By ALEC SMART Artistic talent thrives in Lane Cove. 2066 magazine profiles a selection of creative organisations in the Cove, including Gallery Lane Cove, Lane Cove Theatre, and Aboriginal arts dealer and portrait photographer Stuart Leal. Gallery Lane Cove Gallery Lane Cove and Creative Studios at 164 Longueville Road is a non-profit arts centre based in the heart of the Lane Cove community. The premises comprises a public gallery (opened in 2012) and creative studios that host a range of activities and classes, with three studios available for artist hire or residencies. Managed by Centrehouse Inc, an arts organisation that has run art and language classes for over 45 years, their program of tuition and participation includes masterclasses, workshops and term classes in a variety of creative disciplines. Creative Studios’ educational program includes life-drawing, illustration, painting (watercolour, acrylic and mixed-media), printmaking, textiles (sewing, knitting, stitching, embroidery and printing) and ceramics. The Gallery presents a wide range of multi-disciplinary art from modern to contemporary, showcasing creative work from local, national and international artists, including emerging and established talents. The exhibition space, open six days a week, is adaptable and available to hire, with a hanging system provided and sales and invigilation managed by Gallery Lane Cove. Open: Mon - Fri 10am - 4.30pm; Sat 10am - 2.30pm; Closed Public Holidays 164 Longueville Road, Lane Cove Ph: 02 9428 4898 Mob: 0490 749 854 https://www.gallerylanecove.com.au/ Lane Cove Theatre Company Formed in 1995 as the Lane Cove Dramatic Society, the non-profit Lane Cove Theatre Company (LCTC) aims to provide both affordable and entertaining live theatre, as well as artistic, educational and recreational opportunities for residents in the surrounding community. With an emphasis on promoting accessible, community-based live theatre, LCTC present four full-scale productions a year, including plays, musicals and a children’s production. LCTC also conduct play-readings, workshopped over several weeks and culminating in a single performance. These are intended to showcase the scripts of local playwrights and teach directing skills. Membership is encouraged, with contributions helping toward stage equipment whilst members enjoy additional benefits. Productions LCTC’s 2021 drama season begins with the Gothic musical, JEKYLL AND HYDE: THE MUSICAL, based on the classic story by Robert Louis Stevenson and featuring a thrilling pop-rock score of songs. The Performance Space at St Aidan's, 1 Christina Street, Longueville. Fri 12 Feb – Sat 27 Feb (Fri, Sat and Sun nights at 7.30pm) Lane Cove Theatre Company lanecovetheatre@hotmail.com Mob: 0403 626 563 www.facebook.com/LaneCoveTheatreCompany www.lanecovetheatrecompany.com/ Stuart Leal Gallery Stuart Leal, a talented photographer who also runs a portrait photography studio in Lane Cove, retails contemporary Indigenous art from his shop in the Village Shopping Mall in central Lane Cove. Much of the artwork he sources directly from the artists themselves. Shop 1, 43 Burns Bay Road Lane Cove and 70 Victoria Rd, Drummoyne Ph 0414 551 956 stuart@stuartleal.com.au www.instagram.com/stuart_leal_gallery/ www.facebook.com/stuartlealgallery 2066 Profile: Stuart Leal How long have you been in Lane Cove? I’ve been in LC for about 6 years. What's your most memorable Lane Cove moment/experience? Seeing a new clients face light up when they walk in and have an immediate connection with a stunning Central or Western Desert Indigenous artwork. What is your proudest achievement? I’m proud of how many locals have embraced Indigenous art in their homes and work spaces. 2020 is the year we all want to forget - how did you adapt/survive? Being consistent and opening the shop 6 days a week, not giving up, even when Lane Cove was deserted. Also continuing to support the artists and their communities during the downturn and stock piling artworks. This ensured continual new stock, variety and choice for clients. After the first month of lockdown, people working from home realised they needed to do something about their blank walls. We offered free home trials so clients could see the artworks in their homes to ensure the colour, theme and size was correct for the space. During the past 9 months, people have transformed their homes and gardens. What are your grand plans coming into 2021? Continue to offer clients the best customer service with ethical, authentic and affordable Aboriginal Art from the Central and Western Deserts. ====================================== Group portrait by Alec Smart

Humans of 2075 When Laura Scott is not out at various Eventing and Show Jumping competitions around Sydney, you can find her and her squad of ponies at the Avondale Pony Club grounds giving lessons to a team of very promising young riders! How long have you been riding? I’ve been riding since I was 6 - so about 26 years. It definitely helped that both my parents were riders. How many horses do you have? I have 3 ponies in my stable at the moment! Harry, my superstar pony who is only 14.1hh. He is currently in full training and being competed by myself in 1* star eventing - which includes jumps up to 1.25m and elementary level dressage tests! Biscuit is used in the riding school and is definitely a favourite. He’s also been out to compete with myself and students and produced some fantastic results. Libby is the grandma of the group, but don’t let her age fool you - she’s as sassy as they come. She is also a school pony and teaches our riders to be soft but firm, she is an expert when it comes to teaching correct position. How did you end up teaching at Avondale? I attended Avondale as a pony club rider from the age of 7-15. I’m now lucky enough to be able to teach other children to ride on these amazing grounds as part of my riding school. Best advice for someone wanting to get into riding? You don’t need your own horse or pony but, you do need to set yourself up for success by mastering the basics - hand, seat, leg! Find a good riding coach who can support you in the early stages of your riding journey. What are your 3 golden rules of riding? Build a relationship with your horse, don’t just show up to ride or for a lesson and hop straight on. Grooming is a great way of doing this. Be disciplined - horse riding is all about repetition, correction, and being strong with yourself. Being disciplined will stop you from letting bad habits form. Don’t overdo it ! The aim of horse riding is to have a happy, healthy horse! Keep variety in your rides and never make them too long - horses aren’t machines. What is your biggest achievement- My biggest achievement so far would be breaking in and training my current pony up to 1* level - he is almost always the smallest horse competing! How can we organise a lesson? First, send an email to Koojoequestriancenter@gmail.com with your details. From here, we can discuss your riding journey. Lessons can be as little as once a month to multiple times per week, I always create a plan for each individual rider. Avondale Pony Club W: Link

Winter is also known as the Cold or Flu Season. We caught up with Dr Kevin Cheng from Osana, a Preventative Medical Clinic, to learn what and what not to do during Flu Season. Understanding Colds & Flu - Common cold symptoms include a cough, sore throat and runny nose whilst influenza can also cause fever, chills, muscles aches and vomiting. Both are spread by airborne droplets when a person coughs or sneezes, often contracted when they land on surfaces. Those affected are infectious from the day before symptoms show, and thereafter for up to 7 days in adults and 10 days in kids. Protect Yourself & Others - Flu strains change every year so getting an annual vaccination is an important first step, and applies to everyone in the community. The best time to get the flu vaccination is in April or early May, making sure there is at least a 2-week separation period from getting your Covid vaccination. If you Catch a Cold or the Flu - Taking Vitamin C may reduce the duration of colds but doesn’t stop you from catching one. Zinc tablets can help reduce the duration. It's also important to get lots of rest and keep up with your fluids. Take steps to protect those around you by washing or sanitising hands regularly and sneezing or coughing into an elbow, as well as wearing a mask. Encourage sick family and friends to wait to visit until they are feeling better, and vice versa. Be sure to regularly clean high contact areas often, such as light switches, door knobs, mobile phone and keyboards. If your symptoms get worse see your General Practitioner, especially if they last longer than 1 week, or if you are producing phlegm or have a prolonged fever. Red flags to seek medical attention early include shortness of breath or rapid breathing, chest pain, confusion, dizziness or ongoing vomiting. Flu Myths - The Flu vaccine does not cause the flu because it is an inactivated (or dead) version of the flu virus. Cold weather and winter does not cause the flu, although the flu season also corresponds with when the flu virus is most prevalent. It's also important to note that antibiotics will not help with the cold or flu as these are viruses – very occasionally people can have secondary bacterial infections where antibiotics might be useful. Sometimes, if the flu is diagnosed, an anti-viral medication is used for those with medical risks or deficient immune systems. Dr Kevin Cheng - Osana - Preventative Medical Clinic Osana preventative medical clinics improve your health, wellbeing and help you age well. Under our unique membership model, you can access longer appointments with a range of health professionals, including dedicated Health Assistants, Dietitians, Health & Exercise Coaches and Psychologists. W: Link FB: @osana.care A: 124 Queen Street Woollahra 2010 P: 13 93 55

The Bohemian Artist Behind an Australian Legacy By ALEC SMART More on Surry Hills Acclaimed artist Brett Whiteley spent the last four years of his life in Surry Hills, where, in 1985, he purchased an abandoned warehouse and converted it into a studio and exhibition space Brett Whiteley Growing Up Whiteley was an internationally renowned artist, Bohemian, peace campaigner and influencer who crossed mediums and continents in a relatively short but prolific career spanning 33 years. His paintings ranged between abstract, figurative, erotic, collage, portraits and landscapes, sometimes fusing different styles and mediums. He lived at his Surry Hills warehouse at #2 Raper St from 1988 to June 1992, when he died, aged 53. Brett Whiteley - Self Portrait - 1977 Born 7 April 1939, Whiteley grew up in Longueville, on the Lane Cove River, and was educated at Scots College in Bellevue Hill followed by Scots School in Bathurst. Showing artistic talent at an early age, during his teenage years he often travelled to inland towns of NSW and Canberra to paint landscapes, then, from 1956 to 1959, he studied at the National Art School in East Sydney. In 1957, aged 17, he met Wendy Julius, 15, also from Sydney’s North Shore, when she was brought over to his family home by a mutual friend. Herself an artist, Wendy joined Whiteley in the life drawing classes at Sydney Art School in The Rocks and they began a 30-year-relationship. At the time of their meeting, Whiteley was working for Lintas Advertising and living with his father Clem, who subsequently employed Wendy in his interior design business after she moved in with them (Whiteley’s mother had recently separated from his father and emigrated overseas). 'Woodford Bay, Longueville' c1953. Painted when Whiteley was 14 years old, near his childhood home Italy, then London In 1959 Whiteley won an art scholarship sponsored by the Italian Govt. (judged by Australian artist Russell Drysdale), then left Australia for Europe by ship on 23 Jan 1960, arriving in Italy the following month. Wendy saved and also emigrated, the couple reuniting in France in June and residing awhile in Florence. In 1961 the pair relocated to London, where Whiteley set up a studio. There he was discovered by the distinguished Whitechapel Gallery, known for promoting contemporary artists. Whitechapel Gallery was distinguished in 1938 for exhibiting Pablo Picasso’s anti-war masterpiece Guernica, which featured the 26 April 1937 massacre of civilians in the Basque town of Guernica by the combined air forces of Hitler’s Nazi Germany and Mussolini’s fascist Italy at the request of Spain’s autocratic General Franco. This airborne massacre of civilians, known as Operation Rügen, presaged World War Two. Whiteley was included in Whitechapel Gallery’s 1961 group show Recent Australian Painting, where one of his works, Untitled red painting was purchased by the prestigious Tate Gallery - the youngest living artist to have work purchased by the Tate, a record that remains. 'Untitled Red Painting', which London's Tate Gallery purchased when Whiteley was 21 years old. In March 1962, Whiteley hosted his first solo exhibition at Matthiesen Galleries, earning enough to finance his and Wendy’s marriage and honeymoon in France. Afterwards, as well as producing paintings of London Zoo animals and beach scenes from a holiday in Australia, Whiteley began his Bathroom Series – nudes of Wendy – followed by the Christie Series, inspired by serial killer and necrophiliac John Christie. Hanged in 1953, Christie murdered at least eight people, including his wife, strangling them in his flat at 10 Rillington Place, Notting Hill, near where the newlywed Whiteleys resided in Ladbroke Grove. Sydney, then New York In Nov 1964, the Whiteleys’ daughter Arkie was born, and in Dec the following year, they returned home to Australia and settled awhile in Whale Beach. In Sept 1967 the couple sailed on the final voyage of the RMS Queen Mary to New York, after Whiteley was awarded a Harkness Fellowship creative sponsorship. In Manhattan, after visiting the notorious Hotel Chelsea, the Whiteleys were offered the penthouse apartment. Hotel Chelsea, at 222 West St Manhattan, is renowned for a number of celebrity deaths: it’s where writer Dylan Thomas succumbed to pneumonia in Nov 1953 and where Sid Vicious’ girlfriend Nancy Spungen was found stabbed to death in Oct 1978. Here the Whiteleys socialised with notable movers and shakers of the arts and music world, including Jimmy Hendrix, Bob Dylan, Robert Mapplethorpe and Janis Joplin (the latter sometimes babysat Arkie), became louche Bohemians and developed lifelong drug and alcohol habits (years later they developed crippling addictions to heroin). Whiteley was twice admitted to hospital for alcohol poisoning, although his recreational experimentation with marijuana and psychedelic drugs profoundly influenced his work. Meanwhile, Wendy set up a fur and clothing shop called Put On and the pair often bickered and had adulterous affairs, whilst Whiteley worked on his paintings in a first floor studio on 23rd St as well as creating major pieces, from New York streetscapes to abstracts with topical and historical figures including Van Gogh, Bob Dylan, Martin Luther King and Jesus Christ. Brett Whiteley's monumental 18-panel mixed-media artwork, 'The American Dream' From June 1968 Whiteley gradually immersed himself in his monumental 22-metre-long, 2.4 metres high obsession, The American Dream, which covered 18 wooden panels. Taking a year to complete, and merging collage, photography, painting and illuminations, the piece began and ended with tranquil scenes but was divided by a chaotic, nightmarish nuclear Armageddon. Read left to right and starting with a surreal ocean scene, sunshine and lightness (representing Whiteley’s arrival in USA), the calm imagery then changes to birds, dollar signs, clock faces, flowers and I Ching symbols. These are followed by fighter jets, explosions, body parts, glimpses of Hitler and Bob Dylan; the topography now overwhelmed by crimson and chaos and illuminated with flashing lights to symbolise the bloodshed of the Vietnam War and the assassinations of John F Kennedy and Martin Luther King. At the artwork’s centre is a nuclear explosion painted in day-glo pink, shimmering and nihilistic. The panels succeeding the explosion return to an Australian-themed calm ‘normality’: animals and imagery, an ant with ‘me’ written upon it, a bird on a nest, an American flag atop Uluru, and, finally, a small island in a tranquil sea of blue. Small hand-written notes appear all over the artwork, such as ‘1/5/1969 LSD first’, ‘Woodstock’, ‘love’, ‘revolution’, ‘Vietnam’ accompanied by quotes from Baudelaire, John Cage, Oscar Wilde and WB Yeats and, finally, on the last panel, “the (attempted) solution”. Inspired by his association with the Anti-Vietnam War peace movement and associations with American counter-cultural icons, Whiteley was incensed when the Marlborough-Gerson Gallery in Manhattan, which exhibited 23 of his sponsored Harkness Fellowship era works in May-June 1968, refused to display The American Dream when it was completed in July 1969. Brett & Wendy. Taken from 'Bohemian Harbour: Artists of Lavender Bay' Museums of NSW documentary Fiji, then Sydney again Distraught that his piece-de-resistance was denied an opportunity to impact upon the American public, the couple immediately abandoned the USA and departed for Fiji. There, in the Pacific, like Paul Gaugin in Tahiti, they resided for five months in the remote tropical village of Navutulevu, about eighty kilometres from Suva, with a pet rooster and an old car (reportedly gifted to them by the village chief). However, a drug raid cut short their plans and they were forced to flee to Australia. With intentions to settle permanently in Fiji, after months of creativity Whitely rented a barn in Suva to exhibit some of his new paintings of birds, landscapes and portraits of villagers. However, on the opening night, Whiteley naively discussed his recreational drug usage with some local officials, who took a very dim view. The following day the barn was raided by police and a small quantity of marijuana found. Whiteley was subsequently fined £F50 and given short notice to pack up and leave Fiji. The Whiteleys returned to Sydney in Nov 1969 and moved into a 1907-built Federation house on Walker St in Lavender Bay originally known as Lochgyle, initially renting one floor, before buying the whole house in 1974. The interior of the premises and exterior views of the harbour often appeared in Whiteley’s paintings, the former frequently featuring a naked Wendy reclining on furniture or in the bath. 'Lochgyle', The Whiteley's house overlooking Lavender Bay, Sydney. Photo: Alec Smart In 1970 The American Dream was exhibited for the first time at the Bonython Gallery in Sydney, to mark Whiteley’s return home. After it was shown in Melbourne, Whiteley took it to Perth and left it on consignment with an art dealer. The dealer gave it to Art Gallery of Western Australia (AGWA), then died. Whiteley received nothing for his magnum opus, the subsequent fallout raging for years until the deputy director of AGWA organised for Whiteley to receive $18,000 after the gallery’s board conceded it had a ‘moral obligation’ over the painting. However, the gallery retained copyright over the reprinting and use of The American Dream’s imagery, something unique among Whiteley’s vast portfolio of creative works. Throughout the 1970s, Whiteley’s creativity continued with pieces inspired by Japanese art, studies of rural towns, portraits of friends and numerous Sydney Harbour scenes. Another multi-panelled work that fared far better than The American Dream was Alchemy (1972), which was featured on the cover of the Dire Straits’ live album of the same title (modified for the band to feature an additional guitar with lips, held by a hand). It’s now on permanent display at the Surry Hills gallery, although the painting was for several years in private ownership until returning to Whiteley in 1981. Dire Straits 'Alchemy' album cover, adapted from a section of Whiteley's 18-panel 'Alchemy 1974' Whiteley also won three of Australia’s most prestigious awards, twice each: the Archibald Prize for Australian portraiture in 1976 and 1978, the Sulman Prize for landscape in 1978 and 1978, and the Wynne Prize for landscape painting and figurative sculpture in 1977 and 1978. Brett Whiteley Moves to Surry Hills In 1985, Whiteley purchased an abandoned T-shirt factory at 2 Raper St, Surry Hills and converted it into a working studio. However, in 1987, his and Wendy’s heroin addiction overwhelmed their relationship, and Wendy flew to England with their daughter Arkie to rehabilitate while Brett remained in Sydney. Wendy returned in 1988, finding Whiteley was now in a relationship with 29-year-old Janice Spencer, a fellow addict whom he met at a Narcotics Anonymous meeting earlier that year, although the pair continued using heroin. Wendy, now free from addiction, refused to share the Lavender Bay house with Whiteley while he was still using heroin, so he relocated to his new studio in Surry Hills. The following year they divorced. Whiteley's studio at 2 Raper St. Surry Hills, his creative space for his last 7 years. Photo: Alec Smart In June 1992, Whiteley died, aged 53, from a heroin overdose in a motel in Thirroul. Whilst in his Surry Hills studio, Whiteley rewrote his will, which was later contested by Arkie and Spencer after Whiteley’s death. The NSW Supreme Court ultimately dismissed Spencer’s challenge, ruling that Arkie was to inherit everything. Janice Spencer was granted one painting, Sunday Afternoon, Surry Hills, a large erotic portrait of herself that Whiteley painted in 1988. This she sold at auction three years later in 1995 for $239,000, when she had money troubles. She then moved to Byron Bay awhile before eventually also dying of a heroin overdose in Brisbane in August 2000, aged 41. Arkie, a celebrated actress, appeared in numerous Australian films and TV series. In 1995 she negotiated for the NSW Govt to purchase her father’s Surry Hills studio, which the Art Gallery of NSW would run as a museum and display space. This was eventually facilitated and finalised by Wendy Whiteley after Arkie’s dying of adrenal gland cancer in 2001, aged 37. Wendy Whiteley's Secret Garden, adjacent to Lavender Bay, Sydney. Photo: Alec Smart Both Brett Whiteley and his daughter Arkie's ashes are buried in an undisclosed location in a patch of publicly-accessible former railway land, adjacent to their Lavender Bay house, known as Wendy’s Secret Garden. Over 15 years Wendy Whiteley rehabilitated the previously derelict patch of ground, once strewn with railway carriages and household junk, through restoration, landscaping and planting, until it became a much-loved wooded retreat for walkers. It is now coursed with paths and decorated with an antique fountain, various found items set up as sculptures, and benches to sit on and enjoy views of Sydney Harbour Bridge. In Oct 2015 the NSW Govt, which still own the land, gave a 30-year renewable lease to North Sydney Council to oversee the garden. In Jan 2019, Wendy Whiteley, aged 78, spoke to the Sydney Morning Herald after Parramatta's Riverside Theatre staged their play Brett & Wendy, A Love Story Bound by Art about the Whiteleys' complicated and passionate relationship. “Brett does fascinate people. He was my husband and he fascinated me, as well as driving me mad. The fact is he's made some amazing work, entertained quite a few people and upset quite a few along the way. He was a charismatic character without a doubt." An opera, Whiteley about the artist’s life, was staged at the Sydney Opera House from 15-30 July 2019. Brett Whiteley Studio website 2 Raper Street Surry Hills 2010 FB: https://www.facebook.com/brettwhiteleystudio/ ‘Almost Once’, Brett Whiteley Sculpture in The Domain, Sydney. Photo: Martin Pueschel / Wikimedia Bohemian Harbour: Artists of Lavender Bay Museums of NSW documentary: https://www.youtube.com/watch?v=3mFV8mX-mgY =======================================

COVID has had many implications on all of us - one of which is spending a lot more time inside. Jason Prior, owner of Turramurra Chiropractic, has seen a steep increase in patients who are suffering from the after-effects of this prolonged lockdown - here's his two cents. I am sitting here reflecting on the past months through COVID-19 pandemic lockdown and all the challenges that I and all my patients have faced. For some, the opportunity to work at home has given them back extra time that they would have otherwise wasted commuting. Perhaps they have had more time with children or to do gardening or fix up their house. Maybe they’ve even been able to go out more often for a ride or run. For many though, the combination of being unable to exercise, looking after children and doing home schooling, and continuing to work – often with poor ergonomic setups - has meant a lot of pressure, not only mentally but physically, leading their bodies to get locked up. Lack of movement coupled with stress over many months has led to tight muscles and joints and an increase in back pain, neck pain, and headaches. Slowly, almost imperceptibly, people lose strength and flexibility and are unable to tolerate physical activity for any length of time. Another effect of “locked down’ body is that we become less coordinated. When this is combined with the other effects, we become prone to injuries. I’m seeing more injuries than I’ve ever seen before because of people suddenly returning to exercise. So how should you unlock your locked down self to help prevent injury and get back to doing more of what you love to do? First and foremost, it should be done slowly and within comfortable limits. The “no pain, no gain” motto is not the smart way to go. As Alex Hutchinson wrote in his book Endure, many of the world's best athletes only train hard about 20% of the time; the other 80% is spent on low to moderate intensity exercise. We need to remember that, unless you are Usain Bolt, life is a marathon, not a sprint. You have time to get your desired body back. Stretching is a fundamental part of the unlocking plan. It should be done light, often and specifically in the areas you need. Consuming lots of water (not coffee, tea, fizzy drinks or alcohol… sorry!) will help with flexibility. Simply taking your spine and joints through their full range of movement everyday can make a huge difference. Don’t sit continuously for too long, get up and move away from your desk. Even the best ergonomically setup workstation can be nearly worthless if you don’t get away from it often enough. If you are working on a laptop at the coffee table or on the lounge in your pyjamas, it is definitely time to make improvements. As with stretching, strengthening or improving your overall fitness should be gradual. Don’t expect your tennis serve to be as powerful or as accurate as before. Be cautious when playing sports like soccer. I have seen way too many bad injuries in this season. Keep it simple, avoid slide tackles – it’s likely to hurt you as much as the other person. If you go to the gym and lift weights, start out well below your previous maximum and usual training amount. I suggest to many patients that they come away from the first couple of sessions feeling like they haven’t done enough and then wait two days to check for muscle soreness to tell them how well their session actually went. Definitely no ‘zero to hero’ performances. Understanding what specific limitations you have and how you can avoid any potential injuries is an important role a chiropractor can play in your unlocking plan. After a comprehensive initial consultation, I develop a plan which usually includes hands on treatment, specific stretching and strengthening exercises and ergonomic advice. Other advice may include teaching you how to sleep better, to relax more effectively, eat better and other techniques to reduce physical and mental stress which can affect your recovery. My goal is to empower people with the knowledge to make better health choices and the skills to achieve their health and life goals, and do it safely. I believe that the sooner you take action the sooner you will be able to unlock your locked-down self and do more of what you love to do. turrachiro.com.au 9440 8003 info@turrachiro.com.au

If you check out the Wil’s Canteen lunch menu, you would be excused for thinking you were at a trendy coffee shop, because of its range of options, daily specials and creative presentation style. But this menu is for the kids and Wil Angus, the man behind Wil’s Canteen, has come up with an ingenious way to make healthy food appetising and appealing to even the fussiest of primary school goers. Wil’s first venture was to run the canteen at Marrickville Public School. In Wil’s words: “I have children enrolled here, so I am committed to serving the school community.” All meals served from the canteen are prepared by Wil and his team from base ingredients, sourced locally where possible. He avoids the use of artificial additives and processed ingredients. Sourced locally, the food is nutritious, tasty and changes according to season. Wil says, “As a parent, I am dedicated to providing a wide variety of healthy food for my children and I am bringing this ideal to the school canteen. As a community, we need to promote healthy eating in positive ways.”

Est. 2016 in Marrickville, Sauce Brewing Co are one of Australia’s most exciting Independent Craft Breweries. Sauce is all about big, bold flavours, creativity and diversity - there’s a drop of liquid gold that can suit any pallet! - hop-heads, sour-freaks, or someone that just likes good quality, drinkable ales. The Marrickville Brewery and Taproom is where it all started. Home to the production brewery, taproom - both complemented by the incredible outdoor beer garden, which is open to the public Wednesday through Sunday. With food trucks always in attendance, the beer garden is the ideal location to while away a sunny afternoon - or if it’s rainy, it will be enjoyable either way, with the quality beers on tap! We sat down with Mike Clark to learn more! In one sentence, how can you explain your Brand? Sauce is all about big, bold flavours, creativity and diversity. We love all styles of beer, from easy drinking lagers and pale ales, to massive IPA’s, stouts, sours and everything in between! What beer are you known for best? Tough one but probably Bubble & Squeak NEIPA. It’s the beer that put us on the map and into nationwide distribution. How can readers access you + your brews? Come see us at the taproom! Otherwise you can find us on the shelves in all good crafty bottlo’s. Who is the brewer? Dan Fardon is our head brewer, but it’s a team effort of course. What's your biggest brewing fail? The more experimental the better! We don’t talk about the war! But seriously, sometimes the crazier the beer, the bigger the hit.

Hi there, I'm Hendrix. A 19-week old French Bulldog that calls Marrickville home. Most days I'm either sniffing around my hood looking for attention off random passers-by, snoozing, or snacking. I love my donut toy from my fairy dog mother - Joseph, and I also love chewing on sticks. My favourite food is chicken jerky and my favourite music is Elton John, although I did fall asleep the first time I watched Almost Famous. If you see me around, please come and say hello. I'm very friendly!

The Made590 brand tackles the size inclusive landscape head-on, making it accessible to a range of sizes between 8-26, because, in their words “that's how it should be!” The original Made590 store first opened its doors to the public back in October 2004, in a beautiful little corner shop in Newtown where designer and owner, Christina, instantly fell in love with the location and couldn’t say no to! At the time there were no solid plans for a shopfront, but when a perfect little retail space calls, sometimes you just have to take that giant leap and go for it. And it's a good thing she did because Made590 has quickly become an icon of Australian-made fashion. For Christine, the world of fashion was an organic evolution that started 17 years ago as a screen printer, selling her wares at various markets around Sydney, before opening a storefront in Newtown. The Newtown store started by stocking a range of fashionable designs made by friends. Eventually, Christine realised her true potential as a designer, taking her business to the next level. The idea to incorporate all sizes came about when Kelly, now her co-designer, got on board. Together, they grew the range and slowly introduced new shapes, including designs they wanted to wear themselves as well as special requests from customers. Consistently designing to fill the gaps in their own wardrobes and making pieces that weren't only special, but that also fitted all body shapes and sizes, they materialised the brand to what it is today. Made590, has a special focus on made-in-Australia clothing, and they have collaborated with numerous Australian designers over the years, including Kirbee Lawler, who designs the majority of their fabrics, as well as Andrea Smith, Studio Flos (aka Claire Cassidy), Hayley Wills and Laura Blythman. For Christine, Australian-made is something she is passionate about because it is all she has ever known and the only way she would ever consider working. In her view, manufacturing at home takes a lot of hard work, but it also keeps so many small businesses going. Their beautiful store has since outgrown Newtown and moved across town to Marrickville. Coincidentally, Christina had that same feeling walking into her new Madespace as she did 16 years earlier walking into the original at 590 King Street. It’s the perfect spot, full of potential, with loads of character - but on a much bigger scale. We do hope you enjoy shopping with Made590 and if you have any questions at all, please don’t hesitate to email or call the shop! W: https://www.made590.com.au A: 244 Victoria Road, Marrickville, New South Wales, 2204. FB/Insta: @made590

Bronte is 4 years old, and Banks is the newest edition to the family and is not 18 months old. Original Bernese Mountain Dogs were bred as all-round farm dogs, used to protect the farm, herd the cattle and even pull milk carts to local dairies! They are big, strong dogs (classified as a Giant Breed) - but also have very loving, loyal and gentle personalities. Bronte epitomises the breed with a quiet demeanour and love for cuddles. While Banks is the family clown, always making everyone laugh with his antics. Both love swimming, going to the park - and of course, walking through Cronulla where they are the self-proclaimed stars of the show given the amount of pats they get!

The Gweagal People: Traditional Custodians of Cronulla By Alec Smart In the first installation (read Cronulla History Part 2 here) of our Cronulla History feature, we look at the Indigenous Gweagal people who lived on the southern shores of Kamay/Botany Bay, the first Aboriginals to encounter European colonisers. Prior to Captain Cook’s confirmation in April 1770 that the fabled terra australis (‘great southern land’) existed, and before the establishment of NSW as an experimental penal colony in 1788, the Sydney region was occupied by an estimated 29 clan groups of Aboriginal peoples. The coastal groups, who relied primarily on marine foods for their diet, are now referred to collectively as the Eora Nation (meaning ‘here, of this place’, a word Indigenous peoples used to describe themselves when asked by the British where they originated). Two Gweagal men resist Captain Cook's 1770 landing party at Kurnell. (Sydney Parkinson) Gweagal Languages Two main languages were spoken, Dharug and Dharawal, which diversified into multiple dialects, depending on the clans and the areas they inhabited. (For example, Dharug speakers, including the Cadigal on the southern shores of Sydney Harbour, the Wangal between Cooks and Parramatta rivers, the Cammeraygal on the Lower North Shore, the Durramurragal on the Upper North Shore, the Garigal on the upper Northern Beaches and the Burramategal in present-day Parramatta, were divided into seven distinct dialects). Dharug speakers inhabited the regions north of the western shores of Botany Bay, inland along the rivers Goolay'yari (‘pelicans’, aka Cooks River) and Burramatta (‘place of eels’, aka Parramatta), west along the edge of the Blue Mountains and within approximate northern boundaries marked by the Yandhai (Hawkesbury/Nepean River). Dharawal speakers’ territory began with the Gweagal clan, which inhabited the southern shores of Kamay (Botany Bay) and south to Deeban (Port Hacking), and inland along the southern banks of the Tucoerah (Georges River) where the Norongerragal clan inhabited present-day Menai region. The language group continued south-west through Benkennie (‘dry land’, aka Camden) and Appin, where they overlapped with the western Gandangara peoples. The Dharawal-speaking Wodi Wodi people ranged through the Illawarra (‘white clay mountains near the sea’) from Wollongong (‘seas of the south’) south to Shoalhaven/Nowra (‘black cockatoo’) district, where they shared resources with the Jerrinja and Walbanga peoples along the Shoalhaven River. The Gweagal clans around present-day Cronulla (‘place of pink shells’) and Kurnell (‘place of wild carrots’), although Dharawal speakers, would almost certainly have understood Dharug to communicate with neighbouring clans. Like, say, Belgium in Europe, where most of the population speak the languages of their two larger neighbours, French to the south, Dutch to the north, the Gweagal would have needed to be reasonably proficient in dual languages to communicate effectively with their neighbours. This included the Dharug-speaking Kamaygal, resident on the north and west banks of Botany Bay, who also fished from nuwi (bark canoes) and gathered seafood like bithinga (oysters) and yaxa (crabs) along the shoreline. Gwaegal Lifestyles The Gweagal reportedly matted their hair into long thin clumps with tree gum that resembled a mop - now known as ‘dreadlocks’ and associated with Rastafarians – which they decorated with shells and souvenirs like kangaroo teeth. Aboriginal woman fishing from a nuwi - a canoe made from a sheet of bark cut from a tree Gweagal were guardians of the white clay pits spread throughout their country, considered sacred. Traded with neighbouring clans, clay was used to shape tablets on which to light fires in the base of canoes, so fish could be cooked after it was hauled fresh from the water. Clay was also used to decorate the body in corroborees and ritual dances, often dyed with berries, and eaten as an antacid medicine. It appears there was less interaction between the coastal Eora, who sourced their marine-based meals from bays, tidal rivers and tributaries, and the Indigenous hunter-gatherers inland, than between clans along the north-south axis. Clan interactions typically involved inter-marriage, kinship and initiation rituals, although a trade in tools, such as flaked stone used for clubs and cutters, and fishing equipment including barbed spears, hooks and bark canoes, was reportedly undertaken along established routes via intermediaries. As an example of important ritual ceremonies, the Eora peoples around Sydney practiced yira badjang (‘tooth hurting’) at a dedicated place called Yoolang on the shore of Wogganmagully (Farm Cove in Sydney Harbour). Here they knocked out the front left incisor of teenaged boys to initiate them into manhood. (It is thought that because Captain Arthur Phillip was missing a front left incisor, it enabled him to have a better relationship with Sydney’s Aboriginals). At Warumbul, opposite Lilli Pilli, Gweagal often joined neighbouring clans to socialise or feast, sometimes on dolphin or whale meat if the cetaceans were driven into Port Hacking by orcas – the Gweagal’s totem animal – where they could be intercepted and butchered. British Invasion Although a few Europeans had set foot on the Australian continent since Dutch navigator Willem Janzoon made landfall at the Pennefather River in north Queensland in Feb 1606, the Gweagal were the first to encounter the pale-skinned Britons. This started with Captain Cook in April 1770, who, prior to claiming their land for Great Britain, attempted, unsuccessfully, to communicate and trade after anchoring his ship The Endeavour alongside Kurnell peninsula. On 29 April, Cook, botanist Joseph Banks, Tahitian navigator Tupaia and a party of 30 crewmen rowed in two longboats to investigate a small collection of 6-8 gunyahs (bark huts) on Milgurrung (now known as Silver Beach). However, before they reached the shore, the Aboriginal inhabitants quickly fled into the surrounding forest (albeit leaving behind a few children to whom Cook later gave beads), except two Gweagal men who threw stones, fishing darts and a spear, shouting “warra warra wai!” (‘you are all dead!’). From the boat Cook fired a warning from his musket aimed between the two. He then fired a second loaded with ‘small shot’ (probably lead pellets), some of which struck one man in the leg, who grabbed a defensive shield. (This was later souvenired by Cook and until recently believed to be the ‘Gweagal Shield’ on display in the British Museum. Recent analysis of the shield found it is made of red mangrove wood, sourced 400km north of Botany Bay, and a hole in it was not caused by gunshot). A third shot fired over the heads of the two Aboriginal men caused them to retreat, but for the next eight days, whilst The Endeavour remained anchored in the bay and the crew gathered botanical specimens and documented flora and fauna, the Gweagal ignored them completely. 18 years later, the Gweagal were the first to witness the arrival of the First Fleet into Botany Bay on 18 January 1788, enthusiastically promoted by Cook’s celebrity naturalist Joseph Banks (who famously described the newly-claimed continent as ‘terra nullius’ – empty of people). After felling trees and preparing a campsite, the Britons abandoned Milgurrung (Silver Beach) just a week later due to the poor trickle of the freshwater creek - unsustainable for a garrison of marines, settlers and 732 convicts - which Captain Cook had described as “ample fresh water”. On 25 January the arrivals relocated to the next harbour north, Cadi (Port Jackson). There they found a more reliable water supply in Warrane (Sydney Cove) from where the colony of New South Wales began. Gweagal Legacy Although the majority of the Dharawal-speaking people were driven from their traditional hunting and fishing territories, and many succumbed to the deadly 1789 smallpox epidemic, their legacy is still with us in the form of petroglyphs (rock carvings), cave stencils and several words we use for native flora, fauna and familiar objects. Examples of the latter include boomerang, wombat, woomera (spear thrower), dingu (variant on Dharug dingo), and wallaba (variant on the Dharug wallaby). From Dharawal words, Britons named the following suburbs: Kirawee (‘sulphur-crested cockatoo’); Cabramatta (from ‘cabra’, an edible water-grub); Kogarah (‘place of reeds’); Illawong (‘between two waters’, ie: Georges and Woronora Rivers); Janalli (‘moonrise’); and Gymea (a type of lily). The sand dunes of Gunamatta (‘sand hills’), which the present-day town of Cronulla occupies, was the name given to the adjacent bay. In the former Gweagal territory, there is a wealth of petroglyphs, charcoal and ochre paintings and hand stencils, as well as countless rock overhangs and caves that were once used as Aboriginal dwellings. At Jibbon Head, on the south side of the entrance to Port Hacking, near Bundeena, there is a collection of ancient petroglyphs carved into a large sandstone rock. Featuring kangaroos, killer whales, stingrays, turtles, and a figure with a large appendage who may represent Baiame the ‘sky father’, they can be seen from a viewing platform. Exploring Gweagal country: Aboriginal heritage sites around Cronulla https://www.visitsydneyaustralia.com.au/sites-s.html https://www.visitsydneyaustralia.com.au/sites-rnp.html More on Cronulla ==========================

As the oldest continuously producing theatre company in New South Wales, the New Theatre has seen its fair share of talent in its history, spanning more than 88 years. One Australian actress has had a long association with the theatre and that's Helen Tonkin. Helen is an Australian actress with many talents, including screen and theatre, but in her words she is really a "creature of the theatre", and her association with the New Theatre has allowed her to share this passion. Helen rehearsed her first play there as an actress at the end of 1999, and has since performed in several productions. Her last production at the New Theatre was When The Rain Stops Falling, and she is now in preparations for Significant Other, showing in June. “I have directed two of my favourite directorial ventures at The New," Helen revealed to 2042, "Equus and Jerusalem, which, to my surprise, got seven Sydney Theatre Award nominations! "I have also been a play assessor there, and I am currently an Artistic Associate, which I have been for a number of years. "I really enjoy that position working with Artistic Director Louise Fischer and the other tireless workers on the Management Committee.“ Of all the theatres where Helen has worked in Sydney, the New Theatre is easily her favourite, and she is proud of its achievement in becoming a major professional development theatre. It has produced numerous directing and acting graduates, many of whom have gone on to spread their wings and be snapped up for Indie and Main Stage productions. Helen is also in charge of The Silver Gull Play Award (sponsored by The Buzz Sydney), which the New Theatre took over from Subtle Nuance Theatre last year. She has been a judge for the award since its inception (now in its seventh year) and told 2042 she is delighted to be entrusted with this role. You can see Helen in Significant Other at The New Theatre, June 2- 26, 2021. For further details and to book online, go to the New website www.newtheatre.org.au.