Freaks & Geeks
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It's about to get filthy up in here!Electronic legends Shaun Brockhurst and Phil Desborough (AKA, one half of) make up DnB power duo, known for their vocal driven and high nrg sound.The duo have individually head up some of the biggest festival stages in the world including EDC and Glastonbury, and they've combined forces to craft charged up bangers for labels including Viper, Rampage and Circus Records. Check out their recent track 'Out My Head with Flowidus and Gia Santho here:Freak & Geeks touch down for a bunch of massive shows across Australia and New Zealand this month but up first they're serving up big bass belters on the Friday Mix!
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SBS Australia
34 minutes ago
- SBS Australia
Meet the Indigenous chef stirring change in Australia's $80 million native food industry
Standing at a small outdoor grill in Brisbane, Koori chef Chris Jordan is showing a group of trainees how to smoke sea mullet. It's all part of his broader purpose 'Really important to pass down this knowledge to a younger generation, especially working in the food industry as there isn't much of a representation of First Nations chefs using First Nations food.' Watching on, 19-year-old apprentice Kaylee Rose Tsoumbris Davies 'It makes me feel connected. It is just a really nice feeling to get to know something that I didn't know my whole life growing up, that was a big struggle for me.' For Mr Jordan, passing on knowledge is very personal. Growing up in Northern NSW, he learned little about his Aboriginal heritage or his connections to Kamilaroi country. 'Speaking to my grandmother, they were told if anyone asks 'tell someone that you're Italian'. And there was a lot of shame in the family. It is amazing in my lifetime to see that shift and my family, my extended family, um be proud of who they are.' Family means a lot to Mr Jordan, who named his catering business in memory of his father Joseph … a refugee from former-Yugoslavia, who died when he was a baby. 'I don't have any memories of him at all. And that's part of the reason why I named my business Three Little Birds was his favourite song by Bob Marley as a message of positivity in our family.' After a stint in London, Mr Jordan returned to Australia in 2017, determined to learn about his heritage. And he found an Aboriginal mentor who changed his life forever. 'The biggest part for me getting sober was meeting Auntie Dale. She has been in the bush food industry for 35 years now. She's an amazing chef, an amazing educator.' Born at Dirranbandi (Deer-an-bandy) in south-west Queensland Aunty Dale Chapman is well known for cooking with native foods. She is pleased to have supported Mr Jordan's progress. 'I'm extremely proud! He's taken Australian native ingredients to another level, and being able to share it with the young people is so important because they are ultimately our future.' For Mr Jordan, securing the future also means sourcing sustainable bush foods and supporting Indigenous growers. Australia's bush food industry is valued at more than 80 million dollars annually, according to Sydney University research. Yet few of the profits go back to Indigenous growers. 'Less than 3% of the Bush food industry is Aboriginal and Torres Strait Islander owned, and I think that really needs to shift. Making sure that the money goes back to community and we've collaborated with a lot of different restaurants and cafes.' One supplier is the Food Connect Shed in Brisbane -a community-owned hub focusing on sustainable food systems. Its CEO is Robert Pekin ( PRON Peekin). 'it's owned by 540 odd people. Most of them are locals. One of our big long-term objectives is we need to get First Nations food into our diets in a mainstream way.' Teaching respect for native ingredients and their traditional uses is also a growing focus at universities across the country. Dr Frances Wyld teaches Aboriginal Studies at the University of South Australia. 'They are the foods that have sustained Aboriginal people for 60,000 years. They also require less care, such as more water, more pesticides, because they belong here, they grow here.' It's information that Mr Jordan shares in school classrooms and at cooking workshops in juvenile detention. He also supports young people who've had contact with the justice system. 'A huge percentage of our First Nations youth are incarcerated. It's really important to have that connection to culture and have the opportunity for employment. For me personally, leaving home at a young age and going down a path where I ended up having to get sober and really clean my life up, introducing native ingredients really helped me. Yeah it's really, really powerful.' Whether showcasing bush foods to the public or teaching young trainees, for Mr Jordan it's about inspiring change beyond the plate. 'So, passing it down through food and sharing my experience and how it saved my life, I think it's a really strong message.'
ABC News
an hour ago
- ABC News
That Blackfella Show
That Blackfella Show SPECIAL Entertainment First Nations Offbeat Watch Duration: 57 minutes 12 seconds 57 m Article share options Share this on Facebook Twitter Send this by Email Copy link WhatsApp Messenger Ernie Dingo, Bridget Brennan and Isaac Compton are joined in studio by your favourite Blackfellas for a night of music, sketch comedy and as many laughs as you can handle in 60 minutes - kicking off NAIDOC Week 2025.
ABC News
an hour ago
- ABC News
The best and worst romantasy tropes, according to author and viral BookTokker Stacey McEwan
When I ask Stacey McEwan to describe her latest romantic fantasy novel, A Forbidden Alchemy, the Queensland-based author and content creator responds with a question indicative of a broader trend in the book world. "Do you want the elevator pitch? Or do you want me to just give tropes?" The use of tropes in fiction is nothing new. But in the age of BookTok, Bookstagram and Goodreads, it's increasingly common to see romance and romantic fantasy (romantasy) fans summarise entire novels from these genres using the tropes within them, from "fake dating", to "dagger to the throat". Many traditional publishers are following suit, leaning into trope-first marketing. Some advanced reader copies of romance and romantasy books even list tropes on the cover, relegating key information like book titles and even authors' names to the spine. McEwan says there's a reason romance and romantasy novels are particularly prone to this. "Because they all have a three-act structure and need the happily ever after, and because they're so repetitive — I say that with deep, deep affection for them — [the romance genre has] leant itself to tropes that people started referencing and labelling a long, long time ago," she explains. "And, because many [elements of romance] carry over into romantasy, now we have all these romantasy tropes that you wouldn't see in contemporary romance." Romance and romantasy books are more than the tropes they're based around, which is why some see a reliance on tropes in reviews and marketing as a problem. But McEwan thinks readers seek hyper-specific romance and romantasy tropes for the same reason they're criticised: familiarity. "It's comforting and something we know and understand," she argues. McEwan's latest novel follows a fated pair in a world divided by the magical and non-magical, who discover a secret that starts a revolution, and leans into the "slow-burn romance" and "found family" tropes. But she doesn't just explore romantasy tropes in her writing — McEwan also dissects the tropes fans love and hate in her viral book-related Instagram and TikTok content. Who better to ask about the best and worst of the genre and why we feel so strongly about them? This is the romance/romantasy trope du jour. And for good reason, McEwan says. The "enemies-to-lovers" trope often comes with delicious tension and irresistible banter between love interests. "Those things can occur in other dynamics between two characters, but 'enemies-to-lovers' really calls for it, and the anticipation and the pay-off at the end when they flip is everything," she explains. It also lends itself well to a bunch of other tropes readers love, from "slow-burn romance", to "dagger to the throat" (in a moment of high tension, one of the love interests holds a knife to the other's throat, prompting a barrage of conflicting feelings); to "only one bed at the inn" (the love interests need to stay somewhere for the night, but the inn/hotel only has one room left, and that room only has one bed); and "forced proximity" in general (any scene where predicted love interests are forced into close contact with each other for a significant period of time, ensuring their relationship develops). "When an author forces enemies into close proximity to each other, you just know the banter is going to be really good, and the tension is going to be sky-high," McEwan says. To McEwan, this trope is "pure escapism — particularly if you're femme". "If you're reading fantasy or romantasy, you're looking for escapism anyway, but to me this trope is the height of escapism because I like to pretend that I am, in fact, the main character, and I won't take any judgement on it because I think we all [pretend we're the protagonist]. This is your morally grey masc love interest who typically possesses some sort of shadow magic, and definitely has an attitude problem. McEwan thinks most of us don't want to be "pick-me girls" — women who seek attention from men by proving they're somehow "not like the other girls". "But at the heart of it, we kind of are," she says of this trope. "Reading about a shadow daddy, or a morally grey love interest who hates everyone, will fight the entire world off for the main character … it's really fun to watch a character soften for that one person." McEwan describes "found family" as her favourite trope "by far", which is why it crops up in almost everything she writes. "'Found family' is really comforting for readers because it's the family the main character has chosen rather than been born to, and the main characters in these books typically have terrible families or dead families, to make their decisions more believable and relatable," she says. "And so [as readers] we're always rooting for them to find their people, and it's comforting when they do." Picture this: you've just made it past all the world-building and will-they-won't-they of a new romantasy book and the love interests are finally together, only for a new conflict to appear out of nowhere. Said conflict could be solved in one conversation. "Really, there are no bad tropes if you know how to write them properly," McEwan says. "I've read books that have used the 'miscommunication' trope very, very well, to the point where it's believable. It's just that the 'miscommunication' trope so often isn't, and that's incredibly frustrating for readers. When it comes to romantasy, McEwan concedes this trope is often used out of necessity. "In most of these books, [the love interest] would smell of sweat and body odour because they've been riding on a horse for five days, with no way to bathe themselves," she points out. "If the author instead draws attention to the idea that they smell like sandalwood and pine and starlight, we can all pretend they don't smell terrible. "There's no way what they're smelling is eucalyptus and tea tree, though." Think: Nesta in A Court of Silver Flames or Aelin in Throne of Glass, both by Sarah J Maas. "This can be done really well and for really good reasons, but often it feels stereotypically sacrificial that the woman would have to part with such a big piece of herself to fix things for everyone else," McEwan says. Another "stereotypically sacrificial" trope, McEwan says "surprise pregnancy" is widely disliked among readers because it "feels cheap to have this huge conflict happening and then, suddenly, pregnancy changes everything, from the main character's motivations, to the love interest's, to the way she sees the world and what needs to happen next".
