Latest news with #VeraEllen
NZ Herald
3 days ago
- Entertainment
- NZ Herald
Aotearoa Music Awards 2025: On The Red Carpet Stars Shone A Spotlight On New Zealand Fashion
Local artists showcased their love and appreciation for fashion at the 60th celebration of the Aotearoa Music Awards at Auckland's Viaduct Events Centre. Is the AMAs the most stylish night of all in Aotearoa? The 2025 red carpet might convince you. Attendees celebrating the 60th year of the awards chose pieces from both well-established designers (think Zambesi, Wynn Hamlyn, Paris Georgia) and upcoming and underground artists (Fringes, Nineteen 99 and Caitlin Snell). Beyond the show of designers, it's also an impeccably dressed crowd – ensembles, whether they're thrifted, custom or pulled from the back of a wardrobe, were a tool of self-expression. This was a talking point on stage, too. Hori Shaw, accepting his award for Breakthrough Artist, pointed to his camouflage and Crocs and said, 'I feel more comfortable like this, instead of wearing suits ...' It's unsurprising that our local artists show an awareness and appreciation for their chosen garments – they're familiar with the way clothing can propel a persona, performance or message. Nowhere was this clearer than garments and T-shirts worn by those waving Toitū Te Tiriti flags during Stan Walker's performance of Māori Ki Te Ao. Below is a snapshot of the best looks of the evening at the Viaduct Events Centre. It was a carpet full of local artists who showcased a deep care for the convergence of creativity and culture in Aotearoa. Amelia Murray began the evening in a custom Oosterom blazer dress and Bronwyn boots. Later, she changed into a glittering Stolen Girlfriends dress and fur-trimmed leather jacket to perform Cherry Pie and accept her second award of the night – for Album Of The Year – to a standing ovation. Stan Walker Stan Walker wore a black and white ensemble with a floor-length coat by Morghan Ariki Bradshaw of Fugawi. The piece features handwritten messages of encouragement. One reads: 'Knowing where we're from gives us direction'. Jujulipps Jujulipps, who has been gravitating to knit and crochet sets as of late, showed up in a grey and silver tassled set. Vera Ellen Among the coolest looks of the night was this ensemble from Vera Ellen. The painted, distressed and screen-printed dress is from slow fashion label Formula 7 and the crochet sleeves and hat are by Vivet. Mokotron Tiopira McDowell, who took home the award for Best Electronic Artist, donned a 'Land Bacc' T-shirt from Sovereign Clothing Aotearoa. Isla Noon, Jason Parker and Maude Pop artist Isla Noon is also dressed by Oosterom, cinching a white button-up with a heavy leather belt. The sheer skirt mixes lace and sequins. Musician Jason Parker dons a fiery Kowtow colourway while producer Maude opts for a mint ensemble. Tusekah Neo-soul artist Tusekah wears a simple and glamorous dress by Paris Georgia. Chaii Chaii twinkled throughout the evening in Claudia Li, walking the red carpet in a blazer that dripped with jewels. On stage, she changed into a similarly glitzy two-piece and added a voluminous tulle stole. Symone Tafuna'i and Janay Harding Reporting for music show Tahi, friend of Viva Symone Tafuna'i also donned a blazer dress – this one is by Nineteen 99. Janay Harding wore a suit by Fugawi. The cropped jacket has 'We Are Planted in The Soil Of Our Ancestors' on the back. Georgia Lines Georgia Lines began the evening in a dress from New York-based designer Lirika Matoshi but changed into a button-adorned Wynn Hamlyn dress for her performance later in the night. She also carried a gleaming silver Georgia Jay bag for both. Aaradhna Singer-songwriter Aaradhna, nominated for Album Of The Year for Sweet Surrender, wears a golden-hued bias-cut dress from Zambesi. Tami Neilson It's a reliably vibrant look from Tami Neilson, who won Best Country Artist. The skirt! The gold boots! The neckchief! Rikii Reid Riiki Reid's almost-monochromatic black ensemble is oh-so slick. The artist is wearing a top from upcoming designer Caitlin Snell's collection 'The Maiden ', which debuted in her first runway show last year. Ashy Ashy Batchelor walked the carpet in these teensy, clacky kitten heels – which were cool and bold among a parade of chunky boots. The fur coat layered over the baby pink dress is equally poised. Dān Dān Singer-songwriter Danielle Hao-Aickin, who is one half of sibling duo Ersha Island 二沙岛 and also produces music solo as dān dān, dons an entirely thrifted ensemble. The underlayer is partially hanfu 汉服 (ancient Chinese clothing) – the swirly vest and boots are both second-hand. Hollie Smith Designer and stylist Natasha Ovely, previously of Starving Artist Fund, styled this textural ensemble worn by singer-songwriter Hollie Smith. The glistening woven top is by Shona Tawhiao, of Tawhiao 7, and the jewellery is by Nick Von K. The safety pins through the tartan skirt are a deliciously punkish touch. Lorde After mentioning to fans at her impromptu YMCA performance that she would attend the awards, Lorde walked the carpet donning a strapless suit set. Expectedly, she wears the slate grey that has quickly become emblematic of her upcoming album Virgin (adding heavy chain-link bracelets and silver ballet flats). Bonus: Best Group Shot So much great fashion taste in the best group shot of the night, featuring the artists of Atomic! There's double denim, romantic sheer, leather, 70s stripes and a tambourine. Could NZ music be any cooler? More on music From red carpets to intimate profiles. The Coolest Red Carpet Looks From The Taite Music Prize 2025. Attendees and award-winners at the Taite Music Prize 2025 dressed to showcase their values and vibrancy on the carpet. What Do New Zealand Musicians Wear To Feel Their Best On Stage? From secure, sturdy footwear to breathable mesh tops and tailored suits, three music acts from Aotearoa explain to Madeleine Crutchley the function of their fashion. NZ Musician Reb Fountain On Touring, Politics, Privilege & Responsibility. Setting out to tour her sixth album, How Love Bends, Reb Fountain tells Tyson Beckett about the freedom, and weight, that comes with being an artist in and of the moment. Teeks On His New Music & Unpacking Toxic Masculinity. 'Being in touch with your emotions is not considered a masculine thing but because I was in the process of making this album I was like, 'Nah man, fuck that.''
NZ Herald
17-05-2025
- Entertainment
- NZ Herald
Listener's Songs of the Week: New tracks by Jazmine Mary, Tami Neilson, Jenny Mitchell and more
My Brilliance Recently playing among the all-star line-up of Atomic 2.0, a women-in-rock tribute touring show alongside Flying Nun labelmate Vera Ellen, Jazmine Mary is a couple of weeks away from releasing a third album entitled I Want to Rock and Roll. It comes with a cover photo which requires us to interrupt this review to remind readers that riding a motorcycle in gumboots isn't safe, and neither is smoking near a bike's
The Spinoff
12-05-2025
- Entertainment
- The Spinoff
Review: Atomic 2.0 was just what we needed
The local femme rock supergroup, reviewed in two cities. Alex Casey in Christchurch I peeped the posters for last year's Atomic concert and was thrilled by the novelty concept: some of the most talented women in New Zealand music, rocking out to the likes of Blondie, Hole, Alanis Morissette and Patti Smith for a whole night? Love a tribute band, love seeing a women-heavy lineup, love the chance to see gaggles of Christchurch ladies dressed up in their finest leather and leopard. When I made it along to the very first night of Atomic 2.0 at the Isaac Theatre Royal last week, the crowd did not disappoint. Among the typical uniform of Christchurch puffer jackets, there were people wafting about in long Stevie Nicks robes and beads, plenty of tight black jeans and thick eyeliner, and that's before we even get onto the outfits on stage. Vera Ellen's red leather pants! Boh Runga's velour jumpsuit! Dianne Swann's shaggy blonde mop! The ensemble group comprising Atomic 2.0 was made up of musical director Julia Deans (Fur Patrol) Boh Runga (stellar*), Dianne Swann (When the Cat's Away), Vera Ellen, and Jazmine Mary, backed by Karen Hu (drums), Rebel Reid (guitar), Mareea Paterson (bass), and Ladyhawke's Ilayda Tunali (keys). Swann immediately demanded everyone get up and out their seats, and by the second song ('Call Me' by Blondie) the aisles were full of people boogying. The hits came thick and fast, with songs from The Pretenders, The Cranberries, Patti Smith and even a tribute to Shona Laing. Helmed by Julia Deans in Courtney Love cosplay, there was an air of joyous chaos to the whole thing. 'Undies? No undies?' Deans asked the whooping crowd while hiking her skirt up (later, when she sat down on the stage, a cackling crowd member stood in front to cover her crotch, just in case). With a few false starts and flubs, it had the energy of a shambolic talent show – just one where the contestants happen to be the most talented people in the country. A huge highlight of the night was when guitarist Rebel Reid took the microphone to sing 'Cherry Bomb' by The Runaways. 'This is the biggest crowd I've ever sung in front of,' Reid muttered shyly, before basically ripping the roof straight off the Royal with a belting cover. It was difficult not to well up when Boh Runga stood back in wonder with her glittering water bottle to let the crowd sing most of 'Nothing Compares 2 U'. Vera Ellen strutting around the stage like Mick Jagger to 'I'm Just a Girl' by No Doubt was also an appropriate serve of fierce and silly for the current moment. Atomic 2.0 was a hugely fun night out, but it did leave me pondering a (potentially tedious) thought, especially during New Zealand Music Month. Is it a bleak sign of the times that these musicians can only fill a room this big with their powers combined and an arsenal of nostalgia covers? How many of the people in the audience would go and see them performing their own songs? Maybe the Venn diagram is two separate circles. Maybe it doesn't matter at all. Maybe nothing compares 2 seeing a bunch of women making bank and rocking tf out. Claire Mabey in Wellington I want whoever is in charge of these things to send me back as any one of the women in Atomic. I haven't seen anything so cool in ages and don't expect to top Julia Deans and Vera Ellen guitar battling in this lifetime. Or Boh Runga's black leather pants, or Dianne Swann's VOICE. My god! What a revelation. I am ashamed I didn't know more about Swann before this night of rock Wellington crowd was a woman-strong mob featuring a lot of grey hair and tight pants. My friend and I arrived in the nick of time and I felt immediately young which was a pleasant sensation given I'd eaten too many fried potatoes at Damascus just minutes before, and am not young. The show got immediately underway and I remembered why I have long harboured a crush on Julia Deans. Why is she not Dame Julia Deans yet? Even from way in the back of the stalls she exudes such energy and obvious love for her art and craft, and for the women on stage and for the songs that have inspired them. Deans is the musical director of this genius concept: cover bangers and get a whole opera house full of mostly women singing, dancing and screaming out 'You deserve equal pay!' The supergroup opened with Joan Jett and the Blackhearts' 'I Hate Myself for Loving You' which reminded me just how magnificent Boh Runga is. The pipes, the style, the presence! A massive highlight was Runga singing 'Nothing Compares 2 U' by the late Sinead O'Connor, who Runga said was one of her favourite artists of all time. It was a stunning rendition – deeply felt. There was a lot of love for Wellington's own Vera Ellen in the room. It was Ellen who roused the Wellington crowd by saying 'You know you're allowed to sing along and dance, eh? Christchurch did.' Then she launched into Blondie's 'Heart of Glass' and the gun shy horde stood up and surged forward, joining Julia Deans who'd jumped off the stage to boogie on the floor with the fans. Shout out to the group of women who wore cowboy hats with neon lights – beautiful work. For me, Dianne Swann and Jazmine Mary were revelations. Swann sounds exactly like Marianne Faithfull and pierced my very heart with Faithfull's ' The Ballad of Lucy Jordan '; and her version of Patti Smith's 'Gloria' was wild. Jazmine Mary absolutely nailed 'Zombie' by the Cranberries. I was hoarse by the end of it and had only just enough voice left to belt out 'You Outta Know' by Alanis Morrisette (sung by Deans who also did so good to Courtney Love with 'Celebrity Skin' by Hole). Vera Ellen shone in the second half of the show ('welcome to the 90s segment,' quipped Deans) with 'I'm Just a Girl' by No Doubt (Gwen Stefani really was something back in the day) and with Sheryl Crow's evergreen 'If It Makes You Happy'. It was a night of excellence – the musicians were incredible: Karen Hu was sublime on drums, Rebel Reid epitomised rock goddess on guitar, Mareea Paterson's bass entered directly to the bloodstream, and Ilayda Tunali was phenomenal on keys. Eilish Wilson on saxophone was tremendous – what an instrument, what a shirt, what a player. Going by Alex's review it sounds like this show was tighter than the Christchurch version: Atomic 2.0 Wellington was slick, it was joyful and the musicianship really shone out. After an encore of Florence & The Machine's 'Dog Days Are Over' sung by Runga, a thousand elated bodies poured out of the Opera House into the rain, impervious to the damp and refreshed by rock. Can't wait for Atomic 3.0.
Yahoo
25-03-2025
- Entertainment
- Yahoo
The flower at the root of The Delray Affair once filled 1,600 acres of farmland
Next weekend, the Greater Delray Beach Chamber of Commerce will be celebrating the 63rd year of the 'Greatest Show Under the Delray Sun' — aka The Delray Affair. From Friday, April 4, through Sunday, April 6, seven blocks in the heart of the city's historic downtown will be closed to traffic in favor of almost 500 booths selling an eclectic mixture of art, crafts and funky products from around the world. There also will be food booths, a beer garden, music and other types of entertainment, as well as sales and other specials in the shops that line Atlantic Avenue. Organizers expect more than 110,000 visitors during the three-day event, making it one of the largest arts festivals in the Southeast United States. The Delray Affair has received numerous kudos over the years, including awards from the Florida Festivals & Events Association, the International Festivals & Events Association, and America's Best Art Fairs. But many might be surprised to know that the Delray Affair is technically much older than 63. In fact, its roots lie in the long-forgotten 1947-1953 South Florida GladioliFestival and Fair. While the Gladioli Festival was originally meant to be a small-town flower exhibition with a few concessions, the event quickly blossomed into an annual phenomenon dubbed 'The Mardi Gras of Flowers.' Welcoming movie stars such as Vera Ellen (best known for her roles in 1949's "On the Town"and 1954's "White Christmas) to West Atlantic Avenue, it was a modern-day fair, with special exhibits and farm animals. The Gladioli Festival Parade was the biggest event in town, with lavish, flower-covered floats built by local businesses and clubs, and an annual crowning of a Gladiola Queen. (Fun fact: Delray Beach native Roy Simon, who died in 2024 at age 93, told the Palm Beach Post in 1992 that "one Gladiola Queen, Dorothy Steiner, became runner-up in the Miss America Pageant.") The Festival also featured regatta races on Lake Ida, a polo match at the Gulfstream Polo Club, and nightly prizes, including a deep-freezer, an automatic washing machine, a sink, and Samsonite luggage. The main attraction, however, were the gladioli, brightly colored flowering plants from Africa that were first cultivated in 1939 in Delray Beach and Boynton Beach. The gladiolus's heyday was in 1940s and 1950s, with at least 11 nurseries growing 14 varieties — making Palm Beach County the leading source in the nation for the popular flowers. By 1950, Delray producers were shipping out 2 million gladiolus bundles and paying $500,000 in annual wages. About 1,600 acres were under cultivation, producing varieties such as the salmon-colored Picardy, the magenta Paul Rubens, the delicate pink Rose Van Lima, the Morning Kiss and the Snow Princess. However, the 1950s also ushered in a shift in Palm Beach County from agriculture to tourism, with both economic and political headwinds dooming the flower-themed festival. But the event's popularity never waned. So, in 1962, community leaders organized a committee to revive it as an arts-and-crafts extravaganza. Committee members wisely decided to schedule the event later in the spring, effectively extending the tourist season by tempting snowbirds to stay until after Easter. Originally christened "Farm Products Week," the festival officially became "The Delray Affair" in 1966. For many years, gladioluses were still offered for sale on Atlantic Avenue and on the grounds of Old School Square (they were shipped in from Fort Myers), with festivalgoers leaving with handfuls of the colorful stalks. However, more recently, the flowers can only be found at the Delray Beach Historical Society, 3 NE 1st Street. The 1-acre campus also features a heritage garden and three historic cottages that house the city's archives as well as special exhibits, including one specifically detailing the Gladioli Festival — the corms from where it all sprang. Sign up for our Post on Delray Beach weekly newsletter, delivered every Thursday! This article originally appeared on Palm Beach Post: How Delray Affair grew from roots in town's 40s Gladioli Festival
