How a 20th-century racecourse in Mascot disappeared beneath Sydney Airport More on Randwick By ALEC SMART Ascot Racecourse was a horse racing track that operated from 1904 to 1941 in Mascot, on land that was later repurposed for Sydney Airport. Named after the famous Ascot Racecourse in Berkshire, England, the site was formerly owned by the Australian Golf Club and previously used for grazing stock in the vicinity of an abattoir. 1911 Joseph Hammond in his Box Kite Plane takes off from Ascot Racecourse It was leased by Kensington Race Club, proprietors of the Randwick Racecourse, as a secondary site in close proximity to Randwick. Punters travelling to one venue could easily divert to the other. The half-mile Ascot course was then one of four racecourses in Sydney where unregistered proprietary horse racing, known as ‘pony racing’, took place. It also hosted motor racing. Spectators, who often watched horses and vehicles competing in succession, arrived via a tramline along Botany Rd. With Randwick established as a premier race venue, from Sept 1880, a dedicated steam tram service operated from Liverpool Street in the city to Alison Road outside Randwick Racecourse. In 1900 it was expanded to a racecourse loop station with six platforms to handle large race-going crowds. Ascot Racecourse was, like Randwick, a clockwise course on which the horses ran in a clockwise (right-handed) direction. The British Ascot, founded 1911 by Queen Anne after she repurposed the open heathland near her home in Windsor Castle, is also a clockwise track. Clockwise courses make up a small percentage of the thoroughbred horse racing venues in the world – around 15 of the 60 tracks in Britain are clockwise, whereas in USA, all racing is counter-clockwise (left-turning). In Australia, clockwise racing courses are located primarily in New South Wales and Queensland - around 150 of the approximately 400 registered racecourses nationwide. This means horses brought in from other states have to re-orient themselves to run in the opposite direction to that in which they’re familiar. The first ever registered race track in Australia, in Hyde Park, was established to run clockwise so Elizabeth Henrietta Macquarie, the wife of the then Governor of NSW, Lachlan Macquarie, didn’t have to squint into the sun to watch the spectacle. The first official race event took place in 1810 over three days – 15, 17, 19 October. Mrs Macquarie enjoyed clear views – on Yurong Point peninsula facing Sydney Harbour a historic bench, known as Mrs Macquarie's Chair (hand-carved into a large sandstone boulder by convicts in 1810), was one of her favourite spots to watch vessels sailing by. Mrs Macquarie never attended horse racing events in Randwick, which opened in 1833, or its subsidiary, Ascot. She died on 11 March 1835 on the island of Mull, Scotland, aged just 56. Runway The Ascot track is significant because of the take-off of Sydney’s first ever recognised flight on 18 April 1911, a Bristol Boxkite triplane. An earlier, disputed flight, took place from Victoria Park but aviation historians have described it as more of a ‘hop’ before the plane crash-landed. It was piloted by pioneering New Zealand aviator Joseph Hammond. That aerial event proved fortuitous - the racecourse was later proposed as the prime site for a Sydney airport. In 1911 the area known as North Botany, which included Ascot Racecourse, held a referendum to rename the emerging suburb. The Indigenous name of ‘Booralee’ was rejected, so too ‘Ascot,’ due to concerns mail would be redirected to the racecourse. Ultimately, the name ‘Mascot’ was chosen and established as a municipality (later a suburb) on 31 October 1911. In 1919, 80 hectares of Ascot’s grassed land (with beneficially level ground) was sub-leased from Kensington Race Club by former Air Force pilot Nigel Love, who constructed an aerodrome close to Botany Bay. The first flight took off in November 1919 by Love carrying a film camera operator, and on 9 January 1920 Sydney Aerodrome was officially launched with a flight by Love himself. In 1923, when Love’s lease expired, the Commonwealth Government compulsorily-purchased the 80 hectares, which they added to a neighbouring 65-hectare plot they purchased in 1921, and built Sydney Kingsford Smith Airport. By 1924, regular flights were operating. In 1940, during World War II, nearby Ascot Racecourse was repurposed as a military camp (so too was Randwick Racecourse), and thereafter was never utilised as a race track again. At the war’s end, Ascot was demolished and added to the expanding Sydney Airport site. Several other prominent racecourses never reopened after they were utilised as military barracks in WWII, leaving just five in operation across Sydney: Randwick, Canterbury, Rosehill, Warwick Farm and Rosebery. Rosebery Racecourse in Eastlakes closed in 1962 and a shopping centre built on the site. The only remnant of Ascot Racecourse is a line of fifteen fig trees that once graced the entrance road. Heritage-listed, they’re part of the landscaped areas adjacent to the International Airport long-term carpark. Ascot’s demolition left Randwick Racecourse as the premier equine racing venue in the district. According to the Dictionary of Sydney, by the 1890s, Sydney had a network of racecourses, including Canterbury, Moorefield, Warwick Farm, Sydney Driving Park and Lillie Bridge – the latter featuring pony racing and trotting. Historically, the region south of Sydney, where Royal Randwick is now Sydney’s premier course, once hosted five major competition tracks. Sydney’s first racecourses Although Royal Randwick Racecourse is recognised as Australia’s oldest, continually running official race venue, within a decade of its 1833 opening there were several other racecourses across the rapidly expanding Sydney colony. These included Grose Farm (in Camperdown, 1826-40), Parramatta (1825-47), Lillie Bridge (in Forest Lodge/Glebe, 1890-1901, used for pony racing, trotting and cycling) and Homebush (1841-59) – the latter the premier equine competition venue until Randwick succeeded it in 1860. As the sport gained in popularity, numerous other turf tracks opened, including the still-operating Canterbury (1852 informal racing, 1871 official events), Rose Hill (1885), Moorefield (in Kogarah, 1888-1951), Warwick Farm (1889), and Kensington (1890-1942). When the new century arrived, still more racecourses were launched, including the aforementioned Ascot (1904-41), Rosebery (1906-1962) and Victoria Park (1908-1944).

Sydney Fringe Festival 2026’s spectacular circus, cabaret and variety hub is back at Moore Park, bringing a huge program of entertainment to the Entertainment Quarter. By popular demand, Fool's Paradise returns as one of the major entertainment hubs of the 2026 Sydney Fringe Festival. Curated by the award-winning Head First Acrobats, Fool's Paradise transforms the Entertainment Quarter at Moore Park into a vibrant precinct dedicated to circus, cabaret, comedy and variety. Having quickly established itself as one of the festival's signature destinations, it is the place to head for Sydneysiders looking for high-energy live entertainment and something a little different. Fresh from acclaimed seasons in Adelaide, Perth and the UK, Fool's Paradise brings a diverse program to Sydney across two custom-built venues: the Bunker and the Virago. From family-friendly spectacles to adults-only entertainment, the program offers something for just about every taste. Return of the GODZ Leads the 2026 Program Leading this year's line-up is the wildly successful Return of the GODZ. Bigger, bolder and packed with new material, the production arrives in Sydney following standout seasons in London's West End and Brighton. Featuring a cast of five elite performers, the show combines gravity-defying acrobatics, cheeky humour and extraordinary feats of strength. UK critics have praised the production for its playful energy and remarkable athleticism, making it one of the headline attractions of Sydney Fringe Festival 2026. Fool's Paradise Director Thomas Gorham says audiences are in for an unforgettable experience. "We can't wait to bring Fool's Paradise back to Sydneysiders this Fringe following sell-out events in Adelaide, Perth and the UK. With a mix of brand new shows and returning favourites, audiences will experience pure, uninhibited entertainment across every moment. "Everyone can find something to see and love this year at Fool's Paradise and we can't wait to welcome you!" Circus Favourites Return to Moore Park Festival favourite All-Star Circus also returns with its signature blend of breathtaking physical skill and comedy. Featuring soaring human pyramids, one-arm handstands, giant spinning wheels and spectacular backflips, the production showcases some of Australia's finest circus performers in a high-energy spectacle that continues to delight audiences year after year. Families - and, honestly, everyone else - can also experience the magic of The Flying Bubble Show, returning after a sold-out Sydney Fringe season in 2025. Combining bubble artistry with aerial performance and immersive theatre, the production creates a dreamlike world filled with shimmering giant bubbles, smoke-filled spheres and magical visual effects designed to captivate children and adults alike. Drag, Brunch and Plenty of Fabulous Fun For those who prefer their entertainment with big hair and even bigger attitude, The Big Top Drag Brunch delivers in purse-loads. Featuring drag stars including Etcetera Etcetera, Hannah Conda, Coco Jumbo, Vybe, Carmen Geddit and Charisma Belle, the event promises dazzling performances, outrageous comedy and plenty of fabulous fun. Don't dawdle, though. This one is happening for one afternoon only on 29 August, and tickets are expected to sell fast. More Than Just a Show And that's only a tiny sample of the expansive Fool's Paradise Sydney program. Come for the comedy, acrobatics, burlesque, cabaret, circus and spectacle — then stick around to enjoy Fool's Bar or explore the many cafes, bars, restaurants and pop-ups around the Entertainment Quarter precinct. Getting to Fool's Paradise at Moore Park is easy, with light rail and bus services nearby, as well as plenty of parking next door. The spacious Entertainment Quarter precinct is closed to through traffic, creating a relaxed atmosphere where audiences can wander between performances and soak up the energy of Sydney Fringe. For anyone looking for things to do in Sydney during Sydney Fringe Festival 2026, Fool's Paradise is set to be one of the festival's biggest and most entertaining destinations. Tickets are on sale now. Fool's Paradise 2026 When: 26 August to 11 October 2026 Where: The Entertainment Quarter, 122 Lang Road, Moore Park More information and tickets: Sydney Fringe Festival What Is the Sydney Fringe Festival? The Sydney Fringe Festival welcomes performers from all backgrounds, encouraging creativity, experimentation and bold new ideas. Since launching in 2010, Sydney Fringe has grown from a small independent arts event into the largest open-access arts festival in New South Wales. Created to give emerging and independent artists a platform to present new work outside the traditional theatre and gallery system, the festival now attracts thousands of artists and audiences to venues and public spaces across Greater Sydney. Held annually across September, the festival transforms theatres, warehouses, pubs, parks, galleries and unexpected pop-up spaces into vibrant performance venues. What Can You See at Sydney Fringe? One of the things that makes Sydney Fringe so exciting is the sheer diversity of its program. Audiences can enjoy theatre, stand-up comedy, cabaret, circus, music, dance, visual arts, film, immersive experiences, spoken word, drag, burlesque, children's entertainment, workshops and community events. Many productions blur the boundaries between genres, inviting audiences to become part of the experience rather than simply watching from the sidelines. Alongside ticketed performances, Sydney Fringe also features free outdoor events, street performances and precinct activations celebrating Sydney's diverse communities and creative spirit. Fringe Ignite! Launches the 2026 Festival The 2026 Sydney Fringe Festival launches with the popular free event, Fringe Ignite! Taking over Stanley Street in Darlinghurst, this open-air celebration will feature roving performers, circus, acrobatics, music, dance and more, both on the Fringe stage and throughout the street. Expect family-friendly entertainment during the day, followed by adult programming after dark. When: Saturday 29 August, 3pm to 10pm Free tickets are available, with audiences encouraged to book ahead to ensure entry. Affordable Arts and Entertainment Across Sydney There are plenty of free events throughout the festival, while the average ticket price for paid performances sits at around $27, making Sydney Fringe one of the more accessible ways to experience arts and culture across the city. Better still, Sydney Fringe has introduced the Fringe Pass, with three options available: 3 shows for $75 4 shows for $90 5 shows for $100 Arts and culture with Fringe benefits. For the full Sydney Fringe Festival 2026 program, including Fool's Paradise and events happening across Sydney, visit Sydney Fringe.

A superb reimagining of Arthur Miller's American classic, A View From The Bridge, now playing at New Theatre. New Theatre continues to deliver thespian gold in a season that has so far enthralled, surprised, impressed and thoroughly entertained. A View From The Bridge is the sixth play on the 2026 schedule and, without throwing shade on the previous five, might just be the best so far. Written in 1955 by Arthur Miller - arguably one of America’s greatest playwrights - A View From The Bridge is a specimen preserved in amber of a particular time, place and sensibility in American history. Set on the docks of Brooklyn and surrounding neighbourhoods, its plot revolves around the main protagonist, Eddie Carbone. Finn Couzner and Georgia Da Silva in A View From The Bridge. credit: Bob Seary Eddie is a product of the great migrant influx into New York during the early to mid-1900s; he belongs to a disparate community of European immigrants who are all chasing the “American dream”. Eddie’s wife, Beatrice, is quietly wise, stoic, and deferential to Eddie. She’ll test boundaries when the stakes warrant it, but chooses her battles carefully. They have no children of their own, however, they have been parents to 17-year-old Catherine for almost her whole life after her mother, Beatrice’s sister, died. Catherine is on the threshold of adulthood but behaves like a naive, impetuous little girl. Thanks to Eddie’s over-protective nature, Catherine has had no real outside world experience to help her mature and learn about life. When Catherine is offered a stenographer job with a large company, Eddie is very reluctant to allow her to take it. It is only with Beatrice’s intervention that he relents. Beatrice’s intervention, meanwhile, is loaded with uncomfortable suggestions around Eddie’s attachment to Catherine. New York harbour, at this time, is a gateway for illegal immigrants escaping the poverty of post-war Europe and hoping for assistance from friends and relatives who have managed to get a foothold in America. Immigration authorities patrol the docks and try to entice locals to become informants, but the code among families and neighbours is fierce. Alex Bryant-Smith in A View From The Bridge. Credit: Bob Seary Beatrice has two Sicilian cousins, brothers Marco and Rodolfo; Eddie has arranged for them to board a ship and agreed to shelter them in his home and help them find work. Before they arrive, he impresses upon Catherine the importance of maintaining the utmost secrecy. He shares an anecdote about a 14-year-old boy who reported his own illegal immigrant relatives to the authorities. The boy suffered extremely harsh punishment and was ostracised by the community. This story establishes the high stakes faced by Eddie as his own personal demons begin to torment him after Marco and Rodolfo arrive. Marco is a family man, resolute and respectful. Younger brother, Rodolfo is single, charming, perhaps even a little flamboyant, and he quickly gains the admiration of Catherine. Rodolfo and Catherine begin a relationship and Eddie’s jealousy boils over, leading to devastating consequences. The New Theatre production of A View From The Bridge honours Miller’s original vision, while incorporating creative innovations. It is stripped back and raw, with minimal design elements and the focus very much on the characters. The set features moveable structures - timber and steel frames that resemble scaffolding - that make scene changes fast and simple but that also create a sense of a world where there is no delineation between outside and inside; no true privacy. Music, costumes, and occasional scenery projections establish the 1950s time-frame. However, the play doesn’t feel nostalgic. Instead, it has the timeless relevance of Shakespeare in its study of human behaviour and social mores. Director, Louise Fischer, assisted by Luke Visentin, manage to drive the action with thrilling pace without making it feel rushed, and also allowing characters space to develop. It helps that they have an extraordinary cast to work with. In the central role of Eddie, Alex Bryant-Smith is perfect. Gruff, self-righteous, fatally flawed, he clings desperately to a traditional notion of the male as head of the household as his authority begins to wither. Megan Elizabeth Kennedy as Beatrice is physically diminutive against Bryant-Smith’s robust frame, but she exudes confidence and strength. Kennedy is able to communicate meaning beyond the words she speaks. As Catherine, Georgia Da Silva is measured, allowing her character to transition from child-like and playful to sober and resolute in a way that is credible and engaging. Jonathon Nicola is a no-nonsense Marco, quiet, serious, introspective, although he ultimately proves to be as tragically flawed as Eddie. Finn Couzner is the blond, gregarious Rodolfo, who plays into his character’s ambiguous intentions perhaps a little too convincingly. He is, nonetheless, likeable. This is a terrific, well-paced drama with themes that, unfortunately, resonate loudly with much that is still happening in the world today. By Rita Bratovich 🎭 New Theatre 📍 542, King St, Newtown 📅 Until September 5th 🌐 newtheatre.org.au Discover more of what’s happening in Newtown, Enmore and nearby neighbourhoods on our Newtown Homepage.

Through visual art, writing and music, Newcastle artist Nathan Bell creates psychedelic worlds, surreal stories and politically charged music, drawing on his vast imagination and unique perspective. Meet Newtown Artist Nathan Bell Born in Wollongong and raised in Maitland and Newcastle, Nathan Bell is a multidisciplinary Australian artist whose creative work spans visual art, writing, music and video. Bell draws heavily on his lived experiences, imagination and observations of the world around him. His work explores strange worlds, altered states of mind, politics, social justice and the supernatural. Although Bell lives in Newcastle, he has developed a strong connection with Sydney, particularly Newtown. Over the past few years, he has regularly travelled from Newcastle to Newtown to promote his creative work, busking, selling his books at Newtown Station, making videos about his trips and hoping to connect with local shops and the wider community. We spoke with Bell about his artistic journey, his books, his creative influences and what makes Newtown such a special place for him. How would you describe your artistic style? My visual art is alien and psychedelic, depicting strange worlds and other dimensions. My music is aggressive political rock and Hip Hop, with songs about war, politics and social justice. The stories I write are abstract and surreal, depicting psychosis and other altered states of mind. I deal with the supernatural, recounting my experiences talking to spirits and having visions of the future. These are experiences I associate with my schizophrenia. How did your passion for art first develop? I fell in love with images and stories while reading comic books as a child. At the time, I dreamt of starting a cartoon company. Around the same time, I was exposed to Tolkien and fell for fantasy. I always loved building worlds. In my teens, I progressed into music, developing a taste for heavy riffs and poetic rhymes. I wanted to change the world with music. How have you developed as an artist? I started taking art seriously in my early twenties when I recorded two Hip Hop albums over five years. The band was called Hadron C, and we produced numerous music clips and played gigs. My songs were radical, with my anti-war music videos predicting a nuclear apocalypse. After that, I moved into more video work, compiling an archive of interviews with street performers and clubbers in Newcastle. The next step was writing books, which is where I’m at now. I have published nine books so far and sold over four thousand units. I am also venturing into professional visual art, with my first exhibition coming up this year at Scrubba/Assembly Space in Newcastle. What has been the highlight of your artistic career? Definitely the publication of my nine books and the overwhelmingly positive response I have received from Australian readers. Writing is my main focus now, and I intend on releasing many more titles. People have told me they love my stories, and that makes me a happy man. I want to see my books turned into films shot in Australia. This is my plan to contribute to the Australian arts scene. What do you love about Newtown? Art, food, culture – all the things I enjoy in one place. When we come to Newtown, I like to get a coffee and a brekky wrap from the Newtown café. The staff are friendly and the food is quality. Like all the areas I visit, I want to build a bond with Newtown. My mission is to promote art and culture around the world, and I am bringing my art revolution to Sydney. I want to connect with the community and grow a grassroots cultural upheaval in the area. For Bell, Newtown represents many of the things that inspire his creative practice: independent culture, art, music and people coming together. As he continues to write, make music, create visual art and build connections with audiences, Bell hopes his work will take him far beyond Newcastle – while continuing to bring his unique creative world to places like Newtown. Follow Nathan Bell journey online: @newcastleartresistance

The true story of the Makin murders, 15 infant deaths and one of Sydney’s most disturbing criminal cases By Elliot Lindsay Read more about Newtown HERE. On the morning of 12 October 1892, two workmen digging behind a quiet terrace in Macdonaldtown made a discovery that would horrify Sydney. What initially appeared to be the remains of an animal soon revealed something far more disturbing — and would lead police to John and Sarah Makin, a couple at the centre of one of Australia’s most notorious criminal cases. As detectives searched properties the Makins had occupied across Macdonaldtown and Redfern, the scale of the mystery grew. Fifteen infant remains were eventually linked to those properties, triggering a sensational investigation and trial that captivated the colony. Police were summoned, and within weeks the quiet working-class street had become the centre of one of the most shocking criminal investigations in Australian history. As detectives methodically excavated the tiny backyard, more infant bodies emerged from the earth. By the time the digging was finished, seven infants had been recovered from the property. It was only the beginning. Newtown Police quickly realised they were dealing with something far more sinister than an isolated burial. They painstakingly retraced the movements of the previous tenants of the house—John and Sarah Makin—and began searching every property the family had occupied during the preceding months. Their investigations uncovered another four infant bodies buried in the yard of 109 George Street, Redfern, where the Makins had lived immediately before moving to Burren Street. A further body was recovered from Zamia Street, Redfern, and additional discoveries followed elsewhere. In all, the remains of fifteen infants were eventually linked to properties occupied by the family. The discovery horrified Sydney. Newspapers filled their front pages with lurid headlines describing "Horrible discovery at Macdonaldtown" and "The Great Baby Farming Case." Crowds gathered outside the tiny terrace in Burren Street, hoping to glimpse the excavations or catch sight of the accused as they were transported to and from court. John Makin was a labourer. His wife Sarah advertised herself as a "qualified midwife and lady's nurse." Together they moved frequently between rented houses in Redfern, Chippendale and Macdonaldtown, often using aliases including "Hill," "Leslie" and "Wilson." Their principal business appeared respectable enough. They answered newspaper advertisements placed by unmarried mothers seeking someone to adopt or nurse their infants, usually accepting a one-off payment of around £3 or weekly boarding fees in exchange for promising to raise the child "as one of their own." To desperate young women facing enormous social stigma during the depression of the 1890s, the Makins seemed compassionate. Sarah spoke tenderly of a mother's love. John assured parents their babies would receive every care and affection. Several mothers later recalled leaving reassured, believing they had secured a better future for their children. Most never saw their babies again. The Makin Murders: The Horror Breakthrough The breakthrough came through the case of Amber Murray. After giving birth to a healthy son in May 1892, she advertised for someone willing to adopt him. The Makins responded under the surname "Hill," promising to care for the infant in exchange for a small premium. Murray personally delivered her child to their George Street house, together with clothing she had sewn herself. Whenever she later attempted to visit, excuses were offered. The family, she was told, had moved. The child was ill. They were now living elsewhere. Finally, all contact ceased. Months later, after the discoveries in Burren Street, police searched the former George Street residence. Buried beneath the kitchen window they found the remains of an infant wrapped in clothing that Amber Murray positively identified as garments she had made and given with her son. The investigation gathered momentum with remarkable speed. Neighbours described hearing babies crying inside the Burren Street house before the cries abruptly stopped. One neighbour recalled lending John Makin a shovel and later a pickaxe. The Makins' own children became important witnesses. Although their evidence shifted over time, several eventually admitted that more infants had lived in the Burren Street house than their parents had originally acknowledged. They also alleged they had been instructed to tell police that their mother had cared for only a single child while living there. Yet despite the mounting circumstantial evidence, proving murder proved extraordinarily difficult. The infant remains had lain buried for months in waterlogged clay. Government Analyst William Hamlet could detect no poison, while Dr. Frederick Milford repeatedly told the Coroner he could not determine how the infants had died. In several cases, even establishing the children's identities proved impossible. The Coroner's inquests stretched across weeks, attracting intense public attention. Jurors heard heartbreaking testimony from mothers who had entrusted healthy babies to the Makins, only for them to disappear forever. One by one, open verdicts were returned because medical science could not establish a cause of death. Only one case ultimately proceeded to trial. The Crown alleged that the infant buried beneath the kitchen window at George Street was the child of Amber Murray. Prosecutors argued that the clothing identified by Murray, combined with the Makins' deception, repeated changes of address, false names and the discovery of numerous infants' remains at houses they had occupied, formed an overwhelming chain of circumstantial evidence. The Makin Murders: The Macdonaldtown Trial In March 1893, after a sensational trial before the Central Criminal Court, John and Sarah Makin were convicted of murdering Amber Murray's infant son. The jury recommended mercy for Sarah. Under the legal doctrine that a wife acting with her husband might be presumed to have acted under his authority, her death sentence was commuted to life imprisonment. John Makin was not so fortunate. Despite maintaining his innocence until the end and insisting on the eve of his execution that the child buried at George Street was not Amber Murray's son, he was hanged at Darlinghurst Gaol on 15 August 1893. Today, little hint remains of the case. Burren Street is a quiet residential street where few passers-by realise they are walking by the site that once shocked the colony. The house itself still stands though was renumbered from 25 to 27 Burren Street, while Macdonaldtown's original name survives only in the railway station a short walk away after the suburb was officially renamed Erskineville in 1893 in an attempt to cleanse its reputation of the sanguine stain. More than 130 years later, the Makin case remains one of Australia's most disturbing criminal investigations. It was not only the scale of the discoveries that horrified Sydneysiders, but the unsettling realisation that behind the ordinary façade of a suburban terrace, hidden beneath an unremarkable backyard, lay a tragedy that forever altered the history—and even the name - of an entire suburb. You can find more True Crime and History articles on our Newtown Homepage HERE.

Inside the Newtown and Enmore record shops keeping Sydney’s vinyl culture alive and thriving in the Inner West. By Belle Hann Music has never been more accessible. With more than 100 million tracks available across Spotify and Apple Music and hundreds of millions of people subscribing to paid streaming services worldwide, almost any song can now be played instantly. Yet across Sydney’s Inner West, vinyl records are enjoying a remarkable revival. In Newtown and Enmore, independent record shops remain a fixture of the local music scene. Along King Street, Enmore Road and the surrounding streets, Newtown's beloved records shops allow music lovers to physically browse carefully curated crates; filled with everything from Berlin techno and ‘90s house to Ethiopian jazz, punk, soul and hip-hop. For vinyl collectors, the appeal isn't simply about the music. It’s the hunt. “Record collecting is like a treasure hunt, basically,” says Dan Griffin, owner of Press Play Records on Wilson Street. “It really satisfies that thing in the back of your head [...] it's like op shoppers when you find that $10 Gucci or R.M. Williams boots.” Collecting vinyl can be time-consuming, inconvenient and expensive - the one-off edition of Wu-Tang Clan's Once Upon a Time in Shaolin famously sold for $4 million - but for many collectors, that's part of the appeal. Why vinyl is making a comeback Local DJ Eric Layers, who owns more than 300 records, believes vinyl offers a tangible connection to music that digital formats simply can't replicate. “If I'm going to get something on vinyl, I'm going to love that track for some reason,” he says. “You feel a bit more connected to the artistry of it. There's something real about it.” That connection is also being felt in Sydney’s DJ scene, where vinyl has made a comeback after years of being overshadowed by laptops and USBs. “Ten years ago, DJs would rock up with a USB stick or a laptop and it was just assumed that vinyl would disappear,” says Dan. “But now, most Inner West clubs have turntables.” For DJs, playing records also creates a different relationship with the music. Unlike an MP3, vinyl is physical, imperfect and constantly changing. “A vinyl record can get nicks, it gets scratches, it gets bumps, it warps sometimes, it gets dust on it, which all kind of give it a bit of character,” says Eric, who regularly DJs at Uncanny Bar and the Botany View Hotel. “You end up knowing some of the glitches or the defects on your vinyl so you can work around them as well. So you feel a little bit more connected to the track in that way.” Newtown and Enmore’s vinyl revival The resurgence isn't limited to record stores. Across Newtown and Enmore, vinyl is increasingly part of the broader nightlife and music culture. Inspired by Japan’s “jazz kissaten”, or listening-bar movement, Deadwax on Enmore Road combines food, drinks and music with a 400-strong vinyl collection spanning funk, hip-hop and Y2K nostalgia. Over on King Street, Uncanny Bar hosts Vinyl Open Decks, giving DJs the chance to mix their own records and share their collections with other vinyl devotees. Meanwhile, local neighbourhood record shops like Repressed and Egg Records continue to attract both seasoned collectors and younger music lovers. Dan says he's particularly encouraged by the number of teenagers discovering vinyl. “We’re finding young people in their late teens coming into the store who want to buy all these ‘90s house records. It’s very reassuring.” That younger generation is helping ensure that crate-digging remains more than a nostalgic hobby. Vinyl is here to stay The numbers suggest the revival is far from over. Global vinyl revenue increased by 13.7 per cent in 2025, marking the format's 19th consecutive year of growth, according to the International Federation of the Phonographic Industry. In the US alone, vinyl sales surpassed US$1 billion in 2025. For the record lovers of Newtown and Enmore, though, the appeal isn't really about industry figures. It's about discovering something unexpected in a crate, taking home an album you'll actually listen to, and putting a needle on a record. In a world where almost every song is available at the tap of a screen, perhaps there's something to be said for making music a little harder to find. Your Local Newtown & Enmore Record Shops Halcyon Daze Records 📍 498A King Street, Newtown 📞 (02) 8970 5467 🕐 Wed: 11am–5pm | Thu: 11am–6pm | Fri: 11am–5pm | Sat: 10am–6pm | Sun: 12pm–4pm 🌐 halcyondazerecords.com.au Papa Disquo Records 📍 109 Enmore Road, Newtown 📞 (02) 9090 2140 🕐 Mon–Fri: 11am–7pm | Sat: 11am–6pm | Sun: 12pm–6pm 🌐 papadisquo.com.au Tengu Records 📍 39 Enmore Road, Enmore 📞 0494 387 894 🕐 Mon–Sun: 11am–7pm 🌐 tengurecords.com Egg Records 📍 3/5 Wilson Street, Newtown 📞 (02) 9550 6056 🕐 Mon–Sun: 11am–5pm 🌐 eggrecords.com Repressed Records 📍 413 King Street, Newtown 📞 (02) 9557 6237 🕐 Mon–Sun: 11am–5pm 🌐 repressedrecords.com Press Play Records 📍 80 Wilson Street, Newtown Read more about Newtown HERE.

Purr-fect viewing for cat lovers. Cats own the internet, it’s an indisputable fact. Cat videos are the currency of social media and sharing these videos with others is the ultimate expression of love. And while receiving a link in your DMs is always a treat, there is nothing equal to the mutual joy of watching a funny, cute, heartwarming feline-filled film fest with a group of cat worshippers. Launched in 2019 in the US, CatVideoFest was successful enough to go global almost immediately. It has returned each year since with a new collection of cats doing all the things they do best (and worst). The CatVideoFest has repeatedly proven that watching a reel of cat-astrophic clips is panacea for virtually everything. CatVideoFest returns to Australian cinemas this August, with a showreel of videos from around the world. It’s a rare and exclusive selection that you will only be able to see in cinemas — it won’t be going online. And while you’re sitting in a darkened theatre, giggling, nawwing, and OMGing with a room full of cat-lovers, you can feel extra pleased that about the fact that you’re actually helping cats everywhere. CatVideoFest raises more than $1Million USD in contributions for cats in need through partnerships with animal welfare organisations, charities, and shelters around the world, whilst also helping support adoptions, fostering, volunteer sign-ups and community engagement. Don’t miss this special experience. Screening across the country, only in select cinemas, only for a very limited season. Sydney screenings: George Street Sydney, Hurstville, Liverpool, Miranda, Macquarie Park, Parramatta, Ryde, Cremorne, Glebe, Auburn, Rhodes, Rouse Hill, Randwick, Narellan, Hornsby, Castle Hill, Campbelltown, Newtown, Burwood. Check the website for your nearest cinema and to book tickets. August 13 — 16 catvideofest.com

Super44: A New Margarita Bar Opens on Enmore Road in Newtown More on Newtown Newtown just got a new margarita bar - and it’s already shaking things up on Enmore Road. Did we hear a Newtown local say spicy marg? Well, that person’s in luck. MUCHO Group, the team behind Sydney favourites Cantina OK!, Centro 86 and Tio’s Cerveceria - have landed with Super44. Sitting at 44 Enmore Road, Super44 in Newtown is built around one of the most popular alcoholic concoctions: the margarita. The line-up leans heavily into flavour and texture, with 12 margaritas on the menu including a rotating seasonal special. It’s the kind of list made for ordering more than one. For those with a sweeter tooth, the tropical Sunstroke — passionfruit, lime, carrot and shiso — is a standout, alongside Heartbreak, which layers Davidson plum with watermelon granita for something tart, bright and refreshing. If you like things with heat, Super 44 doesn’t hold back. Jalapeño, roasted pepper and chilli appear across the menu in different forms, while more unexpected combinations push things further - think yuzu kosho, hot honey, tobiko (flying fish roe) and roasted red pepper bringing savoury, salty depth to the mix. Inside, the space feels like a mash-up of cantina and late-night speakeasy, with tiled floors, dark timber and hand-painted details setting the tone. It’s warm, a little chaotic, and built for good nights. There’s also a Wednesday to Sunday happy hour in the first hour of service, with $13 Super margs and $7 Tecate lagers. You’ll even be greeted by complimentary popcorn on arrival - a small but deliberate nod to easy, generous hospitality. Super 44 Wed - Fri: 5pm-12am Sat: 4pm-12am Sun: 4pm-10pm muchogroup.com.au/super44 44 Enmore Rd, Newtown

Your guide to the best theatre, food, entertainment and live music happening in Newtown, Enmore and other nearby neighbourhoods. More on Newtown Your Local Calendar 🎭 A View From The Bridge 📍 New Theatre, 542 King St 📅 August 4 - September 5, 7:30pm (Sun 2pm) Arthur Miller’s gripping classic explores family, loyalty and betrayal as Eddie Carbone’s world begins to unravel when love, jealousy and long-held secrets collide. Set in 1950s Brooklyn, this powerful drama examines the devastating consequences of obsession and honour. Details: newtheatre.org.au 🎤 Brad Cox (Live) 📍 Enmore Theatre, 118-132 Enmore Rd 📅 August 1, 8pm The kind of live show that doesn’t really ask for your attention - it takes it. Big hooks, country grit, and a stage presence that sits somewhere between pub storyteller and arena headliner in training. Details: enmoretheatre.com.au 🎤 Nectar Woode (Live) 📍 The Vanguard, 42 King St 📅 August 20, 7:30pm The Vanguard is built for artists like Nectar Woode — intimate, close enough to see the expression change mid-chorus, and just loose enough to feel like anything could happen. Her blend of soul and alt-pop sits perfectly in that Thursday night sweet spot: not quite weekend, but definitely not work mode anymore. Details: thevanguard.com.au 🎤 Betty Taylor 📍 Waywards, 324 King St 📅 August 27, 7:30pm Fresh from their debut US tour, Betty Taylor are back with their punchy indie-rock and heartbreak anthems in tow. The Sunshine Coast four-piece bring a high-powered live show built for big singalongs and big energy. Details: bankhotel.com.au/waywards-program 🎤 Husky 📍 The Vanguard, 42 King St 📅 September 25, 7pm To mark 15 years of Forever So, Husky return to perform their breakthrough debut in full. The record’s dreamlike folk and rich harmonies (including History’s Door and Tidal Wave) quickly built a devoted following. Now, the band brings these songs back to where they land best - close, warm, and sung along by the crowd. Details: thevanguard.com.au 🎭 Next To Godliness 📍 New Theatre, 542 King St 📅 October 6-31 Erin and Sophia are crime-scene cleaners working for the people who caused the crimes, and paid handsomely. But when one job turns up a little too “alive”, their carefully controlled system starts to unravel. Alastair Brown’s razor-sharp world premiere shows a darkly comic chain reaction that exposes just how far some people will go to clean up their messes. Details: newtheatre.org.au Weekly Events 🎱 Free Pool 📍 Kelly’s on King, 285 King St 📅 Monday & Sunday With two tables in constant rotation and a welcoming atmosphere, Kelly’s is the perfect place to rack ‘em up without spending a cent. Looking for more than a casual game? Enter Jack’s pool comp on a Sunday, but be warned, there’s no mercy. Registrations open from 4:30pm. Details: kellysnewtown.com.au 🥩 Steak & Drink Special 📍 Newtown Hotel, 174 King St 📅 Monday & Sunday Tuck into a 250g rump steak with your choice of sauce, plus a house wine, beer or spirit for just $32, made with quality local produce and cooked to your liking. Hospo workers, uni students and hospital staff are well looked after too - show a valid RSA, UNI or RPA card and enjoy $6.50 happy hour drinks all night long. Details: newtownhotel.com.au 🌈 Drag Bingo 📍 Webster’s Bar 📅 Thursday, 7:30pm Do you like your Thursday nights with a fabulous twist? What about great prizes, free entry and top-notch entertainment from a rotating line-up of Sydney's best drag queens? Grab your gang and enjoy some big laughs, big personalities and plenty of cheeky banter. Details: webstersbar.com.au/whats-on 🍽️ Sunday Roast 📍 The Courty, 202 Australia St 📅 Sunday (Duh) Nothing beats a classic Sunday roast, and this one's got all the trimmings. Feast on tender roast beef, honey & mustard parsnips, golden roast potatoes, carrots, rainbow chard, Yorkshire pudding and rich gravy, all for $35. Available until August 30th. Details: thecourty.com.au Events in Nearby Neighbourhoods 🎪 La Ronde 📍 Grand Electric, Surry Hills 📅 Playing until August 30 Experience a night of circus, cabaret, live music, and comedy at The Grand Electric. Featuring breathtaking aerial feats, daring stunts, and world-class performers from around the globe, La Ronde delivers a sensual, electrifying spectacle. Intimate yet extravagant, it’s the perfect night out for friends, celebrations, or anyone craving a bold midweek escape. Tickets: larondetheshow.com/sydney/ 🎓 IGS Kindergarten Open Morning 📍 International Grammar School, Ultimo 📅 August 12, 9am - 10am Step inside IGS’s Kindergarten Centre, meet passionate educators and learn more about how we support children to flourish from their very first day of school. Places are limited, and registrations are open now. Details: igssyd.nsw.edu.au/open-mornings/ 🎭 Ride The Cyclone 📍 Flight Path Theatre, Marrickville 📅 August 20 - 22, 7:30pm After a freak rollercoaster accident, six teenagers find themselves suspended in limbo and offered one final chance to return to life. This cult-favourite musical is a hilariously dark, surprisingly moving and unforgettable celebration of what makes a life worth living. Details: flightpaththeatre.org

Remembering Mouse, the little rescue cat who became New Theatre’s unofficial star More on Newtown Every neighbourhood has its characters. Some walk on two legs, others on four. At New Theatre, one of the most beloved cast members never auditioned, never learned a line, and somehow managed to steal every scene. Her name was Mouse. For more than a decade, Mouse was the unofficial welcoming committee, resident supervisor, and part-time admin assistant at Newtown's iconic community theatre. Whether you were an actor nervously arriving for rehearsal, a volunteer setting up before a show, or an audience member wandering through the foyer, there was every chance you'd be greeted by a gentle purr, an inquisitive stare, or Mouse casually inspecting your work. How Mouse came to New Theatre Like many great Newtown stories, hers began with a rescue. Mouse first appeared in the backyard of a New Theatre associate as a very young mum, with three tiny kittens in tow. While her kittens quickly found loving homes, Mouse herself was left waiting for a family of her own. Thankfully, fate had other plans. The theatre's volunteers put forward a rather unconventional proposal to the Management Committee: why not make Mouse the official theatre cat? The motion passed unanimously. It didn't take long for Mouse to settle into the role. She patrolled the building with quiet confidence, claimed the sunniest corners for afternoon naps, supervised rehearsals from a safe distance, and reminded everyone that no production was ever truly complete until she'd given it her personal approval. She became part of the rhythm of the theatre - as familiar as the creak of the stage floorboards or the buzz before opening night. For countless volunteers and performers, Mouse was more than just a cat. She was a comforting constant. On stressful production days, she'd somehow know exactly who needed a quiet companion. On long bump-in weekends, she'd faithfully keep everyone company. Even regular audience members came to look forward to spotting the theatre's furry resident. Temporary Relocation When the COVID pandemic forced New Theatre to close its doors, Mouse temporarily relocated to what had long been her favourite "holiday home." She adapted to domestic life with surprising enthusiasm, discovering that soft couches, endless cuddles and a slower pace suited her perfectly. When the theatre reopened, Mouse made it clear she was happily retired. Mouse will be missed Earlier this year, after a short illness, Mouse peacefully crossed the Rainbow Bridge. She leaves behind an enormous paw print on a little theatre that was lucky enough to call her its own. While productions will continue and the curtains will keep rising, there will always be one cast member whose absence is quietly felt. Some neighbourhood legends don't need applause. Sometimes, all they need is a sunny windowsill, a welcoming heart, and a community to love them. Thank you for everything, Mouse.

From the Salon Chair to the Bathroom Shelf, How an Inner West Hairdresser Created LIVANI - an Australian Clean Haircare Brand More on Newtown After nearly 20 years as a hairdresser in Sydney’s Inner West, Jana has learnt what truly matters to women. For many women, hair is part of their identity; it says something about who they are, and it can influence how they feel. There’s a reason people talk about “having a bad hair day.” It’s more literal than you think. Professional hairdresser Jana has spent thousands of hours working with one-on-one clients. Over that time, she has become familiar with every type of hair and every type of hair problem. She also noticed the conversations she was having with women beginning to change. “When I first started hairdressing, most conversations were about colour, style and creating beautiful hair. Today, more and more women ask me about ingredients, scalp health and what they’re actually putting on their hair,” says Jana. Clients still wanted professional salon results, but they were also becoming far more conscious about the ingredients in the products they were using and what they were putting on their hair and bodies. There didn’t seem to be many options in the marketplace that helped allay their concerns. That was really the beginning of LIVANI. “I didn’t want my clients to have to choose between products that performed beautifully and products they genuinely felt good about using,” explains Jana. She decided she needed to make them herself. With a focus on quality and efficacy, Jana partnered with local companies to source only the finest natural ingredients. Livani Launched The result was LIVANI, a range of hair care products that offer pharmaceutically tested, clean, weightless formulas that actually work. Rather than creating products based on trends, every formula was developed through years of working with real clients and understanding the challenges they faced every day in the salon. “Each product was created to solve the problems I’d been helping women with throughout my career, using ingredients I genuinely felt proud to recommend to my own clients,” says Jana. “Alongside performance, we wanted LIVANI to reflect the values that had become increasingly important to both myself and my clients.” LIVANI products are Australian made, certified vegan, free from sulphates and parabens, formulated with carefully selected botanicals, and packaged in bottles made from 100% recycled coastal plastic collected from Australian waterways. What started inside a family-owned salon in Sydney’s Inner West has since grown into an Australian haircare brand reaching customers across Australia and internationally. Despite that growth, LIVANI remains proudly locally owned and operated, and is still welcoming clients through the doors of its Inner West salon every week.

From Petersham and Newtown High to the DC Universe, How Milly Alcock Became the New Supergirl More on Newtown Alcock plays Kara Zor-El aka Supergirl in this latest instalment of the DC Universe franchise. It’s quite a big step up in a rising career for the 26-year-old ex-Newtown High School of the Performing Arts student. Born and raised in Petersham, Alcock pursued acting from a young age, landing a role in a TV show at age 14 and starring in a number of commercials. After playing several minor characters, she finally had a named role in the ABC drama, Janet King in 2017. From there, the parts kept getting bigger and better, and in 2018 Alcock received the Casting Guild of Australia Rising Star Award. Her breakout role was in the 2022 HBO series, House of the Dragon, for which she received a nomination for Critics' Choice Television Award for Best Supporting Actress in a Drama Series. She first played Kara Zor-El/Supergirl in an uncredited appearance in Superman (2025), which ultimately led to her being cast in Supergirl. In interviews, Alcock describes Supergirl as far from perfect, not an invincible superhero with all the answers, but someone carrying the weight of unimaginable loss. Kara witnessed the destruction of Krypton and the people she loved, a trauma that has made her impulsive, fiercely independent and sometimes reckless, but all the more relatable because of it. Despite the blockbuster scale of the production, Alcock has described the experience on set as surprisingly intimate. Working with director Craig Gillespie, she says the film often felt more like an independent production, with a strong focus on character and storytelling. Alcock has also embraced the scrutiny that inevitably comes with taking on such an iconic role, choosing not to dwell on online criticism. Instead, she's focused on creating a Supergirl who is authentic, vulnerable and unmistakably her own.