ISSUE 2: TABOO
WIN^ $15K TOWARDS YOUR DEGREE
Open an account with us between 30 January 2017 and 2 June 2017 and you’ll automatically go into the draw to WIN^ $15K towards your degree.
Apply today* unibank.com.au or 1800 864 864 UniBank is a division of Teachers Mutual Bank Limited *Membership eligibility applies to join the Bank. Membership is open to citizens or permanent residents of Australia who are current or retired employees, students and graduates of Australian Universities or family members of members of the Bank. ^Win $15K toward your degree offer. Terms and conditions apply and are available online at unibank.com.au/join or from any of our branch offices. The promotion commences at 9:00am WST Monday 30 January 2017 and closes 4:00pm WST Friday 2 June 2017 (“The Promotional Period”). Entrants are eligible to win the prize if during the Promotional Period they; a) are a current full-time student at an Australian university or other tertiary education institution in Australia, b) are aged 18 years or older, and c) become a new member or customer of the Bank. Authorised under NSW Permit No. LTPS/17/10553, ACT Permit No. TP 17/00008, SA Permit No. T17/9. Teachers Mutual Bank Limited ABN 30 087 650 459 AFSL/Australian Credit Licence 238981 | 01059-UB-Win15K-A4
Contributors: Andrew Douglas Ashley Griffin Abby Pritchard Cait Strutt Christopher Spencer Corey Booth Harvie Taylor Joanne Morelle Karina Miyazaki Leighton Campbell Lucy Hartley Samantha-Jane Rose Tristan Sherlock Zachary Sheridan Artists: Dominic Ferguson Georgia Chamberlai Shona Wong Special Thanks To: Cover: Marshall Stay Model: Grace Brooks Interviewees: Ruth Little Winter Corner Logo: Sella Winadi
The opinions expressed herein are not necessarily those of the Dircksey Editor(s), sub-editors/ section-editors, Edith Cowan University or the Edith Cowan University Student Guild. Reasonable care is taken to ensure that Dircksey articles and other information are up-to-date and as accurate as possible, as of the time of publication– but no responsibility can or will be taken by the abovementioned entities if an issue of Dircksey has any errors or omissions contained herein.
Editor: Holly Ferguson editors@ecuguild.org.au dircksey.com.au
Music Editor: Harvie Taylor Films Editor: Zachary Sheridan Art & Literature Editor: Tristan Sherlock
FEATURES 5/
Transgender Taboo
6/
Queer Eye for the Older Guy
7/
Next Please
Arts & Literature love in your 20/Keep art
22/
Why teach rape?
Film The prodigal (Gib)son
8/ 9/ 10/ 12/
Privatisation for the People or the Profit
23/ BOOK
REVIEWS
Transgender view on pregnancy and motherhood Gender VS Sexuality Tellurians [a noun, meaning: inhabitants of the earth]
14/
Shitty things you shouldn’t do on social media
15/
ECU Perthonalities
16/
Internet Manners?
18/
You’re doing it wrong
19/
Washing away Whitewashing
27/ returns
29/ Netflix Reviews Music
24/
Winter Corner Interview
25/
Taboo in music
26/
MUSIC REVIEWS
30/ FILM REVIEWS Note from the editor I am confident everyone has experience with taboo. It’s only within recent years that, as a society, we’ve begun to speak about everyday, normal things and occurrences that we’ve once deemed to be ‘unspeakable’; like mental health, sexuality PERIODS (just to name a few). It’s only when we start to address these topics and talk about them freely that we notice how normal they are and that they have no reason to be a taboo topic in the first place. Maybe in this issue you’ll find an article that you identify with or agree with, maybe you’ll disagree, but either way I hope it inspires you to go out and tackle more taboos. - Holly
DIRCKSEY ISSUE 2: TABOO
TRANSGENDER TABOO
By Samantha-Jane Rose – Queer Officer at ECU Queer Collective
O
ne of the most contentious issues within the transgender community and the wider discourse today is the rights of transgender children. While adult trans individuals face the daily struggle for our civil rights, there are voices that often go unheard, ignored and talked over. These voices are those of transgender youth.
the procedure safe, it sees the well-being and psychological health of individuals undergoing treatment improve over time. It allows transgender youths to make informed decisions later in their lives without the permanent changes that occur during puberty.
Without the opportunity, dare I say the right, to access puberty inhibiting treatment, many transgender youths will face an uncertain future in which they will struggle to have their voices heard above their parents, their medical professionals, religious organizations and voices with authority greater than their own. It’s a sad indictment on our societies that those who know themselves better than anyone else, seem to routinely have their voices ignored in the face of strong evidence, which supports them It is this inability to consent and the nature of in their medically necessary need to access said relationships and power between parents and treatments. their children that often leads to children being at the mercy of parents. Parents who though often However, the impact is so much more than our well meaning, will go against their children’s emotional and mental wellbeing; it affects every strong desire to transition. I would know, this facet of our daily lives and lived experience. It was my lived experience. affects how we form relationships with other boys and girls, it often leads to those key moments in Many transgender individuals find themselves our adolescent lives being something to forget, facing a horrifying situation of being forced to rather than something to remember. endure the permanent changes that come with puberty. Trans-men find themselves having to Graduation, prom and other typically gendered endure things like periods and breast growth, events throughout our schooling become which to some male-identifying people is often a an anxiety-riddled experience instead of the deeply upsetting and a traumatic experience. The happy and memorable occasions they should same can be said for trans-women who face the be. For me personally, the 2016 ECU Guild Ball prospect of having their voice deepen, shoulders was essentially, the formal I never had and my broaden and the ever-unpleasant reality of male introduction to the world as a woman. body hair. Transgender youth should be free to be Therefore, it is so important that transgender themselves, to enjoy an adolescence in which children have access to medical care in the their emotional and mental well-being is the form of puberty inhibitors (puberty blockers), same as their cisgender friends, we owe them which delay the onset of puberty, and are fully that future. reversible, and enable transgender childern to go through their adolescence without enduring You can access more information and Transgender the traumatic and permanent changes that come support services here: with male and female puberty. http://www.transfolkofwa.org Evidence continues to show that not only is http://freedom.org.au There are numerous reasons for these young and vulnerable voices not being heard. One of the major reasons that stands out continues to be the debate surrounding a child and their ability to consent. It is this inability to provide legal consent that unintentionally places transgender youth, , in a very vulnerable position where their bodily autonomy can be overridden by parents and medical professionals alike with impunity.
5 / FEATURE
DIRCKSEY
ISSUE 2: TABOO
Queer eye for the straight older guy By Andrew Douglas
Growing Old and Gay Men: A Double Taboo:
W
hen I was an undergraduate uni student a common stereotype of gay men was that they were young, attractive and narcissistic. They knew all about the latest styles and fashions in everything from clothes, to décor, to furniture (a la the TV series ‘Queer Eye for the Straight Guy’). They’d go out pubbing and clubbing on a regular basis since life for them was just one big party. You didn’t see them growing old because they’d die young either of excess or from some fatal STD. If they did survive beyond the acceptable nightclub age of 30 or so, they became lonely old men who withdrew totally from the public view and were never heard of again. This, at least was the popular mythology. For many years, the commercial scene did not cater for the middle-aged and so older gay males tended to become more socially invisible. As a middle-aged gay, man who has been out of the closet and out on the ‘scene’ for forty years, I have seen some gradual and positive changes in the area of gay ‘seniors’. Nevertheless, there is still a way to go before older queer people are viewed as a more visible part of our community. This point was driven home to me when I considered the disparity between my personal and professional experience.
found it unusual. From my own experience, I knew and knew of a number of same-sex couples – a few of whom had been together for decades – the record among my acquaintances is 50 years! But why did the queer component of the aging population not show up on the ‘official’ record of my work experience? I can only think of two reasons. The first may be simple demographics: perhaps, as the population ages, the queer component decreases as a percentage - after all, men generally do not live as long as women. Therefore, the gay male component would decrease. However, the overriding factor might have been the culture in which they we were brought up. For those of us attending university at the beginning of the 21st century, this cultural difference may be difficult to grasp. However, our society was very different a century earlier when most of my former clients were born. For example, the concept of Gay Liberation did not exist until the 1970s. Prior to this, people, especially males hid their alternate sexuality, either by complete denial and/or concealment behind heterosexual marriage. Regrettably, this trend still continues into the younger generations of our contemporary society.
The client group were generally people in their sixties, seventies or eighties. They were often married (heterosexual) couples but generally, they were widowed and usually female. Occasionally, there were women who never married and, rarer still, men who had never married.These men were usually classified as ‘eccentric’ or as hermits by their families. Interestingly, during my entire professional experience, I never encountered a gay or lesbian couple living happily into old age.
However, with each new generation, the percentage that does not conceal their queer identity increases. Inevitably, as the population ages, the openly queer component will become more visible. Only then will the health system and age care industry begin to cater fully to their specific needs. One obvious need is an aged care facility for queer couples and singles. Queer people in committed, long-term relationships dread the day when they will be left on their own. Generally, they have fewer social supports: they tend not to have children and other family members may have ostracised them years earlier. Thus the infirmity and loneliness of old age tends to be exacerbated. An aged care facility specifically for them would alleviate some of these difficulties. For those of us of the ‘Baby Boomer’ and later generations, the situation is promising. As more and more queer people come out and remain out of the closet into their senior years, our needs are more likely to be acknowledged and eventually met.
Given that I was an openly gay social worker and I worked with others who were also out of the closet, I
It will not just be the case of ‘Grey Power’ but also ‘Gay Grey Power’.
Many years ago, I worked in the field of aged care. Part of my role was to do regular home visits to assess potential clients for our service. I would go out almost daily with a community nurse into private homes and retirement villages. Over the years, I did hundreds of such visits and met several patients, their families and carers. As a result of my work, I visited nearly every nursing home and retirement village in the metro area at the time.
FEATURE / 6
DIRCKSEY
ISSUE 2: TABOO
NEXT PLEASE My favourite toy all shiny and new With a whistle and a “toot toot” My train is on and active Its glistening wheels and brightly painted carriages I play for hours and hours that was until… Next please! It’s summer and the pool is awesome The water is clear like my mind We splash and play with foam toys Swim laps and do races Look how fast I can go! 40c and the liquid is so cool’ Til the time I found a new love Life was a never-ending blur Next please! The screen lights up like a Christmas tree So many controls and apps and music… Latest addition, packaged with gold I call my friends one by one Speaking in foggy tones until the sun went down oops .. I need an upgrade Next please! It was love at first click No more pointless ads No more ridiculous shows playing ‘round and ‘round Anything I wanted or dreamed of Was in front of me, chiming with pride Netflix was love Netflix was life Oh wait… never mind Next please That charming man made me shine Like a freshly cut diamond displayed in a jewellery store Perfection couldn’t have been more clearer There was just one thing that got me wasn’t his smile, it wasn’t his style But whatever it was, I just had to say… Next please! By Lucy Hartley FEATURE / 7
DIRCKSEY
ISSUE 2: TABOO
Privatisation: For the People or the Profit? By Leighton Campbell
S
ince the 1980s, a phenomenon has been sweeping our world over. Governments have been jumping on board from all corners of the globe and transforming their countries in the signing of a contract, the dotting of the “I’s” and the crossing of the “T’s”. The phenomenon is privatisation, and it is one that over the last few decades, has seen government owned enterprises sold to private corporations, usually at the aims of reducing government debt and increasing efficiency of the enterprise sold. But at what cost is privatisation really worth? Is the selling of state-owned enterprises to private corporations, whose main concerns are turning a profit, truly able to coincide with the interests of the people? Privatisation is a phenomenon that has encapsulated all sides of politics. It was the Labor governments of Paul Keating and Bob Hawke from 1983 – 1996 that first saw government-owned assets being sold off in large-scale numbers. This has continued throughout the years with both Liberal and Labor governments selling more and more to private corporations. According to a survey conducted by the Australian Economic Review in 2014, the amount of money raised through privatisation since 1987 amounts to an estimated $194 billion. Looked at from this angle, privatisation certainly has its appeals. However, the implementation of privatisation in areas like refugee detention centres has seen more damage than repair. The Australian government have spent billions of dollars contracting private companies to run our offshore and onshore detention centres. International security companies such as G4S, Wilson, Serco, and Transfield have had contracts with the Australian government for the caretaking of detention centres.
8 / FEATURE
These companies have also had various other security contracts with governments overseas. For example, G4S has had a security contract with a detention centre near Gatwick Airport in the United Kingdom. A running theme with these outsourced security corporations seems to be the breaching of human rights and the consistently low quality conditions of the centres that they are responsible for. During the time in which Transfield had their $1.2 billion contract with the Australian government to oversee the detention centre on Nauru, 30 cases of alleged child abuses were reported against various staff hired by Transfield. A Senate Select Committee into the running of the detention centre also revealed that Transfield had terminated 402 staff working on the Nauru and Manus Island detention centres, with 31 of those staff members being let go due to reported misconduct towards asylum seekers. One questions how the outsourcing of running detention centres to private companies is meant to improve efficiency when the government is then required to step in to ensure the safety of its detainees and quality of the centres are being kept up to standard. In this instance, privatisation seems to be doing more harm than good, and certainly does not seem to be the most cost effective way to run the detention centres. No matter how many poorly run detention centres Australia or the world sees, privatisation is still going to be a continuing process that governments will actively choose to be involved in. Selling governmentowned enterprises is certainly an easy and guaranteed way to raise revenue for governments, where money can be spent to lower debts or to fund education and health. At the end of the day, we need to make sure our governments are truly putting our best interests at heart when they reach for that pen to sign off on another sale to a private company.
DIRCKSEY ISSUE 2: TABOO
A transgender view on pregnancy and motherhood. By Samantha-Jane Rose
I
have spent many nights laying down in bed, crying myself to sleep as I contemplate the fact that pending a miraculous breakthrough in fertility science, I will never be able to have children of my own. I will never feel that life growing inside me, kicking and moving. I will never experience morning sickness or backpain, I will never experience all the things that women go through during pregnancy. And that pain… it is almost more than I can endure. When men and women alike who may not even necessarily hate, or disapprove of transwomen say things like, “you’re lucky to never get a period” or “you should be grateful not to get pregnant”, it’s like someone has just said something hurtful to you that cuts so deep you can’t even respond. You just passively agree because you can’t articulate your thoughts and feelings enough to answer. When I was born, I was assigned the male gender at birth, by the age of about five (earliest memory) I knew I was trans, even if I didn’t have the language to describe how I felt at the time, I knew. What many people don’t understand about trans-women is that for many of us, motherhood is something we dream of, something that we would love to experience more than anything. People say that we can adopt, we can seek surrogates to have children and to start our families and while this is both true and well intentioned, it still misses the critical point that for many of us, we will always have that innate desire to have our own children, to experience pregnancy and to feel a life growing inside us. It’s such an incredibly difficult reality to have to accept that it’s unlikely you’ll ever know that feeling and have that experience. We all share dreams and aspirations. I dream of being a mother, a wife and teacher. The love
of my life, the man who has stuck by me for almost three years. Through the most difficult, darkest and tumultuous years of my life. He was there with me through my lowest points where I contemplated ending my life, where I experienced severe and sustained depression. He was there for me. Many nights I have laid awake in bed, crying as I contemplate the struggle we will have in starting a family of our own. It’s incredibly heartbreaking when you know you have an enormous amount of love to give, that you would give anything just for the opportunity to love and care for a child of your own. It’s a pain we live with each and every day, a constant reminder as to the unfortunate and unfair circumstances of our birth that left us having to endure the reality that we’ll never have the same experience as other women. We are not alone; cisgender women have to endure the pain of infertility too, it is a pain I would not wish on my worst enemy. It is one thing to have the ability to have children and not have them, that is a choice that should be respected, but to not be able to have children at all? It’s a constant weight on your shoulders, a heaviness we carry with us every day. I try to console myself with the reality that I can still adopt and I have wonderful friends that would offer to be surrogates for me without hesitation. Still, we walk and function with this pain knowing for the considerable future. It’s a pain we must carry. Even if I am unable to ever have children of my own, my one hope is that future trans-women will experience the wonderful advances of fertility science, which I hope will give them the wonderful opportunity to experience pregnancy and motherhood that I, like many trans-women and sisters out there, dream of. If that happens, at least I will know that all the pain and anguish I endured and live with every day would not have been in vain and that future generations can enjoy what I could not. FEATURE / 9
DIRCKSEY
ISSUE 2: TABOO
Gender
Georgia Chamberlai
10 / FEATURE
VS
DIRCKSEY
Sexuality By Cait Strutt I have a confession to make: There are things I’m still ignorant about, in regard to sexuality and gender. One morning I woke up an openminded, bisexual, leftist, hippy convinced that there was nothing in the LGBTQIA+ world I didn’t already know. By golly I was wrong. Like an over confident gazelle, completely unaware, I opened my laptop for a mid-morning Facebook scroll and there it was: Gigi Gorgeous is gay? If you don’t know, Gigi Gorgeous is one of the most notable Internet personalities today. Not only is she popular for her looks, but she is also openly transgender. She recently released her documentary about her transition from Gregory to Gisselle (aka Gigi). I followed her through her transition, her operation(s), her first same-sex relationship and every makeup look she’s ever had. I thought I knew her completely. However, now she’s dating and in love with ANOTHER WOMAN! After all the effort of
ISSUE 2: TABOO
people who did identify as a specific gender remained heterosexual (such ignorance). But there was Gigi, confessing to the entire world that she loved a woman like no man before. Was she the only one?Research revealed she was not. Throughout the transgender community people were begging to be torn away from the binaries. Lesbian’s trapped in male bodies in Ireland. Gay men in female bodies in America. People changing their gender but keeping their fertility so they can have children with people of the same gender as them. There are people transitioning into butch-lesbians, feminine-gay men and those that chose to be without
Rain Dove labels. It happens! Take Rain Dove the gender non-conforming high fashion model who dates women, yet still identifies as a lesbian. There were even members of my family who had been through this. (Shout out to my great uncle who transitioned when he was 70 after having 3 kids.) This has been happening for decades within the community but we have never addressed it. Sure, we are making strides to help being gay and transgender become more acceptable, but there needs to be another level of knowledge. There needs to be a new and deeper dialogue between people. We need to address every possible possibility of the sexual and gender spectrum and make sure that people understand, for education and normalisation’s sake. No more outsiders please and thank you. Fear the comfort of knowing everything, because you will wake up one morning and won’t.
Gigi’s documentary, ‘This is Everything’, debuted at the 2017 Sundance film festival. The documentary details her life over several years during her transistion. It’s available to watch on YouTube Red. transitioning there was part of me that felt like she was taking a step back by dating someone of the same gender. Hadn’t she put all this effort into passing as a ‘regular’ woman? I’ve been well aware of the difference between gender and sexuality (gender being who you identify as, sexuality defining who gives you tingles in the pringles). However, I had never considered that transgender people were anything other than gender non-conforming. That is, I assumed that everyone without a gender was relatively I will never pretend to know anything or pansexual or asexual (the very arrogance) and everything again. Promise.
FEATURE / 11
DIRCKSEY
ISSUE 2: TABOO
12 / FEATURE
Tellurians [a noun, meaning: inhabitants of the earth]
DIRCKSEY
ISSUE 2: TABOO
By Zachary Sheridan change, we have to collectively rewire how we my Sharrocks’ stunning Museum of Water, as consider our relationship with the environment part of the Perth International Arts Festival, and nonhuman animals. has spurred some brilliant conversation around town. The museum, ‘a collection of publicly 2. And it’s definitely ‘go time.’ Distinguished donated water and accompanying stories,’ asks Australian scientist Frank Fenner famously us to re-evaluate our relationship with water in predicted just before his death in 2010 that we, all its forms, from the undulating oceans to the the human species, only have 100 years left. taps in our kitchen, from our tears of joy and But we mustn’t admit defeat, if only because sadness to the sweat beads on our back. Water is the risk of not acting far outweighs the risk of sacred, and without it we would be nothing but taking action. And for this action, there’s a key dried star-stuff. ingredient not often considered. It was at a forum discussing the project that I At WOMADelaide in 2016, environmental was inspired to write a two-part piece pertaining activist David Suzuki recounted a trip to the to issues not often discussed when tackling Andes mountain range in South America. There water issues, and, implicitly, ecological crises and he encountered a small village that teaches climate change. children from a young age to consider its local mountain as an Apu (a God). ‘Now imagine 1. Water is incredibly scarce. For example, an how those kids (of the village) will treat that estimated 663 million people lack access to safe mountain compared to a Canadian kid growing water, and this is largely a result of misuse. The up in the Rockies told that those mountains are aforementioned conversation was discussing filled with gold and silver.’ such misuse and had noted the dangers of fracking, as example, and also acknowledged the Human beings are imbedded in a delicate need for more thought on the amount of water ecosystem that depends on clean air, soil, and within products and consumer goods. Although, water. One of the most important lessons from it felt like there was an elephant (or cow?) in the discussion around the Museum of Water was that, room no one wanted to talk about. This being if we are in an age in deep need of practicing water use with regards to animal agriculture. sustainability, who better is there to learn from than traditional landowners who have cared for A sizable 65% of water in Australia is used for the earth for thousands and thousands of years? agriculture compared with just 10% when it The planet is in crisis and the missing link is comes to household use. And yet we are told that Indigenous knowledge. in order to solve the climate crisis we must take shorter showers. Ecological thinking and practice requires hearts wide open and a whole lot of listening – When it comes to farming we must ask what types to those with knowledge, to the weather, and to of food require so much water? To produce one those who cannot speak for themselves. What kilogram of potatoes requires 287 litres of water, is most beautiful about the Museum of Water is but for the same amount of meat, a whopping its ability to empower people to tell their own 5,000 – 20,000 litres of water is needed. stories. In brief, consider this article of just a few thoughts (in what is otherwise a massive, Extrapolating to the world, animal agriculture complex web of ideas in reality) another call accounts for at least 18% of all greenhouse gas for radical empathy. Talking Western Australia emissions, more than the combined exhaust from specifically, everything we have is only through all types of transportation. Moreover, methane 50,000 years of caring for biodiversity. from cattle is at least 25 times more destructive than CO2 on a 20 year time frame. For further reading begin with Naomi Klein and It seems that in order to take action on climate Bill McKibben.
A
FEATURE / 13
DIRCKSEY
ISSUE 2: TABOO
Shitty things you shouldn’t do on social media Everyone has moments online where they think of something funny, see something funny or agree with something and they feel compelled to share it with their followers or friends. Now, my consensus on this situation is don’t. But who am I to stop you? Instead, I’ve decided to list a bunch of things that you should never share to social. (All comments mimicking those of my family are purely coincidental)
Those annoying ass inspirational quotes Who are you? What is wrong with you? And why? No one needs John Green on their news feed. Those ‘share this so a homophobe will unfriend you post’ We get it Sharron; your cousin is gay. Congrats on supporting him. Vague posting This one is obvious, and yes I’m guilty of this too. But no one wants to dig for drama. Just tell everyone so your close friends don’t have to … either way we’ll all find out about how your boyfriend didn’t buy you extra guac. Please (I’m begging) no more of those gross pimple popping videos I know they’re oddly satisfying but like stop, I procrastinate as much as it is. And now the whole world knows you’re gross. One word: respect. Posting photos of your dog I love dogs, but everyone is entitled to two photos per dog on the Internet. One photo for when they get it, and one for when it dies. Sharing One Nation Posts It’s far easier for you to just make a post saying you’re racist. Vaping videos …… LAME One last bit of advice: honestly, it’s safer to just not share posts.
14 / FEATURE
By Tristan Sherlock
DIRCKSEY ISSUE 2: TABOO
ECU Perthonalities Interviews by Zachary Sheridan Photography by Marshall Stay
Josh:
I’m studying Music Theatre. I’ve been doing it for a very long time there’s just something about its energy. I also really like telling stories whether fictional or true, as cliché as it sounds, because of how they form this special connection between a live audience and the story’s performers… There’s a lot of stories that seem to have the same mould, someone is having trouble and doesn’t fit in, and I suppose I really connected with that when I was younger… When I came into WAAPA I had this mindset of ‘I am who I am’ and people can deal with it. But the thing is you really don’t know when you’ve come straight out of high school. So I’ve learned to step back and listen and take it in because you’re around all these great people who are very experienced.
Jambay:
I used to study Computer Science and now I’m undertaking a Masters in Management Information Systems. It’s all to do with digital technology and how it can be used in business markets. I’m from Bhutan – it’s only been two weeks, and it’s my first time here! We have many Bhutanese around Australia, and in Perth I have my cousins and friends, and it’s been easy for my husband to join me here, too. Currently, Bhutan is listed as a developing country, but I also think it’s one of the fastest developing countries because there are many digital developments taking place. Every system is moving towards the e-World. My plan is to do my study here and get some good ideas and return home… (If I had any advice to give) it would be to take care of yourself – stay happy and healthy.
Chris:
I’m doing the grad diploma of primary teaching. I’ve been an accountant for about eight years so it’s one of those things where you realise there’s parts of your nature that would be more equipped for something different. I was good at maths, and I was comfortable in an office but you realise you’re losing your soul when you’ve done it for so many years. About 3 or 4 years ago I did some volunteering work with children in the community and then I explored it abroad… And I enjoyed it – it’s really tough, it requires patience. It opens your eyes and you become a better person. But the care for kids and want to pass on knowledge has always been there. I’ve just turned 30 so I’ve reached a real point of ok I think I know myself well enough to go I can do this and do it well.
FEATURE / 15
DIRCKSEY
ISSUE 2: TABOO
Shona Wong @somecharcoal 16 / FEATURE
DIRCKSEY
ISSUE 2: TABOO
Internet Manners? By Holly Ferguson
T
he Internet is a very confusing, strange, fun, awkward and, quite frankly, scary place. Part of what makes the Internet wonderful yet intimidating is its lack of rules. Of course there are limitations put on Internet content by official agencies however even with these limitations there is still an overwhelming amount of freedom given to users to say and do what they like.
The situation arose after they launched a new product that heats makeup, allowing it to be removed from packaging. People criticized the company saying the price of $85 was too much money for what is essentially a hot plate. Z Palette “clapped back” to these comments by responding directly to the commenters with statements such as “@nmontana You look like a cheap date, but we’re not messing with you,” and “@glamourbyyani Listen to some Jim Rohn – it’s not that it’s expensive it’s that you can’t afford it.”
With the growth of dependency on the Internet and the drastic increase in those who use it, there has been a rise in disputes online with many of People were justifiably shocked at the company’s responses, however, this situation is becoming these disputes ending in legal action. increasingly more common, as people take In 2015 law firm Slater and Gordon estimated that advantage of their disconnection from the real half of their legal enquires were related to content world and become more consumed with the online realm thus forgetting they’re speaking to on social media. real people on the other end. When speaking with the ABC, defamation lawyer, Jeremy Zimet said that of the social media So do we need a reality check? Should we instill enquires received, “43 per cent were related to some rules of conduct across the board for Facebook posts, with the remainder being relevant manners online? to Twitter, Instagram or otherwise general Internet A quick Google search about Internet manners publications.” comes up with out dated articles directed to With these rising cases of online defamation it first time Internet users. For the most part these brings about the question as to what are the limits articles cover Internet etiquette or ‘netetiquette’ with advice like “Help others” and “keep on what you can say online? messages and posts brief”. One article tries to The fact is that we feel comfortable behind our educate its readers on some Internet acronyms, computer screens, perhaps a bit too comfortable, some of which are new to me like ‘IIRC’- If I letting slip words that may be harsher and ruder recall correctly and ‘FWIW’- for what it’s worth. than we would ever say in real life. So with the lack of guidance from the internet I’m sure these mostly trivial disputes are something as to what to say on the internet, I’ve come to most people have experience with. Either by being the conclusion that the easiest way to practice directly involved in the ‘argument’ or watching manners on the internet, and to avoid being (whilst eating popcorn) from afar as people tear part the rising statistics of defamation cases, is to simply be a decent person. Don’t say things one another to shreds. you wouldn’t say in person, acknowledge that Even companies are in on it now. In February of you’re talking to a real people online and finally this year, Z Palette, a company who makes magnetic don’t be a dickhead. compacts for makeup artists (to put their products like eye shadow in) were accused of bullying on Instagram after making some rather controversial comments towards customers.
FEATURE / 17
DIRCKSEY
ISSUE 2: TABOO
You’re doing it wrong. By Ashley Griffin Representation in fiction and media is what we all fight for. We boycott whitewashing, and we celebrate characters that deviate from the normalised, cisgender, white boy. We empathise with characters with anxiety and depression, because we know how it feels. But the thing about representation is that it has to be done right. Too often is representation used in a way that slanders or demonises mental illness, gender, sexuality and race. Too often is a character used as a trope to represent depression and nothing else. Too often is a character thrown into a story to fill the role of the gay best friend. If you’re going to portray a particular group of people, whether it be regarding gender, sexuality, race, or mental health, there’s a particular way it needs to be done. Any of these parts of a character’s identity cannot be their entire identity. You can’t put a character in a story just to use them for their depression. Nobody is just their depression and anxiety, but when that’s all a person is boiled down to in media, it creates a huge impact on people who see themselves in these characters.
Representation can be powerful. When done wrong, it can create misconceptions. However, when done correctly, we see hope and education. In recent animated films like Disney’s ‘Moana’, we have a Polynesian female lead character. Moana, as well as Tip from Dreamworks’ ‘Home,’ and even the multicultural cast of ‘Big Hero 6’ are all characters that children look up to and see themselves. Representation in animation is especially powerful. Many children’s shows are animated, and as animation becomes more and more progressive and representative, children can learn about the world around them. Rebecca Sugar’s ‘Steven Universe’ is an animated show that airs on Cartoon Network, and is credited for amazing representation of same-sex relationships, and also has a non-binary characters. The characters in these films and TV shows
demonstrate wonderful and “Representation can be progressive representation. They whilst not creating false powerful. When done educate stereotypes and prejudice. On the wrong, it can create contrary, it creates positive ideas, as misconceptions. However, not only do people see themselves when done correctly, we in the heroes of these stories, but Fiction and media cannot demonise they also see others. They see that or vilify any of these groups based on see hope and education.” the world is not ‘us’ and ‘them’. those parts of their identities. This in There’s no difference between particular happens far too often, and people based on gender, sexuality, in fact, one of the biggest movies of or race. last year vilified mental illness, and was still one of the Representation matters. But, it has to be done right. greatest box office hits of the year. Done wrong, it can create prejudice towards certain M. Night Shyamalan’s 2016 film ‘Split’ antagonises groups of people, based only on parts of their identity. dissociative identity disorder (DID), poisoning It can create negative stereotypes and promote perceptions of the mental illness. DID, more incorrect information, the consequences of which are commonly known as split personality disorder, is dire. a mental illness where a person has more than one personality or identity. The antagonist of the film However, if a group is represented not as villainous, kidnaps three girls and keeps them against their wills, or used just to represent a trope, but as real people, clearly making him out to be a villain. it would make the world of difference. It would make the world different. This film is an example of poor representation of mental illness. ‘Split’ demonises people with DID, If fiction and media reflected what we see when we reinforcing negative stereotypes and prejudice walk down the street, represented every person just towards people with the disorder. This is not just bad as they are in the real world, the results would be representation; it is dangerous. enlightening. 18 / FEATURE
DIRCKSEY
ISSUE 2: TABOO
Washing away Whitewashing Karina Miyazaki
B
lackface and yellowface is the practice of altering a white actor’s skin tone with makeup to portray a character of a different race. This was common throughout much of the 20th century due to the United States’ laws at the time, but in the 21st century this has, thankfully, largely been erased from Hollywood movies – but other kinds of whitewashing still remain, and that’s a problem.
can always be changed. For a film like ‘Aloha,’ the character could always have been changed to be white, if there really were no suitable actresses for the role.
Director Cameron Crowe says he based the character off a real person, who was mixed-race but much to her chagrin, didn’t look it. So to honour her legacy, he cast someone unable to relate to such a Hollywood is a business; it’s attempting struggle. When a white actor is cast to generate a profit. Sometimes, as a non-white character, it takes this may mean casting big names for roles away from those who may financial reasons: this was director have been great in the role but were Ridley Scott’s defence when criticised ignored due to their skin tone. for the casting of white actors in Biblical and Ancient Egyptian roles in ‘Exodus: ‘Ghost in the Shell,’ an adaptation of Gods and Kings’. But many of the names a Japanese anime, will be released in Exodus weren’t household names and later this year. Last year, it was could have easily been replaced with reported that the distributor, those of ethnically correct actors, and Paramount, had been experimenting not negatively impact the film in any way. with CGI to make the white actors appear Asian. Dubbed “digital Having an all-white cast is an example yellowface”, it’s a new low for of monochrome casting and it’s hard Hollywood when there are definitely to ignore. When the majority of a cast Asian actors out there who would is white, but the setting is that of New jump at the chance for a film role. York City, which has nearly 40% of its population born outside the USA and is Why waste time on CGI when you an amazingly diverse place, there aren’t can cast someone who looks the any excuses. part naturally? Less than a third of Hawaii’s population Hollywood has many, many actors is white. This isn’t reflected in 2015’s trying to make it big. The chances ‘Aloha,’ which garnered much of them all being white are slim, but controversy over its cast, especially casting calls often ask for Caucasian about Emma Stone portraying a quarter- actors for non-white roles or not Chinese, quarter-Hawaiian character. bother specifying a race if the The issue isn’t that this character doesn’t character is ethnic. look mixed-race – many mixed-race people do look white – but that Emma Stone isn’t mixed-race. Yes, Hollywood is a business, but whitewashing usually goes beyond The main issue with whitewashing isn’t the main characters, and creates a in how they look, but their cultural fictionalised world where everyone backgrounds. Scripts are flexible, and is white. FEATURE / 19
DIRCKSEY
ISSUE 2: TABOO
Keep Love in Your Art:
dramaturg. In terms of my own interdisciplinary practice, I’ve responded to and been influenced by many writers working across disciplines to weave new narratives of natural and cultural interaction: they include WG Sebald, who first opened up the possibilities of non-linear narration for me, Rebecca Solnit, who has both guided and accompanied so many of my own investigations into our entanglements with the world, William Bryant Logan, who taught me that dirt is art as well as life. I’m drawn to the articulacy of the body in dance and the movement of ideas in language – I like How much of your life has been spent in the to look beyond the form I’m working with at arts’ sphere? any time to find inspiration in other forms, I’ve spent most of my adult life working in other gestures, to look for relationship in the and around the arts – particularly in drama seemingly unrelated. So I do a lot of foraging! and theatre - and more recently dance. But I’ve always had an interest in the natural Could you talk about the most moving theatre sciences too, and began my university career you’ve experienced? in veterinary science. I only did that for a year, but I’ve always been interested in the dialogue I’m deeply moved at different times and between art and science, and frustrated by in different ways by my encounters with their separation from one another as processes performance work, and I think I’ve been more of knowledge creation and cultural formation. sensitive to certain ideas and experiences at certain times in my own life, so this is a Are there any particular artists who have highly subjective and necessarily cumulative most inspired you? list! At the festival this year, I was profoundly affected by Jonathon Young and Crystal Pite’s I’ve been inspired by many, many artists across Betroffenheit, Dmitry Krymov’s Opus No. 7 all forms of practice. But my own work these and Lynette Wallworth’s virtual reality film days brings me closest to dance and live art, and Collisions. But I was also touched and uplifted there I’m constantly inspired by Akram Khan, by Alex Desebrock’s Small Voices Louder, and with whom I’ve worked for a number of years as the unfolding of Amy Sharrocks’ Museum of Interview by Zachary Sheridan PIAF’s philosopher-in-residence Ruth Little is a theatre and dance dramaturg, writer, and teacher. She is currently associate director at Cape Farewell, an international not-forprofit project that aims to bring creatives and scientists together to instigate a cultural response to the climate challenge. Awesome, highly intelligent, and very busy, Ruth was able to spare a few moments to answer some of my questions before departing back to the UK.
20 / ARTS & LITERATURE / CREATIVE
DIRCKSEY ISSUE 2: TABOO
Water project has been a beautiful, humane, surprising and moving experience. I think the performance work that has, to date, moved me beyond all others was Louise Lowe/Anu Productions’ Laundry, a site-specific journey work about institutional abuse of women created at the Magdalene Laundry in Dublin in 2011. The combination of place, movement, imagery and encounter was astonishing, devastating, illuminating, unforgettable.
Given works such as Boorna Waanginy and The Encounter at this year’s Festival, I’m interested to know what role you think art has to play in the face of ecological disaster? I think art, along with natural, social and citizen science, long
feeling is that art (in partnership with science) can help us to think ‘with’ rather than ‘about’ universal, complex processes like climate change. Until we understand the contingency of all things, until we really feel what it means to be fully interdependent with natural and manmade processes, materials and patterns that we can design and influence but not, in the end, control, I think we’ll continue to behave as though our own individual actions are either irrelevant or insufficient in relation
“My own feeling is that art (in partnership with science) can help us to think ‘with’ rather than ‘about’ universal, complex processes like climate change.”
form journalism and indigenous knowledge of place are together essential modes of enquiry and communication in a world subject to unprecedented systemic stress by human civilisation. And in its involvement of feeling and imagination, in its modes of participation and prediction, art reaches further into the heart and mind and can, I believe, produce new neural connections, new embodied practices which might underpin essential behaviour change towards wiser and humbler ways of living in association with other living things. That’s an aspiration of course, but I think it’s the most important work in the world… What are your thoughts on speaking directly to issues such as climate change in theatre? I think there have been some earnest attempts to speak directly ‘about’ climate change in theatre and these have tended to leave audiences cold because they address a vast, systemic problem, and don’t call on the embodied, metaphorical, meaning-making imagination – they engender broad intellectual rather than intimate emotional response, and I think that has less lasting or transformative impact than a felt response can have. My own
to climate change. But they’re not. We become a system by the accumulation of and feedback from individual acts, just as a hive or an ant colony do, and our technologies make possible very rapid cultural shifts in new directions. Art can push new metaphors, iconographies and social behaviours out into the world in inventive, playful and
affective ways, but climate change isn’t a ‘thing’ to be observed and described; it’s a myriad of human choices reflected in behaviours around food, finance and fuel, as well as our relationships with non-human beings. What are your thoughts on how contemporary theatre can appeal to those outside its main audiences? Small Voices Louder proved that you can speak of anything with anyone, if you create a safe and welcoming context and do it with imagination and integrity. I think real participation is key – not simply making well-rounded works of art for audiences, but inviting audiences to be part of the process of questioning and seeking. The Museum of Water does this at every level and in every manifestation of its core question about what water means to us. Everyone in the project is both a performer and a researcher, and that egalitarianism is an invitation to those who have traditionally felt excluded from contemporary art and performance. The proof’s in the process, and the process of The Museum of Water has brought people together around a common concern in tangible and meaningful ways. ARTS & LITERATURE / CREATIVE / 21
DIRCKSEY ISSUE 2: TABOO
Why Teach Rape? By Tristan Sherlock n average, women dominate university campuses by about 10%. At ECU alone 62% of the students are women. With 1 in 5 women, (and 1 in 16 men) being sexually assaulted while they’re studying. So why would it be a good idea to use sexual assault or rape to spark debate or educate your students? Short answer: it isn’t.
o
When I first started my course, I opted to do a unit (a core unit for most of the other students) where we had to study a book that attempted to tackle rape and rape culture. Only, it did so quite poorly. The novel we were to study, Disgrace, was told from the point of view of a character who, throughout the novel, raped two women. Now this probably wouldn’t be as bad if the character learned that what he did was wrong. He didn’t. In fact, the book tried to justify what he’d done by romanticising it. While I always found studying Disgrace to be abhorrent, it never really dawned on me how much I disagreed with it being taught, until I engaged in conversation with other students who also felt uncomfortable reading Disgrace.
on their own. But, like with everything, people will disagree. So, what should lecturers do if they decide to teach a novel where sexual assault is a part of the plot? First, they should be able to sympathise with their students, or at least attempt to. People should be able to go up to lecturers and tutors, express how they feel (towards the unit material/curriculum) and not feel like their thoughts and feelings are going to be dismissed. Also, a second text should always be available. For all students, even those who haven’t been assaulted. This way those who have been sexually assaulted won’t feel like burdens or have to admit/confront what they’ve been through. As one student who was also enrolled in the class stated, “Having another option might have some merit to it, as an idea, for making students more comfortable with the unit and wanting to continue in participating in the classes.” There are so many good books out there that confront sexual assault and rape culture, such as The Colour Purple or even Room, not one that justifies it. And when choosing a form of text that does tackle such a life changing and destructive issues make sure it tries to make those who’ve suffered feel better.
Now, I want to make this perfectly clear before I continue: there is a difference between teaching students about sexual assault and using sexual assault to teach students, the latter being the problem.
When it comes down to it lecturers should make sure all their students feel comfortable in their classes. And if that means changing the structure of the unit then so be it. Making students comfortable should be priority number one.
Can you imagine being a victim of sexual assault sitting in class, reading a text that questions whether your sexual assault was sexual assault? Or tries to justify what your abuser did? Or having to sit in a compulsory class that makes you re-live some of the worst moments of your life?
How are we as students supposed to heal when we have to read texts that make us suffer? How are we as students, as people, supposed to talk about rape culture and on campus sexual assault when it’s a part of the curriculum?
Can you imagine how easy it would be to prevent this, simply by not having texts where rape is a key part of the plot in university curriculum? Is it a good idea to use such a triggering subject to educate people? If you want to save a large amount of people a lot of hurt the answer is, probably not. Texts that have any form of sexual assault as a part of the plot should be left for people to pick up 22 ARTS & LITERATURE
With sexual assault being such an epidemic on campus it’s hard to understand the logic behind choosing a text that could potentially trigger 20% of your students. Not only that, but by giving people texts where rape culture is justified you’re telling rapists what they’re doing is okay. Which, and this should be obvious, is not.
DIRCKSEY ISSUE 2: TABOO
BOOK REVIEWS
Breath Tim Winton, 2012
Forbidden Tabitha Suzuma,2010 Despite what the blurb suggests, this is not an angsty novel about forbidden love or incest. This is a book about the danger and the repercussions of growing up in a dysfunctional family. Forbidden just so happens to use incest as a way to hone its message. And as weird as it may be – it works. Forbidden is a wild ride from start to finish. It’s, for lack of a better word, fucked. Sure, it has its witty, funny and its brighter moments, but those are plagued with a sense of dysfunctionality. Every sentence, description, and piece of dialogue you read will have you thinking: shit. To tackle such a controversial issue Tabitha Suzuma must have guts. By Tristan Sherlock Beyond Carousel Brendan Ritchie,2016 ‘Beyond Carousel’ is the stand-alone sequel to ‘Carousel’. A Young Adult speculative fiction novel set in post
When paramedic Bruce Pike arrives on scene to the death of a teenager, he is confronted by the nature of the incident. A sight that resonates with him on a personal level, because 30 years ago, that dead teenager could have been him. A beachside story that has you feeling the salt water on your skin, Breath follows the story of Pike in his formative years and the feeling of being out of your depth in every situation in life. The exploration of emotionally abusive relationships, to the rawness of depression, to the desperation of wanting to belong all in the setting of an isolated coastal Western Australian town is excised in such a poetic and mesmerising way, it made me want to grab a surfboard, head out to sea and just sit and think. By Leighton Campbell The Song Of Achilles Madeline Miller, 2011
Using beautiful descriptions and lyrical writing, The Song of Achilles retells the story of Greece’s greatest and most tragic hero, Achilles. Told from the point of view of Achilles’ “good friend” (they fuck … a lot) Patroclus, The Song of Achilles manages to both stay true to the classic tragedy and gives it a vibrant, new feel that all remakes and retellings should have. While the novel does play on the ‘Bury Your Gays’ trope, I personally excused it due to the complexity of Patroclus and Achilles’ characterisations. This exquisite romantic, tragedy, while slow at moments, is near impossible to put down. And once you do, after turning the last page, it’ll stay with you for a long time. The Song of Achilles is heart wrenching in all the right place, even if you know exactly what is going to happen.
apocalyptic Perth: a world only artists, animals and a few other special people remain. Nox, Taylor and Lizzy’s journey continues, in search for answers regarding the ‘Disappearance’. Sifting through the rubble of Brendan Ritchie’s delectable descriptions of some of Perth’s iconic buildings as I’ve never witnessed them before: deserted, devastating and dangerous, what lies within is both haunting and humorous. Accompanying a rich narrative of friendship, uncertainty and survival, this novel celebrates the arts and what it truly means to be an artist. Being a creative person can bring everlasting torment and feelings of inadequacy: Am I good enough? These are the underlying themes in ‘Beyond Carousel—a continuous action of a process unique to us all. It’s about finding your own way and never giving up, even in your darkest hour. By Joanne Morelle By Tristan Sherlock
ARTS & LITERATURE / 23
DIRCKSEY
ISSUE 2: TABOO
Winter Corner interview:
Interview by Harvie Taylor arlier in 2017, out of left field, came the stunning EP titled Elula. The band responsible, Winter Corner, is a fresh young band from south of the river. This EP was unexpected but beautiful to say the least. I got the opportunity to talk too two of the band members Laura (Vocals/ Guitar/Bass) and Bevyn(Vocals/Guitar).
E
What struggles came with creating this EP? Laura: Our EP was recorded live in one day. It was probably one of the most challenging days but it was so rewarding, to have recorded in such a short amount of time. Who Produced the EP? We worked with Dylan Keirnan, at Rada Studios in Perth.
How did Winter Corner come together? Laura: I met Bevyn in 2014 and we started dating; we both played music and, after playing When can the fans expect to see an album? together a few times, thought we would form a Eventually we would love to release an album. duo. Before then, perhaps, finding our sound and gaining a larger following. Bevyn: … After a lot of nagging I managed to convince Laura to start playing music again, Do you have any advice for anyone who wants with me, after her bit of a hiatus as a solo artist. to get into the music industry? We never really got to experiment with our true It’s really hard – and sucks – but you don’t do sound until we decided to add Rory, our bass/ it for anything other than the love of playing to guitarist, and David, our drummer, to the crew. people. Some advice we would give is to really believe in your music and your potential. What’s it like being an up-and-coming band in the Perth area? We feel like it’s a great environment to be in. There’s some awesome Perth artists and it feels like one big music family! Check out Winter Corner on Facebook and iTunes. A new single is in the works and can What made you take the step from covers to be expected soon; they are definitley worth originals? the time. I expect to see them blow up over We have always loved the idea of being able 2017. As they find their own style they will to make a living from playing music. Our only be getting better so keep your ears open inspiration is other local musicians who have and keep updated on their social media! been able to do that and make their way with music. What does Elula (Name of the EP) Stand for? Laura: It means ‘simple’ in Zulu. 24 / MUSIC
DIRCKSEY
ISSUE 2: TABOO
Taboo in music
By Harvie Taylor ike any art form music has its own rules regarding design and structure. If we analyze music over the years we can apply these rules to almost everything such as timing or standard notation. Musicians often break this norm. However, some are more successful in breaking these norms than others.
L
If we look at bands such as King Gizzard and the Lizard Wizard we see these musical norms broken, like their newest album Semitonal Banana. This album notoriously breaks the standard musical notation. The notes A-G are used and between each of these notes is a sharp and a flat. Semitonal Banana breaks this by entering the land of taboo by using quarter notes. It sounds ridiculous and out of tune but somehow graceful in some circumstances. But unless you have a taste for it it’s going to sound shit. Let’s look at lyrical taboo, so most people think that in music anything goes, you can say whatever you want and as long as it sounds good it will sell. This is incredibly untrue. If we look at the album Pink Season by Pink Guy we see a satire album criticizing the modern-day rap industry. This album uses lyrics that are easily considered taboo for example the song ‘STFU’ “Shut the fuck up, you’re a stupid c**t, suck my dick”. These lyrics wouldn’t sell when marketed to a general audience, despite the music behind it being well produced. If we look at the current charts for February 2017 we see that most, if not all lyrics, sell sex or love. Big artists like Ed Sheeran reuse the same formula telling us about love. We’ve
heard it all before, but we keep listening because the form is different. It’s the same with artists like Adele, similar lyrics about love and rejection, just in different forms. Then if we compare the formula those artists use with that of ‘Meme machine’ there’s no mention of sex or love, just memes. As much as breaking the norm is great, non-taboo music is always preferred. So much so that even Spotify doesn’t bring up the album Pink Season when you search it you need to go through the creator Pink Guy’s page. Let me specify, taboo and innovation is different, many new artists try something new with their music. If we look at ‘Lorde’ she was innovative with her voice, and that’s why she was loved. Then if we look at ‘Tiny Tim’ his voice was considered ridiculous and that’s why he was adored. These two artists were innovative but what they did wasn’t taboo; it didn’t break musical structure, their timing was standard, their riffs where simple it was still standard. It’s hard to be taboo in music because almost everything is welcomed, though more often than not can be frowned upon such as Pink Season. Language is objective everyone applies their own meanings behind words like ‘moist’ or ‘daddy’ some people hate them and some love them with a majority in between. What I’m trying to say is that while breaking the musical norm is becoming increasingly common it’s not necessarily getting any better, there is a reason musical structure is the way it is, because it works. Though it’s easy to criticize, I’m excited to see what the future brings in music and how it breaks what is now considered taboo. MUSIC / 25
MUSIC REVIEWS Green Light Lorde, 2017
Groundbreaking Masterpiece BOAT SHOW,2017
Back after four years without anything we have a brand spanking new single! Green
Local Perth band, BOAT SHOW recently released their debut EP,
Light, which is uniquely Lorde, seems like it could have been better served as a late autumn release. Its upbeat with her mellow voice over the top makes a sharp and unique contrast in addition to the lyrics. Let’s talk about the lyrics quickly, as great as they are, some stick out like a sore thumb. A lack of rhyme or weird timing throws it out, luckily it only happens once or twice in the song but it still stunts the verse. Props to the lyric delivery on the bridge it makes it completely unique! It’s a good hit but it’s going to suffer from a bad release time. Let’s be honest here, her music is too sad for summer. By Harvie Taylor The Hamilton Mixtape Various Artists, 2016 Do you love Sia? Wiz Khalifa? Kelly Clarkson? Alicia Keys? Queen Latifah? Hamilton the Musical? Do you love your favourite artists covering your favourite songs? If yes, you’ll love The Hamilton Mixtape. After the success of the Tony Award winning Hamilton, Lin-Manuel Miranda masterfully remixes and adapts some of the musical’s top songs to with masterful vocals. Not only that, Lin-Manuel Miranda manages to take his “then themed songs” and make them reflect current political issues, such as immigration and the Black Lives Matters movement. LinManuel Miranda and the all-star singing cast does the musical and its fans proud. Now the only thing us Hamilton fans need is Destiny’s Child covering The Schuyler Sisters in the next mixtape.
By Tristan Sherlock
Groundbreaking Masterpiece. Wall-to-wall with garage rock bops and reminiscent of 00s indie rock girl band, Chicks on Speed, BOAT SHOW’s lead singer belts out some ripper tunes with downright hilarious and all- tooreal lyrics. Album standouts include Cis White Boy with the line “Cis white boy I don’t care what you think you’re entitled to”, Staying Alive, and the amazingly fun sing-along I Hate Work. A special mention to the ending track, Transparent, for being a great closer to a real go-getter of an album. If smashy bashy garage rock is your thing, definitely get around BOAT SHOW. Also, go see these guys live, they put on an energy surge of a performance that leaves you grinning. By Leighton Campbell ISAIAH Isaiah Firebrace, 2016 In honor of the upcoming 2017 Eurovision Song Contest I thought I would investigate Australia’s entry, Isaiah Firebrace. Let me tell you, I was surprisingly impressed. Isaiah is Xfactor’s 2016 winner and at the age 17 his voice is already incredibly developed. He breaks away from the typical boppy teen boyesque sound and instead expels a soulful voice way beyond his years. His Xfactor winner’s album, Isaiah, consists of full-length covers of songs he performed on the show and one original, which is lyrically bland and typical. Despite the lack luster instrumentals that accompany him, Isaiah holds his own conveying emotion beyond his years. My favorites from the album include Alicia Key’s If I Ain’t Got You and Sam Cooke’s A Change is Gonna Come. Isaiah is great representation for Australia not only with his incredible voice but also as a young Indigenous performer. By Holly Ferguson
Have an EP, CD or Single coming out? Send it to us at: editors@ecuguild.org.au
DIRCKSEY
ISSUE 2: TABOO
The prodigal (Gib)son By Corey Booth
Returns
Mel
Gibson, the insanely, talented story-teller has finally been welcomed back to Hollywood with open arms. It has been over ten years since the release of his universally acclaimed Apocalypto. Gibson – or ‘Mad Mel’ as he is affectionately known – spent the better part of a decade banished from Hollywood. Fans of Mad Mel have since voiced disapproval at the blacklisting of their favourite anti-Semitic auteur, repeating the rhetoric: Why is it that convicted and unconvicted child rapists Roman Polanski and Woody Allen (respectively) are free to make films, but poor Mel gets blacklisted just because he made one drunken claim that “the Jews are responsible for all the wars in the world” … And also, physically and verbally abused his wife… And repeatedly drove around drunk… And racially vilified his arresting officer… And sexually harassed another… And, when questioned about homosexuality, laughed, bent over, pointed to his ass and said ‘this is only for taking a shit’ ... And ate a dog. Whatever his crimes, it appears the blockade is over. The reception of his latest film Hamfest Hacksaw Ridge by the Academy of Motion Picture Arts and Sciences (the body that hand out the Oscars) is a sign that Mad Mel is OK again. Probably embarrassed that such a talented man has been shunned for so long, an olive branch was offered in the form of an Academy Award nomination for Best Director. Now forgiven, Gibson can serve as an inspiration to rich, white men that, they too, can overcome the seemingly insurmountable odds and prejudices that usually face bigoted, abusive drunks. Mad Mel has risen from the ashes like that Jesus guy from his other film. “Everything’s fucked … My life is fucked.” – Gibson, 2006.
As we learned in Passion of the Christ, everyone enjoys a comeback, and this has been reflected with both Gibson and Hacksaw Ridge blossoming this awards season. In addition to the Academy Award and BAFTA nominations, the ‘Australian’ film swept the 2016 AACTA awards. The soon-tobe-released DVD covers will show two Academy Award wins and four other nominations. Far more than create a vacuous war film with the technical proficiency that makes it easy to buy campaign for awards, Mad Mel has produced a piece of art that reflects his recent troubles. As he did with Braveheart and his hatred of the English, the Passion of the Christ and his hatred of Jews, and Apocalypto and his curious hatred of the Maya, Gibson uses Hacksaw Ridge as a platform to attack the intolerant, power hungry suits that attempted to bully him out of the movie-making game. Gibson has weaved in a parable for his banishment from Hollywood, and the horrors and tortures he had to endure simply for being a man of conviction. “I’ll apologize when hell freezes over. They can fuck off.” – Gibson, 1995. The film comes cleaved in two, firstly showing Desmond Doss (played by Garfield) and his attempts to survive military training. The second half throws Doss and his fellow soldiers into combat, as they quickly learn the harsh training they were subjected to is nothing in contrast to the real thing. The structure is masterful and remains just as effective as when Stanley Kubrick used it in 1989 for Full Metal Jacket. The action heavy second half is the meat in this ham and cheese sandwich. It is filled with flashy fire-fights, combat, blood, gore, the torching of Japanese men, and other things that get Mad Mel out of bed in the morning. The disdain Gibson shows for human beings infuses these battle sequences with a level of comedy and schadenfreude that, in the hands of any other director, may have been miscommunicated as genuinely horrifying. “You mother fucker… I’m going to fuck you. You’re going to regret you ever did this to me” – Gibson, 2006.
DIRCKSEY
ISSUE 2: TABOO
While so much of the film’s marketing and promotion features battle sequences, it is in the melodramatic doldrums of the beginning that lies a heartbreaking analogy. Garfield’s Doss represents Gibson, a man whose convictions and strong beliefs are monstrously misunderstood by his peers to the point where he is outcast. On arrival at military training we learn that Doss has enlisted in the Army as a Conscientious Objector. Like Forrest Gump meets Batman, in the worst way possible, he will not wield a rifle nor take a life. These uncompromising beliefs seemingly stem from a childhood trauma; after cracking his brother’s head with a brick, a young Doss tearfully wanders through his house and finds the conveniently placed wall art featuring Cain slaying Abel. If that weren’t enough, he sees the commandment below: “Though Shalt Not Kill”. This masterful series of cuts efficiently show that Doss is now a man who takes the word of God literally. And he isn’t afraid to challenge anyone who thinks otherwise.
Doss is soon arrested for insubordination. In his darkest moment – locked in a cell awaiting trial that could see him dishonourably discharged – Doss considers that maybe he isn’t without Sin. Maybe he has been prideful. As his self-reflection starts to get interesting, any threat of character development is quickly thwarted when Hugo Weaving arrives with a plot device to save the day. Perhaps here, Weaving represents Robert Downey Jr. Mel Gibson posed for the above El Segundo Police Department mug shot in March 2011 following a misdemeanor battery conviction
who bravely asked Hollywood to give his mentor, friend, and ex-dealer a second chance. Doss is finally forgiven and allowed to return to the job he so loves. Before going to aid and abet the killing of 80 000 Japanese men (but not pick up “There is no salvation for those outside a rifle) his final act is to marry girlfriend Dorothy the Church” - Gibson, 2004. Schutte (Teresa Palmer) who, at 25 years of age, was only two years younger than Gibson’s current Doss soon lands in trouble for his refusal to girlfriend. obey his commanding officers and pick up a gun “What do you think you’re looking at, - an obvious metaphor for Gibson ‘playing ball’ sugar tits?” – Gibson, 2006. and dropping the drunken anti-Semitic rants. Despite being devout, God-fearing Christians in Gibson uses Hacksaw Ridge to communicate the Holiest nation of them all (USA) both Doss an important message: If you stay strong in and Gibson are punished for their fanaticism your beliefs, refuse self-reflection and have the uncompromising beliefs. An attempt is made to right connections, you will ultimately be free remove Doss from the Army. His peers turn their to do whatever you want … And get rewarded back on him, as Gibson’s did. Where most people for it. Doss ultimately receives the Medal of may question whether someone who won’t fire a Honor [sic] for contribution to the world. The rifle should join the army, Doss soldiers on. His accolades given to Mad Mel this awards season grit and determination won’t allow him to quit and (the numerous AACTA, BAFTA and Oscar wins he is subsequently subjected to the bureaucratic and nominations) complete the parallel with his machine – a parallel to Hollywood politics. His partisan protagonist, and indeed, his redemption sanity is questioned, as Mad Mel’s Gibson’s was arc. And rightly so. Even though filmmaking is in the media. While Doss’s peers are training he a business, and studio executives may not want is forced to do the terrible jobs like scrubbing to tarnish their company’s reputation by putting boots and cleaning the latrine (think the Beaver, hundreds of millions of dollars in the hands of Machete Kills and the Expendables 3). Desmond known homophobes, sexists, and racists, it surely Doss joined the Army to save lives as a medic and is a sad world we live in when artists are not both questions why he is unable to perform this task funded and afforded the right to drunkenly abuse because of his beliefs. Is Gibson saying that his anyone they damn well please. craft – filmmaking – is the gift of life? And that he shouldn’t be removed from such important work PS. If you’re reading this Mel, I’m only joking. just because he’s a loud, drunken, bigot? It’s not I liked your film. And I’m not just saying that because of what you said to the New York Times for me to say, but yes, probably. critic who gave you a bad review. Gibson: Was it in a brown paper bag? Police Officer: Yes. “I want to kill him… I want his intestines Gibson: It’s not mine. -2006 on a stick… I want to kill his dog.” - Gibson, 2003 28 / FILM
DIRCKSEY ISSUE 2: TABOO
NETFLIX REVIEWS Unbreakable Kimmy Schmidt By Abby Pritchard If you are looking for a TV show to binge watch that doesn’t require a lot of concentration and can make you laugh and cringe all at once, then Unbreakable Kimmy Schmidt is the one for you. This American comedy follows the naïve 29-year-old, Kimmy, through her new found freedom in New York after being held captive underground for 15 years thinking the end of the world had wiped civilization out. Kimmy, along with her newfound friends, adapts to the modern world and learns how to tackle her unaccustomed independence. With the first season released in 2015 and the second in 2016, the show explores current conversations in society, such as unemployment, homosexuality, technology and religion. So if you have a spare 13 hours to binge every episode available on Netflix, do it! And don’t get me wrong, I am not condoning this hermit-like behaviour, but, if you did I can assure you, you’ll have a weird feeling of accomplishment. Season three is said to have a delayed release date, but we hope that Kimmy will be back on our screens in April this year, so get watching folks!
Riverdale By Ashley Griffin Riverdale is the kind of show where the main character is completely oblivious to the world around them. A TV adaption of the original Archie Comics, Riverdale is the latest Netflix original series. The show follows the solving of a murder mystery by the main cast of Betty (Lili Reinheart), Jughead (Cole Sprouse), and Veronica (Camila Mendes). The only person not splitting up and searching for clues is the main protagonist, Archie (KJ Apa), who is too wrapped up in the drama of his romantic life and his confliction between football and music. Oh, the travesty! This show has been a ride from the beginning, with plenty of taboo to last you every week, always leaving you wanting more. Lucky us, the show releases new episodes weekly, and is already confirmed for a second season.
FILM / 29
DIRCKSEY
ISSUE 2: TABOO
FILM REVIEWS
Jasper Jones Rachel Perkins, 2017 Most of the time I don’t like to get caught up in the movie versus book debate. They are, after all, very different mediums with different parameters and different
objectives. However, I must note that Rachel Perkins’ adaptation of Craig Silvey’s iconic novel is a stunning realisation of the images my mind made when first reading this distinctly Australian story now five years ago. The 1960s coming-of-age tale about racial prejudice, identity, family, and so forth, is at once both charming and disturbing. 14-year-old Charlie Bucktin (Levi Miller) has his life thrown upside down the night Jasper Jones (Aaron McGrath) comes to his window. Jasper takes Charlie to a ghostly spot of country, where from a tree hangs the dead body of local girl Laura Wishart. And so the mystery begins. With wholehearted performances, succinct storytelling, and compelling imagery, Jasper Jones is a delight. By Zachary Sheridan
Beauty and the Beast Bill Condon, 2017 Finally, the much anticipated Beauty and the Beast has hit our screens! The hype for this film after years of waiting for this new interpretation has built expectations to extraordinary heights. However I’m not quite sure that these expectations were met. From the moment the film opens your eyes are indulged with beautiful scenery and seamless cinematography. Everything you would expect from a high budget Disney film. Disney has made it apparent that they are breaking their own boundaries for the first time with this film, with its first gay character and first interracial kiss. I applaud them for taking these steps, albeit they are minuscule steps compared to the progress made by the rest of the film industry. One thing that struck me unexpectedly was the darker content of the film. There are some quite serious moments, which I’m not sure how comprehendible kids will find. By Holly Ferguson 30 / FILM
Fourth Man Out Andrew Nackman, Fourth Man Out is your everyday bro-typecomedy film mixed with a heavy dose of homosexuality, by first time director Andrew Nackman. This film deserves a small amount credit for how bright and happy it is, while managing to tackle still-prominent issues such as ‘coming out’. But that’s about it. The film’s not great. Its jokes fall flat, the plot is weak and generic, the characters aren’t too deep (or interesting) and it only tailors to a very specific type of gay. Fourth Man Out is an (abortive) attempt at a coming-of-age story about Adam who has his friendship(s) put on the line thanks to his newly announced sexuality. I’m sure this film could’ve been amazing. If only they took out the misogyny. And the “right type of gay” trope. And diversified it. And got a new director. By Tristan Sherlock T2: Trainspotting Danny Boyle, 2017 Trainspotting 2 shows a great understanding of the truth of life, of growing older, looking back with hope of time travel, but accepting that the present of being 40+ is as good as it will ever get. Director Danny Boyle directs this riveting and incisive story with his usual brand of fast-paced, visually inventive storytelling, and it fits so well with this story.The performances from McGregor, Bremner, Lee Miller and Carlyle are all fantastic, and improve on those they gave 21 years ago, because the story gives them all equal share of the limelight. Is Trainspotting 2 as good as the first film? No, because it is a sequel and it does revel deeply in that which made the first film so great. It breaks new ground in smaller ways, but does remain in the shadow of such a unique predecessor, and ends up suffering from a lack of script and narrative focus. By Christopher Spencer
Watched a movie recently? Send us your thoughts at: editors@ecuguild.org.au