Your Go-To Guide for Mosman’s Best Yoga, Pilates & Gym Studios — Memberships Made Easy Explore the best local health and wellness centres in Mosman (and It's immediate surrounds) offering flexible memberships for yoga, Pilates, personal training sessions and gym workouts. Find the perfect studio to suit your fitness goals — you can even nab yourself a free trial classes to get your fitness journey started! More on Mosman Alma Yoga Alma Yoga 4/44a Avenue Road, Mosman Alma Yoga is a place where people come together to share the experience of movement-based practices. To bathe in Sound Healing. To relax and unwind in Yin, Restorative, Gentle Yoga and Yoga Nidra. To learn to sit quietly through meditation. To move fluidly and slowly in Soul Flow. To sweat, stretch and strengthen in Vinyasa and our Slow Burn classes. To activate the core, stabilise and strengthen in Mat Pilates and seek an effective post-training stretch in our Saturday Stretch Studio. Alma Yoga teachers offer classes influenced by their own varied and diverse training, experiences and practices, allowing them to tap into their creativity and develop classes that they are truly passionate about. This gives students a broad range of styles to explore and encourages them to find and develop an authentic and meaningful practice. Practices tailored to you. Casual class: $30 ($26 concession) Fortnightly direct debit / unlimited classes: $80 ($40 p/week) Unlimited classes - Annual Membership: $1,700 ($32 p/week) Unlimited classes - 3 month Membership: $455 ($35 p/week) 10 class pass valid for 6 months: $240 ($220 concession) NEW CLIENT OFFER: 3 WEEKS UNLIMITED YOGA FOR $59 Mode Pilates 1/115 Sailors Bay Rd, Northbridge Located at Level 2, 1-3 Gurrigal Street, Mode Pilates Mosman offers a holistic wellness experience with two dynamic studios under one roof. At the heart of Mode Pilates are their signature Reformer, Barre, and Mat Pilates classes, all designed to deliver transformative results. Complementing these are yoga and breathwork sessions, creating a well-rounded approach to fitness and relaxation. The Mode Method seamlessly integrates the foundational principles of Pilates with functional movement, providing high-energy, low-impact workouts that leave you feeling incredible every time Mode Pilates Open seven days a week, Mode Pilates Mosman offers something for everyone! 1 x Off Casual Class: $39  Weekly Unlimited Pass: $68 p/week 10 Class Park: $299 Introductory Offer: 5 Classes for $50 FitnessLab Suite 3/685 Military Rd, Mosman Located in the heart of Mosman Village, FitnessLab is a boutique personal training studio dedicated to transforming clients into healthier, fitter individuals. Founded by Rod Navajas, a sports scientist, nutritionist, and sports therapist with over 20 years of experience, the studio offers a holistic approach that emphasises the importance of mindset and nutrition alongside physical exercise. Members benefit from personalised training programs, nutrition support, and a supportive community focused on overall well-being. For those interested in experiencing their services, FitnessLab offers a free goal mapping session to help chart your fitness journey. Personal Training: Starting from $65 Per Session.  Small Group Classes: $30 Per Class New Client Offer: 2 Week Trial for $47. Mention the 2088 Magazine F45 Northbridge 1/115 Sailors Bay Rd, Northbridge F45 Northbridge is more than just a gym. This is where you can find a health-conscious, supportive community. The F45 Northbridge Studio is a place where you can meet real people, and get real results, with your F45 Community behind you every step of the way. F45 Northbridge 1 x Off Casual Class: $30 ($26 Concession) Weekly Membership: From $50 Per Week 10 and 20 Class Packs Available Introductory Offer: 14 days for $49 New Client Offer: 20% Off Class Packs. Use code: MOSMAN115

Sydney chef, Nelly Robinson, is serving up fast food with a fine dining twist at NEL Restaurant. If you haven’t yet descended the stairs at 75 Wentworth St into the belly of NEL, you are truly missing out. Affectionately known as the bunker , this underground dining room has long been one of Sydney’s most beloved fine-dining destinations. Chef Nelly Robinson, who we interviewed in 2010 Issue #11, has built his reputation on creating boundary-pushing menus that are as theatrical as they are delicious - and his newest concept, Fine Fast Food , is no exception. The idea is simple but brilliant: take the world’s favourite takeaway classics and elevate them into exuberant fine-dining creations. The twelve course menu is meticulously crafted, divided into three playful chapters - snacks, mains and the sweet stuff - with each course designed to surprise, delight, and captivate the senses. From the very first bite, it’s clear you’re in for something special. You start your journey with the humble Panipuri, a delicate, crisp sphere, arrives with a broth so rich and layered it might have been one of the most memorable spoonfuls of the evening. Later, the Biryani course delivers another broth masterclass — creamy, aromatic, and deeply comforting, with flavours that lingered long after I’d lifted the mug to my lips to savour the last drop. There is also a clever take on the Margarita Pizza that will leave you begging for another slice. As the meal unfolds, the dishes shift in tone, moving from whimsical bites to more substantial, indulgent creations. A standout moment comes in the form of a reimagined cheeseburger. Presented in two acts, the first is a single, bite-sized morsel - small in stature but bursting with the flavours. The second course reveals butter-soft wagyu beef, paired with all the familiar trimmings of a burger, and executed with finesse and precision only NEL can deliver. It’s clever, nostalgic, and indulgent all at once. Dessert is where the fun truly peaks. Starting with a seemingly simple glazed donut, but one bite reveals a filling that’s anything but ordinary. There's also an incredible take on the classic Strawberry Milkshake - but you won't need a straw for this one. Then the grand finale which is delivered right to your table: the NEL Sweet Shop. Diners are invited to choose two indulgent treats to enjoy on the spot or take home in a signature NEL Sweet Shop bag. The Menu is enhanced further by the wine pairing, with each drop thoughtfully matched and introduced by the attentive floor team. Or, indulge in one of the expertly crafted cocktails; The Spider was a favourite at our table.  But it’s not just the food that leaves a lasting impression at NEL. The bunker-esque setting, the sense of theatre in every course, and the sheer imagination behind the menu all combine to make NEL one of Sydney’s most unforgettable degustation experiences. Fine Fast Food  is playful, surprising, and exquisitely executed — a testament to Robinson’s knack for turning the ordinary into the extraordinary. Fine, Fast, Food ($185pp) NEL Restaurant 75 Wentworth St, Sydney nelrestaurant.com.au

Iconic Sydney LGBTQIA+ Venue Expands to the Inner West as Stonewall Launches Newtown Venue on King Street More on Netown Iconic Oxford St venue Stonewall is bringing drag, dancing, and divas to Newtown. After almost three decades as one of Oxford Street’s favourite nightlife destinations, the team behind the iconic Stonewall Hotel is bringing the brand to the Inner West, with a brand new venue now open in Newtown. First opening in 1997, Stonewall has spent the last 29 years building a reputation as one of Sydney’s best-known LGBTQIA+ venues. Celebrated for its welcoming atmosphere, drag performances and late-night dancefloors, the multi-level bar has been a cornerstone of the city’s queer nightlife scene. And now, the legacy has expanded to the Inner West. The new Newtown is bringing Stonewall’s inclusive spirit to one of Sydney’s most diverse and community-focused neighbourhoods. Locals can expect the same energetic mix of entertainment the brand is known for DJs, drag, dancing and a lively social atmosphere – all delivered in a space designed to be open, friendly and accessible to everyone. While the Oxford Street venue remains a multi-level nightclub experience, Stonewall Newtown offers a slightly different take on the brand. The Inner West location leans into the neighbourhood’s more relaxed, community-driven vibe, creating a space that’s just as welcoming for a casual drink with friends as it is for a late-night dance. For Stonewall, the move marks an exciting new chapter – bringing a beloved Sydney nightlife institution into the heart of the Inner West. Stonewall Hotel 157 King St, Newtown stonewallnewtown.com

New Report Reveals Surge in Dining, Live Music and Entertainment Across the Inner West More on Netown The Inner West’s nightlife is on the rise, and Newtown and Enmore are leading the charge. According to the NSW 24 Hour Commissioner’s first State of the Night  report , the local nighttime economy continues to grow, with spending on accommodation, food, arts, services, and recreation up 4.5 per cent in the last year. The report also found that the number of food, drink, and entertainment businesses in the Inner West rose 6.4 per cent, reflecting a thriving scene for locals and visitors alike. NSW 24-Hour Commissioner Michael Rodrigues praised the area’s “stronger entertainment product,” noting the buzz in the Enmore Special Entertainment area over the weekend, with alfresco dining and lively streets attracting crowds. Six new Entertainment Precincts now operate across the Inner West, and the council’s focus on Main Street revitalisation, more local festivals, and improved venue–resident relationships is paying off. Marrickville has even earned official Purple Flag accreditation, recognising it as a safe, vibrant, and well-managed nighttime precinct. Mayor Darcy Byrne said the findings confirm the Inner West as Sydney’s cultural and nightlife hub. “Our venues, artists, and entertainment offerings are the most vibrant and interesting in NSW,” he said. “People from all over Sydney are coming to experience the unique buzz of our diverse neighbourhoods. The Inner West is the beating heart of live music, alfresco dining, and nightlife, and this report confirms it.” For Newtown and Enmore locals, it’s clear: the nights are alive, the streets are buzzing, and there’s never been a better time to explore the food, drinks, and entertainment just around the corner.

Inside the Deadly King Street Siege That Claimed a Policeman’s Life in Newtown in 1906 More on Netown By Elliot Lindsay News of the disturbance reached the Newtown Police Station. Constable Russell was the first to respond, but wisely telephoned for assistance. First-class Constable John Wallace – on reserve duty that morning – answered the call. Wallace, 43, was one of the most popular officers attached to the Newtown station. Only weeks earlier, on 15 January, the New South Wales Police Widows’ Fund had held its annual meeting at the very same station. The committee had praised the “large increase of membership” and “sound position” of the funds, congratulating secretary Constable John Wallace on his success. Wallace lived with his wife Frances and their two young children – five-year-old Eddie and a baby – at 21 Hopetoun Street; the cottage was named “Balcarras,” just a short walk from the station. On this Sunday he grabbed his revolver and headed to 67 King Street, Newtown. En route he met Senior-constable Maunsell, who jumped off a tram near the Newtown Post Office when Wallace called out that he was responding to trouble at King Street. Neither man knew the full danger. A crowd had already gathered along the street outside the terrace house. Charles Fenwick, who lived in the house, told them there was a madman inside, but gave no further details. The front door was locked, so the two officers decided to enter through the front windows facing King Street. Maunsell took one window, Wallace the other. Inside the darkened hall, curtains partially blocking their view, Maunsell spotted a figure near the kitchen passage. “Hello, old fellow! What’s the matter? Come out here!” he called. Wallace added, “What is this all about?” Two shots rang out. Wallace fell groaning, hit once in the abdomen and once in the left shoulder and arm. Maunsell fired twice in return but could not be sure he had hit the assailant. More shots echoed as Wallace lay dying on the hall floor. On a quiet Sunday morning in February 1906, the streets of Newtown were filled with the gentle sounds of church services beginning. Families strolled along King Street, trams rattled past, and the suburb’s suburban calm seemed unbreakable. But at No. 67, a solid two-storey home that stretched from its King Street frontage all the way back through its yard to Campbell Street, horror was about to erupt. What began as a simple wage dispute in the backyard would escalate into a desperate hour-and-a-half siege, claim the life of a popular local policeman, and leave bullet holes in the walls of an ordinary Newtown house. This is the story of the King Street Siege, a tragic event long ago forgotten. How the siege began The Fenwick family had only lived at 67 King Street for three years. Sarah Fenwick was the widow of Captain Thomas Fenwick, who had founded the successful J. Fenwick & Co. tugboat company in Balmain in 1870 with his brother John. Thomas relocated to Ballina to establish a northern branch of the Fenwick shipping business. However, after his first wife’s death, Thomas married Sarah Shaw of the prominent Shaw family in 1882. In 1886 they constructed the grand Fenwick House overlooking Shaw Bay on the Richmond River. Following Thomas’s death in 1896, Sarah and her younger children sold Fenwick House and relocated to Sydney, settling into the respectable suburban life of Newtown. With them came a loyal servant: Willie Tanna, a powerfully built South Sea Islander from the island of Tanna in southern Vanuatu. From the 1860s, men and women from the Pacific Islands, often called “Kanakas,” had been recruited (sometimes forcibly) to work the cane fields of northern Queensland under indentured labour schemes. Tanna had served his time there, likely enduring brutal conditions, before moving south to Ballina in the 1890s, where he worked on the Fenwick estate as a groom and gardener. When the family moved to Newtown in 1903, Tanna initially stayed behind but soon followed, attaching himself once more to his former employers. Sarah had no paid work for him, yet she allowed the 32-year-old to occupy a small isolated wooden room in the backyard, right behind the bathroom that opened onto the yard facing Campbell Street. He picked up gardening jobs around the suburb and was regarded as quiet and inoffensive. By early 1906, the relationship between Tanna and the Fenwicks had grown troublesome. He began demanding money he believed was owed to him. On Sunday 11 February, around 10 a.m., he sent word via Marion Fenwick, Sarah’s 18-year-old daughter, that he wanted his bill made up. Charles Fenwick, the 22-year-old eldest son, went out to the yard to settle the matter. “I went to him and said, ‘Get it made up and I’ll pay you what we owe. Now, how much is it?’” Charles later recounted. “Willie said ‘£40 6s.’ I said, ‘What! Who made that up?’ He answered, ‘Never mind.’” Charles insisted they owed nothing and suggested Tanna see a solicitor. At that, Tanna pulled a revolver from his pocket and clicked it in Charles’ face. The gun misfired. Charles bolted for the hall door. Tanna was after him in an instant, though now armed with a Winchester repeating rifle. A desperate struggle erupted at the hall door of the terrace. Charles seized the rifle, his brother Bisset Fenwick wrenched it away and carried it into the dining room whose windows looked out over the backyard. Tanna bit Charles’s wrist, but the brothers managed to push him out. Moments later Tanna bounded back through the open dining-room window, revolver in hand. He fired twice at Bisset from just a few feet away; both shots missed, embedding in the walls. The entire Fenwick family fled through front and side doors, some scrambling out windows onto King Street itself. Twelve-year-old Joseph ran to find a constable. Poor Constable Wallace had no idea how serious the situation was when he arrived at the scene. Had he been better informed it is unlikely he would have walked blindly into a gunfight. What followed Wallace’s shooting was a full-scale siege at 67 King Street. Inspector Elliott hurried from the Newtown Police Station and took command. Reinforcements poured in: Constables Charlton (who had rushed from St Peters), Truscott, Iverach, McMaster and others. They smashed open the front door. Tanna had retreated into the small dining room behind the hall, then into the kitchen. Police smashed windows and doors; bullets flew in both directions. Constable Truscott, battering down the kitchen-dining room door with Iverach, came within centimetres of death as one bullet tore through his jumper sleeve, another struck his breast pocket (saved by a notebook) and exited six inches away. Constable Charlton performed an extraordinary act of bravery: he dashed into the hall under fire, lifted the wounded Wallace, and carried him through the front room window to the King Street verandah for evacuation to the nearby Royal Prince Alfred Hospital. Constable Wallace died shortly thereafter due to the severity of his wounds. Tanna, now wounded in the thigh and calf by police revolver fire, took his final stand in the bathroom at the rear of the property – the small room directly behind which his own wooden quarters stood. Police surrounded the house, posting men on fences, roofs, and even in the adjacent Trocadero building and the yard of Mr Williams’ livery stable next door. They called on him to surrender. “I want my money!” Tanna shouted repeatedly. Officers promised he would get it if he came out. “I will shoot myself,” he replied. A single shot rang out. When police forced the bathroom door, they found Tanna dying from a self-inflicted chest wound. Thirty rounds of ammunition were still on his body. The Fenwick family owed no debt to Tanna, the inquest later confirmed. At the Coroner’s Court, the Fenwicks, police witnesses and even a West Indian friend of Tanna gave evidence. The coroner ruled that Wallace had been “maliciously slain” by William Tanna, who then committed suicide. He praised the bravery of every officer involved. The funeral of Constable Wallace was one of the largest Newtown had ever seen. On 12 February his coffin was carried across the Newtown Railway Bridge in a solemn procession watched by hundreds lining the streets. He was laid to rest at Rookwood Cemetery. At 21 Hopetoun Street, his widow Frances collapsed in hysteria when the news arrived. Young Eddie refused breakfast, repeating, “I’m waiting for dada.” The irony was cruel: the man who had so diligently managed the Police Widows’ Fund had now left his own family to benefit from it. The house at 67 King Street looks different today. Later in the century the front of the house was extended to the footpath and converted into a shop. The graceful verandah and garden erased from memory. In recent years, the scene of so much anger has been calmed with the tranquillity of a yoga studio. However, the building still bears faint scars, patched bullet holes in walls that once echoed with gunfire. Today, as locals walk King Street past the very spot where trams once stopped and police rushed in, the King Street Siege remains a sobering reminder of how quickly suburban peace can shatter. The King Street Siege features in the Old Newtown: Laneway and Cemetery Walking Tour hosted by historian Elliot Lindsay and can be found at www.murdersmostfoul.com

From Band Merch to Street Murals, How Sindy Sinn Built a Playful, Detail-Driven Creative World More on Netown For more than fifteen years, the Sydney artist and illustrator Sindy Sinn has been turning imaginative concepts into eye-catching artwork. His style has allowed his work to be ubiquitous, appearing on everything from band merchandise to murals across the city, working with major names including Metallica, Green Day and the iconic Australian label Mambo. Much of that creative DNA can be traced back to a childhood filled with colourful pop culture. Old gig posters, album art, Goosebumps books, MAD Magazine, Mambo shirts, OddBodz, Pogs and Nickelodeon all helped shape the visual world that still influences the work today. “All that colourful, slightly unhinged stuff,” he laughs. “From early on I loved work that feels bold, fun, a bit warped and wrong in the best way.” Those influences still bubble up in the artwork today. The designs carry a strong sense of energy and playful surrealism, even as the style has evolved over the years. Despite the global reach of the work, inspiration often comes from everyday moments much closer to home. “Inspiration is a funny one,” he says. “You can spend hours digging through books and references looking for it, then suddenly it smacks you in the face.” Life as a parent has also reshaped the creative process in unexpected ways. “Having kids changes things,” he says. “I can spend all day drawing artwork for serious projects, then my daughter Rosie asks me to draw her a unicorn eating spaghetti on rollerblades. That kind of stuff keeps you loose. You have to shake off perfectionism and remember to just have fun with it.” Hidden features in Sidney's murals Working across a high volume of projects is part of the appeal. Alongside commercial commissions, there is always an effort to make space for personal ideas. “I like squeezing in as many fun and personal projects around my work as I can,” he says. “ I am always working on a lot and putting a lot of work out. I do not know about high quality,” he adds self-deprecatingly, “but I am super consistent. I like to think I am getting better.” A defining feature of the artwork is the small details hidden throughout each design. Fans who take a closer look often discover subtle references or unexpected visual jokes embedded in the work. “When I work with a project or brand on some artwork, I like to deep dive into what they are about and their history,” he explains. “I loooove it when a client sees something in a design and goes ‘OH SHIT, NO WAY!’ because I have found some obscure reference and hidden it in there.” Those details are intentionally placed as little surprises waiting to be discovered. “Hidden gems. Sultanas in the bran,” he jokes. “If there is a bit of dead space, I will usually find something interesting and relevant to tuck in there,” he says. “With something as big as a mural, people walk past it every day for years. It is great to give them something small they might notice months later that they had never seen before.” Connection to Newtown Community While the work includes collaborations with international bands and global brands, there remains a strong connection to the local creative community. Newtown in particular holds a special place. “I love Newtown. It is my happy place,” he says. “It is a creative hub that lets you be whatever you want to be. You could walk through Newtown in a chicken suit and nobody would blink.” That openness creates a rare environment where different communities exist comfortably side by side. “Hippies, punks, families and drag queens all coexist in perfect harmony. It is one of the few places where being a bit weird is completely normal, and that freedom is great for creativity.” The relationship with the area stretches back to teenage years. “When I was 18 we would party between the Sando and the Freaky Tiki” he recalls. “To be able to paint murals here and be part of the colourful background to people’s lives is pretty special,” he says. “I hope the work gives people some colour in their day, or at least something fun to look at while waiting for the lights.” Memorable murals Over the years that work has led to some special career moments. Collaborations with bands such as Queens of the Stone Age, Blink-182 and the Stray Cats still feel slightly unbelievable. “You grow up scratching a band’s logo on your school desk and then one day you get an email asking you to make artwork for them,” he says. Each project also carries its own memories. One early dream collaboration with Mambo involved working through the night to meet a deadline. “When I look back at the artwork, I remember the dry eyes and the warm mug of 2am coffee under my rickety desk lamp.” Looking ahead, there is no shortage of new projects. A fresh batch of prints and shirts is about to launch online, and new murals across Sydney and Melbourne. There is also a two-metre portrait currently being completed for the Archibald Prize. Between upcoming band merchandise projects and ongoing collaborations with Sydney brewery Young Henrys, the schedule remains full. If the past fifteen years are anything to go by, there will be plenty more colourful surprises along the way. Whether it appears on a city wall or a concert stage halfway across the world, the work continues to bring a little humour, colour and creative chaos wherever it lands. Check out Sindy’s work at www. sindysinn.com.au

Debunking the John Webster Myth and How Newtown Really Got Its Name More on Netown By Matt Murphy Discover the true origin of Newtown’s name in Sydney. Uncover the myths surrounding John Webster, early colonial history, and how Australia’s first “new town” really came to be. Inconveniently and inexplicably placed about three metres up the wall, on Eliza Street near the corner of King Street, there is a plaque that reads: New Town Store Newtown takes its name from the grocery store opened on this site by John and Eliza Webster in 1832. The Websters placed a sign on top of their store that read “New Town Store”. The first recorded official use of the place name was in the Sydney Gazette on 24 November 1832. The Zanzibar Hotel now generally occupies the site of the “New Town Store.” Below this, in smaller font, it adds that the plaque was unveiled by the mayor of Marrickville in 2008 and that it was an initiative of the council to promote the area’s heritage. The longer version of this story is that the Websters initially had a ‘town store’ further north up what is now King Street (then known as Cook’s River Road) but then, noticing that the junction with Enmore Road and Australia Street a few hundred metres further south was getting more foot traffic relocated their store and added the word ‘new’ to differentiate it from their former location. The prominent sign became somewhat of a landmark at the road junction and the area became known as Newtown. The side street, Eliza, it is presumed, was named after Eliza Webster. Known as the Zanzibar when the plaque was unveiled, the pub was later renamed Websters. If the council put a plaque up, and the pub considered it significant enough to rename itself, then this story must be true, right? The first known use of the name New Town (as two words) goes back to at least 1827 with the Sydney Gazette writing on 7 September: ‘New Town – There is talk of having a suburb of this name, as well as our neighbours, the Tasmanians’. Indeed, there already was a New Town in Tasmania, and when they heard, the Hobart Town Gazette wrote on 6 October 1827 that: ‘A suburban village similar to our own Newtown, it is said, will shortly be constructed in the confines of Sydney.’ While the plaque states the name was officially used in November 1832, this isn’t true either as the borough, with set borders, wasn’t proclaimed until thirty years later. What was true is that on 24 November 1832 the Sydney Gazette wrote: ‘The neighbourhood about the spot of ‘Devine’s Farm’ has obtained the name of Newtown.’ Six months later, on 2 May 1833, the Gazette reiterated that: ‘The houses upon Devine’s Farm, about two miles from Sydney, have so increased in numbers of late, that it is called New Town.’ Importantly, Devine’s Farm’ was on the eastern side of present-day King Street. Webster’s New Town Store, on the west, of the street, was not part of this property. Also significant is that the earliest subdivisions in the area, from 1833 to 1835, are not only on the other side of the road, but also much further south, closer to St Peters. And who was John Webster? He was born in c1811 in Lancashire and arrived on the Lord Melville on 21 October 1830 convicted of stealing 30 shillings. He was assigned to a Leslie Duguid, in King Street in Sydney. Duguid, taking Webster with him, then moved to the area now known as St Peters in 1833. On 12 February 1836 John Webster, who is by this time recorded as being a free man working as a shoemaker and living in Newtown, married Margaret Cuddihy, which again contradicts the name on the plaque – Eliza. The block of land the Webster’s Hotel now sits on was sold as part of a subdivision in 1842 with the new street, Elizabeth appearing on maps, soon after changed to Eliza. The purchaser of this site was William Brady who then sold it to Charles Underwood a year later and then on 7 December 1844 Underwood sold it to John Webster. Webster continued to use the premises as a bootmaker’s workshop but by the late 1840s his occupation was recorded as a grocer. As of March 1854 the Websters also ran Newtown’s first post office from the site. With the introduction of the railways line in 1855, he changed the name of his grocery business from Webster’s Store to Railway Store. In 1861 Webster obtained a licence to sell spirituous liquors from his corner site which he named the Daniel Webster Hotel, later renamed Webster’s Railway Hotel. He then relocated the store and post office to the corner of Whately Lane. He leased out the hotel while managing the shop and post office until selling his shop site and then taking charge of the hotel in 1872 at which time he renamed it the Oxford. In calling his hotel Daniel Webster, John Webster later said that he named it after the creator of Webster’s Dictionary, from whom he believed he was descended. Margaret Webster died in 1874, aged 62. John Webster remarried four months later to Mary Pardoe, 20 years his junior. In 1876 he gave the hotel to his son, William, in return for a comfortable pension. He died in 1896 in John Street Marrickville, his age reported as being 86. In short, despite what the council’s plaque says, the name Newtown has nothing to do with John Webster. He was a convict and not even in Australia when the name was first coined and didn’t open his grocery store until about two decades later, nor is there any indication he called it the New Town Store. That said, John Webster is nonetheless synonymous with the early days of the suburb. The real reason for the name is not exactly known, though the best guess is that with the exception of Parramatta, which was quite distant, Newtown was the first area outside of the metropolis of Sydney to begin being subdivided, and hence becoming Sydney’s first ‘new town’. You can follow Matt on Instagram @mattmurphy8

We catch up with controversial muralist and Newtown favourite Scott Marsh to chat about life, the limelight and his latest work, Island Boys. More on Netown Scott Marsh is a talented mural painter and satirist whose large artworks on the side of walls around Sydney create conversations - and often cause controversy. Marsh uses acerbic humour on his detailed canvasses to address important contemporary social issues. Several feature prominently on the side of houses and cafes in and around Newtown and Sydney’s Inner West. By Alec Smart Scott Marsh's mural Island Boys located behind the Botany View Hotel off Darley St in Newtown, Sydney. How long does it take him to paint his murals, and does he have to hire scaffolding? “It depends on the size, the amount of detail etc.,” he explains. “I work off a big ladder for works up to about 4 metres, above that I usually hire a scissor lift. A single figure would take two-and-a-half days. “The latest Epstein mural has a number of figures and a lot of detail; it took me approximately 8 days to complete. 90% of my political murals are self-funded projects and can cost me $1000s in materials and access gear. I probably end up painting only 10% of the ideas I would like to, due to these constraints.” Marsh’s latest piece, ‘Island Boys’, revealed on Valentine’s Day 2026, is situated on the rear external wall of the Botany View Hotel in Newtown. The large-scale cartoon features convicted paedophile Jeffrey Epstein near-naked on a beach on one of the two islands he owned in the Caribbean with his friend and ‘fixer’, fellow convict Ghislaine Maxwell. Alongside them are several close associates who frequently attended their notorious parties: US President Donald Trump, disgraced British Royal Prince Andrew, former president Bill Clinton, and Microsoft founder and CEO Bill Gates. It must be hard to find available walls for his amazing but frequently contentious murals. Does he scout the locations and ask householders if they are amenable. Or do they contact him? “Finding wall space suitable to a particular work is always the biggest challenge,” he confirms. “Sometimes people reach out and say, ‘Hey I have a wall and an idea’. Or, ‘I have a wall, do whatever you want!’ That’s my favourite! “Sometimes I find the perfect wall and knock on the door. It’s a bit of a mixed bag.” Scott Marsh's Tony Loves Tony 2017 mural of former PM Tony Abbott marrying himself. Located on the side of Hunter's Corner Café at the corner of Redfern and Pitt Streets, Redfern. Photo: Alec Smart It was sad to see the painting over of his Tony Abbott marriage mural in Alexandria in November 2024, which mocked then-Prime Minister Tony Abbott’s hostility to same-sex marriage. (Abbott’s own sister, Christine Forster, was at the time in a lesbian relationship and later married her partner. Abbott attended the wedding.) Is that the longest-lasting of Marsh’s public murals? “Tony got a great run, eight years,” Marsh considers. “He survived a difficult period when a lot of my murals where being attacked and destroyed by both fanatical religious groups and left-wing activists alike. There are a handful of works around Chippendale that have been up for 5+ years (eg: Bin Chickens in Teggs Lane; George Pell the ball-tamperer; Alan Jones’ ball gag mural).” Marsh’s canvases sometimes attract the ire of those who have contrasting opinions, and his artworks are occasionally vandalised or painted over. The latter includes the June 2020 censorship of a Redfern mural depicting a burning NSW police van. The artwork referenced TJ Hickey, a 17-year-old Kamilaroi Aboriginal boy who died in suspicious circumstances on 14 Feb 2004. He was impaled on a spiked fence at the Waterloo Towers housing estate following a police chase through Redfern that was a case of mistaken identity. Scott Marsh's June 2020 mural dedicated to TJ Hickey was located on a private property wall in Glover Lane, Redfern. It was removed by Sydney City Council employees within a day, following requests from NSW Police. The principal police officers in two vehicles pursuing TJ refused to testify at a coronial inquiry into the boy’s death. Marsh’s artwork was covered over by City of Sydney Council authorities only 19 hours after it was painted, following a NSW Police request. Is the cheeky George Michael halo painting in Erskineville still in place? What about the Palestinian flag solidarity fist on the side of Cairo Takeaway in Enmore? “Yes St George 2.0 is still standing and should be there as long as that building stands. Cairo's fist is also still standing and both have protective coatings on them, so they are pretty indestructible.” Does he often have to touch-up paintings after vandals damage them – like his February 2023 World Pride painting in Wynyard? “Yes I regularly have to fix up works that get attacked,” he confirms. Neighbourhood Media has previously featured Scott Marsh, who, when asked then about the vandals who sabotage his artworks, replied, “Ironically in every case to date when a mural is destroyed it blows up online and in the media, and is seen by 10000s more eyeballs. So, it’s pretty counter-productive for the d***head who destroyed the original artwork!” Scott Marsh's Saint George mural in Concord Street, Erskineville, painted shortly after pop singer George Michael's death on Xmas Day 2016. It was vandalised by Christian fundamentalists. Photo: Alec Smart Unfortunately, Marsh’s Island Boys mural in Newtown has recently been vandalised by someone who objected to the Epstein caricature wearing Israeli flag underpants, which the vandal covered with black paint. Criticism of Israel is a taboo subject in Australia with politicians criminalising support for Palestine and preventing criticism of Israel’s genocide in Gaza. Does Marsh think people are starting to realise the elephant in the room – that the whole disgusting Epstein child molesting racket was a sextortion operation run by Mossad? “Jeffrey Epstein's ties to Israel intelligence are very well documented,” Marsh asserts, “so it's difficult to wrap my head around the controversy other than any criticism of Israel seems to be out of bounds to a loud minority.” Has he received any threats or hate-mail from Zionists accusing him of ‘Anti-Semitism’ for daring to include the Israeli flag in his Epstein & Trump ‘Island Boys’ mural? “Yes, it's relentless,” he reveals. “I have painted murals criticizing the governments/leaders of China, USA, Russia and Australia, but if I dare criticize Israel, the murals are immediately destroyed/censored. There is also a lot of drama that goes on behind the scenes, from physical threats, stalkers, legal letters, police dramas, etc.” Scott Marsh's Island Boys mural in Newtown was vandalised on 3 March 2026 by a Zionist who objected to an Israeli flag on the underwear of convicted child molester and Israeli spy Jeffrey Epstein. The flag was painted over. In Queensland, the conservative Liberal government has just introduced a new ‘hate speech’ law that defines slogans such as ‘From the river to the sea’ and ‘Globalise the Intifada [Palestinian resistance]’ as criminal, carrying a penalty of up to two years in prison. “We are supposed to be a democracy, that means everyone is open to criticism,” Marsh insists. However, regarding his own prospects he is pessimistic. “It's only a matter of time before I end up in court or jail over some of these new 'Hate Speech' laws. We live in very strange times!” Postscript: On 6 January 2026, the Human Rights Law Centre determined “Queensland’s new ‘hate speech’ law (a last-minute amendment by Premier David Crisafulli to the Fighting Antisemitism and Keeping Guns Out of the Hands of Terrorists and Criminals Amendment Bill 2026) “undermines the rights to freedom from discrimination, freedom of expression, and equality before the law. It is inconsistent with international human rights law…” The Queensland Govt criminalised the sentence "From the river to the sea," because it's a common, decades-old liberation slogan among Palestinians, which Premier David Crisafulli insists is an incitement to terrorism. It's like "Our day will come" ("Tiochfaidh ár lá" in Gaelic) that was popularised in the 1970s as the Irish slogan for resistance to British rule. Apparently Crisafulli is too dim to realise “river to the sea” is the chorus to a very popular song by Australian pop icon John Farnham. Scott Marsh's John Farnham mural, featuring controversial "river to the sea" slogan, in South Brisbane, Queensland. The slogan was censored and painted over, but a graffiti artist wrote another. Photo: Alec Smart On 27 March 2026, Scott Marsh revealed on social media that he had painted a controversial new mural in Queensland. Situated in Peel Street, South Brisbane (the cultural district that includes Queensland Museum, State Library and Performing Arts Centre), the artwork featured the words “River to the Sea”, alongside a painting of John Farnham. The words are featured in the chorus of the song Two Strong Hearts (written by Andy Hill and Bruce Woolley), which John Farnham recorded and released as the second single from his 13th studio album, Age of Reason (1988). In announcing his artwork, Marsh stated: “Did you know that the music video to John Farnham’s “Two Strong Hearts” was filmed in 1988 on Queensland’s Gold Coast? Today in 2026 you could land yourself in jail for 2 years for singing (or painting) his lyrics in a public space.” In 1998 Farnham and fellow Aussie icon Olivia Newton-John, the highest-selling female Australian recording artist of all time, first duetted in concert on Farnham’s song Two Strong Hearts, and again during a nationwide tour in 2015. The song lyrics state: “We've got two strong hearts, reaching out forever like a river to the sea (river to the sea), you and me…” John Farnham and Olivia Newton-John famously performed their duet of 'Two Strong Hearts' during their 1998 "The Main Event" concert tour across Australia, and again here on a national tour in 2015. After Marsh painted his mural, Queensland artist Nordacious, who had also incorporated the lyrics in a painting ridiculing Queensland Premier David Crisafulli for criminalising what is already a famous song lyric, was visited by Queensland Police and threatened with prosecution. Nordacious later released a statement, in which he said: “There’s something genuinely destabilising about being told your art is illegal. That the things you’ve illustrated – out of empathy, out of grief, out of a deep and sincere desire to see justice for people who have been crushed by systems more powerful than them – could theoretically land you in prison… “I stand against bigotry in every form… including the injustice being visited upon the Palestinian people.” Shortly afterwards, in the early hours of 29 March 2026, unidentified censors covered over the ‘threatening’ sentence in Marsh’s artwork in South Brisbane. However, the following night, another graffiti artist wrote the words back into the space from which they’d been erased. Scott Marsh's John Farnham mural in South Brisbane, with the banned sentence "River to the Sea" repainted after it was censored and covered over. Photo: Alec Smart SCOTT MARSH Website: https://scottmarsh.com.au Facebook: https://facebook.com.au/scottmarshart Instagram: https://instagram.com/scottie.marsh Patreon: https://www.patreon.com/u88136664 X/Twitter: https://x.com/scottie_marsh

From Bananas in Pyjamas to major arts philanthropy, Neil Balnaves left a legacy that shaped Australia’s cultural landscape. By Tahney Fosdike  More on Mosman Suburbs are more than their houses, businesses and parks. They are communities shaped by the people who live there and the legacies they leave behind. In Mosman, Neil Richard Balnaves AO is one icon that’s left a lasting impact, not just on the suburb, but on the greater Australian community.  Balnaves was a renowned film and TV executive best known for bringing household shows to our lounge room screens, as well as for his equally significant philanthropic contributions, donating more than $20 million to arts organisations during his lifetime.  Neil Balnaves - Early Childhood & Career He was born a middle child in 1944 in Adelaide, with a bout of polio as a teenager, leaving a mark on his approach to life. In the 1960s and 70s, he married Diane, whom he owed his love of the arts, and climbed the ranks in media and advertising, finding himself in Sydney, then Mosman, en route, where he set up home for the rest of his life.  Balnaves’ career spanned six decades, founding the Southern Star Group (a rebranded buyout of the Taft-Hardie Group, later renamed Endemol Shine Australia), which was behind hit productions like Water Rats, McLeod's Daughters, Big Brother, and Bananas in Pyjamas.  He also chaired Ardent Leisure Group, responsible for theme parks like Queensland’s Dreamworld. A large part of his success, it’s argued, emerged from a decision in 1979 to recognise the importance of video, leading to him partnering with Paramount Pictures and MCA Universal, two of Hollywood’s largest studios, in one of his best ventures.  He was also Chancellor of Charles Darwin University (2016 - 18), Director and Trustee Member of Bond University, and a Board Member of the Art Gallery of South Australia (2013 - 19), amongst other credits.  Turning to Philanthropy Simply, he was a powerhouse in his professional life, but one with heart. In 2002, after a near-death boating accident that left him on life support with over 40 broken bones, he decided to put his energy into philanthropy.  “As you can imagine, I had a lot of time to think throughout this period,” he told The Advertiser in 2011. “And what I came to was this: How many more houses do I need? Do I want the jet plane? Do I want another yacht? Not really. There comes a time when those things stop meaning so much to you.” These weren’t just words, but action: he sold his stake in Southern Star Group and founded the Balnaves Foundation in 2006. Working closely with his family, Balnaves focused on giving back to the medical field and improving access to education and the arts. The foundation also supported First Nations communities, young people, and those facing disadvantage. “I give because I’ve been lucky in this country,” Balnaves once said. “I’ve been fortunate to make more money than I can use.” The foundation backed initiatives like Sculpture by the Sea, Sydney Dance Company , and Kaldor Public Art Projects. Yet Balnaves’ giving wasn’t box-ticking exercise, but genuine advocacy. In 2017, he withdrew support from the Venice Biennale, opposing policy changes by the Australia Council for the Arts. “We are trying to bring about a sea change in Australia’s attitude to art,” he explained. “It should not be on a pedestal; it should be something for everybody.” In 2010, Balnaves was appointed an Officer of the Order of Australia (AO) for his philanthropic contributions to the arts, education, medical research, and Indigenous programs. That same year,  the long-term Mosman resident pledged a million dollars worth of paintings from his art collection, including 16 significant Australian Impressionist and early 20th-century artworks, to Mosman Art Gallery - the most important donation ever to be received by Mosman Council. Tragically, in 2022, two decades after the accident that inspired his philanthropic journey, Balnaves passed away in another boating accident in Tahiti. Today, however, his surviving children and one of his grandchildren still run the foundation, continuing his vision to “create a better Australia”. As well, more recently, his legacy has also been continued by The Museum of Contemporary Art Australia, with The Neil Balnaves Tallawoladah Lawn Commission. The large-scale sculptural work supported by The Balnaves Foundation celebrates his life and pays tribute to his vision and contributions to the arts in Australia. “I’m a great believer in doing by example,” Balnaves once said, “and I hope hundreds will follow what I do.”

New social enterprise café, Come SIT, from the Baba’s Place team, brings community-focused daytime dining to Illawarra Road, Marrickville. More on Marrickville Set to open in early 2026 at 387 Illawarra Road, Come SIT café in Marrickville is the latest venture from the team behind Marrickville favourite Baba’s Place - a local favourite celebrated for its vibrant, multicultural take on suburban cuisine. This time, they’re turning their attention to daytime dining, taking over the ground floor of the affordable Nightingale Housing precinct with a project that feels purpose-built for the Marrickville neighbourhood. Come SIT is going to offer much more than your average café. Developed in collaboration with NSW not-for-profit Fresh Hope, it will operate as a social enterprise, pairing thoughtful hospitality with meaningful community impact. The ethos is simple but considered: seasonal, produce-led food, approachable prices and a space designed to foster connection. Where Baba’s Place leans into maximalist nostalgia and playful storytelling, Come SIT promises something softer and more pared back. Expect a calm, welcoming room shaped by local creatives - a departure from the warehouse energy many Baba’s regulars know and love - where coffee, breakfast and lunch are given space to unfold slowly. In a suburb synonymous with bold flavours and late nights, Come SIT carves out a different rhythm. It’s a place to meet, to linger and to reset - a café grounded in community as much as cuisine, inviting locals to quite literally, and figuratively, pull up a seat. Come SIT, 387 Illawarra Rd, Marrickvillecomesit.com.au

Community storytelling, literary panels and live performances headline the Inner West's Addi Road Writers Festival, celebrating diverse voices. More on Marrickville Marrickville will once again be home to one of the city’s most vibrant community‑driven cultural events when the Addi Road Writers’ Festival returns on Saturday, 16 May 2026. Hosted by the Addi Road Community Organisation at 142 Addison Road, Marrickville. The annual festival celebrates storytelling in all its forms — from literary panels and poetry to music, conversation and ideas. Now in its sixth year, the festival has quickly become a highlight of Sydney’s arts calendar, blending serious discussions with spontaneous creative expression and grassroots engagement. In 2025 the theme was “Free Expression”, capturing the festival’s commitment to diverse voices and open dialogue among writers, performers and audiences alike. Across Gumbramorra Hall and the Greek Theatre, visitors can expect a day packed with literary panels, spoken word performances, live music and insightful conversations that bridge genres and perspectives. Panels in past years have featured award‑winning authors, poets, journalists, and songwriters. Discussing topics from ecological writing and political expression to identity, community and the writing life itself. But the Addi Road Writers’ Festival is more than a series of talks, it’s a celebration of community. With food stalls, outdoor green spaces and a relaxed, family‑friendly atmosphere, it invites festival‑goers to connect with both ideas and each other. All profits support Addi Road’s broader humanitarian work, including food relief and community services, reinforcing the festival’s roots in social justice and cultural inclusion. Whether you’re a seasoned reader, an aspiring writer or simply curious about the power of stories to shape conversation and community, this festival offers a rich, welcoming space to explore the written and spoken word in all its vibrant, transformative forms. Find more details at addiroad.org.au. Saturday 16 May 2026, Addison Road Community Centre, 142 Addison Road, Marrickville

How Sheena Barnes built a creative dance community in Sydney through resilience, vintage style and self-expression More on Marrickville How does a passion for creative expression begin? For Sheena Barnes, performer and founder of Sydney Vintage Dance Studio, it has always been part of her life. “That is a difficult question,” she tells Neighbourhood Media. “I have never known a life without creativity.” Dance classes started at the age of three, and from then on concerts, choreography, and costumes were part of growing up. Performing was never reserved for special events. Living rooms became rehearsal spaces, and family gatherings often turned into impromptu showcases. Movement felt instinctive long before it became a profession, carrying storytelling, rhythm, and emotion. The foundation of a dream That early love of dance grew into Sydney Vintage Dance Studio. What began as a dream became a space that blends vintage glamour with disciplined technique. “It is a place where vintage style meets a sense of technique,” Sheena explains, “and where everyone, from beginners to experienced performers, can feel like they belong.” Over time, the studio has become known for both strong training and a culture that encourages confidence and individuality. The journey to building it was far from straightforward. In 2019, Sheena opened the studio, and within a month she was diagnosed with breast cancer. The timing was overwhelming. “Treatment changed my body and required me to rethink identity, artistry, and approach to performance,” she says. The experience demanded strength she had never needed before. Instead of stepping back, she focused even more on her work. “I had to dig deep and find ways to reinvent myself and my art with a bald head and a flat chest,” she shares. The challenge shifted her perspective. “Having cancer taught me to be more adventurous with my art and really tap into my heart to create more than ever.” That honesty and courage now shape the work created in the studio. Inspirations When asked what inspires her, she answers without hesitation. “Life inspires me. Culture, people, smells, sounds, and of course music. Without that we do not have art at all.” Those experiences flow into choreography, music choices, and the studio atmosphere. Dancers are encouraged to draw from their own stories rather than imitate someone else’s. Sheena also reminds her students, “You only have one body. You cannot step out of it and be in someone else’s, so you have to use what you have.” Strength, softness, age, and experience are tools rather than limitations. The studio welcomes adults from 18 to 80, many without any formal background in dance. “It is never too late to start. We have got you,” she says. For many, stepping through the door is an act of courage. Celebrating 10 years of Sydney Vintage Dance Studio Last year, the studio celebrated its tenth anniversary, marking a decade of dedication and community. Expansion into Level 2 introduced GODDESS LOUNGE, a cabaret venue that brings performance and entertainment together. “This is not just about more space,” Sheena explains. “It is about evolution, reinvention, and celebrating expression in every form.” After ten years, Sheena’s approach is simple. Creativity thrives when it is nurtured, even through challenges. At Sydney Vintage Dance Studio, that philosophy guides everything, from classes to performances, encouraging students to explore, take risks, and discover their own movement. The studio remains a space where individuality is valued, and each person can grow at their own pace, finding confidence and enjoyment in the process rather than in any predetermined outcome. Visit www.sydneyvintagedancestudio.com for more information