Latest news with #DaleKerrigan
The Age
9 hours ago
- Entertainment
- The Age
Your cooking looks disgusting. Please, never stop posting it on Instagram
To the untrained eye, the plate was a mess of slop. On closer inspection, it must've been food of some description. Potatoes, maybe? Peas too. There was definitely a meat element, but it had been cooked for so long that it didn't matter what it was, or at least what it had once been. A thin sauce, presumably gravy, pooled in the middle of the plate. Remarkably, everything on the dish appeared a different shade of grey. A photo was taken, slightly out of focus, and posted online, accompanied by a simple caption: Cheeky Sunday roast. The person responsible for this situation was someone I barely knew, a friend of a friend of a friend, added to my Instagram account after a chance meeting years ago. We maintain almost no online relationship, but his cooking exploits are the highlight of my week. Every Sunday, without fail, he tackles something refreshingly regular – spaghetti bolognese, homemade tacos, a particularly raw-looking baked salmon – and he painstakingly documents the process. The results are unspectacular and occasionally alarming, but that's beside the point. In a world ruined by social media pressure, where everyone must always put their best foot forward, here is an average man unafraid to celebrate an average coq au vin. The glorification of everyday meals has long been stitched into the Australian national identity. We are the country of laid-back larrikins, a melting pot of cultures who refuse to take themselves (or their food) too seriously. That's why we laughed along in shared acknowledgment when Dale Kerrigan's mind was blown by his wife's rissoles in The Castle ('Yeah, but it's what you do with them!') and it's why we decided that the only fitting symbol for our democracy was a Coles sausage, covered in tomato sauce, served on white bread. Sure, we have a thriving food scene, complete with talented chefs serving world-class cuisine, but that represents the best of us, not the rest of us. At first, the rise of social media supercharged our ability to embrace our ordinariness. Twitter feeds like Rate My Plate, created in 2013, and the much-loved Instagram page Cook Suck (created by the late, great Darrell Beveridge in 2011) encouraged users to submit their horrific-looking home cooking for our collective enjoyment. The aim wasn't to shame (most of the time) but rather to celebrate how mediocre we can all be and how bad something might look, even if it tastes good. Then the inevitable happened: social media became less about slices of real life and more about curation and competition. Amateur home cooks became obsessed with viral recipes, abandoning their sloppy homemade pizzas (featuring packet cheese!) in favour of endless recreations of Alison Roman's caramelised shallot pasta or insane TikTok trends.
Sydney Morning Herald
9 hours ago
- Entertainment
- Sydney Morning Herald
Your cooking looks disgusting. Please, never stop posting it on Instagram
To the untrained eye, the plate was a mess of slop. On closer inspection, it must've been food of some description. Potatoes, maybe? Peas too. There was definitely a meat element, but it had been cooked for so long that it didn't matter what it was, or at least what it had once been. A thin sauce, presumably gravy, pooled in the middle of the plate. Remarkably, everything on the dish appeared a different shade of grey. A photo was taken, slightly out of focus, and posted online, accompanied by a simple caption: Cheeky Sunday roast. The person responsible for this situation was someone I barely knew, a friend of a friend of a friend, added to my Instagram account after a chance meeting years ago. We maintain almost no online relationship, but his cooking exploits are the highlight of my week. Every Sunday, without fail, he tackles something refreshingly regular – spaghetti bolognese, homemade tacos, a particularly raw-looking baked salmon – and he painstakingly documents the process. The results are unspectacular and occasionally alarming, but that's beside the point. In a world ruined by social media pressure, where everyone must always put their best foot forward, here is an average man unafraid to celebrate an average coq au vin. The glorification of everyday meals has long been stitched into the Australian national identity. We are the country of laid-back larrikins, a melting pot of cultures who refuse to take themselves (or their food) too seriously. That's why we laughed along in shared acknowledgment when Dale Kerrigan's mind was blown by his wife's rissoles in The Castle ('Yeah, but it's what you do with them!') and it's why we decided that the only fitting symbol for our democracy was a Coles sausage, covered in tomato sauce, served on white bread. Sure, we have a thriving food scene, complete with talented chefs serving world-class cuisine, but that represents the best of us, not the rest of us. At first, the rise of social media supercharged our ability to embrace our ordinariness. Twitter feeds like Rate My Plate, created in 2013, and the much-loved Instagram page Cook Suck (created by the late, great Darrell Beveridge in 2011) encouraged users to submit their horrific-looking home cooking for our collective enjoyment. The aim wasn't to shame (most of the time) but rather to celebrate how mediocre we can all be and how bad something might look, even if it tastes good. Then the inevitable happened: social media became less about slices of real life and more about curation and competition. Amateur home cooks became obsessed with viral recipes, abandoning their sloppy homemade pizzas (featuring packet cheese!) in favour of endless recreations of Alison Roman's caramelised shallot pasta or insane TikTok trends.
Scoop
01-05-2025
- Entertainment
- Scoop
Flying Nun's Newest Signing: Ringlets Share ‘Street Massage'
Press Release – The Label Today, Ringlets share the blistering new single 'Street Massage' from their upcoming album The Lord Is My German Shepherd (Time for Walkies), which will be released on June 27th. Following up the slyly-subdued ' Heavenly Wheel ', 'Street Massage' leaps and bounds down crunching gravel guitar and traverses vast thunderous rhythms, stepping over shimmering strings – halting for the stop-sign stentorian vocal delivery of Leith Towers. Leith shares, 'The song is about a low-wage masseur who plies his trade on the streets of Point Chevalier. It was originally about the International Dysphagia Diet Standardisation Initiative (IDDSI), and the plight of a clinician in trying to encourage support workers to adhere to mealtime plans and feeding safety protocols. As the song evolved, it became a reflection on the broader struggles faced by low-wage workers in care roles. It highlights the emotional and physical toll of jobs that often go unnoticed and undervalued, despite the immense responsibility they demand. The masseur in the song is an allegory for the overlooked nurturers.' Accompanying the song is a music video centred on a staunch delivery from singer Leith, backed up by a posse of local battlers. The posse includes members of the bands Dale Kerrigan, Cruelly, Cold Ceiling, Mullbrain, Awning, and Blunt Dog. The nocturnal scenes of under-construction Point Chevalier are stitched together with psychotic flashes of forgotten video games of the 90s, philological imagery, and hand-drawn horoscopes from 17th-century England. To be released on June 27th via Flying Nun Records and Leather Jacket Records, The Lord Is My German Shepherd (Time for Walkies) is the band's shimmering follow-up to their distinct eponymous debut in 2023 and a vibrant expression of their singular song craft. Produced by Ringlets – Arabella Poulsen (bass & vocals), Arlo Grey (drums), László Reynolds (guitar & vocals) and Leith Towers (lead-vocalist) – in Auckland at The Lab alongside Michael Logie (The Mint Chicks) and mixed by Isaac Keating at Abbey Road Studios, The Lord Is My German Shepherd (Time for Walkies) conjures mystic visions; takes raucous, unkempt yet solely committed turns, twists, and tiptoes delicately between the absurd and the divine. The Lord Is My German Shepherd (Time for Walkies) is available for pre-order now on Translucent Green Vinyl with Obi Strip and on Exclusive Flying Nun Black. About Ringlets: Ragingly bright post-punk quartet Ringlets emerged from Aotearoa's musical ether in 2021; carving out space with their distinct blend of delicate wit, grit and evident sonic technicality. With a highly durable, machine-tested rhythm section (Arabella Poulsen, Arlo Grey) and two of Auckland's leading lyrical & melodic consultants (László Reynolds, Leith Towers), Ringlets have been fast-building a solid reputation. Catching the eye of former Pitchfork editor Chris Ott, Autumn 2023 saw the band release their eponymous debut under Ott's label Mutual Skies. Produced by De Stevens (Office Dog, Erny Belle) and the band themselves, the 10-track album is a riotous and tightly sporadic introduction to this exciting musical offering from Tāmaki Makaurau. Since then, the four-piece has been sharpening their toolkit with numerous performances across Aotearoa, supporting heavy-hitting internationals such as UK indie-rockers Sorry, and seminal punk force The Damned as well as stand-out festival performances at The Others Way, Nest Fest & Newtown Festival.
Scoop
30-04-2025
- Entertainment
- Scoop
Flying Nun's Newest Signing: Ringlets Share 'Street Massage'
Today, Ringlets share the blistering new single 'Street Massage' from their upcoming album The Lord Is My German Shepherd (Time for Walkies), which will be released on June 27th. Following up the slyly-subdued 'Heavenly Wheel', 'Street Massage' leaps and bounds down crunching gravel guitar and traverses vast thunderous rhythms, stepping over shimmering strings - halting for the stop-sign stentorian vocal delivery of Leith Towers. Leith shares, 'The song is about a low-wage masseur who plies his trade on the streets of Point Chevalier. It was originally about the International Dysphagia Diet Standardisation Initiative (IDDSI), and the plight of a clinician in trying to encourage support workers to adhere to mealtime plans and feeding safety protocols. As the song evolved, it became a reflection on the broader struggles faced by low-wage workers in care roles. It highlights the emotional and physical toll of jobs that often go unnoticed and undervalued, despite the immense responsibility they demand. The masseur in the song is an allegory for the overlooked nurturers.' Accompanying the song is a music video centred on a staunch delivery from singer Leith, backed up by a posse of local battlers. The posse includes members of the bands Dale Kerrigan, Cruelly, Cold Ceiling, Mullbrain, Awning, and Blunt Dog. The nocturnal scenes of under-construction Point Chevalier are stitched together with psychotic flashes of forgotten video games of the 90s, philological imagery, and hand-drawn horoscopes from 17th-century England. To be released on June 27th via Flying Nun Records and Leather Jacket Records, The Lord Is My German Shepherd (Time for Walkies) is the band's shimmering follow-up to their distinct eponymous debut in 2023 and a vibrant expression of their singular song craft. Produced by Ringlets - Arabella Poulsen (bass & vocals), Arlo Grey (drums), László Reynolds (guitar & vocals) and Leith Towers (lead-vocalist) - in Auckland at The Lab alongside Michael Logie (The Mint Chicks) and mixed by Isaac Keating at Abbey Road Studios, The Lord Is My German Shepherd (Time for Walkies) conjures mystic visions; takes raucous, unkempt yet solely committed turns, twists, and tiptoes delicately between the absurd and the divine. The Lord Is My German Shepherd (Time for Walkies) is available for pre-order now on Translucent Green Vinyl with Obi Strip and on Exclusive Flying Nun Black. About Ringlets: Ragingly bright post-punk quartet Ringlets emerged from Aotearoa's musical ether in 2021; carving out space with their distinct blend of delicate wit, grit and evident sonic technicality. With a highly durable, machine-tested rhythm section (Arabella Poulsen, Arlo Grey) and two of Auckland's leading lyrical & melodic consultants (László Reynolds, Leith Towers), Ringlets have been fast-building a solid reputation. Catching the eye of former Pitchfork editor Chris Ott, Autumn 2023 saw the band release their eponymous debut under Ott's label Mutual Skies. Produced by De Stevens (Office Dog, Erny Belle) and the band themselves, the 10-track album is a riotous and tightly sporadic introduction to this exciting musical offering from Tāmaki Makaurau. Since then, the four-piece has been sharpening their toolkit with numerous performances across Aotearoa, supporting heavy-hitting internationals such as UK indie-rockers Sorry, and seminal punk force The Damned as well as stand-out festival performances at The Others Way, Nest Fest & Newtown Festival.
