning to midnight, it featured foreign language shows and music ranging from punk to reggae to ‘world’ music. Because of the lack of women in public broadcasting, Skid Row dedicated Fridays as women’s day, when only females hosted shows and managed programming. In 1985, RSR shared the premises awhile with new Aboriginal community station Radio Redfern (which eventually transitioned into 93.7FM Koori Radio). Radio Redfern’s Indigenous DJs arrived at midnight and broadcast for 10 hours before handing controls back to Skid Row in the morning. Col Hesse hosts a topical and popular Thursday morning program, ‘Close to Home’. The name Skid Row - a run-down part of town frequented by vagrants - came about because RSR’s original precept included broadcasting information to Sydney’s homeless population on where to obtain free meals, accommodation and advice. Ironically, Addi Road, from where RSR now broadcasts, has become a beacon of support for the unemployed, homeless and low-income earners, many of whom have been severely impacted by the worldwide coronavirus pandemic. Addi Road hosts the Food Pantry discount supermarket as well as providing relief food hampers for the seriously disadvantaged. “The last few years has seen a lot of new people come to Addi Road to access the Food Pantry and other community services,” Col confirmed. “Radio Skid Row, as its names suggests, has always been about standing with the marginalised in our society, and giving them a voice. That's what we're here for. The media market is very narrow in Australia, and with Covid-19 it's become narrower still. Local stories and local voices are being lost, and that's why I believe community radio is more important than ever. I'm very passionate about citizen journalism, about telling our local stories, doing it fairly, and with respect and commitment to our community. That's a passion for me.” How many shows are broadcast on RSR? “There are over eighty broadcasters who volunteer with Radio Skid Row, and the programs range widely. Many of the programs come from the various migrant communities that make up our city. For example Saturday during the day is mostly Pacifica programming, with shows from the Maori, Tongan, Cook Islands. Samoan and Niue communities. “Saturday evening and night is from a couple of the African communities... Our breakfast programs are mostly in English, including Workers Radio, which looks at union and workers’ issues from around Australia and around the world. We also broadcast the very popular "Democracy Now" Monday to Friday at 9am from New York.” How can people become involved? “People can get involved in many ways, both as on-air presenters and behind the scenes. if people have an idea for a program they need to pitch the idea to the program committee, but there's many long-running programs that greatly appreciate new ideas, input and help, on and off air.” Radio Skid Row Website FB: https://www.facebook.com/radioskidrow Soundcloud archive: https://soundcloud.com/radio-skid-row ==========================

The origins of the name Dee Why are arguably the most prosaic in history. Dee Why is literally an adaptation of the two letters: DY, which appeared somewhat confusingly in a surveyor’s notebook. Bland, hey? More on Dee Why By Alec Smart The abbreviated words that form the acronyms Okay, Scuba, Laser, Jpeg and Radar, have more much interesting origins, but we’ll save those for another day. The suburb Collaroy, however, has an amusing origin, read further for details.. The name Dee Why is attributed to James Meehan, Acting Surveyor-General, an emancipated former convict deported from Ireland in 1800 for his insurrectionary activities in the failed Irish Rebellion of 1798. Whilst surveying the Northern Beaches of Sydney in 1815, Meehan wrote cryptically in pencil in his field book: "Wednesday, 27th Sept, 1815 Dy Beach - Marked a Honey Suckle Tree near the Beach." Perhaps ‘Honeysuckle Beach’ might have been more appropriate name for Dee Why. Dee Why Beach at night. Photo: Alec Smart There is speculation that Meehan sourced the ‘Dy’ name from Indigenous people in the vicinity; we’ll never know, but from 1840 the region adjacent to the beach was formally recorded as Deewhy. A century later, subdivisions of the suburb (and the name, divided into two words) saw the highlands of Dee Why Heights renamed ‘Narraweena’ (an Aboriginal word meaning a quiet place in the hills) in 1951, whilst Dee Why West was officially changed to ‘Cromer’ in 1964, named after Cromer Golf Club that dominated the area. The two new entities kept the 2099 postcode, however, along with the northern section of Curl Curl beach to the south. History of Dee Why - Indigenous People The Aboriginal people who lived in the Dee Why area and north to Broken Bay and around Pittwater prior to European colonisation were the Garigal. Part of the Dharug-speaking language group, they overlapped, traded and inter-married with the Darramurragal clans to the west and the Gayemagal to the south (around what is now Manly Cove). The Garigal fished the waters of both Dee Why and Narrabeen lagoons, and harvested shellfish along the shore. A midden (village dump) of discarded shells was recorded on the southern end of Dee Why beach. According to the Aboriginal Heritage Office: “Middens are shell mounds built up over hundreds and often thousands of years as a result of countless meals of shellfish. They are found along ocean coasts, estuaries, rivers and inland lakes, and primarily contain mature specimens of edible shellfish species. “They may also contain pieces of clay, bird, fish and animal teeth and bones, campfire charcoal, stone flakes and the remains of tools. Less commonly found in middens are remains from human burials.” A community of Indigenous people lived in the forests of Cromer near Narrabeen Lake right up until the mid-20th century. According to the Northern Beaches Council website: “An Aboriginal camp site at Narrabeen Lagoon was likely the last community camp of Aboriginal people to survive in the Northern suburbs. It was first under threat when the Wakehurst Parkway was built nearby in 1946 but reportedly survived into the 1950s. The camp was cleared for the development of the National Fitness Centre.” Sunrise on Dee Why Beach. It's possible the Garigal Aboriginal people of the Northern Beaches surfed on open canoes made from gum tree bark. According to 'Saltwater People of the Broken Bays': ''These were very good water people, with excellent surf skills. It was their livelihood. Theirs was a canoe culture and they were known to take these craft out in large surf." ~ Photo: Alec Smart History of Dee Why - European Settlement The first land parcel around Dee Why allocated to a European settler was a 280 hectares plot granted to William Cossar, a master shipbuilder, in 1819. It encompassed the foreshore, including Dee Why Lagoon and Long Reef. (Incidentally, a 20-tonne schooner named after William Cossar fared poorly. Stolen by a group of fleeing convicts in July 1817, it was steered onto a beach in Port Stephens where the escapees were likely killed by Aborigines. After recovery, in March 1824 it capsized in Sydney Harbour and three crew drowned; then in Feb 1825 it struck a reef near South Head in Sydney Harbour and was wrecked). By the early 19th century most of the land around Dee Why Lagoon and north to Mona Vale was owned by the Jenkins family, purchased by convicted sheep stealer and grazier, James Jenkins, who also managed a boat-building business in Darling Harbour that constructed ships up to 100 tonnes in size. Jenkins built a homestead north of Long Reef (now the site of Homestead Ave in Collaroy), near where his daughter Elizabeth had been bequeathed property around Narrabeen by a family friend. Then, as he purchased tracts of land both north and south of his initial investment, he built a 5-bedroom stone house in Manly Vale. To facilitate transporting equipment and stock back and forth between his properties and the main settlement in Sydney Cove, Jenkins constructed a road from Collaroy to the water’s edge at North Harbour (Fairlight) where he also built a stone cottage. This became the main road through the Northern Beaches peninsula and required 13 bridges to cross streams and lagoons. The Salvos When Jenkins died in 1835, his descendants, including 20 grandchildren, were locked in legal battles until 1880, quarrelling over distribution of the estate. His daughter Elizabeth was very religious, and in 1885 gave the Salvation Army 12 hectares of land around Narrabeen Lagoon, followed by another 81 hectares in Dee Why – eventually transferring her entire 700 ha estate to them in return for an annuity and support in old age. After her death in 1900, the Salvation Army retained control of the land, upon which they managed an industrial farm and hostels for boys, girls and women (paying the annuity to Elizabeth’s nephew Phillip until his death in 1931 when they resumed full control of the estates). The Salvos also fenced-off Dee Why Beach to the public with wire netting running its entire length, although the NSW Govt issued a legal challenge to them over their claimed ownership of Dee Why Lagoon. In 1911 the Salvos began subdividing and selling their estates, and the area opened up to settlers, with Dee Why expanding from five dwellings to 125 in four years (albeit most of them holiday homes). Dee Why Public School opened in 1922 for the children of new residents, and when the Spit and Roseville Bridges were opened in 1924, settlement of the peninsula accelerated. A copper mine was active at Long Reef from the 1880s to the 1930s, accessed by a 30 metre shaft tunnelled in from the southern side of the cliff face at the north end of the beach (now concreted over). Sunrise on Dee Why Lagoon. Photo: Alec Smart History of Dee Why - SS Collaroy Meanwhile, the coastal shipping route from Sydney Harbour to Broken Bay and north to Newcastle developed as boatmen ferried goods to the Hawkesbury River settlements and ships transported coal and timber. However, despite the prominent headland jutting out at Long Reef, no lighthouse was ever constructed, leading to the loss of numerous vessels and lives as they careened into the rocks in storms and fog. In 1881, the paddle-steamer SS Collaroy ran aground in dense mist on the then-unnamed beach to the north of Long Reef. After the ship's mate and ship's master lost their certificates for their negligence, Collaroy remained stranded on the sand for nearly four years until it was repaired and recommissioned. The suburb and beach were subsequently named after this wayward ship. Several old tug boats and ferries have since been scuttled offshore from Dee Why and the Long Reef headland to provide artificial reefs, including the aptly-named Dee Why ferry. In service between Manly and Circular Quay from Xmas Day 1928 to 7 July 1968, Dee Why was deliberately sunk on 25 August 1976 at a point two-and-a-half nautical miles offshore. It’s now a popular subaqueous spot for adventurous Scuba divers. Further reading Northern Beaches Council History Hub https://northernbeaches.recollect.net.au/ Dee Why Library Dee Why History https://www.northernbeaches.nsw.gov.au/library/your-library/news/dive-history-dee-why Dee Why RSL History portal https://deewhyrsl.com.au/dee-why-history-facts/ Aboriginal Heritage Office https://www.aboriginalheritage.org/ ======================

Ian Kingham, consultant, brewer, writer and reviewer, also does in his spare time what many people consider the best job in the world: international beer judging. We tap him for his beer tasting notes and background on beer tasting. By ALEC SMART More on St Ives Ian Kingham's Story Ian grew up in St Ives, where he played soccer for 11 years, roamed the bush as a kid, rode his bike, attended St Ives High School (becoming school vice-captain) and even worked at a Caltex servo that used to be beside Sn’Ives Showground (which is now just a patch of weeds). Ian is Chief Judge for beer and cider at the 2022 Royal Easter Show. Photo: Alec Smart Ian actually began his sales and marketing career selling T-shirts door-to-door, before working his way up in the brewing industry and publishing a few encyclopedias. So, how did he find himself among globetrotting international experts judging beers? “My journey has many components,” he revealed. “I grew up as a beer enthusiast collecting cans from my father’s work at the Kent Brewery [Tooths & Co, then Carlton United], later taking an interest in different beers from around the world. I studied food technology and completed subjects in sensory analysis at university. “Later I worked in sales for Carlton & United Breweries which included exposure to brewers and a range of beer appreciation courses. Finally, I became the head of strategy for Beer & Cider at Woolworths, which included a large amount of commercial sampling and an immersion in brewing and supply. The greatest experience for judging is travelling and visiting breweries with brewers and other judges, a self-fulfilling prophecy.” Ian began collecting beer cans as a lad. He now owns one of Australia's largest collections. Does beer tasting require a heightened palette to taste subtle differences and to distinguish between, say, a pale ale and an India pale ale (IPA), or a wheat beer and a white beer? “Being a beer judge entails several components,” he explained. “1) You need to have a sound knowledge of the different beer styles to which you are comparing / judging the beers, (there are over 750 globally recognised styles). 2) A discerning palate which can identify a multitude of flavours, faults, aromas and textures. 3) A good vocabulary for articulating / describing what you are tasting / judging. 4) A sound knowledge of science to be able to identify and explain an array of flavour and aroma compounds. 5) A sociable personality and good communication skills.” Some people declare beer judging must be the best job on the planet, flying around the world and being paid to taste a range of exotic and award-winning brews! “It sounds romantic,” he considers, “but the role of a beer judge is more as a vocational industry critic than that of a financial beneficiary. The travel, people and experiences are excellent but it is a break-even prospect at best. Needless to say, it supports other things I do in consulting.” Give us a short summary on the consultancy work and writing. “I have made contributions to the Supreme Court of NSW as an expert witness,” he replied, “and have been writing articles for numerous publications over fifteen years including Choice, Men’s Health and Liquor Watch. “More substantive work has come as my role as editorial consultant for Drinks (Australia’s leading industry publication) and Beer and Brewer magazine. “I established a business “That Beer Bloke” back in 2009 and have been providing services to the industry ever since. I consult in manufacturing, product development, logistics, company structures, pretty much anything to do with setting up, establishing and growing a commercial beverage business. “Today, I continue to work in this capacity and as a ‘Beach Head’ advisor for the New Zealand Government, supporting businesses exporting to Australia.” Beyond his advisory role as ‘That Beer Bloke’, what other brewing-related operations has he undertaken? “I established a company known as Kindred Beverages in 2015, which manufactures Schnapps, Liqueurs and Bitters, and is currently in the process of developing Cocktail Mixers, Gin and Tequila. “I have just accepted a three year appointment as Chief Judge for the Royal Agricultural Society New South Wales Beer & Cider Show,” he revealed, “which falls under the auspices of the RASNSW Fine Food Show. “I have also published four books: The Beer Buyer’s Guide To Australia And New Zealand, The Australian Cider Guide, Explore Beer, and Explore Cider.” Two of Ian Kingham's beer encyclopaedias Anything else? “On top of consultancy work I host tasting events. Whether you are putting together a drinks list or seeking more information on the beverage industry, feel free to call.” Ian Kingham recently accepted a three year tenure as Chief Judge, Beer and Cider, at the Royal Agricultural Society of New South Wales. Ian Kingham, aka ‘That Beer Bloke’ LinkedIn: https://www.linkedin.com/in/ian-kingham-12834812/ ==================================================== Beer Tasting Notes By IAN KINGHAM Ian also hosts beer tasting events. Photo: Alec Smart There are several things to take into consideration before beer tasting and these can be replicated at home on your own, or with friends for fun. 1. Beer Tasting Notes - Environment It is important to choose a place that has access to natural light and no artificial light, as this will ensure that the visual attributes of the beer are properly evaluated. An area that is acoustically calm and free of erroneous odours is also important - aftershave, perfume and cigarette smoke are appraisal wreckers. There are certain aromas that may be present in some styles of beer, so avoiding influences such as apples, cheese, candy, flowers, spices and any other aromatic foods during appraisal is best practice. 2. Beer Tasting Notes - Equipment A glass vessel is essential, preferably “Beer Clean” (meaning it has only ever been used for drinking beer, as detergents and milk drinks can leave residue on the glass that can impact the head and aroma of the sample). The preferred glass has a bulbous body, a stem for handling, and some contour to capture aroma. The glass needs to hold 100ml of volume; head on top and room for your nose is ideal. Red wine glasses are excellent. 3. Beer Tasting Notes - Samples Samples should be fresh and within date (as marked on the bottle). They should be poured at the correct temperature (which varies by style and can be found in the Beer Judge Certification Program aka BJCP world beer guidelines). 100ml samples will allow enough agitation in the glass to create a head for appraising aroma. Ideally three fingers width of beer, one finger width of head and three fingers width for putting your nose in the glass. A good way of judging and appraising beer is by having someone pour samples that are not identifiable by brand when served. 4. Beer Tasting Notes - Judging Each beer can be judged several ways, whether on a ranking score, a threshold test, a preferential test or an identification test to name a few. Appearance - Agitate the beer in the glass to create a robust head, then let stand and review the colour, clarity and carbonation (head retention). A score is given against each of the three criteria noting that different styles have different expectations. Aroma - Place your nose in the glass and appraise aroma for its hop, malt and yeast character, fermentation characteristics and make deductions for any faults. Palate - Take a sip of the beer and hold it in your mouth before swallowing. It is important to swallow the sample as beer has finish and an aftertaste that requires appreciation. The palate will be judged on malt, hop, and yeast character. Points will also be awarded for fermentation characteristics and absence of faults. Finish - The finish of a beer is important in adding to the balance, drinkability and overall impression. Scoring - Scoring can be done on a 100 point system or a twenty point system BEER TASTING AWARDS Gold is awarded for beers scored 17 - 20 marks Silver for 15.5 - 16.99 Bronze for 14 - 15.49. Any score less than 14/20 will not get a medal. Identifying 'off' flavours in beer https://beerconnoisseur.com/articles/identifying-flavors-beer ===============================================

James Lawson Balfour, James Muir Auld and Roland Wakelin More on Dee Why By Claire Ollivain When we think of Impressionism we think of Monet, Renoir, Cézanne and Degas. But the artistic movement that popularised painting en plein air (in the open air), with bright, evocative colours and loose, painterly strokes, was taken up by Australian artists, James Lawson Balfour, James Muir Auld and Roland Wakelin. James Lawson Balfour, Sea and Rocks, Dee Why, oil on paper laid on board. Drawn to the coastal scenes, bush and light of Sydney’s Northern Beaches, some Australian Impressionist and Post-Impressionist artists settled in Dee Why and surrounding suburbs in the early 1900s. While most people lived in cities by this time, art and literature in colonial Australia looked to the rural landscape in search of a national identity and mythology. Crafting images of sunlit beaches and coastal bushland was one way Australian Impressionists distinguished themselves from the images their earlier French counterparts created of city boulevards and industrial ports. Australian Impressionist James Lawson Balfour Born in Melbourne, but trained in England and Paris, James Lawson Balfour (1870-1966) was one of the first of these artists who moved to Dee Why for artistic inspiration. His painting Sea and Rocks, Dee Why depicts two young women standing on the rocky shore watching light blue waves crashing and forming a pool. It is a peaceful and idyllic scene, with soft pastel colours and visible brushstrokes evoking an impression of the light and atmosphere. Australian Impressionist James Muir Auld Balfour socialised with James Muir Auld (1879-1942), another artist who settled in Dee Why in the 1910s. Trained under Julian Ashton, Auld exhibited with the Royal Art Society and some of his artworks such as Broken Vase are in the Art Gallery of NSW collection. When Auld became infected with tuberculosis later in life, he had to leave Dee Why for Thirlmere on medical advice. During this period, he painted Winter Morning, which was awarded the prestigious 1935 Wynne Prize for landscape painting. James Muir Auld, Pittwater Twilight, oil painting. Australian Impressionist Roland Wakelin Another associate of the Impressionists who lived in Dee Why and moved around Northern Sydney was Roland Wakelin (1887-1971). His bold experimental style was inspired by Cézanne and ideas about the relationship between colour and music. Encouraged by his teacher Antonio Dattilo Rubbo, Wakelin’s abstract works of the harbour and cityscape caused controversy among conservative landscape artists. It is said that Rubbo once challenged a Royal Art Society committee member to a duel because he refused to hang Wakelin’s painting Down the hills to Berry’s Bay. Roland Wakelin, Down the hills to Berry’s Bay, oil on canvas, 1916. Today, however, the Impressionists and post-Impressionists are freely hung up on walls, appreciated as an important turning point in Australian modernist art. Their dazzling images continue to remind us of the beautiful light and colour of Sydney’s coastline today.

More on Newtown By Adeline Teoh It’s hard to imagine Bob Gould anywhere else but enthroned in print in Gould’s Book Arcade, a Newtown institution. More a cave of wonders than a second-hand book store, the arcade defied gentrification – and, considering the columns of teetering tomes, physics – for many years before its proprietor passed in 2011. The interior of the original Gould’s Books. Photo: Wikimedia Located at the city end of King Street from 1989 until 2018, when it moved south, Gould’s was legendary for many reasons. For starters, you never left with what you went in for – somehow serendipity would drive your purchase. Open evenings, it was also a reliable spot to spend some quality browsing time before dinner or a gig, and often you would meet acquaintances in the aisles. And then there was the bibliophile himself. Bob had never been known to reject a book in his life and could be relied upon to offload items from anyone looking to reduce their personal libraries. It was for this reason that the tall narrow alleys of burgeoning bookshelves were such an adventure and a hazard. Federal MP Andrew Leigh famously had to be rescued after an avalanche. “I was walking down an aisle and brushed past two precarious stacks of books on either side. Both collapsed on me, trapping me for about five minutes, until Bob heard my cries for help and ambled over,” Leigh recounted in his parliamentary tribute. It has been a decade since Bob passed and his daughter Natalie Gould, with help from her mother Mairi Petersen, has now taken his mantle, injecting the same spirit of socialist defiance and eclecticism into the store. She estimates the collection held some 2 million books before having to be whittled down for the new location, a smaller shop close to the New Theatre - the perfect location for a pre-show browse. There is still serendipity there but, with more orderly shelving and sturdier bookcases, thankfully fewer hazards. Gould’s Book Arcade website 536 King Street Newtown 2042

Art is good for you! Marilyn Rabinowitz would know. The Turramurra resident is a professional artist and passionate art therapist who guides clients to “use art materials to express themselves – situations, emotional states, problems they need to work through – instead of only using words” By Adeline Teoh More on St Ives After they instinctively express their feelings this way, they then “objectively look at what they’ve produced and talk about that, a type of projection,” she explains. “Creating any kind of art is in itself therapeutic and has [been] shown to reduce cortisol and adrenaline levels in the blood.” It’s a combination Rabinowitz has understood for a long time. As a social work student, she would paint pictures for her friends even if the only materials at hand were cheap poster paints, terrible paper and one brush. “It was simply something I felt compelled to do ... a creative instinct,” she says. Since then, she has taken classes and taught herself from YouTube videos. The results are diverse, thanks to her use of different mediums. While she no longer works in oils because of their strong odour and extended drying time, she uses plenty of other materials, including pantry items – “polenta, salt, cinnamon sticks, cake colouring – you name it” – and has a soft spot for inks: “The more I work with them, the more creative I become.” Her wide range of styles and subjects also makes it hard to pin a ‘signature’ on her art. “It all depends on my mood at the time. My creative process is completely random,” she admits. That means anything from a quick painting in one sitting to something complex taking several sessions in her studio. She’s currently in a flower phase. “Their shapes, sizes and colours vary incredibly and each one is fascinating to me. I walk regularly around our area and can often be seen gazing at flowers, pods, seeds and feel a sense of wonderment.” Proximity to nature is one of her favourite things about the neighbourhood – “every visitor who stays with us comments on the peace, the greenery and the bird calls. All these are healthy for one’s psychological state” – and her recommendation for visitors is to take a walk: a bushwalk, a stroll around the streets or a turn in Ku-ring-gai Wildflower Garden. “With everything seeming gloomy, you cannot look at flowers without feeling uplifted,” she says. It’s an attitude she hopes her art inspires. “Most of my work is upbeat and when people say, ‘your art makes me feel happy’, I am very satisfied.” Marilyn Rabinowitz Web: www.artworksbymaxi.com Insta: https://www.instagram.com/buysell_artt/

More on Marrickville Following the announcement of Queen Elizabeth II’s passing, Sydney-based artist, Stuart Sale, has memorialised the former monarch on the walls of Marrickville. For many of us, the Queen was the only British monarch in our lifetime and will be the only female sovereign for the next three generations. Sale, who hails from London, recognised the monumental moment of her death and decided to commemorate the significant event. “The last few days of the Queen’s passing are arguably the most significant of our lifetimes, and I felt it was important to document as an artwork,” Sale said. Artist Stuart Sale poses with his portrait of Queen Elizabeth II Image Credit: Dean Lewis, Sydney Morning Herald The iconic portrait of her majesty was taken by society photographer Dorothy Wilding only 22 days after her accession. It was the first photoshoot of the new Queen. The images from that session were spread across the Commonwealth and printed on stamps and coins for decades. Sale explains why he chose to paint the queen in the infancy of her reign: “I saw the image as a young woman, a human being rather than a monarch, at the start of a huge and daunting job or journey in a male-dominated world. I thought my audience and viewers could possibly connect with this as it’s on the street. I was viewed by passers-by and members of the public — people with ordinary jobs and lives, working hard to continue living essentially. I hoped I could create a connection or a parallel. I’m not sure if it was successful, but that’s why I chose it.” The Queen first visited Australia as the reigning monarch in 1954 with her husband, Prince Phillip, the Duke of Edinburgh. She would visit Australia on sixteen occasions across her lifetime, the last in 2011. Queen Elizabeth II and the Duke of Edinburgh attend a gathering of Sydney school children in 1954 Image Credit: State Archives and Records, NSW Government Sale’s artwork has received both positive and negative acclaim, some praising the piece and its subject, while some see it as “royal propaganda”. Sale, who has been painting street art for over ten years, remains unphased: “Reception has been, in the main part, positive. When painting the piece, passers-by were very happy, taking photos and commenting. Since it has been on display, there has been a lot of love. And a bit of hate, of course. I’ve stopped looking at the comments now it’s everywhere. People are entitled to their opinions, so I’ll keep out of it. I can take the criticism, but it wasn’t my intention to offend.” The portrait, which took Sale two-and-a-half hours to paint on the evening of Friday 9 September, consists of seven layers of paint. “My process consists of choosing my image, breaking it down on my iPad into a range of tonal layers going from dark to light. This process takes about an hour, depending on how many layers I’m using — more layers, more detail. I then project the layers onto the wall and paint each layer in its tonal value or colour. The work is done digitally before I arrive on the street. Painting is more of a performance or installation. I love working in this way as I’m an obsessive planner and need to know it will definitely work.” This is not the first time that Sale has painted murals of passed public figures. Earlier this year, he painted a portrait of Shane Warne following the cricketer’s death, which can be seen in Marrickville's Faversham Lane. His work has become a staple part of the Marrickville community. “I feel my role as a street artist is to document the times, events, icons etc., so I hope the people of Marrickville are happy to pass by my work. I hope they enjoy it. I make art for the public. It belongs to them. It’s free for them to enjoy, and I will continue to work in the area and in this way.” If you want to see the artwork for yourselves, grab a coffee from one of Marrickville’s many cafes and head down Sydenham Road to take in the piece. By Isabella Edwards

Dear 2042 locals, I’m Jenny Leong, the Greens MP for Newtown and your representative in NSW Parliament. I’m so proud to represent one of the most vibrant, progressive areas of the country – our community has the opportunity to change the agenda and build the change that lasts. I’m a long-term resident of Newtown - and love so much about our local area from catching up with friends on Enmore Rd or King St, to watching my daughter play in the local parks, and also watching our creative community connect on the streets. It’s why when Lockout Laws threatened to change the character and vibe of Newtown, we knew it was so important to sit down and collaborate with the community to protect the Newtown vibe and keep our community as the safe, vibrant and respectful place we all love to live, work, and play in. Together, we helped champion a locally-led response to the challenges facing the Newtown community, bringing together local people with local knowledge to find locally driven solutions. And while of course there is still always more to do - in particular there is a real challenge at the moment with lots of vacant shops and struggling local creatives and artists, it’s a testament to our collective approach that we have dealt with these kinds of hard times in the past and achieved positive reforms. I am committed to ensuring our creative, vibrant community is supported and protected – and will continue to ensure artists, performers, live music venues, galleries, and creative spaces are thriving not just surviving. It’s been a challenging few years and our community knows all too well that the arts, entertainment and creative industries have been some of the hardest hit by the COVID-19 crisis and soaring costs of living. The pandemic saw many artists and crews lose their entire income overnight, as massive events were cancelled, theatres were shut, and art galleries closed their doors. While many people in the arts, entertainment and creative sectors were excluded by the NSW and Federal Government from any kind of dedicated support or relief. Now, as the cost of living soars, we know this is being compounded by rent hikes, income support still not at a liveable rate, and local artists and creative spaces under threat. The sad, but understandable reality is that more and more people are leaving the arts, music and creative industries for more stability and security. But when creativity - the backbone of our culture, suffers, the impact on all of us is huge. These problems aren’t impossible to solve - there are solutions. It’s why the Greens are committed to an Artists Wage - a program that would guarantee a living wage for emerging artists and arts workers for a year so that they are free to create and breathe much-needed life and investment into the arts sector. But that’s not all. We are committed to genuine, ongoing funding for our culture, stories, arts and live music, as well as investing in public spaces and creative venues for people to access. If you are concerned about a local issue or if our office can assist you with a specific matter, please get in touch - we’re always here to help. You can call 9517 2800, email us on newtown@parliament.nsw.gov.au or drop in to our office at 383 King St, Newtown. To stay up to date with our work and campaigns you can head to https://www.jennyleong.org/sign_up or scan the QR code below. And if you see me out or about on the street or in a pub or café - be sure to say hi! Yours sincerely, Jenny Leong MP, Member for Newtown

More on Cronulla By Jamie Apps When people think Cronulla sports the first team that springs to mind is almost always the Cronulla-Sutherland Sharks. Following their recent heartbreaking exit from this year's NRL Finals Series Neighbourhood Media wanted to dig back into the history of the club before then looking to the future of the beloved black, white & blue. Cronulla-Sutherland Sharks History Founded in 1963 as Cronulla-Caringbah the rugby league team would officially become the Cronulla-Sutherland Sharks in 1967 when they joined the New South Wales Rugby Football League (NSWRFL) competition. The debut season would begin with a bang when the Sharks defeated one of the founding clubs of the NSWRFL, Easter Suburbs, in their first match. Unfortunately though the club would come to learn they had stepped up to a new level of competition & would finish the season in last place after winning only two more games. The following year the club would make history again as the first club to own their home ground when they relocated to Endeavour Field in Woolooware, now affectionately known as Shark Park. In terms of success the journey of the team & its fans has been quite the roller coaster ride over the course of 56 years. Over the years the team has earned 3 wooden spoons (finished last on the premiership table), has made 24 finals appearances, won 2 minor premierships (finishing top of the table after the regular season), and finished runner up on 3 occasions. Then in 2016, the Cronulla-Sutherland Sharks finally raised the prized rugby league trophy when they defeated the Melbourne Storm. In this year's competition the team made some big changes, welcoming new coach Craig Fitzgibbon to the club. Joining alongside Fitzgibbon were a number of new signings in the form of Nicho Hynes, Dale Finucane, Aiden Tolman, Matt Ikuvalu, Lachlan Miller & Jayden Burrell. The new coach & squad would go on to finish second after the regular season but ultimately be eliminated from the finals after successive losses to the North Queensland Cowboys & South Sydney Rabbitohs. Sharks Rebel Break Away During the 1990's the club endured a period of poor form & financial woes. So when a war broke out between the Super League, backed by Rupert Murdoch & News Corporation, & the Australian Rugby League (ARL), backed by Kerry Packer & Optus Vision, the club saw an opportunity to relieve some of the pressure In 1995 Cronulla were one of the first teams to join the Super League. However, the competition wouldn't officially begin until 1997, following protracted legal battles. The Super League aimed to make rugby league a more national focused competition, after previous rugby league competitions had been focused primarily on NSW & Queensland. As such the Sharks were joined in the competition by the Adelaide Rams, Auckland Warriors, Brisbane Broncos, Canberra Raiders, Canterbury Bulldogs, Hunter Mariners, North Queensland Cowboys, Penrith Panthers & Perth Reds. During the first, & only, Super League season the Cronulla-Sutherland Sharks would reach the grand final - where they lost to the Brisbane Broncos. After only one season the Super League would merge with the newly formed governing body, the National Rugby League (NRL). This would see the Sharks return as one of 14 clubs in the new competition. Sharks Financial Struggles and Controversies Throughout their existence it hasn't been smooth sailing for the Sharks, having faced financial difficulties & becoming embroiled in controversy. In 2013 the Sharks faced one the bleakest periods in their history when they were engulfed in the so-called "supplements saga." During this time members of the club's staff, coaches & 5 players were accused of orchestrating a regime that involved the administration of two growth hormone-releasing peptides which were banned under the World Anti-Doping Code. On December 17, 2013 after over 9 months of investigations the NRL handed down a raft of punishments. Then head coach Shane Flanagan was banned for 12 months. Trainer Trent Elkin was deregistered & given an indefinite ban. While the club itself was fined $1,000,000, with $400,000 suspended if the club could satisfy several governance conditions. In the proceeding months a number of players were issued show cause notices & offered 12-month bans backdating to November 21, 2013 if they admitted to taking illegal substances during the 2011 season. The following players were subsequently banned; Paul Gallen, Nathan Gardner, Wade Graham, Anthony Tupou, Jeremy Smith, Luke Douglas, AlbertKelly, Kade Snowden, Matthew Wright, ColinBest, Paul Aiton, Ben Pomeroy, John Williams, & Stuart Flanagan. Sharks Club Legends Despite all of this the Cronulla-Sutherland Sharks have a long history of producing phenomenal rugby league talent. Over the years Shark Park has been called home by legendary players such as; Tommy Bishop, Greg Pierce, Steve Rogers, Gavin Miller & Andrew Ettinghausen. Some other notable Sharks names include; David Peachey, Mat Rogers, Brett Kimmorley, Valentine Holmes, Michael Ennis, Paul Gallen, Andrew Fifita, Preston Campbell, Ben Barba, Wade Graham, & Nicho Hynes. In the caching ranks the Sharks can boast Norm Provan, Arthur Beetson, John Lang, Stuart Raper, Ricky Stuart & Craig Fitzgibbon among their ranks. Of the field the Sharks have a notable fanbase as well with the likes of Scott Morrison, Cathy Freeman, Glen McGrath, Lara Bingle, Stuart Clark, Peter Costello, Elle Macpherson, Shannon Noll, & Mark Occhilupo all raising their "spirit fingers" at Shark Park.

Inner West Council to inject $7.5 million to revitalise main streets. The Inner West Council (IWC) has voted to invest $7.5 million into a main street revitalisation fund. The fund will be used to boost five of the Inner West’s main streets in the wake of the COVID-19 pandemic and lockdowns. As part of this funding, IWC will provide up to $1.5 million in capital investment for street furniture, artworks, decorations and infrastructure. Mayor Darcy Byrne explained just how vital this funding was to help entice people back to the area’s main streets. “Our whole community did it tough during lockdowns. Our businesses took a hit and at times the streets were almost deserted,” Mr Byrne said. “Now is the time for a reawakening. We want people back in the shops. We want restaurants and pubs to be full. We want the colour and movement that the Inner West is famous for.” To access funding, the local chambers of commerce, businesses, landlords, artists and community organisations will have to work together to put forward a plan to revitalise their main street. These proposals will need to address how they will improve occupancy rates, organise regular activations and events, and involve residents in increased activity. According to Byrne, consultation will take place with local businesses, main street property owners, chambers of commerce, and community arts organisations about the criteria for the expression of interest process and the nature of the proposed works. Deputy Mayor Philippa Scott said: “I am very excited to see what we can do when we work together to beautify, enliven and activate our spaces.”