Items filtered by date: October 2013
Thursday, 10 October 2013 11:02

Jay And Silent Bob Go Down Under DVDs

You may have seen one show, but you haven't seen them all.

Every saga has a middle age and this is what happens when Jay and Silent Bob GET OLD.

This is a no-holds-barred, free for all of filth and fun and these two have travelled the world with their wildly random and wonderfully offensive live show.

To win one of three copies of Jay and Silent Bob’s latest DVD 'Go Down Under' This competition has closed.
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Terms and Conditions:

1. Winners will be drawn at random at 3pm Wednesday 16th October at Level 2, 192-210 Brunswick Street, Fortitude Valley. [Winners drawn]
2. Winners will be notified by e-mail. [Winners notified]
3. Winners must arrange to collect the prize from Scene Magazine’s offices at Level 2, 192-210 Brunswick Street, Fortitude Valley, during business hours.
4. Entrants' email address will not be used for any other purpose except the conduct of this competition.

Published in Competition
Thursday, 10 October 2013 10:28

Ben & Jerry's Openair Cinema Tickets

Ben & Jerry’s Openair Cinemas are back showing films on a giant 12m x 6m outdoor screen from Sunday October 20.

The movie program offers a stellar line-up of cult classics, the latest releases, award-winning features and exclusive previews.

Chill out before the movie with tasty food and beverages from the fully licensed bar, or listen to performances from some the best of the Australian music scene.

Get ready for opening night film 'Frances Ha' with Emma Louise confirmed as the music headliner for the night.

To win one of two double passes to the Opening Night featuring Emma Louise on Sunday October 20 at Southbank Cultural Forecourt This competition has closed.
This email address is being protected from spambots. You need JavaScript enabled to view it.

Terms and Conditions:

1. Winners will be drawn at random at 3pm Tuesday 15th October at Level 2, 192-210 Brunswick Street, Fortitude Valley. [Winners drawn]
2. Winners will be notified by e-mail. [Winners notified]
3. Winners must arrange to collect the prize from Scene Magazine's offices at Level 2, 192-210 Brunswick Street, Fortitude Valley, during business hours.
4. Entrants' email address will not be used for any other purpose except the conduct of this competition.

Published in Competition
Thursday, 10 October 2013 08:44

Play Dead: Festival In Preview

‘Play Dead’, a theatrical investigation into death, will debut at this year’s 2high Festival. Loss and grief is universal, which is why ‘Play Dead’ could be for any audience.

“When we go into the rehearsal room we don't sit down and say, ‘Who are we making this for?’ That normally comes later in the production process. We're not quite sure exactly what group this will hit but we have a feeling it will be quite universal because we have all experienced loss at some point in our lives. We're not targeting any specific niche,” co-creator Thomas Hutchins explains.

'Play Dead' is the collaborative effort of two young artists, Michael Whittred and Thomas Hutchins, and the duo incorporate musical elements as well as standard theatre practices to create their works. This particular play has been described as 'physical music theatre'.

“Michael Whittred is a musician and I'm also a musician but I am more theatre-inclined. Michael writes a lot of the music and the lyrics. I pull all that together inside a theatrical realm and play with theatrical text, movement and choreography around these musical compositions that Michael creates.

“We're not musical theatre because we don't share the storyline through songs and we're not physical theatre. I guess 'physical music theatre' is a combination of words that describe us best. Or maybe a 'play with songs' is the best description for the work we do because the songs in our work, they tell another story. They step outside the narrative and they tell something else which really opens up the world of the play and explodes all the theatrical meanings,” Thomas says.

Aside from the abstract construction of the play through the use of music, Thomas says 'Play Dead' also toys with a dark narrative which could unhinge its audience.

“‘Play Dead’ is an investigation into the idea of death and what society believes death is and our attraction to it and our confusion by it and our complete unknowing towards it. 'Play Dead' is an investigation into what life is with death and what life is without death. It's an idea that Michael had but both of us have experienced loss like everyone has and we didn't want to run away from the idea of grieving, we wanted to question the idea of what grieving really is. We wanted to question what death is, we wanted to deal with it. If everyone stopped questioning then we might as well just play dead.”

This contemporary narrative, created by two young artists, couldn't have found a more appropriate format to debut the work. 2high Festival is celebrating its 21st year as an arts festival, dedicated to unearthing Australia's artistic youth.

“Well this is my second year at the festival so it's a great privilege to be able to be able to perform a new work at the Brisbane Powerhouse, which is such a renowned venue. It's so great and I'm very appreciative of those who came before me and made it possible for me to put a show on at one of Australia's best venues.”

Having showcased his work at last year's 2high Festival, Thomas understands the importance of youth-oriented events like 2high and the impact they can have on the artistic youth of Australia.

“I think [youth arts festivalsare] important because they are one of the only ways that people like me can show off our work, can put it on, can try it out, can fail, can succeed. It's one of the few ways that we can do that at this level. There's a few places around like Metro Arts in the city but apart from that, there's nowhere that will let us fail.”

‘Play Dead’ can be seen at the Brisbane Powerhouse as part of 2high Festival on Saturday November 2. 


Published in Theatre
Thursday, 10 October 2013 08:39

Rob Schneider: Actor Interview

It's easy to misjudge Rob Schneider. Best known for his vulgar and dim-witted characters in films such as 'Deuce Bigalow: Male Gigolo', 'The Hot Chick', and 'Grown Ups', Schneider as a person is often met with preconceived notions of his intellect and temperament.

“The characters I play are always slightly less-than, which is not necessarily who I am,” he notes. “People get stuck, they have to categorise you in some way. You get pigeonholed.”

In 2005 Patrick Goldestein, a film critic for the Los Angeles Times, noted that Schneider was deservedly overlooked for an Academy Award for 'Deuce Bigalow' because “nobody had the foresight to invent a category for Best Running Penis Joke Delivered by a Third-Rate Comic".

Two weeks later, Schneider took out two full-page ads in the Daily Variety and The Hollywood Reporter commenting, “Maybe you didn't win a Pulitzer Prize because they haven't invented a category for Best Third-Rate, Unfunny Pompous Reporter Who's Never Been Acknowledged by His Peers".

“I just did that because I thought it was funny!” he laughs. “Just because I'm an actor doesn't mean I have to sit back and take it. He critiqued a film of mine before it had even come out. I didn't think that was a fair shot. I starred in a dramatic film called 'The Chosen One' and people were just like 'oh, we didn't know you could do that'. That's their limitations, not mine. I've stopped worrying about what people think of me.”

It's this sharp wit and comedic antics that Schneider will be bringing to Australia later this month, his first tour since 2011.

“You have something interesting happening in your life,” he notes on his secret to a solid stand-up comedy performance.

“Things like the United States spying on the rest of the world, it makes for interesting material. We're spying on Australia. That's how paranoid our government is. I know you guys are going to go through a very conservative era over the next few years, “he notes of Tony Abbott's recent election. “Hopefully you'll climb out of it.”

Catch Rob Schneider on Thursday October 24 at The Tivoli. 

Published in Comedy
Thursday, 10 October 2013 08:35

All Dolled Up: Cabaret In Preview

Irish drag superstar Panti has performed with Cyndi Lauper in Japan, run a fetish club in Dublin and hosted the Alternative Miss Ireland Pageant for 18 years, and now you can see her in 'All Dolled Up'.

The show is part stand-up, part theatre-lecture and is a behind-the-scenes look at the life and times of Irish gender-illusionist Panti. Panti grew up in small-town Mayo (Ireland), discovered drag in London, conquered the Tokyo club scene and wound up back in Ireland running her own pub (Pantibar) and performing in theatre and drag shows. 

How did you find your drag name, Pandora 'Panti' Bliss?

By accident! In the early ’90s I was one half of a double act in Japan with an American queen called Lurleen. At the time I went by the name Letitia Bliss (after a pet sheep I had as a child!) but it quickly became apparent that Japanese people had terrible trouble remembering or pronouncing our names because they have trouble with the letters ‘L’ and ‘R’. So we decided to choose a group name that would be easy for Japanese audiences. We called ourselves CandiPanti because they are both English words that Japanese people use, and they have the cutesy quality that appeals to the Japanese sensibility. However, everyone started to call her Candi and me Panti, (I wore a lot of short skirts at the time!), and like all nicknames, over time it became impossible to shake. Then when I came back to Europe a few years later, I realised that people tended to hear my name and imagine I was a stripper or something! So I expanded my nickname to Pandora. Et viola! Pandora 'Panti' Bliss.

Your show is about your own life. Do you self-censor, or do you believe that it’s the performer’s responsibility to be honest with an audience? 

No. I might occasionally 'massage' the truth for theatrical effect but the stories I tell are true. I’m pretty shameless, so I’m an open book. And I find that if you tell the truth brazenly with humour, audiences are prepared to go along with you. I’m not afraid to reveal my flaws because nobody’s life is perfect and audiences relate. Sometimes I’ll find myself in weird or embarrassing situations, and I’ll just think, 'Oh well. It’ll make a good story'.

How do you define yourself as a performer, gender illusionist or drag queen? How do you like to be referred to?

I think of myself as a drag queen. Sometimes other people have a very particular idea of what a drag queen is, or is supposed to be, which can limit their perception of you, but I’m proud to be a drag queen. I just don’t let other people’s idea of what drag is define me or limit me.

See 'All Dolled Up' at the Brisbane Powerhouse for a short season from October 9-11. 

Published in Cabaret
Thursday, 10 October 2013 08:15

3am Shutdown?: Earlier Closing Times Proposed

Queensland’s nightlife could cease to operate after 3am every night, if a new recommendation to the state government passes.

The recommendation put forth to the Newman government has come about in an attempt to reduce alcohol-related violence.

By the end of the year, the government will decide on the matter, which would wind back club and pub operating hours to 1am lockouts and 3am closing times. The possible changes mirror Newcastle’s recent model, which, in the first couple of years, saw a 37 percent reduction in alcohol-related violence said the Attorney-General, Jarrod Bleijie.  

“Trading hours and lockouts were part of the expert panel review because we were interested in the views of Queenslanders,” Mr Bleijie said.

Members of a panel Mr Bleijie formed to help overhaul the state's liquor licensing first suggested the idea and admired Newcastle’s changes. 

“Newcastle's model is absolutely fantastic, we've looked at that and researched that and it's a clear indication to us that it's working,” acting General President of the Queensland Police, Shane Maxwell said. “Venues close earlier, people get home earlier, and they're happier.” 

The issue has drawn contrasts in opinion. Members of the public against ideas to change the current system have taken their campaign to social media, getting the support of the public and sharing alternative ideas.

One such campaigner, Nick Braban (Chairman of the Valley Liquor Accord, and Chilliwow owner), said if passed, the recommendation could cause more problems than it would solve. 

“It's a very complicated issue. I think we should continue with maintaining the strong, legislated structure that we have currently in Queensland.”

Mr Braban drew attention to the problems the lockout system posed. “Our group is not in favour of the lockout, but the current system is still a lot better than what is being proposed,” he said.

“Forcing people out onto the streets at 3am without services to deal with them will lead to problems that we already experience due to lack of transport options. That's where all the problems tend to happen — out on the streets where people aren't supervised. It puts a great strain on police, ambulances and other services to deal with it,” 

As a member of the Queensland police force, Mr Maxwell told of his experiences in the face of alcohol-fuelled violence.  

“It's affected police greatly because of the increase in violence that occurs. It's not only affecting police, it's affecting the public in general.” Mr Maxwell said the current system allowed people to “fuel up” on alcohol at home earlier in the night, and stay out later in the streets. 

“We're having a number of young people that are getting out of cabs, absolutely blind drunk and collapsing on the ground within five minutes. They're fuelling themselves up before they get to the city and topping themselves up once they've been there. I think it's something that we've got to try; a young person's life is too valuable.”  

Casablanca club owner and President of the Caxton Street Development Association, Sarosh Mehta, said he was afraid transport would be an issue if any sort of move was made to change pubs and clubs operating hours. 

“If there was any move towards that type of legislation, it would have to come in line with public transport,” he said.

“Not everybody closes at the same time. If it goes to a universal 3am closure across the state — it’s a level playing field. Everybody closes at the same time and everybody's going to be out on the street at the same time. The first transport is at 5am, so what happens for those two hours; do they hang around in the street? Is it safe? It's a recipe for some concern.”

Mr Mehta said there were other ways to encourage punters to go out earlier. 

“Less red tape, less restrictions. Let's think this through and not just say ‘if we do this it's going to fix everything’, because that's not how things work,” he said.

Published in Electronic
Thursday, 10 October 2013 07:41

Rufus: Live Review

Happy times had by all. That’s what happened when Rufus took to the stage at The Zoo on Thursday night.

There were some damn good vibes floating about and rightly so. Since the release of debut album ‘Atlas’ in August, there’s been a lot of hype surrounding the Sydney boys, who’s unpretentious and friendly shows have become as equally regarded as the quality of their tracks. 

From the moment the band took the stage there was no denying who the coolest people in the room were. Rufus bleed indie-dance cool from their very souls, the music being a consequential by-product.

There’s not much that can be faulted here. Standout tracks ‘Sundream’ and ‘Sarah’ displayed apt musicianship, while party hits ‘Take Me’ and ‘Desert Nights’ had the crowd dancing with wild abandon. The crowd knew every word of every track and took great delight in showing it off. It played out like a Rodger and Hammerstein production — an all-singing, all-dancing love fest.

It’s always impressive to see electro played by a full band, and the boys had all the energy and charm to make it a memorable night.

It’s easy to see why Rufus have been selling out shows across Australia, even landing them a much-anticipated slot on the Big Day Out 2014 line-up. It was a fun and uplifting night that really captured the current vibe of the Australian dance music scene. Laidback attitudes and quality tunes.


Published in Electronic
Thursday, 10 October 2013 07:33

Cody Chesnutt: Super Soul

With a style and approach often likened to Prince, Cody Chesnutt’s music is anything but boring.

“Prince writes the music the way he feels it, and I subscribe to that as well,” he says.

“Creatively, there are certain similarities — the diversity and uninhibited expression. The initial writing process is always the same — me and an acoustic instrument, be it a piano or guitar. My aim is to always get the song first; get a very clear vision of what the song is and what I think it should say, then open it up to other musicians and see how to colour in the painting, so to speak.

"I remember how Aretha Franklin was taken to Muscle Shoals and found all these great musicians, and I began to think I could do the same thing, so I went down there and found my band. There was so much talent. I met my drummer and he knew the keyboard player, the guitar player, and a huge pool of people in the scene, and it came together in a very organic way. I'm thankful for what they all brought to the record.”

Chesnutt speaks candidly about the ten year period between his 2002 debut ‘Headphone Masterpiece’ and follow-up ‘Landing On A Hundred’, including adultery and becoming a father.

“The second album was about redemption, without question,” he says. “But not just for myself. I wanted other people to have their own experience of redemption and I wanted that album to aid people in their own redemptive process and for it to be a part of a healing process. I wanted to understand my role as a father and a family man, and a lot of different things.

"I took time to grow as a person, and I wanted that growth to be creative too. It was really about making sure I was ready to expose myself again, and making sure I had something to say; something that I could commit myself to.”

An upcoming Australian tour is the start of a busy few months for the Atlanta native.

“I'm beginning to wrap my head around some new songs. I have material that I feel strongly about, so I'll definitely have another album soon. A lot of people have just discovered my last record, so I'll be touring it as much as possible for the next few months.”

Cody Chesnutt Plays The Hi-Fi October 20.


Published in Urban
Thursday, 10 October 2013 07:29

The Cult: Live Review

The Cult are a band known for their big, ballsy rock with extra lashings of mysticism and gothic tendencies.

This is what I was hoping to see tonight, a throwback to when rock still had an air of cool aloofness and that ‘fuck you’ attitude. And although Ian Astbury was suffering from supposed food poisoning, the guys played a blistering set. They stormed through the ‘Electric’ album from start to finish, leaving only their cover of 'Born To Be Wild' out of the set (good idea!). 

Ian paced the stage with signature tambourine in hand like a caged panther, stopping only long enough to spit venom at the crowd. He called out a guy filming the whole show on his phone, reminding the audience to “live in the moment and enjoy the show!”

Ian tried hard to elicit a more enthusiastic response from a lukewarm Tuesday night crowd, goading them to keep up with the band. And boy, was the band in top form. Billy Duffy led the charge, crafting blistering guitar solos and big hefty riffs that kept on coming. They ended the evening playing a 'best of' selection of tracks, with a crowd highlight being 'She Sells Sanctuary'. This got the biggest response from the obviously fatigued crowd. 

Finally, after a three song encore that ended with a bowel shaking version of 'Sun King', the tired but appreciative crowd left the venue regaling each other with stories of faded memories of rock concerts past and muttering that “The Cult have still got it”.

Published in Rock
Thursday, 10 October 2013 07:14

Guards Of May

Progressive Brisbane rockers, Guards Of May, gear up for another east coast tour following the release of their new single, ‘Numbers’.

Guitarist Keita Neralic says ‘Numbers’ is rhythmic, funky, punchy and right up in your face.

“It’s our best yet. It’s groovy, more guitar driven and compared to our EP [‘Control’], it’s a much heavier song. In the studio, we’ve been exploring some different avenues. ‘Control’ was done by three people, plus a session guitarist so this time it’s just five dudes in a room rocking out.”

In little more than a year, Guards Of May have already racked up an impressive resume of support shows including: Dead Letter Circus, Grinspoon and Spiderbait.

“Playing with them was just a blur; we were just so excited just to be up there. We’re all big fans of the whole Australian progressive and Aussie rock scenes. We’re really proud of how it’s been growing the last few years, and to be part of that.”

Keita says a new Guards song doesn’t see the light of day until the entire band are proud of it.

“Usually someone comes in with almost a whole song fleshed out, then we all get our greasy mits on it and turn it into a Guards song. That’s what I really love about Guards, in terms of the genre we’re all similar in taste, so it’s an easy process.”

A guitar teacher by day, Keita says he naturally gravitated towards the instrument.

“I’ve always been around guitars; my whole family plays guitar so it was natural for me to pick one up. I didn’t start playing properly until grade eight, where I had to learn ‘Wild Thing’ for our final exam; I ended up getting obsessed, and just kept playing.”

Keita says balancing life and being a musician can be tough, sometimes.

“The biggest problem is trying to find balance to be who you are as a musician, but also functioning in society because it’s hard to do both. You have to work and earn, but at the same time, you have to spend a lot of time invested in your art. You really have to love what you’re doing, or you just lose it and go nuts. That’s the main thing, finding the right balance between living and banding.”

Guards Of May play The Tempo Hotel October 12.

Published in Rock


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