More on St Ives Changes announced last year are now effective, impacting new families enrolling at the St Ives School from Term 1 2024. St Ives High Catchement for 2023 Last year, the NSW Department of Education released new boundaries for St Ives High School and several other neighbouring schools, effective as of Term 1, 2024. Various schools in the Hornsby and Ku-Ring-Gai LGAs have experienced significant student population growth in recent years, while others have not. Overtime, this has created an imbalance in the number of students across these groups of local high schools. Adjusting enrolment intake areas of three coeducational schools, Ku-Ring-Gai High School, St Ives High School and Turramurra High School will help restore that balance. The catchment for Asquith Boys and Asquith Girls is also changing. The changes affecting St Ives High School will be effective from Day 1 Term 1, 2024 - for new families enrolling only. Under the new enrolment policy, families with a child currently enrolled at their local designated high school retains the entitlement to enrol siblings at that school. For example, if you have a child currently enrolled in Year 8 but now live outside the designated catchment area, you may still enrol a sibling child. It does not apply when a student: • has moved residential address outside of the intake area following their initial enrolment • was initially enrolled as a non-local (out-of-area) student. St Ives High Catchment for 2024 For more information, parents can visit schoolfinder.education.nsw.gov.au

Christian de Stoop, Director at Vision Personal Training St Ives, Reflects on 17 Years of Vision Personal Training St Ives. We talk about the studio's journey and their role in the St Ives community. More on St Ives Nikki & Christian from Vision Personal Training St Ives For nearly two decades, Vision Personal Training St Ives has stood as a beacon of health and wellness in the local community. As it approaches its 17th anniversary this November, Director Christian de Stoop reflects on the studio's evolution, its commitment to holistic fitness, and its deep-rooted connections within the vibrant St Ives community . "I've been with Vision Personal Training St Ives for over 14 years now," Christian reflects, his passion evident in every word. "It feels like such a long time, yet feels like I've blinked and here I am!"  From Personal Trainer to Vision Personal Training St Ives Director His journey with Vision began as a Personal Trainer in 2010, a path inspired by his own experiences and a desire to make a meaningful impact on others' lives. Over the years, Christian's role expanded alongside the studio's growth. From Personal Trainer to Studio Manager, and eventually to Director, his involvement deepened, reflecting the studio's commitment to fostering a supportive environment for both trainers and members alike. The Community-Centric Approach of Vision Personal Training St Ives "What sets Vision apart is our personalised approach," Christian explains. "Every member is more than just a number – they're greeted by name as they walk in the door." This sense of community forms the cornerstone of Vision's ethos, creating a welcoming space where individuals of all backgrounds feel valued and supported on their fitness journey. “Vision specialises in personal training and we take a holistic approach to our members results in a non-intimidating environment,” he continues. “We focus on our members’ mindsets to set them up with long and short-term goal setting. We educate our members about sustainable nutrition, and exercise practices through one-on-one sessions, educational seminars and even shopping tours at Coles in St Ives Village. Vision Personal Training Gym “Personal training is a great place to start,” he emphasises, “because a lot of beginners, or people not familiar with the ‘gym’, don’t know where or how to start and certainly don’t want to hurt themselves.  “I find the top 5 reasons why people engage with a personal trainer are usually because they are seeking: motivation; accountability; they need help with structure or routine; they don’t know when or how to do it; and they don’t want to get injured.” Holistic Health & Wellness: Vision Personal Training's Impact in St Ives For many members, Vision Personal Training St Ives is more than just a gym – it's a home away from home, a place where lasting friendships are formed and fitness goals are achieved together. "Many of my clients have been training with me for 14 years, or close to it," Christian shares proudly. "We've built a strong community here, one that extends far beyond the walls of the studio." But Vision's impact extends beyond fitness; it's deeply intertwined with the fabric of the St Ives community. "We've supported many local businesses, schools, and sports teams over the years," Christian explains. "And our partnership with Beyond Blue  underscores our commitment to holistic well-being, recognising the vital link between physical health and mental wellness. “ Mental health , or our emotions, is our most important “E-factor”. (Our 4 E-factors are: Emotions, Education, Eating and Exercise). We know that a healthy body starts with a healthy mind. The importance of exercise in an effective mental health plan is well known, and I am a strong advocate for health in the holistic approach – from a strong physical body to a healthy mind.” Reflecting on his time in St Ives, Christian emphasises the special bond he's formed with the community. "It's the people that make St Ives truly special," he asserts. "The sense of support and inclusivity is palpable, and I've been privileged to work alongside individuals from diverse backgrounds, professions, and cultures." Christian from Vision Personal Training Christian's journey with Vision Personal Training has allowed him to become deeply ingrained in the community fabric, making every day a rewarding experience.  "Some of the most rewarding moments have been witnessing clients achieve life-changing results," Christian shares. "And while accolades are nice, it's the relationships formed and the positive impact made on people's lives that truly matter." Christian has several ‘stand-out moments’ during his many years at Vision PT St Ives “Among the most rewarding is the privilege of helping clients achieve life-changing results, such as losing over 30-40 kilos. “Some of my proudest moments are being a finalist as both an international manager and personal trainer of the year (close both times, but no cigar!). Our studio has proudly won numerous Vision network awards, from being a “Gold Star” studio, to awards for the highest retention of members among our network of studios.” As Vision Personal Training St Ives looks towards the future, Christian remains committed to empowering individuals to lead healthier, happier lives. "Our journey is far from over," he concludes. "Together, we'll continue shaping lives and building a stronger, healthier community for years to come." Christian’s local recommendations for best restaurant and dish? Gosh, I don’t eat out a whole lot, and if I do, it’s generally a salad or poached eggs on toast (boring, I know!). I’m a sucker for good sushi though, so if I stray from the usual, you might see me at the Sushi Train! Best retailer? I love to run, and naturally, I value having a good pair of shoes to run in! I always recommend our members visit John Rae, from Shoe Guru, to find a good fit. John is also just as passionate about health and fitness and he loves nothing more than to see his customers enjoying exercise in shoes he’s helped them find. Best local cafe/coffee? Ethan and Angela, the owners of Milligram, will look after you with a great coffee. I’m up between 4.00 am – 4.30 am most mornings of the week, so trust me when I say I love coffee! I like going to Milligram because apart from great coffee, they’re always so friendly. Facebook: www.facebook.com/Visionptstives Instagram: www.instagram.com/visionptstives Address: 164A Mona Vale Road, St Ives. (Next to Apol / Guzman Y Gomez) Phone: 9440 3910 Website: www.visionpersonaltraining.com/our-studios/st-ives

Sydney Dance Company’s Somos returns for an encore season this autumn Sydney Dance Company’s Somos burst onto stage in late 2023, capturing audience and critics’ acclaim, playing to sold out shows. This remarkable work, choreographed by Artistic Director, Rafael Bonachela , returns for an encore season this autumn, reworked with new songs and striking choreography with new Company dancers. Somos is the first time Bonachela created a work inspired by the cultural influences from his country of birth, Spain. It is a work that honours Bonachela’s Spanish heritage and invites the audience into a world of passion, vulnerability and beauty. Bonachela was profoundly inspired by the filmmaking of Spanish director Pedro Almodóvar, particularly his use of Latin music and his compelling portrayal of strong female characters. The work is set to a curated suite of Hispanic women artists, casting a distinct Spanish essence across the performance. Bonachela is renowned for his exquisite duets and trios and Somos is a journey through a range of passionate emotions, expressed through the intricate and intense choreography of the Company dancers. Audiences will be drawn into waves of yearning, desire, despair and heartache as the poetry of contemporary dance expresses our emotional range in ways that are meaningful to all. Originally devised for the Sydney Dance Company Neilson Studio, the intimate space served as an incubator for artistic innovation. Performed in the round, the unique setting redefines the traditional boundaries between the audience and the Company dancers, showcasing their extraordinary artistry and breathtaking physicality. So close, audiences can palpably feel the dancers’ emotion with each breath that they take. The captivating performance features set and costume design by Kelsey Lee, clothing the dancers in close fitting pieces that help define the dancers’ athleticism, celebrating the individuality of each. Long-time lighting design collaborator, Damien Cooper, recently nominated in the 2024 Green Room Awards for his lighting design of Bonachela’s momenta, brings his unique and mesmerising lighting to enhance the emotional intimacy of the space. Somos is a rare opportunity to experience Sydney Dance Company at close quarters. Book your tickets now. 27 March - April 6 Neilson Studio sydneydancecompany.com/performance/somos/

The flawed (and frequently floored) author By Alec Smart Read More on Newtown/Enmore Among the list of notable people who lived in Newtown is writer Henry Lawson (1867-1922), who, during the first days (perhaps weeks), of his marriage resided at 154 Probert St with his wife Bertha Bredt, to whom he tied the knot on 15 April 1896. Henry Lawson, 1902 However, it was a short-lived tenancy, for the 29-year-old author and his intelligent but hapless bride – the 20-year-old daughter of political activist and writer Bertha McNamara – headed west to Perth to try and make their luck on the goldfields. In 1896 Lawson was enjoying the peak of his literary success. Angus & Robertson had just published his collection of poems, In the Days when the World was Wide and other Verses, and a collection of 52 of his short stories, While the Billy Boils, which were praised by critics and popular with the public. While The Billy Boils, Lawson's first collection of short stories. 1900 edition + 1923 reprint. With these he established his reputation as a chronicler of characters from the lower end of the social ladder. Lawson’s yarns were compared and contrasted with the work of fellow ‘bush poet’ Andrew ‘Banjo’ Patterson, a fellow contributor to the nationalist republican magazine The Bulletin, Australia’s most popular magazine in the 1880s. Patterson, a solicitor, journalist and author of the ‘alternative national anthem’, Waltzing Matilda, was ultimately much more successful than Lawson with his somewhat romanticised tales of the lives of rural dwellers. His literary rival was not interested in presenting rural life as idyllic. Lawson was a campaigning socialist and favoured narratives centred on working class struggles. This is attributable to his impoverished childhood and lack of education – he attended school for just three years in a remote country village in the Mudgee district settled by immigrants digging and panning for gold. Henry Lawson on the old paper $10 note (1966-93), top, Banjo Patterson on the plastic note (1993-2017), below. Lawson’s father was a Norwegian seaman named Niels Larsen who jumped ship in Melbourne in 1855 and joined the heady influx of immigrants following the Gold Rush. With the discovery of gold in Grenfell, 420km west of Sydney (midway between Dubbo and Wagga Wagga), Larsen, who Anglicised his name to Peter Lawson, relocated there and in 1866 married Louisa Albury. The following year, on 17 June 1867, their first child, Henry, was born. The family moved often following Peter’s vain hope for a windfall on the goldfields, and in 1873 eventually settled in Eurunderee in the Mudgee district. There Peter constructed a two-bedroom timber hut that became the village post office, and found work as a building contractor. Lawson Family Home +village Post Office, ca 1900, Eurunderee NSW. There was no school in the area, so Louisa lobbied for the creation of one – resulting in the construction of Eurunderee Provisional School in 1876 – which was a rudimentary single room. Henry later recalled in his poem ‘The Old Bark School’ that the building was literally “built of bark and poles… the walls were mostly cracks lined with calico and sacks, there was little need for windows...” However, Henry only undertook a few years of study – despite his talent for words, he was basically uneducated – because he stayed home and managed the household, where he had two younger brothers and twin sisters (one of whom died in her first year), while his mother ran the post office. In 1876, at the age of nine, Henry was afflicted with an incurable ear infection that degenerated over the next few years until he was completely deaf in one ear. This impacted his ability to communicate – he suffered bullying at school – and he later attributed his extraordinary writing talent to this social isolation. In 1880, aged 13, Henry abandoned school after just three years study and joined his father in the building trade, moving between Mudgee and the Blue Mountains, during which he ultimately discovered the joys of alcohol and how it alleviated his social anxiety. Lawson's story The Drover's Wife featuring on an Australia Post $1 stamp. By 1882, his parents’ marriage had disintegrated, and Louisa moved to Sydney with her four youngest children and found employment running a boarding house in Philip St in the City. The following year the teenaged Lawson joined her and in 1884 was apprenticed as a carriage painter in Clyde. He also undertook night studies in an attempt to enrol in a university degree, but failed the entrance exams several times. However, he discovered he had a latent talent for writing – especially observational fiction – and began contributing poems and essays to journals. On 1 Oct 1887 The Bulletin, a nationalist magazine that advocated Australian independence in the years leading up to the 1900 Federation, published ‘Song of the Republic’ the 20-year-old Lawson’s first poem in print, and thereafter Lawson retained a life-long connection with the editors, who regularly published his creations. In Dec 1888 they published his first short story, 'His Father's Mate'. Louisa, a talented writer and editor herself, moved in radical intellectual circles and managed The Republican newspaper and in 1888 founded feminist journal The Dawn. Louisa also published her gifted son’s first poems and short stories, and later his first book, Short Stories in Prose and Verse, in Dec 1894. Henry Lawson, 1890. As his popularity rose, Lawson expressed a desire to move to England, where he believed he would achieve distinction like Charles Dickens, a celebrated chronicler of the underprivileged, and move among gifted writers who would stimulate his creative imagination. Instead, undermined by his by growing alcoholism and depressive episodes (which his biographer Colin Roderick attributed to bipolar disorder), he made a series of poorly-judged decisions. What followed was a decline into poverty, frequent changes of address, relocations to New Zealand and England to try and advance his career, the failure of his marriage, periods of drunkenness, begging and destitution, short stays in mental hospitals and alcohol drying-out facilities. There were also numerous prison stretches in Darlinghurst Gaol for repeat offences, mainly for abandoning his wife and two young children and not paying maintenance. Darlinghurst Gaol 1891 - painted by HL Bertrand - State Library NSW. Henry and Bertha Lawsons’ move from Newtown to the goldfields in Western Australia in 1896 was a gamble that didn’t pay off – they lived in one of the tent villages that sprang up to accommodate the influx of speculators, while Henry found casual work as a painter. After a few months the couple returned to Sydney in October 1896 and Lawson returned to his hedonist socialising with a cadre of poets, infamously known as The Dawn and Dusk Club due to their habit of drinking all hours, which included Jack Moses (author of The Dog Sat on the Tuckerbox poem). The Lawson’s marriage suffered, and was headed for the rocks when Henry reportedly developed a romantic crush on a young bookkeeper named Hannah Thorburn. In desperation, Bertha pleaded with The Bulletin editor, J. F. Archibald, to finance two ship passages to New Zealand, along with written references to aid her wayward husband’s employment opportunities there. Previously, in September 1892, Archibald and The Bulletin donated a rail ticket and £5 allowance for Henry to travel to drought-stricken Bourke, which stimulated his writing career. Despite the 1890s economic depression, Lawson found seasonal work as a shearer and painter, trekked 320km overland to Hungerford, Queensland, and back to Bourke, and sourced story ideas that inspired him for the rest of his life. Henry and his daughter Bertha Louise, 1902. However, the Lawsons’ New Zealand venture had limited success. In March 1897 they travelled to the South Island and settled in Mangamaunu, approx. 200km north of Christchurch, and Henry found employment as a teacher in a small Maori school near Kaikōura. But it was short-lived. In Nov 1897, after Methuen Publishing of London offered a book deal, Lawson resigned from the teaching post, and rekindled his plan to move to Britain. Meanwhile, Bertha became pregnant with their son Joseph Henry, born 10 Feb 1898 during three months confinement in Wellington, and in March 1898 the Lawsons returned to Sydney where Henry worked a few months in the Statistician's Office. Sadly, Lawson fell into old habits – boozing with The Dawn and Dusk Club - and significantly deteriorated, eventually checking into a sanatorium for alcoholics in November 1898. In 1899 the couple and their young son resided in North Sydney (‘Strathmere’ in William St then Chaplin Cottage in Charles St). Newly sober, Lawson’s creativity returned and in 1900 he released two collections of short stories, On the Track and Over the Sliprails, and a book of poems, Verses Popular and Humorous. The Lawson’s daughter Bertha was born on 11 Feb, and shortly afterwards, on 20 April, Henry, Bertha and their two young children emigrated to England on the SS Damascus. Lawson's wife, Bertha Marie Louise Bredt, 1890 Unfortunately, the Lawsons’ relocation to Britain, although initially positive, was ultimately catastrophic. Introduced to J. B. Pinker, one of Britain’s best literary agents, Lawson embarked on a series of four short stories, Joe Wilson and his Mates, which joined his most renowned creations and many now regard them as his creative peak. This was followed by a collection of prose, Children of the Bush, both published by the distinguished Blackwood’s Magazine (1901 and 1902). The Lawsons rented a cottage in the village of Harpenden, a commuter town in Hertfordshire, north-east of London. Sadly, Bertha’s social isolation from family and friends, the cold weather and her husband’s drunken cruelty – she cited frequent occasions of domestic violence – contributed to her mental decline. From May 1901 she was institutionalised for three months in Bethlem Royal Hospital – the original ‘Bedlam’ – for treatment while the couple’s two children went into foster care. In April 1902 Lawson arranged for his wife to return to Sydney, and he followed soon afterwards, in July. The couple lived awhile in Manly, first in ‘Marlow’, then ‘Ladywood’ on Whistler St., where Bertha leased out rooms for lodgers. However, Lawson soon learned that his one-time crush, Hannah Thorburn, had died on 1 June, and this may have contributed to a return to melancholia and binge drinking. At the end of 1902, his creative endeavours in decline and wracked by low self-esteem, Lawson apparently attempted suicide. On 6 Dec 1902, a fisherman named Sly discovered Lawson at the base of cliffs south of Manly Beach, a plunge of 25-30 metres (on the coastal stretch between Shelly Headland and Blue Fish Point). Lawson, who later described it as a “fall”, suffered a broken ankle and lacerations above his right eye, and was hospitalised. Cliffs south of Manly Beach, Sydney, where Henry Lawson 'fell' (attempted suicide) in Dec 1902. Photo: Alec Smart Lawson again sought treatment for his alcoholism, checking into a facility for inebriates. His temporary sobriety led to a romantic reunion with his wife – newspapers reported them strolling around Manly holding hands – and her becoming pregnant. However, in April 1903, Bertha filed for judicial separation – granted in June – in an affidavit alleging that Lawson was habitually drunk and cruel. Later that year, in October, she gave birth without her husband’s support, but tragically the child was stillborn. In 1903 Lawson returned to North Sydney and rented one of the rooms above Isabel Byers' Coffee Palace in Miller St, North Sydney (a bustling commercial centre in which the population quadrupled from 12,000 to 48,000 between 1886-1920). From here he frequented many of the local bars, in particular the Fig Tree Inn beside Lavender Bay (now the site of Blues Point Tower), and wrote poems about local characters and characteristic locations. Henry Lawson outside his North Sydney lodgings in 1922 (shortly before his death). Mrs Byers was an accomplished poet, and evidently doted on her famous but flawed tenant, because she sustained him for the next two decades during his mental and physical decline. Byers not only provided Lawson lodgings (he later rented rooms in her properties in William and Euroka Streets, Nth Sydney), she helped arrange contact with his two children, sourced publications for his writing, negotiated with his publishers and wrote letters to sponsors and creditors to better manage his financial affairs. Meanwhile, Bertha set up home in 397 ½ South Dowling St, Surry Hills. From here she raised their two kids, several times petitioning the Court for maintenance payments from her wayward husband, who, although he found money to drink, frequently begged and borrowed from friends and associates to pay his bills. Between 1905 and 1909 Lawson was imprisoned seven times - six for deserting his family and once for public drunkenness - for a total of 159 days. An unapologetic Lawson even used this incarceration experience as source material for his writing (in 1908 he published a poem, One Hundred and Three, his prison number, in which he criticised the prison as "Starvinghurst Gaol”, referring to the meagre rations served to inmates). Henry Lawson's story, Mitchell: A Character Sketch, illustrated on an Australia Post stamp. Lawson’s writing deteriorated, along with his health, as his alcoholism advanced. After 1907 he was admitted to Darlinghurst Reception House mental hospital several times. Publisher and agent George Robertson commissioned the 42-year-old to write his life story, and on 2 March 1908, Lawson’s Fragment of Autobiography, an abridged account of his earlier life on the Mudgee goldfields and nomadic wanderings as a young single man, was published in The Lone Hand monthly literature magazine. (The full autobiography was published posthumously in Cecil Mann's three-volume edition of Lawson's Prose in 1964). Friends rallied to find him work or pay for him to retreat to the countryside to try and dry out and find inspiration, but he deteriorated further and often resorted to begging on Sydney’s city streets or reading his poetry aloud with a hat in which to collect donations. Recognising the former literary genius’ sad plight, the Commonwealth Literary Fund granted him £1 a week pension from May 1920, but it came too late to recover his circumstances. Lawson died on 2 Sept 1922, aged just 55, of a cerebral haemorrhage in Isabel Byers’ Abbotsford home. Henry Lawson's funeral at Waverley Cemetery in Sept 1922. He was granted a New South Wales State Funeral - traditionally reserved for influential politicians – the first for an author, in celebration of his being a 'distinguished citizen'. His funeral was attended by Australian Prime Minister Billy Hughes and Labor politician Jack Lang (husband of Lawson's sister-in-law Hilda Bredt) who later became Premier of NSW. Lawson’s body was interred at Waverley Cemetery. In 1931, a bronze statue (designed by George Washington Lambert) of Lawson accompanied by a swagman and his dog was unveiled at The Domain, overlooking Sydney Harbour. Lawson left his estate to Isabel Byers, which consisted of a mere two suits, collar stud, tie and overcoat, his spectacles and walking stick, a single pencil, a smoking pipe and two packets of tobacco. Henry Lawson on a 1949 Australia Post stamp. Read More on Newtown/Enmore ================================

MadWings and Murals That Lift Spirits By Lucy Pearson Read more on Newtown/Enmore Can you tell us about the origins of MadWings? How did your collaboration come about, and what inspired the name? Madwings combines Madison Gibbs Wing and Jason Wing. As an artist couple, we started our mural business four years ago, blending our complementary skills. We share a love for street art, social justice, and celebrating Aboriginal culture with joyful visibility. Your work is deeply rooted in First Nations culture. How do you weave storytelling and traditional knowledge into your art and workshops? Our art practice continues culture in a contemporary way. We consult local Elders, focus on public stories, and aim for cultural visibility. Researching mob, time, and place, we engage Traditional Owners, teach students, and weave bold, layered education into murals, blending historical and contemporary truths with vibrant imagery. Newtown has a strong artistic and activist community. How does the area influence your artwork and in turn help you influence others? We start with a walk on Country, listening and connecting. Our murals tell a visual story from start to finish. Working off Country, we consult Elders, visit significant sites, research histories, and continue the fight for justice, honoring those who came before us for future generations. What role does public art play in telling First Nations stories? Aboriginal people have no separate word for art; it was embedded in life. Traditional public artwork is now replaced by colonial landscapes. Murals address, educate, and celebrate. Public art must return to communities, ensuring Aboriginal and minority cultural presence equals or surpasses colonial visibility on Aboriginal land. Your workshops cater to all ages, but you also offer First Nations-specific cultural workshops. What do these sessions involve, and why is cultural education so important? We share our skills with all, as everyone has a story. Aboriginal voices have been silenced for 254 years, and art helps heal and shift perspectives. Public art is for everyone. We focus on cultural education, skill-sharing, and empowering diverse students, fostering future leaders and warriors. Stencil and painting workshops are a big part of your practice. What draws you to these techniques, and how do they allow for creative expression in a community setting? The oldest artwork is an Aboriginal hand stencil in Australia. Our murals modernize cave paintings, using spray paint instead of ochre. Inspired by Chinese paper cuts, stencils offer instant creative freedom and teachable techniques. We also run placard-making workshops for street protests in adult communities. Art has long been a form of resistance and reclamation for First Nations people. How do you see your work contributing to that tradition? Paint and spray-paint are protest tools. Murals reclaim space and ensure a public Aboriginal presence. Our murals, a subtle protest, inspire future generations. While our gallery works are hard-hitting, our murals focus on joy, positivity, and community building, which the world needs more of. What have been some of the most rewarding or surprising moments in your workshops? Have any participant stories stayed with you? We taught Jessie, an Aboriginal student, who developed her mural skills. She helped on a mural, impressed us, and we employed her until she started her own Aboriginal mural business. Now, she teaches students, adding murals and celebrating Aboriginal culture. What’s next for MadWings? Are there any upcoming projects, exhibitions, or collaborations we should look out for? This year, we're working on exciting projects: a mural near Sydenham Station, a basketball court with Blak Douglas in Green Square, a collaboration with Creature Creature in Ashfield, a Nespresso partnership, a survival memorial in Balmain, a new website, and exhibiting at Murrook Culture Centre on March 8. Stay tuned for more @Madwings.murals Online: https://madwings.org/

Unsolved Mafia murders in Sydney: secrets, revenge, and betrayal By Elliot Lindsay Read More on Newtown/Enmore The city hummed with the restless energy of a thousand unspoken sins. Rain slicked the streets, pooling in the cobbled alleys and dripping from the iron eaves of old shopfronts. A tram rattled down King Street, its bell a lonely echo in the thick summer air. A man staggered onto the steps of Newtown Railway Station, clutching his chest. His breath came in ragged gasps, his fine suit dark with something thicker than rain. A blade - a long, cruel Sheffield dagger - was buried deep in his ribs. He took two steps forward, lips parting in an attempt to speak, then collapsed at the barrier. By the time the station porter reached him, his body was already cooling. His killer was gone, swallowed by the labyrinth of backstreets that stretched toward Enmore and beyond. They said his name was Domenico Belle, but few in Sydney knew him well. Fewer still were willing to speak his name after that day. Omicido The murder on February 11, 1930, sent ripples through the city, but in the Italian community, it was a tidal wave. The police at Newtown Station called in the detectives from Central - Inspector Prior and his men, the best the C.I.B. had. They found little to work with. The few witnesses were vague, their words wrapped in uncertainty and fear. A man had run from the scene, that much was certain. His steps were quick, his features indistinct. He had planned it well. No fingerprints. No immediate motive. Just a dead man with a history no one wanted to discuss. The first theory was a woman - there’s always a woman. Belle was handsome in that Southern European way - tall, dark, with a gold chain and a woman’s silver watch in his pocket. He had lived with a Frenchwoman in a small, unimpressive cottage on Campbell Street, Surry Hills, though he was still married to a cousin back in Italy. The woman, shaken but cooperative, told the police he was secretive, distant. He rarely spoke of his past, and when he did, it was in fragments. There were whispers of debts. Whispers of men who followed him in the night. The second theory was revenge. Belle had boxed the ears of one Giuseppe Mammone, a Leichhardt barber with a past that stretched back to Buffalo, New York, where he had served six months for manslaughter. Mammone had debts too, and ties to men no one wanted to name. The police searched his shop, turning up letters in Italian, cryptic words about “the life” and “the bad life” - phrases the Government interpreter, Dr. Monticone, recognised as references to the Mala Vita, a secret criminal society that had operated in Naples and Sicily for generations. Still, no one would talk. Not even Belle’s closest acquaintances. Inspector Prior leaned against the bar of a quiet hotel near Redfern and tipped his glass toward an old informant - an Italian who had been in Sydney long enough to lose his accent but not his fear. “They know who did it,” the man muttered, staring into his whiskey. “But no one’s saying a damn thing.” Months passed. The case cooled. The city moved on. But then, another murder. January 26, 1931 At 3 a.m., while the city slept, a shot rang out on King Street, Newtown. Guiseppe La Spina, another Sicilian, lay bleeding in his bed behind his fruit shop at the corner of King and Fitzroy Streets. The window was open, a shotgun barrel still warm from the blast. His employee, Frank De Luca, claimed he had been awake, that he had heard a man calling for money before pulling the trigger. The police moved fast, rounding up Vincenzo Malaponte, another Sicilian, another familiar face in the quiet wars of Sydney’s foreign underworld. De Luca pointed a finger. “It was him,” he swore. “I know his voice.” Malaponte was calm. Too calm. He denied everything, said he had been at Bondi, looking for work in Pendle Hill, that he had nothing to do with La Spina’s death. He was arrested anyway. Omertà At the inquest, the shadows of Belle’s murder loomed. Detective-Sergeant Sherringham was asked if he had heard of the Camorra - one of the oldest and most ruthless Italian secret societies. He nodded. He had heard of it. And if Belle’s murder had been tied to it, so was La Spina’s. And yet, the evidence was weak. At the trial, Malaponte’s lawyer, Clive Evatt, argued the case was built on whispers and fear. He even demanded that the jury include six Italians, citing old English law. The judge denied the request, but it didn’t matter. The jury barely deliberated. “Not guilty.” Applause erupted from Malaponte’s countrymen in the courtroom. The judge nodded. “I agree,” he said. “The evidence is too contradictory.” Malaponte walked free. And with him, the secrets of two murders that would never be solved. The newspapers moved on. The city forgot. But the streets of Newtown, the alleyways of Surry Hills, the shadowed corners of Leichhardt - they remembered. Men still spoke of Domenico Belle, the mystery man with a dagger in his ribs. They whispered about Guiseppe La Spina, shot dead in his bed. They muttered about Mammone, the barber who lived in the twilight between crime and survival. And somewhere, in the quiet of the night, the real killer still walked free. Sydney’s underworld was a maze of dark alleys and deeper secrets. No law could touch it. No detective could map it. The killers had melted into the city, like rain into the pavement. And the silence held. Read More on Newtown/Enmore

Sydney’s beloved cheese haven, The Stinking Bishops, is shaking up the morning scene in Newtown with the launch of its new breakfast menu. By Jamie Apps Read more about Newtown/Enmore That's right, The Stinking Bishops is now open for breakfast!  Known for its extensive cheese offerings and cozy dining experience, the restaurant is now bringing its signature flair to the breakfast table.  “We were serving toasties before and were very well known for our cheese toasties,” said Valentina Massaccesi, venue manager at The Stinking Bishops. “After a long time and many people asking for it, we thought, why not open in the morning and do what the people want? We already have the products in-house and a good taste for great food.” A Breakfast Menu Inspired by Tradition and Quality The new breakfast menu is a reflection of the team’s passion for exceptional flavours and high-quality ingredients. Drawing from their Italian heritage and love for gourmet food, the menu features a range of toasties and baguettes crafted with their signature cheeses, charcuterie, and fresh accompaniments.  “Our menu is totally different from anyone else,” Massaccesi explained. “We’re using our high-quality products, including a range of 65 different cheeses, to craft baguettes and toasties that pay homage to family traditions.” Each item on the new breakfast menu has been named after a loved one or a cherished memory. For instance, the NONNA TETTA baguette, featuring smoked Wagyu, tonnato sauce, pickled shallots, and capers dust, is inspired by Massaccesi’s grandmother.  “Nonna Tetta is my nonna who used to make Vitello Tonnato when I was a kid. We’ve revisited the recipe to make a baguette,” she shared. “The BERNARDO is Stefano and Ivan’s nonno, and the baguette is inspired by the breakfast he made every morning in Italy.” Another highlight is the LUCIANONE baguette, named after Massaccesi’s father. “That would definitely be his favourite baguette,” she said. The LILLO toastie, named after Ivan, features his favourite ingredients, adding a personal touch to the menu. Among the standout items on the breakfast menu is the 4-cheese toastie, which Massaccesi predicts will be a crowd favourite. However, the BISHOP toastie, made with Wagyu pastrami, Taleggio cheese, and guindillas, is also set to make waves.  A Seamless Addition to The Stinking Bishops’ Offerings The introduction of the breakfast menu won’t disrupt the restaurant’s existing operations. According to Massaccesi, the dinner menu and cheese shop will remain unchanged, with the exception of extended hours for the cheese shop.  “Everything will be the same except for the Sunday hours since we have decided to close the restaurant at lunch so that we can open the café for breakfast instead,” she said. “There will be two separate menus: one for breakfast and one for dinner. However, our cheese shop hours will be extended from early morning till late night.” The Stinking Bishops’ foray into breakfast is a natural extension of its commitment to quality and community. With its unique offerings and cozy atmosphere, the restaurant is poised to become a go-to spot for Newtown residents and Sydney food lovers alike. The Stinking Bishops Address : Shop 5/63-71 Enmore Rd, Newtown NSW 2042 Phone: (02) 9550 6116 www.thestinkingbishops.com

Expert tips, hidden incentives, and simple steps to home ownership with Mortgage Choice Newtown Taking the leap into home ownership can feel daunting, especially for first-time buyers. But with the right guidance, securing your first home loan can be smoother and more manageable than you think. From understanding your borrowing capacity to uncovering government incentives and navigating loan options, your Broker will walk you through every step of the process - making your dream home a reality. How to Secure a Home Loan as a First Home Buyer Your broker can examine your scenario and finances, and provide you with options & solutions that will achieve your goals. Having support from the experts is important, the team at Mortgage Choice Newtown can guide you each step of the way so you can make confident, informed decisions along your home-buying journey. Determine How Much You Can Borrow A crucial first step is understanding your borrowing power. Lenders will assess your income, expenses and liabilities to determine how much you can afford to pay back. As a rule of thumb, your mortgage repayments should be no more than 30% of your gross household income. What is Lender’s Mortgage Insurance (LMI)? If you need to borrow more than 80% of the property’s value, you may have to pay Lender’s Mortgage Insurance (LMI), a one-off, non-refundable premium added to your loan. The exact cost varies, but it can be significant. However, you may be exempt from LMI under certain conditions – we can check this for you. Government Incentives for First Home Buyers There are several government incentives designed to assist first home buyers, and they vary from State to State. Your Mortgage Choice broker can help you determine eligibility for the following programs: First Home Owner Grant : A one-off, tax-free payment for buying your first home in Australia. Available only for new properties, the amount varies by State and Territory. Home Guarantee Scheme : This allows you to buy with a deposit as low as 5% without LMI, provided your income is below $125,000 (individual) or $200,000 (couple). Limits on participation and purchase prices may apply and can vary per State. First Home Super Saver Scheme : This allows you to save for your deposit within your super fund, benefiting from concessional tax treatment. You can release up to $50,000 of voluntary contributions (plus earnings) to help buy your first home. Stamp Duty Waiver/Discount : Depending on your location and property price, you may be eligible for a discount or exemption from stamp duty, which is a state government tax on property transfers. How Your Broker Can Help Navigating the home loan process is easier with a mortgage broker by your side. We help you understand your options, evaluate your borrowing capacity, and secure the best loan. Here’s how we assist you: We help determine your eligibility for government schemes like the First Home Owner Grant and handle the paperwork. We explain all costs and steps involved in buying a home, eliminating surprises. We can arrange a pre-approval for you, so you can start house-hunting with confidence. We compare hundreds of home loan products from over 35 lenders to find the best fit for you. We hold your hand from start to finish, providing guidance and support along the way. Our assistance doesn’t end after settlement. We regularly check in to ensure your loan continues to work for you. If you’re thinking about buying a property, get in touch with the team at Mortgage Choice Newtown/Eveleigh on 9517 1818  or email newtown1@mortgagechoice.com.au .

Artists Sharon Billinge and Ann Woo, connecting to the community thorugh the Street Stories Project Walking down Erskineville Road towards the train station at night, the sign for the Hot Dog Cool Cat Pet Salon pierces one’s peripheral vision from a distance. The glare it gives off is exacerbated by the glossy, reflective tiles of the vet next door.  As you approach the intersection of Morrissey Road, however, this light seems to soften. Another few steps and it dims completely beside the thousand-watt smile of a young Olivia Newton-John. The singer and film star beams out from a mural painted two years ago by local artists Sharon Billinge and Ann Woo in the wake of Newton-John’s death.  Above the portrait, steely angular letters spell ‘Xanadu’ and beneath, a lyric from the cult film’s titular song – “a million lights are dancing and there you are, a shooting star.” For a few metres around the wall, the night recedes.  The Xanadu mural is just one of many public art pieces created by Billinge and Woo in Erskineville since 2020. Woo, who has lived in the area for over 25 years, spearheaded the ‘I Love Erko’ movement, which began as a series of murals around the suburb, but has since made the jump to tote bags and stickers which can be found all over the inner west.  The project began during COVID, says Woo, and was an effort to “keep everyone’s spirits up during lockdown.”  Similarly, Billinge’s Blue Wren Walking Trail, a Banksy-esque stencilling and mural project, also sprang from a desire to strengthen community bonds during the pandemic.  “It was a tester project”, says Billinge. An attempt to create both “a little treasure hunt” and sound the alarm about the dramatic fall in numbers of small bird species across the city.  Last Christmas, the pair unveiled their latest collaboration, a mural on hot pink vinyl commissioned by design studio the Frost Collective. Running the length of the Erskineville Project housing development on Mitchell Road, the work features portraits of the people, places and animal companions that are iconic to the suburb.  “There were people selected that you would see on the high street every day,” says Woo. “People who run some of the local businesses. Then there were people that we just knew and have lived in Erko for a long time and have a deep connection with the place.”  The work gave Billinge and Woo the chance to research, interview and photograph some of these mainstays of their community, which was a unique experience for both of them.  “You would never get a project opportunity like this usually”, says Billinge. “Usually it’s a community gloss-over sort of thing. It’s like ‘Oh, can you community up this thing?’ This was like they were really upfront about saying we want to do it properly.” And the results are glorious. On Mitchell Road, a slash of Florida-pink neon streaks away into the distance, muscling the night out of its path. As you approach, the irrepressible wiry nest of Miss Nanna Miss Koori’s huge hair is the first thing to catch your eye.  A little further down, pink tongue hanging out, Tango the poodle seems poised to bound over to visitors. Closer still and small snippets of memories swim into view. Friday night fish and chips at Erko Oval. A funeral procession held for a closing record store.   But this is only the first iteration. For the second part of the project, Sharon and Ann have called for submissions from locals describing their favourite person, place or memory in Erskineville. Selected entries will then be added to the existing mural in the coming months.  Before unveiling last year, Billinge and Woo remember feeling trepidatious about how their work would be viewed by Erskinevillians.  “You can put something out and think it’s the most benign, lovely thing ever,” says Billinge, “and someone will be like ‘My cat died when it looked at this.’” But the feedback has so far been overwhelmingly positive. Woo seems more delighted by the less tangible ripples it’s sending through the suburb.  “A local business owner said that her customers are calling her by her name, having seen her on the mural, which is so lovely,” she says. “It’s strengthening the connection in the community.”

Two Decades of Pasta and Passion: The Italian Bowl’s Journey in Newtown By Jamie Apps Read More On Newtown/Enmore If you’ve ever wandered down King Street in Newtown, you’ve likely seen the line snaking out of The Italian Bowl - locals and visitors alike, all craving a taste of the restaurant’s signature fresh, made-to-order pasta. Jenny Spyridis from The Italian Bowl reflected on its early days, recalling how the restaurant’s concept was a hit from the moment it opened in 2005. “The idea of choosing your own pasta shape, protein, and sauce really resonated with people,” she told Neighbourhood Media. The Secret to Longevity Spyridis stated that the restaurant’s success stemmed from its unwavering commitment to quality and consistency. “Our meals are simple, old-school Italian recipes, with good portion sizes and reasonable prices,” she explained. She noted that while trends in dining constantly evolve, The Italian Bowl has stuck to what works. Beyond the food, she pointed to the restaurant’s energetic, welcoming atmosphere as another key factor. “Our ambience is fast-paced yet inviting,” she said. “We have friendly service, and everyone feels welcome.” Spyridis also emphasised the importance of relationships - with staff, suppliers, and customers. “We’ve always remained loyal to those we work with, and that has helped us build long-term connections, which is rare in this industry,” she noted. Challenges and Triumphs Running a thriving restaurant for two decades hasn’t been without obstacles. According to Spyridis, one of the biggest challenges has been navigating Sydney’s rising cost of living. “Interest rates, taxes, and increasing expenses make owning a business difficult,” she said. “There are huge, unfair costs involved.” Staffing has also been a hurdle. “The government makes it tough for overseas workers to get permanent residency,” she stated. “Hospitality relies on these workers, and sponsoring them is expensive but necessary. They work incredibly hard and deserve the opportunity.” Despite these difficulties, The Italian Bowl has achieved significant milestones over the years. “We’ve won several local and Australian championship awards,” Spyridis shared. She also revealed the restaurant’s dominance on food delivery platforms. “We consistently have the most orders on Uber Eats for a stand-alone restaurant in Australia and New Zealand,” she said. Beyond business success, she highlighted the restaurant’s deep ties to the community. “We’re proud to support local charities, provide meals for the homeless, and assist first responders through advertising and donations,” she said. Looking Ahead As The Italian Bowl celebrates 20 years, its future remains rooted in family. “We plan to stay in our current location for our children to eventually take over,” Spyridis said. Expansion is also on the horizon, but with a focus on maintaining the restaurant’s core values. “We’re exploring new areas to open a similar concept, but only if it can still be managed and run by family members,” she explained. Innovations are also in the works. “We’ve had a few school excursions and are considering doing more during our closing hours,” she shared. “We’re also looking at pop-ups and the ‘hole in the wall’ trend, where fresh produce is cooked to order daily.” With a loyal customer base, a strong community presence, and a vision for the future, The Italian Bowl’s journey is far from over. Book your table at The Italian Bowl Today 255 King St, Newtown (02) 9516 0857 www.theitalianbowl.com.au

Camperdown Cemetery and it's connection to the shipwreck of the Dunbar. By Alec Smart Read more on Newtown In a corner of Camperdown Cemetery in Newtown, enclosed within a rectangular barrier of corroding iron railings, is a raised marble sarcophagus. Alongside stands the rusted remains of a ship’s anchor. The Dunbar. Painting: William Foster, 1853 This memorial pays tribute to the victims of two horrific shipwrecks – Dunbar (20 Aug 1857) and Catherine Adamson (24 Oct 1857). The Dunbar disaster is one of Australia’s worst maritime tragedies due to the massive loss of life – 121 passengers and crew. Beneath the plinth in the cemetery’s mass grave lie the remains of the bodies of 24 Dunbar victims, few of whom could be identified because they had either deteriorated in the surging sea and rocks, or been mauled by sharks. The remains of the other 97 victims were never recovered. The Catherine Adamson cadavers were added nine weeks later after that vessel struck rocks below North Head and broke apart in rough seas with the loss of 21 lives. Visitors to South Head may wonder why the Macquarie Lighthouse, Australia’s oldest and still-in-use lighthouse (its predecessor was constructed in 1818, replacing a 1791 beacon) is situated one mile (2.2km) to the south of South Head. Why wasn’t it sited at the actual entrance to Sydney Harbour? Macquarie Lighthouse, built a mile south of the entrance to Sydney Harbour. Photo: Alec Smart After these two horrific shipwrecks occurred in close proximity and two months apart, this glaring oversight forced the construction of the Hornby Lighthouse in 1858. Previously, since 1816, a fire beacon (an iron basket filled with burning wood or coal and mounted on a tripod) was stationed below South Head, but it would have provided little illumination in fog and storms. Such was the case in 1857… The Dunbar was named after shipowner and merchant Duncan Dunbar, who introduced the faster American-style clipper ships to Australia’s maritime trade routes in the middle of the 19th century. These sleek merchant vessels, the fastest sailing ships in international waters prior to the introduction of steamships, transported cargo and passengers back and forth between Britain and her colonies, including bringing a fresh wave of immigrants and speculators keen to pan the newly-discovered Australian goldfields. (The Cutty Sark, which carried wool to England from NSW between 1885-93, is a prime example of a clipper and is now preserved as a museum in a drydock in Greenwich, London.) On the night of 20 August 1857, the 63 passengers and 59 crew aboard the Dunbar must have been in high spirits, so close to their destination after 81 days at sea. The three-masted, copper-sheathed ship had departed Plymouth, southern England, on 31 May on its second voyage to Sydney. South Head showing the Hornby Lighthouse and the lighthouse keepers' cottages. Photo: Alec Smart It is not known what caused Captain James Green to steer the 1,321 ton (1,198 metric tonnes) fully-laden Dunbar straight into the 50-metre-high cliffs, instead of rounding South Head. Green was a veteran of eight visits to Sydney, one commanding the Dunbar, and he had previously captained two other vessels – the Vimeira and Waterloo convict transporters – which had involved negotiating them through Sydney Heads. Able Seaman James Johnson, who was on watch duty aboard the Dunbar the night they approached Sydney, testified at the Inquiry into the likely causes of the tragic shipwreck. He recalled that shortly before midnight, bearing north, with the occasional flash of the Macquarie Lighthouse beacon through the fog, beset by a rising gale and limited visibility, Captain Green estimated the Dunbar was due east of Sydney Heads. Green changed course and bore westwards towards what he assumed was the entrance to Sydney Harbour. The Dunbar clipper. Image: State Picture Library Victoria Keeping the Macquarie light on the left side, Green ordered a lantern with blue tinted glass be lit, which then served the purpose of notifying the harbour pilot boat stationed at Camp Cove that they needed guidance into the settlement at Sydney Cove. However, an urgent cry was heard from the second mate on the foredeck, “Breakers ahead!” This warning alerted the crew that waves were seen pounding on rocks directly in front, and their only course of action was to immediately divert the vessel from imminent collision. Captain Green gave the order, “Port your helm!” – port being the left flank of a ship, so the response from the crew was to urgently steer the vessel to the starboard (right flank). However, the situation was irrecoverable. Despite turning the vessel clockwise so it was side-on to the shoreline, they were driven broadside onto the cliff face by the surging tide and the vessel was catastrophically damaged a short distance south of The Gap. (There was speculation that Captain Green mistook the indent of The Gap as the entrance to the harbour.) The Gap. Perhaps in the storm, Captain Green thought it Sydney Harbour's entrance. Photo: Alec Smart The topmasts broke, the mizzen (rear) and main mast snapped, and they collapsed in a tangle of sails and rigging as waves broke over the decks. James Johnson was swept onto the poop deck (rearmost upper deck) where he clung to the midden chains. While the vessel was still intact, he went below deck, made his way forwards towards the bow, and clambered up out of a cabin skylight and grasped the chains of the still intact foremast. However, that soon gave way and Johnson was hurled onto the cliffs behind. Here he managed to climb up to a ledge three metres above, where he found refuge. (The following morning he clambered further up the cliff face and was eventually discovered 33 hours later, on 22 August 1857.) The ship then rolled onto its side and began to break up in the pounding surf. The lifeboats dislodged and were splintered by the crashing waves, so those onboard (the majority below decks) had little chance of survival. All 63 passengers of the Dunbar and 58 crew perished as they were overwhelmed by the force of the surging sea. Johnson was the only survivor of the shipwreck, which remains in the top ten of Australia’s worst maritime tragedies due to the high loss of life. 'Entrance to Port Jackson' (the Dunbar's masts poke out of the sea). Painting: Edmund Thomas 1857 In the immediate aftermath of the disaster, thousands of spectators were drawn to view the remains of the Dunbar wreck, and witnessed the horror of mutilated bodies still being dashed against the cliff face around The Gap by the powerful waves. Much of the cargo, personal belongings and broken timber from the doomed vessel washed into Sydney Harbour and was distributed along the shoreline around Middle Head. Clothing and foodstuffs were scattered on the beaches from Taylors Bay to Balmoral Beach and up Middle Harbour to The Spit. 17 bodies were recovered in this vicinity, many of them unrecognisable. Over 20,000 people lined the streets of Sydney for the funeral procession, which consisted of seven hearses and four mourning coaches containing relatives of the deceased. In addition, the cortege was accompanied by a military band and a guard of honour provided by the NSW Mounted Police Unit, plus an estimated 100 carriages. Every ship in Sydney Harbour flew their flags at half mast, church bells tolled across the city and banks and businesses closed as a mark of respect. The service was conducted at Camperdown Cemetery in what was then called O’Connell Town (north Newtown), with the victims interred in a communal grave. Later, a memorial with one of the ship’s anchors, recovered in 1910, was established on the clifftop overlooking the wreck site. Dunbar Memorial at The Gap with an anchor recovered from the wreck. Photo: Alec Smart Nine weeks after the Dunbar disaster, around midnight on 24 October 1857, the steamer Catherine Adamson was wrecked entering Sydney Harbour when she was blown by a sudden and heavy squall and struck the rocks below North Head with the loss of 21 lives. The remains of the victims were interred in the same mass grave among the Dunbar passengers and crew. This second maritime tragedy, so close in proximity and time to the Dunbar, provoked an urgent demand for the installation of a lighthouse at South Head, which resulted in the construction of the 9.1 metre red-and-white striped Hornby Lighthouse the following year. (It was erected on a platform that was previously the site of Australia’s first Signal Station, a flagstaff, founded February 1790, to which ships arriving to the new settlement of Sydney Cove communicated their arrival via flags and lanterns to the harbour authorities.) Hornby became known as the ‘Lower Light’, to distinguish it from the ‘Upper Light’ of Macquarie Lighthouse, and because it was built below the cliffs of South Head. The Hornby Lighthouse at South Head. Photo: Charles Bayliss c1880s A memorabilia industry opened in the wake of the Dunbar disaster, selling items that washed ashore as well as furniture constructed from the timbers of the vessel. From the 1950s, when SCUBA diving gear became popular, the Dunbar wreck below The Gap was raided many times by divers, looting submerged valuables, which were often dislodged by dynamite. In October 1991 the Dunbar wreck site, in approximately eight metres of water, was protected under the Commonwealth Historic Shipwrecks Act 1976. According to the Australian Maritime Museum, “in 1993, the Commonwealth Department of the Arts and Administrative Services declared an amnesty from prosecution to encourage people who had material from protected shipwrecks to come forward and declare that material. “As a result of this amnesty, John Gillies, an active sports diver in the 1950s and 60s, declared a collection of over 5,000 objects from the Dunbar wreck to the New South Wales Department of Planning. In August 1994 the department granted Mr Gillies a permit to dispose of his collection at auction under the condition that the collection be registered, photographed, remain in Australia and the new owner inform the department within 30 days of purchase. “Shortly afterwards, the Australian National Maritime Museum negotiated an out-of-auction settlement with Mr Gillies to prevent this important collection from falling into private hands and possibly being broken up. You can browse these various artefacts on our Collections website.” The Dunbar grave in Camperdown contains only 24 of the 121 victims of the disaster. Photo: Alec Smart A Dunbar Memorial Service is held in Camperdown Cemetery annually in August to commemorate the long-lost victims of the tragedy. Australian Maritime Museum have a collection of artefacts from the wreck, which can be viewed on their Collections website. READ MORE ON NEWTOWN

More on St Ives, More on Turramurra Meet Mark Schuster, the Busking Fire Ranger with a long history of playing and recording folk music around Australia, both solo and with accomplices at festivals and events. The busking fire ranger performs melodies from different genres and eras, especially those from his Germanic heritage, but he is also an archivist, and over many years he has been chronicling a wealth of fascinating material. Mark Schuster, the busking fire ranger with his button accordion. Photo: Alec Smart According to his LinkedIn profile, he has been “recording oral history research for 25 years and the resultant collection of my extensive fieldwork - celebrating the German-Queensland cultural contribution and also my German heritage - is housed in the National Library of Australia, Canberra.” Mark unpacked his beautiful old button accordion, which, unlike a piano accordion, has buttons on the melody side, not piano keys. It differs from a concertina, with the buttons on the front, not the sides. A traditional button accordion - no piano keys. Photo: Bernard Loffet/Wikimedia “German people are either good with music or metals, sometimes both,” he revealed. “Very musical, and they did wonders with the accordion. So I'm a bit of a ‘Last Man Standing’ of that German folk tradition.” By ‘metal’ here of course he meant metallurgy? “Metalwork,” he confirmed. Not ‘metal’ as in heavy music - because Germans are good at that too! “It's all heavy metal when you're a blacksmith!” he joked. I recalled a trip to Hahndorf in South Australia, a historic town first settled by German-speaking immigrants in 1838. Now renowned as a popular tourist district, the architecture, restaurants and gift shops retain a distinctly German theme and the bars feature accordion players, often wearing traditional lederhosen (Austro-Bavarian leather shorts). “I don't go that far!” That was my next question! “For me it's very dear this German tradition that I've kept going, and most of the music I play at the Showground is from that tradition.” Mark in Surat, Queensland, interviewed by the ABC. Photo: supplied Fire ecology But Mark wears several hats, because, in addition to chronicling and playing historic folk music, he is also a Bushfire Planner and Ecological Scientist. Through years of detailed fieldwork and study, he has amassed a wealth of knowledge on Australian native environments and how bushfires impact on them. In addition, he has a long history working with both New South Wales National Parks and Queensland Parks & Wildlife as a professional Fire Ranger and has advised and worked with federal, state and local government departments in environmental management and the complex field of bushfire planning. Mark is the Strategic Fire Officer for Ku-Ring-Gai Council, a highly specialised role that combines his many skills in scientific research, consultation, community outreach and fire prevention. Rural Fire Service monitor a controlled burn at Cowan Creek, Ku-Ring-Gai Chase. Photo: Alec Smart So, what does ‘bushfire planning’ entail? “It is really centred on working out with the Rural Fire Service (RFS), NSW Fire and Rescue and National Parks and Wildlife Service what our best strategies are to stop the big wildfires that come through,” he explained. “My big job is to work out how to protect the plants and animals which actually do need fire, but how to balance that with the human needs to minimise risk to people and property. Particularly at the bushland / residential interface, of which Ku-Ring-Gai alone has about 100 kilometres. “So, it's a balancing act between residential and human risk - minimising that risk - and also the fire regime for plants and animals. Because they do need fire.” What do you mean by "needing fire", aren’t bushfires a destructive force? “For the propagation of seeds,” he revealed. “Particularly banksias, persoonias, geebungs, grevilleas - they all need fire. “Here at the St Ives Showgrounds, what we call the ‘sandstone ridge-topped woodland’ is full of these trees with tough wooden seed pods that need extreme heat before they open. They're proteaceae, ancient Gondwanaland-type plants which have evolved to need fire in their cycling...” Banksia dentata has evolved to use bushfires to spread its seeds. Photo: John McPherson/Wikimedia Have fire-reliant flora evolved by adapting to the burning regimes of Indigenous peoples? “No,” Mark corrected. “Because the Aboriginal people arrived some 70 to 80,000 years ago, but before that these trees and plants slowly evolved for probably millions of years.” So how have certain flora evolved to wait for a bushfire? It’s not a very reliable means to propagate; they may wait decades between fires while rivals (and predators that feed on them) might reproduce successfully many times over that time. What else started bushfires prior to the arrival of Aboriginal peoples? “Lightning!” he declared. “Lightning was the main origin of the big fires that swept across the Ku-Ring-Gai region, probably every 15 to 20 years, and raze the country. Plants like the hakeas would open their pods and drop the seeds down into the ground. Then, when the rains next arrived, up grew the seedlings. “However, it probably required 12 to 15 years for those seedlings to grow up into mature plants and trees and prepare the next generation of seed.” As an adviser on bushfire awareness, what are his thoughts on prevention or protection? “Look at all our houses,” he considered. “We build most of our houses on tops of the ridges around here, which isn't the best spot to place them. Because fires travel straight up a ridge; for every 10 degrees in a slope a fire will double in intensity. So, if you've got a 30-degree slope, you imagine, boom! Fires race straight up them! “It’s to do with oxygen and the fuel load per layer, as a fire ascends. We call it 'fuel laddering' both horizontally and vertically – the fuel laddering effect.” A fuel ladder or ladder fuel is a firefighting term for vegetation (either living foliage or dead leaves and branches) that provides the combustible material that enables a fire to climb from the lower landscape up into the tree canopy. There has been recent talk about the reintroduction of Aboriginal Cultural Burning – fire management strategies employed by Indigenous peoples for millennia. How effective are they in diminishing bushfire risks, particularly around Ku-Ring-Gai? “It does in certain areas,” he considered. “In Ku-Ring-Gai area they reckon cultural burning was mainly used along ridge tops for pathways to the sea. The original Mona Vale and Pittwater roads were Aboriginal pathways to the beaches that they would keep clear with fire. “And also as access to their goanna grounds, where they'd harvest, so to speak, goannas and kangaroos. By keeping the grass growing, they could corral goannas in a certain area – sort of ‘farmed’ them!” Goanna munching on a sausage. Photo: Alec Smart He continued, “There are three fire-prone sides of Ku-Ring-Gai: Lane Cove in the west, Ku-Ring-Gai Chase, which is a huge area, to the north, and Middle Harbour to the south. “We have to work out where do we strategically best light our hazard-reduction burns in these areas. Often we start them close-up against houses to try and drop the fuel load around them from about, say, 25 tonnes a hectare down to less than 10, because that will really reduce the potential destructive force of an advancing bushfire. Climate Change and Bush Fires “The main thing I’m up against, though, is climate change, because we're going to get more huge wind-driven fires in the future. Once you get a wind-driven fire, the beneficial effect of doing a hazard-reduction burn beforehand is a lot less, because it will just sweep through the canopy – bang, straight to your houses! This means, ‘future fire’, as we call it, may be a lot more tragic than what we're seeing today.” There’s also much more risk of embers floating on the wind and landing on rooftops. “85 per cent of Australian houses that are lost to bushfires are caused by wind-blown embers lodging and starting new fires. “The trouble, too, with wind-driven fires, everyone thinks that planes can drop water in advance to slow their advance. However, you can't fly planes and helicopters in front of bushfires when winds are over 70km an hour. Too dangerous! Water carrying helicopters and planes can't douse bushfires in high wind conditions. Photo: Alec Smart “When you've lost that ability in a wind-driven fire, they're big problems - particularly in the Hawkesbury region, where there is a huge fuel source, just 20km from where we are at the St Ives Showgrounds, if that!” It’s approximately 33km by road from St Ives to Brooklyn, at the mouth of the Hawkesbury River, significantly less as the crow flies. “As you can see, my job responsibility is huge! I'm trying to protect people whilst still managing suitable fires for the plants and animals that need them. It's lucky I'm a Libra because I like balance - I'm on the scales! But I'm a comedian too, as you can tell! “So we have to learn to live with fire, that's the key to it. And as I tell people, who live around the edges where there is more risk of fire, ‘your life is more valuable than your property, so get out early!’ That’s also the Council's message: Get out early! If you know it's a catastrophic bushfire day, get out early and live.” Ku-Ring-Gai Council bushfire prone land: planning and advice Mark Schuster musical archive at the National Library of Australia Mark explains Germanic immigrants' influence on Queensland folk music Mark Schuster, Strategic Fire Officer for Ku-Ring-Gai Council. Photo: Alec Smart By Alec Smart