Decadence and Debauchery@ Nineteen Ten

Review by the Lonely Archaeologist

ACTs finest burlesque performancers in Decadence and Debauchery by Jazida Productions

For those of us who live and breathe the Adelaide Fringe as the festive season of our year, there is a point when we hit the peak Fringe experience. This is me peak Fringe: I have fringed as much as a lady can just half way over middle of the festival. Last weekend, I failed at flyering outside in the East End, I killed it as comedy front of house in the West End. I went to Nineteen Ten for the third night in a row for a burlesque show. I caught the dodgy night bus home. There’s a guy sleeping on the roof of his car out the front of my house and people camping in both my backyard and kitchen. My blisters have grown blisters. I have lost my voice. I am exhausted.

But I have so many friends in the Fringe ecosystem that I will go see their productions and appearances as that supportive friend known “for being loud in the front row.” By the time I went to see Jazida Productions show, Decadence and Debauchery, I was very much over the idea of being out late and seeing yet another burlesque show. When you’ve seen some fabulous tits and arse in the superb roof top bar the two days prior, you think “Do I need a third day of jiggly sparkly goodness?” I’m here to tell you, why, yes, you do!

I have to say that the good dynamics provided by these consummate performers actually cut through my fatigue & ennui and actually raised the roof off in energising the room. The show is a variety entertainment format so you get everything from old world class, to cheeky comedy burlesque in a martini glass to sexy Bollywood burlesque—something I’ve never seen before. (I was there to see the divine Carmel Calvin serenade the audience about desire and devouring…) The audience loved every act and were very supportive of each other and the performers as we were invited to participate in games. What I will state that, as a bit of a burlesque enthusiast, is that there was a universally high technical skill of in every one of these entirely original performances. They made fan dancing look effortless as group, the costumes were dazzling as the dancers and that they were giving it their all and then some more at 11pm at night. I want to say thanks to these starlets for making my night memorable and getting me through the midway point of the Adelaide Fringe.

They shook my tail feathers! These birds of paradise get 4 stars!

Decadence and Debauchery is showing at Nineteen Ten for performances from 14th-17th March 2024 at the Adelaide Fringe.

(https://adelaidefringe.com.au/fringetix/decadence-and-debauchery-af2024)

Me: the arts in the time of C-19, Malcolm Gladwell at the darkest hour and a lot more love is needed.

So it’s 2 am, no actually 3 am. If you’re like me at all then you become haunted and haunted some more by events you failed at or went wrong at. I can’t calm down and I’ve tried to air crash investigate the systematic failure of how I went from loving the local arts scene to how the events with a certain lower cultural arts festival went so wrong; I still don’t know what I did exactly wrong. I stare in the mirror and count my daily errors, what misdemeanours did I do and was that in the behaviour of the category felonies and just one more faux pas is going to land me in a gulag… I’m obsessed, I’m driven, I’m compelled to find the imperfections I can fix. I don’t need Coldplay and the colour yellow to fix me. I fix me.

Yet with the vacuum of information, I can’t do the work to improve my user experience as an effing robot advocate. You might say without data or even anecdotal evidence, I can’t improve. I’m in a circular loop of GIGO and I feel like my life has come down past the idiom you can be right or you can be happy, but that everything I do is flawed now. No redemption arcs for me. So I dissect and analyse everything I do now and I fail at it all, every time. Because you are going to fail what you perceive to be perfect. We are well past let it go, we are into the bit into being called into the unknown because (she has insomnia with her sense of adventure).

Elsa, Frozen 2, all images owned by Disney.

Mentally I’m becoming so very ill from this and taxed by my paranoia from my cPTSD and it makes me wonder if people are revelling in my unravelling. But that is me, it’s 3.25am and I’m no nearer to sleep so I’m listening to Malcolm Gladwell being interviewed by Joe Rogan. I enjoy his sociology but one thing really struck me underlying all the science and his analysis of dumb crap humans are prone to do, that Gladwell has this intense love and compassion for humans even as his analyses of situations of what I would term our worst f***k-ups. This is what my old counsellor B. meant by catching ourselves gently when we fall. I want to be Gladwell.

Indiana Jones and Dr Jones Snr. “Imhotep,Imhotep.”

The qualities I possessed and considered values of a relationship with leadership were of an adversarial nature. I thought I had to be the best: the most competitive, the most intelligent, the one who answered the questions in class the way I thought the lecturer would want me to. I thought I needed the gold stars, to be in the programs at uni with the word “ambassador” (believe me it’s not pretty crying in the toilets at uni for 20 minutes when you know outside there are other students that look up you are hearing your meltdown because you did all that work and still weren’t good enough for the imaginary line). They were very much isolating and part of the toxic masculinity that Taylor Swift describes in her song, The Man.

“I’d be a fearless leader,
I’d be an alpha type…”

There is a point you do need to calm down. There is a point where the courses you did to tick off this imaginary list of certificates of approval or media just don’t matter at 3.44am on a Wednesday in the time of that corona virus. There were three things that ended up being important to me as I calmed down from being an adversary. The first was that people cared for me (so many that I was surprised by the outpouring of love, thank you everyone who has reached out and I plan on tracking a few more of you down). I need you all to survive this.

Clara’s mum. Clearly not a cassowary because on a boat a cassowary would probably be a disaster…

The second is I didn’t care if I was a leader because it was my job, I cared for them in a very compassionate way (or at least I tried to) because that’s who I am. The very last is that I have to stop caring about what other people (“authorities”, “the competition” “my adversaries”) are thinking about me & engage in the things that bring me joy in the arts in the age of social isolation (The Piano Guys, Johnny Weir, Malcom Gladwell, Briar Noelet) because they aren’t the sole authorities to arbitrate my love, my creativity and somehow I’m working in road transportation Government of Australia but it’s been hard, it’s been a bitumen.

T-Swift’s image from You Need To Come Down.

In my professional opinion, the world is ending as we know it; but image of the end of times, the one we could have doesn’t have to be a finality of humanity but it would be human life actively, collectively, on an improved planet. We have plenty of time to think about how it is up to us as individuals we figure out social isolation, to create new systems and better defined communities and mutual cooperation among all, not just certain, hairless monkeys.

We can have the film version of Tomorrowland (2015) where a machine in the film is a harbinger of doom that is telling humanity that the world will end through some sort of projection technology (oh hi online media!). Yet it’s creating a self fulfilling prophecy based on original good intentions, that through warning us to avoid our doom, we become so used to the idea we are all f**ked that hasten the end of life on Earth as we know it. But we can be better than these stories (at least there aren’t Triffids I suppose, I hate gardening.)

Tomorrowland, Disney.

Instead of speculative fiction where we seem strangely to get kicks from seeing the planet under-threat constantly (looking at you Marvel), we can all be calm enough all that we can see the visions of humans who love humanity, that see the in reality as it should be as Barak Obama, Gladwell, the Gates, Dr Phil and Oprah do in every day interactions.

Social scientist, Brené Brown says the only critics who count are the ones in the ring with you; so I’ve come to the conclusion that it is important for me to keep up with education about the pandemic and the COVID-19 provisions of services I use like my university and medical service. But I’m not in the ring with the brilliant minds working on solving this crisis and the decision makers who are guiding us through the process of hopefully flattening the curb of infection.

Cattening the curve of corona.

However I am in the ring with the artists, Humanities academics and disabled activists that are trying to imagine a future with worth having. In order to do that, I found a lot of peace in opting out of every single C-19 alert and only get my sources from trusted venues like the World Health Organisation. What I decided to do was stop projecting the fear of the media’s apocalyptic build up and create a social wall of things that I could go to when the doomsday program was being projected. The media updates were doing opposite or calming me the heck down, it just tired me out. And so here we are to me calming down. I’ve begun a join a movement of global love. I’m not going to lie, the meditation is going to be a challenge for me.

Finally I just need to calm down enough to let the love I have for other people shine through. I just want to be liked and cherished I’ve said here yesterday and that loneliness cuts through my existence, like Gladwell, I love human beings and I need to be calm enough for that love to rise to the surface. I have work to do on myself but simultaneously I think I can also be a light for others to see by as I explore leading from love.

My niece, the future.

Clara Cassowary, some chick with a blog. 01/04/2020.

Guest Review: Floral Peroxide by Avalanche.

Floral Peroxide by Alison Paradoxx, 25th February and 11th March at Lion Arts Centre.SEASON CLOSED.

Images courtesy of Alison Paradoxx, 2020.

There’s a famous bhuto dance performance that starts with a masked dancer entering the stage, moving in gentle and oddly familiar gestures – and at the end of the dance, removes the mask…and we see the back of the head: the entire dance was done to make us look at things in a very different way.

Alison Paradoxx aka Alison Bennett is such an artist: she presents confronting with the gentle, the familiar with the strange, the utterly unique with something we should all aspire to. For whatever hand you are dealt, you play, without compromise.

After a childhood of traumatic injury, countless major medical interventions, she still stands, proud and defiant, straight up no chaser.

“My existence should have come with a warning label” she states, and:” …Even silence become too heavy to bear.”

This is ownership of personal territory, this is creation in its purest form. And I don’t care if this appears gushing: this is a rare thing indeed in these cynically shallow times.

Let us not descend into victimhood.

Of the pieces in her set, standouts include “Floral Peroxide”, which must surely become an anthem for all us who are love-struck by the power and beauty of the word – and just for a moment, are healed.

Personal favourite?

“The sky is leaking”, a beautiful, fragile and hauntingly desolate resolution to this trip into all kinds of Sturm und Drang, the seven levels of Hell, the howling and burning rivers, past revenge and unforgiveness, into forgetting…and then remembering.

Now do yourselves a favour and go see this show before Alison is snapped up interstate. There are two performances in 2020.

In conclusion, let’s defer to Leonard Cohen:

There is a crack in everything,

That’s how the light gets in…”

Bravo indeed!

5 stars, only because I can’t give you seven or eight.

Tickets available: https://adelaidefringe.com.au/fringetix/floral-peroxide-af2020

Avalanche (aka Ivan Rehorek), guest reviewer, originally for All Over Adelaide on 25/02/2019 but republished here with special permission.

Posted by Clara Santilli, the Lonely Archaeologist, 23/02/2020.

Unfringed: The Paroxysm Middle Finger to Fringe Festivals!

UNFRINGED: Spoke’N’Slurred -The Middle Finger Gigs.

The Middle Finger Gigs – Spoke ‘N’ Slurred on Thursdays (27th February, 5th March & 12th March 2020) at the Broadcast Bar, 66A Grote Street, CBD. SEASON CLOSED.

Spoke ‘N’ Slurred has become notorious in Adelaide’s spoken word community as being a messy gig with a feature and anything goes on the last Sunday of the month. In the arts community there is always a subversive element and the punk kings of Radelaide have entirely bought out of the Fringe Festival and Paroxysm Press are giving it the middle finger, hence the relocation of Spoke’N’Slurred to Thursday nights during the month of Fringe. The Broadcast Bar is one of Adelaide’s hidden and delightfully retro gems nestled up a steep staircase at the top of Grote Street.

I’m assumed to be a bit too glittery and cheesy for something so rock’n’roll but anyone is welcome at Spoke’N’Slurred, the outcasts and the prom queens. Last week’s features were Tom Cassidy and Matthew Neild, both wild cards of the wildly success Summer Slam event. There’s also an open-mic for the game to try out experimental poetry.

Tom Cassidy is an earnest young poet still setting out about finding his own style in the spoken word and he is uplifting as he proves to write poetry you just need a passion and the bravery to give it a go!

Tom Cassidy

Matthew Neild is a future master wordsmith and it’s clear he is an up-and-coming voice, a bit rough but clear diamonds in the mix too! A cameo set by the reigning queen of Paroxysm Press, Kerryn Tredrea, proved why Paroxysm is still standing strong in the indy publishing movement.

Matthew Neild

Next week’s feature is the ever-delightful Nadia Patterson bringing some star power to the Broadcast Bar.

All that jazz, 3.5 stars.

Clara Santilli, not reviewing but neurotic, glitter-covered, sleep deprived mess.

Guest review: Dr Chris Wilson reviews KC Martin-Stone.

Guest review: I See Dead People by KC Martin-Stone, 20th February – 23rd February and 25th February – 1st March 2020 at The Piglet, Gluttony. SEASON CLOSED.

Image courtesy of KC Martin-Stone.

An archaeologist, comedian and territorian, KC Martin-Stone’s body disposal comedy is brave and informative. What began as a childhood fascination – “I love dead people…”

KC Martin-Stone is now emerging as niche speaker in comedy that exposes themes in religion, sex, crime and death care. A must see for those interested in new cutting edge arts and science communication.

★★★★, Dr Chris Wilson at the SA Premiere (14/02/2020).

Tickets available:

https://adelaidefringe.com.au/fringetix/i-see-dead-people-af2020

Dr Chris Wilson, guest reviewer at the Lonely Archaeologist, 20/02/2020.

More about Dr Chris Wilson:

https://www.flinders.edu.au/people/christopher.wilson

How to write a good music review (by someone who studies the arts, listens to music and knows a band or two).

Everyone loves a rockstar…or this is what a good music review is from my years of exposure to various aspects of the music industry and studying popular culture… a lot. Music is an art form that you tell people who can’t listen to what you’re hearing and why it’s worth their time. It sounds easy right? We all have an opinion. Musicians don’t have the edge over the general radio listener and if you want an in their own words experience, interview them or ask them for feature quote if they are accessible!

What does make a good review? You want to capture what it is about the artist and the song that makes it worthy of your recommendation. Today I looked at a review that was barely adequate by a musician for a local band and nothing about it made me want to go and see the band or buy the song despite listening to the band, watching an interview and researching the band whose live sound is very different to their studio project.

First and foremost you are endorsing this band and you should justify why you think other people would enjoy their music. You are putting your name and reputation to something in a review and you should be creating the choice that your reader has to check out this band or at least you make enough of an impression so that your audience remembers them.

A good starting place is that you want to provide a context for the artist or band, this the creates relevance and situates them such as “local boys” or “ an upcoming chanteuse”, so ask yourself where are they in the music industry and career? What other angle makes them interesting? If you can’t answer the latter, research it.

When you are documenting a musical experience, research and preparation are just as important as conveying your enthusiasm or you come off like a “fangirl/boy/drone/content scraper” or someone who isn’t really into the band and is just doing this for [reasons dubious and mysterious].

Next, ask yourself what musical genre is this, what is their aesthetic and who is the audience? Consider how you might label something and how the normal listening population would label your artist. So that if you were a grunge rocker, what does “easy listening” suggest to a general audience? I know I personally I’d think smooth jazz or pop music of a balladic temperament and I’d be pissed off that I ended up at a band sounding more like the progeny Nirvana and early Foo Fighters if I was planning a relaxing night out. I’d complain and ask for my money back. Then the band is faced to refund an angry customer and they find out who called the Silver Chair tribute show an easy listening experience in reviews.

Good ways to end a career in music and pop culture journalism before you’ve even hit as a blogger…Artists, their management and very angry punters have long memories, when you put your name to something like a review, you are essentially creating a brand relationship with the artist, even passively. Long memories, like elephants, rookie mistake I made in my first year as the Lonely Archaeologist.

Who and what does your band sound like? Those are your audience and who you are writing to convince to get out and buy the album/song! And I do mean buy it because musicians endure a lot to get to the stage they have multiple albums and have played more hours to almost empty rooms than…drifted off there. How do you describe the song or sound of the artist? A description like “scratchy vocals” over “big guitars” clearly indicates it is not easy listening! That firmly could be could said to be rock. Know your band, keep in mind your audience and their audience.

The way you describe a band should be poetic but economically descriptive prose anything is using filler vocabulary – a good writer doesn’t need to use generic adjectives like calling the band “mind blowing” or “epic”. A test I use is that is what I’m describing useful to someone who is yet to listen to this song/album? You can quite easily say it has “chunky guitars, brother” and it reads like an analysis by an unimaginative year 12 student doing rudimentary musicology. Like a song, you have to find a hook in 2 ways, song content and song sound.

Content is what the song is saying and why you think it is relevant for your intended audience. “I really loved it!” is not helpful to someone- always looks the “because” that should have featured in place of the exclamation – who might get a kick knowing it’s a kiss off anthem that captures the angst of Kurt Cobain but the lyrics have the drama of a Taylor Swift song. What a weird love child that had to be!

Then there is the sound, “mind blowing”* and other effusive praise again it doesn’t tell me why I should listen and keep reading your review and then possibly listen to a good but not great song by a promising act beyond the first uncomfortable riff …because it hurt my ears. That is literally what happened today, it seems like a lame response but science has found humans have short attention spans. Then I read a review and went back on advice and listened to the whole the song really- it just has an inaccessible beginning. So be specific!

Are they a big band reimagining of classic pop and rock hits – say a la PMJ or a string quartet of album of Brit rockers, The Killers, featured on hit tv show, XYZ*.

…sideways divergence…And don’t scrape pictures from their Facebook page without asking the photographer, not the people in them. You may be treading on another artist or worse and end up with a copyright issue. You can google what happens with those…have a media policy and develop some ethics if you intend to write a lot of reviews. You can use a picture of an album cover under fair use for review. Your reputation is only as good as your integrity…

Back on track. You really need to get people past the intro of a song and into the first chorus so they’ll commit to the full song and album. A good description should be like: “They have a classic rock sound with clear grunge influences like Other Bands* and when heard live, their sound for Previous Album was pared back to a raw, emotional state that only a black hearted bitch from the underworld of Asgard couldn’t love*.

Fans are in for a pleasant surprise with This Album* – it’s so different beast to the live sound of BlahBlah*! This is their second outing in the Australian music scene, act two is different and sophisticated mix compared to their debut, First Album Recorded In A Garage By the Drummers Dad!*

Well known for the hit ‘I’m seeing Thor tonight*’, this record is a juicy, polished reimagining of Ask!Me!* They have grown up with a more full, refined sound with trademark catchy big guitar riffs in ‘Love This Song’*. It is an anthem for an army of the living dead and a giant wolf.*

Clearly the year touring the nine realms* and new bassist, Almost Loki* and have created a textured edgy version of ‘Love Hit Song’* also appearing on This New Album* with ‘Also Love That New Song’* .

It’s really a new hiphop swing rockabilly jamming with spoons and dubstep sound for BlahBlah* and an interesting change of direction artistically, it’s a great option for those who are new to the AskMe* music scene or devoted fans that enjoyed their live numbers or That Famous Garage Album*!”

Finally, ethically don’t ask a band member, their management or a family/friend of the band, to review a band and expect an uncritical and helpful review. Always disclose your relationship to the band if it’s more than catching the bus with the bassist. If you want in their words, quote them or write an interview. Many local to medium acts are more than happy to answer email interviews or even meet for coffee (the expectation is that you buy).

A great strategy I picked up from my friend Matt is that if you really do want to interview/review a band, make it relevant to them and your review’s intended audience. And then buy the song/album/a ticket to see them if you possibly can and make the relationship reciprocal artistically. Musicians gotta eat, instruments need maintenance and power doesn’t pay for itself.

Tell Facebook it was mind blowing with that blurry stage shot you took. Sell the band to the world (or at least me) with your review.

*Names are fictional and yes I saw Thor 3. I’m giving people until the weekend to write my how to write a film review film review, only this time using a real film! review. Stay tuned.

Clara Santilli, 2017, this is article may be reused under fair use. Please buy always music and remember to attribute artists!

There’s no money in poetry…Supporting local arts and tourism from burlesque to the spoken word…

So it’s been awhile readers and I’ve unfortunately been too ill to blog or adventure much. The last events I attended as the Lonely Archaeologist were all at the Nexus Arts Centre including the Deco Dolls and World Gin Day, Once Upon A Teaser (both curated by the talented Miss Viola Verve) and Club Gotham by the JustAss League in late June (all pictures below are from the various events mentioned).

I intended to do a feature blog on each of these events but illness is a time consuming hobby and I’ve largely been regulated to questionable viewing habits formed on Netflix while resting & testing goes on and disturbing my therapy animals with my ideas of home entertainment! Part of that of that is the pursuit of spoken word and the pub poetry scene (as both a performer, audience member and writer), it’s actually influenced my documentary research project that I’m making as part of my screen and media studies as my archaeology masters elective. This has changed my viewpoint on being artist myself as you’ll see below.

Once Upon A Teaser, Nexus Arts, June 2017.

Once Upon A Teaser, Nexus Arts, June 2017.

Gin tasting platter on World Gin Day, Nexus Arts, June 2017.

As much as I enjoyed attending the events as an audience member, my perspective really began to change as I got more and more involved as a novice poet in Adelaide’s underground spoken word scene. From my own fledging endeavours since late last year, I appreciate the work that goes into creating a performance let alone curating an entire show. For me, thankfully, it’s a reasonably cheap art form to practice and rehearse since I’m a *collector* of notebooks and pens are affordable and my writing group are generous with their time. Plus a huge thanks to the people who organise open mic events like Soul Lounge and Dithyrambia plus Spoken Word SA that have created environments that nurture poets and other wordsmiths as well as featuring local and Australian talent regularly. They are all volunteers with projects, lives and day jobs of their own and you’ll find that with many of the amateur acts in SA’s cultural scene.

I really realised the cost of time that now goes into then making your performance the best it possibly can be after seeing Charlie Brooks, Alison Bennett and Matcho Cassidy workshop and choreograph their show, URI: To Burn, performed last week at the Jade as part of State Variable, which was free in spite of months of work going into it. So tonight, I was pretty upset to see one of the upcoming lights of the Adelaide burlesque scene explaining on social media that performers were being compensated less than $30.00 per show. That’s the average price per ticket of a medium sized Fringe show according to my *research* (shows I went to see last year or tried to but I was really perfecting the art of ill timing literally). We joke in the spoken word scene that there’s no money in poetry (apart from the Slams which I’ll write about next week), but the other creative performing arts are not cheap pursuits even just as a hobby (I spent a lot of money on music and dance lessons first hand growing up) and if you are paying money to be an audience member in a show that a performer is good enough to be paid for, they’ve got the right to be compensated fairly like any other employed work.

Often people will ask them for free art or gigs because they’ll “get the exposure” and think this is fair payment when they don’t realise the hours of practice, years of lessons, time taken away for rehearsals from other things including better paid employment, travel costs to venues, make-up and costumes, equipment such as sound and lights along with someone to operate those sound and lights, refreshments and bar staff if the venue is catered or the cost of up fronting catering with no guarantee they’ll make it even let alone profitable and then there’s legal & insurance…

Why am I ranting about this when, as Tink, I’m only a poetic novice who hasn’t released a book or been a featured poet (yet) and as an archaeology student, I don’t perform for a non-academic audience? I write this blog for free and the reason is that, rarely does it contain my original work or ideas, it’s usually blogging about someone else’s achievements in the arts and tourism products that I’ve consumed. I do it for free but I know the value of what I see on my lonely adventures, I pay full price for my tickets because I value the arts culture and as an unpaid reviewer, I do it because I love what I see, but know I need to pay for its consumption like I need to pay at restaurants, because it wasn’t MY hard work. The wonderful people who agreed to be interviewed here do it because they care about their art. Not for exposure.

We need to encourage local arts production and entertainment tourism in SA because it is good for other local industries such as hospitality, other tourism sectors like heritage, sport and ecotourism and things you wouldn’t even necessarily like education. We are actually lucky to have musicians of Slava Grigoryan’s calibre involved in teaching guitar students in South Australia! (Learned that at last year’s Guitar festival!) If we don’t pay our local performers properly for their work and in a timely manner, we lose them to other bigger arts festivals such as Edinburgh or Perth when they gain recognition and fame.

Not long ago, I wrote about how local and medium sized acts were being driven from last year’s Fringe Festival, that the smaller official venues were having trouble retaining acts and staging performances through poor ticket sales and smaller-medium sized performers being ousted from free tickets and better publicised productions – not made in SA. They were lost in a sea of larger international marquee shows like notorious touring comedians, because the much smaller shows were less attended and less well advertised and not due to lack of program quality.

Beers About Songs by Ryan Adam Wells (of Sound and Fury fame) was run here 2 years ago and now is getting international acclaim at Fringe festivals all over the Northern Hemisphere. Many international former Fringe acts of that quality aren’t coming back because they were running at too much of a loss to make money, not having enough people attend to have a guaranteed audience at every show to make performances worth doing and to offset the financial and artistic costs of being in SA in high Australian tourism season, in short making being their being here less worthwhile. Their loss hurts the local economy as well as South Australia’s because Mad March is when we as a destination see our highest income from out of state visitors who come for the combination of high and popular arts, culture, sports and heritage tourism unique to SA. So we need to really encourage and throw in with local cultural industry creators, artists and venues NOW. Not just during the Fringe or Cabaret Festival or the Tour DownUnder.

As a cultural hub, Adelaide has been compared to cities with reputations in the creative industries like Portland in that various arts festivals are on here all year round – currently SALA and Guitars in Bars are running as I write this and it’s also National Science Week, I believe – but if we drive out the producers of culture industry content, we are removing a huge source of revenue for the state. We have the potential it has been argued to be Oz’s cultural capital all year around in the Guardian – but we can’t do it at the expense of not paying smaller acts to develop into recognised medium productions and then into performers of the calibre to have international recognition -that brands SA as cultural and artistic haven- is as the case with the internationally acclaimed, Anya Anastasia (currently getting positive reviews in Edinburgh! You go, lady in red!). Former interviewees Anya Anastasia like Sapphire Snow, and names from 2017 to watch such as Viola Verve and Diana D’Vine (to name a few brilliant local women) curate quality shows all year round in the city (and last year Anya in the Hills) that have nurture new and upcoming talent, show cases local stars as well as bringing in headline quality performers all year around and exposes venues to new audiences.

Many larger independent acts bypass Adelaide on tours because have gained the reputation we don’t pay for tickets until the last minute and try to get the best deal, not actually what the performance and performers deserve to be compensated. Adelaide this is not a good look for the state. It was by demand last year, that Post Modern Jukebox and 2Cellos, even came here at all on tour to sold out shows. We won’t be able to sustain larger state arts institutions like the ASO and bringing in international quality shows like the David Bowie tribute collaboration that visited Adelaide with them in January this year at the Festival Centre, if we also don’t fund local arts and it’s creators & producers.

The cream rises to the top as my friend Kami says, but if we remove the smaller ponds for the fish to grow in, middle sized lakes for them to be seen and an ocean of creativity to release them into, we are never going to sustain an arts and creative industry in Adelaide that encourages local talent to stay, grow and mentor in fellow generations of new artists. If we want to create a viable cultural industry and enjoy the thriving performing arts culture of a capital city, we need to put our money where our mouths are. You need milk churning to be able to get to the cream.

Clara Rose Santill, all photos copyright, 2017. Thanks to Nexus Arts, the artists and interviewees past and present that continue to inspire this blogger!

Lonely adventure retrospective: There’s an art to it (Nexus Arts!)

Clara at Nexus arts pre-show gin fest.

Hello folks, I’m have indulged in many Lonely adventures in an effort to support local arts and tourism in Adelaide and World Gin Day in 2017 was no exception. June and July every year have escalated into a bi-monthly long festival of natal celebrations and I headed out to Adelaide’s West End for a fabulous night of gin soaked fun. The June 10th is World Gin Day and I have always been curious about gin as a grown up drink, so I chose it as an occasion to grow up [please drink responsibly!]

The year (2017) kicked me saw me spend many of my reviewing gigs at one particular, legendary location, the Nexus Arts venue (for the Fringe Cabaret Festival.) It’s a lovely venue that is situated across from the MOD and is an easy trip through the city and is close to the City West tram stop.

The Nexus Arts (The Lion Arts Factory) is an attractive, medium sized performance space with a stage and is located very close to North Terrace in the Adelaide CBD precinct. For someone like me suffering chronic and pain issues, using public transport can be a challenge, so accessibility is a must. There is a disability toilet located at the venue and Nexus Arts is wheel chair friendly.

I’m giving the advice I tell people with disabilities or accompanying a person with a disability to festivals, get to the performance venue early! Use that time to locate the emergency exits and toilets, find the best source of water & drinks (ie. bar/bubbler/ vending machines), note accessible parking and public transport for nights out in peak creative arts festival time like mid February to the end of March in Adelaide.

I was at Nexus Arts for a performance of the critically acclaimed and glitzy Deco Dolls, a glamorous and glittery 1920-30s burlesque teaser on World Gin Day (and again, on Saturday 17th June 2017, where I saw the witty and wonderful Once Upon A Teaser – also produced by Miss Viola Verve.)

A burlesque teaser created by Ms Viola Verve and Evangeline Lily.

The Deco Dolls and their Fringe award winning have been reviewed and acclaimed, and I thoroughly enjoyed that particular event enough to revisit it with you, dear reader. I loved the cheeky and brilliant night of burlesque tease (curated by Viola Verve and Evangeline Lily) as it was accessible and clever in its critique of the establishment rather than just being pure raunch and in your face social justice artistic warfare. 

There is something to be said of the more subtle subversive critique by women practicing the 1920-30s burlesque movement from the burlesque that existed in the popular cultural imagination from films like Moulin Rouge (2001) and the cult classic, Burlesque (2010.) More recently you can see the burlesque and cabaret influences on Taylor Swift’s Eras tour in the dazzling, sexy costumes and the song ‘Bejewelled’ featuring Dita Von Teese as a “fairy goddess” (from her latest album, Midnights.)

One of my personal neurodivergent glimmers modern burlesque art form and I’ve seen the spectacular events curated by Dita Von Teesea few times now. To me burlesque is freedom and power; I have found both body love and sexual positivity through the burlesque lifestyle of the self created woman. I particularly liked the sass and teasing out of an intrigue by a dancer asking a question that only Mona Lisa knows in her smile.

Burlesque and cabaret have long been the art form clever, literate, political and protesting women since it first became a popular pastime. Much like old Venetian courtesans of the Renaissance and the Japanese geisha, burlesque is a positive space that not only are feminine identity, sexuality and intelligence permitted to exist in a patriarchal domain, but encouraged to challenge the establishment itself. 

I was in are Viola Verve’s capable fans however and she puts the lavender haze in purple! That being said, I’m very much to seeing the following week’s Once Upon A Teaser as part of Cabaret Fringe festival where Ms Verve will be unleashing her Belle for us ravenous beasts. I’m having quite a hard time with chronic illness today and definitely a rabid blogger. Grr…

But let’s start at the beginning…once upon a time a lonely archaeology student was lucky enough to celebrate World Gin Day in the Nexus Art venue’s outdoor bar on a cold evening. Gin is a spirit fermented primarily from juniper berries and goes well with spiced flavours such as star anise & cardamom, citrus notes (lemon & lime) and the spicy greens like coriander. I liked eating almonds between tastings and I have enjoyed gin with elderflower and tonic water a decade ago in the United Kingdom.


Until that very eve, my local tourism capers had not crossed the misadventures of serendipitous gin tasting and so, in a moral obligation to my readers, I embarked on a tasting platter. There were three gins, the 78 degrees Gin from the Adelaide Hills Distillery, No. 3 London Dry Gin, London and the Marconi 46 Gin Italy (Poli Grappa). The beginning of the evening looked like a fairytale gin garden with our capable bar keep. 


 I really remember liking gin, which I think we can all realise the moral of this story which is don’t blog alone tipsy if you want to remember your lonely adventure. So in the word’s of local poet and barista, Charlie Brooks, who is in no way linked to my drinking problem or the Nexus event last weekend, this is his take on gin:

Aviation and the last word are possibly the best gin cocktails ever. Ones a sour tarty garden bed the other is a silky yet prickly anise and almost honey like sweetness set in a damn strong chamber. Ounce gin is a damn good SA style gin. The captains cut is the most exceptional I’ve come across and gin and I don’t get along as it pokes a switch in me that demands I get drunk. Where as beer and whiskey. Like a hot bath. Let me put my toes in and sink down as the pleasure burns.”

This is how I remember the night before with my custom gin cocktail : 


This is what the Day After National Gin Day looked like: 

Author: Clara Santilli as The Lonely Archaeologist, 24/01/2024