The Coffee Club co-founder is investing $7.5 million in a luxury seven-bedroom penthouse in Brisbane

By A James for Chron Australia

5:24 AM, July 1, 2023 | 5:25 AM, July 1, 2023

A luxury residence in one of Brisbane’s most desirable areas has been bought by Coffee Club founder Emmanuel Drivas for a staggering $7.5 million.

Drivas, 69, bought the seven-bedroom, seven-bathroom East Brisbane penthouse in the upmarket Eighteen Park apartment complex, which is still under construction, reports the Herald Sun.

With breathtaking views of the Brisbane River, the penthouse extends over 470 m² and occupies an entire floor of the building.

Drivas is now planning to sell his mansion at Holland Park in Brisbane and redesign his new property ahead of the apartment complex’s official opening in 2025.

The penthouse features a stunning open floor plan, private balcony, floor to ceiling windows and premium amenities.

A luxury residence in one of Brisbane’s most desirable areas has been bought by Coffee Club founder Emmanuel Drivas for a staggering $7.5 million

Drivas, 69, bought the seven-bedroom, seven-bathroom East Brisbane penthouse in the upmarket Eighteen Park apartment complex, which is still under construction

Meanwhile, the state-of-the-art apartment block aims to offer first class, resort-style luxury living.

Designed by boutique architects Altis, the chic residence of just 28 apartments features a dramatic lobby design with soaring 4m ceilings.

Other highlights include a fitness center equipped with the latest technology and bicycle storage, as well as an entertainment deck.

There’s also a wellness center with a sauna and yoga deck.

Coffee Club founder Drivas (pictured) is planning to sell his mansion in Brisbane’s Holland Park and redesign his new apartment ahead of the apartment complex’s official opening in 2025

The penthouse features a stunning open floor plan, private balcony, floor to ceiling windows and premium amenities

Each of the apartments is individually designed and features a neutral color palette.

Drivas is now one of Brisbane’s best-known businessmen.

In 1989, Drivas and two associates, Emmanuel Kokoris and John Lazarou, founded The Coffee Club.

The brand started with a café in Brisbane and today has 180 stores in nine countries including Australia and New Zealand.

Juliana Alvesan actress, confessed to journalist Patrícia Kogut of Jornal O Globo the end of her marriage to the director Ernani Nunesit wasn’t overnight.

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“Obviously it wasn’t overnight”

“Of course it didn’t happen overnight, but we managed to forge a friendly relationship with the due diligence that a breakup requires. It is a process and we are still building this coexistence. The way we told our daughter about the breakup was very peculiar. We haven’t made an official announcement. She experienced her father’s new home and started to understand things from there,” she began.

“He also comes to our house. That’s very positive for everyone, because she’s very attached to me and him. She doesn’t have to feel the divorce the way we do. She obviously feels it somehow. It was a challenge. And calmer than I imagined,” she admitted that she has a daughter. Yolanda5 years with ex

As she turned 40, the actress admitted she didn’t see the time go by.

“Complete 40 laps around the sun! Ufa! So much history, so many achievements, discoveries, how much pain, how much learning and so much joy. “Today I live a mixture of feelings and the certainty that I live a very blessed life,” he shot.

The fall 2022 jazz revelation, Sweet Tooth, by composer, double bassist and bandleader Mali Obomsawin, was greeted with a concert of praise across America and Europe. Presented as a “suite for Aboriginal resistance”, the album provokes a fusion between Abenaki tradition and exploratory jazz, reimagining the encounter between the old and new worlds: “I don’t know if it’s a militant album, but the nuances of the musician don’t matter.” I see it more as a way to tell the story of my people in a modern way that’s rooted in the present, she says.

“I have my own way of expressing this story from the point of view of the adaptation,” continues the musician, who she meets at her home in Farmington, a village in southern Maine, where she is resting before touring with her sextet continues. “I’m drawn to adaptation stories because people usually know little about the indigenous people, their history, and how they treated white people during this time. »

“When we think of First Nations,” she explains, “we think of healers or shamans, for example, those kinds of stereotypes.” Of course we value these traditions, but they obscure our people’s efforts to constantly adapt to the upheavals, caused by the settlers and their culture. “We have always been interested in different art forms, we are curious and connected to popular culture. We are modern. Throughout our history we have had to introduce ourselves and reinvent the way we present ourselves to the rest of the world. Mali Obomsawin found a poignant and ingenious way to do this: through jazz and the music that rocked her community.

Born in New Hampshire in 1995, she spent her summer vacations in Quebec and regularly visited family on the Odanak Reservation. At the age of ten she discovered the bass, an instrument which she perfected at the renowned Berklee College of Music in Boston and then continued her studies at Dartmouth College. At Berklee, she will be part of the folk-rock trio Lula Wiles, whose latest album, Shame and Sedition, was released on Smithsonian Folkways Recordings in 2021. The formation of Sweet Tooth began after the trio broke up.

Touching

What a poignant album! Infused with the spiritual jazz of his idols Alice Coltrane and Pharoah Sanders (on saxophones and bass clarinet, Montreal-based Allison Burik and Noah Campbell, with Taylor Ho Bynum on flugelhorn and cornet) or even the outstanding bassist-double bassists Charles Mingus and Charlie Haden. With one foot in free jazz, the other in music with indigenous and American roots – the distinctive Wawasint8da is the translation of a hymn brought into the Abenaki language by the Jesuits – Mali leads the orchestra while they perform their New Fellow Yorkers Savannah sings Harris (drums) and Miriam Elhajli (guitar).

We have always been interested in different art forms, curious and connected to popular culture. We are modern. Throughout our history we have had to introduce ourselves and reinvent the way we present ourselves to the rest of the world.

Sweet Tooth is the result of years of studying the traditional Abenaki repertoire. The album opens with the song Odana – “It’s practically the national anthem of our community,” the musician points out – which legendary filmmaker and musician Alanis Obomsawin also sang on her visionary album Bush Lady, originally released in 1985. And yes, Alanis and Mali are from the same family: “She was at the Montreal release for my album last fall. I asked her for help with the lyrics to make sure I understood the meaning, she also explained the story of this song to me,” says Mali, who regrets not being fluent in the language yet.

Mali’s cultural heritage is crystallized with symbols in the gorgeous photograph that serves as the cover. In his right hand the mouthpiece of a trumpet – we want to see a connection to the famous trumpeter Don Cherry (1936-1995), pioneer of free jazz, friend of Ornette Coleman, born to an African American father and a Choctaw mother, an indigenous community in the southern United States. “Ah, cool,” said Mali. Yes, I admit that one could interpret it that way, even if it is not quite the case. Look, in the other hand I’m holding pieces of wampum shells [un collier traditionnel]. It is a way of bringing two objects from two different cultures into conversation to represent the passage of mind, memory, into sound. »

When Mali Obomsawin began her journey last winter, she made a point of visiting Aboriginal communities to share the story of Odanak with them in her own way. “I’ve thought a lot about this question: Do I need to talk to the indigenous people first? I understood that the most important thing is to express myself freely, with my aesthetic choices and my desire to experiment – ​​although I compose a lot, I’m also an improviser and leave a lot of space for it in my songs – but I’m also myself aware that my music isn’t for everyone… Let’s say I don’t want to scream out loud in front of my elders for an hour! My performances differ from audience to audience – I don’t play in the same way to a community audience and a jazz-loving audience in a Montreal club, although the two audiences are not mutually exclusive. »

“Most of all, I think it says a lot about my music that it can interest such a wide audience.” Mali Obomsawin is already thinking about the sequel to Sweet Tooth and is preparing a shoegaze rock album alongside her jazz project “with big electric guitars -Sounds ahead – we’ll see if the fans I’ve gained thanks to Sweet Tooth will follow me in there! »

A few other native jazz figures…

Mali Obomsavin

In free concert with his sextet. At Studio TD, Friday, July 7, 6 p.m

To see in the video

Frame from the Pippi Longstocking series.

He enters the village whistling a tune, on the back of a piebald horse, both menacing and irresistible. She’s a red-haired nine-year-old girl with a muffin on her shoulder, but she runs like an outlaw: fiercely independent, utterly unruly, and with her own legal code. The irreverence of Pippi Longstocking comes to Filmin, which revives the mythical series from 1974 in Spain. Aired again in 1979, 1987 and again in the 1990s, it is part of the childhood imagination of several generations of parents who enjoy showing their offspring that cool things were made in their own time. But how has he aged?

“It’s cool because he does what he wants.” “She’s a rebel.” Lupe and Celia, seven and ten years old, break down when the little Swede cracks eggs with her head or skips school and making feathers. They like that “it’s not cheesy at all,” that it “gets cool with the villains,” and “it’s strong and crazy.” “The amazing thing is that Pippi wondered what a 1940s girl should be, but she still does,” says Elina Druker, professor of children’s literature at Stockholm University, where she teaches a popular course on the author Astrid Lindgren wrote the screenplay for the series in 1969, based on his books about the character, written in the middle of World War II and filled with a deep anti-authoritarian spirit. Lindgren was a middle-class housewife, a secretary by training, who wrote her first novel to distract her daughter. And like Pippi, she did what she really wanted.

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The success (and controversy) of the books was immediate, and a first film, which the author hated, was made in 1949. “Screenwriter Per Gunvall decided to add a romantic plot to make it more appealing to adult viewers,” explains Annika Lindgren, Astrid’s granddaughter and director of the company that manages the rights to her work. “It was a big disappointment for her and it didn’t work out for the audience either, since then she decided to write all the adaptations herself.”

“Pippi is more than a girl, she is a superhero of what we would now call gender fluid,” says Druker, “she laughs at gender roles, social norms, etiquette, bureaucracy, the educational system, authority, normative beauty…” If you see a sign in a pharmacy that says “Do you suffer from freckles?”? To sell an ointment she comes in and says no that she loves hers. “I know how to take care of myself,” defends the strongest girl in the world, and also “I like the police officers less than sour compote with flies”. “In that sense, it’s incredibly timely, it’s still weird, it’s still unnerving, it’s still provocative, it still works,” says Druker, “and of course it’s still incredibly cool.”

Art direction and Swedish minimalism help. Pippi’s eccentric wardrobe, but also Annika’s raincoats and Tommy’s thick sweater, as well as the interior design of the series in general, are timeless and stylish. Many of the plans are reminiscent of the modernist illustrations in the original books by Ingrid Vang Nyman (recently published by Kókinos in Spain), which challenge the classic codes with daring low-angle views, overhead or subjective shots, and disturbing foreshortening to show the grotesque or the surreal. The music, light and mischievous jazz, accompanies.

Astrid Lindgren on the set of the series with actress Inger Nilsson.

But half a century has passed and you can see it in some things. The special effects are wonderfully vintage, and their analog charm makes today’s little viewers laugh. They accept the rhythm – there are long sequences of walks through the forest or on the beach – with unusual composure, since they have fed audiovisually on the hustle and bustle of the multiverse. What squeaks the most, what smells the oldest is the foreigner as a joke. “There is a certain post-colonial revisionism within the academy that is critical of the exoticism, romanticism and mockery that Lindgren infuses into other cultures,” says Druker. “Although there is no ill intent,” he continues – Lindgren, who has proclaimed himself anti-fascist, was an extensive activist for human, child and animal rights – “times have changed.” In 2014, the Swedish cut public -legal television two scenes from the series, one in which Pippi shouts “My father is the black king!” (an adjective that has become a serious racial slur in both Swedish and English) and another in which he stretches opens his eyes to sing a song with an Asian accent. “We accept the changes with no problem,” says Annika Lindgren, explaining that the Astrid Lindgren Company also removed “the N-word” from the books and that the author herself (she died in 2002 at the age of 94) was already in Its validity had been questioned decades ago. In Sweden, however, debates about respect for multiculturalism and the excesses of political correctness caused a stir.

Still from the series Pippi Longstocking

10-year-old Tomás opens his eyes in disbelief when Pippi squints at him (Filmin’s version is the original): “That’s racist,” he says without batting an eyelid. When Pippi tells you that in Egypt you sleep with your feet on the pillow and lie down all day, or that in Argentine schools the children don’t study but eat sweets until their teeth fall out, or that in the Congo they are cannibals, the Boy, who has Asian classmates, an Egyptian friend and several who went to school in Argentina, snorts and rolls his eyes as if he’s up to a bad joke or a silly joke. These aren’t the funniest of Pippi’s (a character he clearly admires) tales to tell, but listening to them at least starts an interesting conversation about how the world and television have changed since it was his mother who did the his mother has seen stockings.

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