Welcome to a view into the life of artist, musician and street philosopher Ed Browne aka BOX-ED through his recent exhibition titled THIS IS NOT A XANAX at BRIGHTSPACE art gallery in Martin Street, St Kilda.Ed’s hard hitting body of work is the manifest of 13 years born out of the primal need to be seen, heard, impact, validate and survive.
The selection of sixteen white on black statement based graphics illuminate transcendence from the stifling confines of isolation.At the beginning of his 13 year evolution Ed, then afflicted with a desperate sense of urgency spent many 16 hour ‘tours of duty’ sticking BOX-ED posters on poles and empty walls around the streets of Sydney and Melbourne.Today equipped with a robust spirit and a healthy streak of conservative eccentricities Ed chooses to share his iconic reflections with an appreciative audience of which I am one.This body of work is uplifting in effect taking us straight to a raw and honest overview of life’s many trials and tribulations, leaving us with an invaluable opening for reflective questioning.With true entrepreneurial style Ed also provides a selection of memorabilia in the form of statement t-shirts, coffee mugs, calendars and buttons. or expressions of interest call Ed on 0450 432 340.
After a successful show artist Ed Browne, gallery director Kylie Greer and owner Martin Kantor reflect on things to come. For a comprehensive view of Ed’s work stay tuned to www.brightspace.com.au for his forthcoming slideshow.
Cool Bananas Reggae revisited invite all to party free Sat. 27 April 2013 SIMBA’R CAFE 94 Poath Road, Hughesdale. www.simbar.com.au
In 1981 in an independently decadent cafe in Middle Park known as Cafe Jammin on the corner of Richardson and Armstrong Streets, a part of Melbourne’s rich cultural history was born.
My dear friend and all round cool dude Chaeem Sadikin had landed from Indonesian armed only with his guitar, a smile and lots of musical talent. Strolling down Armstrong street one day he decided to poke his head into Cafe Jammin and noticed a drum kit. He then discovered that Peter the proprietor not only made a good coffee and toasted sandwich but he was also a drummer with a penchant for Reggae who attracted a dedicated bunch of muso’s and enthusiasts most nights. Out of this incubator Cool Runningwas born, contributing to and enriching the second blossoming of Melbourne’s live music culture. At that time two other Reggae bands were emerging on the scene No Fixed Address who were one of the first Indigenous bands and the African connection embodied in Randy and the Roots.
For the next two years Cool Running were playing gigs six to seven nights a week all over Melbourne with residencies at the Sydenham / Richmond Tavern and the Terminus Hotel in Clifton Hill. It was a time when Indonesian and African students were attracted to our fair city and Cool Running, No Fixed Address and Randy and the Roots provided a cultural epicentre. The scene started hotting up and these guys knew how to dance the night away and PARTY…
At the end of 1982 with Chaeem at the helm, Cool Running morphed into the iconic COOL BANANAS. They pumped up the volume of Melbourne’s burgeoning Reggae scene and for over a decade played all over town. Their residency at the Richmond Tavern is the stuff of legend. During that decade Richmond Tavern was HQ for the Survival Reggae Club and Chaeem was the musical ambassador of the movement. As a result Richmond Tavern became a destination for Indonesian, African and Jamaican travellers from all corners of the globe.
And this is where it got interesting for me personally.
Sometime in 1992 another Indonesian friend, bass player Dekka launched another Reggae band, Undreaded. He asked me to join the team moonlighting as a door bitch. A few months in he invited Chaeem to join the band as vocalist and lead guitar. Soon after DJ Ianabo Dibango (who now heads Crew Jamaica) joined as resident DJ. For the next two or so years I watched as the McKinnon Hotel on a Sunday arvo was transformed into an exotic hotspot of dance, laughter, good food and community.
Chaeem has continued to perform as a singer / songwriter and Reggae champion here and throughout Indonesian.
The good news is that COOL BANANAS will be performing on SATURDAY 27 APRIL 2013 at SIMBA’R 94 Poath Road, Hughesdale. located near Chadstone.
For Chaeem this relaunch has come about to celebrate 30 years of Reggae, community and good times. For anyone who loves to dance and party on, this is the gig for you…
August 31st 2012, and finally the night Melbourne’s hard rock and alternative music scene waited 12 long years for, had arrived! Bought to you by Top Fuel Entertainment, Trak Lounge Bar’s Nitro exploded onto the scene reuniting punters from Outlaw Hard ‘n’ Fast, which had a legendary run from 1998 to 2000. Spurned on by a social networking page which put the squeeze on force to be reckoned with, Head Promoter, Julie Marrington, it was inevitable that this mover and shaker would once again get a burning itch for rock and roll which just had to be scratched! Enter Top Fuel Entertainment and Trak Lounge Bar‘s Nitro!
Alex Raunjak
Brett Wood
Rusty
Pete Robinson
Vermon
Trak Lounge Bar located at 445 Toorak Rd, Toorak, is an A1 set up perfectly suited for Nitro. The stage is just the right size and height & the lighting and sound systems are second to none. This is no surprise as the venue is partly owned by industry stalwart, Michael Gudinski, who built the renowned Mushroom Group and Fontier Touring Company. Gudinski recently topped the Australian Music Industry Power 50. Thus, as you’d expect, the premises are customised to rock hard. The cloak room comes in handy and leads downstairs to comfortable lounge area with a bar for those wanting to chill. From here you enter into the band room. Inside, no matter where you’re located in the audience, you can easily see the band. Overall the facilities are slick and smooth and the discreet VIP area gives its guests a bird’s eye view of the action.
Everywhere you turned at Nitro were people you knew from years ago, not only from Hard ‘n’ Fast, but from other venues playing bands of the genre in that era. It was unbelievable! This was the equivalent of a high school reunion for Melbourne’s lovers of hard rock & alternative music, with one twist. The crowd was a seamless blend of generations Y through to Boomers united by a common bond; specifically, the music and tonight’s band, local outfit, Electric Mary.
Punters were primed with sets by DJ’s Diamond Deb and DJ B on the Rocks who spun classic alternative heavy hits by artists including Ministry, Nirvana, Sonic Youth White Zombie, Soundgarden, White Stripes, Metallica, Mudhoney, Revolting Cocks, Nine Inch Nails, ACDC, Muse, Pantera, and Motorhead, to name but a few. People were diggin’ it but by 11.30 pm they were hungry for the main event; Electric Mary, back on home turf in Melbourne, for their first show in three months, hot on the heels of a tour of Japan.
If you haven’t heard of Electric Mary already, you soon will. Watching them action, it immediately becomes apparent that they’re a tight hard working band in the Aussie pub rock tradition. Formed by vocalist Rusty Brown, who has veto power over a collaborative song writing process, Brown, is joined by Venom on drums, Alex Raunjak on bass, Peter Robinson on guitar and newest member, guitarist, Brett Wood, formerly of Pete Murray’s band. Wood replaces guitarist, Glen Proudfoot, who stepped into the role for a time when a vacancy was created by Irwin Thomas, (previously known as Jack Jones of Southern Sons), who moved to New York after holding the gig for some years.
If the band was wearied by the inevitable line up changes which happen from time to time, it didn’t show. Brown opened the night with a one two punch of ‘Down to the Bone’ followed by ‘Gasoline’ both off the band’s 2009 offering, Down tothe Bone. From there, he prowled the stage like a panther staking claim to his lair, at times defiant and chest beating, running the gamut of emotion to the edge of spent, as he wrung himself dry daring the audience to join him for a wild ride – and join him they did!
Stand out songs of the night included Stained, off the 2012 EP Long Time Coming Here, with its killer riffs and pounding rhythms underpinned by the flawless work of Venom and Raunjak. deserves a mention here. Raunjak deserves a mention here. This is a bass player who works the engine room of the rhythm section with the stagecraft of a front liner, without missing a beat! What a sight to behold! Let Me Out grabbed you by the throat with Brown’s demanding lament and the guitar work, and Luv Me is so guttural Brown emphatically wipes the floor with you as he sings ‘shake in your boots baby’, then leaves you begging for more! Crashdown took the crescendo to new heights as both guitarists showed superb technique and took turns in a spectacular soloing frenzy! Wood, although suitably animated, perhaps still feeling his way with a new gig, tended to let his red left handed SG do most of the talking and boy did it howl! Robinson on the other hand, clearly at home here, literally morphed before your very eyes into a demon who played like man possessed! The place ignited at the sonic assault of the entire unit like it’d been napalmed with rocket fuel!
As the end drew near, the crowd starved of their Electric Mary fix in the lead up to the gig, demanded more! The band generously obliged with a three song encore. Here we heard new track Feel Your Pain, which featured with Who I Am on a two track teaser giveaway CD, and was heard earlier in the night; if these tracks are anything to go by, the full length album due for release in a couple of months will be another rip snorter. Both songs have monster riffs as foreboding as an anaconda and tight as a fishes arse. Like most Electric Mary tracks, the lyrics to ‘Feel Your Pain’ hint at underlying turmoil which is essential to songs of this calibre. My Best Friend followed and was notable for its more grunge style. Although not a personal favourite, it did showcase a ferocious drum solo by the seemingly inexhaustible Venom, one of only a handful of drummer’s up to the task of driving the beast which is Electric Mary. An ‘in the zone’ all in guitar duel where the band, minus Brown, went to another place to let off a bit of steam at the end this song, also made it worthy of inclusion, before a return to the gnarly, grunt laden riffs, rhythmic bottom end and powerhouse melodic vocals which are quintessential Electric Mary, with ‘O.I.C’ which ended the night’s performance.
With that the DJ’s took to the turntables, accompanied by Sinister Rouge cage dancers Lissy Deviant and Dallas Vandal, where they kept punters rockin’ and rollin’ ‘till 3 am.
This was a night Melbourne’s hard rock and alternative music scene will remember for years to come, so stayed tuned for more news on Trak Lounge Bar’s Nitro bought to you by Top Fuel Entertainment! As for Electric Mary, with an impressive list of credits already to their name, including supporting Deep Purple, Whitesnake, and Judas Priest, among others, you’ll be hearing more from them real soon
Lucy Gale portrait titled “Somewhere under the Rainbow” by Jim van Geet
As one of Melbourne’s unknown, long time inhabitants I have very recently come to know of nationally celebrated Victorian based artist Jim van Geet. My “awakening” came to pass as a result of his portrait of Lucy Gale titled “Somewhere under the Rainbow” which was part of the 2012 “ Hidden Faces of the Archibald “ exhibition at the Hilton at Docklands and in pride of place at the Age’s Media House Gallery from 20th August on the 28th September 2012.
Awakening, you may ask? Well, it was ignited five minutes into an interview with Lucy Gale during the time her portraiture was part of the Hidden Faces People’s Choice Awards at the Hilton in Docklands. I was actually asked to come along to take some shots of Lucy and her portrait.
Within minutes I became intrinsically linked to Lucy, her story and Jim van Geet. The best way to describe what happened is to say I became part of an extraordinary tapestry of life in motion that is gaining momentum by the hour, day, week and month. When I give my attention to the creative force that radiates through these individuals the feeling is exhilarating. I know very little of their personal circumstances other than they are profound, live in the present and celebrate the ethereal world in magnificent splendor through colour, canvas and song. It is indeed magical when artists exponentially shape events through the inspired unleashing of the creative essence that lives within us all.
A consummate professional, Jim van Geet started his career in the corporate world as a Technical Advisor to Patent Attorneys after completing his Diploma of Applied Science; it wasn’t long before his destiny propelled him to complete his Diploma of Fine Art, change careers, become self-employed as a Furniture Designer and continue to paint.
His dedication to the pursuit of excellence also moved him to undertake tuition from artists such as John Borrack, Sir William Dargie, Ron Crawford and The Melbourne Realist Art School.
Like all well-trained artists he is fluent in a wide range of subject matter, however it is his portraits and figurative works for which he is best known.
His predilection for painting interesting portraits, stems from his approach and selection of subjects.
As he says, “ People are endlessly fascinating and they each have a history and story to tell. I enjoy spending a lot of time on research and in discussions with them until I feel that I can do justice in portraying WHO they are honestly. “
During a recent discussion Jim shared an insightful story about the iconic Melbourne creative Barry Dickins who spent time at Jim’s country haven situated in the foothills of Mount Buffalo during the painting of Barry’s portrait. This, of course has now linked me to the poignant, fantastical and joyful world of Barry Dickins. And the beat goes on…
Barry Dickens portrait by Jim van Geet
Around the globe the art world is experiencing a resurgence of focus and appreciation back to he learned skills of the fine artist. Jim Van Geet exemplifies such an artist. All his paintings project an expanding story with interconnectedness that is forever in motion.
Always available to discuss portrait commissions you can check out his website: www.jimvangeet.com
Do not miss this leg of this amazing exhibition.
During the end of the Ming Dynasty, just prior to 1644 A.D., the Manchu Army from the north east of China was invited to China to curb the civil war. Before, they were allowed to bring an army into China they were made to vow that as soon as the revolution was quashed, the Manchu must leave China. In their vow, the Manchus stated that if they ever broke the promise to leave China they would either serve like horses and cattle to the Chinese people or would perish instantly. With the help of the Tibetan monks, after defeating the revolutionary army, the Manchus broke their promise and stayed on to establish the Ching Dynasty.
With their freshly made vow in mind, the Manchu Dynasty deliberately designed all the Government uniforms, from the Emperor down to the lowest posts, with hoofs on their sleeves. Furthermore, even their salute and the way they kneeled resembled horses and cattle. It is thought that the reason the Manchus carried out such absurd courtesy and dressed in these ridiculous uniforms was to justify their staying in China so that they would not perish instantly.
Even though the Manchus made up only 5% of the Chinese population, they took no time to annihilate the Hons’ resistance who occupied about 90% of the total population, because they were entangled amongst themselves in a bitter civil war at the time. By 1644, the Manchus set up the Ching Dynasty which lasted until 1911.
With the advice of the Tibetan monks, the Manchu Government outlawed all weapons and Kung Fu training. The Tibetan monks also devised a scheme to gain full control of China. Firstly, the Hons were forbidden to marry any Manchus. This law was only repealed at the turn of this century. Further, with the advice of the Monks, the Manchu Government enforced many unjust laws on the Hons. For instance, the Hon female infants were compelled to have their feet bound from as early as the day they were born, so that when they grew up they would be crippled. Their mobility was completely hindered. They would be completely dependent upon their parents while growing up as well as their husbands or other people around them. The Manchus also limited the work opportunities of the Hon citizens. Smoking opium was promoted in the Hon community but it was banned in the Manchu, because through the advice of the Tibetan Monks of the day they knew the addiction would surely tie down the citizens of the Hon people. The Hons were not allowed to inter-marry the Manchus and this law was also repealed in the early 1900s.
During this time, the training of Kung Fu was banned. Anyone found practicing Kung Fu could be arrested and put away for a very long time. There was one exception. The Shil Lim Temple regarded by the Tibetan monks with the same denomination, was given special privilege. The training of Kung Fu was allowed in the Temple for health and mental reasons only.
At the beginning of the Manchu Dynasty by the same token, a lot of existing martial artists had turned to work for the Manchu Government. Most of these renegades were the martial artists from the north. They would be mostly masters of Bart Quar (Octagonal Form), Yin Yee (Shapes and Forms), and Tai Chi (Two Extremes) systems. In fact, the Manchu courts had a liking for Tai Chi and it was practiced extensively by the concubines and eunuchs to cure their boredom in the palace. They composed music to go with the Tai Chi movements. This explains why Tai Chi was so popular up north. Down south, the martial artists always regarded the Tai Chi Masters as traitors to the Hon people.
Along with many strange ways of worshipping, the Tibetan monks brought a unique marital arts system called “God Fighting”. The practitioners went through rituals of chanting and a series of movement’s prior to combat, and they put themselves in a special trance. It is claimed that they could avoid being hurt and feel no pain when hit, and that they could even stop a knife or bullet from penetrating their bodies. In the 1900’s these practitioners were the main conspirators involved in the Boxer Rebellion. The Boxer uprising caused the massacre of foreign missionaries and families of diplomats stationed in China, Their belief of stopping bullets with magic, of course turned out to be untrue, so the Boxers were defeated. China was brought to shame and humiliation again by ignorance and manipulation of the Tibetan Monks on the people and Government of China at that time.
The Government thus respected the Shaolin Temple as a Buddhist sanctuary. Some Hon “martial artists” began training a revolutionary army in the art of Kung Fu, using the Shaolin Temple as the secret training place. The traditional Shaolin system would take 15 to 20 years to train a Kung Fu “master”. The need to develop a new and more effective fighter became critical when some of the existing Kung Fu masters surrendered to work for the Manchu government. Five of the Shaolin Grandmasters planned to develop a new form, which would have a shorter training time and would be more effective than all the other systems developed before. The five Grandmasters met to discuss the merits of each of their particular systems of Kung Fu and chose the most efficient training method from each system. They developed the principle and training program of Wing Chun that would take only five years to master. They called this system Wing Chun, its name meaning “hope for the future”. However before this new system could be put into practice, the Manchu Government was tipped off and the Shaolin Temple was raided and burned down.Ng Mui, a nun, was the only survivor of the original group of five.
Portrait of Ng Mui
Ng Mui was the only survivor who knew the full system. However, she realized that much of what she had learned was ineffective for a small, frail woman to use on a larger, stronger man. She revised everything she had learned and discarded techniques that were slow or that relied on strength or size. She developed a system of fighting that enabled a smaller, weaker person to destroy a bigger, stronger person within a few seconds. Ng Mui’s new system was well guarded and passed on to only a few, very dedicated students. The style became known as Wing Chun, after Ng Mui’s first student, a woman named Yim Wing Chun.
Cheung’s Wing Chun Kung Fu Academy
Level 2, 111 Lonsdale Street, Melbourne.
Open 7 days a week between. Tel: 96633588
We have given away two Crimson Goat Awards, an annual award to a person who has best lived up to our Crimson Goat Philosophy of standing apart from the herd, even if people think you’re a goat for doing it. The first recipient of The Crimson Goat in 2011 was father Bob McGuire who has stood up to his own Church to minister to the poor and down trodden in the South Melbourne St Kilda area. His exploits over the years are legendary. One thing that typifies Father Bob’s independent thinking is his regular radio appearances with well-known iconoclast and avowed atheist, John Safran.
The second recipient in 2012 was Sam (John) Newman. Love him or hate him, you have to admit than Sam Newman stands apart from the herd. From getting run over by his own girlfriend to getting run off air, Sam is hard at it. Every time Sam’s knocked down he gets back up to get knocked down again. He dishes out the shit, but you might notice that it all works towards the shit being dumped back on him. Sam is a worthy recipient of the Crimson Goat and we hope that by giving it to Sam, it will further shape and establish just what a Crimson Goat means.
Top Goat Jack Levi aka Elliot Goblet with resident photographer Kim Kellman
MC of last show Akmal SalehMitch Faircloth
By Mitchell Faircloth – writer/cartoonist/musican/entertainer
“A view into Pentridge Prison’s notorious H Divison”
Damian Hill
This dynamic theatre production begins with the haunting image of “souls from the grave” captured in the face of Damien Hill who brings to life Christopher Dale Flannery aka Mr. Rent a Kill in Ray Mooney’s Everynight Everynight which is currently playing at Gasworks Theatre in Albert Park.
Damien Hill also the founder of Frank Theatre Company has attracted some of Australia’s most talented and seasoned actors in Steve Bastoni, John Brumpton, Paul Ireland, Adrian Mulraney, Tony Rickards and Kaitlyn Clare.
Together with Director Stuart Grant, Matthew Adey (Set/Light Design) and Robert Jordan (Sound Design), like a well-oiled machine the actors bring to life their characters and ignite the stage with a powerfully atmospheric and brutal window into Pentridge Prison’s notorious H Divison in the late 1980’s.
If you are an enthusiast of Melbourne’s underworld it is a must see as it smacks with authenticity.
As an “enthusiast” myself I found each actor’s character compelling and thought provoking with a stand out and electrifying performance by Damien Hill as a young Flannery. ****
