Sunday, May 10, 2020

Great Wog Boozes of the Inner West: Special lemonade, Tia Maria and Black Charlie



Extract: On the weekend after blowing some wages in a smoky Burwood TAB, dad would get together with me and cook up some bespoke alcohol. What could be more wholesome for a child than to help his father make illegal spirits?






“Well, you play that tarantella,
all the hounds will start to roar...”
Tom Waits, ‘Tango Till They’re Sore’


When I was a kid there was a whole underground world of ‘New Australian’ booze-making that I fear has disappeared.
Today when I see folks discussing their wine with sommelier-like crapulence I know I’d rather a Vegemite jar of Black Charlie poured from an old DA bottle, followed by Mrs Polluzzi’s duck egg linguine, all washed down with my father’s home-made limoncello or an espresso stained with his bespoke sambuca or amaretto.
Back in the day ‘special lemonade’ is what you used to ask for at a particular bottle-o in Strathfield, or a delicatessen in Leichhardt, and various other locations around the inner-west where you could get the key ingredient for home-made amaretto, limoncello, sambuca or Tia Maria. This was part of growing up on the edge of Sydney’s Inner  West – home-made Italian alcohol.
My father slaved away all week at a biscuit factory. First at Peek Freans in Ashfield (now the ginormous Bunnings on Parramatta Road) where he’d been tied to their wagon wheel, and later at Arnott’s – just a 15 minute walk away at dusk or dawn, depending upon the shift. We had all the Tim Tams we would ever need in the spare fridge down in the garage. The other thing the spare fridge kept, beside the odd leg of prosciutto, was booze.
Dad had his booze work-bench – an old desk he’d picked up somewhere – and on the weekend after blowing some wages in a smoky Burwood TAB we would get together and cook up some bespoke alcohol. What could be more wholesome for a child than to help his father make illegal spirits?
First of all you needed the ‘special lemonade’, which was essentially pure alcohol. Where it was distilled nobody seemed to know or care. But at around $6 for a 1.25 litre recycled-lemonade bottle of it, from which you could blend three or four bottles of liquor, it was good value.
Once you’ve got your alcohol base you grab your flavouring agent. These came in the form of little packets not much bigger than a box of Redheads called La Strega (The Witch). The Redheads comparison is appropriate as traditionally redheads, especially ones with green eyes, are considered witches in parts of southern Italy. La Strega packets had the classic hag-witch visage on the cover. Looking for these distinctive boxes as you perused a deli, bottle-o or shoemaker was one way of knowing whether or not this establishment might have ‘special lemonade’ under the counter.
Now you have your main ingredients you get yourself a pasta pot, fill it with boiling water, and stick a shitload of sugar in it. Half a supermarket packet, or something like that. My dad was usually availing himself of the spirituous produce of previous cooking sessions during this mixing process – measurements were intuitive, to say the least. However my father assured me that as a professional biscuit factory boilermaker he knew what he was doing. The Di Fonzos, after all, had survived the war through their alcohol-making talents. My father still relates the tale of how as a child on my great-grandfather’s vineyard in the Abruzzi mountains during World War II, when the occupation by first German and then American troops meant the staples of life were in short supply, he would be sent by his nonno to the chef of the occupying army of the day with a jar of Di Fonzo home-made grappa. The army chef would always readily barter for with ingredients from the army stores. Money might talk but in times of war a good shot of grappa screams.
Back at the work-bench you’re dissolving your shitload of sugar in your pasta pot of water boiled in the grease-stained garage kettle. Now you’re reading to mix in a portion (maybe a third or quarter) of your ‘special lemonade’ and then pore it all into a bottle. Preferably an old Galliano, whisky, cognac or at least wine bottle.
However as production increased, and with the introduction of Black Charlie wine (who we will touch upon later) such bottles would run dry, so my father had, in a moment of full assimilation, bought himself a beer bottle capping machine from a home brew shop. He wasn’t averse to an ale himself, especially after working on the house or yard, his shirtless back peeling layers of burnt skin in days when we never knew the word sunscreen. Empty longnecks were always around.
If he ever ran short he could shout over the fence to Mr Polluzzi who always had a ready supply of empty Resch’s DA (Dinner Ale) longies available. Dad joked that a lot of ‘New Australians’ bought DA because it was the easiest one to pronounce. He had a lot of lines like that.
Along with one-liners he had the odd song of his own he used to sing. He didn’t believe in having a radio in the car, they distracted from driving (of which he still boasts an unblemished record despite his cabby years). Hence our fire-engine-red Holden Belmont forever had the plastic radio compartment-cover sealed tight like it was the day in 1972 when we bought it down Parramatta Road. If music was needed on a drive he could pump out his infamous ditty about my Irish-Australian mother. All were encouraged to sing along with this delicate tarantella that went…

“Yackety-yack, blah-blah, blah-blah.
Yackety-yack, blah-blah, blah-blah.
That’s all I hear all day.
Yackety-yack, blah-blah, blah-blah.” (repeat till bored.)

Naturally he meant it all in a loving way.


So now pour your sugar, alcohol and water mixture into an old bottle and choose your La Strega flavour packet. Sambuca was the reg
ular go-to, followed by Amaretto. Among others we tried were the whisky flavour, which created what was to this day the worst whisky I’ve ever tasted. Best do like a band at La Gondola Reception Centre in Five Dock and stick to the trad Italian numbers.
Of course if you’re making limoncello, arancello or Tia Maria a different process takes place. For limoncello you replace the water with freshly squeezed lemon juice, no La Strega necessary. Arancello is the same thing but with oranges. My father insisted on only home-grown lemons or oranges from our backyard, which meant braving the heat, spiders and stink-bugs whilst picking them.
Likewise Tia Maria involved replacing the water component with espresso. What with the strength of the alcohol, which I would estimate at around 50%, and the espresso coffee, the Tia Maria hit you like a speedball with your body not knowing whether it was coming or going.
There were no preservatives in the limoncello or arancello. Hence a worrying skin of mould sometimes grew on the citrus pulp floating atop if cellared, or rather garaged, for long. A good shake of the bottle hid this from any guests and my father assured me once again, as a professional biscuit factory boilermaker, that the alcohol levels would be more than enough to kill any pesky fungus.
My father insisted that all his spirits be aged for at least 15 minutes, sometimes longer. This aging process was measured by my father puffing on a Dunhill red whilst using the never-washed garage knife to slice prosciutto or secure an anchovy.
A nice shake of the bottle, and some chilling in the case of limon or arancello, and it’s ready to be given to the first person who sets foot on the property. My parents are now in their mid-80s and too old for such shenanigans. But until these last few years no one could visit Conway Avenue without taking home a few bottles of home-made sambuca, amaretto or limoncello after a fine tasting and a meal that would bloat a boa constrictor. And perhaps a bag of slightly-askew factory-reject Tim Tams.  


The other bottling involved the aforementioned Black Charlie. Once a year my father and uncle would drive out to Liverpool to visit an old Sicilian known as Black Charlie who made the best vino, out there in semi-rural suburbia. There seemed a theme, even at Homebush Boys’ High, of Italians of Sicilian heritage being nicknamed ‘black’ because of their darker skin. There’s a joke from a Tarantino script there but I’m not touching it.
Black Charlie made his plonk on his farm probably not too far from where the Milat brothers sheltered from their Croat father’s beatings. in a farmhouse with no door or window facing the street. Perhaps the Milats drank Black Charlie? If so I wouldn’t hold it responsible for anything. The Tia Maria on the other hand…
According to my father, every Italian in Sydney knew when it was time to make the long, hot drive out and pick up a couple of barrels of Black Charlie. There was Black Charlie red and Black Charlie white. Nobody seemed to know or care what kind of grape it was. Following the European geographical system they would both be termed  ‘Liverpool region’ in style. Personally I can’t imagine the fine burghers of Mosman ever arguing over the pros and cons of a room-temp Warwick Farm versus a chilled Casula.
The barrels were around 50 litres and looked like the barrels industrial cleaning chemicals came in (I’m sure it was all perfectly sanitary). And this is really where the beer bottle capper became necessary – the wine had to be sucked through a tube and then into a DA bottle on a non-liquor-making Sunday, just as God intended.
In later years, when I visited my olds they would give me bottles of Black Charlie which I enjoyed taking to parties in Newtown just to see people’s reactions to its taste. You either loved it or hated it. It’s what wine must have tasted like in the days of ancient Rome when it was drunk in lieu of the filthy water, and when there were no such things as preservatives, chemical flavourings and health regulations regarding feet. It was basically old grape juice, and that’s pretty much what it tasted like, but you could feel the devil alcohol dancing underneath.
People still ask me at parties when I can get another bottle of Black Charlie or my dad’s limoncello. They say they never tasted anything like it before or since. I think they mean it as a compliment, but sadly Black Charlie has gone to the great vineyard in the sky. Dad’s still alive but his Holden Belmont was sold a few years ago as his days of driving and cooking liquors are behind him. The car was in great nick, having been garaged for most of its 40-odd years. I’m sure it was the only Belmont sold with its radio-compartment still sealed, the faint echo of a politically-incorrect tarantella forever echoing through the seats.

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Tuesday, October 18, 2016

benitodifonzo.com has been updated...

All my latest projects, such as the hit show "Hidden Sydney," which has received a second season after glowing reviews, and our Sydney Fringe 2016 hit "The Giant Worm Show," which recently received a grant to travel to Adelaide Fringe Festival 2017, have been added to benitodifonzo.com, as well as my show from Adelaide Fringe 2016, "Noir Revue," so go now and click through. You know you want to...

Click the screenshot below to go there...


Friday, March 04, 2016

“Will Sydneysiders Soon Have To Declare Themselves Cultural Refugees?”


 
Victorian Premier Daniel Andrews recently tweeted, “Lockout laws. Compulsory IDs for cyclists. Next they'll be handing out floaties at Bondi beach.”

So will Melbourne set up camps to accept a flow of cyclists, musicians, hospitality workers and, essentially, anyone from Sydney who thinks there's more to life than driving an SUV from your suburban home to your 9-5 job, getting an early alcohol-free night, and then going a little crazy at the casino on the weekend? This appears to be the Sydney that Casino-Mike Baird wants to make, and he's succeeding.

First they brought in the restrictive anti-entertainment laws. Want to go to a private party? Tough, bottlo closed at 10pm. Want to go out to dinner after a show? Tough, bottlo closed at 10pm. I'll just get a kebab on King Street then? Nope, can't even do that. Want to see a band? Nope, all the venues have been shut down because of restrictive licensing laws. Want to ride your bike safely through the city? Get ready for ridiculous anti-cycling fines, or risk your life in streets where Casino-Mike has ripped up the bike lanes. Anyone who has ridden a bike in Sydney knows that, due to the dire lake of cycling infrastructure, one has to pop onto the footpath in various places for fear of being an easy target for the killer machines that have hijacked our highways. But do that now and you could get a fine equivalent to many people’s weekly pay-cheque! And riding on roads of the inner-west will only get more precarious if the travesty that is WestConnex waddles in. Essentially, safe cycling is now illegal in Sydney. Likewise wanting a bottle of wine with your dinner after 10pm. Likewise taking a drink to a private party. Likewise wanting to run, or work in, a live music venue.

Casino-Mike Baird is killing Sydney, and for people like me Melbourne begins to look like the only safe haven. Writer-performer, and former Simon Townsend's Wonderworld reporter, Wednesday Kennedy used the term 'Cultural Refugee' to describe why she felt the need to leave Australia during John Howard’s Prime Ministerial reign. The idea that one's cultural values were not only disrespected, but actually trampled upon, to the point where one's home becomes unliveable. I don't want to belittle those who are refugees in fear of their lives. I am not in that category - I can stay alive in Sydney, as long as I don't try and express or experience my culture. Nonetheless I'm beginning to feel like a cultural refugee. I can't ride my bike, I can't see a band, I can't even buy a bottle of plonk FFS! And of course, as someone who has often supplemented my meagre artistic and writing income by climbing over to the business side of the bar on occasion, my chances of work diminish with every venue that shuts down, seemingly daily.

What can I do? Will the Victorian government welcome us as we stream across the Albury-Wodonga border towards the promise of cultural freedom in Melbourne? Premier Andrews seems to understand our fears. Or do we just need to fly out of Oz altogether?

I don't want to leave Sydney - I have a life here, and furthermore a really good, rare deal on my flat, but when the sirens begin to wail, and you know the Casino barons’ brown-shirts are on the streets baying for miscreants like you, and you're stuck, unable to move for fear of fines or just having every option shut down in front of you, what can you do?

Saturday, August 23, 2014

Kinives, & Newtown - an unpunctured-prosepoem...


I awoke at 8 and was edgy, but then she seduced me (not that I put up a fight) and I fell back to sleep like the cliché I am, then it was 11am, I’d been snoring apparently, so I jumped out of  bed, put on my clothes from the night before, cut a slice of hard cheese on the counter, then put a pear in my pocket, and bid farewell, and I was off, into a storm-cloudy King St on a Saturday, where the streets were full of suburbanites on holiday, mixing with inner western freaks, and yuppie bankers who had bought in, and a women said she didn’t know the way, but if they were in Paddington she would (though I don’t know where they were going) and then I caught the bus outside the gay chemist by the Martin Luther King mural and at the next stop, bus packed for a Saturday, a local bag lady got on, and I was glad, because it felt like old Newtown, she had a dirty ocelot-print blanket around her and hair like a share house bathmat and she smelt like a week on the street and it was a gorgeous aroma within it’s context and she asked the driver pleasantly for a ticket to Broadway, and handed over $10 and because it was the weekend he didn’t tell her she needed a prepaid Oyster or Metro-Ten or some other inconvenient crap designed to make public transport less attractive and out of the reach of the poor, but I’ll get off my soapbox, because behind her, in delicate juxtaposition, was a family of three, and the father asked awkwardly if the bus went into the city, and he said, Yes, and they were a little freaked-out having stood behind ocelot print lady, but they got on, again with cash, and danced past her, she was sitting behind me, I could tell, and then I got off at the pool and did a quick 25 min swim, to sweat out the vino and relax the muscles for drum practice at home that arvo, and cool the nerves so as to freak-out just ever-so-slightly less about ‘that’ play, and about the conditions of my casual day gigs (one of whichs [is that a word?] conditions had candidly soured that week, boohoo, yeah) and it was the worst time to be at the pool because one side was taken up by seniors aquaerobics, and another by kiddie swim lessons, and ran into a friend, Glen, and other breeders whose morning (well, it was midday now) was ruined by sitting next to a pool watching their sprogs paddle, but there were three lanes in the middle, and I got in one, and as I swam I thought about how juicy that pear was that I had eaten from my pocket on the way, and would it be late enough to jump straight to lunch, bypassing breakfast - a nice, hot curry perhaps - and I was halfway through my 25 min swim and then before I knew I was under the shower and then the change rooms where nobody looks at one another, awkwardly (this seems an awkward planet for many people) and back out under the darkening sky on the bridge towards Abercrombie Street it was starting to rain, and I ran into old compoetriate, Tug, and my godson, Rock, and they were retreating from tennis against a wall, what I would have called two-touch as a kid, but done with a soccer ball, and they seemed not to know what I was talking about, but they offered a cup of tea as they climbed towards their garage door but I was in a rush to get home, for lunch/breakfast, and coffee/tea (as I’d not had that yet either/either) so I strolled through Redfern, which was looking more and more like Newtown every day, but that’s OK (as long as my rent stays stable) and noticed that the Newtown Vodafone shop had moved there, and seeing as my phone had been playing up and I was out of contract, I dropped in, but there was no shop assistant, and I waited another five minutes, spending the time trying to tell the difference between the seemingly identical phones (in fact they all looked the same as mine, which was shit, so why would these be any different?) and after briefly considering ripping off all the display phones (although they were probably just shells, and empty) I left, and things where uneventful (even more so) until I was walking through Australian Technology Park (what a ridiculous name for an old train works) and there was an enormously portly (OK, fat) man waddling towards me and I said, Hello, as we passed (rather uncharacteristically, perhaps I was still drunk? unlikely considering the swim, but I digress...)  and the portly man nodded and said, much to my surprise, Are you going to look at knives? And I stopped, and said, Excuse me? He said, Are you going to look at knives? I said, No I live around here, I’m going home, Oh, he said, OK, because if you were I was going to offer you my ticket, and I realised there must be a knife show in the old carriage sheds, a trade show sort of thing, but for knife makers (knifesmiths?) so I smiled and said, That sounds kind of odd out of context, and he just looked at me awry (though not awkwardly) and turned and waddled off towards Redfern Station, and that’s when I saw the sign alerting me that that there was indeed a knife show and I thought, why not, so I went into the old metal-works bit at the beginning of the Eveleigh-side of the old train carriage works (where my grandfather on the Irish side had once worked, and which I live next to) and I watched a blue-overalled blacksmith (knifesmith?) lady stick a metal pole into a gas-fired furnace and then pull it out and bang it down with some kind of foot pedalled industrial hammer straight out of a 1950s Warner Bros cartoon where the anthropomorphised hero or heroine would be getting crushed, and then another dude, older, perhaps her dad (because we like to think of quaint trades-people as family, and ignore the horrible TAFE course they probably met at) and he was banging some metal bit into a fire-place poker type thing and I thought, Oh, that’s how they make knives and shit. Makes sense. 
 
PS: it appears I left my swimmers at the pool...
PPS: next day, picked up swimmers from Sydney Uni pool where they'd been put in a box in the basement with a tag that said, "Vinito - will pick up Sunday"

Thursday, August 21, 2014

Molly #35: unpunctured prosepoem about a shit park in St Peters...


I woke her at one in the afternoon, and she still couldn’t talk, but I’d brought her lemonade and soup, and then we finished her articles and while the sun was still up I dragged her into the light (what there was of it) and we examined the Indian and Fijian markets of the Paris end of King St, (true), then we wandered through St. Peters where we found a secret café and yoga and salsa studios before settling in an ugly suburban park, where the oval was closed and flooded and a father and daughter played basketball on the saddest court you’ve ever seen and dusk came on and people walked home from shit jobs and I climbed over a dumped TV and sat on a filthy water tank with a rainbow behind me and recited a poem about how shit this park was (accompanied on a Hohner harmonica) as the trains rolled by and the planes flew over and the dogs shat steamy on the field and she laughed a sexy pneumonic laughter, and then it started to rain so we hid in the greasy 80s canteen and then we strolled up the back streets and looked at houses we wished we could afford to rent and bought some Fijian accoutrements and then we got home and did more work on the articles and opened the wine from the night before and everything was perfect. She took her antibiotics and we watched a documentary about dwarves. Then I walked home. Who needs a vacation? 

Friday, June 21, 2013

BenitoDiFonzo.com goes live!

Benito Di Fonzo's new website is now live at www.BenitoDiFonzo.com

Whilst Benito will be maintaining this blog be sure to go to BenitoDiFonzo.com to a fuller overview of Benito's latest and greatest schtick.


Monday, September 10, 2012

Benito sailing down the Amazon.com

NOVELISATION OF THE CHRONIC ILLS NOW AVAILABLE FOR ONLY $2.99 ON KINDLE, BARGAIN!


Go to

http://www.amazon.com/Chronic-Robert-Zimmerman-Dylan-ebook/dp/B009243DCM/ref=la_B009296KS6_1_1?ie=UTF8&qid=1345942343&sr=1-1

or just search Benito Di Fonzo on Amazon

Saturday, August 04, 2012

STAGES, 2SER-FM SATURDAY AUGUST 4TH. This week Benito Di Fonzo talks to Mitchell from Simon Stone's Ingmar Bergman adaptation "Face to Face" (STC), and Shannon Murphy Director of "Circle Mirror Transformation" (Ensemble). Also reviews of "A Hoax" and "Punk Rock" by Regina and Trisha. Produced by Regina Botros. https://www.facebook.com/stages.twoserfm (http://www.2ser.com/shows/stages)

Monday, April 02, 2012

CLICK HERE TO GO TO BENITO AT 2012 SYDNEY WRITERS' FESTIVAL

YES, THE FATHER OF FONZO JOURNALISM WILL BE WAXING LYRICAL AT THE 2012 SYDNEY WRITERS' FESTIVAL. AND YOU CAN GO! AREN'T YOU LUCKY?

Saturday, November 12, 2011

Benito & Gerri host a roundup of this week in Sydney theatre (with Benito even panelling this time.)

Monday, November 07, 2011

Newtown Cheat Sheet

Ciao Magazine (http://ciaomagazine.com.au/) recently asked me to do a Newtown for dummies type piece in the lead up to the Newtown Festival this Sunday November 13th (where I will be MCing the poetry event in the Writers' Tent at 11am.) If you can't read it my own (unedited) copy is below.



Ciao Magazine’s Cheat Sheet to Newtown.
by Benito Di Fonzo.

“I never knew where I belonged … [but] on King Street I’m a king…”
John Kennedy’s Love Gone Wrong, 1985.

Newtown essentially squeezes Melbourne into a suburb of Sydney’s inner west, sans the climate of course.

Victoria Park Pool, where we will begin our tour, has been referred to by locals as Newtown Beach with it’s musicians, artists and nearby Glebe backpackers sunning themselves amongst the summer ants. Some argue Newtown begins here outside Sydney University, although it is literally Darlington. More correctly Newtown begins at Gould’s Books. Here at what is now pricier North Newtown, Socialist activist extraordinaire Bob Gould spent many a decade eyeing loose-fingered students lost amongst the aisles searching disordered piles for their own cheat sheets, perhaps pocketing some vintage porn in the process.

Now walk on, trying to forget what you said to that dame at the Jeff Duff gig at The Vanguard as you stumble past it, and grabbing one of Sydney’s friendliest falafels from Rowda Ya-Habibi. If you’re pedalling get your bike checked at Cheeky Monkey as you gaze down the majestic Moreton Bay Fig-lined Georgina Street at the once grand homes of Colonial gentry, now trophies for lawyers.

You’re hovering around the 1980s artist’s collective Alpha House, now commercial apartments (Alpha’s residents pushed to South King when it was redeveloped). You may want to grab a quick hair clip at Noddy’s On King whilst here. It won’t matter how it comes out because in Newtown you’ll probably be donning a dead man’s fedora. You can wander to the nearby St. Vinnie’s but your chances are better at C’s Flash Back, next to the neat little vegetarian restaurant lined with Buddhas.

Time for your first beer since the Lansdowne, so have one at the Marlborough. This formerly grungy hole for locals is now more for tourists, but it’s close to RPA if you feel the need to get your liver checked. Likewise a little further south the Coopers, formerly The Coopers Arms, formerly The Shakespeare. The ‘Shakey’ was once riddled with local musos (The Whitlams’ Tim Freedman still lives a few doors down if you’d like a refund) with a lobster ($20) grabbing one a ‘foil’ of grass in the back room. The Coopers is now glitzier and more law abiding. However local artist Val Nart’s King Street mural (which legend says he painted over many months for beers) still adorns a wall of the roofless upstairs bistro, old windows giving a fine view of the wildlife.

Some pubs look like they’ve raided Fox Studio’s props department for their outfitting. Kelly’s Irish Pub for example, called by locals The McDonald’s Pub as it is on the site of that rare thing - a McDonalds run out of town. Likewise the ZanziBar (formerly The Oxford) looks constructed from leftovers of a Baz Luhrmann remake of Lawrence of Arabia. The Bank Hotel is more Moulin Rouge upstairs now than the tough Islander bar of past days. However The Town Hall Hotel (AKA The Townie) whilst losing it’s heritage horseshoe bar, still remains largely a locals’ late-night hole of choice, with bands several times a week and a great view of the camel toe of King Street and Enmore Roads. The Sando also, which lost it’s way during the Pokie plague, has under the steerage of Tony Townsend become one of King Street’s best music venues, with headliners playing upstairs and free bands downstairs. Let’s stop and have a cheap Sando Lager and catch Australia’s sloppiest band The Hoo Haas, fronted by dishevelled local painter, reprobate and Newtown cafe addict Phil Ricketson.

Speaking of caffeine you’ll need some by now to soak up the alcohol. You’re nearby Buzzzbar, with it’s regular exhibitions, but why not sit outside Corelli’s across the road, a much loved haunt of those who wile away whole sunny days over frappes.

Speaking of musicians it’s important to note that, like New York cabbies, King Street buskers will be expecting their share of your change - be it locally raised Ilya and his crew scat-hip-hopping over live loops, or Maddox the bearded jazz bassist killing time between gigs. Your change may take them down into the dark centre of South King street, the feral end most tourists avoid. Grab pastizzis at The Maltese Cafe, a show at Newtown or New Theatres, some kitsch at Faster Pussycat, or bands at The Union, behind which hungover artists count change in communal gallery, studio and hovels of the new Alpha House to get them to The Botany View for beer and Rockabilly.

You’re more likely to find affordable ironic 70s body shirts and 50s fedoras down here, as well as the better of Newtown’s ubiquitous Thai restaurants.

You could even grab a guitar from Pete’s Musicians’ Market and some concoction from the Happy Herbs shop and join the buskers!

Newtown ends as it began, in a park, this time the smokestacks of Sydney Park beaconing the deadly Hume and St. Peters.

The alternative route from Newtown Station would take you up Enmore Road for a show at Notes, Enmore Theatre, or The Sly Fox. Perhaps one of Ali’s fine pide at Saray’s, or a classier meal amongst candlelight at Banks Thai or from New York trained local chef Sophie at Pickwick’s.

New mini bars such as The Green Room Lounge sit alongside bizarre op-shops such as The Cat Protection Society’s.

After grabbing a book from Better Read Than Dead, Berkelouw's, Art On King, or Gould’s, best to end your sojourn by veering off King at Newtown Square (dodging Hare Krsnas and ad hoc flea markets) and head up Australia Street. Grab a long-neck at the Courthouse Hotel, then wander through Camperdown Park (where Newtown Festival will be gated) for a traditional drink in St. Stephen’s cemetery. Poets like the late Michael Dransfield scribbled here, reclining under the ancient Moreton Bay, or the grave of Eliza Donnithorne (Dickens’ inspiration for Great Expectations’ Miss Havisham.)

'As night falls you’ll be accompanied by a murder or emos or perhaps resident poltergeist Bathsheba Ghost who has haunted the cemetery since 1848. The former head nurse was once described to Florence Nightingale as a “Sluttenly alcoholic.” She fits right in on King Street.

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BREAKOUT BOX
Tribes of Newtown (in chronological order)

- The Ancient Greeks
Newtown was reputedly named after a 19th Century tailor on the ZanziBar site called New Town Fashions, but it was the Greek migrants of the 1950s that gave Newtown it’s cosmopolitan feel. The Greeks began moving out in the 80s but wisely kept the leases. Aside from a multitude of houses they still own sites such as The Hub, The Cyprus Club (with it’s backgammon basement) and the tram sheds behind Newtown Station. The sheds and station are being developed into shops and flats so no doubt alleged familial bickering over The Hub will eventually end. There are even still a few, formerly illegal, Greek card clubs.

- The Students.
Newtown’s locality to Sydney University has always drawn students to it, creating the basis for a share-house culture of bars, bookstores, bands, and op-shops. They grow into yuppies, or never grow up and become artists.

- The Artists & Ferals.
With the late 1980s gentrification of Surry Hills artists and their ilk moved west for cheaper rents. Warehouses such as Alpha House and share-houses became their garret-studios. The colour, excitement and vibrancy of these alternative life-stylists combined well with the Mediterranean feel, making Newtown Sydney’s Bohemian epicentre.

- Young Urban Professionals (Yuppies)
Ironically, by the end of the 20th Century the cosmopolitan bohemianism created by decades of poor migrants and artists made Newtown a smart investment. The accompanying rent rise, and Pokie plague, meant that many of those that had given the area it’s unique flavour were driven to Marrickville, Redfern or Melbourne (AKA Mexico or Shelbyville).

Perhaps continuing gentrification will make Newtown unrecognisable in coming decades, but the migrants and bohemians will just be somewhere else by then, waiting for the real estate agents to follow.

Monday, July 18, 2011

Artists, Exhibitionists and Underbelly Rediscover Sydney's Vicious Razor Gangs (CNN Go)







This article was commissioned by CNN Go and originally appeared at
Razorhurst | CNNGo.com http://www.cnngo.com/sydney/life/mums-word-razorhursts-female-gangsters-145199#ixzz1SQHq1gr0 (click blog post headline to go to the CNN original)



Mum's the word on 'Razorhurst's' female gangsters


A play is being staged in secret in former sly-grog shops and brothels around the inner city, as a book, TV series and exhibition see unprecedented interest in Sydney's sleazy days gone-by


By Benito Di Fonzo 3 June, 2011

The stylish East Village Hotel in Darlinghurst has gone up in the world since it opened in 1918 under the name that still adorns its façade, “The Tradesman's Arms.”

It was an underworld criminal capital in a time of partial prohibition. After the introduction of strict anti-gun laws, gangs fought for control of the sex, cocaine and sly-grog trades with cutthroat razors. Inner city Kings Cross, Woolloomooloo, Darlinghurst and Surry Hills were collectively termed “Razorhurst.”

It was a time when female gangsters, Kate Leigh and Tilly Devine, lorded it over their respective bootlegging and brothel empires.

The notorious 1920s and 1930s era is now receiving unprecedented, retrospective attention in Sydney.

A play, "Mum’s In: Stories from Razorhurst," is due to begin in the former sly-grog shops and sex dens around the inner city. True to its underworld content, Sydneysiders have to unravel the secret venue from the Internet and give a password to enter.

This year’s Underbelly TV series will be based on Larry Writer’s book, "Razor." A photographic exhibition from the era is touring and even an opera is rumoured.

The Six O’clock Swill

The Tradesman’s Arms was once, as Larry Writer records in "Razor": “A bloodhouse with sawdust on the floor to soak up the spit and vomit.” It was populated by “prostitutes, pimps, pickpockets, muggers, con men, SP (starting-price) bookies and drug dealers.”

At sunset, things grew ugly. Temperance movements, unable to achieve full prohibition like their American counterparts, had nonetheless convinced politicians to enforce a six o’clock closing rule -- resulting in the infamous "six o’clock swill."

“You could buy as many beers as you wanted before six o’clock,” explains playwright, performer, singer and songwriter Vashti Hughes, who performs in the upcoming "Mum’s In: Stories from Razorhurst." “At quarter to six you could say I want 10 schooners and they’d sell them to you, and then you’d have to try and skol them because they would kick you out and shut the doors at six.”

Anyone not content to follow church leaders’ suggestions and use early closing to spend more quality time with their families, or for those who didn’t have families, there was a huge hole in the market.

“People wanted someone to kick on to,” says Hughes.

The Female Gangsters


Notorious hooker Nellie Cameron, photographed by police on July 29, 1930.

Kate Leigh escaped to Sydney from her abusive family in Dubbo at the age of 10. Tilly Devine was a London prostitute by the age of 12 before emigrating "Down Under" with a Digger who claimed to own a kangaroo station.

The women became two of the wealthiest, powerful and most ruthless people in Australia.

Kate Leigh operated a score of illegal "sly-grog shops" during the 1920s and 1930s across “Razorhurst.” Tilly Devine became a brothel matriarch.

"Mum’s In." (That’s the password)



Vashti Hughes (and only Vashti Hughes) stars in "Mum's In: Stories from Razorhurst."

Leigh and Devine are two of several characters Hughes will bring back to life in her one-women show "Mum’s In: Stories from Razorhurst."

Hughes will embody in monologues and songs (co-written with partner Ross Johnston) the lives of Sydney criminals. Sly-grog queen Kate Leigh, brothel matriarch Tilly Devine, Sydney’s most sought-after prostitute Nellie Cameron, as well as the equally ruthless Frank Green and leader of the Darlinghurst Push razor gang, Guido Caletti.

Hughes will be staging her show amidst Tilly’s former brothels and Leigh’s sly-grog shops. In keeping with the underground nature of the original venues, audiences will have to find the location via a website (www.mumsin.com.au)

Upon reaching the door they will have to give the traditional password, "Mum’s in" before being allowed entry and sipping their first jam jar of sly-grog.

Hughes won’t be shying away from that violence either.

“It is comedy cabaret,” says Hughes, “but it’s got a lot of grotesque violence in it. Comic grotesque violence, with songs.”

Those who turn up in 1920s and 1930s clothing will receive a discount, which is appropriate given that both Tilly and Kate were seen as exotically glamorous in their time. In fact when Kate Leigh was arrested at the Melbourne Cup, her rich furs and jewels received as much attention as her crimes, and Tilly Devine was reported to wear twice as many rings as she had fingers.

Razor

Hughes is not the only artist pouring life back into the anti-heroes of depression-era Sydney. Australian TV screens will soon be awash with "Underbelly: Razor," the Nine Network’s adaptation of Larry Writer’s non-fiction "Razor," first published in 2001.

“To have two women crime bosses who were so tough and so ruthless ... They clawed their way up to the top in a hard man’s milieu,” says Larry Writer in "Razor," “They had to be tougher, smarter and nastier than the male of the species.”

Writer puts this renewed interest down to the death of the cultural cringe concerning our criminals.

“For so long,” says Writer, “there has been a feeling that our criminals and our heroes could not be as interesting as those overseas. All of a sudden there’s a realisation that in Tilly Divine and Kate Leigh and Guido and Frank we have some really wonderful characters."

"You can walk down Palmer Street, you can walk around Kings Cross, and though a lot of it’s changed, a lot of it hasn’t.”

Femme Fatale: The Female Criminal


Nerida Campbell, curator of the Justice & Police Museum’s nationally touring exhibition, "Femme Fatale: The Female Criminal," feels Kate Leigh and Tilly Devine may be perceived as being crueler because of their sex.

“I think society’s expectations of them were so much higher because they were women. They were expected to be feminine [but] these women were ruthless and violent.”


A journey into Sydney's sleazy foundations


“Mum’s In: Stories from Razorhurst,” 8 p.m., June 8–11 and June 16–18. Contact "Mum" at www.mumsin.com.au for secret Darlinghurst location. $30/$20 for those in 1930s attire –- cash only at the door (just like the old days).

Pan Macmillan will publish the “Underbelly” tie-in rerelease of Larry Writer’s “Razor” in July.

“Underbelly: Razor”
is scheduled to air on Channel 9 in September.

“Femme Fatale: The Female Criminal”
is touring nationally until June 2012. See www.hht.net.au for locations.

Thursday, May 19, 2011

Benito talks with Simon Stone and Thomas M. Wright re "Baal" at the STC for CNN Go


Below is the unedited copy of an article I wrote for www.CNNGo.com
The edited article originally appeared at http://www.cnngo.com/sydney/play/perverted-drunkard-murderous-monster-sydney-theatre-company-brings-baal-back-life-178630

“Baal”
by Benito Di Fonzo.

It’s raining on the stage of The Wharf theatre, literally gallons of water galloping down upon a dirty mattress where five naked women and two men, one in stilettoes, caress and kiss one another. Facing them a sixth girl in dark glasses plays an electric guitar, standing upon an amp somehow unhindered by the storm splashing down. A man named after one of the Old Testament’s seven princes of Hell sings them a dark ballad from the opposing corner, then downs a can of bourbon and coke, before bludgeoning the head of his male lover. Welcome to Baal’s house.

At the tender age of 20 Bertolt Brecht, still a university student in 1918, penned his first play Baal. Baal is a beautifully dark poem chronicling the decadent downward spiral of an almost-famous singer and poet on Munich’s debauched cabaret circuit. Baal is a primitive monster, a fallen god from an earlier time, but of a different order to his Old Testament namesake.

“He’s a social misfit,” says translator and director Simon Stone. “We meet [Baal] at the point that he’s already an outsider and it’s unsure whether he’s ever got along in some socially condoned way with the rest of the world. By the time we meet him he shows no desire, as well as a complete incapacity, to live amongst people in a healthy, social way. He’s an antihero and really anti-social and that’s what a lot of his work as an artist, poet, songwriter derives from. He’s constantly questioning the way things in society are set up in his art, and people find that fascinating.”

35 years before Brecht penned his tale of Bacchanalian decent countryman Friedrich Nietzsche had written of the Übermensch, the Superman, a man beyond societal mores who creates his own life code.

“I have absolutely no doubt Brecht would have been reading Nietzsche,” says Stone, “but people get when they see this show that there is absolutely no condoning whatsoever of Baal’s behaviour. It is a desolate view. People love watching Don Giovanni, going ‘How many women has he slept with now, 3,042?’ And it’s funny, but Brecht had the bravery to paint a picture of someone who actually behaves like that and portray the reality of the consequences for someone who has chosen to opt out of the social contract. I think it’s not a mistake to assume that Brecht was being fairly scathing of the idea that there are certain people who are allowed to behave in certain ways because of a certain kind of socially important output they can give in the form of their creativity.”

However like so many other artists in the public eye – be it a Sheen, Manson or Cobain – the public disapproval is only equalled by their fascination with such a protagonist. Why is that?

“At a certain point in our upbringing,” says Stone, “we learnt that it’s easier to get on in the world by accepting the rules that adults were teaching us and yet there’s a massive instinctual part of us that wishes we could have just done whatever we wanted for the rest of our lives. So when we come across someone who actually never grew up, who never accepted the rules that were being laid down, who said no, fuck this, this is my way of living, if you don’t like it then move on, then there’s this amazing allure. You go (sighs) maybe there is a version of life where I don’t have accept to do things I don’t want to do?”

Thomas M. Wright who plays Baal adds, “Mike Tyson or Charles Manson or any of these people become like a fractured prism through which you can see a human being, they’re like a million pieces of shattered glass and we’re shining a light through it and watching it dance, these people who are eaten alive and eat back.”

Wright has no doubts about just how dark a monster he is embodying.

“I have people come up to me all the time and say ‘oh I’ve known a few Baals in my time,’ and it’s like this guy wakes up in the morning a rapist and a murderer and goes to bed a rapist and a murderer, he didn’t [just] sleep with your friend after he told you that he liked you!”

However while not condoning the actions of a man who Stone prefers to call omni or poly-sexual rather than bi-sexual –

“I think he wouldn’t necessarily turn down having sex with an animal,” he says.

“Or a tree,” adds Wright, “or the ground. The difficult thing for Baal to accept is why can’t we fuck plants? Literally, why can’t we?”

Brecht seems to be saying that it is perhaps part of the artist’s role in society to explore these dark, wet woods.

“I think what he’s saying about artists,” says Stone, “is that they sign a very dangerous pact with the devil. If you want to be able to bring the brutal truth, if there is such a thing as truth, to the surface, then you need to accept that that truth is going to start weighing on you and will start affecting the way your brain works. If you open yourself to the void the void will eventually swallow you up. And the dangerous thing in being an artist is that you do have to look at the incredibly dark parts of human existence because that’s what good drama is about, and if you do that too often you’ll go mad.”

“By the time we get to Baal,” adds Wright, “he’s so open to that black hole that it’s totally inescapable.”

“Yeah,” says Stone, “you’re watching a man in the last instance before he gets sucked in [to the void.]”

Composer Stefan Gregory has arranged Brecht’s original songs for electric guitar and Baal delivers these dark ballads in a style reminiscent of a meeting between Kurt Cobain, Tex Perkins and Nick Cave as he swings betwixt poet and caveman. Surely playing such a monster night after night must take a toll on Wright’s own psyche?

“No, you know, the show goes for an hour and then I go and have a coffee.”

#

"Baal"

written by Bertolt Brecht.

Directed by Simon Stone.

Sydney Theatre Company, The Wharf, Pier 4 Hickson Road, Walsh Bay.

Now until 11 June, 2011.

$30 - $77

(02) 9250 1777

www.sydneytheatre.com.au