And I remembered a gig I put on in 1986 just down the street from where I live, The Graphic Arts Club, refurbished now into The Gaelic Club, just across the road from Central Railway Station. I had finished my 9 year ordeal of filming and cutting together a final print of my Super 8 meta-realist epic “Darling It Hurtz!” (Seven years in the Life of a Suburb and a Singer) and I hoped to premier it at The Graphic Arts Club. I hired the band-room, got onside some deadbeat bands including Paul Kelly and Some Colored Girls, got a few mentions in the press and got stuck into hand-printing 400 copies of a super fluorescent Punk-drunk silk-screen poster that I planned to stick on all the walls of Sydney.
Then I dreamed up my 1979 “Garibaldi’s Benefit” gig to raise money for the old Italian who ran the club in Darlinghurst and was going broke. I got the support of Cabaret Conspiracy with the drag greats Doris Fisch and Jackie Hyde, plus Simon Reptile and Fifi Lamour all doing their “Cabaret Conspiracy”. On the second night of the weekend I enlisted the aid of the rock bands “Tactics” and “XL Capris” and, again, it was a thumping rock night, and old Garibaldi really appreciated the assistance we gave him.
I went to the govt. arts body whose responsibility it was to make sure important artistic/cultural/historical works get made, The Creative Development Branch of the Australian Film Commission and I asked them for funds to do more filming of the current music scene and environs and complete the film.
Warnerbros knocked me back cold, me and my film about the Sydney inner-city music scene could go drop dead, (all that wondrous footage of the bands and the venues lost to history because of one fuckwit's small-mindedness!) I was furious at this dead-head’s nerve and his bigoted stupidity, a blatantly jealous scumbag-nature. Thus I wrote a poison-pen letter about him to the bureaucrats at the Film Commission, telling them Warnerbros was a twerp who didn’t have clue about cutting edge film. THEY asked me to come in and I was given a check under the table for $6000 to finish my film.
I had already lined up my Koori mate and fellow artist, Malcolm, famous for creating the first Gay Indigenous float for the Sydney Gay and Lesbian Mardi Gras, him dressed up as a black Captain Cook at the helm of a mocked-up ship on wheels. Just as we were all rubbing our hands in glee at the subversive thrill of sticking the finger to the Bi-Centenary Celebrations Board, via a flood of hot, maverick posters stuck on all the walls of Sydney, a damp blanket was thrown over affairs.
Hmmmmm... life’s a blast, even in the middle of the gladiator battle, as the thumbs go in the eyes to gouge them out, it’s how quick you can weave and dance your way through the brutal attacks and thrusting knives that provides half the fun. Of course, I liked the helping hands better, they are the people that will shine in my memories.