you thought i was done but you were wrong here’s even more south-east queensland gothic:
wet n wild water world closes down for the winter. as you drive past you see a shadowy figure standing atop one of the towers. it gazes across at whitewater world. you experience the vague notion of hunger.
the abc classic fm announcer whispers, panicked, before the station cuts to the distant roar of the entropy of the universe and the echoes of the big bang
you sit in the cool of the south bank IMAX cinema. a hand rests on your left thigh. then another. a third follows. synchronised, they caress you softly.
yellow lid for recycling. green lid for green waste. red lid for general waste. white lid for the viscera of your enemies. chartreuse lid for teeth. glitter lid for regrettable fashion choices.
fallen jacarandas litter the streets, ground into the path by foot traffic. fallen bougainvilleas litter the fields, forgotten, picked clean. when will the bloodshed end?
as you walk along the street the paintings on the traffic control boxes become both more disturbing and more obscure portents of doom. the final one you see is a perfectly rendered copy of the 1979 film ‘Thirst’ surrounded by circling magpies with the word ‘regret’ scrawled across in red letters.
a crowd of protesters march from queen’s park. you cannot discern what they are chanting, and their signs move too fast for you to read. endlessly they pass. people wait to cross the road. people die waiting to cross the road. still they march.
the government starts enforcing healthy options at your school tuckshop this year. salad. wholemeal sandwiches. ennui. whole fruit. juice. low-fat yoghurt. the sensation that disappointment is to come. vegetarian risotto.
thousands are still trapped inside when the entirety of the IKEA store flatpacks itself for its annual migration back to Sweden.
a table full of SALT campaigners loudly hawks their merchandise and pamphlets along a busy footpath. a woman and her girlfriend clap loudly at them. they startle, hissing as they withdraw into the shadows, defeated.
children are herded into a dark van. from a curtain in a corner, a giraffe emerges to teach them about drugs. three weeks later another child has overthrown the giraffe as leader of the newly formed cartel. it is a coup de tete none shall forget.
as you walk through GOMA, one of the paintings begins to sob as you pass it by ‘please don’t leave,’ it begs, ‘it’s so dark here. so cold.’ the plaque beside it simply reads ‘That’s What They All Say.’
a thief stands in the middle of an open field. twenty police officers, three police dogs, and a helicopter surround him. none of them will approach for fear of provoking the plovers that have accepted him as one of their own.
A segment from a truly fascinating interview that was broadcast 2nd September 2017 on ABC Classic FM. In this clip, Charlie discusses the time he achieved the now infamous U-grade in a Religious Studies exam.
Ask FM Question:
"What, in your opinion, is the hallmark of effective satire?"
"Black Twitter hashtags in response to racism and anti-Blackness in the media or on Twitter. Ones in the past like #WhiteHistoryClasses and #ABCReports. The show Black-ish. They are exquisite with this; like levels. Because I am so sure some of it White viewers miss altogether, as if the writers add that in just for Black viewers. It's so layered that there's something for every viewer. I normally don't watch sitcoms but this one is my favorite in a long time, perhaps since Girlfriends really. Effective satire has to actually be satire; not just White men with power whining about their fuckshit, demanding laughter and then responding with abuse if they do not get said laughter or are critiqued. If sociopolitical or political, it has to punch up, not down. Offers nuanced criticism with insight. Humorous, especially for the oppressed group if about an oppressed group. Not dominated by privileged voices trying to speak for the oppressed group so that when it comes out of their mouths/writing, it doesn't seem like they're just regurgitating what they would've said without a laugh track (as in, what they say when oppressed people aren't listening). Involves some hyperbole but not so much that it becomes too outlandish to connect to what the critique is really about. Not mistaken for a 'critical theory' when created by the privileged; not mistaken for 'praxis' when consumed by the privileged."
George Harrison with Howard Smith and Pete Bennett (photos 1 - 4) on 1 May 1970, and with Pete Bennett and Phil Spector on 30 October 1970 (photos 5 - 7) - photographed by Tim Boxer
The following archived article is courtesy of 15 Minutes Magazine and the official George Harrison Twitter account:
“Martin Scorsese licensed three of my exclusive photos for his latest documentary, George Harrison: Living in the Material World. The film will be shown on HBO in two parts on October 5 and 6.
I had these rare photos in my files thanks to Pete Bennett. On May 1, 1970, Bennett, the enterprising promotion manager of Apple Records and promotion manager of each of the Beatles individually, invited me to his Manhattan office. Harrison was preparing to record his first post-Beatle album to be called All Things Must Pass and Bennett was already promoting his client.
I came in and found Village Voice writer Howard Smith interviewing Harrison for his ABC-FM radio program to air a week later. It was evident that Harrison was unhappy with the breakup of the Beatles. Asked about the possibility of a reunion, he replied, ‘I think it’s very selfish if the Beatles don’t record together.’
With solemn demeanor Harrison posed with Bennett and Smith. I thought they were too serious. Bennett reached for an American flag. Harrison scribbled on a card, 'We are not these bodies,’ reflective of his Eastern philosophy. He was warming up.
Suddenly he grabbed Bennett’s hand and, with a great big smile, skipped around the room. It was spontaneous and it was wild! It caught me by surprise but I managed to capture five extraordinary images of Harrison cavorting with his promo man.
From May to September, Harrison worked with producer Phil Spector on recording his first solo album. In October Bennett called again. He said come to Media Sound Studio where Harrison and Spector were listening to the final recording mix of the album. This was my second time to create unique images of Harrison.
The album, All Things Must Pass, was released in the U.S. in December and became an instant smash. As a follow-up to his success, Harrison released Living in the Material World in 1973, which also became a monster hit.
Martin Scorsese’s associate producer called last year to review my cache of George Harrison images. Scorsese selected three prints to use in his documentary of the Beatle who died of cancer at age 58 in 2001.” - Tim Boxer, 15 Minutes Magazine, issue 103