Interview: Ben Ely for Rave Magazine

Lovely guy, great concept and style, lovely venue. This should be a quality exhibit, me thinks. 

Regurgitator’s Ben Ely tells Anna Angel making art gives his ears a break, but just might drive him bonkers.

Most of us start the day with coffee or a shower to perk us up before work. Musician and artist Ben Ely finds himself in the freezing art studio out the back of his Melbourne home before he’s even fully lucid. Ely, best known for his musical projects like Pangaea and Brisbane-born alt-rock mainstay Regurgitator, says that’s when he does his best work. It’s not hard to imagine his paintings as inspired by a dream state, given the bizarre touches he lends even to his bands’ cover art. For his latest exhibition at Fortitude Valley’s Lust for Life, Ely says he’s been painting a life-long obsession: games – both of the computer and board variety.

“The first time I ever saw a Space Invaders machine was in a caravan park in Yamba, and it blew me away that you could move the joystick and the little alien and spaceship would move,” he says.

While there's an identifiable sense of ‘80s nostalgia in the pick of video games inspiring Ely’s new collection (he likes the simplicity of their design and soundtracks) his taste in board games ranges from wacky 18^th century creations to strategy classic Risk. That being said, Ely's inspiration to create his own playable art has spurred by more than just Pacman and dice.

 “I had a break up last year, and ‘Game Over!’ is kind of the idea of that as well, how people play games in love and life,” he says.

The only parallel Ely draws between his art and music is a bent toward nostalgia in both, but he says if his paintings were songs they’d be pretty catchy.

 “My art’s pretty low brow; it’s quick and immediate and that’s how I like it,” he says. “Kind of like a pop song you know; short and cheap.”

Interview: Cirque Du Soleil's Ovo for Rave Magazine

Roll up, roll up! Cirque are coming back to town. For Rave Magazine.

Ovo, the newest Cirque Du Soleil spectacular to fly into Brisbane, is a light-hearted love story swarming with energy. Artistic director Marjon Van Grunsven tells Anna Angel it’s a bug’s life for the cast and crew.

The sun rises, and an ecosystem of insects begins to stir. Into their midst enters a stranger carrying a large and mysterious egg. So begins this unique production from Montreal’s celebrated Cirque Du Soleil. Ovo might be the 25^th production from these masters of contemporary circus, but Brazilian dancer and choreographer Deborah Colker is their first female creator and director. Her production, which opened in 2009, is one of only a few Cirque show to maintain an overarching narrative.

 “It’s very sweet and simple to follow for young children, but also for older people and middle-aged people, and it’s just so pleasant and happy,” Ovo’s artistic director Marjon Van Grunsven says.

The family-friendly story, which sees a ladybug fall in love with a fly, is secondary to the main inspiration for the piece: movement. From the pulsating rhythmic music, to the flexible, adjustable costumes, every aspect of the show celebrates the distinctive and fascinating motion of the insect world.

Ovo has all the breath taking acts you might expect, but each adopts a creepy-crawly persona that befits their style of movement. Foot jugglers become hard-working ants, a team of scarabs perform a Russian swing act, an aerial duo transform into graceful butterflies, crickets leap and bound off an eight-metre vertical wall, and a spider dangles dangerously from a slackwire web.

Under Van Grunsven’s guidance, the performers shed their human mannerisms entirely.

“The way [Deborah Colker] works is very much the way I work as well, which is to inspire each and every individual on that stage to dive into the role of their particular insect,” she says. “Let’s take a cricket; we wanted them to study the movement of the cricket by watching films and photos, and going out in nature and watching them for real.”

Article: Anchored in Tradition for Vintage Affair

I wrote a piece on the resurgence of traditional American style tattooing in Australia for the second issue of Vintage Affair magazine last year, and it has now been released!

Step right up and see the incredible tattooed lady! Held captive and tattooed every day for a year, she lives to tell her amazing tale!

Nineteenth century crowds flocked to circus ‘freak shows’ to marvel at the tattooed performers, who often invented fantastical tales to accompany their head-to-toe ink. By the turn of the twentieth century, the ancient practice had already become – in Western cultures and especially across the USA – a rite of passage for servicemen, sailors, jailbirds and circus folk. The style and iconography developed by artists of the era formed the backbone of the emergent tattoo culture up until the 1970s.

Some blame Janis Joplin for inspiring a rebellious generation to go under the gun and seek out designs that spoke to them, not their grandfathers. Forty years on, Kat Von D and her merry crew of reality spin-offs are credited with inciting a new wave of tattoo aficionados. This time around, our society’s infatuation with bygone eras and simpler times has ensured the old guard of tattooing got its own back. 

Traditional American designs were a staple of the Australian tattoo culture when pioneer artists like Melbourne’s John ‘Johnny Dollar’ Entwistle opened up shop, before eventually giving way to Japanese, tribal and contemporary styles. Nowadays, traditional and neo-traditional designs are so highly sought after many artists consider it a fad.  The designs are characterised by thick lines, bold colours and the classic iconography that once graced the walls of tattoo parlours everywhere. While there is a large interest in vintage flash today, these images held a different significance for the original wearers. Sailors earned a bluebird on the chest after 5,000 miles at sea, with the ever-popular mirrored bluebirds reserved for those who had doubled that. A pin-up girl design could keep you company when deployed at war, a flag or memorial would remind you of home.

Feature: 'The Golden Era (terms and conditions apply)' for The Isthmus

Here's another piece I wrote in August for The Isthmus, discussing our cultural obsession with 'retro' in light of our actual past. I really enjoyed exploring the issues surrounding this one. 


You can read it online here.


The Golden Era (terms and conditions apply)


By Anna Angel

“You were definitely born in the wrong decade,” a friend says as if it is fact. Sure, I wear vintage clothing, collect retro oddities and have been seen at gigs doing the twist. But I couldn’t agree with rockabilly queen Imelda May when she told British press “the ‘50s were better in every way”. I’m grateful not to have grown up in Australia in the first half of the 20^th century. Why? My childhood epilepsy – then widely misunderstood – would probably have landed me in a psychiatric institution, such as this one, for a lack of better treatment options, as might my struggles with anxiety and depression. While that’s an uncomfortable thought, prospects would have been positively bleak if I had of been Aboriginal, gay or a non-European migrant. As morbidly hilarious as 1950s anti-gay propaganda and relics of the societal oppression of women may seem now, these were hardly ‘simpler’ times for many members of society. I set out to discover why we idealise elements of the past such as music, fashion and dinner table decorum and glaze over the glaring injustices.

Run, Rabbit Issue 1

This is what we made.
There's been a really positive response so far, and I'm so impressed with the contributions that came my way. What could be better than working with creative, inspiring people on an exciting and rewarding project?
Read all about it at www.runrabbitmagazine.com.
If you think you, or someone you know, might be interested in contributing to the next issue, here's what we're looking for:

Review: BIGSOUND Live Part 2 for Mood of Monk

Read the original here.

Making my way down The Valley mall early on Thursday night, past the club blasting a cover of Wham’s ‘Wake Me Up Before You Go-Go’, past the pub crowd and onwards to Woodland, I was sceptical. Sceptical that BIGSOUND could deliver a night of equal quality to one before (see why here) and that conference-goers who had been shooting the musical shit since 9am Wednesday would have any energy left. An hour and a half later the event had sold out completely and there was egg all over my face.

Given the scores of ‘must-see’ new acts, fresh young faces and hyped radio favourites, you’d need a Harry Potter-style time turner to make the most of the experience. I don’t have one of those (yet), so I set out to simply cram in as much noise as possible. 

This is what I saw.

Review: BIGSOUND Live Part 1 for Mood of Monk

Read the original coverage here. I also shot and live tweeted the event; it was an awful lot of fun. 

“Is this the end or is it just beginning,” they sang and it felt right.

As Inland Sea wrapped up their opening spot at BIGSOUND’s live showcase in Brisbane’s Fortitude Valley, it signalled the start of something big – for the night and for the talented young acts that would fill it.BIGSOUND is an industry conference that exists to talk about music and the people that make it. For those throwing themselves into the conversation, it’s a long and fulfilling three days. For two of those days, when the sun goes down, Australia and New Zealand’s up-and-comers emerge for show and tell.It’s a variety show for industry types, a block party across Brisbane’s entertainment precinct, and a heartening display of genuine talent. I know every crumb in every corner of The Valley, but I’ve rarely seen it as full of energy as it was last night. There are weekends where the streets groan under the sheer weight of people, where the music is oppressively loud and sweat hangs heavy in the air. What BIGSOUND brought was a true celebration of things to come, and a crowd united in a love of music.

Feature: 'The people and stories behind Greazefest' for Seam Magazine

A write-up I wrote on the culture behind events like Greazefest and the people who live (and love) it. View the original here at Seam Magazine's shiny new website.

“You’ve got to lean over the car like this,” a well-dressed woman in her sixties calls out to me, before demonstrating a classic pin-up pose on a bright red 1950s hot rod. As I poorly attempt to mimic her moves, she yells quick-fix beauty tips at me. From the outside, Greazefest, which takes over Brisbane for one weekend each year, is a carnival of vintage cars, modern pin-ups and poodle skirts. As Seam Magazine discovered, it is more so a celebration of the people keeping the old school dream alive by living and breathing it year-round.

Greazefest, now in its twelfth year, may be one of longest running and largest rockabilly and kustom kulture festivals in the Southern Hemisphere, but it’s by no means the only. Devotees from all corners have a calendar of events to roll up to, from Coffs Harbour’s annual Wintersun festival, Victoria’s Bright Rockabilly Ink and Oil and New Zealand’s largest nostalgia festival, Beach Hop. Come Monday morning, when the last car has left in a trail of smoke and the sun set on the festivities, Australia’s most dedicated revivalists don’t simply re-join the 21st century and return to the office.

Feature: 'Always room for write stuff' for The Courier Mail

Always room for write stuff
Anna Angel

Weekend writers' groups and workshops are ideal for being exposed to new ideas and networks, writes Anna Angel

ARE you a closet scribbler or a weekend pen-wielder? They say writing is a solitary profession, but don't quit your day job and retreat to the mountains just yet.

Whether or not you've put pen to paper in years or fancy yourself the next Agatha Christie, Nick Earls or J. K. Rowling, there's a workshop or writers' support group for you.

If there isn't, then start one yourself, says Nancy Cox-Milliner, who formed Writers of Seville more than 10 years ago.

``There was a real need for groups running on the weekend,'' she says. ``People who work during the week don't want to meet at night because that's their writing time.''

Now several writers' groups meet across Queensland at weekends. Most are open to all writers, while some cater to those who dabble in genres such as crime, romance or poetry.

Brisbane fantasy writer Marianne de Pierres co-formed Vision Writers more than 15 years ago. Open to writers of fantasy, sci-fi and speculative fiction, de Pierres says the group's ranks constantly replenish.

``People find it so exhilarating to know there are other people out there interested in the same thing they are,'' she says.

For Sarah Gory of Queensland Writers' Centre, a group's main benefit is fostering a sense of community and support.

Feature: 'Go for it!' for The Courier-Mail

Published June 10.

Doing improvisation makes you get up, have fun and be in the moment, radio journalist Natalie Bochenski, 30, of Spring Hill, tells Anna Angel.

I DID ballet and dance as a young girl. When I was a teenager that progressed into theatre and I've been involved with impro since the late '90s.

Acting and theatre is my hobby. I'm a journalist by trade and a lot of the time I do straight politics.

You'd be surprised at how much cross-over there is. I won't be at Parliament and bust out some improvised sketch, but I can be at impro and throw in a political joke.

While I still do a lot of scripted theatre, impro is a wonderful outlet. You're tapping into the imagination we all had as kids, but we're told as adults we're not allowed to have any more because we have to be sensible.

Feature: 'Hands on a touchy subject' for The Courier Mail

Written on my placement in Courier-Mail features. I adore arts writing, so I'm thrilled I got to do this piece.

16 May 2011

An innovative show shines light on child neglect, writes Anna Angel

PUPPETRY is seen as child's play for some; a comic device for others. For Halcyon Macleod, writer and director of Africa, a troubling tale of child neglect and joyous idealism in suburban Australia, it is so much more.

Playing Brisbane's Powerhouse from May 18, Africa is neither theatre for young people nor a puppet show, but a whimsical and emotional production for adults, conveying the strength of human will and the power of the imagination.