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Hello. I'm James Valentine. This is The Mix - art,
show business and culture. And today we're going to go nude. I don't want to alarm you, but
underneath this suit I'm nude. Everything in there is nude. This is a fantastic exhibition on at
the Art Gallery of New South Wales. Going to wander through here. And
here's what else we're going to do. Cyndi Lauper meets Broadway. I just wanted to see
if it would go together. And it did. We take a look at
some weird celebrity collections.

And if you want dinky di Australiana,
Trevor Kennedy's your man. It's a disease as well as a passion
in many respects.

So, we are now in Nude at Art
Gallery of New South Wales, though we're not actually nude. Are you tempted to get nude, Justin?
Uh, not in the least. No. Emma? You're fine?
You'll stay clothed? Not planning to.
I think so. Yeah. What were you trying to achieve here? It looks like a big sweep of history,
Justin. It is a very big sweep of history. It's 200 years
of the unclothed body. And it's a chance to see how artists
have imagined and reimagined one of art's great subjects, drawing on the resources of one of
the world's renowned art museums. So you haven't seen these works
in this kind of context, Emma. What are you seeing now that
they're brought together like this? Well, it's wonderful to see works that are normally in different
galleries at Tate brought together. And you can see the connections between the way artists
are working with the human figure. But also the differences. You see a wonderful evolution
of different styles and different approaches to the body through the sweep of the show,
I think. Lovely. Alright. Let's go and
have a look at something you like.

He looks like a knight
and that is a damsel in distress. You are absolutely right. This painting
is based on a fictional story that the artist concocted about
an Order of the Knights-Errant. And they were charged
with rescuing maidens in distress of the kind you see. It was exhibited
at the Royal Academy. And when it was shown there
it did raise some controversy. You can see the beautiful painting
of the flesh tones. But this was thought to be
too realistic. So, the fact that she didn't look
like a marble statue was an issue. Right. Why was the nude
even allowed at all? Well, history painting, which is the sort of narrative
painting of the Victorian period, was one of the most important
and prestigious genres. So, if artists
wanted to work in history painting they had to paint the nude,
but only in certain ways. And in fact the head of the woman
was actually changed because she was originally
looking towards the knight. And the idea
that they were making eye contact was really controversial. So he...
Oh, that's too inviting. Yes.
That's seduction. She's enjoying being rescued
rather too much. Yeah. Yeah. And basically he cut out the head
and repainted it so she's now looking modestly away
and down at the ground. He's still looking a bit eager,

Is it compulsory in your
summer blockbuster in Australia, you're going to have to have
a Picasso? It's not compulsory
but it does help. You know, it's very interesting
putting a Picasso on the wall in an exhibition like this because we see so much of him
and we hear so much about him, but when the paintings go up you are reminded of what
a forceful and wildly imaginative and inventive artist that he was. What was happening with Picasso? What's he doing with the nude
at this point in his career? Well, this is a period
when he's going back to a more classical approach
to painting, really. The dove grey,
I mean, it's been read as something that is connected
to Marie-Therese Walter who is the sitter for this portrait. She's shown in a photograph
with two doves. And the forms of her hands
echo doves' wings. And that dove grey
is also a reference to that. He's also shape shifting it
and transforming it so that the single body
of Marie-Therese also becomes two bodies. And it seems to be in fact
Picasso himself on the right who is leaning in
and embracing this figure.

This is quite a departure
in terms of showing the male nude in a very passive
and very erotic pose. And the artist... We put the women on the couches,
didn't we, and did that sort of thing. But we didn't do the bloke.
Exactly. So this is mimicking those poses
and making a very deliberate point - what happens
if you put a man in that pose? What does it look like? Are there difficulties
in displaying this still? I mean, it is called Nude, so you should have a fair idea of
what you're getting, shouldn't you? Precisely. Yeah. And we have talked about whether
we need to have a cautionary label under the big one that says 'Nude', saying,
"This exhibition contains nudes." That might be overdoing it.
That's right. Uh, but, you know,
really what you see in this show is not very much more explicit
than what you can encounter in the rooms
of any major public art museum. But I think it's that feeling
of this being a real person that might stir a sense of,
"Wow, this is a transgression." Because of course
it's not as sort of...'s not draped in the mantle
of art to the same extent. But in truth,
Sylvia's painting from 1974 now itself
looks like a classic object. And, you know,
I think his sexiness and charm are going to win people over. I don't imagine anyone being irate.

Is this actually it?
Or is this a reproduction of it? This is it.
This is it?! But one of three. So, there are two others,
one in Copenhagen and one in Paris. But this is the first time
it's left Europe, so that's quite a long journey
for it. It's a pretty amazing centrepiece
for the whole thing, isn't it? It's a wonderful centrepiece. Yeah, it's the heart of the show,
it's the hub of it. You know, what you register
is that while it's called The Kiss, the moment of passion is expressed not so much
by the meeting of the lips as it is by the limbs, you know,
which are entangled with each other. And they form this wonderful
spiralling composition which draws you
round and round and round as you try and see what's going on
between the two lovers. I mean, we keep talking about
how controversial things were when they came out. I mean, this does look like
they're not just going to kiss. It must have been controversial
at the time. Yeah. I mean, it was basically
not on show for most of its life. So, it was commissioned
at the beginning of the 20th century and then spent most of its life
in a shed because the collector
couldn't fit it in his house and no-one would show it. And when they tried to show it
at Lewes town hall, which was
his local sort of public space, it had to be covered
because they got complaints. And then after that
it comes into the Tate collection, becomes a national icon. So its history
has completely changed over the course of the 20th century. Well, I think this is, you know,
it's almost sad to say goodbye but I think we should
just leave them to it perhaps. Thanks so much for showing us around.
Fantastic. Thanks for coming to see the show.
Pleasure. Thank you.

If you're interested in Australiana, and by this I mean
things like kangaroo paw ashtrays, very kitsch, bad taste,
uncomfortable representations of Indigenous Australians, the kind of things
that were very popular in Australia in the 20th century
in the decorative arts, then there is an extraordinary
opportunity coming your way. One of the biggest troves
of Australiana is about to hit the market. It's a collection
that's been put together by businessman Trevor Kennedy
over the last 40 years and we got to have
a bit of a Captain Cook.

This is not the house,
but the warehouse of Trevor Kennedy. For over 40 years
he's been collecting Australiana. It's a 10,000-piece treasure-trove which includes
three First Fleet portraits, 100 pieces of gold jewellery
and so much stuff. So, what's in here? Well, this is probably
some of the most important stuff. The only known image of John White who was the surgeon
on the First Fleet. She was the first Jewish woman
in Australia. On the voyage out here
she got it off with this guy who was Captain Johnson,
reputedly the first man ashore. This is part of Governor Macquarie's
dinner service. Macquarie's dinner service. So, he's sitting eating dinner
off this. Yes.
It looks very modern to me. I almost looked at that and thought
it's sort of Art Deco. Yes, it was that Chinese influence which was very, very fashionable
at the time. What is this collection? Is it anything that happens to have
a bit of a sense of Australia? What's 'Australiana'? Well, it's a very loose definition.

I regard it as anything
that has an Australian theme that was made
for the Australian market So a lot of the stuff
which I define as Australiana wasn't actually made here but it has very much Australian
themes associated with it, whether it's flowers or animals
or places and things. What do you think
the collection means? When we're sitting
in all this crockery, we've got Aboriginal breastplates,
we've got kangaroo paw objects, we've got busts of prime ministers, is there a meaning that we can get
out of all of this? Um, yes, that it's Australiana.

That's the meaning. If you want to sort of look at how innovative, inventive,
artistic etc, Australians were back in those early days, This sort of stuff represents it
better than anything else. This is white Australia, you know. This is the attitude that white
Australians had towards the country, the landscape
and Indigenous Australians. And as a collection even that's
an important thing to remember, that this was the attitude. Seen all together, this is
an expression of colonialism. But here and there
you get some glimmers of the first stirrings
of an actual national voice. But it is funny, like, I can
look at it as a collection and go, "It's fascinating," but at various points
just pick up something and go, "But this is rubbish,
or this was the rubbish of the day. "This wasn't a regarded object." Oh, exactly. Oh, yeah.
A lot of it is. The Dec Arts
tends to be a very neglected area. It's regarded as lesser, isn't it? These are lesser objects than a great
painting or a great sculpture. Yes. Yes. Yes. Of course. Yeah. In the '40s and '50s particularly, you had manufacturers
making beautiful objects because they attracted
a much lower rate of sales tax than did something
that you actually put on the shelf as a display object. Don't you just love that detail
about Australia? That it's so often the tax
system that drives what's going on. Yes, indeed. Yeah. Trevor's plan
is to sell the collection. But first he needs to cull. It's been a controversial decision. After rejecting an offer from
the National Museum of Australia, Mr Kennedy's agent John Hawkins
almost sold the lot for $20 million to a Singapore collector. This can never be done again
I don't believe. There's something like
10,000 or more objects here. It's a disease as well as a passion
in many respects. I'm fond of telling the story
about a friend of mine who's a truck driver who's also a very passionate
collector of Australian pottery. And his wife said to him
a couple of years ago, "Now, look,
it's me or the collection."

And he now lives in a warehouse
out in Kensington with his pottery.

I'm James Valentine. This is The Mix. And we're going off to the pub
in just a moment to talk Australian music. But looking at
Trevor Kennedy's collection got us thinking about collecting. So this week's top five, the top five weird things
collected by celebrities. If you're wearing some
of the world's biggest designers, you're going to need a way
to keep them red carpet ready. At number five,
actor and model Penelope Cruz has found a strangely practical
interest in collecting coathangers, totalling 500 on the last count.

Claudia Schiffer might also need
an endless supply of coathangers, but instead she's collecting insects. Mounted and displayed
or painted as portraits, the supermodel
has surrounded herself with an expansive array
of creepy crawlies. At number three, when Tom Hanks isn't on set, he's at home spending some quality
time with his 200 typewriters. He started the collection in the
late-'70s for no particular reason, and is often spotted in public
tapping away with a glass of red. Coming in at number two, you may have spotted
a few animal heads alongside Jack and Meg
of the White Stripes over the years. They're just a small selection from Jack White's
personal taxidermy collection. While Jack has never hunted an animal
himself, he'll do anything to expand his herd, having once bartered
a jukebox and a photo booth in exchange for an elephant head.

At number one, it's the most diverse
and peculiar collection of them all. Actor Nicholas Cage
has used his millions to stockpile dinosaur skulls, a pet octopus,
a nine-foot tall pyramid-shaped tomb, a haunted house in New Orleans and some shrunken human heads. That just sounds like a cry for help
to me. Ohhhhh.

Let's have a little bit of a pub
chat. It's Australian music month. So Danielle McGrane,
originally from Ireland. That's correct. Want your views on Aussie music,
that's for sure. Bernard Zuel from Fairfax.
Originally from Mauritius. You've been thinking about
Aussie music for a while, so let's get into it. I mean, I'm a bit intrigued, Bernard.
Like, what is Australian music now? It was very clear in our day,
Bernard. There was Cold Chisel, there was
INXS, there was Midnight Oil. They were in our pubs, they were playing Aussie tunes
about Aussie things. What's Australian music now? Well, I think there's a problem
right from the start. It was Aussie music
because it was Australian. How was it distinguishable
from other parts of the world? Well, it might have been about
Australian things. I mean, Paul Kelly and Don Walker
and the Oils wrote about Australian things. So we got that.
They did. That was how we differentiated. They were Australian bands
singing about Australian things. But musically, were they that much
different to anywhere else? Apart from the fact
that they played in a lot of pubs and spent a lot of time
learning how to play live compared with English bands. As a, you know, as a youngster,
I'm assuming probably in the '90s... Am I the token youngster here?
Token youngster. I'm happy with that.
Thank you. Thank you, Millennial.
Than you for joining us. Um, did you have any sense
of Australian music in Ireland? Was it distinctive in any way? It was predominantly INXS, which
I guess isn't a distinctive sound, you know, compared to what else
is going on in the charts. But it was certainly a distinctive
sort of figure in Michael Hutchence. He was sort of an Aussie male to us. You know, he had that sort of rugged
handsomeness and a lot of charisma. So that's what I presumed every
Aussie male was going to be like when I came over here. And, yeah...
What you're seeing right now. Absolutely been proved. But that's the interesting thing
too. I mean, Michael Hutchence
was atypical Australian singer of a band. Atypical.
Atypical. Yeah. Yeah. Because Australian bands
just didn't do sexy front men. They didn't do
strutting around on stage. You were a bloke,
you were like everybody else and you bloked it out on stage
in a blokey way with blokes in front of you. It was more like Barnesy
and Brian Mannix, rather than... I mean, Brian Mannix,
had to put Spandex on. And even then
he was still an Aussie bloke. So is that why Hutchence
was able to traverse the world and make it over
to my neck of the woods? And Peter Garrett,
in a different but similar way, in that he was not someone who stood there doing the singing
at the microphone thing. Powderfinger who became
the definitive Australian band of the '90s in lots of ways,
early 2000s, were a regular Australian band
with regular people and they didn't like being shown up
as stars or anything. A rock star. Yeah. Yeah. I think if anything that's probably
what defines Australian music in the '70s and '80s and '90s,
you didn't have strutting male acts. Now we have people who are
more prepared to be pop stars who dance about, who are more
prepared to declare themselves as stars in the making. But I suppose I'm thinking about the relationship of Australians
to the bands. In that period of Aussie pub rock
we Australians saw Australian music. Regardless of whether
it was derivative there was a relationship
going on there. Now, Danielle, I'm wondering if there
is that sort of relationship. You know, something like an Empire
of the Sun or something like that is a global kind of thing,
not particularly Australian. I think there is a relationship. I think that the change
has obviously been the internet which means
everything is accessible. But you've got this sort of
very strong electronic music push from Australia. And I think
that a lot of the people, the young people
who were supporting these artists, went to see them, you know,
in clubs and things like that. And this is sort of maybe
pre-lockout laws in Sydney for example. That scene was pretty rich
and pretty growing. Who are you talking about there?
What sort of bands? Well, I mean,
like your Flumes for example who's now an international name. And he sort of really led
that electronic music sound. You've got Peking Duk,
a Canberra duo as well. They're doing a similar thing and making a name for themselves
overseas. But having started here
in that scene, in that scene where people
were able to go and watch them, like you used to watch the pub rock
and the bands of the day. And Rufus, acts like that.
Absolutely. But you've still got Birds of Tokyo,
bands like that. There's still... People still go see bands and people
still connect with those bands. The electronic scene's interesting,
though, because again we're talking about
music that could be from anywhere. And they're not necessarily singing
about Australia anymore, are they? They don't have to make
Australian references. And Flume or Rufus,
groups like that, Cut Copy, they could be from anywhere. And the only reason you would know
they're from Australia if you heard them overseas is if somebody back announced it
as an Australian band. So they might be proudly Australian and there might be
Australian audiences, but their concerns, their attitudes,
their technology is so global. There's definitely some of that
happening. Groups like The Drones. And there's a whole Melbourne scene that's grown out of being
very Australian, very Melbourne. And Melbourne traditionally has been
a very supportive environment for bands, not just supporting them
but also identifying with them, much more so than in Sydney. In Sydney people will go see bands but they don't necessarily
automatically think 'Sydney band'. While in Melbourne it's 'Sydney band
visiting, Melbourne band ours'. And the media reflects that as well. And so do you think
there's an Australian audience now that is interested
in Australian music? Or do we just...
Does it all blend a little bit? Because we're getting our music
from all over the place, I wonder would there be plenty of
people who like Birds of Tokyo who don't even know
they're actually Australian? I think they know
they're Australian. I think that the people connect to
it through, say, the radio stations. Triple J obviously
is a purveyor of Australian music. And with their sort of schemes
like Unearthed and that, they really encourage
that grassroots sort of, you know, Australians
beginning from the ground up and encourage their audience
to support them. You know, they've got
their Triple J album awards. And I think that's actually,
coming from overseas, that's something I've really
respected since I've been here, is having a radio station that
champions the local scene so much. And I think that the listeners
connect to it because of that then. Yeah. Favourite Aussie band
of right now. Danielle. Ooh, that's a difficult one. I'm passing to him
while I culminate. Have you noticed one? I'll just say Rufus
'cause they make good, sunny music that you can play anywhere. Can I pick a solo artist?
Yes. I like OLYMPIA,
a solo singer based in Melbourne who's doing
some really interesting things. I think she's a bit of Bowie
and a bit Goldfrapp in there. And I've a feeling she's going to
blow up overseas as well. Wow, fantastic. I like that James Morrison.
Have you heard him? He's very good on the trumpet.
Not just the trumpet. He can play anything, that man.
Exactly. Thank you. Cheers.
Cheers. Cheers.

For the past three years, the musical Kinky Boots
has been a Broadway phenomenon. Based on the 2005 British film, it's a big, warm-hearted
ode to acceptance with music and lyrics
by '80s pop phenomenon Cyndi Lauper. ABC Art's Will Huxley got to meet
Cyndi, one of his heroes, when the show opened in Melbourne. MAN: Price and Son
spent the last century making a range of shoes for men.

We will begin this century making
a range of shoes for a range of men.

The main message of Kinky Boots
is acceptance. We have a slogan that will be
plastered everywhere, I imagine. And it's 'You change the world
when you change your mind.' And it's that. Like, we could break it down
and talk about it, but it's just you change the world
when you change your mind. It's as simple as.

I've always been a fan of Cyndi. I would love to meet someone
who isn't a fan of Cyndi.

It still makes me... It makes my
stomach go that she knows my name. Like, Cyndi Lauper knows my name
'cause she's this icon. She's incredible.
And then she's so hands-on. # I know
# I know # That you go with another guy # I don't care
# Don't care # Because I love you, baby,
that's no lie # I love you more mine
than I did when you were mine. # I really literally... The first thing I did,
I went into a studio and I took all my favourite parts of
all the Broadway shows that I loved and I strung them all together and I put it over
my favourite dance track. I was going to write songs,
like, all the things I love, but I just wanted to see
if it would go together. And it did. # Just be. With dignity

# Celebrate yourself triumphantly # You'll see # You'll see. # I do think it's a universal story. The fact that it's two unlikely
friends who come together, learn acceptance
and achieve something great and that it makes people
happy and hopeful is a great thing to be a part of. When I saw the story of course
because it was glamorous to me. I loved the fashion
and the shoes alone. Come on. I thought this was such
a wonderful project to be part of because it's uplifting. And in the end, it's a happy pill. People walk out of the theatre,
like, on cloud nine. The kinky boots are actual boots. They come up to my...
the middle of my thigh, six-inch heels, which is
a shock to the system at first. I am surprisingly used to it now,
like my second skin. But they are... They're killer. Alright. I know you've all heard of
the 12-step program, have you not? Yes? Well, let me tell you, whatever
you can do in 12, we can do in six. # Oh, yes, and it goes like this. # It's difficult
to stand and sing as me. To sing the Lola songs as myself
it''s hard. I've got four older brothers and I have their traits
and they could never do Lola. It's... As soon as you
get the make-up on, you have, like, about an hour
to do the make-up, the wig's on,
and I'm kind of unrecognisable. I can look in the mirror sometimes and it's, like, it's bizarre that
my reflection isn't looking back. And that actually helps because
then I can be whoever I want. # Oh, oh, oh, Lola. #

Kinky Boots has changed my life. I mean, I'm 10,000 miles
away from home. And if we can change anyone's life
just a little bit... Like I said,
I have four older brothers, the burliest of men,
that cry and laugh and they go through all the emotions
with you, so anyone can. If the Francis four boys can,
then anyone can. # I'm not my father's son

# I'm not the image
of what he dreamed of. # Nobody asks to be born that way. Who would want to be different,
ostracised, discriminated against?

You're either...
You're just born like that. And I think that everyone should be able to love
who they want in life. And as an adult you should be able
to marry the person you love. So I stand on the side of love.

And personally I think everybody should be just as miserable
as everybody else. You wanna get married? Go ahead.
You know? I'm kidding. # True colours are beautiful # Like a rainbow. # Equality for all, not just for some,
is very important. And if we're all not equal,
then none of us are. # Say yeah... # When people come together,
they can achieve great things. And that's what the show is about. And if you want to see a show
where you leave happy and hopeful, well, then, Kinky Boots is for you. # Everybody, everybody say yeah,
yeah, yeah. #

I'm sure you've used Google
Street View to find your way around, look at a house
or something like that. It's an extraordinary thing. Google uses 250 cars
in countries across the world to photograph our roads
and our suburbs. But what else is in those pictures?
This is what intrigued this artist.

According to Canadian artist
Jon Rafman, Street View images
means that everything is recorded but none of it
has any particular significance.

His ongoing project, Nine Eyes, refers to the nine cameras
mounted on a Google car. He spent years trawling through
Street View archives which span 45 countries and over
8 million kilometres of road. The moments he found in there
speak for themselves.

That's all we've got time for. We've been at Nude at the Art Gallery
of New South Wales. Don't forget,
you can follow us on Instagram and we've got lots of great stories
on the ABC Arts channel on iView. I'm James Valentine, see you soon. Captions by Ericsson Access Services Copyright
Australian Broadcasting Corporation

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