The Parting Glass: Vale Liam Clancy

Sad news from Ireland that Liam Clancy, of the Clancy Brothers and Tommy Makem, has died. They made Irish music roll like no-one before or since, and Liam was their mainstay. Bob Dylan was a huge fan, and said of Liam “I never heard a singer as good as him ever. He was just the best ballad singer I ever heard in my life, still is probably.” Those who saw the Scorcese doco on Dylan will have seen him recalling Liam Clancy's exhortation to the young singer, then starting out in Greenwich Village: "No fear, no malice, no envy".

Great advice. (Not that Bob followed it.)

In any case, my old man played the Clancy Brothers over and over through my childhood, and I grew to love their rollicking, twee-free, passionate sound - and also the native wit and literary sensibility of their stage humour between tracks on the live albums. And at the old man's funeral, at his oft-repeated request,were sung Shoals of Herring and Fields of Athenry. The Liam Clancy versions.

And so, a parting glass, to the magnificent Liam Clancy. Slán agus beannacht leat.

Oh, all the comrades e'er I had,
They're sorry for my going away,
And all the sweethearts e'er I had,
They'd wish me one more day to stay,
But since it falls unto my lot,
That I should rise and you should not,
I gently rise and softly call,
Good night and joy be with you all.

Sir Henry Casingbroke on Wake in Fright (1971)

Well, its Wake in Fright revival week here at BmL! Larvatus Prodeo regulars will no doubt be familiar with frequent contributor Sir Henry Casingbroke. His comment on my previous post was such an interesting reflection - not only on the film, but also on the outback 1960s/70s Australia it dissects - that I went ahead and got his ok to do it up as a guest post: the very first here at Chez Fortaleza! And if you're among (the happy few) to have been following recent posts on 70s Ozfilm, you'll already know Sir Henry had a minor speak role in an earlier film of Michael Thornhill's - director of The FJ Holden. Hat tip also to Sir H for linking to this marvellous review of Wake in Fright by Kate Jennings.

Sir Henry writes:

Wake in Fright is magic realism. Wake in Fright's central idea is that in certain parts of Australia (and surely elsewhere), away from cities, there can be a "magnetic" metaphysical anomaly that keeps people tethered in place is spite of a lot of good reasons why they should leave - inexplicably they can't, hence the nightmare.

The longer you stay there the more difficult it is to escape this gravitational pull, and soon, like Doc, you look back on a weirdly wasted lifetime. This becomes the in-joke of The Yabba where Wake in Fright takes place.

I spent 1969 in a mining camp just south of Darwin near Pine Creek and what happened to me was similar, including the spotlight shoot.

When I first arrived in the Top End people asked me how long I was staying - this was trick question - I said: until the Wet, it would be about 9 months; I was there to get a quick quid and get out. They looked at each other winked and laughed. Everyone arrived there just for a few months and end up staying 20 years.

The metaphysical reality layer superimposed on mundane reality (nothing is quite what it seems) brings with it the temptation to step away from normally accepted social mores.

In 1970 Australia was still rather Victorian in its outlook on the surface. But the more pissed you got, the wider the two realities moved apart. All sorts of things could be countenanced, including murder (if it was deserved), hence, out there another set of moral and legal rules kicked in. Hence the ambiguous and ambivalent character of the police sergeant played by Rafferty. Rafferty the actor no doubt perfectly well understood the metaphysical reality, as many Australians in the outback experienced it themselves as I did.

Films made around then dealt with that metaphysical duality were: Cars That Ate Paris, Homesdale, Picnic at Hanging Rock, and The Last Wave, probably others.

This other world is now much submerged and a lot of people do not understand what is being discussed in Wake in Fright. Therefore they waffle on, not being aware that it is a documentary. And not seeing why a lot of Australians found the film uncomfortable at the time - they knew what it revealed and they wished it was kept under wraps, especially to outsiders.

Wake in Fright (1971)

Since I was a kid I've had a recurring dream of being on a beach, in light so bright I can barely open my eyes to see. This newly released on DVD classic of Australian cinema somehow captures that feeling - everything is yellow, red, light disturbs the characters, scrutinising their dark, more brutal sides. I've waited years to see Ted Kotcheff's film, and finally tracked it down on DVD. No lesser figures than Peter Weir, Bruce Beresford and Fred Schepisi regard Wake in Fright as the film that sparked the 1970s reniassance in Australian film making. The Cannes Film Festival has only ever screened two films twice: Antonioni's L'Avventura, and Kotcheff's Wake in Fright.

Though a critical success, it was apparently met by ambivalent public acclaim in Australia, with some audiences taking it all too personally, and a general feeling of "this isn't us". It certainly shines a light on male-dominated frontier towns of rural Australia - where men outnumber women and the stranger creates a rip in the fabric.

The performances are outstanding: as one critic rightly put it, Chips Rafferty as the local cop - in his final screen role before his death in 1971 - "exudes an unnerving intensity with a deceptively menacing and disturbing performance that ranks among the best of his career." Donald Pleasance is brilliant as an alcoholic doctor - and also claims my "best Australian accent by a foreign actor" award. Jack Thompson, Gary Bond and John Meillon round out the Australian all-star cast. This one will stay with me for a while. Would love to see it on the big screen.

Australian Screen Online

You know, the Australian Screen Online site really is ace. Loads of great clips you can check - from all eras. And you can search via film type, decade, or by title. See the short hand-cranked Lumiere Cinematographe clips of Queen St Brisbane in 1899, or Kanakas working on the cane fields of North Qld, or the 1896 Melbourne Cup.

Or check the later clips of hard to find Australian cinema classics like Wake in Fright (1971). I could be lost in here for days. Send cheezels and jaffas!

Our Lady of Prosciutto

Pure Shit (1975)

Well let's face it, who isn't a little curious to see this film - banned then abandoned for a generation - about Carlton junkies in the mid-70s? Raided by vice-squad at its own premiere, this little underground film stayed that way longer than Ramos-Horta lived in hotel rooms. Its got it all: gritty intravenous realism, chase scenes, chemist break-ins, and excellent pre-fame cameos from Greig Pickhaver and Max Gillies. For all that, the scene-stealer is actually Helen Garner's hilarious appearance as a speed-addict, with advanced psychosis of the obsessive cleaning variety. There's even a social commentary poke at the earliest manifestations of the methadone program.

Australian 70s cinema. When will it be matched, let alone topped? I'm not holding my breath.

See the DVD trailer here.

Carpe pm: seize the afternoon

Yes, if I can't sleep in, it ain't my revolution! etc. I don't know about you, but early's never been my scene. Indeed, I was just recalling the other day, when I was younger, in me carefree 20s with fewer responsibilities to other humans, my normal hours of sleep were 4am to 12pm.

Time and circumstance has modified all that, of course; now its 2am to 8.30am. Cutting back on sleep hasn't really led to any productivity gains though - I rarely have a sentient thought before 10am. My brain still gets 8 hours, though the body has learned sleep-dressing and transport management.

I can't really help it, and to be honest, I don't want to change. These hours of solitude and focus have been the most productive of my life. I reckon I wrote most of my PhD between 10pm and 1am. I guess I'd like to know there are others out there still staying up, despite careers and so on. Perhaps well into middle age!

For example, I suspect my men HET here, princes of Dutch 60s freakbeat, still kick it late*. Now that semester two is nearly done I'm hoping to be back here (at Fort Segue) more often. Check it out!


* Hat tip to my bro, aka The World of Yentl, for putting me on to this ace track.

Blog Action Day: 350.org

So, I got an email this morning from 350.org saying its blog action day today. So this is the least I could do. (And never let it be said I didn't do the least I could do).

As you may know, BmL is a big supporter of the idea of direct citizen action on global warming. Leaving it all to governments is a dead-end street.

To that end, we here at BmL are sending a smoke signal to all coastal fortalezas in the greater Solor/ Larantuka region that October 24 is the International Day of Climate Action.

You can check local events in your area through this handy widget, which will hopefully embed below. There's a whole bunch of useful info here on why 350ppm is such an important goal.

Days Left

On October 24, join people all over the world to take a stand for a safe climate future.

Enter your City, Country, or Zip/Postal Code below to find an event near you.

Águas de Março

Yes, rockin' the fortaleza with Sealab's version of Jobim's classic Águas de Março. Hilarious clip! Great song too. In fact, it was once voted the best Brazilian song of all time by, like, Brazilians.
É pau, é pedra, é o fim do caminho...

Municipal Solar?

Ok, now let me run this scheme up the commentary pole and see who cheers (or jeers...)!

I've argued over at LP for a while that councils should look at developing municipal solar energy. That is, use the greater scale of council buildings, vacant property (and rates) to generate larger-scale solar power and feed it in to the grid at local area level. This would offer clear economies of scale in greenhouse abatement - that households can't hope to achieve - and produce larger volumes of power per dollar. Equally (by reducing net consumption of non-renewable energy across the municipal area) it would financially benefit all (both ratepayer-owners and tenants) by reducing household power bills in the mid to long-term. Households would receive the generated power as 'pre-paid' solar, at no further cost.

Households with private solar would get a double benefit, the rest would benefit by the effective socialisation of solar at the council area level. Perhaps they also could cut deals with state governments for the use of vacant Crown land.

Essentially, its a variant on the old school municipal socialism idea: in Britain in the late 19th and early 20th century councils were in the front line of creating public ownership of tramways, gas, waterworks and other utilities, using their greater collective buying power.