Latest news with #FarAway
Perth Now
7 days ago
- Entertainment
- Perth Now
'Pioneer': Dawson's 60 years of pushing art to the edge
At the age of 90, Janet Dawson's inner "second person" is still telling her how her art should look, even if it was something she painted 60 years ago. But in the first state art gallery retrospective of her eclectic work, Dawson says she wants people visiting the Art Gallery of NSW to see the influence of the changing natural world over her six-decade career. "(People should see) the oddity and the amazing delicacy, and hardness and softness of the natural world," Dawson told AAP. "Nature is so astonishing that it actually creates (the art)." Dawson is perhaps most well-known for being the third woman to win the Archibald Prize in portraiture for her painting of her husband Michael Boddy. The Sydney exhibition titled Far Away, So Close doesn't feature the award-winning portrait, instead focusing on the unique blend of styles Dawson explored in her career. "I try to get that feeling of things that have just come together to stay but will be all going off again shortly," she said. Regarded as an artistic rule breaker for her refusal to adhere to the limits of particular styles, the exhibition aims to highlight her immense contribution to Australian art. "She was a pioneer of a new form of abstraction in the 1960s but she's equally a pioneer of a form of realism," curator Denise Mimmocchi told AAP. "We don't have a single narrative in Australian art, she's a perfect example of that." In a career starting in Melbourne, before moving to London, Italy, Paris, Sydney, country NSW and her current home in Ocean Grove, Victoria, Dawson has always been motivated by a passion for keeping busy. "I just loved the idea of being a working person," she said. The exhibition is laid out chronologically, starting with a self-portrait of an 18-year-old Dawson and moving through four rooms to finish with work as recent as 2018. The free retrospective exhibition opens on Saturday and runs until January 18.
Express Tribune
14-07-2025
- Entertainment
- Express Tribune
South Korean actress Kang Seo-ha, 'In The Net' star dies aged 31
South Korean actress Kang Seo-ha has died at the age of 31 following a battle with stomach cancer. According to her family, Kang died on the afternoon of July 13 after her health declined during her second round of chemotherapy, as reported by A close friend paid tribute on social media on 14 July, stating, 'Despite enduring so much pain, she always worried more about others than herself. She hadn't eaten well for months, yet insisted on paying for my meals with her card, she was my angel.' Kang recently completed filming as the lead in the upcoming film Mangnae-in (The Youngest), which is expected to be released posthumously. Kang graduated from the Korea National University of Arts and made her debut in 2012 in the music video for Far Away by Brave Guys. She gained recognition for her role in the JTBC drama Seonam Girls' High School Detective Team and appeared in television series including KBS2's Assembly, MBC's Okjung-hwa, KBS2's Again, First Love, Wave, Wave, SBS's Thoracic Surgery – Doctors Who Stole Hearts, and Nobody Knows. Her funeral will be held on July 16, with the burial taking place in her family's plot in Ham-an, South Gyeongsang Province. Fans, colleagues, and fellow actors continue to share condolences online, remembering Kang Seo-ha's dedication to her craft and her kindness to those around her.
Scotsman
30-06-2025
- Entertainment
- Scotsman
Deftones release cryptic message after London show
Fans were left equal parts excited and puzzled after Deftones released a cryptic message over the weekend. Sign up to our Arts and Culture newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Deftones fans have been left puzzled after a cryptic message appeared during their London performance over the weekend. The message, reading 'private music,' looks to indicate that new material from the alternative giants is on it's way. But will it be a release later this month or a bigger release come October 2025? Despite pulling out of their eagerly anticipated performance at Glastonbury Festival , alternative metal giants Deftones wowed fans during their London show on Sunday (June 29) The band admitted that a health issue prevented the band from performing at Worthy Farm, but more than made up for it during their Crystal Palace show , but talk was more about a cryptic message that appeared on video screens both before and after their performance had finished. Advertisement Hide Ad Advertisement Hide Ad The image, as seen on social media, shows the words 'Private Music' followed by a date in roman numerals and mentioning new music: that date read which works out as 10.07.2025. Are Deftones set to release new music in July or October 2025, as fans at their Crystal Palace shows were met with the cryptic announcement? | Getty Images/X That date could be July 10 2025, however owing to how the United States usually prefaces their dates with the month before the day, that could also indicate new music could be released on October 7 2025. Should the release be a single, the July 10 date would fall on a Monday, when numerous singles see their release, meanwhile if it is indeed the October date, that would fall on a Friday - a day usually reserved for album releases. Any release of new material would come five years after the release of Deftones last album, 2020's Ohms , which peaked at number five on both the Billboard and UK album charts upon release. Advertisement Hide Ad Advertisement Hide Ad Deftones are currently completing their Europe tour, with their final show on July 6. They'll then have a break before their North American leg begins on August 22. This gap could give the band time to potentially release and rehearse new material before hitting the road again in support of whatever new material they release. What did Deftones perform at their Crystal Palace show over the weekend? According to , the band performed the following incredible set - leading to FOMO from many of us who didn't get tickets… Be Quiet and Drive (Far Away) My Own Summer (Shove It) Diamond Eyes Tempest Swerve City Feiticeira Digital Bath You've Seen the Butcher Rocket Skates Sextape Around the Fur Headup Rosemary Hole in the Earth Change (In the House of Flies) Genesis Encore: Minerva Bored 7 Words
New Statesman
18-06-2025
- Entertainment
- New Statesman
Martha Wainwright, in her own right
'Though I was a 'daughter of' twice over, doors seemed closed to me,' writes Martha Wainwright in her 2022 memoir Stories I Might Regret Telling You, recalling the difficulty she had getting her music career off the ground in the late Nineties. Wainwright – the daughter of the American songwriter Loudon Wainwright III and the Canadian folk artist Kate McGarrigle, and the younger sister of the singer and composer Rufus Wainwright – was born into a family renowned for its musicality. Yet far from the ease with which some might have expected her to glide into stardom, Wainwright found these associations worked against her. This was in 'stark contrast to the attention paid to the 'sons of' musical stars', she writes, naming 'all those boys' she hung out with in New York and Los Angeles: Teddy Thompson (son of Richard and Linda), Sean Lennon (son of John and Yoko), Chris Stills (son of Stephen), Harper Simon (son of Paul). Two decades on from that time, performing at London's Union Chapel in late May to mark the 20th anniversary of her self-titled debut album, Wainwright, now 49, is far from over this early push-back. After opening her set with 'Far Away', on which her voice retains the almost unbelievable balance of childish twee and adult gravel captured on the original recording, and 'GPT', named after Brooklyn's Greenpoint Tavern bar, she explains why it took her the best part of a decade finally to release this album in 2005. 'There was already a lot of Wainwrights in the room, and a couple of cute McGarrigles,' she says to laughs from the crowd – so the industry big shots weren't much bothered by her raw, untethered songs. How could she ever change that? Martha Gabrielle Wainwright was born in New York State in 1976. Her parents were living in Woodstock at the time, but they soon separated, and Martha and Rufus moved with their mother to her native Montreal, where they grew up in a bohemian, folkish family. Wainwright is often asked if her parents 'made' her do music, she writes in her memoir, and the answer is yes. 'But I liked it and I wanted the attention and fun of performing. I was a misfit, and often unhappy, but singing and playing made me feel good.' But she doesn't consider herself 'naturally gifted. I don't hear music in my head… I get intimidated.' No wonder, given her relatives. Loudon Wainwright (now 78) is a Grammy Award-winning songwriter of tracks that have become classics of Americana, including 'The Swimming Song' and 'Motel Blues'. Meanwhile Kate and her sister Anna McGarrigle (Kate died in 2010; Anna still lives in Montreal) are Canadian folk royalty: their self-titled 1976 record was Melody Maker's 'best record of the year', while The McGarrigle Hour (1998, featuring Emmylou Harris and Linda Ronstadt) remains a stalwart of the modern folk canon. This musical prowess continued into the next generation: Rufus Wainwright signed to DreamWorks Records when he was 22, had hundreds of thousands of dollars poured into his 'artist development' and is now a household name for his baroque pop, as well as his soundtrack and opera work. 'Growing up, I never played the piano – how could I with my brother wailing away on it day and night?' Wainwright writes. Numerous aunts and cousins of the Wainwright-McGarrigle clan are musicians too. At the Union Chapel, Martha's cousin Lily Lanken (Anna's daughter) sings backing vocals. But it wasn't just that her family all wrote and played songs; they wrote and played songs about each other – and no one was more candid than Loudon. Martha Wainwright's father was absent for much of her childhood, 'almost denying my existence', she writes. She portrays a man who instead of caring for his family wrote songs about them. When she was 14 and he was 44, Martha was sent to live with Loudon in New York City for 'a year of discontent'. His song 'Hitting You' is based on that year. Over lively guitar he recalls hitting Martha in the car when she was much younger, moving on to how he felt the need to hit her again: 'These days things are awful between me and you/All we do is argue like two people who are through/I blame you, your friends, your school, your mother, and MTV/Last night I almost hit you/That blame belongs to me.' It's brutal. A decade later, Wainwright learnt that another of her father's songs, 'I'd Rather Be Lonely' – which she'd always thought was 'a bit stupid and mean-spirited', and probably about a girlfriend – was actually about that same year with her. She was in the crowd at a Loudon Wainwright concert, having opened for him, when he introduced the next song as being about his daughter, and proceeded to sing: 'You're still living here with me, I'd rather be lonely/All the time I look around/For excuses to leave town/Everybody wants somebody, but I'd rather be lonely.' It's no wonder, then, that when Wainwright came to write, her songs burst out with a wily, frenetic energy, as though charged with resentment for her father's tunes and insistent on making their own mark. Many of the tracks from Martha Wainwright use unusual guitar tunings – 'what I thought were genius tunings,' she says at the Union Chapel, 'now it turns out they're just a pain in the ass' – a lot of piano, and rickety drums. On stage she introduces 'Ball and Chain' as a song of 'desperation, about wanting to be loved and desired', before giving in to its jangling intensity, anchored by her five-piece band. On the fan favourite 'Factory' she sings, 'These are not my people/I should never have come here,' with ferocity. Yet as the song goes on, her vocals, elsewhere hard edged, morph into a beautiful sloppiness, her vowels soft around these words as her body, too, finds an elastic effect, her legs bending and slinking below her guitar. Subscribe to The New Statesman today from only £8.99 per month Subscribe If Wainwright's assertion of being withheld the full benefits of nepotism because of her gender is hard to swallow for those of us who will never have the luxury of benefiting from nepotism whatsoever, another of her declarations is undeniable: that unlike Loudon and Rufus, her career has been held back by motherhood. Wainwright is the mother of two teenage boys, their father her ex-husband and former producer Brad Albetta, who comes off particularly badly in the memoir. In London she plays an unreleased track, singing: 'I chose my children over my career/But I still have to feed them and they are dear/And that is why we are here tonight.' Further into the song, she reflects: 'I sound more like my father every day/But I can't call him on Father's Day.' She is being at least partially comedic, the song a wink to the audience who know exactly who her father is – and that he writes about her too. All of this is, of course, part of the appeal. 'She's got her father's wit,' one woman behind me whispers, approvingly. But the song's point is potent: Wainwright is one of many women whose careers have not run as ascendant a course as they might have had they not paused to have children. That hits harder for Wainwright, given her absent father continued to garner renown as a prolific songwriter. Although her family patter occasionally feels like theatrical shtick, it ultimately lends a melancholia to Wainwright's performance, reinforcing her belief that she hasn't found proper success in the context of her family name. 'In so many ways, my career is a failure,' she writes in her memoir. It's immensely sad, because these songs are fantastic. They are jagged, raucous, yet introspective things, and live, her unburdened stage presence and full-bodied guitar-playing makes them all the wilder. Martha Wainwright was acclaimed upon its release 20 years ago, but never placed higher than 63 in the UK charts, and 43 in the US. The six albums she has released since then have been similarly well received by critics without breaking through into the mainstream. But it is a feat to sell out a 900-capacity venue, in a country that is not your own, playing a record that's two decades old. Wainwright's cult listeners don't care that Rufus isn't there to join her on her rendition of her brother's song 'Dinner at Eight' (about Loudon, of course) – yet she still sounds apologetic when she tells them so. They do, however, care for the single encore track, the rambunctious 'Bloody Mother Fucking Asshole', first released on an EP in 2005, included on the debut record, and now performed by Wainwright solo on acoustic guitar. It's the song that made her name, although she doesn't play it often any more. It is typically – and wrongly – described as a song about Loudon. Wainwright admits she once told a journalist it was about her father, which probably didn't help the matter. But really it is about the industry, about 'getting the short end of the stick' in her career, she writes – being that 'daughter of' rather than 'son of'. 'I will not pretend/I will not put on a smile/I will not say I'm all right for you/When all I wanted was to be good/To do everything in truth,' she sings, boldly and then softly. Martha Wainwright will always be a Wainwright. It is up to her whether she chooses to write like one. [See also: Keir Starmer's grooming gang cowardice] Related
Edinburgh Reporter
31-05-2025
- Entertainment
- Edinburgh Reporter
Speaking to Martha Wainwright
Martha Wainwright is about to return to Edinburgh for a special evening at The Queen's Hall to perform her debut album supporting a 20th anniversary release which includes a first release on vinyl. 'If you heard the record you were special because it was a little niche and emotive and it felt special'. The album was a long time in the making but as Wainwright explained: 'I felt a great relief because I had been working so hard. I was concerned about what was going to happen and to 'make it' or have a career. Finally, after years of effort, I flew over to England and the press showed up, the record came out and I appeared on Jools Holland. It felt all of that was not for nothing and I was going to have an opportunity to have a career in music.' The debut is a confessional singer-songwriter long-player that continues to stir the emotions, what's it like to revisit those tracks twenty years later? She said: 'I wouldn't want to tour an anniversary record for the rest of my life but a lot of the lyrics still apply or have taken on a new meaning. One of the lyrics in Far Away is 'I have no children/I have no husband/I have no reason'. I no longer have a husband and my children are almost teenagers, so in a way, it still applies. It was a period in life, the people and relationships, it was such a very emotional record and not necessarily a pop record or one that everyone knew or listened to. 'If you heard the record you were special because it was a little niche and emotive and it felt special. It was my story in the music business and I was really at a turning point or crossroads. What's a relief is that I can still easily sing the songs, they are in the same key. I'm not wrestling with the material and I'm still enjoying it.' The album contains a beautiful rendition of Whither Must I Wander by composer Ralph Vaughn Williams. He was inspired by the Robert Louis Stevenson poem of the same name and used Stevenson's verse for the lyrics. Martha said: 'My mum (Kate McGarrigle) and brother Rufus (Wainwright) would have suggestions for songs and they picked that one for me. I usually do at least one cover, they are quite important on my records. It's funny Rufus says 'We're the same age now' and I'm like 'Nope; I'm two and a half years younger'. After all the time he spent telling me what to do as the little sister I get to hold on to being younger!' Rufus also joins Martha for Bring Back My Heart on the vinyl release of a track that only appeared on certain editions of the album. She said: 'I've tried to use my brother and his name to my advantage and that includes having his talent on the records.' Being part of a songwriting dynasty does have its advantages. A memorable event was when her mother and aunt, Kate & Anna McGarrigle, were invited to record with Nick Cave and the Bad Seeds for his No More Shall We Part album back in 2001. 'It was super cool that Nick Cave had them be Bad Seeds and introduce people of our generation to them. I don't know if they knew how cool Nick Cave was and is, they were just into the music and into him and whatever he did. It was so awesome, interesting and intriguing. I think for them it was exciting to be part of an album that mattered and to be invited by Nick Cave who they were both completely in love with.' The sisters, also said to be an influence on Kate Bush, inspired a variety of artists but chose to keep a relatively low profile adding to their mystique. 'My mother pointed it out in a cool McGarrigle way (about Kate Bush), she was happy to tell me about it. I don't know if it was made clear by Kate Bush or in an article. They were so hip in so many ways without trying and that was the nature of their career. It was a little outside of the grind of the music industry and they made decisions as artists that were perhaps unconventional. They toured but didn't tour like many of us do, it was a rare thing. I think she wondered what might have happened had she gone further and dedicated herself more but for whatever reason she didn't.' Martha also starred in Martin Scorsese's The Aviator (2004) performing the great American standard I'll Be Seeing You. It was a definitive experience that included her father Louden Wainwright III and brother Rufus. 'That was really where nepotism came in handy. I was in that movie with Rufus and my father and we all do a scene each at different points.' The song was recorded in New York City and Martha was later invited to shoot her scenes in Montreal. After a long wait in full costume and make-up, she began to wonder if her scene was going to happen, at the end of a long day a sense of deflation set in. 'The next day they finally called me to do my scene, it took about 45 minutes and it was just me and Scorsese and he directed me. It was one of the greatest things that ever happened in my life.' The last time I met Martha for an interview, she had just climbed Arthur's Seat with her band for the first time back in 2005. Is it something she plans to do this time around? 'In Edinburgh that first time I got the band up to Arthur's Seat, it's always a big thing and experience to do that walk before a show.' While this tour will feature a full band she is expecting to also take the songs out on another run during an acoustic tour. 'I have to say this band is fantastic. I'll probably have to go out on the road and do this record solo to make some money but it's wonderful to come out with musicians on the first go around and recreate the music. 'We've been on the road with the record for a month in North America so we are getting really comfortable with it and we are opening up the songs and taking more liberties. The Maker has been really fun, there are some songs where you feel connected less but they can return and ring true in that moment.' Martha Wainwright will play The Queen's Hall on Wednesday 4 June Tickets are sold out but there is a waiting list. Credit Gaëlle Leroyer Credit Gaëlle Leroyer Credit Gaëlle Leroyer Like this: Like Related
