Bloomsbury Publishing

Fashion Crimes: Dressing for Deviance 

The use of symbolism and coding in fashion and the implications as well as the perceptions it results in, is an interesting field that goes far beyond of what fashion stands for at face value.

With Fashion Crime: Dressing for Deviance author Joanne Turney has chosen an appropriate title as she explores the intersection of dress and criminal actions along with highlighting the media plays in sensationalising certain styles and stigmatises them, which again feeds back into the creation of new styles and flirting with stereotypes and clichés.

In a well-structured manner, the essays carry the argument forward and bases findings on case studies that have been conducted in a academically, interdisciplinary and methodologically sound manner.

Interdisciplinary in its approach and using a series of garments and group wearers as case studies, this edited collection explores the connection between fashion, gendered norms and criminality.

A book interesting for anyone using clothes as an expression of ideals in a world that becomes increasingly tokenistic and tribal and where the way you look has a tangible impact on societal behaviours and become a means of performative communication.

Pier Paolo Pasolini, Framed and Unframed: A Thinker for the Twenty-First Century 

by Luca Peretti (Editor), Karen T. Raizen (Editor)  

The much fabled about and highly controversial director Pier Paolo Pasolini has left an impressive oeuvre, infused with his idiosyncratic outlook on the world, i.e. eroticism, Marxism and Catholicism.

What I like about the collection of essays is that they approach the protagonist in an objective and unprejudiced way and examine the man’s emissions with questions pertinent to the times we live in.

Thereby they add layers to his significance and offer new vistas on his time and trials that offer insights and appreciation going beyond the shock value of his movies that some might know him for.

The Formative Years – Riot Grrrl Cardi B

Part of my formative years were shaped and influenced by the underground feminist punk movement that emerged out of Washington and the greater Pacific Northwest at the early 1990s and what eventually became known as “riot grrrl” spearheaded by bands like Bikini Kill actively destroying the traditional image of femineity and addressing issues like domestic abuse, rape, patriarchal structures, et cetera. To this day, I am grateful that I got to meet some of the protagonists and exposed to the ideas propagated by them.

Now, I do not want to draw a direct line between Kathleen Hanna and the likes of Cardi B as they are not only in genres that could not be further apart but also have come up in different environments.

However, after having gotten over the first impression of superficial sexually overly explicit rap with the female protagonists appealing to the lower instincts of their audience, I started to like what Cardi B does and what she stands for.

Inherently carnal in nature and with all systems up to eleven in terms of production, what I like about Cardi B’s oeuvre is that is unapologetic in not merely mimicking the male counterparts but actively taking ownership, celebrating and articulating the sexuality of women.

Interestingly, despite expected public backlash, amongst my female friends, the sentiments seems to resonate – not necessarily in terms of the outlandish and at times vulgar delivery – but in that they welcome such a vocal voice in the public sphere.

At the core of most criticism about Cardi B and other female rappers of her calibre, there seemed to be misogyny and hypocrisy  in that the subject matter of Cardi B’s songs was deemed okay for male rappers but not women.

To come back to the aforementioned riot grrrl movement, the parallels seems to lie in the refusal to engage in sex for the sole outcome of male pleasure, which e.g. Bikini Kill clearly stated with their 7” appropriately titled “I Like Fucking”.

From that angle and given that he world has not become less patriarchal over the last three decades, I enjoy the rebellion, confident female empowerment, subversiveness and threat to stereotypes that is inherent in songs like WAP.

Water of Life

Noosa Heads Distillery / Fortune + Ginny Pig Distillery

Amongst the myriad of gin distilleries mushrooming on terra australis there is no shortage when it comes to the distilling of innovative and varied gins. However, every now and then one comes across a distillery that stands out because of its attention to detail and refined approach to channelling its alchemy.

Enter the entity founded by Tim Crabtree and the team around his head distiller Jackson Boyd, i.e. Noosa Heads Distillery.

With one of the focal points being set on provenance and paying homage to their home state of Queensland via tropical flavours courtesy of locally sourced botanicals, which infuse the distillate emanating from Noosa Head’s behemoth of a still.

With a volume of two thousand litres and a weight clocking in at close to four tonnes, it is not only of massive proportions but equipped with the capability to produce unique flavour profiles courtesy of the variants between each column of Copper Pot Reflux Still and the fact that Noose Head Distillery’s approach is centred around traditional distilling methods with their gin being bathed and boiled not unlike a traditional London Dry.

Being a whisky head, I love their Barrel Aged Gin, which saw their Navy Strength Gin aged for over five months in custom made, re-coopered and specifically toasted Shiraz Casks. With Queensland unique climate and its fluctuations I humidity, this expression has idiosyncratic notes of spicy traditional Christstollen cake with cinnamon nuances. Beautiful.

A gin that intrigued me was Noosa Head’s Sum Yung Guys X Fortune Pho Gin. With the former being a restaurant institution, the aim behind joining forces was to marry the vibrance and creative spirit of Sum Yung Guys with the well-calibrated flavour profiles of the distillery.

Clocking in at 46% ABV, this expression is in essence a gin replica of a Pho dish, with all variants being catered to, from fish sauce via chilli, seaweed and porcini mushrooms for some meaty impact, which sits against the backdrop of herbal freshness?

Sounds odd and gimmicky? It is testament to Noosa Head / Fortune that the result plays in its own league  and qualifies as a must-try for any juniper juice aficionado.

Let’s head down south, shan’t we, down to the Fleurieu Island in South Australia to be precise.

Ginny Pig Distillery is essentially a wife and husband operation, both of which started their careers in Nursing before they ventured into channelling their creative sides in the distilling of gin.

The interesting thing about Ginny Pig Distillery is that it was incepted with the mission to create the artisan gin equivalent to a hot cross bun, which was crowned with success with their Hot x Gin and soon after a Christmas Gin infused with the ingredients know from making Christmas puddings the delight they are.

Based on the fact that Ginny Pig’s gins may have exotic flavour nuances yet could not be farther away from novelty territory, makes them one of the more interesting distilleries in Australia.

The three creative gins I have had the pleasure to sample included their core Dry Gin, which unveils floral, musky and sweet notes sitting against a backdrop of citrussy and grapefruity highlights.

My favourites, however, are the spiced-fig gin, which is ideal for the current colder months with its ginger, clove and cinnamon flavours that sit on top a foundation of juniper, and especially the mouth-watering blueberry and vanilla expression. The latter is made with real blueberries which are expertly counterbalanced by tart and pine like flavours, crowned by just a hint of vanilla. Delicious.

Needless to say, Ginny Pig Distillery took its love for sweet treats to the next level with the creation of their Boozie Berry Jam – a telling name really, as it makes great used of the gin soaked berries left over from their gin production.

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images from company websites

Thus Let Us Drink Beer (and eat meat)

Tinnies and Tomahawks

There are many benefits to vegetarian and vegan eating and I tend to live a vegetarian lifestyle 99% of the time.

However, I love great steak and every now and then I treat myself to one.  Given that I reserve steak dinners for special occasions and when choosing restaurants, look for ones that age their beef to improve the tenderness of the cut and intensify the flavour. Specifically dry aging can add depth by allowing the enzymes to break down the tissue and thereby tenderizing it and concentrating the flavours. Needless to say, it needs to be done professionals as the process poses the risk of spoilage and other undesirable side-effects.

A good steak also has delicate marbling, i.e. pockets of ideally monounsaturated fats that break down during the cooking process to add to the juiciness.

However, an integral and vital component is the way the steak is cooked and seasoned, which is where the expertise of the chef comes in.

Enter Chef, restauranteur, ‘paddock to plate’ evangelist and Australian icon Matt Moran and his Chophouse, whose team has not only perfectioned  ticking all the boxes when it comes to the aforementioned elements,  but whose pedigree is in farming and whose expertise is informed by a lifetime of produce passion, rearing ethically farmed hormone-free beef, lamb and pigs. 

An epic collaboration between one of our favourite breweries, i.e. Young Henrys (the delicious liquid emissions of which we have covered numerous times as part of our beer-centric series), and the Chophouse, appropriately titled ‘Tinnies and Tomahawks’ saw a three-course dinner eventuate with a tomahawk steak taking centre stage, flanked by five YH tinnies and their Noble Cut gin, which we have individually reviewed before as part of this series.

For the uninitiated, a Tomahawk steak is a behemoth of meat and visually impressive the extent that it looks like it has been lifted straight out of an episode of the Flintstones, with the large bone handle. Comprised of a thick chunk of ribeye at one end and a minimum thickness of two inches, this is a steak which should be preferred by experts and in that regard we were in the best hands at the Chophouse. Using a simple indirect heating method, Chophouse’s head chef absolutely nailed the perfect medium rare of this impressive meat experience.

All the meaty expertise aside, what made the evening was the genuine  hospitality extended by the each constituent of the Chophouse team, which saw us being invited to the kitchen to witness the team up close channelling their alchemy.

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photos by @k.a.vv

Ed Kuepper and Jim White

Opera House

Sydney, Australia

June 13, 2021

My first exposure to Ed Kuepper and his oeuvre must have been in the early 1990s, when I acquired a Spanish pressing of The Saints’ (I’m) Stranded LP on Harvest Records, which curiously had a “Punk Rock!” logo on the front cover.

Once I settled on terra australis, I sought out any opportunity to see to man and his incarnations – be it as an opener for Nick Cave and the Bad Seeds, or him and parts of the original Saints line-up performing the aforementioned proto-punk album in its entirety as part of the All Tomorrows Parties festivals in 2009.

Same goes for the open-ended, genre defying improvisations of the Dirty Three, whose melange of free jazz, rock, ballads, blues and pretty much everything else in between, fascinated me ever since I came across their “Horse Stories” album.

Needless to say that when I heard about Ed Kuepper teaming up with Dirty Threes’ drummer Jim White, I was more than mildly excited to witness what them joining forces would culminate in.

With a stripped down and lean set-up comprised of Ed channelling his alchemy via a couple of electric guitars and White accompanying him on drums, their second show of the day commenced with not much ado with the focus firmly set on the songs, which traversed the stages of Kuepper’s close to five decade long repertoire and prolific career.

It did not take long to realise that the duo must have clicked from the get go, with White effortlessly infusing Kuepper’s songs with his idiosyncratic pulse and thereby stretching songs into new directions without ever running danger of sounding contrived.

A wonderful evening with two of the most iconic players in Australia’s music history converging, which everyone in attendance seemed to know to appreciate as in this day and age of finiteness and impermanence, there was a palpable sense of witnessing something unique that might never happen again after this tour.

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image from artist website