LIza Lehmann, Alice Mary Smith and Adela Maddison were British composers of the 19th and early 20th centuries, but few today will know their names, let alone their music. Now they have been singled out by a new classical record label dedicated to raising the profile of female composers, many of whom have never been recorded and whose works have been “lost over time”.
The label, which is called La Boîte à Pépites (the jewel box), will discover and record compositions that have rarely, if ever, been heard before, yet deserve “a good position in the standard musical repertoire”.
Recent research by Donne, a charitable foundation focused on gender inequality within the music industry, found that only 747 out of almost 15,000 works performed by 100 orchestras from 27 countries in 2020-2021 were composed by women – a total of 5%.
Asked why female composers are overlooked, Gabriella Di Laccio, a soprano and founder of the Donne Foundation, told the observer: “There are several reasons. One very important one is ignorance of the repertoire. People in positions to include this music either don’t have time or their focus is not directed to learning what is available.
“Also, there is a fear of audiences not coming and, I’m sorry to say, prejudice. Unfortunately, we’ve been raised to believe that only men were genius composers. The unconscious bias is still present, which is very surprising.”
The new label has been founded by French cellist Héloïse Luzzati, who says that unearthing and studying original manuscripts has enabled researchers to “exhume” some extraordinary compositions. “Too few of them are published and therefore even fewer recorded,” she said.
The label’s first release, to be launched in the UK on 30 September, is devoted to French composer Charlotte Sohy, who died in 1955. Luzzati described her music as “amazing… impressionist… with the colors of Ravel, Debussy or Chausson”.
Asked why it has been ignored, she said: “If she had been a man, her music would have been known.”
A 3CD boxset features world premiere recordings of piano, chamber and orchestral works, performed by the National Orchestra of Avignon-Provence, among others.
In the sleeve notes, Alexis Labat, the orchestra’s executive director, writes: “The classical repertoire for symphonic formations covers over four centuries, and almost all of it is devoted to men … How can we explain this incredible deficit of women composers in our concert seasons and our recordings?”
Luzzati said: “A few years ago, the question of the role of women in the history of music began to gain a certain importance in my life as a musician. How could I have spent so many years without ever having played a piece composed by a woman?”
It inspired her to establish the project “Elles – Women Composers”, promoting female composers through a festival and a video channel.
The new record label is “expanding this mission” with a series of albums, each devoted to a single female composer. Its initial release in France in April proved “huge for someone who is unknown”, Luzzati said.
Extensive research is yet to be done into various British composers, including Lehmann, who wrote hundreds of solo and ensemble songs, many of which were well-received in their day.
Scholar Derek Hyde has described her as one of the three “most outstanding women songwriters” of the 19th century.
Luzzati said that Lehmann has been unjustly forgotten. She praised her emotion of her music, noting that “the quality of the writing is extraordinary”.
Next year, she plans to launch a music publishing-house: “Today, for example, we can hear Sohy’s music but, if a musician wants to play it, they must first write to us. You cannot find sheet music on a website or in a sheet music store. Editing works that are not yet published is essential to rehabilitate the works of female composers.”
She believes that, through such “positive discrimination”, forgotten female composers will finally be appreciated – eventually doing away with the need for their own record label. “Today this is not yet the case and there is still so much music of female composers to discover.”
Katherine Cooper, classical editor of Presto Music, who will be selling the recording, said: “I can’t think of another label solely devoted to female composers. It’s a great idea that someone is amplifying that and dedicating themselves to it. They are shining light on a lot of composers that are really poorly represented, if they’re represented at all.”
Janey was pointing at Melissa. “You can’t play with us today, you’re different,” she said, at first meaning the clothes we were wearing. I looked at the translucent white of her pointing arm, over to the rough tan of Melissa, then back down at the brown of my hands.
Author Arani Ahmed.
I was darker than Melissa, but I wasn’t aware of it at school. Everyone around me, the kids from my neighbourhood, my teachers, had made me believe that I looked like them because they were all that I saw reflected at me. I spoke in the way of any child brought up in Sydney’s western suburbs, and I brought sandwiches to school in a red lunch box but more often than not had $2 in my pocket for a meat pie from the canteen.
Melissa looked at us, at me, and said, “I’m different? But what about…” Janey nodded, and I made a slight shake of my head. We three glanced at each other, our minds struggling with a thought that was raw, unjust, and under-prepared. Melissa scrunched up her face, turned and galloped away, wiping tears from her eyes.
Later that day, I would go home and catch my reflection in the bathroom mirror above the sink. Large, brown eyes, small lips, big ears, hair stretched back into a glossy black ponytail, frazzled ends along my hairline.
Looking back at me was a face I didn’t recognize, in more ways than one. My hands turned on the tap, and lines of dark brown freckles dotted my skin. These I mistook for dirt and so I scrubbed. I washed once, twice, I washed three times. But when I was done my hands were the same.
My crush that year was a boy named Ryan, the first in a series of skinny gay boys and later queer men that I would fall for, repeatedly and consistently. He had Nick Carter hair, parted in the middle and falling into his eyes, and a piercing in his right ear lobe. I used to kick him under the table. I have used to blush and ignore me.
Others gossiped that he was gay, because of his piercing: “Don’t you know? That’s why it’s in the right.” That made him, somehow, all the more enticing. I would go on to spend my high school years joking that I was “a gay man trapped in a woman’s body”.
These were the only words I had at that age. Inaccurate and hurtful today, I would say them flippantly, an idea so far-fetched in my corner of the world that everyone excused its meaning.
Twenty years later, when I first, with honesty, let the word “transgender” form on my lips, it felt right in one language, and pushed me further away from the other. I had spent years grappling with pieces of a broken tapestry, trying to draw connections with what memories would surface and break through. I tried to translate that word and my thoughts, to lay down those feelings in a way I could share with my family, but there was no common ground or history I could grasp. I’d never seen a “me” before that encompassed all parts of that whole.
The fight took place on two fronts; two worlds thought to be incompatible but which comprised the fundamental parts of me. If neither part could exist, then how could I exist?
Two worlds thought to be incompatible but which comprised the fundamental parts of me. If neither part could exist, then how could I exist?
It was only important that I didn’t fail. To tell my parents was to take that battle from inside and let it culminate on the surface of my body. At the heart of it was the knowledge that I existed as an extension of those around me. If I transformed my body, I would also be transforming the fundamental parts of my ma, my dad and my brother.
When I did open my world to them, we were sitting in the living room of my childhood home. I stumbled through broken Bengali and imprecise English, attempting to untangle a truth I had only ever learned to hide.
Papa, after sitting silently, intently, seriously, while I stammered my way through half-formed sentences and waves of emotion said to me, “I wish you would have told me earlier. I could have supported you.” And in that moment, when my heart was open and bare, I had a lurching, impossible thought: Okay. Let’s go back then. Let’s go back and try again.
loading
It would take a few more years until I recognized myself in my reflection, still learning to love. Standing over the bathroom sink I looked at the lines of freckles along my arms, up to my face and my own patches of beard. I let that wide-eyed child hold my hand, remembering what they had learned.
I rubbed the shaving gel on my face and let the razor pull down to reveal my brown, queer skin.
Between Two Worlds: 30 Powerful Voices from the SBS Emerging Writers’ Competition (Hardie Grant), judged by Tara June Winch and Behrouz Boochani, is out now.
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Clu Gulager, a veteran actor known for his roles in the NBC series Virginian and the 1985 horror-comedy The Return of the Living Dead, has died of natural causes. He was 93 years old.
Gulager’s son, John, shared a photo of his father on his Facebook as a tribute. Filmmaker Sean Baker, who directed Gulager on the 2015 feature tangerineconfirmed the news of his death on Twitter.
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Diane Goldner, Gulager’s daughter-in-law, also shared a family statement on Facebook confirming the news, saying that he died “surrounded by his loving family.”
“Clu was as caring as he was loyal and devoted to his craft, a proud member of the Cherokee nation, a rule-breaker, sharp and astute and on the side — always — of the oppressed. He was good-humored, an avid reader, tender and kind. Loud and dangerous,” reads the statement. “He was shocked that he lived, for even a day after Miriam Byrd-Nethery, the love of his life, died 18 years ago.”
Gulager’s acting career stretched across seven decades, beginning with small guest performances in 1950s television series. A mainstay of TV Westerns, Gulager starred as Billy the Kid in NBC’s The Tall Man for its two-season run and took a regular role in the network’s Virginian for four of its nine seasons. He also had a role in Peter Bogdanovich’s The Last Picture Show in 1971.
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In the 1980s, Gulager was reintroduced to a new generation of viewers with prominent roles in horror films. The actor starred alongside Vera Miles in 1984’s The Initiation. A year later, he could be seen in Dan O’Bannon’s The Return of the Living Dead and Jack Sholder’s A Nightmare on Elm Street 2: Freddy’s Revenge.
Gulager was a favorite of director Quentin Tarantino, whose 2019 film Once Upon a Time in Hollywood marked the actor’s final screen credit. The actor played a book shop owner in Tarantino’s film. In his private life, Gulager was a regular moviegoer at Tarantino’s New Beverly Cinema in recent years.
Born William Martin Gulager in Holdenville, Okla. on Nov. 16, 1928, Clu’s father was a former actor and a cowboy entertainer. After serving in the US Marine Corps in the 1940s, Gulager attended Northeastern State University and later Baylor University, beginning his venture into acting.
Clu Gulager appeared in Quentin Tarantino’s film Once Upon a Time in Hollywood. (Matt Oswalt/Twitter)
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Gulager’s first screen credit is listed as a 1955 episode of the variety series Bus. After a series of guest appearances on TV shows, Billy the Kid on The Tall Man marked his first major role, acting opposite Barry Sullivan as Pat Garrett. Although the NBC series was short-lived, Gulager quickly found himself back in the saddle as a regular cast member on Virginian only a few years later.
In 1964, Gulager played a major role in Don Siegel’s The Killersacting alongside a cast that included Lee Marvin, Angie Dickinson, John Cassavetes and Ronald Reagan (in his final film role).
Gulager also directed his own short film, A Day With the Boyswhich was nominated for the Palme d’Or for best short film at the 1969 Cannes Film Festival.
Later in his career, Gulager was directed by his son, John Gulager. The pair collaborated on the horror-comedy film series festival and 2012’s Piranha 3DD.
Gulager wed fellow actor Miriam Byrd-Nethery in 1960. The two remained married until Byrd-Nethery’s death in 2003. He is survived by his sons, John and Tom; their partners, Diane and Zoe; his cherished grandson Clu Mosha; dedicated fans and decades of extraordinary students.
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Celebrity chef dies at 46 after suffering heart attack
Pia Whitesell, 38, shows off her toned midriff as she steps out for date night with husband Patrick, 57, in LA
By Ali Daher For Daily Mail Australia
Published: | Updated:
She’s arguably one of the most stunning celebrities from Australia.
And on Thursday, Pia Whitesell turned the footpath into her own personal runway when she was spotted enjoying a date night with her husband Patrick in Hollywood, Los Angeles.
The former Home and Away actress showed off her toned physique in a midriff baring ensemble.
Pia Whitesell, 38, turned the footpath into her own personal runway on Thursday when she was spotted enjoying a date night with her husband Patrick, 57, in Hollywood. Both pictured
Pia looked chic in a black crop top which was teamed with a black jacket and matching skirt.
She completed her look wearing white heels and a matching clutch.
Patrick meanwhile looked smart in a white polo shirt which he teamed up with gray suit pants and white sneakers.
The sighting comes just days after Pia, who is already a mother of two, revealed whether she plans on having more children with her husband.
The former Home and Away actress showed off her toned physique in a midriff baring ensemble
During an Instagram Q&A, one fan asked the former actress: ‘Are you thinking of having more kids?’
‘Are you crazy? I love my white furniture, ‘the 38-year-old responded, alongside a photo of her lounge space.
‘Jokes but definitely not. I’m so loving our beautiful teenagers. So happily done,’ Pia added.
Earlier this month, during an Instagram Q&A, one fan asked the former Home and Away actress: ‘Are you thinking of having more kids?’
Pia announced her engagement to Patrick, who is the executive chairman of the Endeavor Talent Agency, in November 2020.
They married in secret months later.
She permanently relocated from Sydney to the US in September.
‘Definitely not. I’m so loving our beautiful teenagers. So happily done,’ Pia responded.
Pia traveled abroad with her sons, Isaiah, 18, and Lennox, 13, and have been settling into life in Los Angeles.
She welcomed son Isaiah when she was 19, with his father’s identity being kept under wraps, and welcomed Lennox with ex-husband and AFL star Brad Miller.
Patrick, the CEO of Hollywood talent agency WME, is worth an estimated US$440million (AU$630million).
Patrick’s clients include Ben Affleck, Christian Bale, Matt Damon, Michelle Williams, Idris Elba, Jake Gyllenhaal, Hugh Jackman, John Krasinski, Jude Law, Ryan Reynolds and Denzel Washington.
Pia permanently relocated from Sydney to the US in September. She traveled abroad with her sons de ella, Isaiah, 18, and Lennox, 13, and has been settling into life in Los Angeles
For more than a decade, it’s been something of a national pastime to proclaim the irrelevance of Triple J. But while Australia’s national youth broadcaster has faced some controversies in that time – over the timing of its annual Hottest 100 countdown, softball interviews of far- right figures and, most recently, a regrettable tweet – it’s held on remarkably well to its core demographic of 18-to-24-year-old listeners.
Until now. Last month, the year’s fourth radio ratings survey confirmed that Triple J has been shedding those listeners, with its audience share in that demographic dropping by an average of 2.5% across Sydney, Melbourne, Brisbane, Perth and Adelaide between late April and late June. (Audience share is a metric theoretically unaffected by overall upward or downward trends in listenership, making it the most useful measurement here.)
Compare this year’s numbers to the same time last year and it looks even worse: in Sydney, Triple J’s share among 18-to-24-year-olds dropped from 7.7% to 4.4%, while its share in Melbourne took a 4.2% hit . Triple J listenership among millennials and gen X, meanwhile, stayed roughly the same.
Triple J is a taxpayer-funded entity with a specific mandate to reach 18-to-24-year-olds, so audience shifts deserve scrutiny. They could have real significance too. For years, Triple J has been the most important platform for new Australian music. The only national youth-focussed terrestrial radio station, it has the power to break new local acts and support their national tours. It was instrumental in the rise of global success stories like Amy Shark, Vance Joy, Flume and Dean Lewis.
The station’s 40% minimum Australian content quota – which is well above commercial radio’s 25% – means that many young bands get their first radio play on Triple J, and its extraordinary reach means that artists, tour promoters and festivals are often reliant on the station’s support. In regional areas especially, Triple J is a juggernaut. A ratings survey from late 2021 showed the station was holding a nearly 40% audience share among 18-to-24s in Newcastle and the Gold Coast.
But its targeted demographic seems to be tuning out – so we spoke to some to find out why. The answer? It’s complicated.
Shifting subcultures vs the ‘Triple J sound’
The perception that its audience is aging has dogged Triple J for a while now. The station has been aggressive in its attempts to shake its millennial listeners in favor of gen Z. In 2014, they launched Double J, a digital sister station that plays more legacy Australian acts (Sarah Blasko, Magic Dirt), adult-leaning contemporary acts (Courtney Barnett, Ngaiire) and former “Triple J artists” who have aged into Double J territory (the Avalanches, Julia Stone).
Avani Dias, Dave Woodhead, Lucy Smith and Bryce Mills were among a new crop of Triple J presenters announced in 2020. Photographer: Triple J
Meanwhile, Triple J itself underwent a staffing overhaul. In 2017, longtime music director Richard Kingsmill moved into a role coordinating the music directors across Triple J, Triple J Unearthed, Double J, ABC Radio and ABC Country, with longtime assistant music director Nick Findlay replacing him at Triple J. (Kingsmill still hosts 2022, Triple J’s weekly new music show.) Many of the station’s most recognizable personalities, including Zan Rowe, Linda Marigliano and Tom Tilley, exited the station, making way for younger presenters like Avani Dias, Lucy Smith, Dave Woodhead, Bridget Hustwaite, Ebony Boadu and Bryce Mills. They even tried to shitpost their way to a younger audience, with a tweet suggesting that much of its audience had “aged out”, sparking accusations of ageism. (Representatives for Triple J declined to comment for this piece.)
It would be easy to attribute Triple J’s decline in audience to an overall decline in terrestrial radio listenership among gen Z – but the numbers, generally, say otherwise. In Sydney and Perth, radio listenership overall saw a modest increase among gen Z in the last survey. Notably, in Sydney, 2DAY FM, KIIS FM and Smooth FM – the latter of which largely targets baby boomers – all saw significant increases of gen Z listeners in the past few months.
So how to account for Triple J’s loss? Two lapsed listeners told the Guardian that the “Triple J sound” long associated with the station was the main reason they stopped tuning in. Harrison Khannah, a 22-year-old software engineer from Sydney, first began listening to Triple J in 2016. As time went on his tastes evolved, but the station’s playlist seemed to stay the same: dominated by garage-pop bands. “[Triple J] was meant to be so open and free and accepting,” he says, “but realistically, [they’re] not covering all bases.”
Harry Green, also 22 and from Melbourne, plays in the band Mouseatouille. He, like Khannah, feels the station’s programming is consistent to a fault. “It felt as though there was a particular Triple J sound” when it came to Australian bands, Green says. He first started listening to Triple J regularly in 2011; now, he prefers to discover music in other ways. “In the mid-2010s I switched to Discord servers and niche internet forums for finding new music – that or the old-school way of just going to gigs and checking out the supporting acts.” This tracks with the way the internet has essentially destroyed the alternative subcultures Triple J traditionally served, in favor of ultra-specific micro-genres like hyperpop and digicore, which emerged online.
Bands like Ball Park Music may get a lot of play, but Triple J’s programming has changed drastically over the past few years. Photographer: Dave Kan
but is there really to “Triple J sound”? It’s undeniable that a certain kind of hooky guitar band gets a lot of airtime: groups like Spacey Jane, Lime Cordiale, Skegss and Ball Park Music are consistently among the most played artists on the station every year.
But Triple J’s programming has changed drastically over the past few years too, having more in common now with commercial stations: pop A-listers including Billie Eilish, Olivia Rodrigo, Lil Nas X and The Kid Laroi are all playlist fixtures, with Eilish even winning the Hottest 100 in 2018 – an outcome that would have been unthinkable even a few years earlier. It’s an aesthetic change in line with the tides of culture more broadly: the boundaries between what’s considered “alternative” and “mainstream” feel totally arbitrary in an era where Phoebe Bridgers collaborates with Taylor Swift.
There’s more competition – and it’s more curated
Embracing more pop and rap is a way for Triple J to court gen Z, but it faces significant hurdles. TikTok, YouTube and streaming services offer far more tailored music discovery experiences and are far more integrated into their audiences’ lives.
“Most people just find [new music] through the algorithm,” Green says. “It’s right there on our phones giving us recommendations constantly, and there’s no news or banter in between songs.” Unlike those platforms, Triple J can’t possibly be everybody’s everything.
Even among young listeners who do still prefer radio, there’s more competition than ever. Local radio stations like Triple R, FBI and 4ZZZ still hold massive influence and were valuable community resources during the recent lockdowns. Meanwhile, niche DIY internet radio stations like Skylab Radio in Melbourne and Nomad Radio in Sydney – as well as international stalwarts like London’s NTS and New York’s The Lot – have gained significant followings.
Rielly Haberecht, a 24-year-old retail worker based in Geelong, says it’s “not really that common” for any of his friends to listen to Triple J. “I’ve engaged with Triple J a few times, but more for the novelty of a Hottest 100 or a Splendor live set. It’s never really been a destination where I’ve thought, ‘Oh, I want to listen to some great music’,” he says. He and his friends of him prefer music discovery experiences that are more specific to their tastes, like curated playlists, TikTok videos that suggest new music based on what you like and Spotify’s discovery algorithm, which he finds “consistent and reliable”.
Some gen Z listeners prefer streaming services to find new music – ‘and there’s no news or banter in between songs’. Photograph: Artur Debat/Getty Images
His generation has had access to niche, curated listening experiences for so long that, by the time they age into Triple J’s demographic – by the time they might have their own car in which to listen to the radio, for example – their taste is already fully formed. “[Young people are] coming in with predisposed music tastes,” he says, “and they might not necessarily fit into what Triple J has previously been.”
A loss in audience – but not in influence
Triple J’s ratings predicament could be a reflection of its own success: gen X and millennials are simply refusing to stop listening, which may be creating a perception that Triple J is for an older generation.
Speaking to the Guardian, Louisa Thurn, a 24-year-old DJ and presenter on FBI, said “there are a lot of memes about Richard Kingsmill just not giving up his position … That’s not the case anymore, but that cultural [perception] still exists. That overarching perception – that Triple J isn’t by the youth for the youth anymore – could be contributing to [its ratings decline].”
It’s also easy to forget that – at nearly 50 – Triple J has been a dominant cultural force since before gen Z were born. Khannah says Triple J’s earnest, pithy brand voice is another reason he tuned out, comparing it to the 30 Rock meme of Steve Buscemi in a backwards cap. “With the recent election, [current affairs show Hack] was like, ‘What’s up with this election?’” he says. “Everyone knows what an election is – like, it’s a fucking election.”
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Of course, the question hanging over all of this is: do terrestrial radio ratings even matter? The number of 18-to-24-year-olds listening to radio each week – around 500,000 a week in Sydney and Melbourne, and fewer than half that in Perth, Brisbane and Adelaide – is paltry compared with the streams being tracked on YouTube and TikTok, two platforms on which Triple J is active.
And the industry still clearly covets the station’s support: multiple artists declined to comment on the record for this piece, with representatives for one saying they were afraid of jeopardizing any potential Triple J support. Even if the station’s audience share is declining among 18-to-24s, it doesn’t mean it’s losing its overall reach among that demographic or its influence in the industry.
But at the very least, the ratings shift – and the myriad theories that explain it – suggests the station’s position as Australia’s main arbiter of youth music culture could be precarious. Perhaps it’s not Triple J itself that needs a re-evaluation but its mandate: if radio is no longer a viable way to reach young Australians, it can’t help but be playing a losing game.
An emotional tribute to the late, much-loved Gunditjmara-Bundjalung songman Archie Roach was at the heart of the National Indigenous Music awards in Darwin on Saturday night.
Led by Emma Donovan and Fred Leone, a group of artists including Shellie Morris, Leah Flanagan, Birdz, Yirrmal and William Barton gathered on stage to pay tribute to their beloved Uncle Archie, who died last week after a long illness aged 66.
They performed We Won’t Cry from his 2012 album Into the Bloodstream. Many in the crowd wiped away tears as they sang the uplifting ballad: “I’m here beside you/Don’t you forget it/I’m with you walking down this road/Give up what’s inside you/You won’t regret it/Together we can lighten this load.”
For the first time in two years, due to Covid restrictions, the National Indigenous Music awards were held under the stars in a live ceremony at the Darwin botanic gardens, on a perfect dry-season night, hosted by Kukuyalanji-Waanyi-Gangalidda-Woppaburra -Bundjalung-Biripi writer and performer Steven Oliver.
Earlier in the week, Oliver paid his respects to Roach, saying: “Some people will say that … we [have] lost a voice. But how do you lose a voice that’s become so ingrained within a people, a land and a country that it collectively becomes embedded within a spirit?
“More than a singer, he is a storyteller. More than a front man, he is a leader. More than a solo artist, he is so many of us hoping for a better, compassionate, truthful future,” Oliver said.
The night’s big winner was Yolngu superstar Baker Boy, who won artist of the year and album of the year for his debut, Gela.
Yolngu surf-rock band King Stingray won song of the year for the crowd’s favorite Milkumana, a song about passing on and sharing knowledge.
Malyangapa-Barkindji lyricist and musician Barkaa won film clip of the year for King Brown, a celebration of independent black women and the power of the black matriarchy.
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Proving musical brilliance runs in the family, Gumbaynggirr-Bundjalung indie artist Jem Cassar-Daley won the new talent award. Jem is the daughter of country music legend Troy Cassar-Daley, who has won an astonishing 44 golden guitar awards at the Country Music awards.
The Archie Roach Foundation award went to Murawari rapper and drummer Dobby.
The late Gurrumul was inducted into the hall of fame in a ceremony led by his brother and Saltwater Band co-founder Manuel Dhurrkay.
The evening hosted live performances by an incredible lineup of First Nations talent including King Stingray, Birdz and Fred Leone, Emma Donovan and the Putbacks, Yirrmal and the Red Flag Dancers.
“[I’m] so honored to … be at the Amphitheater with community,” the awards’ creative director, Ben Graetz, said. “Celebrating together in person will be something I will remember for a very long time. Also to remember, honor and pay tribute to Dr G and Uncle Archie was a true highlight.”
Liam and Luke Hemsworth go incognito on the streets of Byron Bay as the famous brothers run errands
By Ali Daher For Daily Mail Australia
Published: | Updated:
Despite being Hollywood stars, the Hemsworth brothers are still proud to call Australia home.
And on Wednesday, Liam, 32, and Luke, 41, were spotted chatting on the street in Byron Bay’s CBD.
Both casually dressed for the outing, Liam wore a plain white T-shirt and beige cargo pants.
Despite being Hollywood stars, the Hemsworth brothers are still proud to call Australia home. And on Wednesday, Liam, 32, and Luke, 41, were spotted chatting on the streets of Byron Bay
Meanwhile, Luke opted for a black long-sleeved top and black shorts which he teamed with a pair of colorful sneakers.
They both attempted to go incognito wearing tinted sunglasses and caps.
It comes after Chris revealed that his younger brother Liam was almost cast as Thor.
Liam wore a plain white T-shirt and beige cargo pants and black shoes
Meanwhile, Luke opted for a black long sleeve top and black shorts which he teamed with a pair of colorful sneakers.
‘My little brother almost got cast as Thor,’ the 38-year-old told website Mensxp this week.
‘He was one of the first people who got right down to the wire on getting the part so I could cross paths with him. That will be fun.’
Chris previously revealed that he blew his original audition for Thor, before Liam, 32, came in to test for the same part, and got much further in the process.
Last month Chris Hemsworth revealed that he wants Liam to appear in a Thor film as an alternative version of the iconic Marvel character. Pictured: Liam, Chris and Luke Hemsworth
That motivated Chris to ask for his manager to get him a callback to have another go, with the role ultimately going to him, not Liam, as a result.
‘I came in kind of with a little, I guess, motivation and maybe frustration that my little brother had gotten further than me,’ he told W Magazine.
‘It’s a little family, sibling rivalry sort of kicked up in me. Then it moved pretty quickly from there. It was cool.’
‘My little brother almost got cast as Thor,’ the 38-year-old told website Mensxp this week (pictured)
Thor is already a family affair, with Chris’ older brother Luke Hemsworth, 41, winning a role in 2017’s Thor: Ragnarok.
Luke played an actor depicting Thor on stage.
The play-within-a-film storyline repapers in Thor: Love and Thunder, which is out now.
Luke again plays act actor taking on his brother’s role, dressed in full Thor regalia, including a wig and fake beard.
Chris has previously revealed that he blew his original audition for Thor, before Liam came in to test for the same part, and got much further in the process. Chris is pictured in Thor: Love and Thunder with co-star Natalie Portman
Chris has previously revealed that he blew his original audition for Thor, before Liam came in to test for the same part, and got much further in the process. That motivated Chris to ask for his manager from him to get him a callback to have another go
After a two-year hiatus – and a judging reshuffle – My Kitchen Rules finally made its way back to screens on Sunday night.
The 12th season premiere of the Channel 7 cooking show saw the return of foundation judge French chef Manu Feildel, who was joined by British home cooking queen Nigella Lawson.
Lawson was announced as a new judge earlier this year after the network parted ways with original judge Pete Evans following a slew of controversies.
Following declining ratings in 2019 and 2020, which saw viewers criticize the format for overdoing it on the dramatics, Seven promised the series would be bouncing back to its core values of “real food and real people” in 2022.
But it appears there’s still a little bit of room for some old-fashioned reality TV fighting, with one new contestant shaping up to be this year’s MKR ‘villain’ after criticizing everyone else’s tasting palates.
Kicking things off for MKR‘s debut episode were father-daughter duo Peter and Alice, who hosted the judges and contestants at their humble home in the small town of Chewton in Victoria.
Their menu charmed in writing, but the pair got off to a rocky start with their ‘Sunday Roast’ croquette entree.
While most of the contestants appeared to enjoy the dish for the most part, Queensland representatives Kate and Mary, who describe themselves as ‘fine diners’, weren’t too satisfied.
“Some of the other contestants really loved the croquettes, and perhaps that’s indicative of their kind of palates,” Kate said in a piece-to-camera.
Mary added, “I think they missed the thought of a good Sunday roast. I think they missed that completely.”
The judges ultimately echoed Mary’s take, telling Peter and Alice that their entree wasn’t entirely faithful to its title given they braised the beef cheek filling, as opposed to roasting it.
Bouncing back from their defeated state, the two then delivered a tasty main course of crumbed lamb chops with minted peas, with Feildel saying their meat was “cooked to perfection.”
But things plummeted from there, with their dessert – Grandma’s lemon delicious pudding – served woefully undercooked.
Lawson said she was “heartbroken” for the pair, adding, “I really wanted to see you with a smile back on your face.”
The group were equally shattered for Peter and Alice, particularly given the recipe was one passed down through generations.
“We really wanted them to do well after the entree,” NSW ‘fashionista friends’ Arrnott and Fuzz said. “On top of that, it was the added pressure of being a relative’s recipe.”
Elsewhere, Kate was a little less empathetic.
“I literally thought the whole time, grandma on the wall over there, she would not have been happy about that lemon delicious,” Kate said, later dubbing the dish “inedible.”
While most of the contestants gave Peter and Alice an overall score of 5s and 6s, Kate and Mary settled on the lowest score of 4. Meanwhile, the judge’s scored the pair an overall tally of 54.
Kate and Mary are slated to cook next on Monday night’s episode, with Kate saying she thinks the cohort will be “impressed.”
“I think we’re a threat,” Mary added.
My Kitchen Rules continues on Channel 7 at 7.30pm Monday
Rita Ora’s fiance Taika Waititi has sparked rumors they couple have married after the filmmaker was seen wearing what appeared to be a wedding band.
Taika, 46, was seen wearing a piece of jewelery on his left finger while lapping up the rays and having a drink, in a picture snapped by Rita’s sister Elena, The Sun reports.
Ora started dating the Thor: Ragnarök Director Taika 18 months ago.
She opted to share the photo too, but decided to cover Waititi’s ring finger with a caption that read: “Perfect day for a bev @avaline Thank you @camerondiaz.”
Taika could be seen sporting a white patterned shirt and white sunglasses as he lapped up the sun and poured a glass of wine.
The ring snap follows reports that Ora and Waititi are preparing a low-key ceremony before a glitzy celebration later in the summer.
a pal awning The Sun that: “This isn’t about them doing a big showy thing and crowding about it beforehand. It’s just about them being in love and deciding the time is right to formalize their relationship.
“They couldn’t be happier.”
The pair moved back to the UK and into a very impressive London mansion.
Ora has spent much of the past two years in Los Angeles and Australia and wore a black sports top and overcoat in snaps as she lugged bottles of water, while New Zealander Waititi was in a denim jacket, baseball cap and shades.
They later held hands while strolling to a pub near the North London property Ora bought for £8 million (A$11.5 million) last year.
An onlooker said: “It’s unusual to see Rita in the neighborhood these days – she bought the house but left the country almost immediately afterwards and has barely spent any time there.
“But they were shopping for things and loading bits in and it’s obvious this is going to be where they call home, at least for a while.
“They’re a very jetsetting couple, and have homes all over the place, but it felt as though this was quite a permanent move watching their behaviour.”
This article originally appeared on The Sun and was republished with permission
The Lazarus Project Sky’s time-twisting espionage series “The Lazarus Project,” starring Paapa Essiedu, has been renewed for a second season to air next year. Joe Barton (“Giri/Haji”) thought the show. The eight-part first season launched in June and became the second biggest Sky original drama of the year so far. [Source: THR]
brutal nature IDW is teaming with Latin American animation studio Anima on “Brutal Nature,” an adult animated series based on Luciano Saracino and Ariel Olivetti’s IDW comic about a collection of masks that transforms a young man into innumerable beasts and monsters. Fernando De Fuentes and Jose C. García de Letona will produce. [Source: Variety]
asphalt Radar Pictures (“Jumanji’0 and N4XT Experience are developing a driving-themed reality competition series based on Gameloft’s “Asphalt” video game series.
Gamers, car enthusiasts and adrenaline-seekers will compete to earn a spot on the track. From there, finalists will move into Asphalt House and hone their driving skills in order to face off in real-life races in their supercars. [Source: Deadline]
Fargo FX chairman John Landgraf has teased that the upcoming fifth entry in the “Fargo” anthology series is “particularly comedic” this year and much more comedic than in recent years. The new season takes place in 2019 in the upper Midwest. Juno Temple, Jon Hamm and Jennifer Jason Leigh lead the cast. [Source: THR]
The Sandman While a renewal order has yet to be handed out for Netflix’s series adaptation of Neil Gaiman’s magnum opus, executive producer David S. Goyer has revealed that writing on the second season is well underway and is “going smoother” than the first season. The first season adapted stories across the first two of the ten trade paperbacks that make up the series. [Source: Den of Geek]
