RAW: In Conversation With – The Significance of Indigenous Art In Contemporary Society – 1K

After fulsomely praising the merits of the second in this year’s series of In Conservation With, hosted by the ABC’s Fenella Kernebone (Link to article here), my expectations of enthralling debate about the role of indigenous art were high. The panel for last night’s discussion, comprised of indigenous experts from the visual arts (Nici Cumpston – AGSA), theatre (Wesley Enoch – Queensland Theatre Company), music (Lou Bennett – Black Arm Band) and community involvement (Lee-Ann Buckskin – Carclew), also gave cause for optimism.

Sadly, it all got off to a very bad start and never recovered.

In response to Kernebone’s opener about the topic, Bennett insisted that we all needed to first contemplate and debate just exactly what is meant  by ‘indigenous’, ‘art’ and ‘contemporary’ society.  Two minutes later one punter in the audience got up and left, perhaps sensing what the next 90 minutes was then likely to bring. I just wish he had let us in on his hunch with a cry at the door of ‘oh no, what a waste of time this is going to be now’ or similar as he left for then we would all have been forewarned.

So instead of the advertised discussion about ‘the significance of indigenous art in contemporary society’ we got polemics and politics around the topic ‘contemporary indigenous art – discuss.’

Even though Kernebone tried to ignore Bennett’s opening distraction, the die was cast and soon she too was lapping up this Radio National type gab fest.

So to be clear, what did this audience member think the topic was going to lead to discussions about? Well, things like, is indigenous art about talking to indigenous people or is it about explaining and teaching their culture to other (non-indigenous) Australians or is about helping to break down racism or racial stereotypes in this country towards and about aborigines or is about building up the brand ‘indigenous art/music/…’ so others to come can advance the cause in time or should indigenous artists make their way by adopting to the white, mainstream or on their own cultural terms? Or is it about other things, but whatever they may be, how are we going in those causes, who are the role models and what’s next?

Instead we got snippets about some of the individuals on the panel’s personal triumphs and some of their activities, without being told whether they were a good thing (as part of the significance of indigenous art in contemporary society) or just a Government sponsored program (that it seemed some on the panel thought were all a bit misguided, especially when it came to health.) While Clifford Possum’s ability to bring $1m for one of his paintings was, you know, something we don’t want to talk about, the glittering triumph in the entire history of all indigenous culture it seemed for the panel was Cathy Freeman winning Gold at the Sydney Olympics.

On top we got some motherhood stuff about how what young aboriginals ought to strive for is being ‘allowed to dream to be what they want to be’, like they are the only people on the planet for whom this idea resonates. And then ‘although we (the panellists) have become quite successful, there remain a lot of indigenous people who are very disadvantaged.’ No kidding, but pray tell, how in modern Australia doesn’t this statement apply to a very large group of people, not just indigenous people and hence why this topic may be important to dealing with that issue.

It was clear from some of the questions asked that many in the audience were also peeved about the way this discussion went and while some will no doubt have left with a warm inner glow – the sing-along at the conclusion of proceedings may have aided that euphoria – I defy them to define exactly in 25 words or less what they actually gained from the evening. I can in one – nothing.

As Noel Pearson has often commented, indigenous spokespeople need to move on from playing on white man’s guilt and engage with mainstream society on making the world better for Australia’s indigenous in practical ways. Well, here for four indigenous spokespeople (and Fenella ‘I was there’ Kernebone) was a rare 90 minute opportunity before an (almost all white) audience of about 100 who had made the effort to come to The Space on a cold July night to listen and hopefully learn to explain ‘the significance of indigenous art in contemporary society’.

Sorry, panel, this was an opportunity you botched.

RAW: Bye Bye Borders Books

The imminent collapse of Borders Books in the US, following its local demise of a few months back, brings back memories of when Borders was the biggest thing in all of literature and how really nothing ever changes.

In the early 1990s I was living and studying for an MBA at Northwestern University at Evanston, Illinois, the first suburb north of the Chicago city boundaries, a town with a village feel inhabited by wealthy people in their massive homes adjoining the lake and the University, its staff and 18,000 students.

In the comely shopping Main Street area was a general book store, the family owned Kroch’s and Bretano’s. Kroch’s was your then typical book store – interior walls lined with high shelves filled with books under various topics and big tables in the middle filled with paperbacks, sale items and remainders. They offered what they wanted to offer you and the quicker you made your purchase decision and got out of there the better. The newspaper and magazine area was sadly little better than the supermarket’s and variety all round beyond the best sellers was a negotiable commodity.

Word then spread that Borders was going to open up just 50m away down the road. Borders by then had its flag ship store on Michigan Avenue (along with HQ in New York) and they had a new model for selling books – don’t foist on people what you want them to buy, rather let them buy the way they want to.

This meant many more shelves and an almost library like approach to stock. On top, you could take a book from a shelf and start reading it in the store, on a comfy chair or with a coffee from the shop, all without feeling like a cheapskate and forever under disapproving eyes of the floor manager and security.

Despite ample warning of its arrival, Kroch’s response to Borders’ arrival was either half hearted or hapless. At first they plonked down a couple of reading chairs and decked their store out with sale items. Then within a few months the closing down sale commenced and soon after the northern Chicago book chain and its 100 year history was gone.

One needs to remember this all preceded the internet and the birth of companies like Amazon. But even then and before also the arrival of the Borders franchise into Australia, a highlight of international travel was (for me at least) a pilgrimage to a Borders book store.

Given my studies, perusing management books was my interest and in Borders there would be shelves upon shelves of them, to be inspected and chosen from at my leisure. And every few weeks, it seemed the stock would change and there would be yet newer additions to the offerings. Coupled with the coffee and the magazine and newspaper stands that carried seemingly every title for every interest from everywhere around the world, this was as good as it got – what shopping for shoes can be for women and hanging out at game parks for photographers, Borders was for me.

That love affair continued even when Borders set up shop in town – a visit was an adventure, how to make valuable time on a rainy day.

Did the business model, wrapped up in the service proposal work? Well, hell yes, it did with me as too often I would walk out with $300 worth of books under my arm when buying zilch had been the original intent upon entering.

This week it seems certain that Borders will enter its end game. In Australia, as noted before, the end has already been and gone. While debt is the main cause in these days of highwire leveraging that has little contingency built in for adverse trading conditions (as it was here too where Borders was part of a private equity gamble), nonetheless the same lessons that swept away Kroch’s and Bretano’s twenty years also apply to Borders today.

The company’s love of its stores and the printed book shrouded their view of what book buyers now wanted (as they always have) – to buy reading material their way. As Kroch’s didn’t understand they were in the literature sales business, with terms dictated by the market, terms they didn’t adapt to when their old model out lived its welcome for consumers, so Borders lost that sight too – the literature business that consumers wanted to engage with no longer was just about words printed on paper.

Particularly, Borders didn’t see the electronic book coming and the rate of take up it would enjoy. When Amazon jumped into the market last year with its Kindle, Borders, like Kroch’s confronted with library like shelves and coffee shop leisure stood frozen to the floor. Then came the i-pad and like Kroch’s again, just a few months later the book store of choice for a generation has gone.

Boom to bust in just 20 years. Boom to bust from not understanding the business they were in and adapting when they should have and could have. It’s nothing new, plenty of businesses have gone that way – Blockbuster Videos is another they got side swiped this year out of business by Netflix, selling the same consumer experience in a way they didn’t see because their model was built around the premises as Borders saw theirs being about the printed book.

So what is next to go? An article out of the US earlier this year stated that Apple was looking to drive so much of its demand for its products onto the internet and directly from its own web site that it would look to bail out of the retail market altogether, meaning it would no longer need to supply stores like Harvey Norman.

That concept was quickly rubbished by the major retailers but after the howl they engendered over internet sales (that avoided the GST) one wonders whether the bright flashing lights of the electronic sales stores are also soon to be a thing of the past, gone like Borders and Blockbuster and record stores before that, for not seeing the writing on the wall and moving more quickly before it was too late.

RAW: Abstractions – Nicholas Elliot and Ben Sando – Light Square Gallery

Silver Fabrication #32 by Nicholas Elliot

By Genevieve Brandenburg

Abstractions is an exhibition of abstract work by artists Nicholas Elliot and Ben Sando. Showing for the month of July at the Light Square Gallery, this body of work captures and communicates the human experience through the abstract.

Nicholas Elliot’s body of work consists of very large canvasses and oils. Thought, feeling and emotion are the undercurrent of these works and have been expressed in the strokes and colours. This is evident in the work Silver Fabrication #32, which is reminiscent of a storm or tempest that could not only manifest in the natural world, but also in the human being. All of these works capture and express those feelings and emotions that are central to the psychological human experience, and indeed have succeeded in bringing them to the physical world.

Ben Sando’s work has been created on very large pieces of paper using pure pigments. The stripes and squares create a more physical experience in the viewer compared to the psychological experience of Elliot’s work. These works, such as Black and Yellow Stripes with

Black and Yellow Stripes with Black and Yellow Squares - Ben Sando

Black and Yellow Squares, seem to hum and almost vibrate due to their contrasting colours and stark lines, affecting our being on a more physical and sensual level. A similar stream of basic human experience runs through Sando’s pieces, just as it does in Elliot’s – for nowhere in nature can one find patterns such as these. These patterns have been distinctly created by a human hand, and hence express another aspect of what it is to be human.

Abstractions is an exhibition of the human experience. Nicholas Elliot and Ben Sando have presented us with aspects of humanity and the human condition, manifested physically in these abstract artworks. A testament to the ability of the human being to create, this exhibition rekindles the possibilities of abstract art as a way of communicating what the representational cannot.
EXHIBITION DETAILS:
Dates: Until 28th July 2011
Where: Light Square Gallery, AC Arts Tafe SA, 39 Light Square, Adelaide 5000
Gallery hours: Monday – Friday 9am – 5pm, closed weekends and public holidays

RAW: 7th Salsa Expo – 23 July at Ballroom, Hindmarsh – Preview

ATTENTION dancaholics of Adelaide its that time again…

LA BOMBA PRODUCTIONS invite you and all your friends to experience the:

7th Annual Salsa Expo

Adelaide’s finest Latin dance studio’s & professionals unite to showcase Adelaide’s home grown Latin dance talent…

Date: Saturday July 23, 2011

Now in its seventh year this is Adelaide’s premier local Latin dance event!

SALSA EXPO is an opportunity for local Latin dance lovers, professionals, instructors, students and the uninitiated to be united on the dance floor

** WIN A DOUBLE PASS NOW THROUGH KRYZTOFF. JUST EMAIL US AT win@kryztoff.com. WE HAVE THREE DOUBLE PASSES TO GIVEAWAY – FIRST IN GETS THEM. **

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SALSA EXPO starts at 11:30AM with some spicy Latin dance workshops, 5 Beginners workshops and 5 intermediate/ advanced workshops

Venue: La Bomba Dance Studio, 112 Hawker St, Brompton (behind the church)
Learn from the BEST Latin dance instructors in Adelaide: Salsa: On1/ On2 & Cuban styles, Zouk, Reggaeton, Bachata, Sambaxe, Cuban rueda, Salsa lifts & tricks, Capoeira

>> BEGINNERS/OPEN WORKSHOPS:
11:30 – Intro to Salsa
12:30 – Intro to Samba & Axe’ (ashay)
1:30 – Intro to Bachata
2:30 – Intro to Reggaeton
3:30 – Intro to Capoeira

>> INTERMEDIATE/ ADVANCED WORKSHOPS:
11:30 – Zouk smooth moves
12:30 – Salsa Lifts & Tricks
1:30 – Funky Salsa turn patterns
2:30 – Salsa On2 Conversion & Cool Moves
3:30 – New cheeky Rueda moves

COST: $10 per workshop or buy a SiperPass = $60 (access to all 10 workshops and entry into Salsa Expo Party)

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and at night…
Sizzling Salsa Expo MASQUERADE Party (so wear a mask)
from 7pm – late dance till you drop and enjoy authentic Latino entertainment including:

LATIN FLOOR SHOWS GALORE featuring Sizzling dance shows from Adelaide’s finest Latin dance studios:

7:00 – Doors Open to public

8:00 – Shows 1st set commences – MC Maximo announces…
Latin Jazz Fusion – THE DANCE PAD – student team
Zouk – SALSA CONNECTION – student team
Reggaeton – LA BOMBA – intermediate student team
Latin Mix – LA BOMBA – advanced student team
Salsa Jam – ALL salsa teachers of Adelaide
20 minute social dance break/ intermission

8:45pm – Shows 2nd set – MC Maximo announces…
Bachata – LATIN DANCE NATION – students team
Salsa – LATINO GROOVES – students team
Reggaeton – LA BOMBA – advanced student teams
Salsa Suelta (Ladies salsa solo) LA BOMBA – student team
Cuban Salsa – LA BOMBA – pro team
20 minute social dance break/ intermission

9:30pm – Shows 3rd set – MC Maximo announces…
Cuban Rueda – LATINO DANCE STUDIO – students/ pro team mixed
Salsa – SALSA CONNECTION – pro team
Samba – LA BOMBA – student team
Las Chicas Bomba Samba – pro team
Samba Jam Show Finale
Prizes for best masquerade announced by MC Maximo
Giant RUEDA to unite Adelaide’s salsa scene

10pm – Party Time ‘A BAILAR’ with DJ AV el Cubano (Sydney)
AUSTRALIAS FINEST LATIN DJs mixing up salsa, bachata, reggaeton, zouk and samba:
DJ AV el Cubano (Cuba)
DJ Senorita (Chile)
DJ Kris de Cali (Colombia)

PLUS back again in 2011:
* The Adelaide SALSA INSTRUCTORS Jam
* Massive Samba parade
* Social dancing – awesome Latin party vibe
* Latin Foods & Bar facilities

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TICKET INFO:
Cost: $10 per workshop and
$20/ 18 concession for party OR
FULL PASS = $60 for access to all 10 workshops and party – (phone 0401811722 to arrange)
KIDS UNDER 13 FREE

Party tickets pre-sold at:
VENUETIX: www.venuetix.com.au
LA BOMBA STUDIO: 112 Hawker st Brompton – ph: 0401811722
or your local Latin dance studio

TABLE BOOKINGS: 0401 811 722
ON THE NIGHT YOU CAN ALSO WIN TICKETS TO BALLET REVOLUTION –
Direct from CUBA – World Premiere STAGE SHOW – 26th to 29th JULY at Her Majesty’s Theatre – CUBAN DANCERS & LIVE LATIN BAND

Facebook Event Invite

RAW: Katie Noonan & Elixir Announce First Seed Ripening Tour Dates

With Katie Noonan’s trio of 14 years  Elixir about to release their long awaited second album First Seed Ripening, and in the wake of their recent national tour supporting the American jazz legend Ron Carter, the group have now announced that they will be heading out around the country to launch said exquisite new album.

Since their self-titled first album became a top 20 best-seller upon its release in 2003, Melbourne-based guitarist Stephen Magnusson, a major solo recording artist in his own right, joined the band in 2005. Rounding out the trio, Katie’s husband Zac Hurren provide’s his mellifluous, lyrical saxophone lines, as distinctive a feature of the Elixir sound as Katie’s sublime vocals themselves.

One of the greatest singers Australia has ever produced, though the six times platinum selling and 3 x ARIA Award winning Noonan is the obvious public focal point, Elixir is a trio of musical equals.

Regarded by many as Australia’s finest jazz guitarist, Magnusson has shared the limelight with the likes of Paul Grabowsky, Scott Tinkler, Michelle Nicole, Paul Kelly and Vince Jones. He was awarded the Swiss Diagonal Arts Grant and the Pop Kredit award in 1999, was co-winner of National Jazz Award the following year, and has been nominated for the Freedman Fellowship (twice) and the Melbourne Prize.

Zac Hurren won the National Jazz Award (in 2009),  and is a truly unique and distinctly Australian saxophonist, composer and improviser.  Steeped in the jazz heritage of Coltrane, Shorter, Coleman and Shepp, Zac’s debut album ‘Exordium’ was released in Australia in 2007 on the Jazzhead label, receiving critical acclaim and heralding a triumphant new arrival on the contemporary jazz scene.

The trio’s new album First Seed Ripening is largely inspired by the words of legendary Australian poet (and winner of the 2000 Patrick White Award) Thomas Shapcott. In penetrating deep into the heart of Shapcott’s words, the trio enlisted the help of string players from the Australian Chamber Orchestra (with whom Katie has worked regularly), and leading jazz players Jonathan Zwartz on bass and Simon Barker on drums.

Our aim,’ Katie says of the new album, ‘was to make gentle, intimate music, and it was all about freedom and spontaneity.’ Recording at an unhurried pace, the trio allowed themselves the time to explore every nuance of Shapcott’s subtle, deeply humane poetry.

But whilst the majority of songs on First Seed Ripening feature lyrics by Shapcott, there are also the kinds of inspired covers at which Elixir have always excelled. Joni Mitchell’s My Old Man comes in for particularly impressive treatment, while Split Enz’s I Hope I Never, composed by Katie’s song writing collaborator Tim Finn, makes for a particularly moving conclusion to the album.

Live, the album launches will see Elixir joined on stage by some of Australia’s finest string quartets, who will present their own opening slot performances before joining the band in their set. A sublime night of musical elixir, details of all shows and accompanying quartets are as follows:

Friday 7 October @ The Dunstan Playhouse, Adelaidew’ The Zephyr Quartet

Belinda Gehlert (Violin 1), Emily Tulloch (Violin 2),

Lilian-Terri Dahlenburg (Viola), Hilary Kleinig (Cello)

Tix – www.bass.net.au

‘Elixir – first bloom’; Bespoke Perfume by ALKOOMIE  perfume house– National Competition !

In lieu of her forthcoming album ‘First Seed Ripening’, Katie has joined with Australian organic perfume house ALKOOMIE in designing a bespoke fragrance specifically created for her luscious folk jazz trio ‘Elixir’. The scent is titled ‘ELIXIR first bloom’ and in a very special offer, the first ten people to buy double pass tickets to any concert on Elixir’s upcoming National Tour (14 concerts) have the chance to win one of the first bottle’s available (RRP $67.00).  To do so simply head over to the official Katie Noonan facebook page facebook.com/katienoonan and post a photo of you and your tickets on the competition tab https://www.facebook.com/katienoonan?sk=app_170446923021932. There are ten bottles per show available and they will simply go to the first 10 people to post their photos!

First Seed Ripening Is Out August 5th Through ABC / Universal

RAW: Are House Prices About To Collapse?

The warning bells have been ringing for some time. Anyone observing local retail strips over the past 12 months would have noticed a disturbing trend of increased closures and more sites lying fallow for ever longer periods of time.

Still, the official data tended to confounded this physical evidence – the mining boom and those stimulus packages that sustained us through the GFC would continue to make Australia the miracle economy – the only one in the developed world to avoid the harsh realities of the great leverage bust. Or so they said.

For the commentariat – political, media and economic – the force of that boom has blocked out hearing those damn tolling bells. Still, it would not be the first time that ‘the experts’ ignored the warning signs in pursuit of the peddling a glowing good news story that keeps them relevant.

But surely as night follows day, bit by bit the global economy is drawing us in.

This past week we have seen David Jones declare trading conditions the worst it has ever experienced – shock, horror, the wealthy matrons that patronage its marbled floored stores have withdrawn as well. This coming with steep plunges in recent weeks in a variety of confidence measures do not augur well for, well, everyone. Now it is not just the battlers who realise just how bleak things appear.

When viewing events overseas, especially in the US and Europe, one is entitled to start feeling fearful.  World Bank Chairman, Bob Zoellick, says the world is just ‘one shock away from a full-blown crisis.’

If there is one area in the Australian economy where one shock could be more than a crisis but a catastrophe it is the Australian housing market.

Marching on almost without a pause after the GFC hit, the Australian housing market is now flat lining. Houses for sale far exceed demand, auction clearing rates have plunged and average prices are at best steady but already there are some steep falls hitting the upper end of the market – just take a look at apartment prices on the Gold Coast and one can see where the problems are starting to emerge.

At its core is not so much the deleveraging of the world, making it harder to obtain credit and punt hard what little capital one has, but the declining belief by investors that capital gains are inevitable and thus investing in housing is a no brainer.

This culture of happy sentiment has many root causes and cheer leaders, most notably in our newspapers. Real estate ads are big revenue for newspapers and magazines. Nobody wants to know their palace is about to decline in value and nobody wants to be the guy who is saying it either. And let’s face it, what real estate agent has ever advised ‘this is not a good time to buy’, for when  prices are going up they say ‘ride the wave’ and if prices are falling, with a smile they tell you ‘there has been no better time to buy.’

Blind faith in inevitable capital gains is pretty much a religion that sustains all investors. But for punters in the share market that all ended after the GFC when loses of 40% or more, losses than even three years later have not been recovered, shook people to the core. So people stopped supporting floats and private capital raisings – because if the next punt also goes bad that may no longer be something that can be recovered on the waves of an ever surging ASX and all put down to experience.

It is perhaps pertinent to note that after topping out at over 6000, the ASX All Ordinaries has made a few failed attempts at going past 5,000 and now the market is down over 10% from that point and still 25% off its pre GFC highs – of three years ago.

As housing start data and demand for building products attest, now people are no longer believing that housing is the place to punt dough – whether in a new home, a holiday house or alterations. That comforting idea that one could sell at any time and be better off than before is evaporating, hence the decline in buyers and for those who looked for the quick capital gain funded by more borrowings, the pressure is growing to get out as quickly as possible. Don’t believe me? Then take a drive around Port Elliot and Middleton and see how many ‘For Sale’ signs are being posted.

But so long as no one is much forced to sell, maybe it is possible to see this period through and count the blessings later. Or maybe not.

Last week The Economist magazine published a table showing relative house valuations based on their historically accurate bench mark of the average house prices to rent ratio. For spooky numbers brace yourself. Even after 3-4 years of steep sub prime induced housing price corrections in the US, their house values are now just back in line with this bench mark method of valuation – that’s right –just back to where they ought to be but nowhere near being hopelessly undervalued as perhaps one might be wishing to suspect.

For Australia, The Economist says we are 50% over valued. Yes, 50%! Just ponder that for a moment and contemplate the impact on you and your family (lifestyle, schools, holidays, cars – you know all those important things) should your home plunge in value by 50%. Then, also, the investment property funded by negative gearing. Then factor in that shock Bob Zoellick was talking about – perhaps unemployment – and quickly some sleepless nights and drawn looks become very in vogue.

To be sure, no one knows when or how the correction will take place but given the Australian housing bubble started inflating a decade ago and the gloom now so pervasive has never been that bad since, one can bet with some certainty that when it ends it may all happen quickly.

Now that talk has started about a decline in interest rates, we may yet be able to avoid this inevitability for some while yet – lower rates make housing more affordable and a declining dollar may help spur local non mining jobs. True also that The Economist’s bench marks may be out of date, that the world has changed – though everyone who has ever told us that has always been quickly revealed as a charlatan (again think back just a few years to the geniuses who rode us headlong into the GFC.)

And, let’s not forget in Australia we have not had much in the way of fiscal shocks these past few years, with the GFC itself passing as an issue in just a few months. Hell, just look at unemployment still at generational lows to see how well off we have been compared with Europe and the US.

Well, here are a few shocks that may take the Australian housing market over the precipice.

  • The US defaulting on its global debts after 2nd August or not being able to keep paying its usual creditors.
  • The Greek debt problem evolving into the inevitable default that may cause many a bank to fail with a spread of problems to other over leveraged countries.
  • The continual ratcheting up of Chinese interest rates to cool down its economy causing a bust.

Then again, often the thing that makes all the difference is not much at all, it is but the last straw that breaks the camel’s back.  For that, perhaps, the announcements of the imminent and now definite carbon tax are all that will be needed.

These things can creep up on us and like the frog in the boiling water we can keep ignoring the signs in favour of a continued happy existence, until one day we explode. But as was well predicted at the time of the GFC (and by those who did see it coming not the overnight epiphanists), second waves of misery are going to be inevitable as the world deleverages.

This will be especially so when the same people in charge of the financial asylum in the 10-20 years prior to 2008 remain firmly entrenched and one possesses Labor governments, at State and Federal level, with the new paradigm of spend everything we have ever had and on anything that sounds good so it buggers up the conservatives when they get back into power

Sleep well.

RAW: Fashion Friday – American Apparel – Profile

Story By Sebastian White

Images By Harry Pearce

211 Rundle Street, Adelaide – www.americanapparel.com.au

Since its inception in Los Angeles in 1998, American Apparel has prospered in catering for a global clientele. Its unique infusion of retrospective and contemporary styles is perhaps one of the most notable reasons why it appeals to a diverse demographic. AA successfully integrates retrospective styles through fit, colour and cut. It is these mediums that contemporise the abundant range of retrospective clothing, making them accessible to the modern dresser.

AA’s range, whether of a retrospective or contemporary nature, is concerned with accentuating the physical form, which is evident in their rather promiscuous ad campaigns. What results is clothing that highlights both the male and female forms and presents them in a sexy way. It is a pursuit that has generated several avant-garde looks, including both the male v-neck tee and leggings worn in lieu of trousers. These are merely two of many signature AA looks that cultivate a sexy and modern look, flattering the male and female forms.

A credit to AA is the relaxation of strict male and female styles. AA unlike any other retailer offers consumers a unisex range of clothing that effectively blurs feminine and masculine attire. AA offers an array of choices, allowing men and women to choose between tight or relaxed fitting attire, which features in an array of vibrant colours and textiles. AA recognises that colours, textiles and fits are not gender specific and so their unisex range offers the consumer more freedom in their choices. AA as a retailer doesn’t dictate what one wears or how one wears an article of clothing, but instead embraces the individualist, offering only a magnificent sense of direction with an innumerable range of possibilities.

From humble beginnings, AA has grown, continually impressing its clientele with avant-garde styles, and a diversity of looks that can be obtained from this one stop shop. AA is the epitome of cool, a retailer unlike any other, providing an eccentric, diverse and accessible range of apparel at modest prices.

American Apparel’s Adelaide store is located at 211 Rundle Street, Adelaide, 5000.

Models:  Sebastian White (upper); Scott Bray (lower)

RAW: Facebook Fatigue Part 2

While the data confirm the drop off in Facebook’s appeal, at least in North America, (see Part 1 of this series at Facebook Fatigue Part 1 by Lewis Dowell) with the buzz of Facebook addiction starting to wear thin for those who first got on board as they get older, more subtle forces I suggest are probably at work.

Two years ago, Facebook was the hippest thing around, a place where with a few minutes work your profile could propound a self view (whether the one intended or not) to not only your real friends and contacts but the world – a narcissist’s nirvana where everyone around the planet could gaze and be mesmerised by the beauty of it all and you knew that and you wanted that. What current or immediately ex-teenager, flushed with the new freedoms of those wonderful years and seeking all manner of gratification could resist the siren calls?

Facebook encouraged this and also for businesses to get on board in a manner where thousands of ‘fans’ could be racked up seemingly overnight. Facebook was the way to your market, your customers, in ways a website couldn’t match.

But then reality dawned. Your public profile could be misused and Facebook would do little about it even in the most public of cases (those that made mainstream media). Your images could be used by others and Facebook did little about it, even though they claimed ownership to everything we uploaded. Stories spread of employers or prospective employers ‘spying’ on workers or candidates to see what they were saying and to see what type of person was actually presenting themselves. And can you believe it, actually acting on what they saw!

Then Facebook limited ‘wall’ updates to just those you most interact with, carving out the flotsam of posts but also removing the marketing tool that most attracted itself to businesses – the ability to continually communicate with their prospective (self selected) customers. With the random and the fascinating gone, the ‘wall’ has quickly become a bore. Business profiles became little more than a place to direct people to visit, little better than your website and most likely not half as good.

With it also came hefty increases in advertising rates – often up quadruple in the space of a year or so – the real motivation behind the business changes Facebook made in this time.

So guess what? People found they needed to find other ways to make contact with all manner of aspects of their life, with Twitter and the blogosphere taking off. People also became fearful of what their profile in the public domain meant for them – maybe it wasn’t such a good idea to exhibit yourself – from sexual preferences to images of you vomiting in hotel car parks – to the world.

So, people ramped up their privacy positions, not only generally but also to those within their so-called circle of friends, the lists of which got increasingly culled.

As Facebook became more mainstream, so older people signed on, God forbid, parents and their friends to whom nothing could be worse than exposing your real world. And so the shutters came down even further.

To be sure, Facebook is not going away but its future probably resides in being little more than a directory to find people (and businesses) in your life – past, present and future – in ways that email addresses, let alone physical street addresses just cannot. To be sure, this makes it a great resource.

Advertising will become increasingly less effective as not only people sign off but simply don’t log on to see what was the world going on around them buzzing as it did, even one year ago.

At 1am last night, it was a great pumping ‘look at me, look at me’ party but by now, the next morning, Facebook has fizzled and in the cold light of day, it has revealed itself to be little more than a memorable phenomenon that, yes, was all a bit too good to be true.

RAW: Speaking In Tongues – 4.5K

The potential for human folly, for the search for something beyond what is more than adequate is well explored in Andrew Bovell’s (When The Rain Stops Falling etc) 1996 classic Speaking In Tongues now brilliantly revived and presented by the State Theatre Company.

When four adequately married people take to trying out a one night fling, the failure of their attempts spawns great reflections, guilt and associations that hitherto had lain dormant in them and between them and their partners.

When (in the second half) their lives get intertwined with the fates of others, some professionally, some by pure chance, a deep narrative of the human condition is created that draws the audience even closer in to every utterance. The fine humour of the first half gets over run with complexity and tension that is palpable.

The juxtaposition of one’s life and the errors within it with the circumstances of others make for poignant moments that resonate loudly – fate v plan, nurture v nature, the battle of the sexes; this is a fable for the middle aged that may well produce quaint conversations between couples on their ways home.

Bringing a work like this to a big stage and utilising just the four actors for all nine parts is no easy feat but Geordie Brookman’s direction is as courageous as it is assured with Geoff Cobham’s lighting and Victoria Lamb’s design essential assets in creating senses of isolation and desolation in a forest of increasing uncertainty.

This may well be the STC’s best work of the year. The performances of all four actors, Terence Crawford, Lizzy Falkland, Chris Pitman and Leeanna Walsman are faultless with maybe the ladies getting the nod for who excelled but many may well espouse other views.

A play that should provoke some fierce debate around town, not only for its impact on people as individuals but the sociology and psychology underpinning it all.

A wholly captivating and satisfying performance – a triumph of the STC.

Kryztoff Rating – 4.5K

RAW: Future Entertainment Presents ‘Godskitchen’ – 1st Oct – Adel Gaol

GODSKITCHEN 2011 – BLACK & WHITE JAIL EDITION

After a phenomenal response to Godskitchen in Adelaide last year, Future Entertainment and Subconscious Entertainment had no option other than to take the event even further in 2011.
Starting out as a burgeoning series of underground Trance parties in the UK, today sees Godskitchen firmly established as one of the world’s undisputed dance culture powerhouses and unparalleled clubbing super brands. From record-breaking club nights to successive global sell-out compilations, and from the annual 30,000-strong Global Gathering to the weekly madness that is AIR Nightclub, there is little that this deeply respected and cherished icon hasn’t achieved.
For the last 14 years, the Godskitchen juggernaut has been traveling to Australian shores and delivering unforgettable arena parties. Featuring massive lineups sparkling with the world’s biggest DJ stars, and boasting awe-inspiring décor, world-class lighting/laser racks and state-of-the-art effects; ‘GK’ events, as they’re affectionately known have become a deliciously regular and highly-anticipated fixture on the local ‘special event’ calendar.
For starters, in 2011, Godskitchen is going outdoors with no better setting than the Old Adelaide Gaol, hence the Black & White theme but it doesn’t stop there!
Godskitchen will be a daytime event kicking off at 1pm until late in the evening.
Expect to see 3 stages including: Godskitchen, Pharmacy (Yes Melbourne’s renowned hard dance brand) and Locals stage. The event will be 3/4 under marquee covering, big sound and lighting display, food available on the day, the black & white dress theme is only befitting with the two styles of music on display.
That’s right, there’s no Boombox, no 3D … just four of the best Trance DJs – Marco V, Richard Durand, John Askew and Ben Gold – ready to put you behind bars for one very special party, in one of Adelaide’s most iconic locations.

Marco V
Nation: Holland
Born in the Dutch lowlands of Heeswijk-Dinther, Marco Verkuijlen has established himself as one of the most inventive, diverse and creative electronic music minds working today. Originally cutting his DJ teeth at the famous DansSalon club in Eindhoven, he has gone on to create gridlock on dancefloors in the farthest corners of the globe. Playing a near uncountable number of tent-pole events, he has long been the go-to DJ for the likes of Trance Energy, Sensation, Creamfields, Nature One, Love Parade, Dance Valley, Global Gathering and Monster Massive. The result of this has been an unbroken run of top 50 positions over the last seven years in the DJ Magazine chart. The genius behind bombs like ‘Godd’, ‘Indicator’, ‘Echnalava’, ‘More Than A Life Away’ and ‘Coma Aid’, Marco is widely accredited for masterminding the Tech-Trance sound that has taken the planet by storm over the last five years.

Richard Durand
Nation: Holland
Without doubt the hottest new trance DJ / producers to emerge from Holland this past couple of years is Richard Durand. Comprising a unique, dynamic and devastating sound that embraces Trance, Techno and tough Electro this flying Dutchman initially made his mark as a solo producer with big Tech-Trance bombs on the Terminal 4 label, while the huge success of his remixes of Tiësto’s ‘Lethal Industry’, ‘Flight 643’ and ‘Break My Fall’, Fragma’s ‘Toca’s Miracle’ and Armin van Buuren’s ‘In And Out Of Love’, soon marked him as one of the hottest remixers on the planet. When Black Hole Recordings announced at the start of 2010 that there would be a new figurehead of their legendary ‘In Search Of Sunrise’ series of CDs previously fronted by Tiësto, there proved to be just one obvious successor to the throne – Richard Durand. Utilising 4 x CDJs and effects units, Richard Durand DJ sets are a whirlwind journey of cutting edge tunes, exclusive reworks, slick mixing and technical wizardry behind the decks. Be there.

John Askew
Nation: United Kingdom
No ifs, no buts … John Askew is without doubt one of the hottest Tech-Trance DJ/Producers in the world today. The luminary responsible for epic tracks like ‘Vellum’, ‘The Door’, ‘New Dimension’, ‘Chime’, ‘Fade to Black’, ‘Bored of You, Bored of Me’, and the legend behind no less than two critically acclaimed full-length artist albums (‘Lower the Tone and ‘Z List Uber Star’), it’s little wonder that his arsenal of tunes effortlessly grace the CD wallets of the world’s biggest Trance stars – including Eddie Halliwell, Tiesto, Armin van Buuren and Paul van Dyk (who has regularly called upon John’s silky remix skills to work magic on his globally revered Vandit label). With gigs in every corner of the globe – from Colombia to Cyprus via China – to his name over the last 24 months alone, John Askew is a Tech-Trance star that continues to shine ever brighter as each single, gig, album and week passes.

Ben Gold
Nation: United Kingdom
At just 25 years old Ben Gold is one of the most multi-talented names in the electronic dance scene. The son of the legendary Graham Gold, Ben combines a highly acclaimed career as a leading studio engineer with that of one of the brightest young stars in the trance scene, playing at some of the world’s leading clubs alongside world class DJ’s who all regularly fill their CD wallets with his latest works. A versatile producer who has seen tracks featured on leading compilations such as Ministry Of Sound’s Trance Nation Harder, Trance Nation Deeper and Europe’s biggest dance compilation, Dream Dance. As well as regularly winning plaudits such as Armin Van Buuren’s ‘Tune Of The Week’, Above and Beyond’s ‘Tune of the Week’ and often featured in Mixmag as their ‘Tune Of The Month’, Ben’s productions are also consistently featured on leading radio stations such as Radio 1, Galaxy and on leading radio shows, including ASOT by Armin van Buuren, Club Life by Tiesto and TATW by Above and Beyond.

Godskitchen 2011: Black & White, Jail edition.
Adelaide: Saturday 1st October, 1pm –until late, Old Adelaide Gaol

Tickets on sale 9am, Wednesday July 13 through www.venuetix.com.au

100 limited $60 Presale tickets will only be available at www.subconsciousentertainment.com <http://www.subconsciousentertainment.com>


GODSKITCHEN DJs

Main Room
Marco V
Richard Durand
John Askew
Ben Gold