Buying or Selling in 2025?  Focus on the Big Picture  More on Mosman As agents we are constantly asked “how’s the market” by clients to family and friends because we are intrinsically linked. And, given we are always immersed in the market, we can reveal a pretty accurate snapshot of what is happening in our local area in real time, long before the data is crunched and released to the community through mainstream media. So, when we say it’s a good time to buy, by the time the media picks it up months later and buyers start to re-emerge, it is generally no longer a buyers’ market. Conversely, when we hand-pick owners and convey to them that they could sell for a premium at that time, we have first-hand knowledge in what we are saying (and likely have a string of buyers eager to purchase). Investors are generally on top of what’s happening and buy/sell accordingly. The principals of supply and demand are continuous. So, what do we see for Mosman Real Estate in 2025?  Adam Vernon We can categorically say, our local market in Mosman and the Lower North Shore is relatively resilient to the ups and downs, however, it has been slower than previous years, seasonally and in reaction to the current cost of living issues faced by many. With impending rate cuts and relief to come at some stage, buyer and seller sentiment is showing signs of improvement. Open home viewing numbers for the start of the year are significantly better already. We could throw around figures and percentages, days on market etc – so many different statistics from varying sources, however, we need to focus on the desired outcome of achieving a sale or purchase, regardless of market conditions.  If 2025 is a year you plan to be part of the market as a buyer or a seller It will come down to genuine readiness to proceed with big picture focus on gaining a foothold for your future. Considerations for what you want to achieve for your lifestyle and future are more important than minutia and box ticking which can people hold back from seizing opportunities – and we have seen it happen many times. It is a tough market out there, especially in highly sought-after locations, however, an alternate strategy like buying in an area we can afford and renting in the area we want to reside, offers an opportunity to get started (rentvestor). It sounds easier said than done but it’s doable. The same applies to sellers where they may not be reaching price expectation but before pulling off the market, consider that buying in the same market often results in gains at the other end, and advancing in a desired lifestyle can offer way more returns in non-monetary value than financial shortcomings (that will likely be made up later).  All I can suggest is to find a way to make current conditions work for your end goals – as I’ve eluded, it is not always easy, but we see people make it work for them (me included) and they’ve never looked back. Small compromises can provide big wins in other ways and life is too short to sit back and wait for the perfect conditions to arise.  I’d welcome an opportunity to discuss any Mosman Real Estate situation in which I can assist you in achieving your property goals in 2025. Please don’t hesitate to contact me at any time.

Varney Monk may not be a household name today, but her contributions to Australian music, particularly in musical theatre and patriotic composition, were significant.  More on Mosman A pioneering female composer in the early 20th century, Monk’s legacy lives on through her work, particularly the iconic musical Collits’ Inn. While her music resonated across Australia, it was Mosman that provided the backdrop for much of her life and creative work. Born in Bacchus Marsh, Victoria, in 1892 as Isabel Varney Desmond Peterson, Monk demonstrated incredible musical talent from a young age. She trained as a pianist and composer, excelling in both disciplines and soon began writing her own works. In 1913, she married Cyril Monk, an Australian violinist and academic, and together they became an influential force in Sydney’s musical landscape. Finding Inspiration in Mosman Though she was born in Victoria, it was in Sydney - specifically Mosman - that Monk found a home and a thriving artistic community. Mosman, with its picturesque harbourside setting, had become a hub for artists, writers, and musicians in the early 20th century. The creative energy of the area, along with its social circles, provided a fertile ground for Monk’s compositions. She lived in Mosman for much of her life, and the suburb played a crucial role in her artistic journey. During the 1920s and 1930s, Mosman was a vibrant cultural hub, attracting composers, painters, and playwrights who sought inspiration from its natural beauty and artistic milieu.  Monk was no exception — her home in Mosman became both a sanctuary and a creative space where she composed some of her most well-known works. Mosman’s music scene was particularly lively at the time, with community concerts, orchestral performances, and private musical gatherings frequently held at homes and local venues. Monk was an active participant in this culture, both performing and sharing her compositions with local audiences.  This strong sense of artistic community no doubt played a role in shaping her career, allowing her to network with influential figures in the Australian music industry. Collits’ Inn: A Landmark Australian Musical Monk’s most famous work, Collits’ Inn , was a landmark in Australian musical theatre. Composed in the early 1930s, the musical was based on the real-life story of Pierce Collits, an innkeeper in the Blue Mountains in the early 19th century. The show was groundbreaking - it was one of the first successful musicals written by Australians about Australian life and history. While much of the development of Collits’ Inn took place in Sydney’s theatre circles, Mosman remained a key location for Monk during this period. It was in her Mosman home that she refined her compositions and prepared for performances, drawing inspiration from the lively artistic community around her. Following the success of Collits’ Inn, Monk continued composing, with her next major work being The Cedar Tree (1934), another Australian musical with strong historical themes. Though it did not reach the same level of success as its predecessor, it reinforced Monk’s role as a pioneering composer in Australian musical theatre. A Lasting Mosman Legacy Varney Monk. Photo: Eric Francis Mosman was not only Monk’s home but also an essential part of her creative world. The area’s cultural vibrancy provided her with opportunities to share her music, collaborate with fellow artists, and refine her craft. Even as her works gained national recognition, she remained deeply connected to the local community. Today, Mosman continues to celebrate its rich artistic heritage, and Monk’s contributions to Australian music deserve recognition alongside other creatives who called the suburb home. Her pioneering work in musical theatre laid the foundation for future Australian composers, proving that local stories could resonate on a national stage. She passed away in 1967, leaving behind a legacy of compositions that helped define early Australian musical theatre. And while her name may not be as widely recognized today, her influence remains embedded in Australia’s cultural history.  As Australia continues to celebrate its artistic pioneers, Monk’s work serves as a reminder of the power of storytelling through music. Her ability to blend history, emotion, and melody ensured that her compositions stood the test of time.

From Deserts to the Beach: artist Jo Bertini on Creative Connection in Mosman More on Mosman By Tahney Fosdike  Jo Bertini – an award-winning Australian artist with a thirty-plus year portfolio of painting, education and writing – is known for her desert landscapes, people and animal paintings and drawings.  With plenty of local and international exhibitions, publications and residencies under her belt, her creative focus has always been constant: a love for remote and inaccessible desert regions around Australia and the world.  With her dedication to remote areas, you might be surprised to know that Jo Bertini can often be seen in the streets of Mosman – one of the places she calls home.  We caught up with the artist to learn how she observes and celebrates the beauty and creative community in the harbourside suburb.  Why are you based in Mosman? Do you have a local studio? I work between my studio in Abiquiu, New Mexico, USA, and my property in rural central NSW where I have a heritage woolshed studio. I also have a room in my parents' house in Mosman that I use as a studio when I'm in Sydney for family.   Mosman is far removed from your desert subject matter. But it's a beautiful place: with views of the Harbour and Opera House and many beaches and parks. As an artist who observes the world, how do you connect with the suburb, creatively, in your daily life?    I love Mosman for those reasons. It's a rare phenomenon today to have so much preserved native bush and unpolluted beaches close to a city. Daily walks and swimming are conducive to my practice, putting me in the right mind space of reflection.  The undeveloped foreshore and national parks are also creatively stimulating, offering connection to the natural world as well as a sense of history and place that I need in the studio.  I often kayak into the ocean for a different perspective on the land, the geography and the beautiful remnant angophora forests. Mosman offers great privilege and an incredible lifestyle that we often take for granted.   You’re exhibiting twice this year with Mosman Art Gallery. The first show, 2025 Artists of Mosman 2088 (February 15 - March 16), celebrates Mosman as the home of artists for tens of thousands of years by surveying its current thriving artistic community. Can you tell me more about being involved in the local creative network?        Mosman has a long history of attracting artists since the earliest Traditional Custodians who left evidence like hand stencils and petroglyphs of whales, fish, kangaroos and ancestral beings carved into the sandstone foreshore. They also left traces of quarries for tool making and shell work in the recovered middens around the foreshore.  The later colonial artists and their camps were exclusively male, although many female artists were working and visiting the sites and camps in the area. The natural flora and fauna, as well as this deep historical artistic context, interest and inspire me.  The paintings I'm working on for the exhibition reflect this. They also reflect my longstanding interest in inserting a “female” version of place into the historically predominant male archive. Other women artists of Mosman, particularly my Mum (sculptor Anne Ferguson, who has public artworks around Mosman) inspire me. My mother has always been my major artistic mentor and influence.   Where will this year take you? What are your plans for 2025?   I'm currently working on a project with Traditional Custodians in the deserts of central Queensland and scientists from UQ. I will return to my home and studio in New Mexico – in their Spring – to continue to work on desert projects.  In June, I'm going to the only European desert (Andalusia, Spain) for a month-long artist residency and to work with an environmental organisation involved in projects concerning desert preservation, rehabilitation and biodiversity as well as cultural and Indigenous preservation.  I have other exhibitions, too, and feel I need to disappear into the studio. My “dance card” is full!   Visit these links for more information on Jo Bertini:   www.jobertini.com Mosman Art Gallery:   www.mosmanartgallery.org.au

Where to spot little penguins around Mosman and how to protect them. More on Mosman Sydney’s glittering harbour is famous for its iconic landmarks and vibrant marine life. Among its many inhabitants, the penguins - known for their waddle and distinct blue-grey feathers - are perhaps the most captivating. And while Sydney’s urban sprawl might seem an unlikely place for penguin sightings, the harbour and its surrounds are home to a small colony of these pint-sized creatures. Here’s where and how to safely see them without disturbing their natural habitat. The little penguins of Sydney harbour The little penguin, also known as the fairy penguin, is the world’s smallest penguin species. Growing to just 30–33 cm in height, these penguins are nocturnal on land, returning to their burrows after dusk. In Sydney Harbour, the primary colony is located on Manly’s North Head, a short ferry ride from the CBD. This colony is particularly special because it’s the last breeding colony of little penguins on mainland New South Wales. Conservation efforts have been in place for years to protect these birds, which face threats from urban development, domestic pets, and human interference. Where to spot penguins Manly Wharf and surrounds Manly is your best bet for spotting penguins in Sydney. At night, you might see them swimming near the wharf or hear their distinctive calls as they return to their nests. While sightings are not guaranteed, the area is known for occasional penguin activity, particularly during the breeding season (June to February). The Manly Cove boardwalk is another spot where penguins are often sighted. Visitors are encouraged to keep their distance and avoid using flash photography, as bright lights can distress the birds. North Head Sanctuary For a more immersive experience, head to North Head Sanctuary, a protected area managed by the Sydney Harbour Federation Trust. While penguins are rarely visible during the day, you can take a guided tour or explore the area at dusk when the birds are most active. Manly Wharf North Head is also a great place to learn about the conservation efforts protecting these penguins. Educational signage and volunteer-led initiatives provide insights into their habits and the challenges they face. Quarantine Station (Q Station) The historic Q Station at North Head is another location where little penguins have been spotted. The area’s quiet, secluded beaches and rocky outcrops provide ideal nesting sites. Q Station also offers eco-friendly tours that highlight the local wildlife, including penguins, in a way that minimizes disruption to their habitat. Barrenjoey Headland Located at the northernmost tip of Sydney’s beaches, Barrenjoey Headland is a lesser-known but rewarding spot for wildlife enthusiasts. Penguins have occasionally been seen swimming near the headland’s rocky shores. While sightings here are rarer, the pristine environment makes it worth a visit. How to safely observe penguins Seeing little penguins in their natural habitat is a privilege, and responsible viewing is essential to ensure their survival. Here are some tips for safe penguin observation: Avoid approaching penguins: Maintain a distance of at least 20 metres to prevent disturbing them. No flash photography: Bright lights can disorient penguins and interfere with their natural behaviour. Keep noise to a minimum: Penguins are sensitive to loud sounds, so be sure to observe quietly. Respect their habitat: Stay on designated paths and avoid entering nesting areas. Leave pets at home: Dogs and cats are natural predators of penguins and can pose a significant threat. Conservation efforts Penguins in Sydney face numerous threats, including habitat loss, water pollution, and predation by foxes and domestic pets. To protect the Manly colony, local authorities have implemented strict regulations. These include fencing off nesting sites, installing artificial burrows, and conducting night patrols during the breeding season. Volunteers and organizations such as the Sydney Harbour Federation Trust and National Parks and Wildlife Service play a vital role in monitoring penguin populations and educating the public. By supporting these efforts, we can help ensure these delightful birds remain a part of Sydney’s natural heritage. Penguin-friendly activities If you’re eager to learn more about little penguins without risking harm to them, consider joining a wildlife tour or visiting an eco-focused organization. For families, Taronga Zoo offers an opportunity to see little penguins up close while supporting conservation programs. Sydney Harbour’s little penguins are a magical reminder of the city’s rich biodiversity. By taking simple precautions and supporting conservation initiatives, you can enjoy these incredible creatures without compromising their safety. Whether you’re strolling along Manly Wharf at dusk or learning about penguin habitats at North Head, witnessing these pint-sized wonders in the wild is an experience you’ll never forget.

by Alec Smart Read more on Newtown Most people familiar with the iconic I Have A Dream  mural, a massive artwork on an exterior wall in King Street, Newtown, visible to south-bound traffic and pedestrians, are unaware it was NSW Heritage-listed. The Heritage-listed mural on the side of 305 King St Newtown. Photo: Alec Smart Marrickville Council (since amalgamated with Leichardt and Ashfield), whose jurisdiction covered the west side of King St, made the decision to preserve it on 2 December 2014 with a unanimous vote at their Tuesday night council meeting. Earlier, in March 2014, an independent Heritage Report commissioned by council declared: “The mural is of local historical, aesthetic and social heritage significance… It notes that the community maintains a sense of ownership of the mural, and anonymously repairs any damage to the mural that occurs.” After the preservation announcement, Marrickville Mayor Mark Gardiner said, "Without heritage listing the mural is vulnerable to removal.”   Had the mural been on the eastern side of King St, which is under the jurisdiction of City of Sydney Council, the artwork would never have been preserved, because that authority had a different policy regarding preservation of graffiti art. Because, unbeknownst to many, the enormous mural, which takes up the entire 3-storey side wall of 305 King St Newtown, was illegally painted during the hours of darkness in August 1991. Juilee Pryor and Andrew Aiken in 1995 The guerrilla painters were Juilee Pryor and Andrew Aiken , part of a clandestine collective of mural painters that operated under the name Unmitigated Audacity Productions  (UAP). From 1991-1995, the UAP guerrilla artists group, which also included Tony Spanos and Matthew Peet, painted a number of murals around the Newtown neighbourhood, only one or two of which are still in situ.   Juilee told Neighbourhood Media , “The time I spent painting walls without permission was very specific to the Newtown area. There was an arc that covered ground between my home and where Andrew (my painting partner at that time) lived. We both needed to be able to work in an area that we could both walk to so it was a small but quite densely covered area for that time that we were doing it.”   Did they have to resort to covert methods to paint their murals or were the majority of them commissioned by house owners? “A bit of both,” she revealed. “Andrew was a signwriter so he had no issues with upscaling things from a sign to a mural. But the last remaining big mural from that time was the I Have A Dream mural and that was completely covert. We had twice been refused permission to paint that wall so in the end we just did it anyway. It took a bit of planning that’s for sure!”   Fisheye view. Photo: Martin Lomo They had twice asked Marrickville Council for permission to decorate the large wall on King St, but had been denied, because the prime site was utilised for advertising billboards. Nevertheless, after sunset on Friday 2 August 1991, the daring duo began their clandestine composition around 7pm, working through the night. The plucky pair returned the following evening to complete the piece, which reportedly used $1000 worth of paint and took 27 hours. Police were initially notified by a concerned by-passer, but Juilee, then 35 and a mother of three, feigned innocence after a Newtown Police sergeant questioned her about reports of graffiti artists operating in the area. “Sergeant, we’re not lurking,” she responded, “we’re creating an artwork. And do I look like a graffiti artist to you?” The cheeky painters had even printed a fake letter of permission using a Marrickville Council letterhead.   Initially, the audacious artwork was height-restricted, because the duo only brought ladders. However, the following night collaborator Tony Spanos , described as an ‘eccentric millionaire’ who drove around in a gold Rolls Royce and whose family owned a meat export company, hired a mobile ‘cherry picker’ gantry to enable the two painters to reach the upper reaches. Juilee Pryor poses for a photo in front of her freshly-painted mural in Aug 1991   The mural consists of an Aboriginal flag along the bottom with a profile of planet Earth to the upper left , which copies a photo taken from the Apollo 8 space mission in Dec 1968, the first human-crewed space flight to circumnavigate the Moon (10 times). Upper right is the familiar face of American Civil Rights leader Reverend Martin Luther King Jr , and across the centre are King’s prophetic words from his 28 Aug 1963 “ I have a dream ” speech , and written in an historic Blackletter font. A Biblical quotation from Genesis 37:19 appears on the far left: "Behold the dreamer cometh; Come now therefore and let us slay him, and we shall see what will become of his dreams".   On its completion they declared it a "humanist protest against the sterility of postmodern art!” In the original version of the mural, there was no Aboriginal flag – that was added later. Instead, there was a collection of people beneath Dr King. The first version of the mural featured a collection of people along the bottom. Photo: Juilee Pryor The mural overlooks a small public courtyard owned by telecommunications company Telstra that extends for 50 metres. This is because the retail shops 295, 297, 299, 301 and 303 King St no longer exist, so there is a gap between 305 (the mural wall) and the next shop to the north, 293 King St. Here a small pop-up market of traders frequently sell used books and clothes. In 1995 Telstra proposed to develop this plaza, which would have seen eradication of the mural, but a public outcry thwarted their plans. Even the owner of 305 King St, which consists of a retail store and apartments above, supported the preservation of the artwork on the outside wall, despite the fact he’s long had to forego the income from the advertising hoarding. In a Sydney Morning Herald   article  dated 25 August 2011, the then 83-year-old Joseph Dekanic , said “I think the mural benefits the building and the area. On a philosophical level it means something to me. It’s about justice and progress and the betterment of people.”   Coldplay , the British rock quartet that are among the best-selling, highest-awarded bands in history, chose to film their June 2014 music video   “ A Sky Full of Stars ” guerrilla-style on King St, starting beneath the I Have A Dream mural. Carrying their instruments like busking troubadours, they led a crowd south down to the Newtown Neighbourhood Centre for a confetti-strewn singalong. Screenshot of Coldplay performing in front of the mural for their A Sky Full Of Stars music video.   Prior to her involvement with UAP, Juilee, an arts graduate from Adelaide, co-founded The Art Unit in an abandoned building at 84 Henderson Rd Alexandria (now a motor mechanic) in 1982, which ran until 1985.   “Art Unit was planned in Adelaide as a project by my then boyfriend, later husband, Robert McDonald ,” Juilee revealed. “We were both at Art School in Adelaide at the same time in 1980. When he finished his degree he moved back to Sydney and then I relocated to Sydney later to be with him to undertake what in hindsight I’ll call a really, really big adventure called Art Unit. “We got one vacant factory at the beginning and then within a year took on the adjoining factory when that became vacant. This allowed us to really expand our repertoire from visual arts and so on to theatre as well as live music. It was a wild time and Art Unit was phenomenally successful and really a perfect fit for the times. In the parlance of the times … it really went right off!”   Within this former factory the collection of resident artists created sculptures, paintings and photos, printed posters, held exhibitions, and hosted live music nights, all featuring fascinating characters from Sydney’s talented underground art scene. This reporter remembers visiting the premises in late 1983 to help print triangular-shaped posters for a second touring exhibition featuring album artwork of anarchist punk bands. Called Crass Art , and overseen by the nearby Black Rose Anarchist Bookshop , the framed collection of album covers and posters was exhibited in several major galleries nationwide, including the National Gallery of Victoria .   “Art Unit was a very personal project and when it finished it was over,” Juilee summarised. “There was no cloning the energy needed to make it work and it remains now as a memory of an extraordinary time in the service of meaning.”   A young Juilee with her camera beside her pink fire truck 'Lady Penelope', c1991 When was the last time she painted a wall mural? “I haven’t painted a big mural since those long-passed days. I had so many other interests, plus a young family that needed my time. I was always a painter but was fascinated by photography for years and that took up a lot of my creative mind.”   What has she involved herself with creatively in recent years? “I’ve become totally involved in creating a series of sculptures and am really enjoying where that is taking me.”   What medium does she prefer working in? “The medium I use to make work depends entirely on what I’m thinking about and what I need to do to bring form to my thoughts,” she considered. “So it really just depends. But I love all the skills I’ve acquired and honed over the years.” What are some of the artworks she’s most proud of creating? “I’m proud of many of the things I’ve done but the I Have A Dream mural is certainly up there at the top of the list. Art Unit was also a brilliant thing to have done and been part of. Meanwhile, whenever I try something new and need to struggle my way to competence at whatever it is I’m doing, I feel a certain satisfaction with what I’m doing.”     The iconic mural, familiar to all who drive down King St, Newtown. Photo: Alec Smart What became of Juilee’s accomplice, Andrew Aiken , her primary collaborator and the instigator and leader of guerrilla graffiti artists UAP? In 1997 he surrendered to British Police and served an eight-year prison sentence in England for a murder of a busker he committed prior to emigrating to Australia in 1990. Upon his release in 2005, he returned to his native Canada and joined a devout Christian sect in British Columbia.   Juilee Pryor website :  https://www.juileepryor.com/ Juilee Pryor Street Art Photograph Collection, City of Sydney Archives : https://archives.cityofsydney.nsw.gov.au/nodes/view/1894988   A selection of some of the wall murals Juilee Pryor was involved in painting in Newtown in the 1990s READ MORE ABOUT NEWTOWN

The Gruesome Tale of Samuel and Esther Bradley: Colonial Sydney's Most Shocking Murder Mystery More on Balmain The Devonshire Street cemetery was established along an ancient sandhill on the outskirts of old Sydney. Over the following decades, urbanisation spread out from the town centre, encircling the grounds.  By 1901, the decrepit burial ground was considered an out-of-place anachronism from the bygone colonial age. The government had announced that 38,500 burials were to be exhumed and reinterred in various cemeteries across the state, and the grounds were to be cleared, levelled, and re-developed as the site of the new Central Railway Station.  Approximately where the Eddy Avenue (originally known as Old Burial Ground Road) entrance to Central is today was the Church of England ground, the first to be established, all the way back in 1819. In this section of the six-acre compound, amateur historians Arthur and Ethal Foster commenced an exhausting task of photographing and documenting as many of the most important monuments as they could before the workmen started digging.  It was here that the Fosters photographed one of the most fascinating headstones: for Samuel and Esther Bradley, who were both buried in 1822, making them two of the earliest burials in the cemetery. However, it was the inscription on the stone that was most intriguing.  SACRED  to the MEMORY of SAMUEL and ESTHER BRADLEY who where Inhumanely Murder’d by their own Servant on the 15th of August 1822. S.B Aged 59 Years E.B Aged 65 Years Nestled among dozens of equally ancient headstones, positioned higgledy-piggledy and covered in weeds and overgrown ferns, the Bradleys lay undisturbed and forgotten for seventy-nine years. The inscription was unusual and noticeably out of place in the Victorian era, with its sombre decorum around funerary rites differing starkly from the Georgian era that preceded it.  What happened to Samuel and Esther on that fateful day in August 1822?  In the early days of New South Wales, a seemingly innocent excursion to visit a business partner took a dark turn for Alexander Berry, a prominent free settler. On his way from Sydney to the estate of Edward Wollstonecraft on the North Shore, Berry and his party decided to stop at Birchgrove to visit Samuel Bradley, an old friend who had moved from Wollstonecraft’s estate only three weeks prior. Upon arrival, the party was met with an unsettling scene. Bradley’s cottage, typically a welcoming site, was now eerily deserted. The doors were ajar, and the interior showed signs of chaos—trunks overturned, clothing strewn about, and an unsettling bone half-buried in the garden.  Mistaking it for an animal’s, Berry and his companions continued to Wollstonecraft’s villa, unaware of the grim reality awaiting discovery. Later that day, Edward Wollstonecraft, troubled by Berry’s account, sent two servants to investigate. Their findings were horrifying: the bone was identified as a decaying human arm.  Chief Constable Dunn of Sydney was summoned to launch a thorough investigation on September 2, 1822. Dunn’s search led him to a nearby felled tree, beneath which the mutilated body of Samuel Bradley was found, concealed between sandstone rocks. The corpse, partially consumed by dogs and with signs of burning, told a grim tale. Despite extensive searches, Esther Bradley, Samuel’s wife, remained missing. The news of the murder shocked the colony. As fear and curiosity gripped Sydney, individuals began coming forward with potential leads. Margaret Hodges, who had seen Esther alive on August 15, reported Esther’s anxiety upon meeting her servant, Thomas Barry after she was dropped off at a pier in Snail Bay.  Thomas, a convict, had been arrested for drunkenness in the days following and was detained in a chain gang on South Head Road with several items in his possession that raised suspicion. Among these items were keys, a silver thimble, and a sewing needle, which Thomas claimed were either gifts from the Bradleys or objects he found at the Hyde Park Horse Racing Track. His scratched face and erratic behaviour drew further scrutiny.  The discovery that Thomas had been involved in moving the Bradleys’ belongings added to the suspicion against him. A watchmaker also reported that Thomas had given him a watch for cleaning, which was suspected to have been stolen from Samuel Bradley. As evidence mounted, Thomas Barry changed his story. He initially denied involvement but later claimed to have witnessed the murders. According to his revised testimony, Samuel Bradley was murdered by associates of his, William Barry and Dennis Lamb, who then attacked Esther.  Thomas admitted to helping conceal the bodies and move stolen goods, though he claimed ignorance of the murder’s full extent. On September 6, a coroner’s inquest led by George Milner Slade was held at Birchgrove. The search for Esther’s remains led to a shallow grave in a garden where her body was found wrapped in a carpet. Thomas Barry revealed the location.  Her corpse bore severe injuries - a fractured skull and deep facial lacerations, indicating brutal violence. An axe and a pistol, believed to be the murder weapons, were also discovered. The axe bore a notch matching markings on the tree used to obscure Samuel’s body. Thomas’ testimony implicated William Barry and Dennis Lamb in the murder, but the evidence against them was circumstantial. It appeared more likely that Thomas Barry had committed the crimes on his own and that when Mrs Hodges dropped Esther Bradley off on August 15, Thomas Barry had already murdered Samuel and then finished Esther soon after Hodges left.  The jury found Thomas Barry guilty of murder, while acquitting the others. The trial, held on October 11, 1822, sentenced Thomas to death by hanging and dissection, as mandated by the Murder Act of 1751. Thomas Barry was executed on October 14. He took sole responsibility for the crime while standing before the gallows with the rope around his neck. His body was delivered to surgeons for dissection at the Rum Hospital on Macquarie Street, highlighting the harsh justice meted out in the fledgling colony where surgical cadavers were in short supply. The remains of Samuel and Esther Bradley were eventually relocated from Devonshire Street Cemetery in 1901, though their exact resting place remains uncertain. The headstone marking their grave has long been lost, with the only record of its existence captured in a historical photograph by the Fosters today found in the archives of the City of Sydney. The case of Samuel and Esther Bradley, shrouded in murder and deceit, remains a chilling chapter in Sydney’s early history, a stark reminder of the dangers that lurked in the colonial frontier. By Elliot Lindsay

Tessa MacKay is a painter of large, incredibly detailed portraits. She is perhaps best known for her portrait of Australian actor David Wenham peering through the reflective glass of a café window. More on Newtown Titled Through the Looking Glass, it was a finalist in the 2019 Archibald Prize, Australia’s most prestigious portrait competition. David Wenham Through the Looking Glass 2330x210cm Oil on Linen 2019. Photo: Henry Whitehead Neighbourhood Media conversed with this incredibly talented artist. Your work often blends realism with a dreamlike quality - what draws you to this intersection of styles, and how do you balance the two in your creative process? The dreamlike quality comes from painting hyperreal works on a large scale, which becomes a devotional practice. My portrait of David Wenham was the most conceptual; I had to consider how his environment reflected him. I planned the scale and composition to envelop viewers, but once I started painting, I shifted to a more intuitive approach, focusing on paint's materiality. This blend of abstraction and realism creates a tactile, almost dreamlike quality. Can you talk about your journey as an artist? Were there any pivotal moments that shaped your work? Many! My introduction to atelier-style drawing by mentor Richard Te Kuaha Merito sparked a curiosity in how I see the world. Another turning point was the 2019 Archibald Prize, where David Wenham's portrait won the Packing Room Prize [chosen by Art Gallery of NSW staff]. Seeing people's reactions was incredibly meaningful. More recently, I completed my BA in Fine Arts after undergoing cognitive training for dyslexia and ADHD, which helped me address challenges in my practice. Tessa MacKay - Trevor Jamieson Painting Hair 2017 Nature and the human form are key elements in your paintings. How do you capture the emotional depth of your subjects, especially in intricate detail? I never set out to be a hyperreal painter; it happened organically through portraiture. I’m drawn to the relational space between the artist and subject, whether real or imagined. Creating large-scale, detailed portraits allows me to spend extensive time with the subject and communicate in a non-verbal way. Perhaps the emotional depth comes from this visual connection. Your work often evokes a sense of quiet contemplation. How do you decide on the mood or atmosphere for a piece? In my hyperreal works, I gravitate toward moments when the subject becomes lost in thought, making them unreadable yet inviting for viewers. For David's portrait, his expression was crucial to creating a sense of presence while allowing viewers to feel comfortable observing the work. Tessa MacKay. Photo: Henry Whitehead Each piece of art can take a year or more to produce. Can you walk us through your creative process? Since I work from one reference photograph, I focus on resolution, focal plane, colour grading, and composition. I start by priming the canvas, projecting the image, and marking it out. I then apply layers of oil paint, beginning with a grisaille layer, followed by opaque and translucent layers. These layers build up details, creating a tactile feel and luminous colours that shimmer under different lighting conditions. Are there any artists or movements that have inspired you? Yes! I’ve been influenced by Baroque and Italian Renaissance artists, as well as contemporary artists like Maralyn Minter, Michael Armitage, and Ralph Heimans. How do you handle creative blocks or periods when inspiration is hard to find? Creative blocks often signal that things are getting stale or that I'm afraid to take risks. When that happens, I visit galleries, dive into libraries, or spend time with other artists. Sometimes I have to set the work aside until inspiration returns. Trevor Jamieson Painting 2017. Photo: MacKay. Your paintings invite viewers to slow down and engage deeply. What would you like people to take away from your work? I want my work to create a space for viewers to engage in a slow, thoughtful, almost meditative way. I’m drawn to art that’s tricky to read at first, allowing viewers to form their own interpretations over time. I hope my work fosters that kind of subjective engagement. Many artists find that their art evolves over time—how has your style or perspective shifted since you first started? My practice has evolved significantly. After painting David Wenham’s portrait, I realised hyperrealism was too demanding to sustain long-term. The technical demands often push artists to focus on ‘high-value’ images to justify the time investment. I found hyperrealism conceptually limited, so I’m now exploring ‘low-value’ images, playing against the style’s expectations. This shift reflects a broader trend in art criticism and has led me to explore new ideas in my work. Looking to the future, do you have any upcoming projects or themes you’re excited to explore? Yes! I’m developing a new body of work that reflects on the role of reference images and how we attribute value to certain types of images. These open-ended questions have inspired an entirely new painting practice, which I’ll be showcasing on my website in October Tessa MacKay told Neighbourhood Media. Tessa Mackay website: ​​ www.tessamackay.com

Gooragal to Gubbuh Gubbuh via Gooree and Georges Heights The Harbourside trek from Gooragal – the headland east of Taylors Bay - to the lookouts atop Middle Head, which the Indigenous Borogegal, Aboriginal custodians knew as Gubbuh Gubbuh, is an enjoyable stroll. More on Mosman By Alec Smart Former gun mount overlooking Sydney Harbour at Middle Head/Gubbuh Gubbuh. Photo: Alec Smart Approximately 4km in length, and part of the greater 80km Bondi to Manly Walk (a series of interlinked paths around Sydney Harbour), the Middle Head walk is achievable in an hour at a steady pace.  But a leisurely pace provides opportunities to explore historic sites around Chowder Bay/Gooree and Georges Heights – and perhaps pause for a picnic. There are cafés and restaurants along the route (but check the opening hours). However, much of the route is not wheelchair-accessible due to many steps and several unsealed dirt tracks.  Taylors Bay Mosman. Photo: Alec Smart Best point to start the trek is Taylors Bay Track, which curves around the natural, forested cove of Taylors Bay, and takes you in a north-easterly direction around Gooragal headland, then down into the Clifton Gardens.  I joined the path after descending the stairs from the end of Burrawong Ave, then followed the forested route around Gooragal headland. (Morella Rd also has two sets of stairs leading down to the track, or you can drive down to Clifton Gardens carpark if you wish to avoid steep steps). Clifton Gardens Reserve, on the foreshore of Chowder Bay, once featured a luxury hotel resort with a scenic railway, boathouse and a dance pavilion. It’s now an open grassed picnic area with barbecues and amenities.  Clifton Gardens Reserve, Chowder Bay. Photo: Alec Smart During its tourism heyday in the 1920s, Chowder Bay featured an enormous circular swimming arena with a viewing platform above, upon which 3,000 people could stroll around. Regular steam-powered ferries from the City brought a stream of pleasure-seekers and bathers.   All that’s left of the former pleasure grounds now is the timber jetty. It encloses an expanse of water about the size of a football field that protects bathers with a shark-proof enclosure. The shark netting beneath the wharf is currently being used as part of a special breeding program for the endangered White’s seahorse to help rehabilitate this vulnerable species. Clifton Gardens Wharf, Chowder Bay. Photo: Alec Smart The Indigenous Borogegal called this cove Gooree, but the name Chowder Bay originated in the 1830s when visiting American whalers made fish chowder from shellfish along the shore. A whaling factory was founded in Mosman Bay in 1830, but the ships, many of them international vessels, often anchored in neighbouring Taylors Bay, Sirius Cove and Chowder Bay. At the north end of the beach, the route then traverses the preserved yellow timber buildings of the former Submarine Miners Depot. In 1889, the NSW Torpedo and Signals Corp, founded 1873, relocated to Chowder Bay from Torpedo Bay (a cove in Berrys Bay, Waverton).  The personnel here were not submarine crew – reliably safe submersible vessels with diesel-electric engines and pressurised chambers were not in production until the turn of the next century. In Chowder Bay they specialised in underwater bombs.  Chowder Bay Former Submarine Base. Photo: Alec Smart From here they stretched submerged cables across Sydney Harbour on which were attached mines that would detonate if an unwelcome foreign ship sailed into them.  The Submarine Mining Corps were disbanded in 1922 and the base was repurposed for various military activities until its closure in 1997. On the lower deck, a research aquarium and the Sydney Institute of Marine Science now operate, while above there are two restaurants overlooking the bay. Stairs ascend to the grounds above, where several old cottages have been adapted for business clients.  Building 18 on the former Submarine Miners Base above Chowder Bay. Photo: Alec Smart The path continues up a bush trail to Georges Heights via Bungaree’s Walkway. Bungaree was a distinguished leader and diplomat from the Garigal clans around Broken Bay, who circumnavigated Australia with Matthew Flinders.  As a reward, in 1815, Governor Macquarie granted Bungaree and 14 other Aboriginals and their families 15 acres of fertile land on Georges Heights, along with huts, farming equipment and seeds. It was a naive experiment by the Governor to persuade Indigenous peoples to abandon hunter-gatherer lifestyles and adopt European agricultural practices. However, it was a failure, and Bungaree’s skills were better utilised with maritime missions as the farmland slowly fell into disrepair. City view over Chowder Bay from Georges Heights, Mosman. Photo: Alec Smart The path is named Bungaree’s Walkway because it is the approximate route he took between his hut and his fishing boat in the bay, before he sailed out into the harbour to formally greet international vessels as they arrived. At the top of the path, it passes the former Gunners Barracks, and Georges Head Lookout, with majestic views across the harbour. Thereafter the trail carries on up to Middle Head Rd, passing former military cottages now occupied by private businesses, and the still-active HMAS Penguin Naval base. On Chowders Bay Road below, there are a number of abandoned fortifications, as well as Obelisk Beach – notorious for attracting naturists who shun clothes. Georges Heights' historic cannons overlook a cruise ship departing Sydney Harbour. Photo: Alec Smart The trail then leads onto Middle Head/Gubbuh Gubbuh, passing historic military installations before arriving at the repurposed former Naval base, previously the site of the historic Middle Head Fort.  The seafront lookouts there, with spectacular 180-degree harbour views, are surrounded by a series of concrete bunkers and gun mounts where defence forces once guarded the entrance to Sydney Harbour from maritime invaders. In 1801, during the Napoleonic Wars, the first of many big guns was installed nearby at a site north of Obelisk Bay. Others soon followed, especially during the two world wars, to take advantage of this strategic defensive location with direct observation of the entrance to Sydney Harbour. View of North Head from a Middle Head gun mount. Photo: Alec Smart A network of tunnels exist below the Middle Head, linking gun pits and ancillary rooms. Closed to the public for safety reasons, as a teenager this reporter roamed them one night with a group of friends, illuminating the pitch-black shafts somewhat dangerously with fireworks.  According to the Sydney Harbour Trust, the area around Middle Head Fort also contains ‘tiger cages.’ “Soldiers were once trained in these ‘tiger cages’ to resist torture, and visitors today can visit some areas of this historic fort.” The return to Gooragal from Middle Head (to avoid an hour’s stroll back to the start) is via two buses: the 111 west along Middle Head Rd to the roundabout beside The Buena bar-restaurant, followed by the 228 south along Prince Albert St which takes you to Clifton Gardens Reserve (and passing the Gooragal headland beside Taylors Bay). To extend the route to 10km (3 hours walk), start instead from Sirius Cove Beach (west of Taronga Zoo), and follow the seafront paths past Athol Bay, over Bradley’s Head and around Taylors Bay until it reaches Gooragal. View of Chowder Bay and the former Submarine Miners Base (North Head in the far distance). Photo: Alec Smart ================================================

A Brotherhood of Vulnerability: How The Men’s Table Helps Men in Across Sydney Open Up In the pursuit of modern mental health, men in Newtown are finding a unique avenue for connection through the community group, The Men’s Table. Far from traditional therapy sessions or the usual camaraderie at the pub, The Men’s Table offers an inclusive, judgement-free space where men gather monthly to share the highs and lows of their lives.  More on Newtown Men's Table 174 By Jamie Apps Eric Balinghasay, a member of The Men’s Table since 2021 and part of its organisational team, shared how this initiative is transforming the way men engage with one another about their emotional well-being.  “The Men’s Table provides men an opportunity to have meaningful and honest conversations,” Balinghasay told Neighbourhood Media. A Path to Connection and Support Balinghasay joined The Men’s Table in August 2021 and has since become a dedicated member of Table 27, a group that meets in West Ryde. Reflecting on his journey, he explained, “I continue to be part of that table, meeting monthly for dinner.” In 2022, Balinghasay’s role expanded, and he began working in the organisation’s central team, referred to as “the Kitchen.” His mission has been to build and guide tables as they form and grow, supporting their members in developing the same kind of deep, dependable connections that he has found. According to Balinghasay, The Men’s Table began in 2011 when Ben Hughes, looking for a place to talk openly, founded the first table.  “Ben realised the value of having a group of men who would listen to him in a safe space with no judgement.” Men's Table Get Together in The Hills, Sydney This simple but powerful concept caught on, and by 2018, Hughes and co-founder David Pointon registered The Men’s Table as a national nonprofit organisation.  These days, each table consists of 8-12 men in a local area/neighbourhood who meet monthly for dinner. The Men's Table welcomes men of all ages, 18 and above, all backgrounds, professional and personal cases or orientations. This diversity is a core to the make-up of each man's experience at each table as it allows a wide array of perspectives to foster beneficial discussion. Today, there are over 225 tables across Australia, including Table 141 in Newtown, providing men with a critical space to “build supportive communities for themselves and other men,” said Balinghasay. Mental Health Challenges: A Silent Struggle for Many Men When discussing the scale of men’s mental health issues in Australia, Balinghasay did not shy away from the urgency of the matter. He noted that many men often suffer in silence, feeling unable to express their emotional struggles within the confines of societal norms.  This is where The Men’s Table plays a vital role. “By providing men with an opportunity to have meaningful and honest conversations, build genuine and dependable connections,” Balinghasay explained, The Men’s Table offers a space where emotional vulnerability is not just accepted but encouraged. For many men, this open space stands in stark contrast to the more superficial interactions that are often part of everyday social life. According to Balinghasay, “It’s a blokie culture where your barriers are up,” but The Men’s Table helps men “be more vulnerable and raw in a safe space.” Reflecting on their experiences with The Men’s Table the following testimonials from attendees really stuck with me: “It’s really comforting to know that I'm not the only one experiencing what I’m experiencing.” “I get to be there for other men & in turn, they get to do that for me.” “What keeps drawing me back to The Men’s Table is not just 9 new friends… it’s that I recognise that all of these guys take responsibility for their own lives.” “To know that I’ve got a group of people that, every month, I can lay my soul on the table for is just fantastic.” Creating New Avenues for Mental Health Awareness The success of The Men’s Table hinges on creating an environment that fosters openness while steering clear of conventional therapy’s formality. “You’re not there to receive advice or solutions,” Balinghasay said, emphasising that the group is focused on creating a listening and supportive network rather than solving problems.  Men's Table 51 - Baulkham Hills He recounted stories of newcomers who had never shared their feelings so openly, expressing surprise at how a group of strangers could offer such a safe space for vulnerability.  “It’s the first time in their life they share their secrets or feelings in front of a group of strangers,” said Balinghasay. It’s these kinds of testimonials that highlight the life-changing potential of The Men’s Table for men across Australia. Looking to Get Involved? Here’s How Men in Newtown who are interested in joining this growing community can get involved by attending an introductory dinner, known as an “Entree.” These dinners provide an overview of what The Men’s Table experience is like and give potential new members a chance to ask questions before committing to a table.  Though there are no in-person Entrees scheduled in Newtown for the remainder of 2024, Balinghasay mentioned that Zoom Entrees take place every two weeks, allowing men from all over Australia to join the conversation. For those looking for more information, visiting the Men’s Table website or contacting their helpline is a simple first step to connecting with this rapidly expanding network of supportive men. www.themenstable.org

Melissa Jones and Frantic Muse Productions Present All-Female Cast in The House of Bernarda Alba Actress and Producer Melissa Jones is the founder of theatre company Frantic Muse Productions. Her debut theatre production, The House of Bernarda Alba, which will be performed at Flow Studios in Camperdown from 2-17 November, is directed by theatre veteran Kim Hardwick and features an all-female cast of 10 for a short, sharp run. More on Marrickville First-time producer Melissa Jones is excited to bring her debut offering to Camperdown. We discussed the forthcoming production with Melissa (but skirted around the Spanish Inquisition!). Linda Nicholls-Gidley, Carmen Lysiak, Teodora Matovic, Romney Hamilton, Sarah Chadwick, Estelle Davis, Melissa Jones (Producer), Jo Booth, Brea Macey, Lucinda Jurd and Lucy Lock. Photo: Holly Mae Steane Price First-time producer Melissa Jones is excited to bring her debut offering to Camperdown. We discussed the forthcoming production with Melissa (but skirted around the Spanish Inquisition!). In what era is The House of Bernarda Alba set and how have you gone about creating the setting at Flow Studios? “Flow Studios feels like it was made for The House of Bernarda Alba. Director Kim Hardwick has a distinct vision for the play, and I know I am in remarkable hands with her at the helm. “She definitely won’t be setting the piece in a certain time or culture. While there may be a nod to its Spanish provenience, I doubt we’ll see flamenco dancers or castanets! There will be music in this production and Rowan Yeomans and Elke Rea (both sound designers) have set the piece against a hauntingly beautiful soundtrack." “To be born a woman is the worst punishment in the world” is the play’s title phrase. What is the context and its relationship to the story. “During the playwright’s (Federico García Lorca) lifetime in early 20th-century Spain, gender roles were rigidly defined. Society placed men in positions of power while women were often relegated to domestic spheres. This strict division limited opportunities for personal expression and independence. “Presumably he wrote Bernarda to represent Franco in the underlying simmer to the Spanish Civil War. As we delve into Lorca’s world, we uncover not just stories but also powerful commentaries on society itself - whispers from history that still echo today. “I am so excited for this production, there is such a buzz about it! Lorca's epic masterpiece of tyrannical oppression, sexual tension and desire asks the question: under their mother's suffocating control and in the midst of grief for their late father, will the five Alba sisters be able to endure if Adela rebels for love and independence?” 10 actors are involved “There are 10 cast members who play 10 characters. Any other characters will be voiced off-stage or depicted through alternative theatre tropes. We have secured the most amazingly talented cast to depict Lorca’s all-female characters who navigate a world that demands conformity, sacrificing their desires for the sake of family honour and tradition, all of which are tyrannically enforced by the matriarch of the Alba family. “Bernarda (who will be played by veteran of film, theatre and TV, Sarah Chadwick) embodies authoritarian control over her daughters’ lives by suppressing their individuality. Her oppressive reign highlights the struggle against patriarchal dominance.” Frantic Muse Productions endeavour to give a greater voice for female creatives. Does this mean you work primarily (exclusively?) with female scriptwriters and directors, and are all your principle actors women? “Frantic Muse is all-inclusive but it did come about to create more opportunities for female creatives because quite frankly, we are an over-subscribed bunch. I think I created her (Frantic Muse) because I got tired of seeing an 85% male-identifying casting call most days. I birthed her out of the frustration of feeling there was a lack of opportunities for women of a certain age.” Frantic Muse is an unusual name, it sounds like the title of an Alfred Hitchcock film. What was the inspiration? “Funny you should ask that, I relaunched the branding for her (Frantic Muse) early last year and kicked off with a Hitchcock-inspired photoshoot. The name came about because I am always frantically trying to put art on, or busy writing, collaborating, performing or learning lines - as the founder of Frantic Muse the name came about quite organically.” Melissa Jones, in and out of character. What other creative pursuits is Frantic Muse currently working on? “I have a million things in the pipeline, some of which are in pre-production and some which are at the idea stage. I have a vision to bring the story of the ‘Centaur’ to film. It’s a story few Australians are aware of. My great Uncle Andrew (Dick) Gunning perished on it along with hundreds of other medical and army personnel in the second world war, he was 22. “It was controversial at the time because the Centaur was an Australian hospital ship (and clearly marked as such) and yet the Japanese torpedoed it under the cover of darkness (at 4.10am) without warning, off the coast of Brisbane. My Aunty Mary (Dick’s niece) has kept all his letters he had sent home to his mother days before he died, his words hold such hope for the future – it’s heartbreaking to read them. “She recently handed everything over to me. So, I guess it’s a little promise I’ve made to her and an Uncle I’ve never met to honour his memory. It’s an ambitious idea, and we’d need a bucket load of funding for this one obviously, it’s not an ‘overnight’ kind of project – but I think there would be an audience for this.” Melissa Jones (centre) with actresses from Frantic Muse hamming it up during a photo shoot. Any film or television work in the pipeline? “Frantic Muse has three short films in the can – one is fully completed - ‘Chambers’ which I have collaborated with an amazing writer and director by the name of Matt Charleston on. The other two, ‘The Sapling’ is in post-production and ‘The Art of Diplomacy’ is in pre-production. The latter two are collaborations with film-maker and director Kacey Baker of whom I am a huge fan. “I’ve also written a 6-part TV series titled ‘A Second Spring’ that I am working on finding a home – I have two female producers onboard who are guiding me, one of which is fellow actor and friend Angel Cecil. A proof of concept is due to be filmed in quarter one next year; again Kacey has signed on for this. “It’s about a typical Australian couple, busy embarking on the journey of mid-life. Together they are navigating self-empowerment, second chances, infidelity, mid-life sexual awakenings and ... the BIG M! It’s a candidly refreshing deep dive into the dynamics of marriage, friendship circles and the people we inherit when we break up. A splice of married life through a forthright, hilarious and honest lens.” The House of Bernada Alba Tickets: https://www.trybooking.com/events/landing/1285845 Performed at Flow Studios, 57 Denison St, Camperdown, 2050, from 2-17 November 2024. Frantic Muse Website: https://www.franticmuse.com.au/ Instagram: https://www.instagram.com/franticmuseproductions/ Contact: franticmusetheatre@gmail.com for further enquiries Trigger warnings: Themes include violence & self-harm A replica firearm will be shown in the production.

Enmore was recently voted in Time Out’s top 20 coolest suburbs in the world after the categorisation of Enmore Road as a Special Entertainment Precinct (SEP). More on Marrickville However, that victory may be short-lived because Marrickville North is coming for the title with the opening of our very own SEP! One of Marrickville’s leading live music and outdoor dining venues; Vic on the Park. Source: Concrete Playground, August 2023 The Marrickville North precinct is one of six new Special Entertainment Precincts planned for Inner West suburbs, including Dulwich Hill and Balmain. According to the Inner West Council, Marrickville and Dulwich Hill lead the way in community support, with over 80% of those surveyed demonstrating high support for a new precinct, closely followed by 70% in other Inner West suburbs. What is a Special Entertainment Precinct? Special Entertainment Precincts are areas specifically managed to promote safe and engaging entertainment environments. These precincts provide greater access to spaces for local artists as well as supporting local businesses and sustaining a healthy nightlife in our suburbs. This includes extended trading hours for venues with live music, approval for later outdoor dining, and the ability for all main street businesses to host small-scale artistic and cultural events without the need for a development application. Most notably, however, SEP status will reduce the number of government agencies policing Inner West complaints to just one agency. Draft Marrickville North Special Entertainment Precinct Source: Inner West Council, July 2024 Inner West Mayor Darcy Byrne is enthusiastic about the six new Special Entertainment Precincts. In a statement, he said, "The Inner West is the beating heart of Sydney's live music scene and we want to spread the success of what we've done in Enmore throughout the Inner West. "Our council is committed to bolstering our creative community. From White Bay Power Station as a performance venue, to opening our Town Halls to our creative industry at no charge, we want life and culture in our community. "Allowing live music and performances in all main street shops and legalising performances in bookshops, cafés, and restaurants could increase the availability of affordable spaces for young and emerging artists to perform and develop their craft, as well as attract customers to those businesses. “It's a win for artists, local businesses and the community." The six new Inner West Special Entertainment Precincts will be: Balmain (Darling Street) Dulwich Hill (Marrickville Road and New Canterbury Road) Leichhardt (Norton Street and Parramatta Road) Marrickville North (Victoria and Addison Road) Marrickville Town Centre (Railway Parade, Marrickville Road and Illawarra Road) Rozelle (Darling Street and Victoria Road) For more information on Special Entertainment Precincts, head to www.innerwest.nsw.gov.au

The newly-elected Mayor shares her vision for sustainable growth, community involvement, and empowering women in local government. More on St Ives The Ku-ring-gai community has welcomed its newly-elected Mayor, Christine Kay, a dedicated advocate for local development, women’s leadership, and community involvement. With extensive experience and deep local roots, Christine has become a respected figure in St Ives and beyond. Christine Kay at the local markets From Banking to the Ballot Box Christine Kay’s path to becoming Mayor is marked by a blend of corporate experience and community dedication. “Before this role, I had worked in banking, finance, business development, and project management,” Christine explains. “These experiences gave me a well-rounded perspective that helps me understand the diverse points of view in our community.” Elected to Ku-ring-gai Council in 2018, Christine’s journey in local governance was sparked by her involvement in several community groups, where she saw firsthand the vital role councils play in supporting volunteer-based organisations. Now, with six years of council experience and roles on various committees, Christine emphasises that her progression was built on her commitment to service. “Becoming a councillor is an honour and a privilege, and my goal is to make a positive difference through my decision-making,” she says. Advancing Women in Local Government A key priority for Christine is to expand opportunities for women in local governance. “Women are often balancing so many roles and responsibilities,” she notes. “Government decisions directly impact them, which is why I’ve been focused on advancing the role of women in councils.” Christine’s advocacy led to the creation of Ku-ring-gai’s Women’s Committee, a space designed to empower women’s voices within the Council. This committee opens doors for direct communication between women in the community and Council representatives, encouraging greater participation and inspiring some to consider council roles themselves. Christine is also an active board member of the Australian Local Government Women’s Association, which champions women’s representation in councils. “Having a voice in decision-making circles can shape communities to be more inclusive,” she says, explaining her vision of ensuring that policies reflect the needs of everyone. A Heart for Community and Conservation Outside her Council duties, Christine is a familiar face in various community organisations. She volunteers with Wildthings NSW to protect native wildlife and supports local groups such as Rotary, the Girl Guides, and the Hornsby-Ku-ring-gai Women’s Shelter. These volunteer activities underscore her commitment to fostering a stronger, more connected community. In St Ives, her home for nearly 15 years, Christine has witnessed firsthand the area’s growth, especially with young families moving in. “St Ives offers both the convenience of city living and the friendly feel of a smaller community,” she says, adding that this balance helps make it a desirable place to live. Goals for the Community: A Vision for Growth and Sustainability Christine’s tenure as Mayor will focus on several key projects in St Ives, particularly in creating spaces that blend recreational needs with sustainable practices. “I’m excited about the ongoing upgrades to Hassell Park; Stage 1 is complete with new car parking and a playground.” Stage 2 will bring an upgraded amenities building and new lighting to the area. Beyond the park, Christine has set her sights on the future of the Showground. The Council is developing a long-term plan that incorporates sustainable principles and acknowledges the area’s natural biodiversity and historical significance. “The Showground is an essential community asset, and we’re working to make sure it serves current and future generations effectively”. This includes assessing older buildings and considering innovative ways to use and manage them sustainably. In addition to the upgrades, the Council is set to create a new boardwalk at the St Ives Wildflower Garden, connecting Caley’s Function Centre with the Lambert’s Clearing picnic area. Christine believes this project will improve accessibility and encourage more residents to explore the natural beauty of their surroundings. Christine Kay is Looking Ahead With a deep understanding of the local area, a community-oriented approach, and a commitment to sustainability and inclusivity, Christine Kay’s leadership marks an inspiring new chapter for Ku-ring-gai. As Mayor, she’s driven to foster growth that respects the past while innovating for the future, ensuring Ku-ring-gai remains a thriving, vibrant community for years to come. For those interested in becoming more involved with their local council, Christine’s advice is simple: “Be authentic, be a person of conviction, and respect others' opinions even when you don’t agree. Local councils need people who genuinely care about their communities.” A huge congratulations on your election as Mayor of Ku-Ring-Gai. What were you doing prior to this role? I was elected to Council in 2018. My experience as a Councillor and member of various Council committees, as a board member for Local Government NSW and as a member of the Northern Sydney Regional Organisation of Councils has given me an excellent understanding of what is needed in this role. In my professional life, I have experience in banking and finance, business development, project management, events, tourism and small business, which makes me a well-rounded person able to understand many points of view. How did you commence your career with the Local Council? What advice would you offer for anyone wanting to do the same? I got interested in local government through my involvement in several community groups. It made me realise how important local councils are for funding and supporting many volunteer groups and not-for-profit community-based services. Being elected as a councillor is an honour and a privilege and I enjoy seeing how I can make a positive difference to our community through my decision-making. If you’d like to become a councillor, then I believe the qualities needed are authenticity, being a person of conviction and respecting others opinions even if you don’t agree with them. Christine Kay What are some of your greatest achievements throughout your career? I’m very interested in advancing the role of women in government and especially in councils. I understand completely that women juggle many responsibilities for caring for others throughout their lives and the decisions made in government can impact them directly. One Council committee that has been directly set up as a result of my advocacy is the Women’s Committee. I’m hoping that this will become an important avenue for women to speak directly to the Council on matters that are important to them and even encourage some women to think about becoming councillors. I’m also a board member of the Australian Local Government Women’s Association which is at the forefront of promoting the cause of women in councils. Outside Council, I’m very committed to various community groups. I’m an active volunteer with Wildthings NSW which is a community group set up to help protect local native wildlife. I also volunteer for Rotary, the Girl Guides, the Hornsby- Ku-ring-gai Women’s Shelter and the PCYC. Do you have any personal/familial connection with St Ives? I’ve been a resident of St Ives for nearly 15 years and during that time I’ve seen a lot of young families move into the area. The great thing about St Ives is it offers a lot of the convenience of city living but it has that small community feel about it which means it feels friendly and relaxed for those who live there. Over the next two years, what will be your biggest priorities for the St Ives Community? I’m looking forward to seeing the upgrade to Hassell Park completed. Stage 1 of the upgrade has been finished, which includes better car parking and a new playground. Stage 2 will see the amenities building upgraded and new lighting. The Council will be preparing a long-term plan for the future use of the Showground to integrate sustainable principles into future improvements. This plan will also consider the area’s natural biodiversity and its history when recommending any future upgrades. We’ve already completed a lot of work at the Showground such as improving internal link roads, opening a large new playground and a new cafe but we now need to consider other assets at the site such as the older buildings and how we use and manage them in the future. Are there any projects/initiatives that will be commenced immediately? As mentioned, work on Hassall Park is well underway and we’re just about to start work on a new boardwalk at St Ives Wildflower Garden linking Caley’s function centre with the picnic area at Lambert’s Clearing. How can the local community get more involved with the Local Council? By taking an interest in how decisions are made and having your say on projects when the Council consults our community. There are lots of ways to do this – you can watch Council meetings each month online; sign up for the Have Your Say e-news which tells you all about what’s happening in your suburb and how you can give feedback. We also have fortnightly e-news going out to residents' inboxes which has a dedicated section on what projects are open for comment. We also regularly survey our residents online and over the phone. As Mayor I encourage everyone to get involved in the Council – there’s so much more to us than rates, roads and rubbish!