Kaye for Kevin
I have a feeling last Saturday will become one of those historical events forever etched in the memory. You know the type the media harp on about … NYC Twin Tower attack (9/11), the collapse of the Berlin Wall, Princess Diana’s Death. Saturday November 24 will be remembered as the day we stood up to the Howard government. The day we decided that enough is enough and there just has to be a better way. And if you’re not particularly politically minded, Goddess help you. There was no way of escaping such a landslide.
Personally, I wish every Saturday were Election Day. That’d keep the bastards honest (to borrow the Democrats phrase – may they rest in peace).
I adore voting day. Always have. For this silly queen it’s an early morning saunter down to the local Primary School polling booth to revel in all manner of community activity. So much so, the whole voting thing seems little more than a formality. Far more important are the cake stores, the sausage sizzle (though I’ve sworn off red meat – all thanks to animal rights activist Dan Matthews – read his book, Committed).
This past voting day, the city of Port Phillip went all out bringing in an inflatable Jumping Castle and scary rides for the kiddie winks and for the adults, a concert stage. Make a day of it was the rationale and why not? If you think about it, compulsory voting is probably the only event of the year where you get to mingle with the people in your neighbourhood.
Of course this community day doesn’t suite everyone. Waiting in line to vote last Saturday were two gay men cowering behind sunglasses and hats, fearful the community diversity bug might be contagious. One even threatened to vote Liberal to teach the family throng a lesson. To each his own. But while the high gloss lifestyle may work wonders as a sales tool in mass media it hardly reflects reality. Surprise, surprise, life ain’t a disco.
You never know whom you’ll meet at the polling booth. I was hoping I’d bump into Julia Gillard or maybe even Maxine. But it wasn’t to be. Julia was far too busy in her own electorate of Lalor (which encompasses Werribee – Anthony Callea’s turf) and Maxine of course was wrestling little JH in Sydney.
Apparently our sitting member Michael Danby (Melbourne Ports) turned up later in the day but I missed him. I did manage to bump into filmmaker, Dee McLachlan (Director/producer of The Jammed – an excellent flick not for the faint hearted) though unlike New Zealand’s Georgina Beyer, Dee was not running for parliament.
A pity, we could do with a strong transgender voice in Canberra. Wayne Hope (writer/producer of The Librarian – ABC TV) was also out and about on voting day. To my knowledge, he’s not transgender, although you never can tell.
Later election night my tally room viewing was interrupted by an essential birthday gig - such drag commitments come up from time to time. The lucky fella in question was Philip Platon of Melbourne Gay and Lesbian Chorus fame. Celebrating half a century, Philip was very pleased we’d arranged for a change of federal government on his birthday.
It was an interesting gig. Luke Gallagher (partner in crime) and I did our very best to concentrate on the task at hand but like many attending Philip’s birthday party, the large TV screen in the foyer, tuned to the election coverage, proved irresistible. By 9.30pm it was pretty much a done deal for the tally room number crunchers and the broadcast result sent whoops of cheers through the politically astute gay and lesbian chorus members.
Driving home from the gig (which it needs be said was hundreds of miles out in the suburbs – goddess bless), Luke and I poached a Kevin Rudd banner from the local primary school polling booth. We know when a new era is upon us. Look out for that banner in my next drag gig – Live at The Glasshouse for Midsumma Festival 2008 (Jan 19, 26, Feb 2 & 9). I’m sure it’ll make a fabulous outfit.
November 2007
ARTY TART TAKES ON FESTIVAL
This year I set myself the mammoth task of seeing as much of the 2007 Melbourne International Arts Festival as humanly possible. Sadly I fell well short of these grand expectations attending a mere eight festival shows out of a potential 60 plus events. But then – as arts commentators remind us – the festival experience is about quality not quantity.
My festival journey began with Barrie Kosky’s staging of Edgar Allan Poe’s short story, The Tell-Tale Heart. Poe is credited with inventing the crime thriller and his morbid tale of an insane stalker who chops up an elder man and stores the body under the floorboards got the strip back Kosky treatment.
The single actor (Martin Niedermair) recited Poe’s lush gothic text seated on a steep floor to ceiling staircase. At one opportune moment, capitalising on the spooky tension, he scaled the stairs like a Huntsman spider even appearing hanging upside down.
Meanwhile, Kosky tinkled the ivories of a sturdy upright, shadowing the ebb and flow of Niedermair’s often-staccato delivery, sometimes conducting the proceedings (he is after all the show’s Director), other times obediently following. It was all really quiet dynamic, though not so much scary as intriguing. Come to think of it, there were even a few pretty style songs scattered throughout. Sondheim would have been pleased. This production had all the qualities of Sweeney Todd, the Demon Barber of Fleet Street, minus the meat pies.
The Temptation of Saint Anthony, by Robert Wilson and Bernice Johnson Reagon was the second show on my festival soirée. Almost the exact opposite of Tell-Tale Heat this gospel rock opera was inspired by Gustave Flaubert’s 19th century novel of the same name. It’s a deeply religious story about, well, earthly temptations as experience by Saint Tony and the redemptive appeal of god. Actually that’s far too simplistic – not so much a Family First maiden speech as an excuse to get down and shake some series booty.
All praise the goddess of the song and long may she reign. This production is in part the love child of a cappella choir, Sweet Honey In the Rock. Bernice Johnson Reagon founded Sweet Honey and brings her music savvy to The Temptation, in collaboration with conceptual director Robert Wilson. A powerful creative duo out to woo with rousing, arm waving song and some gorgeous eye candy staging. I can assure you – I wasn’t the only bony ass white sister humming along in the stalls.
From the church of Saint Anthony it was over to the North Melbourne Meat Market for a mid week concert by Korean ensemble, Gong Myoung. Nifty two-sided drums, chimes, cymbals and other percussive paraphernalia, a didgeridoo, at least two guitar, a mouth organ, even a wooden flute – but a few of the instruments that fell under the spell of these four Korean lads. Such passion, particularly during the drumming sequences is rarely seen in the bluestone suburb that is North Melbourne – except maybe at Queen Victoria Market with a particularly volatile crate of over ripe stone fruit and less than half an hour to sell the lot. Now that’s passion. Harness the vocal might of those spruiking fruitier and you’d really have a festival show.
I have to confess I left Gong Myoung during the interval, satisfied with the banging and clanging I’d heard. I apologise to Korea for any offence taken but this really wasn’t my cup of green tea.
Which is strange because that very weekend I took the Laurie Anderson challenge and trundled off to her latest creation, Homeland. Anyone familiar with Anderson’s expansive repertoire will know that this US Madame is not averse to revelling in a few minor chords. I wonder if she got the chance to jam with the Gong Myoung boys. It could have been the perfect fit.
That said, Anderson loves nothing better than to pepper her music with half spoken, half sung words – great poetic orations that take on politics and the banality of modern day living. Little escapes this lady’s ear: the Iraq war (‘they keep on calling em up, calling em up, calling em up’ she chants), obese children, double talk-politicians (who consult the experts who’ve consulted the experts), even the ghost of her father. I’ll be buggered how all this mumble jumble music workshop therapy comes together. But come together it does and in spectacular fashion. The Melbourne Concert Hall was full to the brim with all manner of arty types, so I feel very secure saying I adore Laurie. Love her twisted take on the world. Love it. Don’t always understand it but love it.
Two of the tougher pieces on my 2008 Festival dance card were the all male Japanese Butoh styled, Kagemi by Ushio Amagatsu’s Sankai Juku dance troupe and the Merce Cunningham Dance Company program A tryptic, Suite For Five, eyespace and BIPED. Both dance companies approach their work with the dedication of Benedictine monk. In Kagemi the dancers cake their bodies in white clay and meditate every gesture as if wary the impact of a misplace twitch on the destiny of the entire universe. It was slow and quiet and very beautiful, sucking you into the sacred space that is the stage. Think Priscilla minus the lurid colours, catchy tunes and false eye lashes. The one prop on the Kagemi stage was a field of wire suspended water lilies and for most of the show they floated aloft like majestic umbrellas.
Merce Cunningham’s dancers approach their craft with similar concentration and simplicity as the Butoh boys. Mr Cunningham, now well into his eighties actually travelled to Melbourne for a festival residency. The night I saw his Program A, Merce even took a bow centre stage, albeit in his wheel chair. The applause was thunderous. Like many a queen in the audience I gave the old dear an ovation and for a brief moment all was forgiven. I forgave him for the confusion (translates boredom) I experienced during much of his dance.
Call me old fashioned but a ballet without a tutu just ain’t right. Though I’m hardly one to talk. Dancing has never been my strength. Sorry Merce – I stopped dancing when the disco floors stopped lighting up and frankly I just don’t get the whole minimalist abstract thing. But thanks for coming to town and thanks for sticking to your guns all these years in the face of ignorant critic who wouldn’t know their ass from their elbow.
Kiki and Herb also made it into my festival journey. They’re both fabulous. Enough said.
All in all it was a grand Arts Festival. Well done Kristy. Maybe some big Broadway talent next year? Wondering what Liza is doing…
November 2007
FOUL MOUTHED AND FUNNY
A very stern warning greeted guests at Kiki and Herb’s Melbourne Arts Festival show, The Year of Magical Drinking Tour: “Adult concepts, Occasional Course Language and Smoke Effects,” read the post-script on the program.
You’ll be pleased to know this New York cabaret duo composed of Justin Bond and Kenny Mellman didn’t disappoint.
Their satirical Kiki and Herb lounge act, complete with rambling monologues and gut wrenching songs, many borrowed from unlikely rock sources (Gnarls Barkley, The Gossip and Jarvis Cocker) was a sell-out sensation proving just how lethal satirical drag cabaret can be in the right hands.
Centre stage for this two-hour, no interval show is Kiki, a faded glamourpuss whose main props are a sturdy bar stool and bottomless glass of gin, both get a heavy workout through the course of the show.
Loud mouthed, pendulum boobed Kiki is the creation of Justin Bond. And what a creature she is: all wise cracking, ball breaking chanteuse with a flare for re-imagined tales of biblical proportion (quite literally) peppered with tabloid issues of the day.
On the night I saw the show, doggy parenting got the go: Britney Spears’ custody issues, Madeleine McCann (the English toddler that disappeared in Portugal) and closer to home, the boy found in a tartan suitcase on a lake in Sydney. Skating on thin ice? You bet. But comic audacity that left the ‘cultured’ Melbourne audience (a majority of which, it needs be said, were gay and lesbian) utterly gobsmacked.
Accompanying Kiki on piano is Herb (Kenny Mellman). Bond may be the screaming wit behind this act but the musicianship belongs squarely with Mellman. His musical arrangement of the show’s rock ballads in the tradition of ‘cabaret lounge’ is simply masterful.
There was some gorgeous keyboard tinkering under Kiki’s monologues and every so often a recognisable tune would appear seeming to catch both Kiki and the audience off guard.
With successful seasons in Sydney and now Melbourne’s cultural attuned audiences under their thumb we can expect to see much more of Kiki and Herb. Book ‘em into the concert hall next time and watch the tickets fly.
Kiki and Herb The Year of Magical Drinking Tour Stars Justin Bond and Kenny Mellman
November 1, 2007
MR G TO THE RESCUE
The Chasers’ skit around Teletubbies Tinky Winky and the Peel nightclub’s new door policy; Zac Douglas’s Big Brother ratings success; and Chris Lilley’s primping drama teacher, Mr Gregson: are we seeing a whole new batch of camp stereotypes?
Camp for comedy’s sake is not new. Back in the 1970s on the British television series, Are You Being Served John Inman achieved notoriety with his innuendo-laden character Mr Humphries. With a spring in his step, pursed lips and invariably a limp wrist, Inman milked the stereotypical gay shop assistant for all its worth. His rally cry was a high-pitched “I’m free” in response to the call for customer service. At the time gay commentators cried foul, labelling Inman’s brand of comic relief little more than cultural poofter bashing. Those of us with a tougher skin welcome the success of Mr Humphries adopting Harvey Fienstein’s ethos of ‘visibility at any cost’.
Thirty years down the track and the latest comedy wunderkind, Chris Lilley re-applies the blowtorch in his depiction of Mr Gregson (Mr G). By now many of you will have seen in new ABC series, Summer Heights High and if general consensus is to be believed you’ve probably had a good laugh at the class-blinkered comments of Lilley’s other creation, Ja’mie King. But I wonder whether Mr G gets the same response? You’ve got to wonder what was going through Lilley’s mind when he devised the character of Mr G. With the mainstream media increasingly willing to make meat out of gay issues, the visibility argument hardly washes. This past week on Talking Heads (ABC TV), Todd McKenney chatted frankly about becoming a gay father. If it’s visibility we want, we’re getting it in spades.
No, Lilley’s Mr G act sparks too much of having a cheap laugh at our expense. While he has not been labelled as gay per se, MrG’s prissy character traits are those often associated with the stereotypical queen. He minces around cradling a pet chihuahua, insists on labelling all his crockery and food in the staff room and is want to request the service of “two strong boys” during rehearsal for the school production. Lilley claims this new series has given him the chance to flesh out his characters, though if the first few episodes are anything to go by, he’s simply reinforcing a whole heap of damaging stereotypes. If a teacher were to behave in this overt manner in a real school environment he would be sacked on the spot.
Why is behaving poorly toward a disenfranchised group (i.e. gay and lesbian teachers) acceptable under the guise of comedy? Lilley’s routine is particularly concerning given the critical acclaim his work has drawn. As with Kath & Kim, it’s more than likely Summer Heights High will attract a large audience and with that comes just a little responsibility. While the likes of you and I can distinguish between mockumentary stereotypes and reality, I’m not convinced the masses can. Come on Chris, funny is not everything.
Bnews September 2007
Callea comes home
The scene is set. It’s Myf Warhurst, Anthony Callea and UK comedian Stephen K Amos up against Alan Brough, Vika Bull and Irish comedian David O’Doherty. The very lovely Adam Hills hosts as the seldom-disappointing episode of Spicks and Specks (ABC TV) rolls along. The show is at to the top of the list of music celebs in the market for a self-promotion and not too concerned about making a fool of themselves in the process. This episode which aired Wednesday April 25 is of particular interest because it is the first public appearance by Callea since he took the more sensible path of coming out. I’m sure I’m not the only couch potato that noticed a change in the demeanour of the pint-sized singer. Not only did Callea take direct questions on the coming out from Mr Hills, (who, granted could ask you to wash his jockey briefs in a way in which you’d enjoy the task) but he did so with the self assured confidence of a young man who is comfortable in his own skin. Certainly not the case in an interview before coming out where Callea often retorted with the rather weary “my private life, is not for public consumption” or something to that effect. It always strikes me as a rather curious attitude given that the nature of celebrity is to foster a robust public profile.
But while Callea was a joy to watch on this Spicks and Specks episode, the most Outrageous trophy goes to Stephen K Amos. At one point when asked what he liked to collect, he turned to Callea and without a beat said “small pop singer”. All smiles and clearly enjoying the attention, the singer seemed more than up to the challenge. To which Amos replied, “I’ve already got Kylie in the boot of my car.”
So the celebrity gravy train that is Spicks and Specks continues its whistlestop tour of musicians, both young and old. Callea, bless his sweet be-dimpled smile, needs to careful. At this rate he is likely to become more famous for coming out than holding the record for the highest selling pop single (The Prayer). Which would be shame given his obvious talent with a note or two down the barrel of a microphone.
May 2007
Erotic gender mash
San Franciscan performance artist and women’s theatre producer, Veronica Combs debuts in Melbourne for Midsumma Festival.
Veronica Combs is slowly recovering from the jet lag and culture shock of travelling half way around the globe. In Australia for a creative sabbatical, Combs is guest performer in the Tranzlezbian Gendermash season at Gasworks. Audience can expect excerpts from her one woman show, Family History – a spoken word piece exploring sexuality and ancestry.
“It’s really sexy, really raunchy, really kinky and just a little touching,” says Combs rattling off the superlatives. The piece had its Antipodean airing at Sydney’s infamous Gurlesque night and by all accounts the response was rapturous.
In her hometown of San Francisco, Combs is a highly revered women’s theatre producer. Her company, Liquid Fire is dedicated to the authentic representation of lesbians of colour on stage and in film. “It’s a touchy area, it can also be a taboo,” she says. “With women in particular, regarding their sexuality, it’s amazing how many different cultures have been and continue to be oppressive.”
Family traditions, religious practice, the school system, body image in the media all emerged in Liquid Fire workshops as issues of grief for women.
“Just so much damage, so much pain - my work helps them heal from all of those wounds,” says Combs.
Part of that healing process is the use of the erotic to empower. Comb’s cabaret projects in San Francisco (in particular the queer erotic cabaret, Wet) feature in your face, provocative performances that encompass strip, burlesque and comedy. As fasilitor, the experience is most rewarding.
“I see women come into the workshops and walk out completely different,” she says. But after eight years sifting through the mire of psychological baggage there was also emotional burnout. While Combs felt content in helping women through their personal issues, her own creative energy was put to one side. This trip to Australia is very much about reclaiming that creative focus
“Honouring my own creativity,” is how she puts. That’s work part of her travels down under but the more romantic component of the trip is a love interest. Combs met her partner on the Pink Sofa Internet chat sight and it was love at first bite. The couple linked up for two weeks in Montreal for the gay games and the Australian chapter of the relationship continues to blossom. “I’m in love,” says Combs with a smile in her voice. “It’s amazing and beautiful and wonderful and perfect. During my performance in the Gurlesque show, I’d look over and she was just grinning from ear to ear.”
Other talent billed for the Gendermash season at Gasworks includes Tom Cho, Mandy Siegel, Beau Heartbreaker and Jacqu Tamlyn.
First published Bnews 2006
CASTING COUCH with KAYE SERA
Queen of Australian rock, Chrissy Amphlett interrupts rehearsals for The Boy From Oz for a girly chat.
What’s it like working with Hugh (Jackman)?
Well you know … he’s great, very energetic and good looking and all that
You play Judy Garland, in a lot of ways you’re both tough people.
Are we? … Mmm, maybe fragile and tough at the same time.
I do see you as a survivor.
Well I’m more than a survivor. I always think of a survivor as somebody that manages to get through by the skin of their teeth. I’d like to think I’m more than that.
It’s also the vulnerability – you have a lot of that in your work too. Is Judy hard to play?
Well she’s got that high energy and she’s a mixture of things and she’s very complex. I just do my best and hopefully it will work.
You’re very humble.
She’s such an icon all I can be is humble. I hope I can rise to the occasion.
Your days with the Divinyls and that famous school uniform. Was that a survival tactic?
I never consciously put it on for that. The Divinyls was never contrived and planned out. It just happened. I saw ACDC and saw the school uniform that Angus had on and I was shy singing the lyrics to my songs (I touch myself) and I think the school uniform gave me a persona.
Were you astounded by the controversy that came with that uniform?
Well at the time girls didn’t show their midriffs or weren’t that sexual but I was also very agro. I was very conscious that I wouldn’t have credibility if I was just a sexual object. So I was a mass of contradictions. I just wasn’t one dimensional and I think that’s how I survived. Sexual objects in rock’n’roll were not taken seriously at that time and still probably aren’t. It was agro which gave me credibility.
It was like you were taking control but was it tough for you?
Yes very and we worked really hard. Rock’n’roll is gruelling and relentless. It’s a gruelling man’s world.
Was it something you always wanted to do?
Absolutely. I mean as a little girl I wanted to be in musical theatre and by the time I was 13 I rebelled and became a rock’n’roll singer.
And now you’re doing musical theatre again.
I know . . . isn’t it weird. I just jumped from one to the other.
Was it hard being so upfront in your book?
I gave a lot of voice to a lot of other people and that helped me go through a growth period with certain people in my life. But I think I’m pretty honest with everything in my life
Was it a cathartic experience, writing the book?
It gave me unity with different aspects of my life and it helped me in that way. And I also lost a lot of shame in that way.
First published Bnews August 10 2006
What Kylie didn’t say
By Kaye Sera
LIKE most of Australia and for that matter, the western world, I tuned into to exclusive UK interview with Kylie, repackaged for Channel Nine and aired this week. Not because I’m a big Kylie fan (let’s just say, I’ve learned to appreciated her pop prowess over time) but because I was keen to see how this style of glossy ‘celebrity tell all’ would handle the very real issue of breast cancer. I can’t say I came away with any further insight into the illness which statistics tell us effect around 700 women under the age of 40 each year in Australia.
In fact, the world exclusive appeared more a promotional tour juggernaut than health awareness raiser. Very little diagnosis and treatment detail but plenty of giggle girlie gah, gah. Interestingly, the illness wasn’t even specifically named until more than half way through the interview and even then, references were fleeting.
The words Breast Cancer were continually replaced largely by the interviewer herself (Cat Deeley) with the more palatable ‘it’ to the extent that Kylie pointedly emphasised the generic term, one of the few moments of candid insight into her emotional journey. For those of us who have dealt with Cancer diagnosis it’s easy to understand the fear associated with the ‘C’ word but little is gained by burying it in such glossy tabloid. Though blame should not directed at Kylie. Without having seen the interview contract, she seemed willing to talk but was given little opportunity in a format driven more by ratings rather than potential ‘turn off’ health awareness. And that’s the problem.
There can be little doubt the interview went to the highest bidder. A celebrity of Kylie stature, with the many industries built on her name, requires maximum exposure. Had Andrew Denton put in a pitch for the Kylie interview, while the results would have been a damn site more satisfying, it’s unlikely he’d have succeeded.
Damage control or a sincere attempt to share her story of surviving breast cancer? The best person to answer that is Kylie but given the spin doctoring in the world of pop, we most certainly won’t get to see that interview.
First published Melbourne Star, July 20 2006
Anal sex with David
THIS fortnight it’s a toss up between two hot topics: David’s campaign to convince his Big Brother housemates of the virtues of anal sex and the continuing saga of Gay Marriage. Both subjects are of equal national importance.
I arrived at David’s expose late in the piece. Through the prism of heavily edited sound bites that make up Reality TV, he was in the middle of explaining to Jamie (of all people) that sex with a male bottom is no different than sex with a female bottom. Along the way there was some candid detail on relaxation and sensitivity (‘probably more sensitive than virginal sex’ or words to that effect). Unfortunately, I came across this adults only late night TV session while sitting down to a hearty serving of home made lamb shank casserole that had been slow cooked for the best part of four hours. Can’t say I found the topic of anal play particularly savoury at this time. Call me a prude, but I’d rather learn about such things like the rest of Australia - from the Internet. But you’ve got to admire David for giving it a go and by his own admission he’s ‘fantastic’ at sex.
"I can capture, ear tag, earmark, brand, castrate and release a calf in an average of 47 seconds," he tells us in his Big Brother profile.
On the more serious subject of Gay Marriage read any one of several pieces in Melbourne Star to keep up with the silly goings on in Canberra. And if you needed further convincing of the benefits of gay unions to broader society just have a read of Bec Cartwrights ode to Leyton at their wedding reception.
"When we decided to meet, we went up the street for something to eat,
From that day on I’ve been by your side
And look at me now,
I am here as your bride.
I used to wish upon a star
that I’d meet the perfect husband
and here you are …"
Now, could gay marriages be possibly any worse than this? I rest my case.
First published Melbourne Star June 2006
Dragged out
WANT to know how it feels to be loved? Do something completely unexpected and watch the dust fly. My recent resignation from the JOY’s (94.9FM) Breakfast Show has brought a flood of correspondence.
While there were many supportive messages and just a few offers of a heart to heart over a fine glass of red, not all the feedback has been pleasant.
Case in point: a rather peculiar email that started with ‘What the fuck do you think you’re doing’ and ended with something along the lines of ‘…don’t make me switch over to NOVA.’ I’ve forwarded that one to Hughsie, Kate and Dave. Perhaps it’ll complement their recent girl on girl kissing competition.
More concerning was an email request for my address so they could ‘tell me face to face’ exactly what they thought of my rash move. I’m attributing that one to my trusty radio stalkers of the past five years. Desperation brings out the most bizarre behaviour and lets face it – there’s nothing more desperate than Breakfast radio.
Not outside the realms of the ridiculous was a phone call from a gay journalist as to the TRUE nature of my resignation. This is news worthy?
In Russia gay men and lesbians are fighting for their rights, in Romania a gay pride march was attacked by neo fascists. In the US Bush is promoting a constitutional amendment to ban gay marriage and here in Australia there’s a concerted attack on gay and lesbian friendly children’s books in education along with the gay marriage. Now, in the general scheme of things Kaye Sera’s resignation from JOY after four and half years of The Breakfast Bar and at least another five years prior of Kaye’s Lunch Box, seems mighty trivial.
For the record, I’m extremely tired and I want a break from radio. Nothing more, nothing less. My thanks to JOY and in particular, Brendan Castle for putting up with me for so long. As for the future of the Breakfast Bar? I can only hope the Sock Puppet gets the numbers up (see MCV).
First published Melbourne Star June 8 2006
Aunty Boo Boo
Big Brother aside, this past fortnight has seen not one but two serious television dissections of important gay issues. Insight on SBS dealt with gay marriage and on ABC TV, Four Corners tackled youth suicide.
Surely these subjects, particularly youth suicide, deserve more than a tabloid treatment? While I can understand the emotive banter to come out of Insight - don’t we love Jenny Brockie for getting the ball rolling - I expected more careful analysis of Campbell Bolton’s sad story.
Not only did the program fail to engage the role of Campbell’s sexuality in his suicide (it spent more time on his acne), it neatly shifted the blame onto his own personality. On his website (May 16) Tasmania gay activist, Rodney Croome, highlighted the program’s failings.
"Nothing was said – no advice given or proposals made – about how to provide gay teenagers with the support they need," he writes. "Same-sex attraction was portrayed as something which individuals simply have to deal with, as best they can, on their own, in a hostile world."
Croome argued further that "all responsibility for handling discrimination and finding some inner peace is abdicated to the very person least able to carry that responsibility".
My problem with the program was the focus on the effect of Campbell’s death on family and friends, pointing the ‘selfish’ finger squarely at Campbell himself.
That may have made ‘good television’ but how irresponsible is it to play this blame game? It wasn’t Campbell’s fault he received little information and support for his sexuality at school and certainly wasn’t his fault that his exposure to the gay scene in Sydney’s Oxford Street left him desperately wanting. What message does this send to other young lesbians and gay men grappling with their sexuality?
Nice attempt ABC but next time give us four corners, not two and a half.
Gay and lesbian Switchboard Victoria provide counsellors daily from 6pm until 10pm (Wednesdays from 2pm until 10pm). To speak to a trained counsellor call 9827 8544 (metropolitan area) or 1800 184 527 (country Victoria). More help from Lifeline on 131 114.
First published Melbourne Star May 25 2006
Leather Fun
Melbourne Leather Festival is upon us. What a great time to launch my new queer Reality TV show.
GIVE me handcuffs and bondage, leather paddles and harnesses, chaps, masks, chains, chokers and shiny black boots, and that’s just day wear, wait until the lights go out.
With censorship hitting the pages of our mainstream press, what better time to float my all new queer reality TV program. It’s called Daddy Does Dungeons (rated MA) and when the rights are picked up by Rove Enterprises, you can expect the first season to air early next year just in time for Midsumma Festival. That’s assuming Communications Minister Helen Coonan doesn’t get her way and personally ban all programs that challenge ratings boundaries.
Sound absurd? Reports surfaced last week of Minister Coonan’s crusade. At the beck and call of a delegation of MPs headed up by Trish Draper (Lib), amendments to the Broadcasting Services Act were on the agenda. The catalyst was the last season of Big Brother, in particular the saucy Big Brother Uncut program. We know that Trish Draper has a thing about Big Brother and we’re not talking about Gretel’s shocking wardrobe. Back in June she described the show as ‘pornography’ and called for it to be taken off the air.
"These people have an aspiration to be porn stars," she said.
More recently, Nationals MP Paul Neville has also attacked the Channel Ten program.
"Free to air television is supposed to have a code of conduct," he told local press. "A row of beds in a circle with young nubile girls and excited blokes and saying that ‘oh no, we’re just reflecting community standards’ is absolute twaddle."
Listen up Minister Neville. Young people do have sex, all different types. That’s a fact. Sometimes they have sex with each other, sometimes alone. Some will be gay and lesbian, others bi. Some may even chose to indulge in the naughty pleasures of leather and fetish. Good luck to them. Sex is very much a part of our reality and although you may disagree with the tone of television shows like Big Brother, (the sex is the least of its problems) don’t beat us down with a moral stick.
Television that pushes the boundaries is healthy and good. Back in 1974 it gave us our first male to male kiss when Don Finlayson kissed his lover on Number 96. Programs like Sex in the City (modelled on gay men), The L Word and Queer as Folk have continued to challenge hetero centric culture. Democracy is about living with difference.
If Minister Helen Coonan has her finger on the remote when these shows are aired, whether in an appropriate timeslot or not, we can kiss good bye to queers on TV. It’s all about scoring quick points. In the face of resistance to the industrial relations reforms and sale of Telstra, the Howard Government is just itching to utilise its power in the Senate. ‘Smutty’ TV is an easy target.
What next; the Melbourne Leather Festival, Sexpo, queer movies (Mysterious Skin), health campaigns from the Victorian AIDS Council?
Back to those handcuffs, I can think of a few Ministers sorely in need of restraining.
First published in Bnews Aug 25 2005
From the island state with love
Rodney Croome is the perfect activist package – cute, deep and committed. So what does the island state prodigy have to teach us mainland folk?
RODNEY Croome is at it again. This time he has the ban on sexually active gay and bisexual men giving blood in his sights. The issue of blood donation and the Red Cross surfaced last week when Michael Cain launched a legal challenge with the Tasmanian Anti-Discrimination Commission. Good enough for Rodney, this is after all an issue of equality. On his website he writes, "what we’re looking at is the queer equivalent of installing wheelchair ramps: the Red Cross thinks it’s just too expensive to provide gay and bisexual men with equal access".
To describe Mr Croome as a serial activist is an understatement. Tasmanian law reform, gay marriage, queer cultural identity. Just a few meaty subjects to drift into his radar.
Last weekend Rodney was invited to speak at the launch of Gay and Lesbian Switchboard’s, There For Us campaign. The ritzy event attracted the heartland of Melbourne’s gay community, mindful of Switchboard’s important role in breaking down isolation, and offering hope in times of need. It’s a subject close to Rodney’s heart. He spoke with passion about his experiences growing up on a dairy farm, his relationship with the neighbours, friends and family. Connectedness, belonging and community were the cornerstone of his address. To the more cynical amongst us, folksy terms used far too often without context or meaning.
I’ll let that one hang in the air while I declare my part in this Switchboard soiree.
All public events need a clown. What a dour and drab evening it would be if all we did was sit around meditating our collective community navels. Why not take away the designer alcohol and hor'dourves and serve up luke warm tea and scones. Don’t stop there. String up Australian flora and fauna tea towels and turn the whole gig into a Country Women’s Association meet and greet. Need I go on?
Enter the drag queen. Called upon to MC the Switchboard launch and fairly beside myself at the prospect of rubbing shoulders with Mr Croome. Think I may have even embarrassed myself at one point and mustered up a version of Mustang Sally.
Now, I’m not saying that good looks are everything in the arena of political think tank but they sure as hell don’t hurt. Like many a tabloid magazine junkie, I’d had the pleasure of the glossy photo spread Rodney had done for a certain national gay magazine. Impressive, I wondered whether the messenger could possibly match the message and I couldn’t help but notice a fairly high proportion of seemingly eligible gay men at this particular launch also intrigued at Mr Croome in the flesh. Come to think of it, there were also a large number of lesbians in the audience. I can only imagine their interest was of content, not form but of course, there is that theory about lesbians and gay male pornography. Best leave that to another columnist.
Good looking gay men and community minded activism, a powerful mix. Harness that energy and we’d have a social revolution.
First published in Bnews August 11 2005
Comedy Queen?
The difference between Graham Kennedy and Derryn Hinch: one of them puts his foot in his mouth for laughs.
CELEBRITY death, HIV/AIDS allegations, gay slander - this all sounds so familiar. Not only has Graham Kennedy’s passing flushed a few skeletons out of the closet, it’s also exposed homophobia at it’s nastiest.
Derryn Hinch’s public broadcast on 3AW with claims that Kennedy was gay and died of AIDS was not about reporting ‘in the public interest’ as he claimed, or even about setting the record straight. It was about radio ratings.
The fallout from Hinch’s comments were swift with the National Association of People Living with HIV/AIDS (NAPWA) strongly condemning him.
"Mr Hinch’s words have deeply angered HIV positive Australians," said NAPWA President, Ms Gabe McCarthy. "Using someone’s supposed HIV status to attack and revile them is a shameful, despicable act. Doing so when the person is unable to defend them self is simply beneath contempt."
She continues to make the point: "People living with HIV/AIDS know all too well the stigma their infection carries, and still face discrimination and vilification, despite 20 years of success in combating and understanding this disease," she said. "The fact that someone with Mr Hinch’s profile is prepared to use their position to attack people living with serious illness for the purpose of making a salacious attack of this kind shows just how far we still have to go."
Fortunately Kennedy’s legions of fans have met the challenge admirably and exposed Hinch for the insensitive, small-minded person he is. By his own admission he received thousands of emails calling for a public apology.
This issue is not about being gay and being in the closet, public figures of Kennedy’s generation and stature rarely came out, it is however about using AIDS to belittle a person’s reputation.
Consider the media hysteria that surrounded Rock Hudson’s death. It’s not enough to suffer the painful death of, what at the time, was a little known disease but to be bashed by homophobic media with a commercially driven, moral agenda is downright brutal. Profiting from someone’s misery is not particularly Christian or morally right for that matter.
The Graham Kennedy facts: He was a very heavy smoker and sadly suffered the lung deterioration that accompanied that habit. The medical report produced by his friends, showed he died of pneumonia and was HIV negative.
Not nearly enough for a public retraction from Hinch whose apology on 3AW this week seemed more about maintaining his own integrity as a broadcaster than correcting inaccuracies.
Of Kennedy’s sexuality, biographer Graeme Blundell found a few clues but little evidence to confirm he was gay. There was of course the outrageous camp behaviour on TV (some found that offensive, I thought it was a hoot) and the fact that he preferred the company of a few close friends, particularly in later years. But as much as we’d like to claim him as one of our own, these hardly make him homosexual.
Perhaps the most revealing statement on his sexuality comes from Kennedy himself, who when questioned on the subject replied, "I’m for all kinds of liberation, women’s, gay, whatever makes you happy. I don’t think I would say if I was or I was not." (Radio 2GB, 1976). Pity Graham, you’d have made the perfect husband for this drag queen.
First published in Bnews 2005<
Midsumma but no law reform?
IT’S early Thursday evening and the who’s who of lesbian and gay Melbourne have turned out to launch the Midsumma 2006 program, but what about the 25th anniversary of Victorian Law Reform?
GOOD will abounds. Plenty of drink and nibbles, even a sausage sizzle in the corner threatening to lower the arty tone somewhat - the Midsumma 2006 program launch is after all at ArtPlay, Birrarung Marr. Plenty of talk around the strength of our community, a big nod from Melbourne City Council Lord Mayor John So, a general buzz and excitement around the pending festival celebrations.
One glance around the room and what do you know, we’ve become mainstream. I wonder what it would have been like, say 25 years ago? Not nearly as glossy, not nearly as mainstream?
Interestingly, this year marks the 25th anniversary of the Victorian Government’s Decriminalisation of sex between men. Our silver jubilee you might say. Imagine the celebrations that greeted the passing of that Bill on December 17, 1980. In fact, Victoria was somewhat behind the eight ball in legalising homosexuality.
South Australia put the issue on the agenda back in 1972, decriminalising some homosexual acts. Further reforms were achieved in 1976. The Australian Capital Territory got it’s act together around about the same year as Victoria (1980) then came the Northern Territory (1983), New South Wales 1984 and Western Australia in 1989. Dear Tasmania was the final state to come in line, achieving gay law reform in 1997. Hurrah.
But law reform doesn’t come about without the considerable effort of a number of people. Just ask Tasmanian activist, Rodney Croome. I suspect he has plenty to say on the virtues of persistence.
Back home in Victoria, there is at least one theorist that attributes the push for law reform to our boys in blue, the Victorian Police force. Historian, Graham Willett noted a marked increase in the number of callers to Gay Liberation and Society Five in December 1976 seeking legal advice.
"Inquiries through the scene revealed that police had been active at three or four city and suburban beats, and especially at Black Rock beach," writes Willett. "Activists convened a meeting to discuss what to do about all this. Society Five representatives were especially keen to act, suggesting a formal complaint to the police commissioner, a leaflet directed at beat users and approaches to the press."
The issue of Victorian police acting ‘gay to lure homosexuals' (aptly dubbed, ‘pretty policing’) was picked up by The Age and The Truth newspapers and the unfair treatment of gay guys was out in the open.
Willett believes this put homosexuality on the public agenda and paved the way for law reform.
"If there were doubts about whether or not gay men ought to be having sex in public they were largely lost in the uproar over the ridiculous and unfair behaviour of the police," writes Willett.
"Amidst the storm of protest and debate widespread support for the decriminalisation of male homosexual acts surfaced within the political mainstream."
Now, this potted queer history lessons serves little purpose here than to remind us of our gradual legal acceptance. But as we all know, lesbians and gay men have always expressed themselves and created their own culture, regardless of dud laws. Plenty of evidence of that on the pre 80s party scene in Melbourne where, you might say, every weekend was a mini Midsumma.
Which brings me to my point. It is curious that Midsumma 2006 choose to ignore Victorian law reform 2006 program launch. Not one mention. Not even a murmur.
Bigger fish to fry or is Midsumma Festival out of touch with our hard won acceptance?
Festival details at www.midsumma.org.au
Graham Willett text extracts from the Australian Lesbian & Gay Archives 2002
First Published Bnews Dec 15 2005
Rainbows shine
LITTLE more than a room full of pussy cats
NOTHING can compare to a room chockers with community minded poofs and dykes. So it was at the Rainbows 2005, one of the few opportunities in the age of the dance party to get spruced up in formal gear and share a meal and entertainment with friends and foe.
The Comics Lounge proved a fitting choice for the Rainbows 2005. An added 100 seats on last years Lido Theatre allowed for enough growth while still keeping an eye on the purse strings.
I predict this is the greater challenge for future Rainbow awards – growing to accommodate more folk, but not breaking the bank. The Comics Lounge itself has a bit of history with community events. Melbourne Marching Girls and Vic Bears are just two such groups that have utilised the facility. Today it is the home of Bent TV, who in capturing the precious moments for a future broadcast, showed themselves to be the quiet achiever on the night. As did JOY Melbourne, who produced another outstanding live broadcast.
There were many on stage highlights at this years Rainbows. John-Michael Howson’s acceptance speech for the Lifetime Achievement award in particular struck a cord. Coming from an era where acceptance of homosexuality was in short supply, Howson spoke candidly of the perils of living in the closet.
If you think it’s curious in the entertainment industry today for younger talent to hide their sexuality, imagine how difficult it was for the likes of Dusty Springfield and Graham Kennedy, both of which got a mention in Howson’s speech.
The other John to make the sought after Rainbows honour list was Deputy premiere, John Thwaites. As he put it ‘I’ve final broken the drought as always the brides maid, never the bride.’ Thwaites deservedly picked up the Rainbow for Community Supporter of the Year.
In the Rainbows Hall of Fame categories (Community and Entertainment) Penny McDonald from Pride March, Kevin Attwood from the Xchange Hotel and drag performer, Paris (our Rainbows cover girl) shared the glory. Penny’s role on the night as Event Logistics backstage manager was interupted when her name was announced. Head phones were ditched, script downed and she appeared from backstage to accept her award without missing a beat. That’s professionalism. Later Penny coped a big thank you kiss from her partner Liz, another piece in the technical puzzle that goes to make an awards night like the Rainbows run smoothly.
Special Rainbows thanks needs to go to the outstanding MC work of Mr Luke Gallagher who survived the night, on microphone with the likes of Dulcie Du Jour, Doug Lucas and Paris as co hosts. Put that on your resume, Luke.
But for my two cents worth and in the interests of community development, I’d like to blow the cover on a long held myth around the drag scene. Now you’d expect on a night like the Rainbows, with many of our big entertainment names sharing the one stage, ego’s would be rampant. And you’d expect such behaviour to be most evident backstage. Nothing could be further from the truth. I’d go even further and offer that the behaviour of the drag entertainers backstage put forward the very ideals of a diverse community like ours.
In the tiny confines of the Comics Lounge dressing room, property, personal space and feelings were highly respected. No cat fights, no bitching, no backstabbing. On the contrary. Words of congratulations and support. There you go, if the tigresses of the drag scene show themselves to be little more than a litter of kittens, anything is possible.
First published Bnews Dec 1 2005
