Author: Kiran Gupta

  • Sugar Republic – a sweet experience!

    Sugar Republic – a sweet experience!

    Kiran Gupta reviews his experience at Sydney’s newest pop-up sugar factory, Sugar Republic.

    Sweet treats are a quintessential part of the Australian summer. From ice creams on the beach to bags of sickly sweets at the cricket, there’s nothing more Australian than a bit of sugar in the baking hot sun. Over the next few months as we head into summer, Sugar Republic is taking the Australian love of sweets to the next level, with a real-life lolly factory to rival something out of Willy Wonka that will bring out the little kid in everyone.

    Source: Supplied

    With over 15 immersive spaces over two floors dedicated to both iconic Australian lollies and international lollies, this place is a sugar lover’s heaven. In the heart of The Rocks, you can swim in a pool of marshmallows, climb inside a prize claw machine or even jump out of a birthday cake. Among my favourites was the giant 2m tall Allen’s lolly jar featuring the biggest collection of sweets I’ve ever seen (unfortunately, not the underrated Allen’s Sourz Snakes Alive which everyone but me seems to find way too sour). Accompanied by the art of Frida Las Vegas and the innovation of Lilian Ahenkan, there’s a feeling of modernity in amongst the nostalgia of rows of lollies.

    2m of goodness!! Source: Kiran Gupta

    Fun for everyone. Source: Supplied

    Not to mention, the place is literally an Instagrammers delight. Every exhibit looks as if it is made for a Boomerang or even a TikTok. If you are looking for a new profile picture, this is the place to go. You even get a lolly bag and a soft-serve ice-cream topped with your favourite treats when you leave – major Cold Rock vibes.

    So, as the academic year draws to a close and friend groups look to go out and do something fun before heading their separate ways, this is one thing I’d encourage you to find the time to visit. It’s a truly unique exhibition and an experience like no other. Even as someone who is generally not an exhibit fan, the scale and the nostalgia of this really was impressive (and the ice cream didn’t hurt either). It takes an hour to go around the building and is only open until 23rd of December so get in quick as this is one you cannot miss.

    Nothing better than an ice-cream on a hot summer’s day! Source: Kiran Gupta

    Dates: Open now for a limited time!

    Location: 47 George St, Sydney (entry via Atherden St)

    Tickets: On sale at sugarrepublic.com.au. Online bookings are recommended. Dine & Discover NSW vouchers are accepted at the door. $38 adults / $28 children under 16

    Kiran Gupta attended Sugar Republic as a guest of the organisers.


    Kiran Gupta

    Fr 2019

    B. Arts (Media Studies) / B. Law


    Image: Supplied

  • The Challenge Within

    The Challenge Within

    An anonymous student discusses their brother’s transition and some of the responses that their family has faced.

    When I completed my HSC in 2019, my parents took me aside to describe the scenario that my family would soon have to confront. My brother was about to undergo his social transition from female to male. I knew my brother had faced serious mental health obstacles related to gender dysphoria over the past few years, but that didn’t make the day any less confronting. After 14 years I had a brother rather than a sister. Although some may have thought this was extreme, that this was an optional choice made by my brother, I can assure you it wasn’t. In fact, it was a matter of life and death and an essential step to save my brother.

    My brother is the kindest, most unassuming person I know. Many people believe that people who undergo social transitioning are simply confused or trying to seek attention. These people are often disconnected and ill-informed about the LGBTQIA+ community. Anyone who knows my brother knows how false this is. This was an essential step for my brother. He wasn’t aiming to seek attention at all, clearly demonstrated as he implored me to ensure this article remained anonymous.

    Adjusting within our immediate family was the first difficult, yet crucial step. This was admittedly a challenging process. Making the transition after 13-14 years of calling my brother ‘her’ and ‘she’ was always going to be tough, with mistakes frequently made. However, I realised that it was the effort that counted, as despite the inevitable mistakes, all my brother wanted was to be treated like a boy.

    However, we always knew the challenge would come from beyond the family walls. My brother needed his social transition to be acknowledged by the broader community. This meant informing people of his social transition. This began with an email sent to all our extended family and our family friends. I believe this was an essential step, as it reinforced our complete support to my brother, demonstrating that we would proudly acknowledge his transition and not try to hide or deflect from it. This support throughout the whole process has been essential to my brother’s mental health, as female to male transgender adolescents have the highest rate of suicide attempts in the community (50.8%). This number only increases for those who are rejected by parents and caregivers, which demonstrates just how important family support was for my brother.

    Nevertheless, sending out such an exposing email still caused a lot of anxiety for my brother, who feared that people would not accept him. It’s fair to say that Sydney’s North Shore is the suburban heartland of rugby, where wearing a navy shirt and beige chinos is the norm. It’s not the place where you see same-sex partners holding hands frequently and I don’t know any other transgender people beyond my brother in our area. Even in our extended circle of family and friends, we have many successful doctors and white-collar workers, without doubt, a fairly conservative demographic typically perceived to be antagonistic to perceived ‘difference.’

    Whilst our area is largely conservative, I was pleased to discover that this did not define their response to my brother. The response to our email was welcoming and kind, received with warmth, love and acceptance, despite the concepts being quite ‘outside the box’ for many who were reading it. This was a relief to our family but I thought it represented something bigger than that. I considered how this reflects the evolution of our society, where my brother can now thrive in an environment where he is accepted for who he truly is. What would the reaction have been 10-20 years prior if the same email was sent out?

    I’m writing this article at the end of Pride Month, where LGBTQIA+ rights are in increased focus across the globe, and bigotry against the community is reducing in Australia. Younger generations are also more accepting than generations past on the whole, meaning that LGBTQIA+ acceptance is on an upward trajectory. Consequently, consumers now insist on respect of LGBTQIA+ rights so, corporate giants cannot allow workplace discrimination or homophobia, even though they may have turned a blind eye in the past. Now, respect for LGBTQIA+ identifying individuals is an essential element of corporate social responsibility. All we need to do is look at Afterpay’s development of a global pride employee newsletter to see this.

    Despite living in arguably the most conservative area of Sydney, our family has been the beneficiaries of incredible acts of kindness and understanding. Consequently, despite the extremely tough process for our whole family to facilitate my brother’s transition, the community reaction (especially compared to even 1-2 decades ago) helped to keep my brother alive.

    However, this process has also shown me how far society still has to come in order to satisfactorily accept the transgender community. The most disappointing and challenging aspect of my brother’s transition was finding a school. A prominent co-educational school was very happy to accept my sister, but not my brother. What does that say? Whilst my brother is now flourishing at an incredibly progressive school, this was a very disappointing reflection of the prejudices still rife in our society.

    Moreover, coming from an all-boys private school on the North Shore, I am no stranger to the fact that insensitive words can be thrown around, such as using offensive slurs typically used to refer to members of the LGBTQIA+ community or even the word ‘gay’ itself as an insult.

    Avoidance of these practices could be an initial goal for those less proximate to the LGBTQIA+ community. This is the simplest of benchmarks, but I know that hearing these slurs was a serious challenge for my brother as he gained the courage to come out to our family and beyond. I know that you have heard this message numerous times, but I implore the minority who continue to use non-accepting language to avoid it from now on. There really is no excuse.

    Even though challenges still remain, there has been an outpouring of kindness and understanding towards my brother. The insensitivities were balanced by overall acceptance and countless generous acts. Being seen, treated and accepted as a boy has improved his mental health dramatically, and in my opinion, saved his life.

    This article was published anonymously by a student at St Andrew’s College.


    Image: Pexels

  • Drew’s Listens: Five Albums I Have Loved in 2021

    Drew’s Listens: Five Albums I Have Loved in 2021

    Kiran Gupta talks about five of his favourite albums in 2021.

    Music has always been one of my biggest passions. I wanted to write about some of my favourite albums in 2021, fully aware that they may be somewhat outside the typical taste of the Drew’s News reader. I hope that you enjoy the reviews and potentially even find something new to stream and appreciate during lockdown.

    Kylie Minogue

    DISCO (Darenote)

    ab67616d0000b27324a4eadfdcd65c6eb407ff1b.jpeg

    With a career spanning over 40 years, you know what to expect from Kylie Minogue. She has made her name off pumping dance and disco tracks with lyrics centred around love and happiness. And she has done it extraordinarily well. This album is no different; with a sound even stronger than her previous albums.

    The answer is largely yes. The upbeat, head-voice laced disco bop, ‘Magic’ is a standout, clearly made for the clubs of Sydney and London. Minogue channels the vibes of 70s and 80s disco, with a number of tracks sounding as if they would be well-placed on a Nile Rodgers album.

    But the album doesn’t feel dated either. Whilst staying within her well-established lane, Minogue experiments with new sounds as well, sprinkling elements of EDM throughout the album. The synth tinged ‘Dance Floor Darling’ would easily fit on an Ariana Grande album and Minogue is at her best with bouncy pop-disco songs like ‘Where Does the DJ Go’. Infectiously catchy, bubbly and full of life, this is where Minogue shines.

    Minogue knows her audience and delivers a strong product, full of the kinds of songs that launched her into the spotlight. It’s clear that Australia’s pop queen intends to live on. If you love dance-pop or crazy funky party numbers, this is the album for you.

    Patrick Fiori

    UN AIR DE FAMILLE (Sony)

    ab67616d0000b273968633716272e46f53ccc368.jpeg

    Patrick Fiori is a French singer-songwriter who burst onto the scene in the smash French musical Notre Dame De Paris. His tone is gorgeous, at its best with soaring high notes.  This album represents a very different style for Patrick Fiori. Gone are the days of power ballads and gut-wrenching love songs, now Fiori is singing sweet tunes about family and children. One song (‘Sur les épaules de mon père’) even features a duet with 14-year-old, Angelina Nava. It’s a different style of music but definitely worth a listen for music fans looking to widen their music tastes.

    There are great moments on the album. ‘J’y Vais’ is a song clearly constructed for French radio, combining the powerful voices of Fiori and pop-opera fusion singer Florent Pagny. ‘Ma Solitude’ is also a notable stand-out, as Fiori sings about his loneliness as if it were a lover, being held ever close. The power of his top register shines through, reminding us of the talent that launched Fiori’s pop career. Whilst sometimes it feels as though Fiori is catering to too many different audiences, this does mean that the album is a fabulous listen for music fans of all ages and tastes – there’s something in there for everyone.

    Les Miserables Company

    LES MISERABLES: THE STAGED CONCERT (Warner Music)

    ab67616d0000b273a68f41c0df8e8d5404c90c41.jpeg

    Another year, another Les Mis concert album. With such an iconic musical, the question is always whether the new cast recording adds anything to previous versions. For this recording, the score has been re-orchestrated, providing a new level of richness and warmth in sound. The album also captures the heart and quality that makes Les Mis so special for so many.  Carrie Hope Fletcher stuns with a powerful rendition of ‘I Dreamed a Dream’, full of biting grit and dramatic substance, her contribution being a shining light on a strong album. Shan Ako’s ‘On My Own’ is powerful, maintaining the original essence of the song whilst blending in modern melodic deviations. Rob Houchen’s portrayal of Marius is pleasant and Michael Ball (who played Marius for many years) clearly possesses the gruffness required for his new role of Javert.

    However the star of the new production is Alfie Boe, who makes a terrific Jean Valjean. He delivers a professional and hearty performance whilst Matt Lucas and Katy Secombe are typically hilarious in their portrayal of the crass and catty Thernandiers. A great album for Les Mis fans at all levels!

    Amanda Holden

    SONGS FROM MY HEART (Universal)

    From starring on the West End and acting in TV dramas for over a decade to holding a judging role on Britain’s Got Talent for over 14 years, Amanda Holden has had a staggering career. Incredibly, this is the first album she has ever released. Singing a collection of show-tunes and pop ballads, Holden produces a pleasant album, with hints of pizzazz and a dose of the spectacular.

    Holden’s voice is well-suited to faster-paced songs. The opening track, ‘Not While I’m Around’ shows off her strong tone and clear diction and ‘As If We Never Said Goodbye’ has sufficient lightness to showcase the pleasant and polished qualities in her voice. Her duet with British actress Sheridan Smith, ‘I Know Him So Well’ is a highlight, with clear and crisp harmonies as well as raw power and emotion.

    Holden also shows no fear in taking on the classics. ‘Don’t Cry for Me Argentina’ shines brightly with plenty of strong emotional build-up in the song. ‘I Dreamed a Dream’ and ‘Over the Rainbow’ are similarly beautiful. This album is a real treat for musical theatre lovers and a great introduction into the standard musical theatre repertoire for new listeners and aspiring performers.

    Delta Goodrem

    BRIDGE OVER TROUBLED DREAMS (Sony)

    ab67616d0000b2731334030a6ba019ec04ec046f.jpeg

    This wouldn’t be complete without me fawning over a Delta Goodrem album. I’m going to keep this brief given how obvious my sentiments will be, but I really do think this is one of her best albums yet and one of the most complete albums of the year.

    It feels like a polished product, with slick writing and production. The reflective ballad “Dear Elton” is gut-wrenching in its calls to idol of Goodrem’s, Sir Elton John. Reflection is a theme throughout the album, with musings on celebrity (“Everyone’s Famous”), distance (“All of My Friends”) and health crises (“Paralysed”), this album feels like the complete package. No matter how polished it is, Goodrem still delivers with passion and raw emotion, allowing her to connect with audiences in a way that only she can. If you listen to this album, I encourage you to listen to it as a whole album, let it take you on a journey as Goodrem shows you through her world. It’s a great product when considered as a whole and well worth a listen for all Australian music fans.


    Kiran Gupta

    Fr 2019

    B. Arts (Media Studies) / B. Law


    Image: Pexels

  • Drew’s Eats: 5 Lunch Specials Under $15

    Drew’s Eats: 5 Lunch Specials Under $15

    Looking for a tasty, cheap STUVAC snack on King Street this week? Kiran Gupta has done the research for you and has found the best places within walking distance of Drew’s.

    As you look for a study break this week and want a break from dining hall meals, it’s great to keep in mind some cheap eats on our doorstep where you can find a delicious lunchtime meal without spending too much money. This certainly isn’t an exhaustive list but as a self-confessed foodie, these are five of my favourite places within walking distance of Drew’s.

     1.     Jin’s Teahouse – 111 King St, Newtown NSW 2042

    Editor’s Note (22/06/2021): Unfortunately Jin’s Teahouse closed down on the 13th June. This is a real shame but they say that they are moving so you can find more about that here.

    This is by my favourite lunch deal. If you walk just past Alice’s Thai, you will find this gem, which is a relatively new Chinese restaurant. For lunch, you get a fantastic meal (from a wide range of typical Chinese restaurant choices), complemented by rice and 4 spring rolls for just $15. I can never finish the food and it is always of extremely high quality and very tasty. Most meat options can also be substituted for vegan equivalents as well and I am told by a vegetarian friend that it is some of the best tofu they have ever had. So hands down would recommend this. Unfortunately, they seem to have closed for lunch except for Friday and Saturday now but if they open up for more days again, I would highly recommend.

    I mean, come on - how good is this? Source: Tripadvisor

    I mean, come on – how good is this? Source: Tripadvisor

    2.     Fat Franks – 172 King St, Newtown NSW 2042

    When a restaurant claims to do a Philly Cheesesteak, they’re setting themselves a very high standard. A Cheesesteak needs to be completely nailed, with the perfect balance between meat and cheese. These guys nail it. The meat is succulent and juicy and the cheese perfectly compliments the steak. For lunch, your steak also comes with chips and a drink. A great deal. Also look out for their $3 onion rings as a nice snack (available all day).

    How good is this?? Source: Broadsheet

    How good is this?? Source: Broadsheet

    3.     Thairiffic – 224 King St, Newtown NSW 2042

    There’s so many good Thai restuarants on King Street, I had a hard time picking but this one is my go-to. A bit further away but with a bit more glitz and glam, if you want a good Pad Thai or a Pad See Ew – this is the place. I’ve never had a bad dish from here, with generous amounts of meat and great flavours all the way down the menu. There’s also great side dishes if you are a big eater. Worth the walk in my opinion.

    Source: Thairiffic

    Source: Thairiffic

    4.     Pie Tin – 1a Brown St, Newtown NSW 2042

    If you haven’t discovered this place, you’re missing out. Just off King Street, this place makes savoury and sweet pies in house. And not just your chunky beef pie either. Bacon and Cheese pies, Peking Duck pies, you name it, they do it. And don’t get me started on their sweet pies. A creamy, rich Banoffee pie loaded with subtle banana flavour – yes please. Or if you’re in the mood for black forest, rocky road, chocolate, cherry ripe or hazelnut. They’ve got it all. One of the best places near college for sure (and very well-priced too for a snack).

    Source: Broadsheet

    Source: Broadsheet

    5.     Loaded – 170-172 Missenden Rd, Newtown NSW 2042

    I will preface that this is not my favourite burger (often dry and a little bit plastic-y) but their 11-12 ‘tradie’ deal is a good one if you’re an early eater. Reasonably well-priced and easy to be customised to your taste, not to mention the closest place to College, it’s definitely one to keep in mind.

    Source: Not Quite Nigella

    Source: Not Quite Nigella

    Honourable mentions

    Pastizzi Café – 109 King St, Newtown NSW 2042

    I find their lunch to be a bit pricey and a bit underwhelming but if you want a snack, they do excellent $3 pastizzis and are walking distance from College.

    Source: Pastizzi Cafe

    Source: Pastizzi Cafe

    Huxtaburger – Shop C/66 Regent St, Redfern NSW 2016

    Ok, you need to get on a train for this one but it’s right next to Redfern station and I reckon the best burgers in Sydney. Originally a Melbourne chain which I discovered when working in Melbourne, their cheesus burger is to die for. Absolutely insane. So worth the quick train ride. They also give you a free drink if you bring your student ID.

    The Cheesus is crazy good. Source: Burger Collective

    The Cheesus is crazy good. Source: Burger Collective

    Maya Masala – 470 Cleveland St, Surry Hills NSW 2010

    Also in Redfern/ Surry Hills, this wouldn’t be complete without an Indian restaurant. With delectable sweets and amazing Vegetarian curries, if you want a hearty Indian meal, this is where you go. Only a short bus ride away (catch the 352 and it will take you to the door).

    Source; Daniel Boud

    Source; Daniel Boud

    So there you have it, some of the best food in Sydney, cheap and right on our doorstep. This is certainly a working list, if anyone has any sweet deals to add to this list, let me know and I’ll be sure to add them!!


    Kiran Gupta

    Fr 2019

    B. Arts (Media Studies) / B. Laws


    Image: Sydney.com

  • Sorry Day: Why Saying Sorry isn’t Enough

    Sorry Day: Why Saying Sorry isn’t Enough

    As we commemorate National ‘Sorry Day’, Kiran Gupta assesses the progress that has been made in achieving justice for First Nations Australians and presents some further changes to be made.

    Australia’s treatment of First Nations Australians has been abhorrent. There’s no sugar-coating it. From the Myall Creek Massacre to the Stolen Generations, our history is shameful to say the least. 

    To refer to Australia’s treatment of First Nations Australians as simply an historical wrong also perpetuates a false narrative that we have worked our way towards substantive equality. This is also categorically false. First Nations Australians make up more than 29% of Australia’s prison population and are incarcerated at more than 10 times the level of the general Australian population. The cycle of intergenerational trauma is continuing. And it is structurally reinforced all around Australia. Can we really truly say ‘sorry’ when not enough is being done to combat these issues?

    Some may argue that we have started on the path toward substantive change in the past year through the increased awareness generated by media attention and protest movements such as Black Lives Matter. However, a bio change on social media doesn’t inspire social change. And little has changed at all. Former Race Discrimination Commissioner, Professor Tim Soutphommasane says, “[have the anti-racism protests] changed Australian society, or prompted a stronger stance against racism from our institutions? One year on, [they haven’t].” So much for your black box on Instagram

    It’s perhaps hypocritical of me to write an article on this issue. After all, what difference is one article going to make? But what I want to share today are some substantive ways that we can start towards some semblance of equality. I stop short of using the words ‘reparative justice’. Because nothing can truly be reparative. Certainly not just a ‘sorry.’ 

    So how can we genuinely move forward? The Uluru Statement from the Heart suggests improved parliamentary representation as a concrete way to improve the prospects of equality for First Nations Australians. It states that increased parliamentary representation would allow First Nations Australians to take a “rightful place in [their] own country.” The most popular proposal to ensure this representation and recognition is the ‘Voice’ proposal which aims to enshrine a First Nations voice in the Australian Constitution. This could involve the placement of a First Nations ‘consultant’ in Australian parliament.

    Critics such as Malcolm Turnbull have argued that the ‘Voice’ will create a third chamber of parliament. However, First Nations Constitutional Law Professor, Megan Davis states that the ‘Voice’ would provide a more advisory input into First Nations decision making and facilitate greater political participation through a designated forum. By enshrining a ‘Voice’ in the Constitution, there is symbolic recognition but also a conferral of legitimacy on First Nations perspectives. This will ensure that the parliament maintains a more representative character.

    Davis emphasises that the ‘Voice’ proposal has a focus on substantive recognition rather than mere symbolism. She notes that previous parliamentary attempts at recognition have been largely symbolic and without legal effect. To this effect, she criticises a number of proposals such as the Howard Government’s proposal to include a preamble to the Constitution that recognised Aboriginal and Torres Strait Islanders in 1999 for being inconsequential and deflecting the focus from substantive change.

    This brings us to an important point. Loose bipartisan support for First Nations recognition without any commitment to substantive change is not helpful. In fact, Davis argues that it is actually detrimental as it stifles progress due to a lack of meaningful dialogue. If everyone talks in vagaries, then nothing will be solved. This is a serious issue. Serious discussions need to be had. There is often an anxiety about talking about issues of race in Australia. But that simply cannot happen here. 

    It’s clear that the importance of ‘Voice’ in parliament extends beyond the political sphere. Davis has argued that a ‘Voice’ would generate greater media traction around First Nations issues, which could potentially contribute to greater awareness. This is another key area where change needs to occur. As long as First Nations voices are not being heard in media, it is going to be very difficult to make change. Stories need to be heard; traditional media narratives need to be upended. If things are to change, journalism cannot simply placate the status quo and those who maintain it. Instead, journalism needs to shine a light on these issues and be the first to inspire social change. There’s a long way to go to reach that point. Perhaps it is unrealistic to believe that could ever happen. But a ‘Voice’ in parliament would be a good way to start. 

    You might have noticed that all of the things I have raised today stem around one main issue: representation. Because while politicians can ‘talk the talk’ about improved outcomes for First Nations Australians, the statistics only demonstrate one thing: First Nations Australians are still grossly underrepresented in most areas of Australian society. And given our history as a settler-colonial nation, is this really that surprising? In order to promote broader social change, First Nations voices need to be heard. And not in a tokenistic way either. In a real, meaningful way. Until this happens, talk of apologies and reconciliation seems remarkably hollow. It’s just not enough. So, whilst it is certainly important to acknowledge today as an important day in Australia’s history and continue in the spirit of reconciliation, we must remain aware that there is a long way to go still. Of course, commemorating ‘Sorry Day’ is a very good start and is something that is very important for First Nations Australians. But ‘sorry’ is not enough. We need to do more.

    The truth may be uncomfortable. But it’s something we all need to address. 



    Image: Pexels

  • REVIEW: Stairly – Golden: A stunning melody that soars above the rest

    REVIEW: Stairly – Golden: A stunning melody that soars above the rest

    Kiran Gupta reviews Stairly (Alastair Hoskinson)’s new single, ‘Golden’.

    ‘Golden’ is a song that is very familiar to most Drew’s people now. We have seen Alastair Hoskinson (fR 2020) performing it at numerous jam nights of the last two years, getting the whole crowd up with the phone torchlights and chanting for an encore. We’ve all been telling him to record it. Now, under his artist name Stairly, and with the help of Anthony Rositano (Past Mayfair – fR 2017), he has gone and done just that. The result is a transcendental power ballad that channels the past greats of Elton John and Billy Joel whilst mixing in the modern sounds of Harry Styles, Jeremy Zucker and other 2020s pop.

    It is evident from the song is that Hoskinson has a very clear understanding of his style and his audience. He resists the urge for superfluous runs and tricks or the Queen-esque guitar solos that everyone wants to emulate in music of this style and starts the song with very minimal production. This allows his voice and the meaning of the song to shine through with power and stunning resonance.

    The slight rasp in his tone brings the pain of the lyrics to the forefront. This is where the song truly shines. Hoskinson writes in a way that goes straight to the soul, with a universal message that anyone can identify with.

    He says, “We often cling to positive memories to avoid the gut-wrenching reality of a broken relationship. While reflecting on time with an ex-love can be an emotionally draining process, it’s not always a negative experience. Golden explores the bittersweet reality of remembering happy times with someone that’s no longer a part of your life.”

    Hoskinson gently presses on the imperfections in relationships and the paradoxes that arise from these connections. One of my favourite lines of the song is when he says, “it’s funny how you say you need your space, when I’m 10,000 miles away.” To me, this masterfully encapsulates the song’s tension in a single line.

    The tension between the positive and the negative really shines through the whole song. There is never really a sense of closure in the lyrics and it seems that this is what Hoskinson wants to convey. We are conditioned to try to derive meaning or a sense of closure from everything we experience, and this song is Hoskinson’s way of saying that sometimes this tension can never be resolved and it’s enough to find peace in that.

    Musically, whilst staying true to his roots, Hoskinson (with the help of Rositano) does just enough to back enough the strength of the lyrics without going over the top. Even though the opening is fairly sparse, every now and then, they throw in a bit of synthesiser or backing harmonies to keep the listener guessing a bit. In a way, this fits the lyrical content of the song. For Hoskinson, nothing is predictable, and every moment is a new experience.

    The ending is by no means bombastic, but it doesn’t have to be. The strings and Hoskinson’s powerful vocals build sufficient climax whilst allowing the power of the lyrics to simmer in our minds and soar over the production. Here, there’s no question that Hoskinson and Rositano have nailed the balance of power and simplicity.

    This is not a song you’d expect of a student. This is a song you’d expect of a seasoned songwriter and hitmaker. I wouldn’t see this as out of place on a Harry Styles album. In the same vein, it wouldn’t be out of place on a 1970s Elton John or David Bowie record either. Even so, Hoskinson has stayed true to his own style and his own integrity and that shines through on the song as well. He has taken a powerful message and glistened it with raw emotion and a hint of flair. For that, he should be incredibly proud, and we should count ourselves incredibly lucky to have had the pleasure of listening to this song, both live and on this recording.

    ‘Golden’ is available to listen on Spotify here. You can also view it on YouTube here.


    Screen Shot 2019-09-17 at 1.33.16 pm.png

    Kiran Gupta

    Fr 2019

    B. Arts (Media Studies) / B. Law


    Image: Alastair Hoskinson

  • Musical Theatre: Is it Time for a Change in the Casting World

    Musical Theatre: Is it Time for a Change in the Casting World

    Kiran Gupta asks whether a change in attitude is needed when it comes to casting musical theatre in Australia.

    Suspension of disbelief

    Three words that are often thrown around on the theatre casting table or in rehearsal. The phrase basically acknowledges that a theatre audience must accept that the action on stage forms part of a pretend reality. After all, no performers really die in Les Miserables nor is there really a river in the middle of the stage in Phantom. This all seems fairly obvious. But what is especially interesting is where the barrier for using this idiom lies. There is an increasing tendency for directors to use this expression when it suits them but when it comes to truly interrogating some of the systemic barriers in musical theatre, the phrase suddenly leaves their vocabulary. However, with the world being upended due to COVID-19, maybe it is time for the industry to have a refresh and truly consider the benefits of more inclusive casting in musical theatre. 

    Musical theatre has often craved traditional casting, especially in Australia. When looking at professional casts over the last 20 or so years, there is very little diversity in casting. Indeed, this is reflective of the broader Australian entertainment industry where over 75% of employees are “white, male and aged over 35.” The argument often purported is that theatre needs to reflect the historical context and often that excludes racial and gendered minorities.  

    But this goes back to the issue of suspension of disbelief. If the audience knows that they are going to see a show, then should this really matter? To put this question into practice, let’s look at the musical, Hamilton. The whole premise of the musical is that there is a suspension of disbelief. By casting an African-American male as George Washington and surrounding him with an extremely diverse cast, it becomes exceedingly clear that this kind of suspension of disbelief does not detract from the performance nor its commercial success. In fact, Hamilton is a musical that has completely revitalised the musical theatre world. It grossed $4-5 million every week before the pandemic and this isn’t even including album streams and scalping prices. So when considering this, can we really say that there is no impetus for systemic change?

    Unfortunately, before musical theatre shut down a lot of the discourse around diversity would amount to mere tokenism. This is where diversity was consciously and carefully curated in order to meet basic requirements and adequacy for marketing purposes. SBS managing director James Taylor recently referred to this as a “tick box” approach to diversity, which actually does more to hinder change than adequately make cultural change. This is because it creates the false illusion that this form of diversity is wholly satisfactory. Needless to say, but a tick box method is not going to be sufficient to truly make systemic change. 

    Generally, we might accept that change in such a large industry takes time and the status quo is likely to prevail in the absence of any clear impetus for change. However, the COVID-19 pandemic has meant that most productions have shut down. As dire as this is for the industry, the silver lining is that this has allowed for a refresh in the industry that has not been possible before, The shows and theatres can be refreshed and so can casting practices. This starts with changing the method of casting. Too often, professional theatre auditions are closed off to the general public which means that only a select few can ever make it into the upper echelon. By opening up more auditions to the public, the workload on casting directors may increase but it may also afford more opportunities to a greater range of performers and thereby increase the overall diversity in casting. 

    But all the changes in casting practices will not make any difference if there isn’t a meaningful dialogue about what representation truly means. Mere tokenism will notice suffice but rather, suspension of disbelief when it comes to representation should be normalised so that diverse casting does not seem abnormal, rather, is seen to be reflective of a broader, multicultural society. In doing so, musical theatre will begin to represent what society is now rather than what society was in the past. 

    By normalising this culture, it will also mean that more opportunities are given to Australians. Pippin, due to launch in November this year, came under fire by veteran performer Prinnie Stevens for casting an international performer in its starring role instead of giving the role to a local woman of colour. While the producers argued that no local performer had the requisite skills required, it could easily be argued that by providing exposure to local artists, their skills and reputation will develop so that they seem more suited to leading roles. 

    It is clear that change needs to occur. With the diverse cast of Hamilton coming to Australia next year, it is the perfect opportunity to start normalising adequate representation in Australian musical theatre. COVID-19 has provided the perfect opportunity to refresh and potentially, the opportunity to make real change in the musical theatre industry. Whether that change occurs or not, only time will tell but if there is ever a time to shake things up, it is now. 



    Image: Manly Musical Society

  • The Rise and Resurgence of the Megamusical

    The Rise and Resurgence of the Megamusical

    Kiran Gupta explains what a megamusical is and why they have come back into fashion.

    Jesus Christ Superstar. Les Miserables. Phantom of the Opera.

    These are some of the most famous megamusicals ever. They have changed the game in the musical theatre scene, shaped so many performers and connected with so many audience members over the years. And with the rise of Hamilton we are seeing a resurgence in the genre. But what exactly is a megamusical? And what makes it so great? And why are so many popping up again?

    The key characteristic of a megamusical is that it is entirely sung through. In a way, this makes it a little like an opera. This may sound like an affront to music purists but the formative megamusicals like Jesus Christ Superstar were actually written with the structure of opera in mind. Although Andrew Lloyd-Webber has received some criticism for his repetition and supposedly “clunky” use of structural devices, all the hallmarks of opera are there. Leitmotifs, recurring themes, over the top staging and much more.

    Another key characteristic of the megamusical is that the bold storyline. Most megamusicals follow a quasi-Shakespearean tragedy-esque story arc. This means that most of the time, the hero dies at the end of the musical. This often adds a lot of drama.

    All of these things are about spectacle. This is what the megamusical brings and why it is so revered in the musical theatre world. It has drama, emotion and substance. All of the things that connect with audiences.

    This brings me onto another interesting point. The megamusical genre hasn’t just hit the English –speaking market. One of its broad appeals is the universality of its messages, which means that some of the greatest megamusicals have come off Broadway. Take Notre Dame De Paris, probably my favourite musical ever. A French musical, translated very successfully into Italian, the best way to characterise this musical is to think of Les Mis, but taken up a notch. This musical does everything perfectly. A brilliant opening number, massive ensemble songs, an incredible 11 o’clock number and a heart-wrenching ending. Yet, the musical has never taken off in the English-speaking world (despite getting Australian star Tina Arena to play the leading character in the English premiere). In my opinion, this is one of the most unfortunate things in musical theatre as I truly believe that this is one of the best musicals ever and embodies everything that the megamusical is about. See for yourself below.

    For a while, it seemed as if the genre was dying off. New-age musical theatre seemed to come with a preference for more “relatable” stories and less fanfare accompanying. However, one musical changed all of that. Lin Manuel-Miranda’s Hamilton. You might be thinking that Hamilton and Les Mis couldn’t possibly be more different. But actually, they share many common tropes. Hamilton is still all-sung through, it just includes rap. And the storyline is still bombastic and follows the same dramatic structure as Les Mis. Even in the 21st century and considering just how much music and musical theatre has evolved, it is incredible that this genre of music still continues to flourish.

    The megamusical is still the peak of musical theatre. Even excluding Hamilton, theatre-goers flock to see older megamusicals on Broadway and the West End and fill out the Capitol Theatre when they get to Australia. The question is whether megamusicals will continue to evolve and flourish in years to come. My guess is that they will. We are seeing more and more song cycles nowadays but every now and again an amazing megamusical will pop up, just like Hamilton has. For this, we should all be excited.



  • Novak Djokovic and Defaults: Do The Rules Need to Change?

    Novak Djokovic and Defaults: Do The Rules Need to Change?

    Kiran Gupta unpacks the rules around disqualifications in tennis in light of the Novak Djokovic incident and questions whether the rules need to change.

    A few days ago, the tennis world was stunned by the revelation that Novak Djokovic had been defaulted from the US Open. The reason? Towards the end of the first set of his quarter-final match against Pablo Carreno Busta, he hit a ball in anger towards the back of the court. Unfortunately, this ball struck a line judge who collapsed to the ground after being hit. After some discussion with tournament officials, the world number one walked off court in disgrace, refusing to do his post-match press conference and leaving behind his dream of an 18th Grand Slam. 

    Many questions have been posed since this incident but some have dominated news coverage. Were the rules applied correctly? Were they applied uniformly? And has this happened before?

    But there are more questions that we should ask: should there be any room in the laws to allow leniency for a lack of intention? And to what degree does the application of the laws intersect with issues of prejudice, especially when thinking about the 2018 Serena Williams scandal

    The first thing to look at is the Official Grand Slam Rule-Book. Pursuant to Section ‘N’ (‘Abuse of Balls’), Djokovic is clearly in breach of the rule which states “Players shall not violently, dangerously or with anger hit, kick or throw a tennis ball within the precincts of the tournament site except in the reasonable pursuit of a point during a match (including warm-up).” Further, the rules clearly state that the supervisor has the provision to default a player who is in contravention of these rules. From observing these rules, it is pretty clear that the tournament had the right to default Djokovic if they so desired. 

    But has something like this happened before? And what has happened? In previous cases involving similar consequences, the outcome has always been identical. The most similar incident involved British player Tim Henman who hit a ball in anger which struck a ball kid in 1995. It could even be argued that the Henman incident had more mitigating factors as his argument was that the ball kid walked into the ball. Regardless, he was defaulted from that match and from the tournament. 

    There have been other similar events that have been slightly more serious that have clearly warranted the award of a default. Canadian Denis Shapovalov struck a ball which hit the umpire in the eye. Judging by the subsequent swelling on his face, it was pretty clear to see why a default was awarded in that case. Similarly, Argentine David Nalbandian kicked a line judge accidently a few years ago and it was pretty clear to see why he was disqualified. 

    However, other incidents muddy the line of where a disqualification should be imposed. In 2006, Roger Federer swatted a ball in an attempted trick shot which ricocheted into the ball kid. The difference here is that the ball was not hit with any form of malice and it did seem as if Federer was simply trying to hit the ball away to keep playing. 

    A more concerning interpretation of the rules concerns Slovenian tennis player Aljaz Bedene. Bedene hit a ball in anger at the tournament which just preceded the US Open. The ball hit the cameraman and caused no injuries. Although the supervisor was called to the court, Bedene only received a warning. The obvious difference between this and the Djokovic incident is that the cameraman made it very clear that he was not in any way affected by this whereas the linesperson fell to the ground immediately. Nonetheless, a literal interpretation of the rules would render intent irrelevant and Bedene liable for a default. In this regard, it does seem that there was some inconsistency in the application of the rules. The question to ask is whether “common sense” should be accepted in application of the rules. 

    The most interesting comparison is to other controversial incidents like the Serena Williams incident. Serena Williams received a game penalty for verbal abuse of the chair umpire in the 2018 US Open final, which essentially cost her the match. Whilst it has been fairly well established that Williams’ punishment itself was justified, it is most interesting to see the difference in reaction in both print media and social media. Many news outlets were particularly tough on Serena Williams after the incident, which ended up turning into racist and sexist vitriol. However, the prevailing mood following the Djokovic incident has been much more restrained. Most news outlets are interrogating whether he should have been disqualified or keeping the commentary to a very restrained level. This does beg the question of whether there is a racist or sexist element to the media coverage surrounding controversial issues in the sport. I wrote about this in more detail last year but I think this is something that needs to be interrogated further. 

    It becomes pretty clear that the supervisors had no choice but to default Novak Djokovic and largely, that discourse has been reflected in the media. However, this does raise other questions. It does seem as if there is some disparity in the application of the rules which needs to be tightened. This could be done through adding more precision to the rule book. However, in doing so, it raises the risk of supervisors being forced to make an important call that may not be absolutely necessary. It may not be a perfect system, but I would argue that the system has done its job here. 



    Image: Pexels

  • Turning back the clock: The Renaissance of 70s and 80s music

    Turning back the clock: The Renaissance of 70s and 80s music

    Kiran Gupta discusses the renaissance of 70s and 80s music and analyses the reasons for its continued success.

    When Queen frontman Adam Lambert recently released his new solo album, he turned more than a few heads. Gone were the days of his unashamedly flamboyant pop songs that provoked American television audiences and propelled his post-American idol career. Gone were the days of him channelling his inner Lady Gaga on Glee. Instead, this was a very laidback, sultry sound far different from anything we had heard from him before. “I wanted to put something out that would wipe the slate clean. A new beginning and a new era,” he told NME

    Adam Lambert’s retro album artwork. Source: Twitter/adamlambert

    Adam Lambert’s retro album artwork. Source: Twitter/adamlambert

    Except, it was only really a new era for Lambert. In channelling the funky sound of the 70s, Lambert placed himself in a long line of current artists who are returning to the music of yesteryear for inspiration. Whilst this might be a logical transition for a man who currently fronts one of the biggest 80s rock bands ever, other artists are also doing similar things. 

    MIKA, most famous for his brash pop hit “Grace Kelly” also returned to the spotlight with an 80s-inspired pop song “Ice Cream” (complete with retro music video). British singer, Sam Smith burst onto the scene with their dulcet tones and soulful approach to modern pop music and now, they have moved into covers of 70s and 80s music which garner tens of millions of views on YouTube. The message is clear: even with young audiences, 70s and 80s music sells. But why?

    First, the 70s and 80s are the decades that revolutionised the music industry. As the Western cultural sphere shifted dramatically over these two decades, the music industry arguably evolved even more. For the first time, pop stars were recognised for having “the whole package” rather than just being a singer on a record. The flamboyance of stars like Elton John, George Michael and Freddie Mercury lifted their status from “incredible singer” to “living legend.” As the first period where performers were truly revered, it is only natural that it forms a special place in music culture. As such, this era of music has such an aura and indeed nostalgia associated with it and today’s stars are savvy enough to take advantage of the surrounding hype and use it in their music. 

    Second, the music of the 70s and 80s coincided with the rise of the digital age. Sure, there were music videos from before this period and if you look hard enough on YouTube, you can definitely find concert and film recordings of songs dating back to the Golden Era, but this generation of music was the first to be purposefully produced for the small screen. This means that the content is really the first content that has been packaged in a way accessible for modern-day audiences. Take a look at old 80s music videos on YouTube. Many of them have hundreds of millions of views. Even though they were not created with the shareability of social media in mind and do not have the initial wave of promotion that new videos have, they still attract a huge following due to their role in kickstarting a new generation of music and often, their novelty. 

    Third and most importantly, these eras are commonly associated with rebellion and reaction. Music and society were both overhauled in this period and this is something that people want to associate with. The 70s and 80s provided a diversity of sound and content that just cannot be matched today and even subconsciously, music lovers want to replicate that. In the modern day, this equates to a rebellion against obviously technologically influenced music and a desire to connect on a primary level. Fundamentally, music is about connection and a key characteristic of 70s and 80s songs is that they showed humanity. Even looking at a number of the songs that top the charts nowadays; “Happy”, “Sign of the Times” even “Shallow”, they say something about humanity and are inextricably linked to personality and emotion. This is something that listeners connect to and is a reason why so many composers are trying to invoke the feeling of the 80s. 

    On this note, music that invokes the sound of a previous era has a certain degree (or at least, a perception) of authenticity to it. Even though the instruments and vocals may still be electronically produced, by invoking the sound of a previous era, it adds a level of authenticity that cannot be recreated in any other way. Even if it is just some great backing vocals or a clear drum line, people respond to the clarity that this can provide in a song. It’s also very easy for producers to electronically manipulate the sounds of the 70s and 80s without sounding too produced (thanks to modern technology), which aids with creations in this style. 

    So, when you put the renaissance of 70s and 80s music in modern day pop into these terms, it actually makes a lot more sense. The artists are looking for a little bit of creative license and, of course, something that sells. The music of yesteryear provides all that, along with a little razzmatazz, flair and pizazz. It would be no surprise to see this renaissance of 70s and 80s music continue long into the future and honestly, that is something to look forward to. 



    Image: Pexels