Of research and vaudeville

The item on top of the work pile at the moment is a now very battered advance proof copy of a novel called The Little Shadows by the Canadian writer Marina Endicott, published in Canada last year and due for release in Australia in February. It's about a family in vaudeville, working the circuits along the border of the US and Canada; set from 1912-1917, it shows how their lives are affected by the forces of history.

With my curiosity piqued about vaudeville and its history in Australia -- obviously such an 'American' thing was going to make its way to Canada, but did it have a substantial history here? -- I went looking in the astounding new(ish) resource provided by the National Library, Trove, which -- well, go over there and have a look.

I spent many happy hours on this site last year and the year before when I was researching Adelaide and found, among other things, a great deal of family history buried among Family Notices and roundups from 'The Country', where the ferocious rivalry between my Scottish grandma and her bossy sister-in-law regarding the organisation of fund-raisers for the War Effort in Curramulka can be seen between the lines of often profoundly corrupted text.

Apropos of which, I decided early on that since this magical resource had been provided to me then the very least I could do was take an active part in the way it works: crowdsourcing to correct the scanned text, since obviously the resources don't exist for it to be done professionally. I decided that I would correct every article I used. There's no measuring this, but my guess is that, as with Wikipedia, the longer it goes on the more accurate it will be, as more and more people use it and contribute.

Anyway, vaudeville. Oh yes indeed. There's a thesis in this topic alone: 'Racism in the content and language of journalistic reportage of vaudeville in Adelaide, 1920-1940.' Here, for example, is a paragraph from The Advertiser of September 30, 1926:

CELEBRITY VAUDEVILLE. 

Special interest is attached to the Southern Revue Company, which will be appearing for the first time in Adelaide at the Theatre Royal next Saturday, under the J. C. Williamson management. Many of the members of Joe Sheftell's revue are even blacker than negroes are usually painted, but this is not true about the chorus girls, who are much fairer than their men folk. One of the members of the company remarked while in Sydney "how mighty good every one has been to us." This is the first impression gained of Australia by one of the darkest of the members. He also explained that in the Land of Liberty "culled" folk have to travel in their own special "Jim Crow" railway carriages, and are segregated in special hotels and restaurants. This company includes many talented performers, who have been a great success in both Melbourne and Sydney — Minta Cato, the colored soprano; Joe Sheftell, the producer; Bob Williams, the comedian; McConn, Saunders, and Williams, the nifty steppers, and the chorus girls.

Did you blanch over that word 'culled'? Language is a wonderful thing when it come to the return of the repressed. It took me a few seconds to work out that it was merely an attempt at phonetic approximation of the accent of the unnamed  'dark member' (oh dear, it just gets worse and worse) and his pronunciation of the word 'colored' (interesting that the Advertiser was using American spelling in 1926).  I also enjoyed the snide reference to the Land of Liberty, implying that we in Australia have no such unenlightened attitudes, oh my wordy lordy no.

And as for the forces of history, I couldn't help noticing the tour dates on this one, from The Advertiser of September 21, 1929:

VAUDEVILLE PERFORMANCE 

Trixie Wilson, the well-known ballet teacher, announces that the annual concert to be given by her students will be held in the Thebarton Town Hall on October 22. The programme will contain several spectacular ballets, solo dances, and vaudeville acts.

(And for anyone looking for ideas for fiction, there's a whole novel for you right there in the phrase 'Trixie Wilson, the well-known ballet teacher.') Unbeknownst to either the journalist or Miss Trixie, the 1929 Wall Street Crash was imminent: Black Thursday was October 24th, two days after the concert.

Vaudeville was a notoriously unstable and insecure profession even at the best of times, as Endicott's book makes clear, with acts being sacked and theatres closing down and impresarios going broke left and right. I wonder what happened to everyone in the wake of Black Thursday: to Miss Trixie, whose pupils' parents must have hurriedly reassessed whether the budget could stand ballet lessons? To those 'culled' troupers from three years before? To all vaudeville everywhere: the performers, the backers, the managers, the theatre owners, and the audiences, many of whom may have abruptly decided that going to the vaudeville was a luxury they could definitely do without? What happened to the nifty steppers, the Men of Mirth, the chorus girls, the acrobatic violinists and the 'Gypsy' dancers, in the wake of October 24th, 1929? Whatever did they do? Wherever did they go?

Welcoming our new feline overlords

How embarrassment

The Age is reporting today that only one out of two Australian women in their 20s is having a regular pap smear test for cervical cancer.

Why? Apparently, it's because it's 'embarrassing'.

So here's what I want to know. Are these the same young women who wouldn't be seen dead sporting pubic hair?

And if they are, why is it more embarrassing to have a clinical examination done by a doctor (you can always go to a female doctor if that makes you feel less embarrassed) than it is to have your short-and-curlies ripped out by some total stranger whose training, if any, you know nothing about, and at whose hands you could end up with the most godawful rashes and infections?

If you get cervical cancer (and don't forget what aspiring Prime Minister Anthony John Rabbit thinks about Gardasil, the vaccine that could prevent it), things will be done to you by doctors that will be infinitely more invasive, painful, time-consuming and, yes, embarrassing than any pap smear. They will be done to you in an attempt -- an attempt that may well not be successful -- to save your life.

I love Gen Y. But sometimes I don't understand them at all.

In the words of the First Dog on the Moon ...

Australia, what have you done?

A mighty hunter before the Lord

The more forthright of the two tortoiseshells has just fatally impaled a small, airborne fly with one claw.

Every now and then one of them reminds me that I live in a house with two wild animals. They're only fairly small wild animals, of course, but so are stoats and wolverines.

Fire

The forecast maximum temperature for Adelaide today is 42 degrees. South Australia is divided into fifteen 'districts' and the fire warning for two of them is classified as 'Severe'. For five more, it's 'Extreme'. And for the remaining eight, it's 'Catastrophic'.

This new classification system was activated for the first time in the heatwave of mid-November when my tiny home town came under threat. And it was very worrying to see interviews afterwards with people in other parts of rural South Australia who complained 'Oh but it wasn't classed "catastrophic" here so we thought it would be all right.' Others complained that they had been classified as 'catastrophic' -- and at the last minute, too! "They" had kept changing the classification! -- and yet there had been no fire. They were outraged that their lives had been, however briefly, disrupted.

*Moans*

Human nature being what it is, there are a few things about this that are very worrying. One is the dependence mentality that seems already to be setting in, the expectation that there will be full correlation between what's predicted and warned and what actually happens, and that, somehow, magically, "they" should and will fix it all. Another is the apparent ignorance (and I know for a fact that country people are not ignorant about this, so there is clearly some other psychological gremlin present) about the unpredictability of fire conditions and their aptness to change and turn on a sixpence.

And maybe the most dangerous is that suggestion that if the danger is not officially classified 'catastrophic' (code for 'If there's a fire, get out of your house to safety: you can't save it and we can't save you') then there is no danger at all and it's safe to stay home and do nothing. The lure of the false binary is strong, Grasshopper, but in this instance it could lead to unthinkably tragic consequences. If I were the state government I'd be fast-tracking the use of the education department to disseminate clear thinking about fire, warnings, and the limited power to predict and fight fires of the state authorities -- about which, ironically, country people are usually all too sceptical.

Arithmetic, or is it algebra, in chronological order

1 horrible old neck injury (high-speed highway rollover, 1986: C4 and C5) x too much housework and gardening (yesterday) x general stress (ongoing) = shoulder, neck and scalp muscles in spasm = extreme nausea + plenty of hyoscine hydrobromide + too much codeine + 1 moving, upsetting funeral of a 60-year-old woman you've known since you were born + several hours with your father & sisters + far too many brandies (today) + 2 x really crucial deadlines that matter a lot to a lot of other people (imminent) = X, where X is how you'll feel at 8 am when the alarm goes off.

On the other hand, it's 20 years today (3.30 am, November 26th 1989) since I had my last cigarette: cold turkey from 40-50 a day. CP, if you're reading this, thanks from the heart.

Reading the paper: depressing in every possible way

On page 5 of yesterday's Adelaide Advertiser:

A woman who stabbed her partner to death with 'excessive' force has been spared jail because of the years of domestic violence, abuse and torment she suffered at his hands.

And, on page 10:

The girlfriend of Melbourne Storm superstar Greg Inglis is standing by her man as he prepares to face court today on charges he allegedly assaulted her.

Bonding: just some slurry in bunny ears

Mere days after the volcanic explosion of a giant and pulsating boil on the muscular Aussie arse (otherwise Sarah Ferguson's 'Code of Silence' on Four Corners on May 11, including an interview with the girl who was pack-raped by involved in so-called "group sex" with a number of players and staff from the Cronulla Sharks in Christchurch seven years ago) and the resulting dismissal by Channel Nine of former player and 'personality' Matthew Johns in a breathtaking display of hypocrisy by a TV station that has done more to promote and legitimise misogyny and sexism than any other single entity in the country (I originally mistyped 'Bonding' as 'Boning' in the title field up there)... Mere days after said explosion, as I say, with blood and pus still dripping from the walls of TV studios and football clubrooms everywhere, a Melbourne non-league Australian Rules football team has been fined $5,000 for hiring a stripper to perform before a game, as -- and this was how I heard it described by a club official on the radio -- 'a team bonding exercise'.

A team bonding exercise?

Some of us think it's more just a variation on the theme of bukkake. Or possibly not even a variation. And they'd probably think that was a team bonding exercise as well.

I mean, 'bonding'? How does that work in this case, exactly? You get together to degrade a woman; that much is clear. From the Four Corners transcript (this is a different woman, talking about another different woman):

SARAH FERGUSON: There is an even more sinister side to this technology, Charmyne claims to have been shown a video recently, by a young player on his mobile phone.

CHARMYNE PALAVI: He goes we picked up this one girl and there was like seven of us on her and everything and he goes to me, and we um, but I said you're going to get in trouble for that type of thing, like you can't do that. And he goes, please, he goes we just filmed her to say that she consented to it.

And that freaked me out. This girl was actually in her 20's and told me what they did to her. He said they made her put bunny ears on cause Easter's coming up and made her give head to all of the players one after the other. Made, like I don't understand the term, like we "made her do it."

SARAH FERGUSON: Yeah, and do you know who she is?

CHARMYNE PALAVI: No, I asked him who she was, not knowing that I would even know her, and he goes oh just some slurry from around Cronulla.

So, you get together to degrade a woman ... and that gets you together? Que? How does that work? Apparently the idea of the stripper was to 'gee them up', or, as some commentator unselfconsciously but hilariously put it on the radio last night, 'pump them up', which would seem to support what some of us have suspected all along: that sport is really only a slightly more organised substitute for the raping and pillaging that all manly-men would want to do all the time if only there weren't a lot of silly laws against it.

I was offered a unique insight into the way a certain kind of male mind works when some slurry from around North Adelaide (and a total stranger to boot) came up to me in the pub one night many years ago and said, and I quote, 'Do you f*ck?'

Not 'Where have you been all my life?', 'Hello', 'What's your name?', 'Nice haircut' or even 'Nice tits', but 'Do you fuck?' The correct reply to this, which I gave, is 'Not with the likes of you, shithead,' but I later gave this question and its wording a great deal of thought. To a certain kind of man, there are only two kinds of women. A woman either 'f*cks' or she doesn't. And if she does, she f*cks everybody. Which is, like, consent, right?

And in the meantime, given the height, weight, strength, fitness, world view and subcultural norms of most rugby players, and Charmyne Palavi's own, erm, unique take on these matters, there's one thing of which I am very sure: it's only a matter of time before she finds out what "made" means.

There must be some kind of psychoanalytic logic to this 'team bonding around the degradation of one woman' business, but I'm too tired and too revolted to work it out, so I offer Prahran and Cronulla this truly charming, subtle and hilarious little video instead. I'm sure they'll just love it, and it'll give them some great new ideas.

Which reminds me that the perilous journey to the vet's for their annual shots is only a few short months away

What we can do

We can go here. (Via Armagnac.)

In Victoria and don't have any money to spare? Give some blood, as that site suggests. If you've always thought about this but never quite done it, now would be a really excellent time to have a go.

Leonard Cohen in the Southern Vales

Following the lead of Laura from Sills Bend, I am not going to say too much about the content of the concert, in order not to spoil it for people who have yet to see it. But here are some things I learned.

-- Ten musicians who can all hold the stage individually can also merge seamlessly into one breathtaking performance.

-- It is possible to perform for almost three hours, with a lot of physical activity including kneeling and effortlessly getting up again, and for some of which you have been looking straight into the setting sun, even if you are seventy-four years old.

-- It is possible to be seventy-four years old and neither decrepit nor in any other way out of date. Au contraire in spades: Cohen's knees, fingers and memory all seem to be in perfect working order, and his voice is utterly engaging and compelling -- musical and beautiful still, as well as charismatic. The ears are an erogenous zone, what can I say.

-- Rehearsal is a beautiful thing, especially when all ten of you are artists enough to inject passion and spontaneity into music that you have prepared and rehearsed to a hair's breadth.

There's one song I really do want to single out, though. 'The Partisan' was one of my favourites back in 1970. Apart from loving the song for its own virtues, I loved it that a Jewish Canadian from bilingual Montreal who had his fifth birthday a few weeks after World War 2 broke out should write such a song, with so deep a knowledge in it of war, and of western Europe, and of the French language, in which some of this song is sung, and most of all of being hunted and haunted and steadily resisting:

There were three of us this morning
I'm the only one this evening
But I must go on

On the original recording, if memory serves, there's just him and his guitar, possibly plus the little chorus of angel voices he has favoured all through his long career. Last night, though, it was ten brilliant musicians whipping up a perfect storm: its dark imagery and driving beat brought to mind the word duende, about which Alison Croggon did so brilliant a post, with reference to Paul Capsis, at Sarsaparilla some time ago [will link to that as soon as Sars is contactable ... No, wait, here it is at Alison's own blog Theatre Notes]. And here's Christopher Maurer, courtesy of Wikipedia:

... at least four elements can be isolated in Lorca's vision of duende: irrationality, earthiness, a heightened awareness of death, and a dash of the diabolical. The duende is a demonic earth spirit who helps the artist see the limitations of intelligence ... who brings the artist face-to-face with death, and who helps him create and communicate memorable, spine-chilling art. The duende is seen, in Lorca's lecture, as an alternative to style, to mere virtuosity, to God-given grace and charm (what Spaniards call 'angel'), and to the classical, artistic norms dictated by the muse. Not that the artist simply surrenders to the duende; he or she has to battle it skillfully, 'on the rim of the well,' in 'hand-to-hand combat.' To a higher degree than the muse or the angel, the duende seizes not only the performer but also the audience, creating conditions where art can be understood spontaneously with little, if any, conscious effort. It is, in Lorca's words, 'a sort of corkscrew that can get art into the sensibility of an audience...

Landscape and weather, taken as the queue inched forward, glacierlike, at Leconfield Wines as they searched everyone's bags before they let us in. If only it had been glacierlike in other ways. You can see how hot it was from the depth of blue in that sky.



The heroic Glenn Richards from Augie March, on whom some kind punter took pity and bestowed the hat. For reasons best known to themselves, the promoters had set up the stage facing due west, and the sun went down in a white and blinding blaze of heat. 'My hair is melting,' said Richards plaintively, not long before the hat donation. They were great.



Paul Kelly had been warned to wear his cap and sunnies so came prepared. His nephew Dan Kelly did likewise, in a shirt that matched his uncle's hat and Leonard's giant muse backdrop. They were great, too.



First sighting of Leonard.



This guitarist is from Bareclona. He was sitting in a capacious and luxurious fuchsia-coloured chair. I like the way he appears here to be bumping the muse's giant but shapely and diaphanously draped breast with his head. Leonard played to, with and off him all night, often kneeling as he sang to be on eye level.

Leonard's years in a Buddhist monastery showed very clearly, in the spareness of his disciplined frame and the relaxed stillness of his body when standing back and listening to the other musicians. Obviously some of this is pure showmanship but I have never seen the Buddhist notion of 'mindfulness' acted out in such a protracted, exposed and practised way.



After performing for about an hour, Leonard and the band took a break. By now the sun was well down and there was a dishevelled, festive, heat-drunk air about the crowd that made us look like a downmarket Antipodean 21st century version of Renoir's The Luncheon of the Boating Party.



Leonard and his 'angels'.




'Famous Blue Raincoat.'

Obscenity

We has it.



Found via Hoyden About Town.

This is just wrong in too many ways to count, but here are four to be going on with:

1) False advertising. A woman the size and shape of the one in the photo doesn't 'need' to wear this or any other torture garment. I am of an age to have spent the first year of my adolescence being forced to wear 'foundation garments' (then suddenly they invented pantyhose -- stockings had hitherto been kept up by girdles, and if you were over fourteen and left your legs bare you were a slut -- and the world changed overnight) so I know whereof I speak.

2) Allegedly to minimise 'figure faults' and maximise 'assets', this garment has a (porno)graphic subtext, not particularly sub, that fetishises the arse in a way that makes crotchless 'panties' look innocent, normal and sweet. I have my own ideas about where this growing arse/anal fetish is going. Between it and the various charming customs around the place -- mass abortion of female foetuses in countries where of course everybody wants a boy; large-scale rape of babies and toddlers in the belief that it will cure AIDS -- the global overpopulation problem is already well on the way to being sorted.

3) This 'body shaper' underwear craze is bringing back the quaint locutions of the 1950s, isn't that sweet? Do a quick prac crit / close reading / fisk of these corset manufacturers' advertising some time. 'Body shapers' = 'Your own uncorseted body has no shape, ew, men won't like it [*makes child-frightening bogeyman noises*], so put that self-esteem in the garbage right now and spend money instead.'

4) OK Girls, Break Through the Surface of the Primeval Slime or Die Trying department: this garment is a patriarchal instrument of torture. Do. Not. Wear. It. Or anything like it. Ever.

Those who don't understand (or don't want to understand) that 'patriarchal' can apply in a situation like this where women appear to be willingly doing these things to themselves are being literal-minded essentialists who don't understand what a patriarchal society is or how it works, and no correspondence will be entered into on this subject because I spent 17 years explaining it to fresh crops of newbie students every year and that is enough for a lifetime. In a nutshell: when you say 'Yes but women want to do this to themselves' I will reply 'Yes indeed, many of them do. Why is that, do you think?'

I know there are men out there who deliberately Google 'patriarchy' so they can turn up at strange blogs for the first time and argue the toss, and any such (instantly recognisable) comment will be binned. Go here if you genuinely want to understand this concept better than you do.

Hard-rubbish Wombles please note

You are welcome to anything in the pile. If I wanted it, it would still be in the house or shed, not out on the nature strip.

HOWEVER.

If I chuck stuff out, it is because the stuff is no longer viable. Anything I don't want that is still usable goes to the Red Cross or the Salvos. So:

-- That office chair is broken. If you sit on it, it will immediately tip you out sideways on your backside, if not somewhere less well padded.

-- All those plastic garden pots are brittle and cracked.

-- After three globally warmed summers in the otherwise uncooled living room, that portable evaporative air conditioner/fan whatnot now emits a foul stench when in use. Something to do with Adelaide water. Intensive inner cleaning and a replacement straw insulation thingy will not help.

As I say, take whatever you like. But please, please, re-stack what's left neatly and don't leave rubbish scattered all over the nature strip.

And finally: most of this stuff has been in the shed, which harbours a fascinating array of insect life. Sometimes, some of said life is black and pointy with a big red stripe. Just so you know.