cover

JOIN THE GRADUATING FASHION STUDENTS OF CURTIN UNIVERSITY FOR A NIGHT OF INTRIGUE & WONDERMENT ON THE 14th OF NOVEMBER @ 7:30pm.

TICKETS AVAILABLE @ Charisma Cafe 18 Hislop Road, Attadale | Love in Tokyo 61-63 High St, Fremantle | Ricarda 399 Hay Street, Subiaco | Snow White Drycleaners 91A Waratah Avenue, Dalkeith

| Venn Gallery 16 Queen St, Perth

PHOTOGRAPHY BY CAMERON ETCHELLS

32

Dale James Ad.indd 1 10/11/11 2:11 PM

JOIN THE GRADUATING FASHION STUDENTS OF CURTIN UNIVERSITY FOR A NIGHT OF INTRIGUE & WONDERMENT ON THE 14th OF NOVEMBER @ 7:30pm.

TICKETS AVAILABLE @ Charisma Cafe 18 Hislop Road, Attadale | Love in Tokyo 61-63 High St, Fremantle | Ricarda 399 Hay Street, Subiaco | Snow White Drycleaners 91A Waratah Avenue, Dalkeith

| Venn Gallery 16 Queen St, Perth

PHOTOGRAPHY BY CAMERON ETCHELLS

contents - collage/illus-trationMUSIC

YOUTH LAGOON...................07LOCAL ARTISTS...............08TAME IMPALA.....................10THE RUBENS.................12SPLIT SECONDS......................14LIFESTYLEQUICKBITES:KITCH IS THE NEW COOL....16SPORTQUIDDITCH.........................20ARTMONIQUE WILLIAMS............23MICHAEL LOMBARDI...............24FASHIONFOXFEER PRESENTS:D’FACED CLOTHING....26COLOUR MY LIFE.......................30FILMBREAKING THE WA FILM SCENE.............38SOCIAL PROFILESSHIRLEY KAYE..................40 JS MUSIC STUDIO.................41ENVIRONMENTALTHE GREAT PACIFIC GARBAGE PATCH.......42SOCIAL ISSUESJULIAN ASSANGE..............44THE FINKLESTEIN REPORT............47TRAVELMALAWI.........................48FEATURED PHOTOGRAPHERAARON CORKILL OF VERSIONTWO..............50

CONTENTS

contributors

CONTRIBUTORS

CEO’S LETTER

Dear Colosoul readers,

This year has been an exciting one for Colosoul Magazine and the Colosoul Group Inc. There is always so much happening with all the various events and different programs operating, but the Colosoul Group has grown exponentially over the past year. With the many opportunities available through our mentorship program, it’s fantastic to see so much raw talent revealed. Some of the fashion shoots, in particular, this year have been absolutely gorgeous, as you will see in this issue.

I would like to personally thank our core team leaders – Graham Hansen, Jade Lane, Venus D’Scarlett, Georgia Gunther, Renilda Tan, Lilian Yeow, Annaleen Harris, Melissa Mills, Lisa Morrison, Marty Collister, Jenny Abraham, Nathanael Rice, Priscilla Yeow and of course all the Colosoul crew.

What I really enjoy about Colosoul is the fact that it’s like family. We work hard and play the game together, all for a bigger and better cause.

From Tricia Ray CEO/Founder and Publisher

WHO WE SUPPORT;The Esther Foundation - Perth Halo Leadership - PerthHelp Save the Kids - ThailandFair Tradie Project - UgandaExtinction Sucks - PerthPMH Childrens Hospital - Perth

The Colosoul Group Inc is a media and arts NFP organisation which serves as a banner to its other publications, its Fox Feet label, business hub and is a platform for its events held during the year. These events support other NFP organsiations which young people are actively involved in to help others either here in Australia or oversees.

No part of this publication may be reproduced in whole or part without the permission of the publishers. The views expressed in Colosoul Magazine are the views of the respective writers and may not necessarily comply with those of the publisher and staff.

Colosoul Magazine is a publication of Colosoul Group Inc.© 2012 Colosoul Group Inc. All rights reserved.

F A I R T R A D I E P R O J E C T

OUR PARTNERS:Student Edge, Ticketbooth, Red Bird Creative, ABN Group

08: TEAMPublisher: Colosoul Group Inc.Editor in Chief: Graham HansenMagazine Editor: Jade LaneCreative Director: Lilian Yeow

Music Editor: Nathanael RiceMovies Editor: Katie MooreArt Editor: Nic HardingFashion Editor: Ysabel TangPhotography Editor: Chloe RossSocial Issues Editor : Joe Magee

Copy Editor: Crystal Abidin

Graphic Designers/Illustrators: Lilian Yeow, Melissa Cheah, Daniel Silva E Cunha, Nastaran Ghadiri, Priscilla Yeow

Contributing Writers: Elle Batchelor, Katie Moore, Annaleen Harris, Alastair Ingram, Louisa Ong, Nathanael Rice, Kate Hodges, Tegan Carlson, Chloe Ross, Georgia Leaker, Sam Vote, Angeline Dowling.

Photographers: Jade Lane, Nick Kapirnas, Melissa Mills, Alastair Ingram, Jules Szoke, Elle Batchelor, Georgia Leaker.

Website developers: Matthew Storms, Melissa Cheah, Harry Court

ABOUT THE COVER:The cover of this issue features the artwork of Sam Winsor. After completing his studies as a graphic designer at The Central Institute of Technology, Sam spent a year freelancing, adding an abundance of clients to his growing portfolio. Although designing for Socialite Media fills most of his day, Sam also enjoys letting his creative side out in the form of personal and collaborative exhibitions. His dark and quirky work sends him through many forms of mediums, including traditional inking as well as digital art.

Sam draws from many styles of art, focusing on a mixture of line work, while subtly bringing together the Japanese art style to create simple but unique pieces.

Check out Sam’s work at http://www.facebook.com/SamWinsorDesigns

The Colosoul Group Inc is open for memberships in 2013 $35 for one year includes a copy of the quarterly magazine and discounts to all Colosoul events. You also have the opportunity to win great prizes throughout the year and receive discounts from our advertising sponsors. Become a Colosoul member today and support our not-for-profit media and arts organisation, which in turn supports young people in the industry. $5 for magazine Everyone at Colosoul has been working tirelessly to provide you with a top quality magazine. We would like to continue printing this publication and so have asked whether you would be willing to pay. We received a huge response of YES and the amount of $5 was decided upon. This money purely helps us to continue printing. That is why we are keeping it the cost as low as possible, so you can continue to keep reading and supporting our not–for-profit media and arts organisation.

Contact: mag.colosoul.com.au facebook/colosoulmag

Editorial: editorial@colosoul.com.auMarketing & Advertising: marketing@colosoul.com.auWant to contribute? employment@colosoul.com.au

Pigeonhole Catalogue for SPring / Summer 2012 / 2013Party like a Pigeon

Celebrating

5 years in October

www.pigeonhole.com.au

The Year of Hibernation is the debut record from Youth Lagoon, a project that Powers initially started back in 2010. Colosoul caught up with the man behind the Lagoon to discuss his music.

You only started using the name ‘Youth Lagoon’ in 2010, but I’m assuming you have always had an interest in music? I’ve always been making music but it was kind of all over the place. The first instrument I learnt was piano and then ended up transitioning to guitar. After that I had this balancing thing of which instrument I really preferred of the two, and that was about the time when I started to get interested more in the world of electronics and the overall exploration of sound.

Do you have any old demo tracks or EPs lying around from before Youth Lagoon? I still have some hilarious recordings, sitting around somewhere in my house, of things I was doing years and years ago. Pretty funny to look back on.

Have you been interested in music for a while? When did you first realise you wanted to create it? I’ve been interested in music my whole life and always knew I’d be creating it in some way. There’s like these zones, like unexplored worlds that I’ve been fascinated about for years. I think music can be a tool that aids in entering this other realm. Sometimes that can be hard to explain to people, but I feel them all the time. It’s similar to how there can be our reality and a spiritual one existing at the same time and same place but somehow they only rarely seem to overlap. Almost like completely different dimensions coexisting.

You were studying English during the beginnings of Youth Lagoon. Is this something you put on hold to concentrate on music? Yes, but it has become valuable as far as the education I had gained on language in general. It’s funny, because we assign meaning to these sounds that come out

22 years old. Born in California. Lives in Idaho. Goes to college. Studies English. Sounds like a typical, young American adult? If it weren’t for the fact that Trevor Powers also happens to have created electronic/atmospheric act Youth Lagoon, he probably would be. But then again, which average 22-year-old chats about the feeling of complete dysphoria, unexplored spiritual worlds and galoshes? Okay, maybe galoshes aren’t that odd.

of our mouths, but sometimes they really mean nothing at all.

There is something so intimate about Year of Hibernation, not in a recorded-at-home way, but in a lyrical sense. What would you say is the main theme of this album? If I had to pick one constant theme, it would be the feeling of complete dysphoria. I wrote the songs for that record in the state of mind where I really spend most of my time, as much as I hate it. I am kind of in this place where I wrestle with what’s real. The songs for that record, though, were written in a way that the music in some ways correlates with the words but at the same time is like the antithesis. It goes back to the wrestling part, I always feel uneasy in a way about life in general but at the same time have this certain kind of excitement.

Was there a particular time or moment that inspired the lyrics for the album? Each song was really different as to where the inspiration came from. Much of this record were spin-offs from things that happened to me over the period of a few years that led up to this record. I’m a huge fan, every track on the album is wonderful, but ‘The Hunt,’ ‘July’ and ‘Posters’ stand out. Is there any song that is a favourite, or that is particularly important to you? ‘Posters’ is one that stands out to me when I was writing it. It’s based on the idea of being defined by things that bedevil us. Things that are always there but people get so used to them that they are no longer visible until certain moments are triggers.

What has it been like to have such a positive reaction to The Year of Hibernation? I really wasn’t expecting it at all, so it was

“I THINK MUSIC CAN BE A TOOL THAT AIDS IN

ENTERING THIS OTHER REALM.”

VERY YOUNG AND SLIGHTY RESTLESS

INTERNATIONAL MUSIC YOUTH LAGOON

an awesome surprise. It’s still perplexing to me to be in a place you have never been before and for people to be there to watch you perform.

You journeyed over to Australia in February for some shows, what were they like? They were amazing. I had an incredible time and it was my first time to Australia. I have a dear friend that lives in Melbourne, so it was also nice to be shown around all the local spots.

And then you returned for Splendour in the Grass in July? Splendour was phenomenal and perfectly located. It’s nice when festivals are organised in a way where there’s plenty to do outside the festival walls as well. Because of the heavy rain, the mud was so terrible we couldn’t really walk around other stages much. Should have brought galoshes.

It seems like you have toured just about everywhere in the past year? There’s been shows throughout Europe, UK, Tokyo, Mexico, Canada, US, and of course AU. So it was a pretty busy year.

What has been your favourite gig? One of the most memorable was playing Hostess Club Weekender fest in Tokyo. We got to spend a lot of time with our friends in WU LYF and Perfume Genius and ended the night in typical Japanese karaoke fashion.

Which artists were influences on your sound, or even on you personally while writing The Year of Hibernation? I’m a big fan of My Bloody Valentine and Chapterhouse and a lot of other stuff that started going on in the mid ‘80s and early ‘90s. I’m all across the board on what I listen to, everything, even to stuff like early Townes Van Zandt work. I think, in writing music, influence comes in a perfect balance between what we’ve heard and what we haven’t heard.

What is next for Trevor Powers? Touring is done for this record, so I haven’t been doing much but keeping to myself and writing. Working on finding that next world. Written by Nathanael Rice Design/Illustration by Priscilla Yeow Photo courtesy of the artist

THE DYSPHORIC VISION OF YOUTH LAGOON

colosoul # 8 |07

Pigeonhole Catalogue for SPring / Summer 2012 / 2013Party like a Pigeon

Celebrating

5 years in October

www.pigeonhole.com.au

BEDOUIN SEA

Fresh from sellout shows in support of Triple J golden boy Matt Corby, local favourites Bedouin Sea continue to make waves in the Perth music scene. What began as an acoustic folk project between brothers, Alex and Ross Conradie, has gone from strength to strength, with the duo having evolved into a four-piece folk-rock band after the addition of Caleb Quartermaine and David Chidzey.

Drawing inspiration from the likes of Jack Johnson, Angus and Julia Stone and Ben Harper, their heartfelt lyrics and harmonies have seen them develop a strong and loyal local fan base, with positive feedback from fans flooding the band’s social media feeds.

With their shows around town being consistently well received, Bedouin Sea have emerged as one of Perth’s best new acts for 2012.

SHY PANTHER

Armed with rave reviews and a coveted slot at the upcoming Parklife festival, self-confessed trip-hop hybrids Shy Panther have just released their five track debut EP, Dozen Clouds Wide.

According to the band, if ‘Radiohead, Portishead, Prince and DJ Shadow were forced into a blender, the resulting juice would taste something like Shy Panther – sweet, with plenty of pulp.’

Dozen Clouds Wide takes Shy Panther’s signature driving beats and well-crafted electronics, and pairs them with striking vocals to create a rhythmic, melodic and atmospheric journey for the listener.

The band has also earned themselves a sterling reputation for the impressive calibre of their live set and stunning visual show. Complete with two drummers and with the largest live line-up the band has ever constructed, their performances have been captivating audiences across some of Perth and Fremantle’s most popular and notorious

stages, including Amplifier, The Bakery, Mojo’s, Norfolk and the Fly Trap. Shy Panther’s sold-out video clip launch party at The Bird earlier this year marks the Perth act as one that should definitely not be missed.

SEAN O’NEILL

Solo artist Sean O’Neill is in the midst of recording and mixing his debut album that is set for release on the Fat Shan Music label later this year. O’Neill first made his mark on the local scene as front man for the band Hang On St Christopher, with a mature, atmospheric sound that has been compared to the likes of Fleet Foxes and Sigur Rós.

O’Neill describes his latest record as a ‘stripped back version’ of the band and is currently showcasing the material in venues across the city before he makes the big move to Berlin in the later part of the year.

As he sets his sights on international shores in the immediate future, be sure to catch Sean O’Neill before it’s too late.

LOCAL ARTISTS IN THE LIMELIGHT

LOCAL MUSIC

PERTH’S NEW WAVE OF TASTY HOME-GROWN TALENTTHE FLOWER DRUMS

With their sophomore offering recently landing the coveted feature record slot on RTRfm, Perth quintet The Flower Drums have shaped a distinctive sound that mixes traditional folk melodies with the dreamy ambient undertones of ‘60s pop music.

Their album Suburban Wilderness was released earlier this year to a sell-out crowd at The Bird and is in the process of being distributed across Australia through local label Fat Shan Music. The band describes the record as a ‘collection of songs inspired by the day-to-day experiences of living in suburban Australia’ and claim that it features some of their best songwriting to date.

With a south-west WA tour also on the cards, the band have certainly flourished from what began as a bedroom recording project for front man Leigh Craft and a debut EP entitled Shadows Aren’t Real that was intended only as a musical gift for friends. As the word spreads and the band garners more radio airplay, The Flower Drums looks set to continue carving themselves a distinctive musical niche that will no doubt see their star on the rise.

Written by Kate HodgesIllustration/Design by Lilian Yeow

LOCAL MUSIC

08|colosoul # 8

BEDOUIN SEA

Fresh from sellout shows in support of Triple J golden boy Matt Corby, local favourites Bedouin Sea continue to make waves in the Perth music scene. What began as an acoustic folk project between brothers, Alex and Ross Conradie, has gone from strength to strength, with the duo having evolved into a four-piece folk-rock band after the addition of Caleb Quartermaine and David Chidzey.

Drawing inspiration from the likes of Jack Johnson, Angus and Julia Stone and Ben Harper, their heartfelt lyrics and harmonies have seen them develop a strong and loyal local fan base, with positive feedback from fans flooding the band’s social media feeds.

With their shows around town being consistently well received, Bedouin Sea have emerged as one of Perth’s best new acts for 2012.

SHY PANTHER

Armed with rave reviews and a coveted slot at the upcoming Parklife festival, self-confessed trip-hop hybrids Shy Panther have just released their five track debut EP, Dozen Clouds Wide.

According to the band, if ‘Radiohead, Portishead, Prince and DJ Shadow were forced into a blender, the resulting juice would taste something like Shy Panther – sweet, with plenty of pulp.’

Dozen Clouds Wide takes Shy Panther’s signature driving beats and well-crafted electronics, and pairs them with striking vocals to create a rhythmic, melodic and atmospheric journey for the listener.

The band has also earned themselves a sterling reputation for the impressive calibre of their live set and stunning visual show. Complete with two drummers and with the largest live line-up the band has ever constructed, their performances have been captivating audiences across some of Perth and Fremantle’s most popular and notorious

stages, including Amplifier, The Bakery, Mojo’s, Norfolk and the Fly Trap. Shy Panther’s sold-out video clip launch party at The Bird earlier this year marks the Perth act as one that should definitely not be missed.

SEAN O’NEILL

Solo artist Sean O’Neill is in the midst of recording and mixing his debut album that is set for release on the Fat Shan Music label later this year. O’Neill first made his mark on the local scene as front man for the band Hang On St Christopher, with a mature, atmospheric sound that has been compared to the likes of Fleet Foxes and Sigur Rós.

O’Neill describes his latest record as a ‘stripped back version’ of the band and is currently showcasing the material in venues across the city before he makes the big move to Berlin in the later part of the year.

As he sets his sights on international shores in the immediate future, be sure to catch Sean O’Neill before it’s too late.

LOCAL ARTISTS IN THE LIMELIGHT

LOCAL MUSIC

PERTH’S NEW WAVE OF TASTY HOME-GROWN TALENTTHE FLOWER DRUMS

With their sophomore offering recently landing the coveted feature record slot on RTRfm, Perth quintet The Flower Drums have shaped a distinctive sound that mixes traditional folk melodies with the dreamy ambient undertones of ‘60s pop music.

Their album Suburban Wilderness was released earlier this year to a sell-out crowd at The Bird and is in the process of being distributed across Australia through local label Fat Shan Music. The band describes the record as a ‘collection of songs inspired by the day-to-day experiences of living in suburban Australia’ and claim that it features some of their best songwriting to date.

With a south-west WA tour also on the cards, the band have certainly flourished from what began as a bedroom recording project for front man Leigh Craft and a debut EP entitled Shadows Aren’t Real that was intended only as a musical gift for friends. As the word spreads and the band garners more radio airplay, The Flower Drums looks set to continue carving themselves a distinctive musical niche that will no doubt see their star on the rise.

Written by Kate HodgesIllustration/Design by Lilian Yeow

LOCAL MUSIC

colosoul # 8|09

With the advent of the Internet and digital music, artists have more freedom than ever, yet they also face new challenges. While entire game-changing albums can be recorded at home and tours can be arranged in new, exotic frontiers, today’s artists also face the constant threat of pesky social media. To get the low-down on the trials and tribulations of being in the modern music industry, Colosoul chatted with Dom Simper, Tame Impala’s bassist, and according to Tumblr, everyone’s favourite left-handed rockstar accountant.

I heard that you just returned from South America yesterday, how was that?Yeah, we just got back from Argentina yesterday – it took like four days to get back here.

That’s a killer flight. How was the reception down there?Umm, pretty overwhelming. I think we were playing to, like, a couple of thousand people every night and they’re pretty starved for live music down there, so they all go really crazy. They’re also such nice, humble, wholesome people. It’s beautiful. One of the best touring experiences that we’ve had.

Congratulations on the new album, Lonerism. I listened to it last night – it sounds great! This time around there seems to be a greater use of keyboards rather than guitars. Do you know if there were any particular influences in the making of the album?It’s not really my place to say, because the album is by Kevin (Parker, Tame Impala’s singer and guitarist), who is the major songwriter and does most of the recording. I think in the first album we were trying to create an album using the more kind of traditional band instruments such as guitars, drums, bass and vocals, and we almost restricted ourselves to just using those instruments and sounds to make an almost electronic sounding album. Whereas, this time around, I think we were much more liberal with the instruments that we used and the sounds that we tried to create.

Your first album, Innerspeaker, was such a success; do you feel an added pressure with the release of this second album?

Technicolour dreamcoat. Synthesizers. Psychedelia. Ripping guitar riffs. These colourful terms evoke past music eras and although they are all mentioned in the press release for Lonerism, the new album from Australia’s premier psych rock outfit, Tame Impala, today’s music industry is a vastly different monster.

We can’t be worried too much with what other people think. Of course, it’s hard to completely ignore that side of things, the expectations and pressure. I mean, it’s music, what can you do? I think that as soon as you start trying to make music to please other people, then that’s kind of a problem. All we can do is trust the people that enjoyed the first album and if they like it, they like it and if they don’t, then it’s not really our place to worry about it that much.

You guys are signed with Modular. Do you feel like you have more freedom with a smaller label?Yes and no, at the same time. They’re still a record label and they still want to make money to remain viable. Modular is also a subsidiary of Universal, so they also have that kind of major label looking over the top of them. They’ve been really good to us in that from the very start, they’ve trusted us with our artistic integrity and let us do what we want as much as they can. It’s been much better working with them than I [had] imagined, [as opposed to] working with a major label.

Which are your favourite songs on Lonerism?I really like the second last song, ‘Nothing That Has Happened So Far Has Been Anything We Could Control’.

That’s actually my favourite as well.Yeah, I can praise it because I didn’t actually write or record it that much. It’s pretty epic and an ambitious song and I think it’s pretty incredible.

You played some big festivals, like Coachella and Lollapalooza. Which do you prefer, the bigger festivals or the smaller, more intimate gigs?They’re pretty much all the same (the bigger festivals), especially when you tour them like we do. We fly in, get to the festival, play the show and then leave after our set. You don’t get to experience the whole thing. A lot of them, not to sell them short, are all the same. They’ve got the same stage and the same catering and the same bands that you run into every year. It’s really hard to distinguish festival [from] festival. There are a few absolutely incredible ones.

We played this one in Europe called Hove, which is in Norway on this magical little island. It’s the most picturesque place you’ve ever been to and the artist section is on this beautiful little beach, but it’s rare that you have such a unique experience.

Coming from Perth, do you have any recommendations for aspiring musicians and bands?Just to stay at home and work on music and don’t expect to make it or to become famous and make money because I think if you go down that path then you are kind of setting yourself up for disappointment. You should just be happy recording music at home. If you don’t get what you want out of it with that then I think you’re going the wrong way about it.

So you’re saying – don’t try to be a rock star, be all about the music?Well, the music industry is messed up enough as it is. No one really knows what’s going on and you should be happy just making music with your friends.

Speaking of rock stars, I suppose that after the success of Innerspeaker you’re starting to get recognised more often. Have you seen the Tumblr account, F*#K Yeah Dominic Simper that has been created in your honour?Yeah, we’ve all seen that. It’s pretty funny. We try not worry too much about it [or] take it seriously. It’s kind of frustrating. Especially when you’re on tour, you worry about any type of photography, no matter where you are, that it will end up on the ‘Tumblr.’

I suppose, in the modern music industry, it’s something that you come to expect?Yeah, exactly. It’s just a reflection of the current social media climate I guess.

Finally, are there any new bands that you particularly like at the moment or would recommend?There’s a few Perth bands like The Silence that we have always enjoyed and we’re kind of a little bit frustrated that they’ve never really broken out of Perth. As far as around the world, the album from Melody’s Echo Chamber is coming out. That’s a really phenomenal album.

Tame Impala will be playing in Perth on October 1st with the Parklife Festival. Lonerism will be released nationwide on October 5th.

Written by Tegan CarlsonPhoto courtesy of the artist

“THE MUSIC INDUSTRY IS MESSED UP ENOUGH AS IT IS. NO

ONE REALLY KNOWS WHAT’S GOING ON AND YOU SHOULD BE

HAPPY JUST MAKING MUSIC WITH YOUR FRIENDS.”

TRIALS, TRIBULATIONS AND TUMBLR TWITS

INTERNATIONAL MUSIC TAME IMPALA

AN INTERVIEW WITH TAME IMPALA’S DOM SIMPER

10|colosoul # 8

With the advent of the Internet and digital music, artists have more freedom than ever, yet they also face new challenges. While entire game-changing albums can be recorded at home and tours can be arranged in new, exotic frontiers, today’s artists also face the constant threat of pesky social media. To get the low-down on the trials and tribulations of being in the modern music industry, Colosoul chatted with Dom Simper, Tame Impala’s bassist, and according to Tumblr, everyone’s favourite left-handed rockstar accountant.

I heard that you just returned from South America yesterday, how was that?Yeah, we just got back from Argentina yesterday – it took like four days to get back here.

That’s a killer flight. How was the reception down there?Umm, pretty overwhelming. I think we were playing to, like, a couple of thousand people every night and they’re pretty starved for live music down there, so they all go really crazy. They’re also such nice, humble, wholesome people. It’s beautiful. One of the best touring experiences that we’ve had.

Congratulations on the new album, Lonerism. I listened to it last night – it sounds great! This time around there seems to be a greater use of keyboards rather than guitars. Do you know if there were any particular influences in the making of the album?It’s not really my place to say, because the album is by Kevin (Parker, Tame Impala’s singer and guitarist), who is the major songwriter and does most of the recording. I think in the first album we were trying to create an album using the more kind of traditional band instruments such as guitars, drums, bass and vocals, and we almost restricted ourselves to just using those instruments and sounds to make an almost electronic sounding album. Whereas, this time around, I think we were much more liberal with the instruments that we used and the sounds that we tried to create.

Your first album, Innerspeaker, was such a success; do you feel an added pressure with the release of this second album?

Technicolour dreamcoat. Synthesizers. Psychedelia. Ripping guitar riffs. These colourful terms evoke past music eras and although they are all mentioned in the press release for Lonerism, the new album from Australia’s premier psych rock outfit, Tame Impala, today’s music industry is a vastly different monster.

We can’t be worried too much with what other people think. Of course, it’s hard to completely ignore that side of things, the expectations and pressure. I mean, it’s music, what can you do? I think that as soon as you start trying to make music to please other people, then that’s kind of a problem. All we can do is trust the people that enjoyed the first album and if they like it, they like it and if they don’t, then it’s not really our place to worry about it that much.

You guys are signed with Modular. Do you feel like you have more freedom with a smaller label?Yes and no, at the same time. They’re still a record label and they still want to make money to remain viable. Modular is also a subsidiary of Universal, so they also have that kind of major label looking over the top of them. They’ve been really good to us in that from the very start, they’ve trusted us with our artistic integrity and let us do what we want as much as they can. It’s been much better working with them than I [had] imagined, [as opposed to] working with a major label.

Which are your favourite songs on Lonerism?I really like the second last song, ‘Nothing That Has Happened So Far Has Been Anything We Could Control’.

That’s actually my favourite as well.Yeah, I can praise it because I didn’t actually write or record it that much. It’s pretty epic and an ambitious song and I think it’s pretty incredible.

You played some big festivals, like Coachella and Lollapalooza. Which do you prefer, the bigger festivals or the smaller, more intimate gigs?They’re pretty much all the same (the bigger festivals), especially when you tour them like we do. We fly in, get to the festival, play the show and then leave after our set. You don’t get to experience the whole thing. A lot of them, not to sell them short, are all the same. They’ve got the same stage and the same catering and the same bands that you run into every year. It’s really hard to distinguish festival [from] festival. There are a few absolutely incredible ones.

We played this one in Europe called Hove, which is in Norway on this magical little island. It’s the most picturesque place you’ve ever been to and the artist section is on this beautiful little beach, but it’s rare that you have such a unique experience.

Coming from Perth, do you have any recommendations for aspiring musicians and bands?Just to stay at home and work on music and don’t expect to make it or to become famous and make money because I think if you go down that path then you are kind of setting yourself up for disappointment. You should just be happy recording music at home. If you don’t get what you want out of it with that then I think you’re going the wrong way about it.

So you’re saying – don’t try to be a rock star, be all about the music?Well, the music industry is messed up enough as it is. No one really knows what’s going on and you should be happy just making music with your friends.

Speaking of rock stars, I suppose that after the success of Innerspeaker you’re starting to get recognised more often. Have you seen the Tumblr account, F*#K Yeah Dominic Simper that has been created in your honour?Yeah, we’ve all seen that. It’s pretty funny. We try not worry too much about it [or] take it seriously. It’s kind of frustrating. Especially when you’re on tour, you worry about any type of photography, no matter where you are, that it will end up on the ‘Tumblr.’

I suppose, in the modern music industry, it’s something that you come to expect?Yeah, exactly. It’s just a reflection of the current social media climate I guess.

Finally, are there any new bands that you particularly like at the moment or would recommend?There’s a few Perth bands like The Silence that we have always enjoyed and we’re kind of a little bit frustrated that they’ve never really broken out of Perth. As far as around the world, the album from Melody’s Echo Chamber is coming out. That’s a really phenomenal album.

Tame Impala will be playing in Perth on October 1st with the Parklife Festival. Lonerism will be released nationwide on October 5th.

Written by Tegan CarlsonPhoto courtesy of the artist

“THE MUSIC INDUSTRY IS MESSED UP ENOUGH AS IT IS. NO

ONE REALLY KNOWS WHAT’S GOING ON AND YOU SHOULD BE

HAPPY JUST MAKING MUSIC WITH YOUR FRIENDS.”

TRIALS, TRIBULATIONS AND TUMBLR TWITS

INTERNATIONAL MUSIC TAME IMPALA

AN INTERVIEW WITH TAME IMPALA’S DOM SIMPER

colosoul # 8|11

Sam Margin is the lead vocalist and guitarist of a band that before last year, didn’t exist. Not only does The Rubens now exist, they have released an album, their self-titled debut, which dropped September 14th through Ivy League records, home to other Australian acts Cloud Control, Alpine and Catcall.

Like any band that has already gotten an album out within the year of their debut, Margin confirms that his band has had a big 12 months: ‘2012 has been a bit of everything, a lot of everything actually. It’s been the busiest time of my life. We went to America at the very start of the year to record the album and came back into our first ever tour, and we have just been on tour and played shows ever since. We also did Splendour [in the Grass], which was amazing. There were so many people and it was just a ridiculous amount of fun. 2012 has been the best year of my life so far I think. It would have to be.’

It’s a remarkable achievement to have a record out so soon after forming and

even more so when you manage to secure legendary producer David Kahne, who has worked on albums for acts like The Strokes, New Order, Paul McCartney and Regina Spektor. ‘It was intimidating before I met him. I think I assumed that I would be star struck and he would be too good for us, but I quickly realised that he is just a cool dude. We ended up becoming buddies. He mentored us and taught us a lot about the industry, he helped us in more ways than just setting up the album. It was an amazing experience and I think he definitely changed the way the record sounds. He helped us to become a great band, really whipped us into shape (laughs).’

Apart from Sam Margin, The Rubens also includes his two brothers, Zaac and Elliot, which, Sam assures us, presents no issues. ‘We never really get into fights; we have never been as close as we are now. I suppose at certain ages the age gap feels different, say when I was 18 and Elliot was 14, we were doing different things and were just brothers. But now

A FAMILY THAT PLAYS TOGETHER, STAYS TOGETHERTHE SECRET BEHIND THE METEORIC RISE OF THE RUBENS

we have become really close. It’s funny because all our mates have jobs and stuff, so we find ourselves hanging out together all the time. We will come off tour and us three, our bassist, Will, and Scotty [Scott Baldwin, drums] just end up going to the pub (laughs).’

While the comparisons made between The Rubens and The Black Keys is understandable to Sam, he also believes that they have crafted a record that has its own sound. ‘People always reference The Black Keys. We are big fans and it’s nice for people to say we are similar to them, but I think we are different in a lot of ways too.’ As for influences? ‘I think we would have written the same album if we weren’t listening to the bands we were listening to. However, definitely for me, I was listening to a lot of the ‘Black Rock Album’ [a collaboration between The Black Keys and a plethora of hip hop artists including Mos Def, Raekwon and Ludacris, among others]. I think it made me want to write an album that had those kind of drums, they are hip hop but they are real drums, and they are big. I really wanted to get that drums sound on our record.’

The Rubens self-titled debut is out now at all good record shops and on iTunes.

Written by Nathanael RicePhoto courtesy of the band

THE RUBENS INTERNATIONAL music

Sam Margin is on the phone to me. The first thing we chat about is his morning so far, which he informs me has involved being hungover and taking lots of press calls, which he describes as an ‘interesting combination.’ I joke that he must be getting sick of doing interviews. His reply? ‘This is the last one, so don’t worry, I will try to be good to you.’ Comforting.

12|colosoul # 8

Sam Margin is the lead vocalist and guitarist of a band that before last year, didn’t exist. Not only does The Rubens now exist, they have released an album, their self-titled debut, which dropped September 14th through Ivy League records, home to other Australian acts Cloud Control, Alpine and Catcall.

Like any band that has already gotten an album out within the year of their debut, Margin confirms that his band has had a big 12 months: ‘2012 has been a bit of everything, a lot of everything actually. It’s been the busiest time of my life. We went to America at the very start of the year to record the album and came back into our first ever tour, and we have just been on tour and played shows ever since. We also did Splendour [in the Grass], which was amazing. There were so many people and it was just a ridiculous amount of fun. 2012 has been the best year of my life so far I think. It would have to be.’

It’s a remarkable achievement to have a record out so soon after forming and

even more so when you manage to secure legendary producer David Kahne, who has worked on albums for acts like The Strokes, New Order, Paul McCartney and Regina Spektor. ‘It was intimidating before I met him. I think I assumed that I would be star struck and he would be too good for us, but I quickly realised that he is just a cool dude. We ended up becoming buddies. He mentored us and taught us a lot about the industry, he helped us in more ways than just setting up the album. It was an amazing experience and I think he definitely changed the way the record sounds. He helped us to become a great band, really whipped us into shape (laughs).’

Apart from Sam Margin, The Rubens also includes his two brothers, Zaac and Elliot, which, Sam assures us, presents no issues. ‘We never really get into fights; we have never been as close as we are now. I suppose at certain ages the age gap feels different, say when I was 18 and Elliot was 14, we were doing different things and were just brothers. But now

A FAMILY THAT PLAYS TOGETHER, STAYS TOGETHERTHE SECRET BEHIND THE METEORIC RISE OF THE RUBENS

we have become really close. It’s funny because all our mates have jobs and stuff, so we find ourselves hanging out together all the time. We will come off tour and us three, our bassist, Will, and Scotty [Scott Baldwin, drums] just end up going to the pub (laughs).’

While the comparisons made between The Rubens and The Black Keys is understandable to Sam, he also believes that they have crafted a record that has its own sound. ‘People always reference The Black Keys. We are big fans and it’s nice for people to say we are similar to them, but I think we are different in a lot of ways too.’ As for influences? ‘I think we would have written the same album if we weren’t listening to the bands we were listening to. However, definitely for me, I was listening to a lot of the ‘Black Rock Album’ [a collaboration between The Black Keys and a plethora of hip hop artists including Mos Def, Raekwon and Ludacris, among others]. I think it made me want to write an album that had those kind of drums, they are hip hop but they are real drums, and they are big. I really wanted to get that drums sound on our record.’

The Rubens self-titled debut is out now at all good record shops and on iTunes.

Written by Nathanael RicePhoto courtesy of the band

THE RUBENS INTERNATIONAL music

Sam Margin is on the phone to me. The first thing we chat about is his morning so far, which he informs me has involved being hungover and taking lots of press calls, which he describes as an ‘interesting combination.’ I joke that he must be getting sick of doing interviews. His reply? ‘This is the last one, so don’t worry, I will try to be good to you.’ Comforting.

‘Feel the Canons’, which was actually from his dad’s point of view.’

You’ll Turn Into Me was completed well before its August release. ‘The album has been done for ages, too long. I don’t listen to it anymore – it always sounds awesome when you have just recorded it, but when you play it again after awhile you start to hear all the vocal fuck-ups, or a snare that isn’t quite right, and things like that that no one will notice – it’s good that it’s finally out for people to hear.’

Split Seconds’s debut album, You’ll Turn Into Me, is available now at all good record stores.

Written by Nathanael Rice Photo courtesy of the band

Having just moved to Melbourne in May, Sean points to the WAMis as a great sendoff to his time in Perth. ‘They were good fun, it’s a great time for Perth and every year is super pleasant. Everyone is over here, we were all at the Closing Party which was great.’ A perfect wrap up to his time in Perth, Pollard walked away with the coveted Best Male Vocalist award on the night, a feat that he modestly brushes off.

Pollard points to the costs of touring from Perth as a motivating factor in making the move across to Melbourne. ‘We all wanted to move anyway and it’s so much cheaper touring around Australia from there, so it was kind of a good excuse to make the step. There have been a couple of occasions where we have ended up stranded in places, we were over in Melbourne once and needed to be in Brisbane a week later, but couldn’t afford to catch a flight back to Perth in between,

so we ended up stuck in our hotel because we didn’t have any money to get back home!’Before the formation of Split Seconds, Pollard spent a period of time ‘faffing about’ in London, which he describes as a chance to unwind and take some time away from music.

‘[Split Seconds] weren’t a band at that point, my previous project had just disbanded and so I took about a year off and lived over there in a share house, just working and travelling through Europe. It was good because I had been in another band before that – it’s weird being in a

band, everyone thinks you do all this crazy hedonistic stuff, you live this crazy life, but most of the time you can’t commit to anything or ever go travelling, unless you go with your band, so it was great to get away and take some time off.’However, for someone with music so ingrained in them, it’s undoubtedly hard to completely let go and Pollard found himself writing in this time. The first single off You’ll Turn Into Me, ‘Top Floor’, is based on a late night experience on one of the famous double-decker buses. ‘I was on a bus late at night and downstairs was full, so I headed upstairs as it was pretty empty and then I realised a couple upstairs were completely going for it, and it just seemed like such a waste. We were in London around Christmas time, heading down Oxford Street, it was lovely and it just seemed a shame that they were missing such a beautiful moment. You miss so much of your holidays because you are just fucking around, faffing about on phones or checking Facebook, and you miss these wonderful moments.’

While some of the material on You’ll Turn Into Me comes from experiences abroad, Pollard explains that most of the content stems from his time in Perth. ‘The album is pretty much about Perth. I spent 28 years of my life there, even songs about

CHASING THE SOUNDS OF SUCCESS

LOCAL MUSIC SPLIT SECONDS

other places were through Perth. I will transpose the situation to be about myself or somebody I know, but it’s generally home-based songs.’

The track ‘She Makes Her Own Clothes’, a favourite of Pollard’s, was created after a particularly memorable day in Perth – the storm of March 2010, which saw torrential floods and golf ball-sized hailstones devastate the city, causing over 150,000 homes to lose power and, according to Premier Colin Barnett, amount to nearly $1 billion worth of damage. At the time of the storm, Pollard was on a bus heading down Beaufort Street and noticed a peculiar site. ‘The bus kept stopping because of the big puddles and I saw one of these hookers walking up and down the street, and I just couldn’t believe this lady was working while it was hailing around her! And then

some dude in a black Mercedes picked her up, and I was just like “Fuck! That’s dedication!” and so I put her in a situation where she makes clothes because she had really nice clothes on. I just thought it was a remarkable moment and so I used her as a mouthpiece on that track.’Another character that pops up on the album is someone by the name of Oliver, whom Pollard explains is just a made-up name. ‘I pulled it out of a hat, I had all these stories going on, and I was looking at the record and how I was going to structure it, how it would sound as a whole, and I wanted the narratives to make sense and work together in some kind of order. I wanted to have characters and themes that pop up throughout the album – Oliver actually came up really early, just as a kid, and he is put in all these situations throughout his life. The first track I wrote that featured him was

Sean Pollard sits down with Colosoul writer, Nathanael Rice, for a drink at the Flying Scotsman in Mount Lawley, his old locale before moving earlier in the year to Melbourne. He chats about life in London, working at a rehab clinic, getting stranded whilst on tour, Split Seconds’s debut album You’ll Turn Into Me, and a certain character called Oliver who pops up several times in the record, released August 10th through Quelle Barbe/Inertia.

SPLIT SECONDS MAKE A MOVE

SPLIT SECONDS LOCAL MUSIC

“THE ALBUM IS PRETTY MUCH ABOUT PERTH. I

SPENT 28 YEARS OF MY LIFE THERE. EVEN SONGS

ABOUT OTHER PLACES WERE THROUGH PERTH.”

14|colosoul # 8

‘Feel the Canons’, which was actually from his dad’s point of view.’

You’ll Turn Into Me was completed well before its August release. ‘The album has been done for ages, too long. I don’t listen to it anymore – it always sounds awesome when you have just recorded it, but when you play it again after awhile you start to hear all the vocal fuck-ups, or a snare that isn’t quite right, and things like that that no one will notice – it’s good that it’s finally out for people to hear.’

Split Seconds’s debut album, You’ll Turn Into Me, is available now at all good record stores.

Written by Nathanael Rice Photo courtesy of the band

Having just moved to Melbourne in May, Sean points to the WAMis as a great sendoff to his time in Perth. ‘They were good fun, it’s a great time for Perth and every year is super pleasant. Everyone is over here, we were all at the Closing Party which was great.’ A perfect wrap up to his time in Perth, Pollard walked away with the coveted Best Male Vocalist award on the night, a feat that he modestly brushes off.

Pollard points to the costs of touring from Perth as a motivating factor in making the move across to Melbourne. ‘We all wanted to move anyway and it’s so much cheaper touring around Australia from there, so it was kind of a good excuse to make the step. There have been a couple of occasions where we have ended up stranded in places, we were over in Melbourne once and needed to be in Brisbane a week later, but couldn’t afford to catch a flight back to Perth in between,

so we ended up stuck in our hotel because we didn’t have any money to get back home!’Before the formation of Split Seconds, Pollard spent a period of time ‘faffing about’ in London, which he describes as a chance to unwind and take some time away from music.

‘[Split Seconds] weren’t a band at that point, my previous project had just disbanded and so I took about a year off and lived over there in a share house, just working and travelling through Europe. It was good because I had been in another band before that – it’s weird being in a

band, everyone thinks you do all this crazy hedonistic stuff, you live this crazy life, but most of the time you can’t commit to anything or ever go travelling, unless you go with your band, so it was great to get away and take some time off.’However, for someone with music so ingrained in them, it’s undoubtedly hard to completely let go and Pollard found himself writing in this time. The first single off You’ll Turn Into Me, ‘Top Floor’, is based on a late night experience on one of the famous double-decker buses. ‘I was on a bus late at night and downstairs was full, so I headed upstairs as it was pretty empty and then I realised a couple upstairs were completely going for it, and it just seemed like such a waste. We were in London around Christmas time, heading down Oxford Street, it was lovely and it just seemed a shame that they were missing such a beautiful moment. You miss so much of your holidays because you are just fucking around, faffing about on phones or checking Facebook, and you miss these wonderful moments.’

While some of the material on You’ll Turn Into Me comes from experiences abroad, Pollard explains that most of the content stems from his time in Perth. ‘The album is pretty much about Perth. I spent 28 years of my life there, even songs about

CHASING THE SOUNDS OF SUCCESS

LOCAL MUSIC SPLIT SECONDS

other places were through Perth. I will transpose the situation to be about myself or somebody I know, but it’s generally home-based songs.’

The track ‘She Makes Her Own Clothes’, a favourite of Pollard’s, was created after a particularly memorable day in Perth – the storm of March 2010, which saw torrential floods and golf ball-sized hailstones devastate the city, causing over 150,000 homes to lose power and, according to Premier Colin Barnett, amount to nearly $1 billion worth of damage. At the time of the storm, Pollard was on a bus heading down Beaufort Street and noticed a peculiar site. ‘The bus kept stopping because of the big puddles and I saw one of these hookers walking up and down the street, and I just couldn’t believe this lady was working while it was hailing around her! And then

some dude in a black Mercedes picked her up, and I was just like “Fuck! That’s dedication!” and so I put her in a situation where she makes clothes because she had really nice clothes on. I just thought it was a remarkable moment and so I used her as a mouthpiece on that track.’Another character that pops up on the album is someone by the name of Oliver, whom Pollard explains is just a made-up name. ‘I pulled it out of a hat, I had all these stories going on, and I was looking at the record and how I was going to structure it, how it would sound as a whole, and I wanted the narratives to make sense and work together in some kind of order. I wanted to have characters and themes that pop up throughout the album – Oliver actually came up really early, just as a kid, and he is put in all these situations throughout his life. The first track I wrote that featured him was

Sean Pollard sits down with Colosoul writer, Nathanael Rice, for a drink at the Flying Scotsman in Mount Lawley, his old locale before moving earlier in the year to Melbourne. He chats about life in London, working at a rehab clinic, getting stranded whilst on tour, Split Seconds’s debut album You’ll Turn Into Me, and a certain character called Oliver who pops up several times in the record, released August 10th through Quelle Barbe/Inertia.

SPLIT SECONDS MAKE A MOVE

SPLIT SECONDS LOCAL MUSIC

“THE ALBUM IS PRETTY MUCH ABOUT PERTH. I

SPENT 28 YEARS OF MY LIFE THERE. EVEN SONGS

ABOUT OTHER PLACES WERE THROUGH PERTH.”

colosoul # 8|15

Mrs S - 178 Whatley Crescent, MaylandsA hop, skip and a jump away from the train station in the up-and-coming northeastern suburb of Maylands is café spot Mrs S. The beautiful open-plan room is decked out in antique light fittings, a communal wooden table, and a long booth broken up by smaller tables stretching the length of one wall. This quaint space offers either a communal or more private dining arrangement depending on the customer’s wishes.

Fresh flowers placed in miniature milk bottles at every table, the homemade preserves for sale at the counter, the point lavender food menu pegged to children’s picture books such as The

Busy Barbie, and the handwritten drinks selection drawn up on an oversized chalkboard surrounded by illustrations reminiscent of Beatrix Potter, all add to the ambience, creating a vibrant, warm, and welcoming space for customers and staff alike to enjoy.

The breakfast menu has something for everyone, from flawlessly cooked free-range poached eggs on toast with tomato relish to the delicious (and massive) apple and rhubarb Bircher muesli.

However, the real treat reveals itself to be the ridiculously delicious coffee, juices, and the variety of wholesome homemade baked goods, including a heavenly banana, salted caramel and cream cheese cake, and a delightfully rustic

KITSCH IS THE NEW COOL

lemon curd cake served with double cream that will make your head explode with its decadent goodness. These are just two examples of the abundance of cakes, macarons, croissants and savoury muffins on display at the figurine-laden counter.

The difficulty lies in the decision-making; everything looks delicious, fresh, and tempting. It would be advisable to gather a group of friends, sit around a communal table and enjoy the variety of treats together in the lovely café.

Breakfast and Lunch meals are varied and range from $12 to $25. Coffee ranges from $3.50 to $4.50 and fresh juice is priced at $5. Cakes average $4.50 while macarons are $3 each or four for $10.

QUICK BITES KITSCH IS THE NEW COOL

TAKING A BITE OUT OF THE CAFE SCENE

Cabin Fever - Shop 12 Bon Marche Arcade, 80 Barrack Street WATucked away in a musty arcade strip in the heart of the city, you almost feel as if you are intruding as you step through the renovated shop front into Cabin Fever, the quirky café-cum-creative space for showcasing local art.

Scattered with kitsch knick-knacks, antique lamps and teacups, naked light bulbs, and a mish-mash of furniture from various eras, the decor compliments the homely, second-hand/vintage vibe, making for a relaxed, ‘cup of tea with your senile Gran’ atmosphere, with plenty of nooks and crannies to tuck into, all the while admiring the local artwork pegged up on display.

Cabin Fever offers a relatively modest breakfast and lunch menu, with the main focus being the selection of fresh melt-in-your-mouth bagels with various fillings and muffins available.

The coffee by Ristretto is good not great, but reasonably priced (for Perth), at around $4 for an average cup.

sugar fix there is only one place worth the extra calories. It’s tucked between a real estate agent and a florist on Cross Street. From the outside, Scrumptious looks like the kind of place your nana buys her best crystal platters, but stepping inside opens up a world of treats fit for a fairy princess. There are biscuit ‘lollipops’ with bright-coloured smiley faces and flowers, chocolate cupcake shells filled with treats (think chocolate piñatas) and, if you make it that far, next to the counter is the Holy Grail: tiers of decadent chocolate slices. Both the caramel and marshmallow lemon meringue slices have a coconut chocolate base that is crumbly and moist. The caramel needed a pinch of salt to really make it zing, but the lemon meringue, with its chocolate fondant hat, was perfectly decadent. The queen of them all is the chocolate brownie: it is the fudge-iest brownie ever baked, dotted with nuts and little piece of Belgian chocolate. It is incredibly satisfying to sink your teeth into. However, while the cakes at Scrumptious are truly that, don’t skip the gingerbread smiley face lollipop. Its biscuit is chewy and is coated in an even layer of sugary icing. It is truly perfection in the form of a biscuit. This space is an absolute gem in the Eastern Suburbs of Sydney. All cakes are $4.

There is a variety of loose-leaf T2 teas available, all served in an array of teapots and vintage china (mismatched, of course), as well as a small selection of baked treats, including to-die-for salted caramel cupcakes, whose sickly sweet icing is balanced out by the salty goodness of baked caramel. The chocolate brownies are moist and delicious, with one customer declaring he would ‘offer vital organs’ for the recipe. Washed down with a swirl of Gen Mai Cha Sencha green tea, they are a perfect bite-sized indulgence.

The appeal of Cabin Fever is not necessarily just the food or coffee, but also the overall atmosphere and back-alley hipster cred. It’s a great little concept café with plenty to look at.

Bagels with various fillings are at $8, while muffins, cakes, and brownies range from $4 to $5.50. Coffee is priced between $3.50 and $4.50, and a pot of tea is $4 for singles, $6 for lovers.

Scrumptious – 4 Cross St, Double Bay NSWDouble Bay isn’t exactly the most vibrant suburb in Sydney, but when you need a

KITSCH IS THE NEW COOL QUICK BITES

16|colosoul # 8

Mrs S - 178 Whatley Crescent, MaylandsA hop, skip and a jump away from the train station in the up-and-coming northeastern suburb of Maylands is café spot Mrs S. The beautiful open-plan room is decked out in antique light fittings, a communal wooden table, and a long booth broken up by smaller tables stretching the length of one wall. This quaint space offers either a communal or more private dining arrangement depending on the customer’s wishes.

Fresh flowers placed in miniature milk bottles at every table, the homemade preserves for sale at the counter, the point lavender food menu pegged to children’s picture books such as The

Busy Barbie, and the handwritten drinks selection drawn up on an oversized chalkboard surrounded by illustrations reminiscent of Beatrix Potter, all add to the ambience, creating a vibrant, warm, and welcoming space for customers and staff alike to enjoy.

The breakfast menu has something for everyone, from flawlessly cooked free-range poached eggs on toast with tomato relish to the delicious (and massive) apple and rhubarb Bircher muesli.

However, the real treat reveals itself to be the ridiculously delicious coffee, juices, and the variety of wholesome homemade baked goods, including a heavenly banana, salted caramel and cream cheese cake, and a delightfully rustic

KITSCH IS THE NEW COOL

lemon curd cake served with double cream that will make your head explode with its decadent goodness. These are just two examples of the abundance of cakes, macarons, croissants and savoury muffins on display at the figurine-laden counter.

The difficulty lies in the decision-making; everything looks delicious, fresh, and tempting. It would be advisable to gather a group of friends, sit around a communal table and enjoy the variety of treats together in the lovely café.

Breakfast and Lunch meals are varied and range from $12 to $25. Coffee ranges from $3.50 to $4.50 and fresh juice is priced at $5. Cakes average $4.50 while macarons are $3 each or four for $10.

QUICK BITES KITSCH IS THE NEW COOL

TAKING A BITE OUT OF THE CAFE SCENE

Cabin Fever - Shop 12 Bon Marche Arcade, 80 Barrack Street WATucked away in a musty arcade strip in the heart of the city, you almost feel as if you are intruding as you step through the renovated shop front into Cabin Fever, the quirky café-cum-creative space for showcasing local art.

Scattered with kitsch knick-knacks, antique lamps and teacups, naked light bulbs, and a mish-mash of furniture from various eras, the decor compliments the homely, second-hand/vintage vibe, making for a relaxed, ‘cup of tea with your senile Gran’ atmosphere, with plenty of nooks and crannies to tuck into, all the while admiring the local artwork pegged up on display.

Cabin Fever offers a relatively modest breakfast and lunch menu, with the main focus being the selection of fresh melt-in-your-mouth bagels with various fillings and muffins available.

The coffee by Ristretto is good not great, but reasonably priced (for Perth), at around $4 for an average cup.

sugar fix there is only one place worth the extra calories. It’s tucked between a real estate agent and a florist on Cross Street. From the outside, Scrumptious looks like the kind of place your nana buys her best crystal platters, but stepping inside opens up a world of treats fit for a fairy princess. There are biscuit ‘lollipops’ with bright-coloured smiley faces and flowers, chocolate cupcake shells filled with treats (think chocolate piñatas) and, if you make it that far, next to the counter is the Holy Grail: tiers of decadent chocolate slices. Both the caramel and marshmallow lemon meringue slices have a coconut chocolate base that is crumbly and moist. The caramel needed a pinch of salt to really make it zing, but the lemon meringue, with its chocolate fondant hat, was perfectly decadent. The queen of them all is the chocolate brownie: it is the fudge-iest brownie ever baked, dotted with nuts and little piece of Belgian chocolate. It is incredibly satisfying to sink your teeth into. However, while the cakes at Scrumptious are truly that, don’t skip the gingerbread smiley face lollipop. Its biscuit is chewy and is coated in an even layer of sugary icing. It is truly perfection in the form of a biscuit. This space is an absolute gem in the Eastern Suburbs of Sydney. All cakes are $4.

There is a variety of loose-leaf T2 teas available, all served in an array of teapots and vintage china (mismatched, of course), as well as a small selection of baked treats, including to-die-for salted caramel cupcakes, whose sickly sweet icing is balanced out by the salty goodness of baked caramel. The chocolate brownies are moist and delicious, with one customer declaring he would ‘offer vital organs’ for the recipe. Washed down with a swirl of Gen Mai Cha Sencha green tea, they are a perfect bite-sized indulgence.

The appeal of Cabin Fever is not necessarily just the food or coffee, but also the overall atmosphere and back-alley hipster cred. It’s a great little concept café with plenty to look at.

Bagels with various fillings are at $8, while muffins, cakes, and brownies range from $4 to $5.50. Coffee is priced between $3.50 and $4.50, and a pot of tea is $4 for singles, $6 for lovers.

Scrumptious – 4 Cross St, Double Bay NSWDouble Bay isn’t exactly the most vibrant suburb in Sydney, but when you need a

KITSCH IS THE NEW COOL QUICK BITES

colosoul # 8|17

103 Francis StreetNorthbridge, Perth

Western Australiafrisksmallbar.com.au

facebook.com/friskespresso

Little Cupcakes – 7 Degraves St, Melbourne VicLittle Cupcakes’s flagship store on Degraves St is something of a cupcake Mecca and it is worth getting in early for their moist red velvet with cream cheese frosting. Arrive too late and you’ll find your choices limited – but don’t worry, as they’re all delicious. The flourless chocolate cake gives the red velvet a run for its money; the cake was fudgy inside and the icing was similar in texture and flavour to a chocolate cream. The strawberry icing on the vanilla cupcake tasted like ice cream and the spongy cake was dotted with real vanilla bean. The cookies and cream had such creamy icing, Little Cupcakes should just skip the chocolate sponge underneath and offer it by the bucket! Their milkshakes are thick and taste of real chocolate rather than syrup, and the coffee, while not the best Melbourne has to offer, is pretty good. There’s no questioning why this tiny storefront on one of Melbourne side alleys is so popular. Standard cupcakes are $3.50, small cupcakes are $2.20.

Perth: Written by Annaleen Harris Photography by Elle Batchelor Melb & Syd: Written by Georgia Leaker Photography by Georgia Leaker

The Cupcake Queens – 3/974 High St, Armadale VicIn order to get to High St from Armadale train station, you have to walk down a little arcade dotted with dress shops, cafés and a little homewares shop filled with pop-coloured platters and Mexican art. Right at the top of the arcade is the Cupcake Queens – a candy pink shop front with walls covered in drawings of cupcakes by children who live in the area. Finally a cupcake shop where the red velvet hadn’t sold out yet! Sprinkled with edible red glitter, the cake was the perfect shade of red but lacked the subtle cocoa-flavour of the more traditional red velvet. Luckily, the cream cheese frosting more than made up for it. The chocolate peanut butter cupcake had spectacular frosting, but the chocolate cake could have been more chocolat-y, like the ones found at Little Cupcakes. The vanilla cupcakes are where Cupcake Queens really hits its stride – they have mastered the basics, so you reward yourself with a treat to these fluffy white sponge cakes dotted with real vanilla bean. The passion fruit flavoured icing on the vanilla cake was spot on being creamy and light as air, and the tangy flavour cut through the richness of the vanilla cake. The Cupcake Queens also does coffee, although the café next door does better quality hot drinks if you’re looking for a caffeine hit. Standard cupcakes are $3.50.

Sparkles Cupcakery – 132A Foveaux St, Surry Hills NSWJust a short walk from Central Station, this inner-city cupcakery looks like a posh boutique from the outside with its sleek black and silver shop front. The inside is just as slick, with the cupcakes in uniform white icing (differentiated from each other only by a coloured sugar drop perfectly centred on each) displayed in a simple black case that creates a striking backdrop. The white chocolate and strawberry pink cake is moist and dotted with pieces of fresh berries and white chocolate, with the pink-tinted icing adding just a little extra strawberry flavour to an already flawless cupcake. The salted caramel had a generous dollop of caramel hiding between the butter cream icing and soft vanilla cake, and the Belgian chocolate had, hands down, the best icing this side of the equator. Too bad the actual cake was a little on the dry side. Sparkles offers teas, coffees, hot chocolates, and milkshakes on the side. For a really decadent addition to your cupcake, try the chocolate milkshake made with dark chocolate. Besides the usual flavours, they do seasonal cupcakes and even host cupcake/champagne high teas, which the venue is ideal for hosting. Standard cupcakes are $4.80 while small ones are $3.20. Sparkles also caters for your pup, with dog-friendly cupcakes, so why not treat your pooch next time you’re in town?

18|colosoul # 8

103 Francis StreetNorthbridge, Perth

Western Australiafrisksmallbar.com.au

facebook.com/friskespresso

Little Cupcakes – 7 Degraves St, Melbourne VicLittle Cupcakes’s flagship store on Degraves St is something of a cupcake Mecca and it is worth getting in early for their moist red velvet with cream cheese frosting. Arrive too late and you’ll find your choices limited – but don’t worry, as they’re all delicious. The flourless chocolate cake gives the red velvet a run for its money; the cake was fudgy inside and the icing was similar in texture and flavour to a chocolate cream. The strawberry icing on the vanilla cupcake tasted like ice cream and the spongy cake was dotted with real vanilla bean. The cookies and cream had such creamy icing, Little Cupcakes should just skip the chocolate sponge underneath and offer it by the bucket! Their milkshakes are thick and taste of real chocolate rather than syrup, and the coffee, while not the best Melbourne has to offer, is pretty good. There’s no questioning why this tiny storefront on one of Melbourne side alleys is so popular. Standard cupcakes are $3.50, small cupcakes are $2.20.

Perth: Written by Annaleen Harris Photography by Elle Batchelor Melb & Syd: Written by Georgia Leaker Photography by Georgia Leaker

The Cupcake Queens – 3/974 High St, Armadale VicIn order to get to High St from Armadale train station, you have to walk down a little arcade dotted with dress shops, cafés and a little homewares shop filled with pop-coloured platters and Mexican art. Right at the top of the arcade is the Cupcake Queens – a candy pink shop front with walls covered in drawings of cupcakes by children who live in the area. Finally a cupcake shop where the red velvet hadn’t sold out yet! Sprinkled with edible red glitter, the cake was the perfect shade of red but lacked the subtle cocoa-flavour of the more traditional red velvet. Luckily, the cream cheese frosting more than made up for it. The chocolate peanut butter cupcake had spectacular frosting, but the chocolate cake could have been more chocolat-y, like the ones found at Little Cupcakes. The vanilla cupcakes are where Cupcake Queens really hits its stride – they have mastered the basics, so you reward yourself with a treat to these fluffy white sponge cakes dotted with real vanilla bean. The passion fruit flavoured icing on the vanilla cake was spot on being creamy and light as air, and the tangy flavour cut through the richness of the vanilla cake. The Cupcake Queens also does coffee, although the café next door does better quality hot drinks if you’re looking for a caffeine hit. Standard cupcakes are $3.50.

Sparkles Cupcakery – 132A Foveaux St, Surry Hills NSWJust a short walk from Central Station, this inner-city cupcakery looks like a posh boutique from the outside with its sleek black and silver shop front. The inside is just as slick, with the cupcakes in uniform white icing (differentiated from each other only by a coloured sugar drop perfectly centred on each) displayed in a simple black case that creates a striking backdrop. The white chocolate and strawberry pink cake is moist and dotted with pieces of fresh berries and white chocolate, with the pink-tinted icing adding just a little extra strawberry flavour to an already flawless cupcake. The salted caramel had a generous dollop of caramel hiding between the butter cream icing and soft vanilla cake, and the Belgian chocolate had, hands down, the best icing this side of the equator. Too bad the actual cake was a little on the dry side. Sparkles offers teas, coffees, hot chocolates, and milkshakes on the side. For a really decadent addition to your cupcake, try the chocolate milkshake made with dark chocolate. Besides the usual flavours, they do seasonal cupcakes and even host cupcake/champagne high teas, which the venue is ideal for hosting. Standard cupcakes are $4.80 while small ones are $3.20. Sparkles also caters for your pup, with dog-friendly cupcakes, so why not treat your pooch next time you’re in town?

Based on the magical game of Quidditch created by JK Rowling in the bestselling Harry Potter series, the first game of ‘Muggle’ Quidditch (that’s Quidditch for non-magical folk) was played in 2005 at Middlebury College in the United States. The sport has since grown rapidly; the International Quidditch Association (IQA) was formed in 2010 to be the governing body of ‘Muggle’ Quidditch and currently has over 1,000 teams from 13 countries.

It’s a surprisingly warm and sunny winter’s day when members of the Western Australian Quidditch Association (WAQA) get together for a Sunday afternoon training session. Decked out in their black and yellow team shirts, the Perth Phoenixes have only just returned from the Mid-Winter Intercollegiate Tournament in Newcastle where they placed first out of five. After setting up three standing hoops at either end of the pitch and a call of ‘eyes down…brooms up!’, the players are off into a fast but friendly Quidditch match.

People think that Quidditch is a joke,’ says Andrew Kornnish, a member of WAQA and Chaser for Murdoch University’s Murdoch Mandrakes.

‘The average person usually won’t take me seriously as an athlete if I tell them that I play Quidditch.’

It may all sound a little silly to some as the Muggle version of the game follows rules similar to those played in Harry Potter, with a few adaptations – Players are still on broomsticks, although they are a little more grounded in this version; Bludgers are dodgeballs thrown by Beaters and the Quaffle is a slightly deflated volleyball.

‘The main misconceptions about Quidditch tend to relate to the Snitch,’ says John Owen, a member of the Murdoch Mandrakes.

Unlike the wizarding version, the Golden Snitch is not a gold, walnut-sized sphere with wings, but a tennis ball in a sock which is tucked into the back of the pants of an additional, gold-dressed player that the Seekers must catch.

Quidditch has taken off in Australia. With nearly 600 players around the country, growing from just five to 14 registered teams in under a year, you’d best dust off your broom and get ready to embrace this sport from the wizarding world.

‘The Snitch is given a head start at the beginning of the game and is allowed to go wherever it likes,’ explains John.

‘They’re encouraged to behave in unusual and annoying ways for the Seekers. I’ve seen them climb trees, hide in the audience and once, ride a bicycle.’

This game isn’t entirely for the faint-hearted as Quidditch is a fast-paced, contact sport. The Australian Quidditch Association (AQA) runs a low contact version of the game, but the IQA rulebook allows for full-contact play.

‘Tackles have to be one-handed, below the neck, above the waist, and not from behind so the tackles aren’t super dangerous,’ explains John.

‘But you can definitely end up with players colliding with a lot of force, split lips and plenty of scratches and bruises. Thankfully, the Bludgers are a lot less dangerous than they are in the books.’

And don’t forget the players are running around on broomsticks.

‘We’ve had brooms snap a few times and splinter people’, says Sharna Gregson, a Beater for WAQA.

Despite team names like Monash Muggles (Melbourne), Australian National Nargyles (ANU) and Snapes on a Plane (University NSW), you don’t have to be a diehard Harry Potter fan to play Quidditch, although for many it is part of the games appeal.

‘There’s still a lot of fandom linked to it,’ says Sharna.

‘This is the reason I came down, I didn’t want it to be athletic but it just became that way over time by playing it more.’

‘What’s really great about Quidditch is

it’s as athletic as you want it to be,’ says Priscilla Gardner, a WAQA Chaser. ‘You could be a bunch of [unfit] people running around on broomsticks having fun and trying to be Harry Potter, or it could be as athletic as you want.’

‘You really don’t need any specific set of skills to play Quidditch,’ says Matt Hudson, the Vice-President of AQA and Beater for the Newcastle Fireballs.

‘We have a lot of players who play on other university sports teams. That being said, some of our best players have no previous sporting experience.’

One thing this fledgling sport is lacking in WA (aside from the ability to fly) is funding. WAQA is currently recruiting members for teams at major universities in WA to attract funding for the sport and encourage interstate competition.

‘We don’t have any funding for us right now, so making the hoops and making the brooms comes out of our own pockets,’ says Sharna.

‘At the moment it’s only us that we play… if we want to [compete against] other teams, it’s a pretty expensive exercise as we have to head over east,’ says Priscilla.

So what’s next for this sport? The sixth annual Quidditch World Cup is set to take place in April next year in Florida, with an Australian team to be selected at this year’s Quidditch Universities of Australia Federation League (QUAFL) Cup tournament. The Quidditch Olympics Expo tournament was held in Oxford, England in June this year and included a team from Australia. While still in its infancy, it seems this sport is heading for worldwide domination and as one of the fastest-growing sports in Australia. Expect to see a lot more broomsticks.

It’s early evening and the WAQA players are packing up their brooms, Bludgers and Quaffles for another week. It’s been a fast-paced hour and a half on the pitch, with plenty of action, some impressive tackles and a twisted knee or two. But in testament to the spirit of the game and the infectious enthusiasm of its players, one of the spectators I brought down was convinced to join in and she even managed to score a goal.

Written by Katie MooreIllustration by Nastaran Ghadiri

“THE AVERAGE PERSON USUALLY WON’T TAKE

ME SERIOUSLY AS AN ATHLETE IF I TELL

THEM THAT I PLAY QUIDDITCH.”

RIDING ON BROOMSTICKS WITH MUGGLES

‘

FEATURED SPORT QUIDDITCH

THE REAL WORLD OF QUIDDITCH

Based on the magical game of Quidditch created by JK Rowling in the bestselling Harry Potter series, the first game of ‘Muggle’ Quidditch (that’s Quidditch for non-magical folk) was played in 2005 at Middlebury College in the United States. The sport has since grown rapidly; the International Quidditch Association (IQA) was formed in 2010 to be the governing body of ‘Muggle’ Quidditch and currently has over 1,000 teams from 13 countries.

It’s a surprisingly warm and sunny winter’s day when members of the Western Australian Quidditch Association (WAQA) get together for a Sunday afternoon training session. Decked out in their black and yellow team shirts, the Perth Phoenixes have only just returned from the Mid-Winter Intercollegiate Tournament in Newcastle where they placed first out of five. After setting up three standing hoops at either end of the pitch and a call of ‘eyes down…brooms up!’, the players are off into a fast but friendly Quidditch match.

People think that Quidditch is a joke,’ says Andrew Kornnish, a member of WAQA and Chaser for Murdoch University’s Murdoch Mandrakes.

‘The average person usually won’t take me seriously as an athlete if I tell them that I play Quidditch.’

It may all sound a little silly to some as the Muggle version of the game follows rules similar to those played in Harry Potter, with a few adaptations – Players are still on broomsticks, although they are a little more grounded in this version; Bludgers are dodgeballs thrown by Beaters and the Quaffle is a slightly deflated volleyball.

‘The main misconceptions about Quidditch tend to relate to the Snitch,’ says John Owen, a member of the Murdoch Mandrakes.

Unlike the wizarding version, the Golden Snitch is not a gold, walnut-sized sphere with wings, but a tennis ball in a sock which is tucked into the back of the pants of an additional, gold-dressed player that the Seekers must catch.

Quidditch has taken off in Australia. With nearly 600 players around the country, growing from just five to 14 registered teams in under a year, you’d best dust off your broom and get ready to embrace this sport from the wizarding world.

‘The Snitch is given a head start at the beginning of the game and is allowed to go wherever it likes,’ explains John.

‘They’re encouraged to behave in unusual and annoying ways for the Seekers. I’ve seen them climb trees, hide in the audience and once, ride a bicycle.’

This game isn’t entirely for the faint-hearted as Quidditch is a fast-paced, contact sport. The Australian Quidditch Association (AQA) runs a low contact version of the game, but the IQA rulebook allows for full-contact play.

‘Tackles have to be one-handed, below the neck, above the waist, and not from behind so the tackles aren’t super dangerous,’ explains John.

‘But you can definitely end up with players colliding with a lot of force, split lips and plenty of scratches and bruises. Thankfully, the Bludgers are a lot less dangerous than they are in the books.’

And don’t forget the players are running around on broomsticks.

‘We’ve had brooms snap a few times and splinter people’, says Sharna Gregson, a Beater for WAQA.

Despite team names like Monash Muggles (Melbourne), Australian National Nargyles (ANU) and Snapes on a Plane (University NSW), you don’t have to be a diehard Harry Potter fan to play Quidditch, although for many it is part of the games appeal.

‘There’s still a lot of fandom linked to it,’ says Sharna.

‘This is the reason I came down, I didn’t want it to be athletic but it just became that way over time by playing it more.’

‘What’s really great about Quidditch is

it’s as athletic as you want it to be,’ says Priscilla Gardner, a WAQA Chaser. ‘You could be a bunch of [unfit] people running around on broomsticks having fun and trying to be Harry Potter, or it could be as athletic as you want.’

‘You really don’t need any specific set of skills to play Quidditch,’ says Matt Hudson, the Vice-President of AQA and Beater for the Newcastle Fireballs.

‘We have a lot of players who play on other university sports teams. That being said, some of our best players have no previous sporting experience.’

One thing this fledgling sport is lacking in WA (aside from the ability to fly) is funding. WAQA is currently recruiting members for teams at major universities in WA to attract funding for the sport and encourage interstate competition.

‘We don’t have any funding for us right now, so making the hoops and making the brooms comes out of our own pockets,’ says Sharna.

‘At the moment it’s only us that we play… if we want to [compete against] other teams, it’s a pretty expensive exercise as we have to head over east,’ says Priscilla.

So what’s next for this sport? The sixth annual Quidditch World Cup is set to take place in April next year in Florida, with an Australian team to be selected at this year’s Quidditch Universities of Australia Federation League (QUAFL) Cup tournament. The Quidditch Olympics Expo tournament was held in Oxford, England in June this year and included a team from Australia. While still in its infancy, it seems this sport is heading for worldwide domination and as one of the fastest-growing sports in Australia. Expect to see a lot more broomsticks.

It’s early evening and the WAQA players are packing up their brooms, Bludgers and Quaffles for another week. It’s been a fast-paced hour and a half on the pitch, with plenty of action, some impressive tackles and a twisted knee or two. But in testament to the spirit of the game and the infectious enthusiasm of its players, one of the spectators I brought down was convinced to join in and she even managed to score a goal.

Written by Katie MooreIllustration by Nastaran Ghadiri

“THE AVERAGE PERSON USUALLY WON’T TAKE

ME SERIOUSLY AS AN ATHLETE IF I TELL

THEM THAT I PLAY QUIDDITCH.”

RIDING ON BROOMSTICKS WITH MUGGLES

‘

FEATURED SPORT QUIDDITCH

THE REAL WORLD OF QUIDDITCH

colosoul # 8|21

Who are you and what do you do? Well, I’m Monique Williams or Monty, as most people would know me by. I’m 18 and I really don’t do much. I have a part time job that I adore. But hopefully soon I will be going back to TAFE to become a student again.

Were you surprised that you won? I was surprised that I was even considered for the magazine, entering was really like, might as well try, you never know. So I’m over the moon that I won. Was a very nice surprise, but I don’t think I could have won if it wasn’t for my mates’ support.

How did you get interested in art? It really wasn’t until a couple of years ago that I had an interest in art other then photography, but turns out I’m rather appalling at drawing and painting so I’ve stuck to photography. My older brother, actually, was [the] inspiration for me to start photography. He did it in high school

Following the success of the art competition held for issue 7, Colosoul conducted another search for a local art talent to feature in our magazine. Via Facebook, the public cast their votes on a diverse and vibrant collection of artworks by budding young artists. After weeks of intense voting, Monique Williams was elected as the winner. We chatted with Monique about her stunning photograph.

and he was really good, so when it came my time in high school, I did photography and I followed it through. I loved it. I’m sure doing photography was me trying [to] be better than him at something, but then turned into a passion.

Have you undergone any form of formal art training? I studied photography at a WACE or TEE, whatever they now call it, level in year 11 and 12. Other than that, no. Hopefully next year I will be at TAFE studying photography and see if I can get into uni after that.

Who is your favourite artist? So many people ask this and I know I probably should have a favourite, but I really don’t.

Do you plan to make a future career out of art? Hopefully! [It] would be a dream to be able to. But at the moment with

FACEBOOK FEATURE ARTIST

MONIQUE WILLIAMS

photography being so popular and everyone wanting to work in [the industry], I will just need to work hard to stand out and maybe that will get me somewhere, but you never know. Pretty much take it as it comes, but yeah, I would love to be able to have a career out of it.

What genre of art are you most interested in? Photography, mostly landscape at the moment, with me travelling around Europe a fair bit. I would love to get into portraiture, learn how to do makeup and hair so I can do something a bit out there, other than just more of the natural shots.

Talk about some challenges you faced creating your winning piece. Honestly, trying not to fall on my ass. I took the photo while me and my family were in Iceland, Reykjavik. It’s so slippery because of the ice on the roads and footpaths. I had many scares thinking I’m going to break my camera. I wasn’t really worried about me but more [for] my camera. Also, getting my family out of the frame. Photography runs in the family so everyone’s trying to get a photo or wanting to be in a photo!

Written by Louisa Ong Photography by Monique Williams

FACEBOOK FEATURE ARTIST MONIQUE WILLIAMS

EXPLORING THE PICTURESQUE ICELANDIC TUNDRA

“I WILL JUST NEED TO WORK HARD TO

STAND OUT AND MAYBE THAT WILL GET ME

SOMEWHERE... BUT YOU NEVER KNOW.”

Who are you and what do you do? Well, I’m Monique Williams or Monty, as most people would know me by. I’m 18 and I really don’t do much. I have a part time job that I adore. But hopefully soon I will be going back to TAFE to become a student again.

Were you surprised that you won? I was surprised that I was even considered for the magazine, entering was really like, might as well try, you never know. So I’m over the moon that I won. Was a very nice surprise, but I don’t think I could have won if it wasn’t for my mates’ support.

How did you get interested in art? It really wasn’t until a couple of years ago that I had an interest in art other then photography, but turns out I’m rather appalling at drawing and painting so I’ve stuck to photography. My older brother, actually, was [the] inspiration for me to start photography. He did it in high school

Following the success of the art competition held for issue 7, Colosoul conducted another search for a local art talent to feature in our magazine. Via Facebook, the public cast their votes on a diverse and vibrant collection of artworks by budding young artists. After weeks of intense voting, Monique Williams was elected as the winner. We chatted with Monique about her stunning photograph.

and he was really good, so when it came my time in high school, I did photography and I followed it through. I loved it. I’m sure doing photography was me trying [to] be better than him at something, but then turned into a passion.

Have you undergone any form of formal art training? I studied photography at a WACE or TEE, whatever they now call it, level in year 11 and 12. Other than that, no. Hopefully next year I will be at TAFE studying photography and see if I can get into uni after that.

Who is your favourite artist? So many people ask this and I know I probably should have a favourite, but I really don’t.

Do you plan to make a future career out of art? Hopefully! [It] would be a dream to be able to. But at the moment with

FACEBOOK FEATURE ARTIST

MONIQUE WILLIAMS

photography being so popular and everyone wanting to work in [the industry], I will just need to work hard to stand out and maybe that will get me somewhere, but you never know. Pretty much take it as it comes, but yeah, I would love to be able to have a career out of it.

What genre of art are you most interested in? Photography, mostly landscape at the moment, with me travelling around Europe a fair bit. I would love to get into portraiture, learn how to do makeup and hair so I can do something a bit out there, other than just more of the natural shots.

Talk about some challenges you faced creating your winning piece. Honestly, trying not to fall on my ass. I took the photo while me and my family were in Iceland, Reykjavik. It’s so slippery because of the ice on the roads and footpaths. I had many scares thinking I’m going to break my camera. I wasn’t really worried about me but more [for] my camera. Also, getting my family out of the frame. Photography runs in the family so everyone’s trying to get a photo or wanting to be in a photo!

Written by Louisa Ong Photography by Monique Williams

FACEBOOK FEATURE ARTIST MONIQUE WILLIAMS

EXPLORING THE PICTURESQUE ICELANDIC TUNDRA

“I WILL JUST NEED TO WORK HARD TO

STAND OUT AND MAYBE THAT WILL GET ME

SOMEWHERE... BUT YOU NEVER KNOW.”

colosoul # 8|23

What’s your background? How did you get into art? I drew stuff all the time as a kid. I loved my Transformer toys to death in the ‘80s. Then the Turtles came along and I grew conflicted as to who to be more loyal to. Years later, while studying multimedia, I learnt Adobe Flash, a program that allows you to do animation and never stopped using it. I animate in it and use its drawing tools for digital art.

“I OFTEN TRY TO RECAPTURE VINTAGE AND TIMELESS LOOKS FROM ERAS LIKE THE ‘20S AND ‘50S . ANYTHING I’M A FAN OF REALLY.“

Michael Lombardi is a local Perth artist with a liking for all things retro and vintage. Think swing dancers and jazz music. His hobbies, drawing and artwork, have earned him recognition and he now illustrates for posters, murals and even for Facebook games. He has had his work displayed at the Northbridge Outskirts Festival, among other local galleries. His artwork is inspired by animation, old cartoons in particular, and vintage settings in Perth. It captures the essence of the ‘50s era, featuring damsels and femme fatales. We caught up with this interesting artist to learn about his inspirations and thoughts about art.

What art do you most identify with and enjoy doing? Vintage aesthetics from things like animation from the ‘50s. The original ant-Disney realism in animation that arose in the ‘50s is perfect for a limited animation program like Adobe Flash. I am a fan of a lot of animators and illustrators who focus more on shapes and character appeal. Character appeal is really important in cartoon art.

TALKING TIMELESS ANIMATION WITH MICHAEL LOMBARDI

What themes do you pursue in your work? I often try to recapture vintage and timeless looks from eras like the ‘20s and ‘50s. Anything I’m a fan of really. I love vintage/noir imagery. I love a lot of cartoons. People seem to really respond to artwork that has character appeal and gives them a sense of nostalgia.

What is integral to the work of an artist? To keep drawing whenever you can. A lot of my work is done for my own amusement. If I have an idea I really want to do then it’s best to get it out right away while it’s fresh.

What are the most important influences that have moved you as an artist? Working as an animator, I learnt more of how the style I currently draw in worked in terms of aesthetics, appeal, and for animation. It was a style that I was drawn to, but looking into it more I started to realise what made it work and why I was drawn to it. I was living in Melbourne

NATIONAL ART MICHAEL LOMBARDI

VINTAGE & RETRO INSPIRED ART BY LOCAL LAD LOMBARDI

during the time when vintage clothing had a big revival and fell onto the retro crowds in Perth with the swing dance and burlesque scenes, the imagery from there was also very influential.

Talk about some challenges you face as an artist. What have you done to overcome these challenges? People not realising the work that goes into it. One image of swing dancers spread pretty far online in the swing dance community. It ranked fairly high on Google images and I found out a Belgium school used it as their logo and printed it on to badges and sold hundreds to help raise money to build a well in India. From there, further searching found a

whole mess of sites using the image to promote their own events all over the world. Most recently a London cake shop copied the image for icing on a custom cake at a friend’s birthday party, that one was pretty funny. Also, I attended a dance camp in Sweden where a clothing ad for a store used the image and was given to most people at the camp. Most times it’s just a case of ignorance, where people will see a picture they like and just grab it without thinking and there’s little I can do as the image has [been] reposted on too many websites for people to know where it first came from. Sometimes they will respond if you write to them, sometimes you get no answer.

What is your advice to budding artists out there? Don’t do it for the money. You’ll be disappointed. If you love to make art, that’s about as good as it gets.

What future projects can we look forward from you? I’ve had a few commissions from people from Perth, but my day job currently is at Capcom UK doing animation and artwork for their app games. Season 2 of a show called Dogstar is currently airing on Channel 9, which I was an animator on.

Written by Louisa Ong Art courtesy of Michael Lombardi

“DON’T DO IT FOR THE MONEY.

YOU’LL BE DISAPPOINTED. IF YOU LOVE TO

MAKE ART, THAT’S ABOUT AS GOOD

AS IT GETS.”

MICHAEL LOMBARDI NATIONAL ART

24|colosoul # 8

What’s your background? How did you get into art? I drew stuff all the time as a kid. I loved my Transformer toys to death in the ‘80s. Then the Turtles came along and I grew conflicted as to who to be more loyal to. Years later, while studying multimedia, I learnt Adobe Flash, a program that allows you to do animation and never stopped using it. I animate in it and use its drawing tools for digital art.

“I OFTEN TRY TO RECAPTURE VINTAGE AND TIMELESS LOOKS FROM ERAS LIKE THE ‘20S AND ‘50S . ANYTHING I’M A FAN OF REALLY.“

Michael Lombardi is a local Perth artist with a liking for all things retro and vintage. Think swing dancers and jazz music. His hobbies, drawing and artwork, have earned him recognition and he now illustrates for posters, murals and even for Facebook games. He has had his work displayed at the Northbridge Outskirts Festival, among other local galleries. His artwork is inspired by animation, old cartoons in particular, and vintage settings in Perth. It captures the essence of the ‘50s era, featuring damsels and femme fatales. We caught up with this interesting artist to learn about his inspirations and thoughts about art.

What art do you most identify with and enjoy doing? Vintage aesthetics from things like animation from the ‘50s. The original ant-Disney realism in animation that arose in the ‘50s is perfect for a limited animation program like Adobe Flash. I am a fan of a lot of animators and illustrators who focus more on shapes and character appeal. Character appeal is really important in cartoon art.

TALKING TIMELESS ANIMATION WITH MICHAEL LOMBARDI

What themes do you pursue in your work? I often try to recapture vintage and timeless looks from eras like the ‘20s and ‘50s. Anything I’m a fan of really. I love vintage/noir imagery. I love a lot of cartoons. People seem to really respond to artwork that has character appeal and gives them a sense of nostalgia.

What is integral to the work of an artist? To keep drawing whenever you can. A lot of my work is done for my own amusement. If I have an idea I really want to do then it’s best to get it out right away while it’s fresh.

What are the most important influences that have moved you as an artist? Working as an animator, I learnt more of how the style I currently draw in worked in terms of aesthetics, appeal, and for animation. It was a style that I was drawn to, but looking into it more I started to realise what made it work and why I was drawn to it. I was living in Melbourne

NATIONAL ART MICHAEL LOMBARDI

VINTAGE & RETRO INSPIRED ART BY LOCAL LAD LOMBARDI

during the time when vintage clothing had a big revival and fell onto the retro crowds in Perth with the swing dance and burlesque scenes, the imagery from there was also very influential.

Talk about some challenges you face as an artist. What have you done to overcome these challenges? People not realising the work that goes into it. One image of swing dancers spread pretty far online in the swing dance community. It ranked fairly high on Google images and I found out a Belgium school used it as their logo and printed it on to badges and sold hundreds to help raise money to build a well in India. From there, further searching found a

whole mess of sites using the image to promote their own events all over the world. Most recently a London cake shop copied the image for icing on a custom cake at a friend’s birthday party, that one was pretty funny. Also, I attended a dance camp in Sweden where a clothing ad for a store used the image and was given to most people at the camp. Most times it’s just a case of ignorance, where people will see a picture they like and just grab it without thinking and there’s little I can do as the image has [been] reposted on too many websites for people to know where it first came from. Sometimes they will respond if you write to them, sometimes you get no answer.

What is your advice to budding artists out there? Don’t do it for the money. You’ll be disappointed. If you love to make art, that’s about as good as it gets.

What future projects can we look forward from you? I’ve had a few commissions from people from Perth, but my day job currently is at Capcom UK doing animation and artwork for their app games. Season 2 of a show called Dogstar is currently airing on Channel 9, which I was an animator on.

Written by Louisa Ong Art courtesy of Michael Lombardi

“DON’T DO IT FOR THE MONEY.

YOU’LL BE DISAPPOINTED. IF YOU LOVE TO

MAKE ART, THAT’S ABOUT AS GOOD

AS IT GETS.”

MICHAEL LOMBARDI NATIONAL ART

colosoul # 8|25

While lounging at her cosy studio in the heart of Northbridge, FOX FEET chatted with Louise about how it all began – she shared her major influences and passion for recycling garments, as well as her love for Perth’s local designers.

When did you realise or decide that you wanted to become a fashion designer?I started making dancing costumes since I was 13. My mum refused to make me a leotard so I scanned the patterns of my bathers to make myself a leotard. Everyone was telling me that I should do it and I’ve been making clothes since I was 15, so I pretty much taught myself through patterns. I also got a job working for a costume shop in Fremantle making mascots. I made 50 of the Eagle Boy’s pizza heads and I actually enjoyed it. I guess it just went on from there.

What is the story behind Dfaced Clothing? How did you come up with the label Dfaced?It was straight after I graduated from TAFE last year. The label came from my performing name ‘Miss Doll Face’, when

Vibrant, young and playful are words that best describe the ‘DustyD’ range collection from the bubbly fashion designer Louise Hedley. Graduating from Challenger TAFE in 2010, this Bunbury-born girl is determined to make her mark on Perth’s fashion industry, believing that fashion is an expression of art. Along with her creative personality, this is what separates her label, Dfaced Clothing, from the rest.

I used to perform for Carnies with Candy. But then when I googled it, it came up with more than ten companies with the same name. My housemate suggested that I call it ‘Dfaced’ instead. I thought it was pretty cool, you know, kind of street.

You seem to be passionate about creating eco-friendly garments. What drives you to do this?To me, fashion is a bit materialistic, so I like to recycle and take a vintage piece and reconstruct it. I usually get them from vintage sales, op shops, etc. Also, most of the fabric I buy is cotton or linen, I emphasise on using natural fibres.

From where do you get your inspiration?Colours inspire me and my background as a performer shows in my designs. Everything reflects on my personality. I take things quite lightly, especially when it comes to fashion.

Are there any designers in particular that you admire?I admire local designer Jaime Lee. I think it’s amazing what comes out of this city.

FOX FEET PRESENTSD’FACED CLOTHING

I’m all for supporting locals! Plus, I love Aussie designers Romance was Born and Dion Lee, something unique and different, pieces that are couture and more artistic.

What are your plans for the future? Tell us some of your fashion goals.What I really love to do is to make costumes for performers. More like Jamie Lee for Kimbra. Or even for films, I could do costumes and wardrobe. I like more theatrical stuff. [I] would love to design things for Beth Ditto, Florence Welch, Lady Gaga or even local bands!

You can get your hands on Dfaced Clothing’s ‘DustyD’ range and other collections at upcoming summer markets throughout Perth. For more information and to stay updated, head to www.facebook.com/DfacedClothing.

Written by Angeline DowlingPhotography courtesy of Jules Szoke PhotographyIllustration by Elle BatchelorDesigned by Melissa Cheah

COLOURS INSPIRE ME & MY

BACKGROUND AS A PERFORMER SHOWS

IN MY DESIGNS. EVERYTHING REFLECTS ON MY PERSONALITY, I TAKE THINGS QUITE

LIGHTLY, ESPECIALLY WHEN IT COMES

TO FASHION.

FOX FEET FEATURED FASHION DESIGNER D’FACED CLOTHING

AN INTERVIEW WITH DESIGNER LOUISE HEDLEY

Fashion Designer: Louise Hedley for Dfaced Clothing Hair & Make up: Ady Orupe for Arousal & Design Textile Designer: Dusty Ward for Dusty Designs y Stylist: Marty Collister

26|colosoul # 8

While lounging at her cosy studio in the heart of Northbridge, FOX FEET chatted with Louise about how it all began – she shared her major influences and passion for recycling garments, as well as her love for Perth’s local designers.

When did you realise or decide that you wanted to become a fashion designer?I started making dancing costumes since I was 13. My mum refused to make me a leotard so I scanned the patterns of my bathers to make myself a leotard. Everyone was telling me that I should do it and I’ve been making clothes since I was 15, so I pretty much taught myself through patterns. I also got a job working for a costume shop in Fremantle making mascots. I made 50 of the Eagle Boy’s pizza heads and I actually enjoyed it. I guess it just went on from there.

What is the story behind Dfaced Clothing? How did you come up with the label Dfaced?It was straight after I graduated from TAFE last year. The label came from my performing name ‘Miss Doll Face’, when

Vibrant, young and playful are words that best describe the ‘DustyD’ range collection from the bubbly fashion designer Louise Hedley. Graduating from Challenger TAFE in 2010, this Bunbury-born girl is determined to make her mark on Perth’s fashion industry, believing that fashion is an expression of art. Along with her creative personality, this is what separates her label, Dfaced Clothing, from the rest.

I used to perform for Carnies with Candy. But then when I googled it, it came up with more than ten companies with the same name. My housemate suggested that I call it ‘Dfaced’ instead. I thought it was pretty cool, you know, kind of street.

You seem to be passionate about creating eco-friendly garments. What drives you to do this?To me, fashion is a bit materialistic, so I like to recycle and take a vintage piece and reconstruct it. I usually get them from vintage sales, op shops, etc. Also, most of the fabric I buy is cotton or linen, I emphasise on using natural fibres.

From where do you get your inspiration?Colours inspire me and my background as a performer shows in my designs. Everything reflects on my personality. I take things quite lightly, especially when it comes to fashion.

Are there any designers in particular that you admire?I admire local designer Jaime Lee. I think it’s amazing what comes out of this city.

FOX FEET PRESENTSD’FACED CLOTHING

I’m all for supporting locals! Plus, I love Aussie designers Romance was Born and Dion Lee, something unique and different, pieces that are couture and more artistic.

What are your plans for the future? Tell us some of your fashion goals.What I really love to do is to make costumes for performers. More like Jamie Lee for Kimbra. Or even for films, I could do costumes and wardrobe. I like more theatrical stuff. [I] would love to design things for Beth Ditto, Florence Welch, Lady Gaga or even local bands!

You can get your hands on Dfaced Clothing’s ‘DustyD’ range and other collections at upcoming summer markets throughout Perth. For more information and to stay updated, head to www.facebook.com/DfacedClothing.

Written by Angeline DowlingPhotography courtesy of Jules Szoke PhotographyIllustration by Elle BatchelorDesigned by Melissa Cheah

COLOURS INSPIRE ME & MY

BACKGROUND AS A PERFORMER SHOWS

IN MY DESIGNS. EVERYTHING REFLECTS ON MY PERSONALITY, I TAKE THINGS QUITE

LIGHTLY, ESPECIALLY WHEN IT COMES

TO FASHION.

FOX FEET FEATURED FASHION DESIGNER D’FACED CLOTHING

AN INTERVIEW WITH DESIGNER LOUISE HEDLEY

Fashion Designer: Louise Hedley for Dfaced Clothing Hair & Make up: Ady Orupe for Arousal & Design Textile Designer: Dusty Ward for Dusty Designs y Stylist: Marty Collister

colosoul # 8|27

shop online at transitclothing.com.au www.facebook.com/transitclothing

Perth City Morley

Mt HawthornHarbour Town

JoondalupMidland

CarouselSubiaco

ClaremontFremantleRockinghamMandurah

Dunsborough

fashion spreadno text

fashion spreadno text

COLOUR MY LIFEFashion Editor: Ysabel Tang | Stylist: Cassey Smith | Photographer: Melissa Mills | Assistant Stylist: Vanessa Marino | Assistant Photographer: Jason Lei | Female Model: Thyie Cao | Male Model: Daniel Petrillo @ CSA Australia | Make Up: Vanessa Hull | Hair: Sarah Bridget | Photo Editor: Jason Lei & Daniel Craig KwabenaFEMALE MODEL WEARS CAMEO CARNIVAL SUEDE TOP. $89.95. FROM BILLIE & ROSE. MAURIE & EVE ONYX SPLIT PANT LEMON. $270. FROM BILLIE & ROSE. THERAPY MUSTARD DUCHESS SHOES. FROM TRANSIT. WRAP SKULL BRACELETS. FROM FLEUR ELISE DESIGNS. MALE MODEL WEARS IDS FLORAL PANTS. FROM TRANSIT. LEE TOP. $59.95. FROM JACK COTHING. CONVERSE ORANGE SHOES. FROM TRANSIT.

THIS PAGE: HOUSE OF WILDE UNDER THE THUMB DRESS. $230. FROM BILLIE & ROSE. HEADHUNTER QUEEN TRIBAL NECKLACE. FROM FLEUR ELISE DESIGNS. STYLIST’S OWN SHOES.

NEXT PAGE AUGUST STREET ELENA DRESS. $80. FROM SCARLET FASHION. MACRAME FRIENDSHIP BRACELETS. FROM FLEUR ELISE DESIGNS.

32|colosoul # 8

colosoul # 8|33

Female model wears Aowin Bodysuit. House of Wilde, From Scarlet clothing. $79. Pink Skull earrings. From Fleur Elise Designs. Shoes Stylists own. Male Model wears Junky Skinny jeans. From Jack Clothing. $119.

colosoul # 8 |35

fashion cont

This page: House of Wilde Beast of Burden shorts. From Scarlet Fashion. $149. Mink Pink Lace Crop. From Transit. Mink Pink orange Specs. From Transit. Shoes Stylists own

Next page: Blouse stylists own. Shoes stylists own. Asha jacket. From Transit. Dolly Girl skirt. From Scarlet Fashion. $79

colosoul # 8 |37

the industry, specifically depression which, as Martin explains, is more a ‘result of working within the difficult industry’, rather than being a trait common amongst those inclined towards the arts. It is a problem that seems destined to get worse if the industry doesn’t begin to develop new infrastructure aimed at taking new entrants through these barriers. Western Australia has so many unique opportunities for filmmakers, but without sufficient funding and infrastructure, the beautiful stories of this state will remain untold.

Written by Alastair Ingram Design by Daniel Silva e Cunha

“THE FACT THAT PERTH IS SO ISOLATED PRESENTS A UNIQUE OPPORTUNITY

TO CAPTURE STORIES THAT OTHERS HAVE NOT HEARD OF AND WOULD LOVE TO SEE.”

FILM ALEX GILES

Alex Giles, a Western Australian filmmaker who has worked on projects such as Drift and created New York Riverlight Festival entrant Clever Cookie, has experienced firsthand some of the shortcomings of the industry.

Alex believes the dropout rate has reached such a height, because ‘creative art doesn’t come with its own endgame.’ Unlike certain other professions the film industry has very little room for fresh graduates, which carries the implication that they aren’t truly perceived as being career–ready in the industry. Alex also suggests that ‘it’s who you know’ and ‘proving that you are hardworking’ that is the key to being recognized within the industry.

‘How did I get my first job production running on Cloudstreet? My lecturer passed on my details to a woman she knew who was working on it and they asked me to spend a day helping them clean out an old shed that they were going to use as an office… within two weeks, I was working in that office.’

Applying for funding becomes the next hurdle for filmmakers. The process is plagued with rumors of bias and Alex claims the key problem within the process is that there ‘just simply isn’t

Most Western Australian universities witness at least a 50% dropout rate among students enrolled in film degrees, and of the remaining 50%, only around 12% will actually enter the film industry. So why does Western Australia have such low levels of graduates pursuing a career in the industry and what are the main obstacles faced by those attempting to get in?

enough funding’. Having applied eight times to different film–funding entities, he has succeeded only once.

Martin Mhando, an Oscar–nominated director and senior lecturer at Murdoch University, believes that though it does act as a ‘filtering process to sift out those who are not ready to produce a commercially viable production’, it arguably just provides a platform

for the same filmmakers to get selected time and again. This unfortunately shuts the already small door of opportunity for new talent coming through. For self–funded filmmakers on the other hand, 40% of their production costs can be recouped upon completion of their projects, something that has only come about in the past decade.

Whispers of unfairness within national film festivals are often circulated, based on claims that films produced in other parts of Australia will always have

BREAKING INTO THE WA FILM SCENE

a higher chance of success. Alex believes that ‘no festival would select one [film] over another for anything but their ability to tell a story and suit the overall market of that festival’. In fact, Western Australia seems to have a solid representation on the national and international stage of film festivals and Martin claims that ‘WA continues to punch above its weight’. The fact that Perth is so isolated presents a unique opportunity to capture stories that others have not heard of and would love to see.

It is, without question, a mountainous endeavor to break into the Western Australian film industry that is littered with hurdles along the way. Mental health issues are becoming prevalent within

UNSEEN ON THE SCREEN

38|colosoul # 8

the industry, specifically depression which, as Martin explains, is more a ‘result of working within the difficult industry’, rather than being a trait common amongst those inclined towards the arts. It is a problem that seems destined to get worse if the industry doesn’t begin to develop new infrastructure aimed at taking new entrants through these barriers. Western Australia has so many unique opportunities for filmmakers, but without sufficient funding and infrastructure, the beautiful stories of this state will remain untold.

Written by Alastair Ingram Design by Daniel Silva e Cunha

“THE FACT THAT PERTH IS SO ISOLATED PRESENTS A UNIQUE OPPORTUNITY

TO CAPTURE STORIES THAT OTHERS HAVE NOT HEARD OF AND WOULD LOVE TO SEE.”

FILM ALEX GILES

Alex Giles, a Western Australian filmmaker who has worked on projects such as Drift and created New York Riverlight Festival entrant Clever Cookie, has experienced firsthand some of the shortcomings of the industry.

Alex believes the dropout rate has reached such a height, because ‘creative art doesn’t come with its own endgame.’ Unlike certain other professions the film industry has very little room for fresh graduates, which carries the implication that they aren’t truly perceived as being career–ready in the industry. Alex also suggests that ‘it’s who you know’ and ‘proving that you are hardworking’ that is the key to being recognized within the industry.

‘How did I get my first job production running on Cloudstreet? My lecturer passed on my details to a woman she knew who was working on it and they asked me to spend a day helping them clean out an old shed that they were going to use as an office… within two weeks, I was working in that office.’

Applying for funding becomes the next hurdle for filmmakers. The process is plagued with rumors of bias and Alex claims the key problem within the process is that there ‘just simply isn’t

Most Western Australian universities witness at least a 50% dropout rate among students enrolled in film degrees, and of the remaining 50%, only around 12% will actually enter the film industry. So why does Western Australia have such low levels of graduates pursuing a career in the industry and what are the main obstacles faced by those attempting to get in?

enough funding’. Having applied eight times to different film–funding entities, he has succeeded only once.

Martin Mhando, an Oscar–nominated director and senior lecturer at Murdoch University, believes that though it does act as a ‘filtering process to sift out those who are not ready to produce a commercially viable production’, it arguably just provides a platform

for the same filmmakers to get selected time and again. This unfortunately shuts the already small door of opportunity for new talent coming through. For self–funded filmmakers on the other hand, 40% of their production costs can be recouped upon completion of their projects, something that has only come about in the past decade.

Whispers of unfairness within national film festivals are often circulated, based on claims that films produced in other parts of Australia will always have

BREAKING INTO THE WA FILM SCENE

a higher chance of success. Alex believes that ‘no festival would select one [film] over another for anything but their ability to tell a story and suit the overall market of that festival’. In fact, Western Australia seems to have a solid representation on the national and international stage of film festivals and Martin claims that ‘WA continues to punch above its weight’. The fact that Perth is so isolated presents a unique opportunity to capture stories that others have not heard of and would love to see.

It is, without question, a mountainous endeavor to break into the Western Australian film industry that is littered with hurdles along the way. Mental health issues are becoming prevalent within

UNSEEN ON THE SCREEN

Gordon Jansen and Ben SebastionJA Music Studio

When Perth bands graduate from the garage, many local rehearsal studios come alive. In the industrial business belly of Wangara, JS Music Studios and its owners, Gordon Jansen and Ben Sebastion, have brought together treasure troves of sound from all over Perth in their Project OZmosis. Founding the organisation in 2008, Gordon explains that he and Ben ‘felt that the kids needed something extra, in addition to just the music tuition. So we started out these weekend music workshops as an extension to just the

music tuition. We invited people who were involved and (who) jammed in our studios, and drew from all people we knew to start Project OZmosis.’

Project OZmosis has evolved from tuning and jamming to the likes of a live gig. The mixing of musical tastes and talent is a great way for young people to get involved. They not only improve, but also create a community to network with others and develop aspirations for starting a band.

Gordon informs us that, alongside the regular jam sessions, they are ‘playing a festival which we’ve themed The 5 Senses... In conjunction with the conventional ways of teaching, we’re trying to show that musical theory doesn’t have to be so stiff.’

JS Music Studios have carried a communal and unified approach towards music. The roots of Project OZmosis are locally planted in Perth, attracting participants from newbies who have just picked up a guitar to veteran local bands like Eric Sebastion of Dogs of War, and Brett Stayt, guitarist of Bad Shannon. If you are keen to join in or are interested in knowing more, send an e–mail to ben@projectozmosis.com.au

Shirley KayeRiding for the disabled

Three years ago, Shirley Kaye joined Riding for the Disabled Association Western Australia (RDAWA) as state executive officer and has never regretted taking on such an enriching role. Riding for the Disabled Association is a not–for–profit organisation devoted to aiding people with disabilities through equestrian activities.

This year, RDAWA celebrates its 40th birthday while continuing to offer therapeutic and recreational riding to disabled children and adults at its centres across the state. Shirley tells us that ‘horses do well with disabled children and adults… there is something about horses that they connect with.’ The enjoyment received by children and adults who go to RDAWA centres is not just from the physical act of riding a horse, but also from the social interaction and psychological emancipation it provides.

The joy and rehabilitating confidence these activities accord participants are awe–inspiring. With 40 centres across the state, RDAWA depends on the contributions of over 1,000 volunteers. These various roles include cooks, lawyers and administration staff. If you are interested and would like to give some of your time, do contact them today.

Riding for the Disabled Association Western Australia Inc (RDAWA)

(08) 9296 4655http://www.rdawa.org.au/

SOCIAL PROFILES

SOCIAL PROFILES

Written by Sam Vote Design by Daniel Silva e Cunha

40|colosoul # 8

Gordon Jansen and Ben SebastionJA Music Studio

When Perth bands graduate from the garage, many local rehearsal studios come alive. In the industrial business belly of Wangara, JS Music Studios and its owners, Gordon Jansen and Ben Sebastion, have brought together treasure troves of sound from all over Perth in their Project OZmosis. Founding the organisation in 2008, Gordon explains that he and Ben ‘felt that the kids needed something extra, in addition to just the music tuition. So we started out these weekend music workshops as an extension to just the

music tuition. We invited people who were involved and (who) jammed in our studios, and drew from all people we knew to start Project OZmosis.’

Project OZmosis has evolved from tuning and jamming to the likes of a live gig. The mixing of musical tastes and talent is a great way for young people to get involved. They not only improve, but also create a community to network with others and develop aspirations for starting a band.

Gordon informs us that, alongside the regular jam sessions, they are ‘playing a festival which we’ve themed The 5 Senses... In conjunction with the conventional ways of teaching, we’re trying to show that musical theory doesn’t have to be so stiff.’

JS Music Studios have carried a communal and unified approach towards music. The roots of Project OZmosis are locally planted in Perth, attracting participants from newbies who have just picked up a guitar to veteran local bands like Eric Sebastion of Dogs of War, and Brett Stayt, guitarist of Bad Shannon. If you are keen to join in or are interested in knowing more, send an e–mail to ben@projectozmosis.com.au

Shirley KayeRiding for the disabled

Three years ago, Shirley Kaye joined Riding for the Disabled Association Western Australia (RDAWA) as state executive officer and has never regretted taking on such an enriching role. Riding for the Disabled Association is a not–for–profit organisation devoted to aiding people with disabilities through equestrian activities.

This year, RDAWA celebrates its 40th birthday while continuing to offer therapeutic and recreational riding to disabled children and adults at its centres across the state. Shirley tells us that ‘horses do well with disabled children and adults… there is something about horses that they connect with.’ The enjoyment received by children and adults who go to RDAWA centres is not just from the physical act of riding a horse, but also from the social interaction and psychological emancipation it provides.

The joy and rehabilitating confidence these activities accord participants are awe–inspiring. With 40 centres across the state, RDAWA depends on the contributions of over 1,000 volunteers. These various roles include cooks, lawyers and administration staff. If you are interested and would like to give some of your time, do contact them today.

Riding for the Disabled Association Western Australia Inc (RDAWA)

(08) 9296 4655http://www.rdawa.org.au/

SOCIAL PROFILES

SOCIAL PROFILES

Written by Sam Vote Design by Daniel Silva e Cunha

colosoul # 8|41

42|colosoul # 8

The Great Pacific Garbage Patch, or GPGP, is essentially a floating landfill with rubbish from all four corners of the earth brought to the location via whirlpool-like ocean currents. It is estimated by scientists to be the largest ‘garbage dump’ in the world. Made up of eastern and western ‘patches’ and connected by the Subtropical Convergence Zone, a thin, 9,500 kilometre-long current, the GPGP is constituted of 90% non-biodegradable plastic and is estimated to weigh over 3.5 million tonnes.

First discovered in 1997 by Captain Charles Moore of the Algalita Marine Research Foundation after he took an unplanned detour while sailing back to America from Australia, the GPGP has become a focus topic for many environmental stories and documentaries, including a feature on Oprah, due to its devastating effect on the surrounding aquatic ecosystem. As Moore states in the recent documentary Sailing the Great Pacific Garbage Patch, ‘only we humans make waste that nature can’t digest.’ The footage that follows reveals an enormous floating island of rubbish as far as the eye can see: a visual illustration of our ‘throwaway’ society and the impact our global reliance on the consumption of plastic is having on the environment.

Trawls conducted by Moore and his team in the area have revealed up to six times more plastic than plankton in the water, meaning that organisms reliant on plankton and particles for sustenance, such as fish, ingest the plastic toxins. This, thanks to commercial fishing

Want to go on a holiday? I’ve got a great suggestion. Let’s go to a completely uninhabited island, twice the size of Texas and located in the North Pacific Subtropical Gyre, a swirling mass of ocean currents that stretches all the way from the beautiful west coast of California to the east coast of Japan. There’s just one catch. This island is made up entirely of garbage.

practices in both Japan and California, results in the exposure of humans to toxic chemicals once the fish are consumed. Albatrosses, a bird native to the North Pacific area, often confuse floating bottle-tops and other plastic debris for food and unwittingly regurgitate these toxins to their chicks. In turn, unable to digest the plastic, the chicks perish, with their skeletal remains decaying on the rubbish islands and revealing the brightly coloured contents of their stomachs. Plastics lids, bottle scraps and even cigarette lighters have been discovered in their gut.

So how did this environmental monstrosity come about? According to Moore, on average, Americans use two million plastic drinking bottles every five minutes. Billions of kilograms of polycarbonate, a non-recyclable plastic found in plastic containers and bottles, is produced in the US each year and then thrown away. Moore reveals that 80% of the GPGP is made up of litter, either dropped directly into waterways that end up in the ocean or rubbish that travels with the wind into the sea, with refuse from sea vessels making up the remaining 20%. Due to the vortex-like nature of the North Pacific Gyre, the currents act as a collecting point for all of the debris in the ocean. As plastic is not biodegradable, the garbage island simply continues to expand, fed by a constant

supply of material that will outlive our grandchildren.

Of course, America is not solely responsible for this environmental crisis; plastic is a globally consumed product, with worldwide plastic production rising to 270 million tonnes last year according to PlasticsEurope. National government data reveals Australians, on average, throw out about 800 kilograms of rubbish each year – a total of 16 million tonnes. We, as a nation, consume more than 1.3 million tonnes of plastic each year – more than 71 kilograms for every person.

So what can be done? According to Moore, the existing damage to our ecosystems is irreparable. There is no way of cleaning the ocean, specifically the GPGP, as the sheer size and mass of the problem is beyond the environmental budget of any government in existence. The only solution of sorts Moore offers up is to halt the production and consumption of plastic at its source – on land, before it reaches the ocean. However, Moore is fairly pessimistic about the implementation of this solution, as our reliance on plastic as a society has reached astronomical levels.

Creating awareness of these issues and taking steps to improve individual consumption and reduce reliance on plastic is the best way to start. However, it is not entirely up to the consumer to halt the damage we are doing to our environment; often we are given no choice but to purchase plastic, a fact Moore readily admits. Therefore, until global companies cut down their reliance on plastic and begin to source for biodegradable alternatives, the Great Pacific Garbage Patch will float on.

Written by Elle BatchelorIllustration by Nastaran Ghadiri

THE GREAT PACIFIC GARBAGE PATCH

‘

ENVIRONMENTAL FEATURE GPGP

WHAT A LOAD OF RUBBISH

“ONLY WE HUMANS MAKE WASTE THAT

NATURE CAN’T DIGEST.”

colosoul # 8|43

The Great Pacific Garbage Patch, or GPGP, is essentially a floating landfill with rubbish from all four corners of the earth brought to the location via whirlpool-like ocean currents. It is estimated by scientists to be the largest ‘garbage dump’ in the world. Made up of eastern and western ‘patches’ and connected by the Subtropical Convergence Zone, a thin, 9,500 kilometre-long current, the GPGP is constituted of 90% non-biodegradable plastic and is estimated to weigh over 3.5 million tonnes.

First discovered in 1997 by Captain Charles Moore of the Algalita Marine Research Foundation after he took an unplanned detour while sailing back to America from Australia, the GPGP has become a focus topic for many environmental stories and documentaries, including a feature on Oprah, due to its devastating effect on the surrounding aquatic ecosystem. As Moore states in the recent documentary Sailing the Great Pacific Garbage Patch, ‘only we humans make waste that nature can’t digest.’ The footage that follows reveals an enormous floating island of rubbish as far as the eye can see: a visual illustration of our ‘throwaway’ society and the impact our global reliance on the consumption of plastic is having on the environment.

Trawls conducted by Moore and his team in the area have revealed up to six times more plastic than plankton in the water, meaning that organisms reliant on plankton and particles for sustenance, such as fish, ingest the plastic toxins. This, thanks to commercial fishing

Want to go on a holiday? I’ve got a great suggestion. Let’s go to a completely uninhabited island, twice the size of Texas and located in the North Pacific Subtropical Gyre, a swirling mass of ocean currents that stretches all the way from the beautiful west coast of California to the east coast of Japan. There’s just one catch. This island is made up entirely of garbage.

practices in both Japan and California, results in the exposure of humans to toxic chemicals once the fish are consumed. Albatrosses, a bird native to the North Pacific area, often confuse floating bottle-tops and other plastic debris for food and unwittingly regurgitate these toxins to their chicks. In turn, unable to digest the plastic, the chicks perish, with their skeletal remains decaying on the rubbish islands and revealing the brightly coloured contents of their stomachs. Plastics lids, bottle scraps and even cigarette lighters have been discovered in their gut.

So how did this environmental monstrosity come about? According to Moore, on average, Americans use two million plastic drinking bottles every five minutes. Billions of kilograms of polycarbonate, a non-recyclable plastic found in plastic containers and bottles, is produced in the US each year and then thrown away. Moore reveals that 80% of the GPGP is made up of litter, either dropped directly into waterways that end up in the ocean or rubbish that travels with the wind into the sea, with refuse from sea vessels making up the remaining 20%. Due to the vortex-like nature of the North Pacific Gyre, the currents act as a collecting point for all of the debris in the ocean. As plastic is not biodegradable, the garbage island simply continues to expand, fed by a constant

supply of material that will outlive our grandchildren.

Of course, America is not solely responsible for this environmental crisis; plastic is a globally consumed product, with worldwide plastic production rising to 270 million tonnes last year according to PlasticsEurope. National government data reveals Australians, on average, throw out about 800 kilograms of rubbish each year – a total of 16 million tonnes. We, as a nation, consume more than 1.3 million tonnes of plastic each year – more than 71 kilograms for every person.

So what can be done? According to Moore, the existing damage to our ecosystems is irreparable. There is no way of cleaning the ocean, specifically the GPGP, as the sheer size and mass of the problem is beyond the environmental budget of any government in existence. The only solution of sorts Moore offers up is to halt the production and consumption of plastic at its source – on land, before it reaches the ocean. However, Moore is fairly pessimistic about the implementation of this solution, as our reliance on plastic as a society has reached astronomical levels.

Creating awareness of these issues and taking steps to improve individual consumption and reduce reliance on plastic is the best way to start. However, it is not entirely up to the consumer to halt the damage we are doing to our environment; often we are given no choice but to purchase plastic, a fact Moore readily admits. Therefore, until global companies cut down their reliance on plastic and begin to source for biodegradable alternatives, the Great Pacific Garbage Patch will float on.

Written by Elle BatchelorIllustration by Nastaran Ghadiri

THE GREAT PACIFIC GARBAGE PATCH

‘

ENVIRONMENTAL FEATURE GPGP

WHAT A LOAD OF RUBBISH

“ONLY WE HUMANS MAKE WASTE THAT

NATURE CAN’T DIGEST.”

It sounds like a scene out of a movie doesn’t it? But for many people this is their image of WikiLeaks and its creator, Julian Assange. In reality, the self-proclaimed ‘whistle-blowers site’ is run almost like any other worldwide organisation, albeit with better security, numerous investigative journalists, analysts, and technologists in offices around the globe. WikiLeaks spokesperson, Daniel Schmitt, says the site exists to ‘ensure the legally and technically protected retrieval of information from anonymous sources and to make available this information to the general public.’ Information submitted to WikiLeaks is normally of a highly sensitive nature and is required to go through rigorous fact checking to censor people’s personal information and guarantee governments are the subjects of the published documents. However, the deputy head of the Monash University School of Journalism, Philip Chubb, is critical of WikiLeaks’s handling of highly sensitive material and argues that it needs to be responsible for ensuring the safety of people if the documents are published. ‘WikiLeaks released information that has probably lead to the death of locals working with allied forces,’ Professor Chubb speculates. Despite this, Julian Assange has previously won an Amnesty International Media Award for his release of documents that exposed corruption in the Kenyan government.

Although WikiLeaks has been acclaimed for shedding light on dodgy government dealings, Assange also has some extreme critics. Professor Chubb says that while WikiLeaks ‘is not breaking Australian law’, the United States government has made it clear they are determined to work up a case against the Australian-born Assange, under the Espionage Act.

Sitting in a dark, cool room, a lone figure mercilessly hits the keyboard, his brow furrowing in concentration. He taps away until, finally, he finishes his work with a flourish of his hand, hitting the enter key and throwing his head backward with a deep laugh that would chill anyone’s blood. In a matter of seconds this villain has taken down a superpower and changed the world forever.

American politician Sarah Palin has been quoted questioning the US government’s lack of urgency in pursuing Assange, drawing contrasts to the earnest pursuit of al-Qaeda and Taliban leaders. Head of discipline for journalism at the Queensland University of Technology, Brian McNair, says he has no doubt Assange will be charged if extradited to the US. ‘It is pretty much accepted by everyone that [the US] are looking into the case to prepare charges,’ he states. However, just because the US has yet to charge Assange, does not mean he is without legal troubles.

Assange is currently facing extradition from the United Kingdom to Sweden under sexual assault charges. On December 6, 2010, a European Arrest Warrant was released for Assange, who promptly turned himself over to London police. After a series of hearings and appeals in June this year, his last bid to overturn the extradition order was denied by the British courts. The WikiLeaks creator is now claiming political refugee status in the UK embassy in Ecuador. If extradited to Sweden, Assange and his supporters believe he could then face further extradition to the US. Professor McNair agrees that it is a legitimate worry. ‘If I was Julian Assange, I would be concerned,’ he says. ‘The position he’s in as a journalist is that he’s received information from a source and passed

it on. He didn’t break in and steal information, which is a crime. I don’t think there is much of a legitimate legal basis.’ Legitimate or not, Julian Assange’s extradition concerns are proving to cause quite the diplomatic debate.

On August 16, 2012, rumours circulated that British police planned to enter the Ecuadorian embassy in an attempt to seize Assange. However, Ecuador agreed to officially grant asylum to Assange that day, stating that he will have protection at their embassy until Britain agrees to allow him safe passage out of the country. Ecuadoran Foreign Minister Ricardo Patino told the press he believes Assange will not face a fair trial in the US and as such is hoping the United Nations will be able to protect him now that Ecuador has granted him political asylum. ‘It is not implausible that he would be subjected to cruel and degrading treatment and be condemned to life in prison or capital punishment,’ says Mr Patino. However, relations are now tense between Britain and Ecuador as a result of this very public show of support to Julian Assange. At the time of writing this article, Britain is even considering stripping the Ecuadorian embassy of its diplomatic status in order to fulfill their extradition obligations.

While the fate of Julian Assange remains uncertain and despite financial blockades on WikiLeaks, the site is still going strong. Professor McNair says it doesn’t matter whether or not people side with WikiLeaks, the government has to learn to deal with security leaks, not just to ‘shut it up and throw it away’. He says, ‘in the end WikiLeaks is just the messenger, if they shut it down another will just start up.’ In the meantime, Assange’s numerous supporters, including filmmaker Michael Moore, actor Danny Glover and author Naomi Woolf, are all hoping this latest development is a step toward freedom for the man whom many have come to think represents freedom of speech.

Written by Shauna UptonIllustration by Lilian Yeow

“THE MUSIC INDUSTRY IS MESSED UP ENOUGH AS IT IS. NO

ONE REALLY KNOWS WHAT’S GOING ON AND YOU SHOULD BE

HAPPY JUST MAKING MUSIC WITH YOUR FRIENDS.”

THE LEGAL WOES OF JULIAN ASSANGE

SOCIAL ISSUES JULIAN ASSANGE

WIKILEAKS AND THE DIPLOMATIC DEBATE

“IT IS NOT IMPLAUSIBLE THAT HE WOULD BE

SUBJECTED TO CRUEL AND DEGRADING

TREATMENT...CONDEMNED TO LIFE

IMPRISONMENT OR CAPITAL PUNISHMENT.”

It sounds like a scene out of a movie doesn’t it? But for many people this is their image of WikiLeaks and its creator, Julian Assange. In reality, the self-proclaimed ‘whistle-blowers site’ is run almost like any other worldwide organisation, albeit with better security, numerous investigative journalists, analysts, and technologists in offices around the globe. WikiLeaks spokesperson, Daniel Schmitt, says the site exists to ‘ensure the legally and technically protected retrieval of information from anonymous sources and to make available this information to the general public.’ Information submitted to WikiLeaks is normally of a highly sensitive nature and is required to go through rigorous fact checking to censor people’s personal information and guarantee governments are the subjects of the published documents. However, the deputy head of the Monash University School of Journalism, Philip Chubb, is critical of WikiLeaks’s handling of highly sensitive material and argues that it needs to be responsible for ensuring the safety of people if the documents are published. ‘WikiLeaks released information that has probably lead to the death of locals working with allied forces,’ Professor Chubb speculates. Despite this, Julian Assange has previously won an Amnesty International Media Award for his release of documents that exposed corruption in the Kenyan government.

Although WikiLeaks has been acclaimed for shedding light on dodgy government dealings, Assange also has some extreme critics. Professor Chubb says that while WikiLeaks ‘is not breaking Australian law’, the United States government has made it clear they are determined to work up a case against the Australian-born Assange, under the Espionage Act.

Sitting in a dark, cool room, a lone figure mercilessly hits the keyboard, his brow furrowing in concentration. He taps away until, finally, he finishes his work with a flourish of his hand, hitting the enter key and throwing his head backward with a deep laugh that would chill anyone’s blood. In a matter of seconds this villain has taken down a superpower and changed the world forever.

American politician Sarah Palin has been quoted questioning the US government’s lack of urgency in pursuing Assange, drawing contrasts to the earnest pursuit of al-Qaeda and Taliban leaders. Head of discipline for journalism at the Queensland University of Technology, Brian McNair, says he has no doubt Assange will be charged if extradited to the US. ‘It is pretty much accepted by everyone that [the US] are looking into the case to prepare charges,’ he states. However, just because the US has yet to charge Assange, does not mean he is without legal troubles.

Assange is currently facing extradition from the United Kingdom to Sweden under sexual assault charges. On December 6, 2010, a European Arrest Warrant was released for Assange, who promptly turned himself over to London police. After a series of hearings and appeals in June this year, his last bid to overturn the extradition order was denied by the British courts. The WikiLeaks creator is now claiming political refugee status in the UK embassy in Ecuador. If extradited to Sweden, Assange and his supporters believe he could then face further extradition to the US. Professor McNair agrees that it is a legitimate worry. ‘If I was Julian Assange, I would be concerned,’ he says. ‘The position he’s in as a journalist is that he’s received information from a source and passed

it on. He didn’t break in and steal information, which is a crime. I don’t think there is much of a legitimate legal basis.’ Legitimate or not, Julian Assange’s extradition concerns are proving to cause quite the diplomatic debate.

On August 16, 2012, rumours circulated that British police planned to enter the Ecuadorian embassy in an attempt to seize Assange. However, Ecuador agreed to officially grant asylum to Assange that day, stating that he will have protection at their embassy until Britain agrees to allow him safe passage out of the country. Ecuadoran Foreign Minister Ricardo Patino told the press he believes Assange will not face a fair trial in the US and as such is hoping the United Nations will be able to protect him now that Ecuador has granted him political asylum. ‘It is not implausible that he would be subjected to cruel and degrading treatment and be condemned to life in prison or capital punishment,’ says Mr Patino. However, relations are now tense between Britain and Ecuador as a result of this very public show of support to Julian Assange. At the time of writing this article, Britain is even considering stripping the Ecuadorian embassy of its diplomatic status in order to fulfill their extradition obligations.

While the fate of Julian Assange remains uncertain and despite financial blockades on WikiLeaks, the site is still going strong. Professor McNair says it doesn’t matter whether or not people side with WikiLeaks, the government has to learn to deal with security leaks, not just to ‘shut it up and throw it away’. He says, ‘in the end WikiLeaks is just the messenger, if they shut it down another will just start up.’ In the meantime, Assange’s numerous supporters, including filmmaker Michael Moore, actor Danny Glover and author Naomi Woolf, are all hoping this latest development is a step toward freedom for the man whom many have come to think represents freedom of speech.

Written by Shauna UptonIllustration by Lilian Yeow

“THE MUSIC INDUSTRY IS MESSED UP ENOUGH AS IT IS. NO

ONE REALLY KNOWS WHAT’S GOING ON AND YOU SHOULD BE

HAPPY JUST MAKING MUSIC WITH YOUR FRIENDS.”

THE LEGAL WOES OF JULIAN ASSANGE

SOCIAL ISSUES JULIAN ASSANGE

WIKILEAKS AND THE DIPLOMATIC DEBATE

“IT IS NOT IMPLAUSIBLE THAT HE WOULD BE

SUBJECTED TO CRUEL AND DEGRADING

TREATMENT...CONDEMNED TO LIFE

IMPRISONMENT OR CAPITAL PUNISHMENT.”

colosoul # 8|45

In controlling all media through a government-funded council, Australia could well draw parallels to an authoritarian or totalitarian regime. Without sufficient safeguards, one could easily justify the censoring of journalists and even bloggers on the basis of protecting readers from biased stories, when in fact this simply empowers the government to create favourable political press.

Yes, the way in which the media is regulated needs to be reformed. Sensitivity towards those who will be impacted by news stories needs to be taken into consideration, privacy needs to be respected and inaccurate stories need to be acknowledged and apologised for. Editors and publishers need to be held accountable and a new standard of media regulations, covering all forms of media from social to print, need to be introduced for professional journalists to guarantee accountability.

Reforming media guidelines without government intervention is, of course, the difficult part. The Australian journalism industry needs to establish overall expectations regarding their employees’ use of social media, both in and outside of work, to avoid conflicts of interest and company misrepresentation, as well as enforcing internal consequences for inaccurate research and reporting, such as a strike system.

The key to establishing guidelines for Australian media practices, as Finkelstein suggests, is to find a balance between free speech and accountability in the industry. However, it needs to be enforced from within rather than censored by the government. Media relevance is measured by readership, and so the focus should remain on professional media organisations rather than bloggers with inflammatory opinions.

Written by Elle BatchelorIllustration by Lilian Yeow

In the wake of the scandal implicating journalists and other high-level employees at the (now defunct) British newspaper, News of the World – many of whom allegedly went as far as hacking the phones of celebrities and victims of crime, as well as bribing police for information – the Gillard government commissioned a media inquiry into Australian media practices led by The Honourable Ray Finkelstein QC.

Finkelstein offered up a well-written summary of Australian media practices and accountability, declaring that the news media maintains a level of power and far-reaching influence, and such power, as Franklin D Roosevelt once proclaimed, involves great responsibility. Unfortunately, Finkelstein declares, Australia lacks the necessary mechanisms to ‘ensure the press adheres to its responsibilities’ and has recommended the creation of a ‘News Media Council’.

The council, sponsored by the government, would be responsible for the regulation of print, television, radio and online news media organisations, including bloggers with more than 300 hits per week. It could even eventually extend to social media platforms such as Facebook and Twitter, where disciplinary action can be meted out to companies and individual users who breach the council’s regulations and media standards.

The report has some media outlets and individuals up in arms, with journalists such as Andrew Bolt of The Herald Sun going so far as to suggest that the

introduction of an Australian News Media Council would threaten ‘not only our freedom to speak, but to hear and decide for ourselves’.

However, Finkelstein himself suggests in his report that there is a ‘compelling case’ for free press, and that a balance must be struck between freedom of speech and accountability for inaccurate journalism.

This is the situation this inquiry must address: how to accommodate the increasing and legitimate demand for press accountability, but to do so in a way that does not increase state power … or undermine the key rationales for free speech and a free press.

Finkelstein’s report raises significant issues that journalists and media executives must confront, especially when it comes to the potential impact a story may have on government parties and the public.

However, the reality of Finkelstein’s suggested regulations would mean that anyone in Australia with a website or blog that receives more than 15,000 hits a year could at any time be subjected to investigation for a throwaway comment written online.

FREE MEDIA VS ACCURATE MEDIATHE FINKLESTEIN REPORT

SOCIAL ISSUES THE FINKLESTEIN REPORT

Imagine, if you will, that you decide to start a new confessions blog relating to government politics. You sledge a few backbenchers, make a joke about the size of Julia Gillard’s most prominent appendage, and voice your (relatively biased) personal opinion about the state of politics in Australia. To your delight, you begin to gain a dedicated following and are even fed information by inside sources. Before long you may find yourself in court, battling to stay out of jail. Welcome to the world of regulated media.

“A BALANCE MUST BE STRUCK BETWEEN FREEDOM OF SPEECH

AND ACCOUNTABILITY FOR INACCURATE

JOURNALISM.”

In controlling all media through a government-funded council, Australia could well draw parallels to an authoritarian or totalitarian regime. Without sufficient safeguards, one could easily justify the censoring of journalists and even bloggers on the basis of protecting readers from biased stories, when in fact this simply empowers the government to create favourable political press.

Yes, the way in which the media is regulated needs to be reformed. Sensitivity towards those who will be impacted by news stories needs to be taken into consideration, privacy needs to be respected and inaccurate stories need to be acknowledged and apologised for. Editors and publishers need to be held accountable and a new standard of media regulations, covering all forms of media from social to print, need to be introduced for professional journalists to guarantee accountability.

Reforming media guidelines without government intervention is, of course, the difficult part. The Australian journalism industry needs to establish overall expectations regarding their employees’ use of social media, both in and outside of work, to avoid conflicts of interest and company misrepresentation, as well as enforcing internal consequences for inaccurate research and reporting, such as a strike system.

The key to establishing guidelines for Australian media practices, as Finkelstein suggests, is to find a balance between free speech and accountability in the industry. However, it needs to be enforced from within rather than censored by the government. Media relevance is measured by readership, and so the focus should remain on professional media organisations rather than bloggers with inflammatory opinions.

Written by Elle BatchelorIllustration by Lilian Yeow

In the wake of the scandal implicating journalists and other high-level employees at the (now defunct) British newspaper, News of the World – many of whom allegedly went as far as hacking the phones of celebrities and victims of crime, as well as bribing police for information – the Gillard government commissioned a media inquiry into Australian media practices led by The Honourable Ray Finkelstein QC.

Finkelstein offered up a well-written summary of Australian media practices and accountability, declaring that the news media maintains a level of power and far-reaching influence, and such power, as Franklin D Roosevelt once proclaimed, involves great responsibility. Unfortunately, Finkelstein declares, Australia lacks the necessary mechanisms to ‘ensure the press adheres to its responsibilities’ and has recommended the creation of a ‘News Media Council’.

The council, sponsored by the government, would be responsible for the regulation of print, television, radio and online news media organisations, including bloggers with more than 300 hits per week. It could even eventually extend to social media platforms such as Facebook and Twitter, where disciplinary action can be meted out to companies and individual users who breach the council’s regulations and media standards.

The report has some media outlets and individuals up in arms, with journalists such as Andrew Bolt of The Herald Sun going so far as to suggest that the

introduction of an Australian News Media Council would threaten ‘not only our freedom to speak, but to hear and decide for ourselves’.

However, Finkelstein himself suggests in his report that there is a ‘compelling case’ for free press, and that a balance must be struck between freedom of speech and accountability for inaccurate journalism.

This is the situation this inquiry must address: how to accommodate the increasing and legitimate demand for press accountability, but to do so in a way that does not increase state power … or undermine the key rationales for free speech and a free press.

Finkelstein’s report raises significant issues that journalists and media executives must confront, especially when it comes to the potential impact a story may have on government parties and the public.

However, the reality of Finkelstein’s suggested regulations would mean that anyone in Australia with a website or blog that receives more than 15,000 hits a year could at any time be subjected to investigation for a throwaway comment written online.

FREE MEDIA VS ACCURATE MEDIATHE FINKLESTEIN REPORT

SOCIAL ISSUES THE FINKLESTEIN REPORT

Imagine, if you will, that you decide to start a new confessions blog relating to government politics. You sledge a few backbenchers, make a joke about the size of Julia Gillard’s most prominent appendage, and voice your (relatively biased) personal opinion about the state of politics in Australia. To your delight, you begin to gain a dedicated following and are even fed information by inside sources. Before long you may find yourself in court, battling to stay out of jail. Welcome to the world of regulated media.

“A BALANCE MUST BE STRUCK BETWEEN FREEDOM OF SPEECH

AND ACCOUNTABILITY FOR INACCURATE

JOURNALISM.”

colosoul # 8 |47

MALAWI: THE WARM HEART OF AFRICA

If you are a new traveler on the continent, a small and relatively unknown country called ‘Malawi’ is a great place to start. Affectionately named ‘the warm heart of Africa’, the people here are exceptionally friendly and it is pretty safe and easy to get around. It is cheaper than many tourist areas, more ‘authentically African’ and offers a wide range of experiences, from village living and colorful market places to exquisite lodges in Big Five reserves.

Getting ThereSouth African airways currently hold a monopoly on flights from Perth, although there are a few different options, involving multiple stops and different carriers. Most return fares are over $2000, although a more economical way to get to Malawi is to fly to Johannesburg ($1500) and then catch a bus the rest of the way. Not for the faint hearted, but certainly an experience in itself.

The Intercape Bus Service (intercape.co.za) travels from Johannesburg to both Blantyre and the capital, Lilongwe. For around $100 a ticket, you are provided with Malawian music/video entertainment, a toilet that works for only the first few hours, an air conditioner at arctic–cool temperatures and a breakfast of soggy fried chicken and chips on departure. It is advisable to obtain various visas prior to travel. While travel overland between countries is still possible without one, it is substantially more difficult and you may find yourself trading your bracelets or watches for a stamp in your passport. The Intercape staff and other passengers (mostly local Malawians) are all delightful and extremely helpful, especially when navigating border controls and exchanging money. Bring toilet rolls, snacks and Valium (if you’re particularly nervous). The bus will be your home for around 35 hours straight.

Getting AroundCross–country travel is best done, where possible, in a minibus taxi. It will often take an incredible amount

Many people shy away from travelling to Africa, thanks to the horror stories of rape, corruption, theft, kidnappings, squalor, murder and carjacking, blown beautifully out of proportion thanks to the media in most Western countries. While certain areas are currently very dangerous (check out smarttraveler.gov.au for up–to–date information on travel warnings), many parts of Africa are in fact safe and offer an eye–opening, jaw–dropping, horizon–expanding and life–altering experience that will return you home a changed person. There is also a pretty big chance of falling in love with the simplicity of wearing nothing but goat hides, sighting elephants from a mud hut and living off mangoes and grilled corncobs.

of time to get anywhere and is thoroughly uncomfortable, but they are always an interesting experience. Be aware of the extremely lax adherence to maximum carrying capacities with ten–seaters often ferrying twenty passengers. There are literally hundreds of these so the fares are low. They may be missing various essential parts (such as doors) and be driven by an alcoholic, but with the cushioning provided by so many squished bodies, one can’t imagine a collision being particularly fatal. Prepare to be sat on, asked to hold someone’s baby or goat, or laughed at for being a confused ‘Mzungu’ (foreigner).

Sometimes a lack of minibuses necessitates a ‘motola’ ride. This is essentially a lift in the back of any van/truck/ute/jeep that happens to have petrol and be passing by. Expect to share a seat with a basket of fresh fish/fertilizer/chickens, and to risk life and limb blasting along crumbling roads. Sometimes in Africa, you just have to make do and get on with it.

There are private taxis, although these are often just as dilapidated as the mini buses, not as much fun, and extortionate. They are, however, a boon at night when taxi drivers will often return at a specified time to pick you up.

In rural areas, the only mode of transport is a bicycle taxi. Skinny, enthusiastic cyclists can be seen sweating their way up and down hills along the dirt roads carrying plump African mammas. It is the best way to travel in the world. Not only do you get a beautiful lazy view of your surroundings, but you can also engage with the locals and get to know your ‘driver’.

HighlightsThe Lake Malawi’s largest attraction — the 365 mile–long and 52 mile–wide ‘Calendar Lake’ — is home to hundreds of different species of Cichlid fish. It is a crystal clear oasis surrounded by little villages. ‘Beach boys’ will try their

best to sell you happy pants and space cakes, and little kiddies will play on petrol can drums and handmade guitars. You can try your hand at fishing, although it is probably best to leave that to the professionals if you plan on having your catch for a meal. The diving school in Cape Maclear is probably the cheapest place in the world to get your scuba ticket and the instructors are professionally trained and accredited. The locals are friendly, the music is loud and the drinks are almost free.

Liwonde ParkThis little gem is situated on the Liwonde River, nestled among villages not too far from the lake, and is home to the Mvuu camp and lodge. The journey there is horrendous. You’ll need to get a bus, several minibuses and a bicycle taxi through villages and forests. Arriving, though sweating and bedraggled, is a miracle. After camping the night in one of the luxury tents, you can spend the day on the river, where there are plenty of opportunities to spot hippos, crocodiles

and even bathing elephants. A sunset game drive with a complimentary beer is the perfect way to end the day. The park’s peace and tranquility is a welcome break from the hustle and bustle of village life.

Nightlife and ShoppingBlantyre, the commercial capital of Malawi, is a dirty, vibrant, bustling little city. Spend a busy day shopping in the Limbe markets, get dressed in your finery to eat at the local Debonaires pizza (situated in a petrol station) and get the night warmed up with drinks at Mustang Sally’s, the local expat bar. While most

places offer a little more than local gin and a choice of three beers, Mustang’s has the largest selection in town.

Once in the mood, head to Chez Ntemba, the only local nightclub in town. Entry is through a chicken mesh gate, past a man grilling meat over a petrol drumfire, and down a slippery, precarious flight of stairs. Lo and behold, a basement with mirrors. The drink selection is limited, the music loud, the clients all locals and there is more booty than a Destiny’s Child video clip. If you are brave enough to leave your expectations (and fear) at the door, expect to have a night unlike any other.

Written by Chloe Ross Design by Daniel Silva e Cunha

EXPLORING THE DARK CONTINENT

MALAWI TRAVEL

LOCAL LINGO

HOW ARE YOU? “MULI BWANJI?”

I AM FINE. “NDIRI BWINO.”

AND YOU? “KAYA INU?”

THANK YOU. “ZIKOMO.”

MONEY “NDALAMA”

HOW MUCH? (PRICE) “NDALAMA ZINGATI?”

TRAVEL MALAWI

48|colosoul # 8

MALAWI: THE WARM HEART OF AFRICA

If you are a new traveler on the continent, a small and relatively unknown country called ‘Malawi’ is a great place to start. Affectionately named ‘the warm heart of Africa’, the people here are exceptionally friendly and it is pretty safe and easy to get around. It is cheaper than many tourist areas, more ‘authentically African’ and offers a wide range of experiences, from village living and colorful market places to exquisite lodges in Big Five reserves.

Getting ThereSouth African airways currently hold a monopoly on flights from Perth, although there are a few different options, involving multiple stops and different carriers. Most return fares are over $2000, although a more economical way to get to Malawi is to fly to Johannesburg ($1500) and then catch a bus the rest of the way. Not for the faint hearted, but certainly an experience in itself.

The Intercape Bus Service (intercape.co.za) travels from Johannesburg to both Blantyre and the capital, Lilongwe. For around $100 a ticket, you are provided with Malawian music/video entertainment, a toilet that works for only the first few hours, an air conditioner at arctic–cool temperatures and a breakfast of soggy fried chicken and chips on departure. It is advisable to obtain various visas prior to travel. While travel overland between countries is still possible without one, it is substantially more difficult and you may find yourself trading your bracelets or watches for a stamp in your passport. The Intercape staff and other passengers (mostly local Malawians) are all delightful and extremely helpful, especially when navigating border controls and exchanging money. Bring toilet rolls, snacks and Valium (if you’re particularly nervous). The bus will be your home for around 35 hours straight.

Getting AroundCross–country travel is best done, where possible, in a minibus taxi. It will often take an incredible amount

Many people shy away from travelling to Africa, thanks to the horror stories of rape, corruption, theft, kidnappings, squalor, murder and carjacking, blown beautifully out of proportion thanks to the media in most Western countries. While certain areas are currently very dangerous (check out smarttraveler.gov.au for up–to–date information on travel warnings), many parts of Africa are in fact safe and offer an eye–opening, jaw–dropping, horizon–expanding and life–altering experience that will return you home a changed person. There is also a pretty big chance of falling in love with the simplicity of wearing nothing but goat hides, sighting elephants from a mud hut and living off mangoes and grilled corncobs.

of time to get anywhere and is thoroughly uncomfortable, but they are always an interesting experience. Be aware of the extremely lax adherence to maximum carrying capacities with ten–seaters often ferrying twenty passengers. There are literally hundreds of these so the fares are low. They may be missing various essential parts (such as doors) and be driven by an alcoholic, but with the cushioning provided by so many squished bodies, one can’t imagine a collision being particularly fatal. Prepare to be sat on, asked to hold someone’s baby or goat, or laughed at for being a confused ‘Mzungu’ (foreigner).

Sometimes a lack of minibuses necessitates a ‘motola’ ride. This is essentially a lift in the back of any van/truck/ute/jeep that happens to have petrol and be passing by. Expect to share a seat with a basket of fresh fish/fertilizer/chickens, and to risk life and limb blasting along crumbling roads. Sometimes in Africa, you just have to make do and get on with it.

There are private taxis, although these are often just as dilapidated as the mini buses, not as much fun, and extortionate. They are, however, a boon at night when taxi drivers will often return at a specified time to pick you up.

In rural areas, the only mode of transport is a bicycle taxi. Skinny, enthusiastic cyclists can be seen sweating their way up and down hills along the dirt roads carrying plump African mammas. It is the best way to travel in the world. Not only do you get a beautiful lazy view of your surroundings, but you can also engage with the locals and get to know your ‘driver’.

HighlightsThe Lake Malawi’s largest attraction — the 365 mile–long and 52 mile–wide ‘Calendar Lake’ — is home to hundreds of different species of Cichlid fish. It is a crystal clear oasis surrounded by little villages. ‘Beach boys’ will try their

best to sell you happy pants and space cakes, and little kiddies will play on petrol can drums and handmade guitars. You can try your hand at fishing, although it is probably best to leave that to the professionals if you plan on having your catch for a meal. The diving school in Cape Maclear is probably the cheapest place in the world to get your scuba ticket and the instructors are professionally trained and accredited. The locals are friendly, the music is loud and the drinks are almost free.

Liwonde ParkThis little gem is situated on the Liwonde River, nestled among villages not too far from the lake, and is home to the Mvuu camp and lodge. The journey there is horrendous. You’ll need to get a bus, several minibuses and a bicycle taxi through villages and forests. Arriving, though sweating and bedraggled, is a miracle. After camping the night in one of the luxury tents, you can spend the day on the river, where there are plenty of opportunities to spot hippos, crocodiles

and even bathing elephants. A sunset game drive with a complimentary beer is the perfect way to end the day. The park’s peace and tranquility is a welcome break from the hustle and bustle of village life.

Nightlife and ShoppingBlantyre, the commercial capital of Malawi, is a dirty, vibrant, bustling little city. Spend a busy day shopping in the Limbe markets, get dressed in your finery to eat at the local Debonaires pizza (situated in a petrol station) and get the night warmed up with drinks at Mustang Sally’s, the local expat bar. While most

places offer a little more than local gin and a choice of three beers, Mustang’s has the largest selection in town.

Once in the mood, head to Chez Ntemba, the only local nightclub in town. Entry is through a chicken mesh gate, past a man grilling meat over a petrol drumfire, and down a slippery, precarious flight of stairs. Lo and behold, a basement with mirrors. The drink selection is limited, the music loud, the clients all locals and there is more booty than a Destiny’s Child video clip. If you are brave enough to leave your expectations (and fear) at the door, expect to have a night unlike any other.

Written by Chloe Ross Design by Daniel Silva e Cunha

EXPLORING THE DARK CONTINENT

MALAWI TRAVEL

LOCAL LINGO

HOW ARE YOU? “MULI BWANJI?”

I AM FINE. “NDIRI BWINO.”

AND YOU? “KAYA INU?”

THANK YOU. “ZIKOMO.”

MONEY “NDALAMA”

HOW MUCH? (PRICE) “NDALAMA ZINGATI?”

TRAVEL MALAWI

colosoul # 8 |49

photography

THE DECISIVE MOMENTThe passion exuberated by local photographer Aaron Corkill of Versiontwo Photography is contagious. A veritable expert on capturing the intricacies of light and human emotion, his artistic eye and quick reflexes mean that not a moment of beauty passes him by. This, coupled with his almost obsessive attention to detail and composition, produces photos that are both deeply moving and artistically brilliant.

Self-taught and inspired by the likes of Henri Cartier-Bresson, the father of modern photojournalism, Aaron sings praises of digital photography and image manipulation, often using them as a musician may use a mixer, in order to bring greater depth to his art form.

From the humble beginnings of taking photographs of friends in bands and ‘Googling’ information on the different wavelengths of light, Aaron slowly became more and more interested in capturing ‘decisive moments’ in everyday life.

FEATURED PHOTOGRAPHER AARON CORKILL OF VERSIONTWO PHOTOGRAPHY

In this series of journalistic street portraits, Aaron has captured men of Perth – often entering the comfort zone of his subjects using only a 50mm lens.

Passionate, creative and incredibly knowledgeable, Aaron has been taking photos for a long time.

‘I love trying to capture the emotion present in a single moment. Life is just so beautiful.’We agree, Aaron. And we think your photos are beautiful too.

Support Aaron by liking his Facebook page here: www.facebook.com/v2photography.

Written by Chloe RossPhotography courtesy of Versiontwo

“I LOVE TRYING TO CAPTURE THE EMOTION PRESENT IN A SINGLE MOMENT. LIFE IS

JUST SO BEAUTIFUL.”

photography

THE DECISIVE MOMENTThe passion exuberated by local photographer Aaron Corkill of Versiontwo Photography is contagious. A veritable expert on capturing the intricacies of light and human emotion, his artistic eye and quick reflexes mean that not a moment of beauty passes him by. This, coupled with his almost obsessive attention to detail and composition, produces photos that are both deeply moving and artistically brilliant.

Self-taught and inspired by the likes of Henri Cartier-Bresson, the father of modern photojournalism, Aaron sings praises of digital photography and image manipulation, often using them as a musician may use a mixer, in order to bring greater depth to his art form.

From the humble beginnings of taking photographs of friends in bands and ‘Googling’ information on the different wavelengths of light, Aaron slowly became more and more interested in capturing ‘decisive moments’ in everyday life.

FEATURED PHOTOGRAPHER AARON CORKILL OF VERSIONTWO PHOTOGRAPHY

In this series of journalistic street portraits, Aaron has captured men of Perth – often entering the comfort zone of his subjects using only a 50mm lens.

Passionate, creative and incredibly knowledgeable, Aaron has been taking photos for a long time.

‘I love trying to capture the emotion present in a single moment. Life is just so beautiful.’We agree, Aaron. And we think your photos are beautiful too.

Support Aaron by liking his Facebook page here: www.facebook.com/v2photography.

Written by Chloe RossPhotography courtesy of Versiontwo

“I LOVE TRYING TO CAPTURE THE EMOTION PRESENT IN A SINGLE MOMENT. LIFE IS

JUST SO BEAUTIFUL.”

photgraphy

FEATURED PHOTOGRAPHER AARON CORKILL

photgraphy

FEATURED PHOTOGRAPHER AARON CORKILL

photography

FEATURED PHOTOGRAPHER AARON CORKILL

photography

FEATURED PHOTOGRAPHER AARON CORKILL