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The Age
3 days ago
- Entertainment
- The Age
One of Melbourne's favourite falafel crosses the river to get to this southside bar
It's worth coming to cocktail bar Nobody's Baby for the crunchy-fluffy falafel alone. Previous SlideNext Slide 14/20How we score It's mid-evening, dark outside, the trams sound like applause and flash like fireworks. People – young, older, shiny, expensively rumpled – are at new bar Nobody's Baby before dinner, after dinner, for dinner or just for drinks. Speaking of, our next round of cocktails arrives: they're called Fat Bottomed Girls, after the Queen song, or maybe after me. Shaken vodka drinks in long-stemmed coupe glasses, they taste of pepper, honey and lemon with the sesame richness of tahini picking up the Middle Eastern flavours of the food menu. It's all timber and curves in here, the components built off-site in Torquay and installed in three days. Arches separate the bar area from the lounge's booths and banquettes, and the bar itself makes a broad sweep to a DJ set-up, where a cruisy guy mixes in a record by The Police (later, there's Khruangbin, and was that Hank Williams?). It's medium-loud: you're not whispering, nor are you needing to shout. My friends and I are full of falafel and love, at that leaning-all-over-one-another stage of the night. Annalisa pulls my hair back into a ponytail. 'Why don't you wear it like this more?' she asks, taking photo after photo. Emma walks in from the toilet out the back. 'There's a tattoo parlour in the yard,' she tells us, presenting un-inked arms in enquiry. Indeed, when the previous bar tenant Raindancer was here, a patron once finished a drink and followed up with a tatt. Not us, not tonight. I pick up a piece of pickled cabbage and swipe it through zhoug, a Yemeni green chilli relish. A small dog – hitherto hidden under the next table – lets out a polite bark. 'The falafel have a thick, crunchy shell that gives way to a herby, fluffy interior: it's worth coming for these alone.' What is a bar anyway? Restaurants have cocktails, bars serve food, so what actually is the difference between a bar and a restaurant (especially when the bar serves food as good as this)? For me, it's the feeling and the flexibility, rolling from drinks to eats and back again, having people join you later or peel off, the possibility of perching on a stool to ponder life with patrons and pourers alike. The team here knows all that stuff. Tim Badura and Gustavo Prince met at retro bar Joe's Shoe Store in Northcote, which Prince founded (he also owns neighbouring Pizza Meine Liebe). When they landed this place, they invited Shuki Rosenboim and Louisa Allan from Brunswick's Very Good Falafel to bring their pulse-fuelled joy southside. What a move. The falafel here, handmade using a metal press, have a thick, crunchy shell that gives way to a herby, fluffy interior: it's worth coming for these alone. But you may also fall for sumac-cured sardines on challah, roasted Brussels sprouts with pilpelchuma, a Libyan-Jewish chilli and garlic paste, or grilled whiting with harissa and latkes, a perfect assembly of sea, spice and starch. Chicken skewers and lamb meatballs are cooked over charcoal; the chicken is interspersed with plump green olives; the lamb is squished in pita with roasted onion, tahini and amba, an Iraqi-Jewish pickled mango condiment. It's simple and excellent: big flavours, sauces you'll want to swipe your fingers through, and sharp and salty enough to keep you drinking. The obvious nightcap is Baby Brulee, a whisky, Baileys and vanilla concoction with a bruleed top. Ask for it to be torched at the table, making your cocktail an event for the whole room and turning Nobody's Baby into everybody's wondrous child. Good Food Guide.
Sydney Morning Herald
3 days ago
- Entertainment
- Sydney Morning Herald
One of Melbourne's favourite falafel crosses the river to get to this southside bar
It's worth coming to cocktail bar Nobody's Baby for the crunchy-fluffy falafel alone. Previous SlideNext Slide 14/20How we score It's mid-evening, dark outside, the trams sound like applause and flash like fireworks. People – young, older, shiny, expensively rumpled – are at new bar Nobody's Baby before dinner, after dinner, for dinner or just for drinks. Speaking of, our next round of cocktails arrives: they're called Fat Bottomed Girls, after the Queen song, or maybe after me. Shaken vodka drinks in long-stemmed coupe glasses, they taste of pepper, honey and lemon with the sesame richness of tahini picking up the Middle Eastern flavours of the food menu. It's all timber and curves in here, the components built off-site in Torquay and installed in three days. Arches separate the bar area from the lounge's booths and banquettes, and the bar itself makes a broad sweep to a DJ set-up, where a cruisy guy mixes in a record by The Police (later, there's Khruangbin, and was that Hank Williams?). It's medium-loud: you're not whispering, nor are you needing to shout. My friends and I are full of falafel and love, at that leaning-all-over-one-another stage of the night. Annalisa pulls my hair back into a ponytail. 'Why don't you wear it like this more?' she asks, taking photo after photo. Emma walks in from the toilet out the back. 'There's a tattoo parlour in the yard,' she tells us, presenting un-inked arms in enquiry. Indeed, when the previous bar tenant Raindancer was here, a patron once finished a drink and followed up with a tatt. Not us, not tonight. I pick up a piece of pickled cabbage and swipe it through zhoug, a Yemeni green chilli relish. A small dog – hitherto hidden under the next table – lets out a polite bark. 'The falafel have a thick, crunchy shell that gives way to a herby, fluffy interior: it's worth coming for these alone.' What is a bar anyway? Restaurants have cocktails, bars serve food, so what actually is the difference between a bar and a restaurant (especially when the bar serves food as good as this)? For me, it's the feeling and the flexibility, rolling from drinks to eats and back again, having people join you later or peel off, the possibility of perching on a stool to ponder life with patrons and pourers alike. The team here knows all that stuff. Tim Badura and Gustavo Prince met at retro bar Joe's Shoe Store in Northcote, which Prince founded (he also owns neighbouring Pizza Meine Liebe). When they landed this place, they invited Shuki Rosenboim and Louisa Allan from Brunswick's Very Good Falafel to bring their pulse-fuelled joy southside. What a move. The falafel here, handmade using a metal press, have a thick, crunchy shell that gives way to a herby, fluffy interior: it's worth coming for these alone. But you may also fall for sumac-cured sardines on challah, roasted Brussels sprouts with pilpelchuma, a Libyan-Jewish chilli and garlic paste, or grilled whiting with harissa and latkes, a perfect assembly of sea, spice and starch. Chicken skewers and lamb meatballs are cooked over charcoal; the chicken is interspersed with plump green olives; the lamb is squished in pita with roasted onion, tahini and amba, an Iraqi-Jewish pickled mango condiment. It's simple and excellent: big flavours, sauces you'll want to swipe your fingers through, and sharp and salty enough to keep you drinking. The obvious nightcap is Baby Brulee, a whisky, Baileys and vanilla concoction with a bruleed top. Ask for it to be torched at the table, making your cocktail an event for the whole room and turning Nobody's Baby into everybody's wondrous child. Good Food Guide.
RTÉ News
3 days ago
- Entertainment
- RTÉ News
Musicians shouldn't feel threatened by AI
As a founding member and drummer with The Police, Stewart Copeland knows what it takes to make a hit. He has embraced the latest technological advances throughout his career and believes musicians should not feel threatened by artificial intelligence (AI). He was one of the keynote speakers at this year's Dublin Tech Summit, focussing on the impact of tech on the music industry. At a time when many artists are worried that AI could steal their work and even one day replace them, Mr Copeland has a more optimistic view of how technology and music can work together. "I was one of the first artists to be threatened by technology," he said. "In the late sixties or early seventies someone invented the drum box. "It was the beginning of the threat to all drummers because a machine played it better." He agrees however that the threat was unfounded. "As in most cases of advancing technology, some people are displaced and others and empowered and I think that is probably the case with AI," he said. He believes AI is a blessing for creatives. "At the moment, AI is generating lame music that people don't respond to, who knows maybe it will get better, but at the moment, the creative types who are interacting with AI are using their tastes to discern between lame and cool." Mr Copeland says there are unanswered questions when it comes to AI and copyright, but believes it will be much harder for AI to replace musicians when it comes to live performances. "The kind of artistic work I do, banging on drums, my gig is safe." "As far as recording, yes the machines sought to replace me decades ago, but as for me showing up to perform in front of an audience, I don't think they want to watch a computer." The Dublin Tech Summit (DTS25) welcomed more than 8,000 attendees at the RDS this week. Industry leaders from around the world gathered to showcase and discuss the latest developments in technology, with a major focus this year on AI. The summit is the centrepiece of Dublin Tech Week, a week-long celebration of all things tech from 23 - 30 May, incorporating both industry and community-led events, supported by Dublin City Council and major city stakeholders. "DTS25 brings global tech leaders to our island not just to talk, but to shape the future. We want to bring people together to share ideas they can actually use in their work and in their everyday lives," said Clare Kilmartin, COO of Dublin Tech Week.
Yahoo
23-05-2025
- Entertainment
- Yahoo
Beloved '80s Band Sends 'Happy Birthday' Wishes on 42nd Anniversary of Legendary Hit
One of the most unique bands to come out of the '80s is The Police. The legendary trio, consisting of drummer Stuart Copeland, guitarist Andy Summers, and bassist Sting, cemented themselves as rock legends over a run of five albums. The band produced four consecutive chart-topping albums in the U.K., and a legendary chart-topping U.S. album in "Synchronicity." That album produced the band's most successful song, along with one of the most successful tunes of the entire decade. "Every Breath You Take" is so popular, that it covers somewhere between a quarter and a third of Sting's entire income. The song is huge. Recently, The Police posted an exciting announcement about the legendary track on their social media. They wished the song a Happy Birthday after an iconic 42 years. Fans took to the comments to join the celebration and send their birthday wishes to the song. "Happy birthday, best song ever." "Happy birthday my favorite song." "Changed the rock genre forever! My favorite band." No matter how old the song is, it will forever be captivating and engaging audiences.🎬SIGN UP for Parade's Daily newsletter to get the latest pop culture news & celebrity interviews delivered right to your inbox🎬 Beloved '80s Band Sends 'Happy Birthday' Wishes on 42nd Anniversary of Legendary Hit first appeared on Parade on May 22, 2025
USA Today
23-05-2025
- Entertainment
- USA Today
Does 2025 have a song of the summer? The internet has doubts
Does 2025 have a song of the summer? The internet has doubts Show Caption Hide Caption 'Superman,' Mission: Impossible,' 'F1' and summer's must-see films USA TODAY film critic Brian Truitt releases his list of summer's must-see films. The highlights include "Superman" and "Mission: Impossible." For friend groups carpooling to the beach this summer, there may not be a consensus on song choice. While Sabrina Carpenter's "Espresso" and Tommy Richman's "Million Dollar Baby" were among the tunes considered the 2024 song of the summer, there's no such clarity this time around. Music fans have voiced frustration with the lack of clear contenders for the 2025 title, saying no song has gained the same level of momentum as Carpenter's caffeinated earworm or Kendrick Lamar's Grammy-winning diss track "Not Like Us." The public has never unanimously agreed an definitive song of the summer, an unofficial honor that drives debate every year over which artist drops the season's true anthem. Every year, listeners pick a track they feel is emblematic of summer, from The Beach Boy's 1963 "Surfin' U.S.A" or The Police's 1983 "Every Breathe You Take" to Katy Perry's 2010 "California Gurls" featuring Snoop Dogg. This year, the internet has been scratching its head trying to figure out which track will reign supreme. The conundrum only became more apparent when Spotify shared 30 predictions for the 2025 Song of the Summer, a list the streaming giant said considered "cultural expertise, editorial instinct and streaming data." Social media users not only bashed the list, but the state of this year's summer anthems as a whole. Some went as far as saying 2025 might not have any songs of the summer. A song of the summer can't be forced to emerge Wyatt Torosian, a 34-year-old marketing professional from Louisiana, said the issue stems from artists tailoring their releases in the spring, with the hopes of becoming the song of the summer. In Summer 2005, the success of Mariah Carey's "We Belong Together" was indisputable, with the R&B soul hit playing at any store you walked to, Torosian said. Yet in this era, where musicians heavily utilize social media to promote their work, he argues music simply being made with the intention of going viral. "Everyone's designing music for a TikTok algorithm, and they're not actually making music that people want to listen to," Torosian told USA TODAY. "As artists keep designing songs for algorithms, there's going to be less and less songs that even have the staying capacity to last for an entire summer." Leo Pastel, an independent R&B songwriter based in Cincinnati, said record labels are often the ones vying to have the summer anthem more than the artists themselves. He believes musicians generally haven't been making the "upbeat, bright, happy songs" that epitomize the title yet, and urges labels to just accept that. "Fans will make something, and then like the companies and the labels will pick up on it a year later and try to force it," he said. "There's not really a Song of the Summer this year and I think everyone understands that, but the labels are trying to create it." As a musician himself, Pastel said most artists know better than to force their work to be trendy, adding "anytime you try to force something, it just ends up coming off inauthentic. So it really has to come from an authentic place for it to really connect." A true song of the summer is undeniable When a track is a true song of the summer contender, it's almost irrefutable. Pastel said they're the songs that listeners can't escape from at clubs, or that they can't help but play while riding their bike. Hit summer songs were easier to identify decades ago when radio stations and TV programs had listeners largely consuming the same media at the same time, according to Pastel. Yet as streaming platforms have given listeners more control over what music they listen to, he said it takes lot more for a song to stand out amongst the masses. "It's a lot more difficult for one thing to be ubiquitous and for everyone to be paying attention to it. So I think that it'll be a lot more rare for us to see those major cultural moments like we were used to in years past," Pastel added. Kristi Cook, a pop culture content creator in Los Angeles, noted it's sometimes easier to judge a song of the summer after the season ends altogether. "It takes you back to a smell. It takes you back to a moment in time, like a piece of clothing," said Cook, who has nearly 400,000 followers on her TikTok page Spill Sesh. "Like, it just really takes you back to where you were when you were listening to that song the most. When it was the most played at restaurants or bars." Could the 2025 summer anthem could drop any moment? Many social media users have completely given up on 2025 having a song of the summer, with the exception of devoted fans championing their favorite artists' new releases. Fans of Charli XCX are even pushing for hyper-pop "party 4 u" amid a popularity resurgence, despite the song being released in 2020. Meanwhile, artists like Doja Cat, Lorde, Lana Del Rey, Lil Wayne, Miley Cyrus and A$AP Rocky are all expected to drop albums in the near future. But summer hasn't officially begun, and Cook is encouraging people not to throw in the towel just yet. "People are looking at it a bit negatively because they don't agree or they don't like these songs that are available right now," she said. "Everyone's waiting for the 'Espresso.' I feel like everyone's just waiting because they hear all these teases or they're hoping their favorites are going to drop a song." With the music world still left in suspense, USA TODAY asked Torosian, Pastel and Cook what they believe should be the 2025 Song of the Summer. Here's what they said.
