Bird on the Wire (1969) – Leonard Cohen

Leonard Cohen 1969

Bird on the Wire is a song by Leonard Cohen from his 1969 album Songs From a Room. It is one of my favourite early Cohen songs and one of his signature tracks. Leonard was living on an island called Hydra in Greece which didn’t have any electricity and then suddenly they erected these telephone poles and wires and Leonard found himself staring at these wires and thinking how the modern world had caught up with him and he wasn’t going to be able to escape after all. Soon birds came to wires and that’s what inspired him to write the song. He said, Bird on the Wire was begun in Greece and finished in a motel in Hollywood around 1969.

Marianne Ihlen (who became the subject of Leonard Cohen’s 1967 track ‘So Long Marianne’) lived with Leonard on Hydra and related how she helped him out of depression by handing him his guitar, whereupon he began composing “Bird on the Wire”.

It’s a beautifully written song which is profoundly honest and simple in its delivery, but strangely Leonard had problems recording it, because he felt it didn’t sound ‘honest’ enough. So 4 days before the the final recording session, he asked for everyone to leave the studio except for essential staff. He said “I just knew that at that moment something was about to take place.” Leonard has described the song as a ‘simple country song’.

Like a bird on the wire,
Like a drunk in a midnight choir
I have tried in my way to be free.
Like a worm on a hook,
Like a knight from some old fashioned book
I have saved all my ribbons for thee.
If I, if I have been unkind,
I hope that you can just let it go by.
If I, if I have been untrue
I hope you know it was never to you.

References:
1. Song facts – Bird on the Wire
2. Bird on the Wire – Wikipedia

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The Men Who Stare at Goats (2009) – Grant Heslov (Friday’s Finest)

The Men Who Stare at goats

Do you find there are just some movies that despite their apparent mediocrity and critical drubbing you find yourself wanting to revisit? Well, The Men Who Stare at Goats is one such movie I enjoy watching because it doesn’t take itself too seriously and allows its stellar cast the room to just ‘go for it’ and be nonsensical. The result for mine is very entertaining as it provides a farcical glimpse of men at war.

I could relate a lot to the story as an ex serving military member since I too was part of a small niche group whose goal was to instill a progressive ‘servant leadership’ style approach into Officer training. So while The Men Who Stare at Goats is an extreme example of ‘progressivism’ it is by no means as unlikely of having occurred to varying degrees as the general audience might think. In fact the film is a fictionalized version of Jon Ronson’s 2004 book of the same title of an investigation into attempts by the U.S. military to employ psychic powers as a weapon

IMDB Storyline: A reporter, trying to lose himself in the romance of war after his marriage fails, gets more than he bargains for when he meets a special forces agent who reveals the existence of a secret, psychic military unit whose goal is to end war as we know it. The founder of the unit has gone missing and the trail leads to another psychic soldier who has distorted the mission to serve his own ends.

The comedic elements in this movie are right up my alley and they are used to rack up the tension and reveal interesting insights. George Clooney who is normally a smooth charismatic type in many of his roles just goes to town in this to obliterate any conception you may have had about how he approaches roles. I think time will be kind to this film as audiences will be able to see it with more objectivity since the names in the cast would have propelled audiences to expect an entirely different movie.

I agree with one reviewer who said it reminded him of many of the great movies in the 60’s and 70’s namely  “Catch 22,”” M.A.S.H.” “One Flew Over The Cuckoo’s Nest,” and “Steelyard Blues.” The Men Who Stare At Goats is a genre film, in the tradition of those great comic satires that challenged the status quo so effectively, 40 years back. It’s just a fun movie, not to be taken seriously. There are just so many quotable lines and the story is very unique. The mass ensemble ‘LSD’ trip is one of my favourite comedic scenes in all of cinema.

IMDB Trivia:

  • This film talks extensively about being Jedi and using Jedi powers. Ewan McGregor played Jedi Master Obi-Wan Kenobi in the Star Wars prequels.
  • The “Evolutionary Tactics” field manual shown is the actual one created by James Channon in 1978 for the U.S. Army.
  • The screenplay was featured in the 2006 Blacklist, a list of the “most liked” unmade scripts of the year.
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Ain’t Got No, I got Life (1968) – Nina Simone

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Ain’t Got No, I got Life is my favourite song from Nina Simone and it also includes my favourite performance of her at the end of this post. I’ve listened to and watched this performance at least 50 times. It gives me chills every time I see it.

Ain’t Got No, I got Life is a 1968 single from Nina’s album ‘Nuff Said. According to wikipediaThe song peaked at number 2 in the UK and at number 1 in the Netherlands. It also charted on the Billboard Hot 100, where it reached number 94. The song helped Simone gain popularity under a new, younger audience, and became a standard in her repertoire….In 2010, research conducted by PRS for Music revealed that the song was the second most performed in UK television advertising due to its use in Müller yoghurt adverts. “Ain’t Got No, I Got Life” was…

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Day For Night (2016) – Stacey E. Bryan

Day For Night

Day For Night is the debut novel by my good friend Stacey Bryan who is a regular contributor to my blog article discussions and maintains a blog site of her own called Laughter Over Tears. Day For Night is a wild, free-spirited, unpredictable, and amusing story.  Set in Los Angeles, it follows Rae a recently ousted reality TV show star (and traumatized shark attack victim) who unexpectedly realizes the world around is not how it seems nor is she the person whom she thinks she is. As life as she knows begins to unravel around her, our unlikely heroine who smokes and drinks too much – has to not only juggle the men in her tumultuous life, but outreach to friends, a young boy and a cult leader to gather any sense of what the heck is going on!

It’s frenetic pacing in conjunction with the manic mindset of our protagonist is what appealed to me most about Day For Night. I found it a ‘real’ page turner and deprived myself of many zzzz’s over two nights to find out how our Rae would fair in this tale. The other aspect of Day For Night which I found so immersive was Rae’s dialogue with other intriguing and richly layered characters.  The conversations felt real and her contacts were quirky and endearing in their own individual ways. I often found myself giggling throughout as Rae traipsed her way through the minefield of conspiring supernatural events and trying to keep her sanity all the while and ascertain the meaning of it all.

Below is an excerpt from Day For Night.  I have taken the liberty to extract those parts which may reveal too much about Ray’s visions, but maintain the flow of dialogue. To set the scene for you:- Rae finds herself in trouble with the law just moments after she has been witness to another ‘otherworldly’ incident at the beach which has left her shaking and trembling:

” ….A female bicycle cop was standing right behind me, straddling her Fuji Special Police Mountain Bike in a manner that brokered no foolishness. She crooked a finger at me. ‘Ma’am. Come here, please.’
Goddamm my frigging bullshit cop karma and the universe that had bestowed it upon me.
‘Yes?’ I was surprised I was still conscious. I walked tentatively forward. I realised I was in shock. My lizard brain was keeping me aloft, operating my body like a marionette from deep within the temporal lobe.
‘Jesus,’ said the cop. ‘You didn’t see me sitting here?’ she asked in amazement. Police officers were always flabbergasted when their authority wasn’t immediately recognised and dutifully acquiesced to. It was called ‘contempt of cop’ and you were up shit creek if they thought you were expressing it in any way whatsoever. I had no time to play ego games with the officer, though. I had to get out of here. Now. And she did too, if she knew what was good for her. We all had to get out of here…..

‘You littered’, she was saying. ‘Right in front of me. You littered’.
If I had disemboweled somebody here in the parking lot, I could understand her amazement. If she had been able to see what was taking place right in front of her out over the ocean, I think her priorities would have shifted slightly. My knees shook. I was pretty sure I was going to spew vomit all over the front wheel. I covered my mouth politely, as if I had to belch. ‘I know o-officer,’ I said. I held the vomit back. My voice broke. ‘But I didn’t see you. I would never litter in front of you.’
‘Yeh? But if I wasn’t here, would you litter?’
‘U-Usually I don’t litter, ma’am. I like to keep our parks and beaches clean too. So we can all enjoy them.’….

I turned and point at the ocean toward the surfers. My hand trembles. Through my peripheral vision I saw the officer perk up, her alarms jumping from ‘littering event’ to ‘call for backup’ in the blink of an eye.
‘Whoa, whoa, whoa!’ The lady cop leapt off her bike and put the kickstand down all in one movement. In a minute, she would search the Z for drugs, handcuffing me. For some reason the theme from Hawaii Five-O started playing in my head. I couldn’t tell her the truth. I’d be arrested for sure…..

‘Sir – ma-am,’ I pointed out at the ocean again. ‘I thought I saw a shark. I could have sworn I saw a shark,’ Now the coup de grace. I help my hand with with its missing fingers. ‘I know I used to be a surfer.’ The lady cop saw my stubs, looked back at me, and the tension flowed out of her like air from a balloon. She removed the hand from the baton on her belt and flexed her fingers.
‘Hoo, boy.’ She peered out at the ocean for a moment . ‘Whoo! So, were you wrong? There wasn’t a shark?’ She looked fairly relaxed now, like she was just inquiring politely but didn’t actually give a shit about any sharks.
‘No, thank God,’ I sagged, acting out my relief, relief I felt in no way whatsoever. ‘It wasn’t a shark. I don’t know what it was. Choppy waves.’
She laughed a little. ‘Jesus, give me a coronary, why don’t you? Had a guy last week, shaking like a leaf. Went to give assistance. He pulls out a Desert Eagle out of his pants , points it, and fires. Killed a seagull. It fell right on a Bentley parked two spaces away.’
‘Was he aiming at the seagull?’
‘No. He was aiming at my head.’ She pointed at her temple. ‘My head. My head. It just ended up missing me because he was shaking so bad.’
‘Oh, my God, I’m sorry. Well, I don’t have a Desert Eagle in my pants, officer.’……

‘Who brings a Bentley to the beach anyway?’ I asked. ‘Seagulls and sand and people walking past with surfboards….’
‘I know right?’ She threw up her hands. ‘Bullets and seagull guts everywhere. When I get my Bentley, I ain’t bringing it here, that’s for damn sure.’
‘God. Me neither.’
‘Okay well, next time, please pick up your trash.’ She had slipped back into Cop Mode again. but it was Cop Mode Lite, now. ‘I’ll just give you a warning. And there’s no smoking at the beaches.’….

‘Oh…’ She turned back to her bike and swung a moderately muscled leg over…She adjusted the strap under her bike helmet. ‘It’s still there, though,’ she said.
‘Excuse me?’
She pointed. I turned to look at the ground.
‘The cigarette wrapper.’ Beat. ‘You could pick it up right now if you really wanted to.’
‘Oh.’ Jesus Christ. ‘Oh. Yeah. I do. I really want to. Good idea.’ I bent over and was suddenly chasing the clear plastic wrapper across the parking lot…just out of reach of my arm…The breeze kicked, and the wrapper fluttered away. It was the gods again, fucking with me….I sensed the female cop’s eyes on me, observing, monitoring….Finally I picked up the offending trash.
‘Thank you!’ called the cop. She had to raise her voice because I had scuttled behind the cigarette wrapper halfway across the United States. ‘Okay, be safe,’ she yelled, and rode off into the L.A. smog. I waved gaily and watched her go.

If you enjoyed this review and excerpt from Stacey’s book I encourage you to purchase Stacey E Bryan’s book at Amazon. There are other reader reviews of Day For Night you can peruse as well.

Biography

Stacey E BryanStacey was raised in the San Fernando Valley but born in San Francisco, where she left part of her heart. She has worked on a dude ranch, coached gymnastics, and captions for the hearing impaired. Her work has appeared in several literary magazines in New York and L.A., including Ginosko and The Rag. She is currently working on the sequel to her novel Day for Night. She lives in “beautiful downtown Burbank,” as Johnny Carson used to say, with her husband who is also a writer.

Posted in Reading

Billy 1 (1973) – Bob Dylan

Bob Dylan as Alias
Bob Dylan as ‘Alias’ on the set of Pat Garrett and Billy The Kid

Billy 1 is a track from Bob Dylan’s underrated soundtrack album ‘Pat Garrett & Billy The Kid‘. Billy 1 builds on the instrumental Main Title Theme (Billy) which opens the record.

Bob_Dylan_-_Pat_Garrett_&_Billy_the_Kid

Most people will be familiar with the second song on side 2 of the album – Knocking on Heaven’s Door which is renowned as one of Bob Dylan’s greatest songs, however I have always been more drawn to listen to the Main Title Theme (Billy) and it’s off-shootings Billy 1, Billy 4, and Billy 7. I was so attached to the Main Title Theme (Billy) that I wrote my own lyrics to it as a teenager which I will not relay here to avoid inevitable embarrassment.

I adore this album. I understand why some people don’t rank it high amongst Dylan’s works, but Pat Garrett & Billy The Kid has always really done it for me. The sum is truly greater than it’s parts on this album because there is a broader appreciation attained listening to it as a mood piece in it’s entirety (and it’s not long just over 35 minutes).

Wikipedia: Pat Garrett & Billy the Kid is the twelfth studio album and first soundtrack album by American singer-songwriter Bob Dylan, released on July 13, 1973 by Columbia Records for the Sam Peckinpah film, Pat Garrett and Billy the Kid. Pat Garrett & Billy the Kid reached No.  16 US and No.  29 UK.

Pat Garrett and Billy the Kid scriptwriter Rudy Wurlitzer was a previous acquaintance of Dylan’s, and asked him to provide a couple of songs for the movie. Dylan performed “Billy” for director Peckinpah, who found the performance very moving and offered Dylan an acting part on the spot…..Dylan and his family moved to Durango, Mexico, where filming took place.

The film Pat Garrett and Billy the Kid like the album is in my estimation also highly underrated. When the film was released it received mixed reviews, but in later years after critical re-evaluation the film has led many to regard it as one of Peckinpah’s finest achievements.

There’s guns across the river aimin’ at ya
Lawman on your trail, he’d like to catch ya
Bounty hunters, too, they’d like to get ya
Billy, they don’t like you to be so free.

Campin’ out all night on the berenda
Dealin’ cards ’til dawn in the hacienda
Up to Boot Hill they’d like to send ya
Billy, don’t you turn your back on me.

Playin’ around with some sweet senorita
Into her dark hallway she will lead ya
In some lonesome shadows she will greet ya
Billy, you’re so far away from home.

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28/01 – 3/02/20 Natassja Kinski, The Great Barrier Reef, Gravestones and Black Books

news on the march

Welcome to Monday’s News on the March – The week that was in my digital world.

 Article at  PrettyandWittyandBright:

The author of this article got in contact me with after reading my movie review of Paris, Texas  and suggested that I read their article. I’m glad I did.

The daughter of one of the most infamous actors of his generation, Nastassja Kinski found her own place in the spotlight from the late 70s throughout the 80s thanks to roles in well-received films, that Richard Avedon poster and public attention for her personal life. Then, she just went away. In honor of her birthday, let’s talk about her fascinating career’s highs and lows. ..….… (Read the entire article).

Video presentation at Liberty Works:

I used to be depressed about the Great Barrier Reef, but now I’m depressed about universities.

Peter Ridd speaks on issues relating to Climate Change, his unfair dismissal and control of thought at universities….Watch entire presentation

Poem by Theodora Goss:

Here are the things I want in my tomb:
a cornstraw broom
so my soul can fly to the moon and back,
a small black stone
polished until it shines like a mirror
to ward away nightmares as I sleep
in my cotton shroud,
dried poppies with seeds rattling in their pods
to wake me when it is time.....(Read entire poem)

British sitcom created by Dylan Moran and Graham Linehan at Dead Parrot:

I am a big fan of Dylan Moran’s stand up and his creative material like the TV show Black Books. I once owned the series on DVD and now I see they are available on You Tube. This episode Manny Come Home in particular is one of favourite comedy epsiodes from any comedy series I’ve ever seen. Simon Pegg has never been better than he is in his cameo role here.

Fran comes back from holiday to discover that Manny has resigned and is now working next door at Goliath Books. Left to his own devices, Bernard has let things slip a little, and is living amid a pile of rubbish, rotting food and dead badgers. Understandably Fran wants to get Manny back. .…....…. (Watch full episode)

Short story by the Intellectual Shaman:

Neb fed the birds. He looked at the office building. “Just one more week until retirement.” After that, he could spend time with them all day. Their black wings marched back and forth and Neb decided to do the same. He walked inside.
“Management wants to see you.”
Neb didn’t think much of it. Dan was his boss, 10 years younger and a scarecrow of a man.
“Take a seat,” Dan said.
“You called, sir.”
“Neb, we have to let you go.”
“Why?”
“Parachutes. And you don’t have one. This company is in free-fall.”...….(Read entire short story)

news on the march the end

Posted in Movies and TV, News, politics, Science

Big Yellow Taxi (1970) – Joni Mitchell

Joni Mitchell 1970

Joni Mitchell 1970 with her Grammy

Big Yellow Taxi is the first song from Canadian singer songwriter Joni Mitchell to appear in the music library project. I was introduced to Joni’s music when she appeared on The Band’s legendary concert ‘The Last Waltz’. Joni is an extremely original and authentic artist. She’s a pioneer of sorts in the female folk scene and Rolling Stone described her ‘as one of the greatest songwriters ever’.  Her 1971 album Blue is often cited as one of the best albums of all time although today’s song Big Yellow Taxi is not from that record; it’s from her 1970 Ladies of the Canyon.

Joni speaks her mind and has sometimes found herself in hot water doing so. For instance she was reported by the LA times for saying Bob Dylan was a plagiarist, then in a later interview she denied having said it. But she did say that Bob just pulled songs out of a box and that he was ‘a bad guitar player and he’s got a lot of borrowed things’.

Big Yellow Taxi is one of Joni’s most recognisable tunes. According to wikipedia: It was a hit in her native Canada (No. 14) as well as Australia (No. 6) and the UK (No. 11). It only reached No. 67 in the US in 1970, but was later a bigger hit there for her in a live version released in 1974, which peaked at No. 24. The song is known for its environmental concern:

They took all the trees
And put them in a tree museum
Then they charged the people
A dollar and a half just to see ’em

The above lines refers to the Foster Botanical Garden in downtown Honolulu, which is a living museum of tropical plants, some rare and endangered…. There are various slight alterations of the lyrics from different versions. Bob Dylan, instead of singing about the “big yellow taxi” that “took away my old man”, sings, “A big yellow bulldozer took away the house and land.” Bob Dylan’s cover of Joni Mitchell’s “Big Yellow Taxi” was recorded in 1970 and released in 1973 on Dylan.

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1917 (2019) and Gallipoli (1981) – Friday’s Finest Special Edition

I saw the almost universally praised war-film 1917 in the cinema this week. While I discuss this movie I want to compare and contrast it to Peter Weir’s Australian movie Galipoli1917 like Gallipoli is set in World War 1 and both movies contain within their plots the delivery of an urgent order to senior authority to rescind men from ‘going over the top’. Warning: There are spoilers in the comments section.

Character:
Noone could argue that Gallipoli didn’t contain a wide breadth of interesting ‘characters’.  They were multifaceted and many had a larrikin streak, which brought a certain charm and gave them depth and realism. They were endearing in different ways and I felt invested in their plights. 1917 on the other hand had two protagonists whose characteristics resembled what could be termed ‘sensitive new age nice guys’ from a post 2000 era. Their behavior was aligned almost perfectly with that of the other, and their morals impeccable and actions relatively predictable. Their wasn’t much to them except… they conducted themselves most stoically and courteously and were well-meaning. To quote The Wolf from Pulp Fiction:  ‘Because you are a character, it doesn’t mean you have character‘.

Scope:
While I’m not disputing that there are some beautiful shots and great production design in 1917, I really felt like I was watching a sanitized video game. You could almost see the transitions between the cut-scenes and the gameplay. Or another way I could describe the experience as a viewer was like taking a WW1 Ghost train ride for 2 hours. Although it was intriguing for the first 30 minutes or so, the ‘ride’ soon wore a little thin on the senses. Why you might ask? I was unable to appreciate the grandiose scope of the War.

The camera followed the backs, sides and front of the protagonists for the entirety of the movie. It almost bordered a false reality Blairwitch project of a war. When you are solely character-tracking two protagonists for 2 hours without any tangent story telling or ‘other’ backdrops, it can get a little dull and stilted. At least it did for me. If the SNAG characters in 1917 didn’t pull you in, then there was little else to be invested in.

In Gallipoli you could feel how much was riding on everything not only from the swath of soldiers whose journey we followed, but the national anxiety back at home. Unlike Gallipoli it was difficult to appreciate in 1917 the grandiose scope, backdrop and national sentiments about the entire war.  The fusion of different scenes, non-war particpants and national sentiment in Gallipoli culminated to give the viewer a sense of awe regarding the severity and magnitude of this event in that era. Also in Gallipoli, Saving Private Ryan and Full Metal Jacket you bare witness to how war can traumatize the susceptible and innocent minded as well as the mighty gallant ‘Born To Kill’ types. Also the aforementioned movies are not predictable like 1917. Except for one particular scene midway through 1917, the rest of the movie in terms of plot realisation plays out just how one would expect.

Sound:
Apart from Character and Scope, my biggest hindrance to feeling immersed in 1917 was the Sound. The soundtrack bombarded the entire film with little to no respect for real-world sounds. When the two characters (and we as an audience) should have realised of impending troop presence, gunfire or simply vocals of other troops in the trenches, there were none. It may have been a deliberate choice on Mendes’ part but it gave me a sense of seeing a wax museum with just a little pulse. Of course Gallipoli showcased Tomaso Albinoni’s exquisite – Adagio in G Minor to great effect. Even when the same music was used in the one harrowing scene in Manchester By the Sea, people were critical of why they had to reboot this music associated so strongly with Gallipoli. I couldn’t say I wasn’t pissed off when I heard it used again despite my admiration for Manchester By the Sea.


It’s unfortunate since I was a fan of  Sam Mendes’ other films especially American Beauty, Road to Perdition and Skyfall and to some extent Revolutionary Road, the latter I watched on my flight over to Colombia. To this day I consider American Beauty a modern classic. 1917 to my mind is one of the most highly overrated movies I have seen in a long time and unlike most movies I choose to watch in the cinema I have no desire to rewatch it. Without wanting to sound condescending, I can understand a younger audience’s appreciation of 1917 because of the originality of how it is shot and real time gameplay method, authentic production design and the sensitivity of the protagonists, however it wasn’t enough to make me feel I was watching an important historical event, nor did it keep me engaged like the great war movies of yesteryear.

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Posted in Movies and TV

Big In Japan (1999) – Tom Waits

Tom Waits 1999

Tom Waits Hennepin 1999

The first line of Big in Japan sums things up pretty well – ‘I got the style, but not the grace’. I am a huge fan of this song and I wish I had come across it much sooner in my musical expedition. It seems to me an unheralded gem in Tom’s collection since such scant information exists about it. Like many of Tom’s songs you get a broader appreciation of it after repeated listens. But there is no taking away the immediate and compounding impact of the instrumentals/percussion in this which sends this song into the stratosphere of great art, not to mention the barrage of gritty, yet tongue in cheek lyrics. He’s grandstanding and beguiling himself all at the same time. That’s Tom!

Big in Japan is the first song on his 1999 album Mule Variations which received a grammy for Best Contemporary Folk Album selling more than 500,000 copies worldwide ranking number 416 of Rolling Stone’s list of The 500 greatest albums of all time. Interestingly Bob Dylan remains the one artist with the most albums in this list – 11.

I have a sweet family connection to this song. As I was just starting to get into it, I played it while my kids were over at the house one morning. Later that afternoon when I was returning home with them from Aussie football practice in Bogota, my 4 year old daughter who was upon my shoulders suddenly belted out ‘I’m Big in Japan, I’m big in Japan’, and sounding just like Tom. She had only heard that song the one time that day and in her second language as well. I shan’t ever forget that moment.  My kids like Tom’s music and particularly this song. I also find this song from Tom’s collection the one I want to dance to most often.

I got the house but not the deed
I got the horn but not the reed
I got the cards but not the luck
I got the wheel but not the truck

But hey I’m big in Japan
I’m big in Japan, but hey, I’m big in Japan
I’m big in Japan

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‘The Golden Touch’ – By Ron and Toby Blanchard

For today’s Wednesday literature excerpt we take a look at an Australian theater script which was written 33 years ago. What makes today’s post slightly offbeat is I played the original protagonist of this oddball play The Golden Touch which satirizes the mythical Greek Midas Touch story. It was invented by two fellow Aussie cohorts – father and son team Ron and Toby Blanchard.

You see, Toby and I were in the same drama class at school and he and his father wrote this outrageous script. Toby’s Dad, Ron Blanchard was an Australian stage, television and film actor who played Alexander Bunyip in the long running ABC children series about this mythical billabong Australian creature. Also Toby appeared as a young child actor in the Australian cult classic ‘Careful he might hear you‘, which stars Wendy Hughes.

So when I received the script as a 13 year old actor aficionado in drama class to debut the play, well what can I say – I was gobsmacked.  I played the role of Midas to the best of my abilities and got some laughs here and there, but Toby Blanchard as ‘Bacchus’ brought the house down. I mean he could really do ‘drunk’ as a 13 year old. My god was he a talented so and so. If memory serves me correct Toby got his inspiration from Dudley Moore’s performance in Arthur for his part.

So below are the first 3 pages of The Golden Touch.  I hope you get a giggle from it.  I kept a copy of the original script for memory sake. I always wondered if it was performed again since Toby spent just one year at our school.

The Midas Touch Pt 1

The Midas Touch Pt 2The Midas touch Part 3

Posted in Movies and TV, Reading, Reflections

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