Showing posts with label Australia. Show all posts
Showing posts with label Australia. Show all posts

Friday, November 08, 2024

Sliding Doors

 




Back in my early career as a journalist in Australia I was told by an entrepreneur that I had profiled that “Perth needs people like you” and that it was a shame I was returning to the UK.

I held that thought all through the boozy Britpop 1990s when literally no-one in London said anything remotely similar to me. 

Yet it was only last month that I finally returned to Western Australia for a holiday and to catch up with old friends from back in the day. 

In doing so, I need to say, I acknowledge the Whadjuk Nyoongar people as the Traditional Owners of the lands and waters where Perth city is situated today, and pay my respect to Elders past and present. 

I never said that back then.

It’s safe to say that Perth has done quite well without me. 

Probably Australia’s boom town, thanks to the mining and resources industry, the skyline has notably transformed. Back then the tallest building bore the name of Bond Corporation, the plaything of Alan Bond, the man who went from hero to zero in a decade. He won the Americas Cup yacht race for Australia, overstretched himself financially, and ended up in jail before his lonely death in 2015. I would love to have written that story.

The names that dominate the skyline now are Chevron, Woodside, Rio Tinto and BHP.

I appreciated the high quality public realm, the cycle paths and the parks, the gentrification of neighbourhoods I used to consider a bit ‘daggy’, and the embrace of a more multi-ethnic city than the one I remembered. Through more experienced eyes I contemplated the ‘Sliding Doors’ moments over the years and wondered whether I would have fitted in.

On the eve of the US election we went to see British politico turned podcast sensation Rory Stewart at Perth Concert Hall (Last Night of the Poms). A reminder that the world is in fact quite small. 

But it was at the celebration of the life of Sir Howard Bernstein at the Bridgewater Hall this week where I was reminded of the community and the project that has been at the forefront of my professional life for the last 25 years.

Manchester’s renewal has provided a rich seam of stories for me, the source material for my academic thesis, but also a phenomenal network of supportive people focused on a project of regeneration. It might not be a new frontier, but it’s been incredible to raise a family in the original modern city. 

It’s good to be home.

Have a great weekend. 

Monday, November 23, 2020

A bit of a lockdown telly catch up



Here are a few things we're watched on telly over the last few months, no spoilers.

I've already posted up reviews of The Crown, Somebody Feed Phil and the feature length documentary The Three Kings, which merited direct and immediate attention, but here's the rest in descending quality order.

Fargo (Netflix) - we're up to series two and three back to back and it was right up there amongst the best telly we've seen during lockdown. The whole Fargo universe is eccentric genius, brilliantly acted and with characters like you've never seen before, even if the one constant is a sympathetic and under resourced  police officer doing his or her best. I really enjoyed the whole brutal gang war in series two, with the outstanding character Hanzee Dent sporting a fantastic green combat jacket. Series three took things up another notch on the bad guy front, with the modern take on global crime in the persona of David Thewlis' enigmatic and verbose V.M. Varga. 

Mystery Road (BBC) - The second series of this Australian outback detective drama contained most of the boilerplate features of Down Under noir, corrupt cops and darkly cruel bad guys. It was a good story with a few surprises and twists. Lead actor Aaron Pedersen as Jay Swan does understated very well, but as with so many other Aussie series it's always the women that shine brightest, especially Tasma Walton as Jay's estranged wife Mary.

Hanna (Prime) - I enjoyed the first season where we saw the feral child assassin on a string of adventures, and searching for the sinister truth. Series two was a bit like High Street Musical mashed up with Jason Bourne, in rural England. Preposterous nonsense really, but strangely enjoyable.

Roadkill (BBC) - Much like The Crown, Roadkill was brilliantly acted - especially by Hugh Laurie - but was pretty dismal. I'm always a bit surprised at the cartoon portrayal of politicians, their officials and the deep state. I know we have new levels of venal reality to draw from, but they never seem to have anything other than dark motives. But my main problem with it was that nothing that happened to anyone seemed to have any meaning, and so many of the characters had no purpose, a very strange mix. 


Wednesday, July 15, 2020

Let it happen


I found this old photo taken of me in 1989 when I was the editor of a fashion magazine in Australia, sat staring out of the window of the L'Alba Cafe in Northbridge, WA, possibly one of my all time favourite neighbourhood hangouts. 
Strangely, I've been taken back to that time and place by the song below - Let it Happen by Tame Impala. Written and performed by Kevin Parker who grew up in WA, but will have been 3 years old at the time, it seems to capture that anxious feeling of the world of possibilities and excitement. The added ingredient for me is the sense of dislocation from home, and that I'm not meant to be laying down roots and making plans here, I'm in a foreign land. Hence the most critical line is this - "If I never come back, tell my mother I'm sorry". 
There's also a loop in the song where it momentarily sounds like the disc is stuck, before the burst that breaks that loop finds another settled rhythm and then a complex harmony of two vocal tracks competing for your attention. There's a lot going on, but it's ultimately uplifting.
I often think about those 'Sliding Doors' moments of big life decisions, and deciding to return to Britain was just such a time for me, especially the crushing sense of struggle and uncertainty, loneliness and rotten English weather that followed, taking me a couple of years to find my groove in London. 
Where would the friendships, relationships and opportunities in Australia have taken me? How much more chicken mango or Greek salad could I have eaten at L'Alba, or Vietnamese noodles from this takeaway in Highgate? Would I have grown out of dance music and clubbing in Perth as quickly as I did in London? Maybe I quit while I was ahead? Obviously I don't wish away the happy marriage and the wonderful children I've fathered, and I would always have wanted to have landed here.
I've been doing a lot of looking back lately and thinking about where my own sons will go in the world and how I'll feel about that. Maybe it's because the world has got so much smaller during lockdown, shrinking our literal horizons, but expanding our sense of responsibility. 
Let it Happen
It's always around me, all this noise
But not nearly as loud as the voice saying
"Let it happen, let it happen (It's gonna feel so good)
Just let it happen, let it happen"
All this running around
Trying to cover my shadow
An ocean growing inside
All the others seem shallow
All this running around
Bearing down on my shoulders
I can hear an alarm
Must be a warning
I heard about a whirlwind that's coming 'round
It's gonna carry off all that isn't bound
And when it happens, when it happens (I'm gonna be holding on)
So let it happen, let it happen
All this running around
I can't fight it much longer
Something's trying to get out
And it's never been closer
If my take-off fails
Make up some other story
If I never come back
Tell my mother I'm sorry
I will not vanish and you will not scare me
Try to get through it, try to bounce to it
All the while thinking I might as well do it
They be lovin' someone and I'm not that stupid
Take the next ticket to take the next train
Why would I do it? And you wanna think that
I will not vanish and you will not scare me
Try to get through it, try to bounce to it
All the while thinking I might as well do it
They be lovin' someone and I'm not that stupid
Take the next ticket to take the next train
Why would I do it? And you wanna think that
I will not vanish and you will not scare me
Try to get through it, try to bounce to it
All the while thinking I might as well do it
They be lovin' someone and I'm not that stupid
Take the next ticket to take the next train
Why would I do it? And you wanna think that
I will not vanish and you will not scare me
Try to get through it, try to bounce to it
All the while thinking I might as well do it
They be lovin' someone and I'm not that stupid
Take the next ticket to take the next train
Why would I do it? And you wanna think that
Oh, maybe I was ready all along
Oh, maybe I was ready all along
Oh, maybe all I wanted was the sound
Oh but maybe I was ready all along
Songwriters: Kevin Parker
Let It Happen lyrics © BMG Rights Management

Wednesday, June 17, 2020

The terror legends of the Australian outback


I've never been anywhere quite like the Australian outback. Even going back 30 years ago, before the phrase 'backpacker murders' was ever uttered, there was a fear, a mythology, a set of folk horror tales that tainted any trip through the great expanse. 

Over the last couple of weeks I've watched the Channel 4 True Crime documentary Murder in the Outback, the Peter Falconio mystery, and the questions over the guilt of Bradley Murdoch, the man who two trials have concluded was the murderer, of which more will follow. I've also watched two series of gory horror fest Wolf Creek, which claims to be based on the real story of Ivan Milat, and dangles the fact that 38,000 people go missing in Australia every year. They do, but all but a couple of hundred are found almost immediately, and of those missing, most are in cites. 

But first I wanted to capture something of the atmosphere and the relationship with the vast unknown expanse and what it does to you. 

Basically, you have this overwhelming feeling that you are in terrain so very different to anything you are familiar with. On each and every occasion, good or ill, I was always at the mercy of strangers to navigate me through even the relatively minor challenges that can befall you. And if that was to go wrong? You're stuffed basically.

In 1984 I spent time on a cattle ranch and settlement in central Queensland, where the address was "Old Gordon, via Dingo" and despite the basic amenities, the fact it was in the middle of nowhere, it was still 150 kilometres by road from the coastal town of Rockhampton, on the Tropic of Capricorn. Compared to what I later experienced in the red centre, it was practically a seaside town. Even the nearest actual town, Biloela (population 5000), had a bank, even if they lost my money for a few days. Life was so different and pretty sparse, because the houses were so isolated, runs for supplies were infrequent and you relied on tins and frozen food. More than anything though, the work was hard and it was always very hot. 

When I lived in Perth a few years later, some of the fondest memories are of weekend jaunts 'down south' to some glorious countryside, complete with gorgeous isolated beaches and stylish old hotels. It didn't take long before you were out of Perth on the road to Bunbury or Busselton and the sky stretched out in front of you, there was desert and scrub as far as the eye can see, and you had to keep a careful eye out for two hazards, kangaroos and road trains. Oh, and running out of petrol, which we'll come to later.

But if down south held an allure, up north was a different kettle of fish, or shark. Me and Samantha, an old girlfriend from Manchester who was passing through, rented a car and headed up towards a legendary spot called Monkey Mia. It's now a UN World Heritage Site, and the attraction is that dolphins come right up to the shallow shore and rub up to you. Being there was awesome, but getting there wasn't without it's trials. The first overnight spot was in possibly the grimmest town I've ever stayed in, Geraldton. It literally had nothing to commend it, except possibly that it wasn't as grim as Northampton, 80 miles north, where we stopped for fuel, and was the birthplace of murderer Bradley Murdoch. I'm sure now they've developed a heritage museum to follow the trail of Gerald, a pioneer of the outback, or they've discovered gold and cobalt somewhere. Anyway, we were 22 and didn't care to look back. We did however stop to look at Shell Beach, the world's only beach made of, well, shells. There wasn't a sign saying don't take your car on it, but there wasn't one marking a road either. We made it off the beach, but not much further. It wasn't long before a passing car pulled over and offered to give us a lift to the next town so we could complain to the hire company about our faulty car (*innocent face*). All I remember about the mechanics of the rescue was the overwhelming kindness from the local people, how we got a tow out to our ceased up rental, and that the hire firm brought us a new rental car up from Perth, and gave us a lift to our basic quarters near to the dolphins. And looking at the distances now, that's quite some service, to be fair. No, what I remember so vividly were the people who gave us a lift. Within five minutes of picking up two poms at the side of a deserted desolate road, these 1970s migrants from Essex wanted to know if Britain was "still really bad, you know, with the blacks and everything". I was shocked, even then racism was more of a polite thing amongst English people, but I was also a cowardly pragmatist and keen to get out of the midday sun. God love her though, Sam wasn't having it, turning the conversation towards the problem being racists who can't handle change. On telling the story back in Perth a few days later, you'd get a handle on a cultural divide and a social pecking order where "£10 poms" were mocked and sneered at for their lack of graces and general ignorance. 

In retrospect it was a lucky escape that we only had Essex man and his racist missus. The bloke at the garage was keen to tell us how fortunate we were to have been rescued by such nice people, and that a much worse fate could have befallen us. The peril of meeting a real outback folk devil was genuinely rooted in supposed friend-of-a-friend tales of robbery, rape and violence. 

That fear probably motivated me to pick a relatively deluxe backpacker option to explore the wilds of the Northern Territory, some months later. I paid up front for a bargain $33 for three nights for a single room (not a dorm) in the Backpackers hostel next to Darwin coach station for the week and decided to embrace all that the capital of the rural north had to offer. I took a bi-plane to Bathurst Island, a raw and fascinating jungle island off the coast, and a pretty harsh place to live if you were a native Australian. I was determined to learn more about their lives, to spend time seeing their country as much as the one that was pretty familiar to me. That said, I checked out of my breeze block cell after just a night, as Jarvis Cocker later said - "watching roaches climb the walls" - wasn't much fun. In so doing I nearly missed my coach tour to Kakadu National Park the next day, because they literally round up the bus passengers from where you said you were when we booked and needed to set off early because of a rain forecast. This is when I encountered, for the second time, the ludicrously generous extent to which rural Australians would go out of their way to make sure you have a good experience (the first was the mechanic in Shark Bay). A bloke from the tour company radioed the coach and chased after it in his Ute. Magic. Another evening I went to the cinema to see the "Territory Premiere" of Mississippi Burning, and chatting to locals (white, obviously) drew plenty of historical parallels with life in the Territory.


I had a published travel piece in a magazine about my enjoyable climb up Uluru (Ayers Rock, as it was then), something in retrospect I really shouldn't have done and would have been better placed understanding its cultural significance from afar. But they were different times. Alice Springs, deep in the red centre, was a sleepy, hot old town, with not much going on. But I was firmly inside a backpacker bubble, which almost as a mark of being in my own bubble within that bubble, I railed against it. I met nice people, including a character actor who had a small role in Silence of the Lambs, but the guided tour made me feel pampered and inadequate, defeated by the fear of the land, which of course I was. Maybe I'd been spoiled by more authentic encounters and felt distant from the real Australia, but I still absorbed the vast, glorious red centre, the endless landscapes and the sense of magic in the air. 

It was such a sharp contrast to city life, even in an isolated and relatively comfortable city like Perth, which I never experienced as an edgy and urban environment at all. I worked at weekends, as my jobs were either in journalism or club promotion, and I was into the club scene, so these were a treat, a contrast and a release. They were also an unfamiliar challenge. One weekend three of us jumped into our mate Bruce's old car and headed out on a whim to Nick's parents weekend bolt hole somewhere near Margaret River, a beautiful town surrounded by vineyards, I'm pretty sure our directions were no more precise than that. It wasn't until we were a couple of hours down the Kwinana Freeway towards the Forrest Freeway and Busselton when we realised we'd need petrol for the next leg of the journey. It was a quirk of licensing and regulation that we couldn't find a petrol station that was open on a Friday night, so we had to stay overnight in a truckers motel (an A frame) with fold down beds and not really designed for three. We certainly didn't risk going in the pubs and trucker bars of the south west, not quite fitting in with our fancy city ways, and feeling slightly out of place, even with our checked shirts. It was the first time I experienced the raw hostility of country folk to city types, as opposed to just flat out dislike of poms (my pals were proper Aussies). By the time we got to our destination the next day we also realised we didn't really have much in the way of food, drink or any means to find any. In the house all I found to pass the time was a Jeffrey Archer novel, but we scavenged for wood and lit up a stove, another use for Archer. It was the closest I've had to Withnail's immortal lamentation that we had 'gone on holiday by mistake'. Somehow though, that weekend gave me some fond memories and great photos.


The experiences of going south and north in WA convinced me I'd seen enough without a pressing need to head east across the Nullaboor plain along the Eyre Highway. There's nothing much there except a vastness, between mining towns like Coolgardie, which didn't get the best PR from a recent documentary, Coolgardie Hotel, about the tough time two Finnish girls had there. None of my friends recommended it, and it existed like a barrier to fly over, rather than a land to explore.

So, to the Peter Falconio mystery. I thought the Channel 4 documentary, frankly, was a pretty crude hatchet job on Joanne Lees. For me, the basic premise was that she became a media property, precisely because she didn't react the way the media, especially the British media, expect people to react. It reminded me of another desperately tragic murder, that of Meredith Kercher, and how the eccentric behaviour of her flatmate, Amanda Knox, led to her wrongful conviction and trial by media. In his new book, Talking to Strangers, Malcolm Gladwell talks about the way we fail to compute people and I thought that in the sequences where she faced the public, or made a reconstruction video, Joanne Lees behaved as she thought she should, faking tears. All their decisions were scrutinised, why were they on that road at that time? why did they leave Alice Springs in the late afternoon? It doesn't matter. You don't think logically, or like a country person out there, you put yourself at the mercy of the land.

Then there's Bradley Murdoch. It is the job of any defence lawyer to pick a hole in a prosecution, but I found the case mounted by his lawyer, a rum character called Andrew Fraser, unconvincing. Having now spent far too long reading all of the court documents from the dismissal of Murdoch's appeal, the TV show (steered by Fraser) was selective in how the flaws of the prosecution were presented. The other witnesses made claims wholly without substance. The wider mystery is why poor Peter's body was never found, or details of what he was doing in Sydney, prior to them travelling north in a VW camper van along a 3000 mile highway. But it got me thinking, the very character we had come to fear in the wilds of Australia fitted the type that Murdoch matched so well. Aside from the DNA, the CCTV, and some circumstantial evidence, he ticked all the archetypes too. And from that you have the fictional persona of, ahem, Mick Taylor in Wolf Creek, the most terrifying horror film character since Hannibal Lecter and himself based on Ivan Milat, the serial murderer who preyed on backpackers until he was convicted in 1996.

These encounters are remarkably tame in the greater scheme of things. There is nothing heroic or courageous about breaking down in the middle of nowhere and dying of thirst, but the added threat of a predatory killer provides the lurking alibi for that soft core fear. 

Would I go back? Yes, I'd love to travel the long distances, in something sturdier than a compact rental, and staying in the kind of places that I can now afford. I can't quite imagine getting on a plane again in current circumstances, but there is a lure of the wilds of deepest Australia, and of the glorious south west of WA and The Triffids' Wide Open Road playing loudly. You just have to prepare yourself and trust that most people are there to help you.

Friday, October 18, 2019

Mystify Michael Hutchence - terribly sad

Mystify Michael Hutchence is a terribly, terribly sad film.  We all know how it ends for the INXS front man, but the build up to the conclusion is still a compelling tale. For all its sorrow, it is sensitively put together by the film maker Richard Lowenstein, who made their beautiful video in Prague for their standout breakthrough hit Never Tear Us Apart, the right mix of celebration and lamentation.

But while it is a hugely impressive visual achievement, it is still somehow stylistically and gloriously messy, and eschews the talking head style of documentary in favour of a mixture of home movie clips, concert footage and splices in archive material which focuses relentlessly on Michael, pretty much like the image of INXS in their heyday. None of it makes Michael any less striking, or the film less of a spectacle.

As a generation of music fans we’re not short of tragic stories of those troubled tortured geniuses who burn out and leave us too soon. From my own musical sphere I have the works of David McComb, Kurt Cobain and Ian Curtis to look back on for that early glimpse of their startling careers and wonder what might else have been.

Hutch was different. He always had a vivid star quality that far exceeded the musical reach of his decent hard working rock band. When I lived in Perth in the late 80s he was considered cool and iconic even if the rest of the band wasn't. I was won over by his live presence at the Perth International Arena on the Kick tour in 1988, a crescendo to a marathon 18 month global slog, and considered myself a fan and stuck with them. Journalists and other mates who knew him also had stories of his generosity, kindness and capacity for hard work and hard partying.

But this film isn't really about his musical legacy - did he have one? - but the story of the relationships of a global rock star. His family, the band members, and the women. How a warm, beautiful man, went from one mad passionate relationship to another, usually with gorgeous global superstars, but starting with his first love Michele, who inspired the sentiment of Never Tear Us Apart, and was the last person to speak to him before he died. You occasionally hear it said that someone at their height of their fame ‘could have anyone he wanted’ but in Michael’s case he could. After seeing the video for the Chris Isaak song Wicked Game, Michael asked the director to introduce him to the star of it, the world’s most desirable supermodel, Helena Christiansen, and asked her out. And that was on the rebound from Kylie Minogue!

Though the inquest into his death in a Sydney hotel room in 1997 recorded a verdict of likely suicide, it was contested by his grieving widow Paula Yates, who herself died of a heroin overdose a few years later. What the film reveals in a testimony from Helena is that he suffered a brain injury after being punched in the head in Copenhagen in 1992 and was never the same again. He lost his sense of smell, had no taste, and suffered mood swings and blackouts. And as Kylie says elsewhere in the film: “Sex, love, food, drugs, music, travel, books, you name it, he wanted to experience it.”

It’s hard to say whether the film advances a theory or closes a book. I’d say it tells one aspect of his life. There’s a further mystery over his money, some of it revealed in the leaked Paradise Papers, that his assets were held in offshore trusts and companies, out of the reach of his immediate family and intended beneficiaries. You also come away with the feeling reinforced that the entertainment industry can be cruel, the pressures to sustain success, or deal with a fall from the summit, enormous.

I found the film sobering and hard to watch. But for all the trappings of fame and fortune it all comes back down to what really matters in the end. Love. Love for your family. Love for yourself.

Friday, September 06, 2019

Discovering Jane Harper

There's something exciting about discovering a new author and exploring their work in quick order. Jane Harper is Manchester born, but very much Australian raised. Her authentic style is a real tribute to her career in journalism - the eye for how things work, and ear for how people speak, and a real appreciation of that uniqueness of a place and its own role in the development of a story. In her case, all of her opening three books are set against the challenging terrain of the vast expanses of the Australian outback.

At first I thought I liked her first one, The Dry, the most of all; small town tensions and a classic mystery twister. But having had a couple of days to mull it over, the most recent book, The Lost Man, really is a masterpiece of modern thriller writing. It's still spinning around my head a few days later, the real test of quality. The Dry and Force of Nature both feature the central character, federal detective Aaron Falk, and bring out the harsh environment by contrasting it with city life. The Lost Man sits very firmly in the hottest, most isolated and utterly sparse deep desert of Queensland.

I spent a few weeks out that way in 1984 on a Queensland cattle farm a few hundred kilometers inland. You never quite get over the distances and the sense that a way of life has been grafted on to this land in fairly short order. Five years later when I lived in Perth, there was always the pull of the city from my sporadic and enjoyable sojourns into the red centre, but the contrasts were shockingly stark.

What Jane Harper has managed to do is remarkable. She has brought complexity and subtlety to human relationships as well as those harsh collisions with the earth. As well as the frequent "screen door slams" in The Lost Man, evoking Bruce Springsteen, I'm going to be very disappointed if the soundtrack for the forthcoming film of The Dry doesn't find a place for Wide Open Road by The Triffids. 

Saturday, June 15, 2019

A recap on some great telly I've watched

Riviera, a real guilty pleasure
As we're getting stuck into the long awaited second series of Killing Eve, we're also going to have to face the inevitable sense of loss that will follow it when it ends. Just as we have following a ton of different series and boxed sets over the last year. Here's a bit of a flavour of my tastes.

Fleabag was as good as any comedy I've seen in the last 10 years. Very sharp, very well acted. The scene with Kirsten Scott Thomas was mesmerising and if anything the second series took it all to a new level.

By contrast, much as I was swept along by the last series of Line of Duty it was more miss than hit. Great one liners, good pace, but at times it seems to have disappeared up its own firmament.

Bodyguard was better and proved you can still create those moments of collective gasping both in the social media second screen, but back around the table at work on Monday.

The Walking Dead managed to redeem itself in Season 9, the time jump was a bad idea which betrays quite how over ambitious the whole enterprise is becoming. It's good that it seemed to have broken something of the cycle of plot lines and places. Conversely, the bridging of TWD with the alternate Fear The Walking Dead season 4 didn't work with Morgan walking across four states, and somehow managed to make a series with sublime promise lapse back into the ridiculous. Season 5 looks somehow better.

A strange zombie apocalypse diversion on Netflix was Black Summer, which was particularly brutal and fatalistic about the ability of society to cope with a shock like this. It ended on a bleak and very final kind of note, which strangely felt like a relief.

The algorithim on Netflix has picked up on my fascination for end of days apocalyptic drama. I was disappointed we can't seem to get hold of season 3, the final one, of alien invasion nightmare Colony. The first two were good enough and well put together.

Danish bio-disaster The Rain was better with subtitles than with dubbing into English. It was also in danger of running out of ideas as much as spending a meagre budget on limited locations and bad CGI. Still, decent enough and a similar evil biotech corporation loomed large in Sky Atlantic's Hanna, which had its moments.

I felt violated by the extreme violence of The Punisher and irritated by ITV's Paranoid, though surprised to see they shot some of it at my workplace.  I'm one episode in to the new season of Black Mirror, having been drawn in and spellbound by the intensity of the two mates getting carried away by a VR game in Striking Vipers. Warped.

A really guilty pleasure was a double series binge of Sky Atlantic's Riviera. The younger me was transfixed by Lena Olin when I saw first saw her as Sabina in the 1988 adaptation of my student era favourite novel Milan Kundera's The Unbearable Lightness of Being. She stole the show then in her bowler hat, and again five years later as the ultimate femme fatale mob boss in Romeo is Bleeding. As the matriarch Irina Clios she also dominates every scene with a look, or a glance, in a lavish and preposterous romp that takes us back to the glory days of Dallas and Dynasty. And I spotted Doug Barrowman in the first episode.

I've written here in October 2018 about my penchant for sharply written Australian noir and a couple of series have capitalised on the wave with well-delivered follow-ups. The third season of Wanted was another step up in drama and plot twist and I do hope they are heading towards my old home of Perth for season 4. Canberra set Secret City took the geo-political stakes even higher in the follow up as my favourite new hero, Harriet Dunkley, made a seamless transition from journalist to jailbird to political SpAd.

A constant of that whole genre has been the corruption and laziness of the entire Australian police force. When I go back, please remind me not to be a victim of crime. I've seen the two Wolf Creek films with the villainous and sadistic Mick Taylor stalking unsuspecting backpackers and torturing them, I don't know if I'm quite ready for two entire series of more of this.

Similarly, Welsh noir took a dark turn with Hidden, which was gracefully acted and touched on the same unseen Wales, as I said here, that parts of Hinterland did so successfully.

Finally, as if we needed reminding of the incredible raw acting talent of Stephen Graham and the awesome combination of him being directed by Shane Meadows then Channel 4's The Virtues hit you like a steam train. Graham's depiction of lead character Joe wasn't even the stand-out, though him falling off the wagon was horrifically powerful. But Meadows seems to draw out a whole range of quite incredible close up, raw, believable and underacted performances. Helen Behan as Anna and Niamh Algar as Dinah brought such sensitivity and feeling to a disturbing and haunting storyline. I watched this a few days after finally seeing Meadows' bleak and captivating 2004 film Dead Man's Shoes. Sometimes telly can be like a snack to the full on glory of a sit down spread that a feature film offers, and sometimes it is a real treat.

Sunday, October 14, 2018

Aussie Noir - TV's promising genre


On my telly review posts I’ve dipped into Welsh noir, which has been surprisingly good. I’ve also been immersed this year in Australian TV drama, which has been a bit hit and miss.

But generally speaking, if you watch a few series, you see the same strong lead actors pop up again and again. This is both a blessing and a curse, but the strength of each one is the very powerful sense of place and the leading character's relationship with it, in the absence of other characters to rub against. So much so, it’s hard to imagine any of these storylines crossing over to the UK or the US. I touched on The Code, Top of the Lake and Cleverman here, but here's a bit of an update on a very promising run of form from Australia.

Mystery Road (ABC and on BBC4) - Australia has the blessing of locations and landscapes that take your breath away, used to great effect by Ivan Sen, the director of the original feature film Mystery Road, and Rachel Perkins, the series director who made much of the setting in the far north of Western Australia. But as well as the landscapes this 6-part spin off from the film of the same delved right into the rural tensions between Aboriginal people and the anomie of young white kids in such isolated sparse locations in a hyper connected world. Something social media and organised drug gangs don’t necessarily respect. Beyond the sparkling performances of the main cast however some of the acting is comically bad, something you suspect the writers and directors know. Subsequently a lot is asked of Aaron Pederson as lone operator detective Jay Swan and Judy Davis as the local law enforcement stalwart Emma James. A good story, well told, looking forward to more from this crop. 7/10

Secret City (Foxtel's Showcase and Netflix) - Set in Canberra and set up as a House of Cards style conspiracy thriller, this jogs along nicely and takes some brave twists and turns with both geo-politics and casting a trans character. Anna Torv is a real star as journalist Harriet Dunkley, but some of the politicos are right out of The Thick of It with some very strange motivations of characters which seem a bit fanciful. But frankly I can believe anything these days. 7/10

The best acting in any of these recent televisual tours Down Under has been from Rebecca Gibney as Lola in Wanted (Seven Network and Netflix). It’s a woman-hunt road movie which jumps over to Thailand and New Zealand, as well as making great use of the expanses of South Australia’s outback and Queensland. As well as being a tense and believable thriller it’s also very warm and witty and tests your patience with complex characters. 8/10

Finally, Deep Water (SBS and BBC4) a fairly gripping cop drama set in Sydney. It had the usual macho corrupt cop that seems a staple of all Aussie drama, but touched on some strong social issues around homophobia and ethnic diversity in Sydney. 7/10

Wednesday, June 27, 2018

Building vibrant places - from 1989 in Perth to 2018 in Manchester

I'm seeing a mate from Australia next week so found myself sifting through a magazine I edited over there in the 1980s.

And as I promote and hustle to get people to come to an event on how our cities stay exciting and fresh and vibrant, I'm taken back to those days.

Towards the end of my time there I worked for a bar/club called The Freezer in downtown Perth, doing the PR, working the door and even appearing in an advert.

They were great times. But my best memory of working front of house was a couple of old Aussie rockers bowling up and asking what time the band were on. When told that the "Wayne Lewis" on the poster was a DJ they said they weren’t paying five bucks to listen to some guy playing records and could do that in their living room. Jog on, lads.

I learnt a lot then about network marketing, the importance of opinion formers and the wisdom of crowds. Creating events that have that sense of jeopardy, that things are going to happen, that you don't want to miss out on. It mustn't be a call to a passive experience, but an active one.

We created demand for places by attracting and exciting the people who created energy and ideas.

So when I tell you that we've got a great guest list for you to come and discuss with Nick Johnson - who might reveal how he animated Alty Market and the Mackie Mayor market hall - then you're going to want to come along aren't you?

It's after work on the 12th of July at Manchester Met University, register here.

Wednesday, June 15, 2016

Seven great songs in seven days for seven good friends

Over on the Facebook, my friend Chris Barry nominated me for the music challenge, which meant that for the next seven days I shared a tune a day.

Tuesday
I'm going to kick off with Berry Gordy's Desert Island Disc I heard this morning in another tear jerker on Kirsty Young's peerless interview with the castaways. The Tamla Motown founder clearly still holds a torch for the love of his life Diana Ross, here performing I Hear a Symphony. I'm so lucky I'm with mine.
For one of my dearest and longest friendships and who really got me into Northern Soul and Motown I nominated Kevin Parkes to delve into his musical archives and share his top tunes for the next seven days.

Wednesday
My second choice is Preposterous Tales by I, Ludicrous.
All of us at some point have met a Ken McKenzie. In fact if you can't think of someone in your life that's like him, it's probably you.


As Facebook is about old friends and new I'm going to celebrate the old again and nominate Paul Swinnerton to pick a new tune a day for the next seven days - as he introduced me to this song back in the late 1980s. Apparently he was good mates with them!. It's true, man!

Thursday
Day three of the musical challenge takes me to Perth in Western Australia, the world's most isolated city. A big song about loneliness by a band who embodied so much about their home city - flatlands, wilderness, big and empty.
It's Wide Open Road by The Triffids.

But I love it especially because I used to have it on a VHS that my friend Roy Jopson (RIP) made for me when we shared a house in Perth. When I moved to London I'd watch it after a night out, to take me back to nights (and mornings) sat up chatting with ABC TV's Rage on in the background. The track after it was Atmosphere by Joy Division, two bands that belong in, and are a product of, their unique time and place.
I'm passing the baton for the musical challenge - pick a tune for the next seven days - to Adil Bux, a Perth pal to this day, who Facebook has allowed me to stay in touch with and witness his lovely family growing up. Hope to see you for a lemonade in London sometime soon my friend.
Much love to all the Perth crew - Keep the Faith.

Friday
Part four of the seven day musical challenge finally brings me into the 1990s (which apparently was the point).
I love the pomp of the Pet Shop Boys and this awesome reworking of a Village People disco anthem.
This is dedicated to the honeymooners Jason Prince and Lee Clarkson who are indeed heading that way in a few days. Consider yourself nominated, but take your time and enjoy the West Coast. Life is peaceful there.

Saturday
Day five of the musical challenge. And I had to promise to stick to the 90s, which apparently was the point (whoops). This is from the soaring "comeback" album from the Manic Street Preachers. I saw them supporting Oasis at Cardiff Arena in 1996 and trying this stuff out. 20 years later they were filling stadiums and now they're doing the Welsh team's song for the Euros.

I'm going to nominate Martin Cook to take up the challenge of a new tune every day for the next seven. "I wish I had a bottle... ".

Sunday
Day six of the music challenge and it's THE Oasis track of the time, Don't Look Back in Anger.
I did this song with the band who played at my 40th and at the Y Factor charity gig we did for MENCAP, raising over 150k over a few years.
The greatest tribute to my musical prowess was from Terry Christian: "he's dancing to the words".


The leader of the band and the most musically gifted of all of my friends on here is Jeremy Smith, soon to appear at Glastonbury as part of Barclay James Harvest. Over to you maestro to pick a 90s tune a day for the next seven days....

Monday
Final day of the music challenge.
I went all the way back to 1994 for this one. A song that reminds me of going freelance for the first time and the optimism I needed to sustain me through the uncertainty.
The song was also used three years later as a campaign song for New Labour in the landslide election of that year. A time of optimism and togetherness I feel our country has long since left behind.
The song is of course Things Can Only Get Better by D:Ream, featuring Professor Brian Cox on keyboards.

So I now nominate is comrade Steve Connor.

Saturday, June 07, 2014

As far back as I can remember ... where we are with the Discuss podcasts

As far back as I can remember, I always wanted to present my own radio programme. I dabbled in Australia with my pal Adil Bux, now something of a tycoon in the cosmetics and health industry. Back then music was our life and the high watermark of our show on 6UVS FM was when we interviewed Kevin Sanderson from Inner City, I recall.

I've hung around BBC Radio Manchester and helped them out at the drop of a hat, but they never seem to take the hint that I feel this as a calling. I've enjoyed standing in for Frank McKenna on CityTalk and think I do a good job, but it's Frank's show in his city.

So, in the spirit of Manchester innovation me and Tom Cheesewright have done our own. It's called The Discuss Podcast, we've done three now. We invite guests with something to say, steer the talk around what's going on around us - culture, politics, civic life and we seem to be getting the hang of it.