WEBVTT
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And make sure that the volume is cool.
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Hello and welcome everyone
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to the National Portrait Gallery
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here in Canberra, the nation's capital.
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My name is Robert, I'm part of the digital
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and access and learning team here at the gallery.
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And it's my pleasure to welcome you
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to our very special in conversation today with Lindy Morrison.
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We're going to be crossing,
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we're gonna be walking through our gallery in a moment
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to get to our special guests and to our curator, Jo,
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who are gonna be in conversation,
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but we'll just get a little bit
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of housekeeping out of the way first of all.
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So I'm sure you're all Zoom experts by now,
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but if you're not, please keep your microphones on mute
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and feel free to keep your cameras on,
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we don't mind seeing our audience,
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but just be aware that we are recording today's session
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and it may appear on our website at some time in the future.
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Please communicate with us via the chat function,
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the chat icon is probably at the bottom of your screen
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if you're on a laptop
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or am sure you will find it on your device.
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We'd love to hear your comments, your memories of the period
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that we're gonna be talking about,
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and we'd also like to have any questions
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that we can throw to our in conversationalists today.
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Now, today we are streaming out to you live
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from the Portrait Gallery
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which is on the lands of the Ngunnawal
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and Ngambri peoples here in the Canberra region.
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And I would like to pay my respects
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to their elders past, present and emerging,
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and to acknowledge the continuing connection to the lands
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and the waters and the communities of this region.
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All right, now Pub Rock is closing very soon, this weekend.
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So if you haven't got here and you are
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within driving distance, this is your last opportunity.
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So we're gonna go for a little wander through
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and I'll point out a couple of highlights.
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Matt is doing our camera work,
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he is operating our new behemoth broadcast trolley,
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and he's just getting used to it,
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so it's going to be a little shaky, that's not his fault,
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that's the wheels.
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Come this way, now on our wall here,
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we've got a amazing portrait of Chrissy Amphlett.
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On the other side of that partition,
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we have got some, well, we've got
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a photographic portrait of Chrissy and many other people.
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On this wall, we've got The Angels with Doc Neeson,
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Marcia Hines, in the little alcove over to the other side,
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we've got the Angels and AC/DC.
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This is a very big exhibition, it's bigger than you think,
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it covers a couple of different galleries.
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So we're going into a new gallery now.
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And as we come through, being careful
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to not hit the sides of the walls.
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(both laughing)
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Here we are, so I'm going to hand you over now to Jo,
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who is one of the curators Pub Rock.
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Yes, one of several curators of Pub Rock.
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Now, we're all set to go?
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We're, all set to go, great (laughs) thanks Robert.
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And hello everyone, welcome to the final,
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it's kind of a swan song, I suppose,
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for the Pub Rock exhibition,
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which closes on Sunday,
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I'm sure Robert has already exhorted everyone
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to come and see it before it finishes on Sunday.
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But it's been a real joy to have this exhibition on
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for the past few months.
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It's one which we sort of created
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in a ridiculously short period of time
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while we were all in lockdown last year,
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and one which we sort of created very much
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as a sort of a, I suppose, a celebration
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so that when we all came out of lockdown
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and could finally get back to art galleries
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and all of that sort of stuff, it would be an exhibition
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that really sort of prompted people to feel a lightness,
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to have to have something to feel sort of happy about.
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Yeah, so an exhibition that's been generated completely,
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started from the gallery's own collection,
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and then we sort of fleshed it out
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where we could with works by a group of photographers
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who Lindy and myself we'll be talking about
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as this programme progresses.
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But one of the starting points for the exhibition
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was the work on the wall behind me,
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which is three little portraits
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by Jenny Watson of the Go-Betweens painted in 1981.
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So Robert Forster, Lindy Morrison and Grant McLennan,
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and we're absolutely thrilled that Lindy Morrison
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is here today to talk about not just these portraits
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but about the whole exhibition.
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Welcome Lindy,
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it's really nice to see you.
Thanks you.
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(Jo laughing)
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They are little portraits but they are awesome.
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They are awesome.
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So when we sort of first started working on this exhibition,
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we found that surprisingly actually
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there's sort of representation
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of popular and rock music in the collection
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was fairly sort of minimal, and these portraits
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were one of the sort of few starting points
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that we had, I guess.
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And certainly when I started working here 13 years ago,
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these were one of very, very few sort of portraits
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of popular musicians and rock musicians
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that we had in the collection.
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Obviously the collection has grown a lot since that time.
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They are very prescient of the Go-Between and Jenny Watson at that time.
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Indeed, and I understand you have a little bit of,
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you can tell us a little bit
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about the history of these works.
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Yeah, so I can, so first of all,
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let me say that it's not in '81,
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these were painted about 40 years,
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so that's pretty incredible.
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And Robert and I were living in Spring Hill
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and Grant was living around the corner
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in an apartment block in Brisbane,
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and coming into town was John Nixon who is now deceased,
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the late John Nixon who is a contemporary artist,
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and Jenny Watson was his partner at the time,
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and they were truly exotic creatures from Brisbane.
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They'd come from Melbourne
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and he'd come to do a residency, I believe.
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He also did an exhibition
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of his very, very minimal paintings in a warehouse,
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where we punks ran and turned on all the water taps
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to let it run through the warehouse because we were punks.
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(Jo laughing)
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That's another story for another time.
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But anyway, Jenny, the Go-Between asked Jenny
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to do our portraits for the cover of our very first album,
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"Send Me a Lullaby"
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which was on Missing Link records,
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and we were a three-piece then.
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So she took Polaroids,
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you know, it was a big Polaroid session
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where she took me and, you know.
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And then what she did was she did grids,
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and you can see the grids, and she'd painted it
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all in all in the grids, and that's how you get
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that really extraordinary, weird look about it,
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that worked so well, and of course it's in oil.
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And, yeah, so they just came up unbelievably
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and looked amazing on the cover.
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But I'm so happy that they stayed together
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because they were being sold for $50.
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And I could not find one,
At the time.
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Just one, it was 50.
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I was absolutely broke.
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I mean, you know, Robert and I were living on the dole
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we were living on, we were eating his mother's fruit cake
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that she gave to us every week.
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(both laughing)
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And, it's probably too much information Jo,
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but I couldn't afford it.
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And anyway, a man who became Jenny Watson's second partner
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bought them, and then he donated them later on
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to the National Portrait Gallery.
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So you couldn't be happy that they stayed together
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because they are a triptych.
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Yes, they are.
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And it's actually, I mean, they're in the collection now,
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actually I have a feeling we purchased them,
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but they were in an exhibition, the only other exhibition
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that the gallery has ever done about this subject
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was in 2001-2002, and at that stage,
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they were still sort of privately owned,
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but we had them in the exhibition
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with some other works by Jenny 'cause she was an art teacher
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in Melbourne, and people like Nick Cave
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Were some of her students,
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and she'd done this fabulous series,
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I think they might be watercolours of Nick Cave
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and the other guys from Boys Next Door or Birthday Party.
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Yeah, it might have been the Boys Next Door,
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that's what it was the Boys Next Door.
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I went to her exhibition
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in the contemporary MTI Sydney recently that they,
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her work is fabulous, it's absolutely fabulous.
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And this is really unlike her work,
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this is totally anomalous to what she paints now
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and what she's painted for the last 40 years, I'd say.
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And that's why we're so lucky because it's so skillful
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and it captures us clearly, you know.
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That would be Grant like hiding from the camera.
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He wouldn't have liked it.
(Jo laughing)
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He would not have liked it, and that would be him hiding.
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And I was a serious punk girl, you know, there's Robert
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with his cheeks sucked in as he would do for photos,
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and we've been represented beautifully by that.
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Yeah.
I've got the up
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on this screen now.
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Oh, great, I'm really glad to see that.
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And I think that's a really interesting point
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that you make about this being the work
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that Jenny obviously was doing 40 years ago
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and not necessarily having any resemblance
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or relationship to what she's doing now,
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but one of the things I think we were conscious of
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in sort of pulling this exhibition together was,
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there's sort of numerous ways in which art and music
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kind of intersect, you know.
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So there's photographers who are, you know,
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kind of taking the kind of live action shots,
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I suppose you'd say documenting actual performances,
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you've got all the kind of publicity photos
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that are taken for magazines and album covers
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and all of that sort of stuff.
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And then you've got artists like Jenny,
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who as I understand it with these works
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and say with the portraits that she did
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of the Birthday Party was documenting the kind of scene
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that she was part of in Melbourne and Brisbane.
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In Brisbane actually because she really connected
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with the music, she really with the culture, yep.
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And that's why she wants to be part of it, that's right.
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We're very lucky.
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Yeah.
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Yeah, really were.
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I wanna hear about the taps in the warehouse.
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(Jo laughing)
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So we can have a sit.
Yeah, we can have a sit.
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So what he did was, he took over this warehouse in the city.
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Yeah.
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And it had a huge lift that came up,
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a huge, big wooden lift, but on either sides
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of this wooden lift were taps.
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And we went to the exhibition in the middle of the day
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and we turn on all the taps so that they'd run down
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the centre of the building and ran away.
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And I saw John Nixon a few years before he died,
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and I told him the story.
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He said, "I always wondered who turned those taps on."
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It was such a ridiculously naughty
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and wasteful and non-green thing to do,
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but we still did it.
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(Jo laughing)
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But while we're that subject,
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I'm actually kind of intrigued, I suppose,
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you said that when John and Jenny came to Brisbane,
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you felt that they were really kind of
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these exotic creatures from Melbourne.
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I was wondering if we kind of could talk maybe a little bit
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about the sort of Brisbane scene in the 1970s.
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I guess I'm thinking of a couple of things, partly that,
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you know, Monday was International Women's Day.
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And, I mean, I can sort of vaguely remember the '70s,
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I can't remember them very clearly,
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but I have some memories of the '70s and,
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you know, as a sort of a historian,
259
00:13:29.811 --> 00:13:33.567
I'm really interested in the way that the '70s was.
260
00:13:33.567 --> 00:13:36.340
There was so many groundbreaking things
261
00:13:36.340 --> 00:13:39.520
that happened in terms of women's rights in the 1970s,
262
00:13:39.520 --> 00:13:40.590
you've got Equal Pay,
263
00:13:40.590 --> 00:13:43.300
you've got Women's Refuges being established,
264
00:13:43.300 --> 00:13:45.940
you've got well, the election of the Whitlam Government
265
00:13:45.940 --> 00:13:49.216
and what that meant in terms of equal opportunity,
266
00:13:49.216 --> 00:13:53.403
and all sorts of things.
And it was the late '60s,
267
00:13:53.403 --> 00:13:57.980
that two women chained themselves to a bar Brisbane.
268
00:13:57.980 --> 00:13:59.280
Yeah.
269
00:13:59.280 --> 00:14:01.075
Merle Thornton was one of those women.
270
00:14:01.075 --> 00:14:06.075
And so we had that late, but also remember
271
00:14:06.610 --> 00:14:08.190
we were incredibly influenced
272
00:14:08.190 --> 00:14:10.500
by Germaine Greer of the Female Eunuch.
273
00:14:10.500 --> 00:14:14.730
I mean, all the women my age, we were so fortunate
274
00:14:14.730 --> 00:14:17.970
to have that book published and be able to read that
275
00:14:17.970 --> 00:14:21.400
because that defined the women's generation.
276
00:14:21.400 --> 00:14:25.450
I mean, the most important thing about that period
277
00:14:25.450 --> 00:14:27.610
was that that was with the advent of the pill
278
00:14:27.610 --> 00:14:29.567
and the pill changed our lives.
279
00:14:29.567 --> 00:14:33.420
You know, with the pill became economic power,
280
00:14:33.420 --> 00:14:38.100
and that's the only way that women can be liberated,
281
00:14:38.100 --> 00:14:40.720
you know, it's through having economic power,
282
00:14:40.720 --> 00:14:42.850
the only way you can get economic power
283
00:14:42.850 --> 00:14:45.070
is by controlling and reproductive rights.
284
00:14:45.070 --> 00:14:49.910
So it was a really fantastic time to be there.
285
00:14:49.910 --> 00:14:53.040
Yes, so, I mean, just working in,
286
00:14:53.040 --> 00:14:56.825
just living in Brisbane in the '70s, frankly was,
287
00:14:56.825 --> 00:15:00.172
you know, it was very, very edgy most of the time,
288
00:15:00.172 --> 00:15:05.172
because the Joh Bjelke-Petersen government,
289
00:15:05.180 --> 00:15:06.940
but it was the corruption of the place,
290
00:15:06.940 --> 00:15:08.880
and they were terribly corrupt.
291
00:15:08.880 --> 00:15:11.440
And you know, the Fitzgerald Inquiry
292
00:15:11.440 --> 00:15:13.900
expose all of that eventually.
293
00:15:13.900 --> 00:15:18.250
But for years and years and years of damage,
294
00:15:18.250 --> 00:15:21.530
but I was demonstrating regularly and worked
295
00:15:21.530 --> 00:15:24.140
in political theatre, the public theatre troupe
296
00:15:24.140 --> 00:15:29.140
in the '70s, and of course then moved into punk music,
297
00:15:29.180 --> 00:15:32.130
because it was political and play drums.
298
00:15:32.130 --> 00:15:35.750
But, you know, I had my drums confiscated for three months
299
00:15:35.750 --> 00:15:38.170
at a pro-choice rally.
300
00:15:38.170 --> 00:15:39.688
We used to go and do street theatre
301
00:15:39.688 --> 00:15:41.550
all the timing at the rallies.
302
00:15:41.550 --> 00:15:44.810
I was arrested for stealing a cops watch
303
00:15:44.810 --> 00:15:48.085
when all it had dropped on the ground and picked it up.
304
00:15:48.085 --> 00:15:52.409
You know, it was a strange edgy time.
305
00:15:52.409 --> 00:15:57.409
And in the end, you know, in the end,
306
00:15:58.210 --> 00:16:01.580
you just had to leave really, which is what I did.
307
00:16:01.580 --> 00:16:05.420
I mean, I went overseas in the mid '70s
308
00:16:05.420 --> 00:16:08.679
for a couple of years, came back and worked in theatre,
309
00:16:08.679 --> 00:16:11.040
but it was always on the drums.
310
00:16:11.040 --> 00:16:16.040
And then joined the Go-Betweens and we went to Melbourne.
311
00:16:16.360 --> 00:16:19.500
And that was about 1981.
'81.
312
00:16:19.500 --> 00:16:24.500
Yeah, so would have been just after the portrait was made.
313
00:16:24.844 --> 00:16:27.490
Yeah.
Yeah.
314
00:16:27.490 --> 00:16:31.330
'Cause it's interesting, you know, not being an authority
315
00:16:31.330 --> 00:16:34.390
on this kind of area of history at all.
316
00:16:34.390 --> 00:16:36.760
I found it really interesting in sort of reading about it,
317
00:16:36.760 --> 00:16:38.450
that there seemed to have been this assumption
318
00:16:38.450 --> 00:16:42.000
that something like punk, it didn't have any place
319
00:16:42.000 --> 00:16:44.460
in Australia at the time.
320
00:16:44.460 --> 00:16:47.100
So if you look at say, you know,
321
00:16:47.100 --> 00:16:49.010
Britain and the Sex Pistols,
322
00:16:49.010 --> 00:16:50.450
there's this kind of assumption that,
323
00:16:50.450 --> 00:16:52.330
oh, you know, there was stature in Britain
324
00:16:52.330 --> 00:16:54.820
and it was gloomy and there was economic depression,
325
00:16:54.820 --> 00:16:55.810
and all of that sort of stuff,
326
00:16:55.810 --> 00:16:57.297
and therefore punk sort of,
327
00:16:57.297 --> 00:17:00.570
was it a kind of a natural reaction to it.
328
00:17:00.570 --> 00:17:03.210
Whereas there's this sort of seems
329
00:17:03.210 --> 00:17:05.480
to have been this idea among people
330
00:17:05.480 --> 00:17:07.220
who've written about this stuff previously
331
00:17:07.220 --> 00:17:08.950
that wasn't the case in Australia.
332
00:17:08.950 --> 00:17:10.438
It was like, you know,
333
00:17:10.438 --> 00:17:12.228
we didn't have that sort of stuff to worry about.
334
00:17:12.228 --> 00:17:13.061
And then if things got too gloomy,
335
00:17:13.061 --> 00:17:14.420
we could just go to the beach.
336
00:17:14.420 --> 00:17:17.490
And whereas to me, sort of looking back on it
337
00:17:17.490 --> 00:17:20.121
and certainly hearing you speak, it's like
338
00:17:20.121 --> 00:17:25.121
the politics of kind of what was going on at the time,
339
00:17:25.680 --> 00:17:29.900
there was just as much kind of impetus for, you know,
340
00:17:29.900 --> 00:17:33.446
rebellion as there was anywhere else.
341
00:17:33.446 --> 00:17:35.160
And it's interesting actually,
342
00:17:35.160 --> 00:17:38.050
that's coming across search as sort of reading through
343
00:17:38.050 --> 00:17:40.530
some notes before having this conversation
344
00:17:40.530 --> 00:17:44.520
with you this morning, coming across a quote from Ed Cooper,
345
00:17:44.520 --> 00:17:46.910
I think who was talking about how, yeah, you know,
346
00:17:46.910 --> 00:17:50.233
Brisbane wasn't great in some ways, you were really kind of,
347
00:17:50.233 --> 00:17:54.340
you know, on the back foot in certain respects,
348
00:17:54.340 --> 00:17:57.059
but in a lot of ways that kind of isolation
349
00:17:57.059 --> 00:17:59.850
really makes you, you know, get up and do something.
350
00:17:59.850 --> 00:18:00.910
If you want something to change,
351
00:18:00.910 --> 00:18:01.960
you have to change it yourself.
352
00:18:01.960 --> 00:18:02.960
If you want something to happen,
353
00:18:02.960 --> 00:18:04.960
you have to make it happen yourself.
354
00:18:04.960 --> 00:18:07.857
So was that you're kind of recollection?
355
00:18:07.857 --> 00:18:10.080
Absolutely, you have to remember
356
00:18:10.080 --> 00:18:12.675
the that he wrote "Brisbane Security City,"
357
00:18:12.675 --> 00:18:16.798
you know, one of the great songs,
358
00:18:16.798 --> 00:18:19.555
not that the scientists ever thought that they were punk,
359
00:18:19.555 --> 00:18:22.730
they weren't really, they were just really great rock band.
360
00:18:22.730 --> 00:18:23.632
Yeah.
361
00:18:23.632 --> 00:18:27.920
But there were lots of punk bands, you know,
362
00:18:27.920 --> 00:18:30.210
there really were, "Razor" was one of them
363
00:18:30.210 --> 00:18:31.697
and lots of really great,
364
00:18:31.697 --> 00:18:34.486
you know, anti-establishment songs,
365
00:18:34.486 --> 00:18:39.486
you know, furious, angry songs by lots of these bands.
366
00:18:39.490 --> 00:18:44.490
And it was a great time for the counter-culture,
367
00:18:44.675 --> 00:18:49.675
it was a great time for theatre people
368
00:18:50.240 --> 00:18:54.454
and painters and photographers and hairdressers
369
00:18:54.454 --> 00:18:59.320
and everyone, musicians were all hanging out together.
370
00:18:59.320 --> 00:19:02.040
And we all had one thing in mind,
371
00:19:02.040 --> 00:19:05.120
and that was to keep the shows going,
372
00:19:05.120 --> 00:19:07.900
and to ride out the police.
373
00:19:07.900 --> 00:19:12.900
But at the same time, marching for, you know,
374
00:19:13.987 --> 00:19:18.987
for black rights for the Right to March,
375
00:19:19.478 --> 00:19:23.459
you know, Andy Rainium, you know,
376
00:19:23.459 --> 00:19:28.459
it was an amazing time really.
377
00:19:30.887 --> 00:19:32.820
It was a pretty weird time.
378
00:19:32.820 --> 00:19:36.200
I grew up in Brisbane at that time,
379
00:19:36.200 --> 00:19:38.080
going to university from '82,
380
00:19:38.080 --> 00:19:40.403
and the police were just ever present.
381
00:19:42.440 --> 00:19:45.740
And any of those Right to March marches,
382
00:19:45.740 --> 00:19:48.670
the police presence was overwhelming.
383
00:19:48.670 --> 00:19:51.308
And after you left in '82,
384
00:19:51.308 --> 00:19:56.308
the Commonwealth games land rights protests,
385
00:19:56.330 --> 00:19:59.370
the police brought from all over Queensland
386
00:19:59.370 --> 00:20:02.320
and, you know, busting, it was really scary.
387
00:20:02.320 --> 00:20:04.100
I noticed we had a comment from Matt Morrison,
388
00:20:04.100 --> 00:20:06.480
who might've also grown up in Brisbane at the time,
389
00:20:06.480 --> 00:20:09.720
he says, "The Joh Bjelke regime, protests,
390
00:20:09.720 --> 00:20:14.720
hyperactive punk, art scene, do it yourself, music and art."
391
00:20:16.249 --> 00:20:19.050
That's perfect, that's absolutely perfect.
392
00:20:19.050 --> 00:20:20.863
Yeah.
Yeah, who's that?
393
00:20:20.863 --> 00:20:22.590
That was Matt Morrison.
394
00:20:22.590 --> 00:20:24.180
Yeah, I know Matt.
395
00:20:24.180 --> 00:20:26.515
Hi, Matt, how are you going?
396
00:20:26.515 --> 00:20:30.740
Yeah, I mean, that's absolutely true, it was incredible.
397
00:20:30.740 --> 00:20:32.350
It was an incredible time.
398
00:20:32.350 --> 00:20:37.350
And, you know, they all through the '70s,
399
00:20:37.478 --> 00:20:42.470
Brisbane was really great artistically, really was,
400
00:20:42.470 --> 00:20:44.790
you have the poster makers as well.
401
00:20:44.790 --> 00:20:46.160
You know, like things like that,
402
00:20:46.160 --> 00:20:48.684
the people with great posters, you know,
403
00:20:48.684 --> 00:20:50.647
all of that was really great.
404
00:20:50.647 --> 00:20:55.110
And the student union always, you know,
405
00:20:55.110 --> 00:20:58.640
rebel rousing and supporting the university groups
406
00:20:58.640 --> 00:21:01.798
to get involved, and Triple Zed would have had quite work
407
00:21:01.798 --> 00:21:04.460
to with the fomenting of dissent.
408
00:21:04.460 --> 00:21:06.020
I really should have mentioned Triple Zed,
409
00:21:06.020 --> 00:21:08.280
it changed everything frankly.
410
00:21:08.280 --> 00:21:11.190
You know, getting out on community radio station
411
00:21:11.190 --> 00:21:14.480
and that push for descent,
412
00:21:14.480 --> 00:21:18.430
but also the push for the Australian music,
413
00:21:18.430 --> 00:21:21.300
playing Australian and in particular Brisbane music
414
00:21:21.300 --> 00:21:23.720
really, really did make a big difference
415
00:21:23.720 --> 00:21:25.570
to our music culture.
416
00:21:25.570 --> 00:21:28.250
I think the Triple Zed prides itself on being
417
00:21:28.250 --> 00:21:31.220
the first radio station to ever broadcast The Angels,
418
00:21:31.220 --> 00:21:32.290
was it The Angels?
419
00:21:32.290 --> 00:21:33.123
No, the Saints, sorry.
The Saints, yeah.
420
00:21:33.123 --> 00:21:36.600
All right, okay, that would be right.
421
00:21:36.600 --> 00:21:38.149
I'm pretty sure that'd be right.
422
00:21:38.149 --> 00:21:40.510
(Jo laughing)
423
00:21:40.510 --> 00:21:44.490
And so how is, you said you started off
424
00:21:44.490 --> 00:21:46.860
in like doing street theatre,
425
00:21:46.860 --> 00:21:51.860
how did that sort of morphed into a music career?
426
00:21:52.070 --> 00:21:53.480
I was actually.
Was it conscious
427
00:21:53.480 --> 00:21:55.073
kind of thing?
428
00:21:55.073 --> 00:21:56.486
I was playing music beforehand.
429
00:21:56.486 --> 00:22:01.040
In 1973, I lived, in '74, I lived in an extraordinary house
430
00:22:01.040 --> 00:22:06.040
with Geoffrey Rush, Billy Brown, a guy called Stuart Match,
431
00:22:06.240 --> 00:22:08.080
another actor called Trevor Stewart,
432
00:22:08.080 --> 00:22:10.280
I've got a musician called Frank Millwood.
433
00:22:10.280 --> 00:22:13.350
You know, these are all Brisbane names that everybody knows.
434
00:22:13.350 --> 00:22:18.103
And Robyn Stacey lived in that house
435
00:22:18.103 --> 00:22:19.391
all the time, so Robyn Stacey.
436
00:22:19.391 --> 00:22:24.391
It was an incredible house for '73,'74
437
00:22:26.280 --> 00:22:29.457
and there was a music room there,
438
00:22:29.457 --> 00:22:33.310
I just moved on to the drums, and then we all went overseas,
439
00:22:33.310 --> 00:22:37.013
you know, Geoffrey went to DeCroux and Trevor went to,
440
00:22:40.434 --> 00:22:41.900
you know, Trevor went to DeCroux
441
00:22:41.900 --> 00:22:44.910
and Geoffrey went to the other one, mime artist,
442
00:22:44.910 --> 00:22:46.335
it's name I forget now.
443
00:22:46.335 --> 00:22:50.883
And Billy went to Shakespearean company, you know.
444
00:22:54.207 --> 00:22:55.470
And when I came back from overseas,
445
00:22:55.470 --> 00:22:59.120
I went straight into theatre and worked
446
00:22:59.120 --> 00:23:01.780
in The Popular Theatre Troupe,
447
00:23:01.780 --> 00:23:05.530
which was a really very political theatre,
448
00:23:05.530 --> 00:23:08.090
run by a guy called Richard Fotheringham.
449
00:23:08.090 --> 00:23:10.780
And then I also worked in Brian Nason
450
00:23:10.780 --> 00:23:12.980
and Brian Nason is like an institution.
451
00:23:12.980 --> 00:23:15.987
He put on Shakespeare off the back of trucks in Australia,
452
00:23:17.311 --> 00:23:20.527
and it also had a political bend in a way.
453
00:23:21.820 --> 00:23:22.860
So I worked in theatre
454
00:23:22.860 --> 00:23:25.478
and I was always trying to put drums into shows.
455
00:23:25.478 --> 00:23:30.430
And then I went to an audition
456
00:23:30.430 --> 00:23:34.890
in Melbourne for the Pram Factory, because I thought
457
00:23:34.890 --> 00:23:38.320
I wanted to be an actor and work in a proper theatre,
458
00:23:38.320 --> 00:23:40.428
but Melbourne didn't work for me.
459
00:23:40.428 --> 00:23:44.990
I got into the thing, but even the very day they told me
460
00:23:44.990 --> 00:23:49.119
I couldn't come to terms with Melbourne,
461
00:23:49.119 --> 00:23:53.520
it seems so bland after Brisbane.
462
00:23:53.520 --> 00:23:54.500
Yeah.
463
00:23:54.500 --> 00:23:56.513
I guess you we'd.
That got so interesting
464
00:23:56.513 --> 00:23:57.930
because the conception
465
00:23:57.930 --> 00:24:01.450
that a lot of other people would have would be the reverse
466
00:24:01.450 --> 00:24:03.550
that, you know, Brisbane was the sort of backwater
467
00:24:03.550 --> 00:24:05.380
and Melbourne was the, you know.
468
00:24:05.380 --> 00:24:07.754
I guess, I think I got addicted to the fight.
469
00:24:07.754 --> 00:24:08.587
(laughs) Yeah.
No, I mean it,
470
00:24:08.587 --> 00:24:12.670
I think I got addicted to the fight, and I just say,
471
00:24:12.670 --> 00:24:14.347
I made my mind up that day, I just said,
472
00:24:14.347 --> 00:24:17.310
"That's it, I'm just gonna concentrate on drums."
473
00:24:17.310 --> 00:24:22.310
And I went back and shortly after I joined up
474
00:24:23.270 --> 00:24:25.869
with this punk go band Zero,
475
00:24:25.869 --> 00:24:28.570
and we had the most fabulous time,
476
00:24:28.570 --> 00:24:31.944
and we're very, very active,
477
00:24:31.944 --> 00:24:35.060
very active politically all the time.
478
00:24:35.060 --> 00:24:39.560
And eventually I got sucked into the Go-Betweens.
479
00:24:39.560 --> 00:24:43.083
Yeah, could you explain that sort of sucking in process?
480
00:24:43.083 --> 00:24:45.070
(Lindy laughing)
481
00:24:45.070 --> 00:24:48.680
Well, I suppose, you know, I really I kind of fell,
482
00:24:48.680 --> 00:24:51.387
I guess I fell in love with Robert,
483
00:24:51.387 --> 00:24:53.790
and I fell in love with their music.
484
00:24:53.790 --> 00:24:58.520
You know, to see those two young men, you know,
485
00:24:58.520 --> 00:25:02.382
in this Spring Hill apartment that Grant lived in,
486
00:25:02.382 --> 00:25:04.600
they used to play acoustic guitar together all the time
487
00:25:04.600 --> 00:25:07.690
over and over and over again, and to go in there,
488
00:25:07.690 --> 00:25:12.690
and beautiful, rich brown, polished wooden floors
489
00:25:12.980 --> 00:25:16.990
and really old Spring Hill apartment.
490
00:25:16.990 --> 00:25:18.850
And the two boys would be sitting there
491
00:25:18.850 --> 00:25:20.580
and playing that beautiful music.
492
00:25:20.580 --> 00:25:25.580
And I just loved it, and they were so ambitious,
493
00:25:26.360 --> 00:25:29.090
and I tell you, all I want to do is get out of town,
494
00:25:29.090 --> 00:25:31.770
I was so tired of it, I was so tired.
495
00:25:31.770 --> 00:25:33.780
And I was older than everybody, I was seven years older,
496
00:25:33.780 --> 00:25:37.100
I'd lived a life, you know, and I just wanted to get out,
497
00:25:37.100 --> 00:25:40.974
and they took me out.
498
00:25:40.974 --> 00:25:45.499
You know, I joined with them, so, you know, as his song,
499
00:25:45.499 --> 00:25:49.810
people says, so pack your bags and your drums,
500
00:25:49.810 --> 00:25:52.310
and I'm gonna take you to the kingdom comes
501
00:25:52.310 --> 00:25:54.620
and he certainly did that.
502
00:25:54.620 --> 00:25:57.360
Yeah, and it's really, you know,
503
00:25:57.360 --> 00:26:01.600
this is me kind of absorbing everything
504
00:26:01.600 --> 00:26:05.150
that I've been reading about this period, I suppose too,
505
00:26:05.150 --> 00:26:07.170
and in looking into this exhibition,
506
00:26:07.170 --> 00:26:10.560
it's really interesting to me that bands
507
00:26:10.560 --> 00:26:12.420
like the Go-Betweens was seemingly
508
00:26:12.420 --> 00:26:15.910
kind of overwhelmed by the really sort of blokey,
509
00:26:15.910 --> 00:26:17.582
you know, hard rock,
510
00:26:17.582 --> 00:26:20.059
the much more sort
511
00:26:20.059 --> 00:26:24.710
of deliberately provocative kind of bands.
512
00:26:24.710 --> 00:26:28.010
Like I'm thinking here, for example of, say Skyhooks,
513
00:26:28.010 --> 00:26:31.230
you know, and the first album that they ever released.
514
00:26:31.230 --> 00:26:33.260
There was like five or six songs from it
515
00:26:33.260 --> 00:26:35.110
that were banned from commercial radio,
516
00:26:35.110 --> 00:26:37.540
'cause it was all about sex and drugs and rock and roll.
517
00:26:37.540 --> 00:26:40.630
Whereas the first song that Grant and Robert recorded
518
00:26:40.630 --> 00:26:42.699
was a song about a librarian.
519
00:26:42.699 --> 00:26:43.790
(both laughing)
520
00:26:43.790 --> 00:26:48.450
The b-side was about Lee Remmick.
521
00:26:48.450 --> 00:26:49.283
Yeah.
522
00:26:49.283 --> 00:26:52.320
So, you know, it's.
And the second single
523
00:26:52.320 --> 00:26:54.510
was "People say, I'm mad to love you."
524
00:26:54.510 --> 00:26:55.343
(both laughing)
525
00:26:55.343 --> 00:26:57.700
Really, that's right.
526
00:26:57.700 --> 00:26:58.990
I never thought about that before,
527
00:26:58.990 --> 00:27:00.170
that's a really good point.
528
00:27:00.170 --> 00:27:01.680
It's just these really.
529
00:27:01.680 --> 00:27:04.570
No wonder I fell in love with them, like seriously,
530
00:27:04.570 --> 00:27:07.287
you know, because they were so fey, f-e-y,
531
00:27:07.287 --> 00:27:12.287
and so incredibly feminine, and, you know,
532
00:27:14.009 --> 00:27:18.330
the men I'd known before, people like Geoffrey and Billy
533
00:27:18.330 --> 00:27:23.330
and all those actors, they were beautiful fey men too,
534
00:27:23.680 --> 00:27:27.191
you know, and you get drawn to men like that.
535
00:27:27.191 --> 00:27:32.191
They're the men that suck me in, always have been,
536
00:27:33.481 --> 00:27:36.400
and, you know, I guess I was sucked in.
537
00:27:36.400 --> 00:27:39.413
Yeah, and then almost as if it seems as if
538
00:27:39.413 --> 00:27:42.491
a lot of those more fey bands, shall we say,
539
00:27:42.491 --> 00:27:44.560
you had to like go to London
540
00:27:44.560 --> 00:27:47.620
or go to New York or somewhere else to be taken seriously.
541
00:27:47.620 --> 00:27:49.230
Could you sort of talk maybe a little bit
542
00:27:49.230 --> 00:27:51.920
about that sort of first, that leaping,
543
00:27:51.920 --> 00:27:53.590
that getting away from Brisbane
544
00:27:53.590 --> 00:27:56.684
and how it was when you're in London?
545
00:27:56.684 --> 00:27:58.633
Oh, God, well, the first thing was,
546
00:27:58.633 --> 00:28:02.490
that Missing Links was the Boys Next Door label,
547
00:28:02.490 --> 00:28:06.100
and they have that ever happened is totally beyond me,
548
00:28:06.100 --> 00:28:10.860
but, you know, Keith from, I've just forgotten
549
00:28:10.860 --> 00:28:14.100
his second name, if anyone can remember Keith's second name
550
00:28:14.100 --> 00:28:15.771
in there, that would be good.
551
00:28:15.771 --> 00:28:16.604
(Jo laughing)
552
00:28:16.604 --> 00:28:18.770
Keith invited us to be on the label
553
00:28:18.770 --> 00:28:21.090
and pay for that first album,
554
00:28:21.090 --> 00:28:23.107
and we went to Melbourne to live.
555
00:28:23.107 --> 00:28:27.490
And then after that first album,
556
00:28:27.490 --> 00:28:30.640
rough trade, so they wanted to, so we went to London,
557
00:28:30.640 --> 00:28:34.240
but you know, all the bands, you know,
558
00:28:34.240 --> 00:28:36.980
the mood was with Claire more on drums, you know,
559
00:28:36.980 --> 00:28:39.976
and, well, of course there was
560
00:28:39.976 --> 00:28:42.630
another female drummer, Kathy Green.
561
00:28:42.630 --> 00:28:44.350
She was with X where you could hardly say
562
00:28:44.350 --> 00:28:47.127
that they were feminine they were not,
563
00:28:47.127 --> 00:28:49.593
but Kathy Green certainly was.
564
00:28:53.845 --> 00:28:56.520
But the fey bands all went overseas.
565
00:28:56.520 --> 00:29:01.100
I mean, Laughing Clowns, you know, The Triffids,
566
00:29:01.100 --> 00:29:05.693
The Moodists, we were such a great strong gang.
567
00:29:11.750 --> 00:29:13.619
It really, we were completely the 'other'.
568
00:29:13.619 --> 00:29:16.415
We were the other to what was in Australia at the time.
569
00:29:16.415 --> 00:29:20.061
I just brought up that image from the other wall.
570
00:29:20.061 --> 00:29:20.942
Oh, yeah.
571
00:29:20.942 --> 00:29:21.950
Oh, yeah.
572
00:29:21.950 --> 00:29:22.783
I love that.
573
00:29:24.410 --> 00:29:26.318
Can you tell us a bit about that?
574
00:29:26.318 --> 00:29:28.177
I love the fact that Robert is wearing
575
00:29:28.177 --> 00:29:30.468
that kind of midriff top.
576
00:29:30.468 --> 00:29:35.462
That was during Robert's Prince period.
577
00:29:35.462 --> 00:29:40.462
And so he really loved Prince and he,
578
00:29:43.410 --> 00:29:47.295
so that was '86, '87 because Amanda's in the band,
579
00:29:47.295 --> 00:29:51.120
and so Robert and I would have broken up by then.
580
00:29:51.120 --> 00:29:52.055
By this stage.
581
00:29:52.055 --> 00:29:55.300
And when we broke up Robert
582
00:29:55.300 --> 00:29:57.110
went through a very wild period,
583
00:29:57.110 --> 00:29:59.339
which, you know, was very good for him.
584
00:29:59.339 --> 00:30:02.672
(Jo and Lindy laughing)
585
00:30:03.674 --> 00:30:06.480
And so he was going through that, but we would just look,
586
00:30:06.480 --> 00:30:09.720
I always loved the photo session, so I'm not the same now,
587
00:30:09.720 --> 00:30:11.959
I find them unbelievably arduous.
588
00:30:11.959 --> 00:30:16.959
But I used to love them and we used to play up,
589
00:30:17.620 --> 00:30:22.570
and I mean, one of the things I guess to be frank,
590
00:30:22.570 --> 00:30:25.290
you know, we always look good in photos
591
00:30:25.290 --> 00:30:26.554
because we were young.
592
00:30:26.554 --> 00:30:27.387
(both laughing)
593
00:30:27.387 --> 00:30:29.440
Maybe that's why I love them,
594
00:30:29.440 --> 00:30:31.533
because you always knew you were gonna look good.
595
00:30:31.533 --> 00:30:35.717
And, yeah, I, I can't remember much more,
596
00:30:35.717 --> 00:30:39.820
I know Warrick Orme took that, I can't remember much more.
597
00:30:39.820 --> 00:30:42.440
You know, Bleddyn Butcher took quite a few,
598
00:30:42.440 --> 00:30:45.261
you've got his, I think that's his there,
599
00:30:45.261 --> 00:30:50.261
of Dave sorry, from the Triffids.
600
00:30:50.430 --> 00:30:52.360
Yeah, and we've got some of his photos,
601
00:30:52.360 --> 00:30:53.830
actually photo of Claire Moore and Dave Graney
602
00:30:53.830 --> 00:30:58.830
and some of his photos of Boys Next Door too.
603
00:30:59.150 --> 00:31:01.960
Of course, yeah, I mean, Bleddyn was always around
604
00:31:01.960 --> 00:31:03.630
and he was such a great photographer.
605
00:31:03.630 --> 00:31:07.130
And I have to say, he's got a whole series of me.
606
00:31:07.130 --> 00:31:11.210
I did a whole Christine Keeler kind of thing with.
607
00:31:11.210 --> 00:31:12.080
Oh, wow.
608
00:31:12.080 --> 00:31:15.690
Yeah, but after he had taken them, I said,
609
00:31:15.690 --> 00:31:18.400
I told him, "You can never use these,"
610
00:31:18.400 --> 00:31:19.977
but then of course, now that I'm older, I said,
611
00:31:19.977 --> 00:31:20.810
"Oh, you can use them."
612
00:31:20.810 --> 00:31:22.883
But he's never, ever used them.
613
00:31:22.883 --> 00:31:25.330
(both laughing)
614
00:31:25.330 --> 00:31:28.390
And now I wish he would, they really out there actually,
615
00:31:28.390 --> 00:31:29.756
they're fairly wild.
616
00:31:29.756 --> 00:31:31.090
(Jo laughing)
617
00:31:31.090 --> 00:31:34.684
But Bleddyn was always around and always taking photos.
618
00:31:34.684 --> 00:31:39.684
That was overseas, and he did so much work,
619
00:31:40.350 --> 00:31:43.860
and, you know, it's extraordinary,
620
00:31:43.860 --> 00:31:47.800
but I missed out on people because I was overseas,
621
00:31:47.800 --> 00:31:50.890
we were overseas for a good seven, eight years,
622
00:31:50.890 --> 00:31:52.090
and only came back.
623
00:31:52.090 --> 00:31:55.210
I missed out on all the photographers in Australia,
624
00:31:55.210 --> 00:31:56.920
and I've only caught up with them.
625
00:31:56.920 --> 00:31:59.680
You know, I'm aware that Bob King is everywhere,
626
00:31:59.680 --> 00:32:03.313
everywhere I go, I run into Bob King, and I know who he is.
627
00:32:04.167 --> 00:32:07.450
And I saw a photograph from 1977 here, 1977?
628
00:32:07.450 --> 00:32:08.940
We've actually got some photos,
629
00:32:08.940 --> 00:32:12.800
I think, from '64 of the AC beats that Bob took.
630
00:32:12.800 --> 00:32:14.067
So he must've been like.
631
00:32:14.067 --> 00:32:16.135
And he is still working.
632
00:32:16.135 --> 00:32:17.108
Yeah, yeah.
633
00:32:17.108 --> 00:32:21.090
My very favourite photographer is Tony Mott
634
00:32:21.090 --> 00:32:22.983
just because he's so crazy.
635
00:32:22.983 --> 00:32:25.307
And I always say to him, you know,
636
00:32:25.307 --> 00:32:27.970
"Just take another photograph of me when I look bad,"
637
00:32:27.970 --> 00:32:31.187
you know, because every photo, and he said,
638
00:32:31.187 --> 00:32:34.196
"Well, I just take photograph of naturally Lindy."
639
00:32:34.196 --> 00:32:36.930
But he took a photograph of me recently
640
00:32:36.930 --> 00:32:39.970
when I got the Ted Albert Award at the ARPA Awards,
641
00:32:39.970 --> 00:32:42.206
since that wasn't recent it was about three years ago.
642
00:32:42.206 --> 00:32:45.730
The most beautiful photo, you see it all the time,
643
00:32:45.730 --> 00:32:50.336
it's all in gold, I'm on drums, and it's beautiful.
644
00:32:50.336 --> 00:32:54.920
I've got a bob and it's the most beautiful closeup
645
00:32:54.920 --> 00:32:55.753
you've ever seen.
646
00:32:55.753 --> 00:32:58.647
So finally he took a really great photo of me
647
00:32:58.647 --> 00:33:03.140
and that wasn't natural (both laughing) where I look good.
648
00:33:04.640 --> 00:33:09.640
And so that's yeah, but who's not in the exhibition
649
00:33:10.340 --> 00:33:13.025
is my very, very dear friend, Robyn Stacey,
650
00:33:13.025 --> 00:33:14.964
who's a photographer as well.
651
00:33:14.964 --> 00:33:17.940
But that's because she has never, ever unpacked
652
00:33:17.940 --> 00:33:22.487
all the band photos she took from, I would say, 1976, '77
653
00:33:24.850 --> 00:33:29.012
through to 1980 when she started getting arty.
654
00:33:29.012 --> 00:33:30.440
(both laughing)
655
00:33:30.440 --> 00:33:33.500
And she's now an art photographer,
656
00:33:33.500 --> 00:33:35.090
if that's what you call photographers who are art photographers
657
00:33:35.090 --> 00:33:40.090
And yeah, she's took some beautiful photos of me,
658
00:33:42.850 --> 00:33:46.650
and the one that you, again, when you see all the time
659
00:33:46.650 --> 00:33:50.100
is me in '79 in little cutoff denim shorts,
660
00:33:50.100 --> 00:33:52.357
it's a view of me where she's looking up at me like that,
661
00:33:52.357 --> 00:33:53.870
and it's black and white,
662
00:33:53.870 --> 00:33:57.108
it's the most stunning photograph of a woman playing drums,
663
00:33:57.108 --> 00:34:02.108
you know, yeah, there are some of my stories
664
00:34:02.450 --> 00:34:03.603
from the photographers.
665
00:34:04.450 --> 00:34:06.120
And you've obviously just sort of
666
00:34:06.120 --> 00:34:09.060
in the course of the conversation,
667
00:34:09.060 --> 00:34:11.910
you've mentioned a lot of performance
668
00:34:11.910 --> 00:34:14.770
who are represented in the exhibition
669
00:34:14.770 --> 00:34:16.140
as well that you've worked with.
670
00:34:16.140 --> 00:34:17.410
Do you want to tell us about
671
00:34:17.410 --> 00:34:19.930
some of those I'm really fascinated to know about,
672
00:34:19.930 --> 00:34:23.900
for example, the time in London when Nick Cave
673
00:34:23.900 --> 00:34:27.080
was sharing a house with you guys, is that right?
674
00:34:27.080 --> 00:34:30.490
Yeah, he was sharing a house with us in London.
675
00:34:30.490 --> 00:34:34.853
You know, it's well documented that Nick and,
676
00:34:35.840 --> 00:34:38.874
a number of, you know, he would have been,
677
00:34:38.874 --> 00:34:43.290
Tracy Pew was living there, Tracy Pew's partner.
678
00:34:43.290 --> 00:34:44.870
I think Nick, did Nick have
679
00:34:44.870 --> 00:34:46.280
a partner living there at the time?
680
00:34:46.280 --> 00:34:47.330
I don't know.
681
00:34:47.330 --> 00:34:50.870
But other people would come and stay,
682
00:34:50.870 --> 00:34:55.342
well, it was a fairly dynamic house,
683
00:34:55.342 --> 00:35:00.342
and I would say it was it was very exciting, it was edgy,
684
00:35:02.750 --> 00:35:05.707
is an understatement.
Understatement.
685
00:35:06.600 --> 00:35:11.600
And the story goes, I'm not gonna tell all the stories,
686
00:35:13.454 --> 00:35:18.454
you know, you know, Tracy Thorne has a book coming out
687
00:35:18.740 --> 00:35:20.370
on May called "My Rock and Roll Friend"
688
00:35:20.370 --> 00:35:22.090
there is a story of that if you wanna read that.
689
00:35:22.090 --> 00:35:25.603
But, you know, Grant did throw Nick out.
690
00:35:25.603 --> 00:35:26.436
Oh!
691
00:35:26.436 --> 00:35:30.140
Yeah, and Nick has never forgave Grant for doing that.
692
00:35:30.140 --> 00:35:32.173
And it was always my kind of favourite story
693
00:35:32.173 --> 00:35:34.690
that Grant of old people, you know,
694
00:35:34.690 --> 00:35:38.787
Mr. Absolutely charming and you very well mannered man,
695
00:35:38.787 --> 00:35:43.350
would perfect impeccable manners in the end,
696
00:35:43.350 --> 00:35:45.955
took it on himself to throw Nick out.
697
00:35:45.955 --> 00:35:48.622
(both laughing)
698
00:35:51.040 --> 00:35:54.614
Yeah, it was a wild house.
699
00:35:54.614 --> 00:35:56.090
Yeah.
700
00:35:56.090 --> 00:35:58.595
Yeah, obviously I'm the who ever did the cleaning.
701
00:35:58.595 --> 00:36:01.262
(both laughing)
702
00:36:03.459 --> 00:36:04.758
So the same old domestic roles.
703
00:36:04.758 --> 00:36:09.758
We have a comment from, let me see, from Craig,
704
00:36:10.610 --> 00:36:14.230
who says he remembers seeing the three piece Go-Betweens
705
00:36:14.230 --> 00:36:17.420
at the and bull in Civic here in Canberra.
706
00:36:17.420 --> 00:36:21.020
And Lindy helped me let some punks in free
707
00:36:21.020 --> 00:36:22.610
through the back door.
708
00:36:22.610 --> 00:36:24.270
Does that sound like something you would do?
709
00:36:24.270 --> 00:36:26.823
Yes, of course, I would have let them in.
710
00:36:28.406 --> 00:36:33.020
I actually remember coming to Canberra at that period,
711
00:36:33.020 --> 00:36:36.150
and I mean, it, it really was always exciting
712
00:36:36.150 --> 00:36:36.983
to come to Canberra.
713
00:36:36.983 --> 00:36:40.963
I have to say, Canberra really used to have
714
00:36:40.963 --> 00:36:45.950
a lot of drugs around, there were always tonnes and tonnes
715
00:36:45.950 --> 00:36:49.846
of drugs, I don't know if that person comment on that,
716
00:36:49.846 --> 00:36:52.310
(Lindy and Jo laughing)
717
00:36:52.310 --> 00:36:55.923
But Canberra was kind of known for the back stage,
718
00:36:56.910 --> 00:36:58.840
or if you're playing at the university,
719
00:36:58.840 --> 00:37:01.027
the tables outside the.
720
00:37:02.048 --> 00:37:03.222
Behind new bar.
Yeah.
721
00:37:03.222 --> 00:37:05.222
There are always lots of people dealing.
722
00:37:06.820 --> 00:37:08.400
It's probably not like that now,
723
00:37:08.400 --> 00:37:10.330
we hope it's not like that now.
724
00:37:10.330 --> 00:37:14.160
And, but we always had so much fun coming to Canberra,
725
00:37:14.160 --> 00:37:18.150
I absolutely loved coming to Canberra still do, yep.
726
00:37:18.150 --> 00:37:21.315
Yeah, that's a really interesting observation because
727
00:37:21.315 --> 00:37:23.580
that's one of the things, then another thing
728
00:37:23.580 --> 00:37:26.160
that we wanted to do with the exhibition
729
00:37:26.160 --> 00:37:29.550
was really demonstrate that Canberra has this history,
730
00:37:29.550 --> 00:37:31.630
because a lot of people who don't live in Canberra
731
00:37:31.630 --> 00:37:33.360
just think of it as a place that's full of, you know,
732
00:37:33.360 --> 00:37:37.070
politicians and public servants, and that it was, you know,
733
00:37:37.070 --> 00:37:40.630
kind of ends field, particularly in the '70s and '80s,
734
00:37:40.630 --> 00:37:43.360
the sort of place that, the only gigs that happened
735
00:37:43.360 --> 00:37:44.850
were gigs that happened because bands
736
00:37:44.850 --> 00:37:47.120
were sort of stopping here on their way
737
00:37:47.120 --> 00:37:48.960
between Sydney and Melbourne.
738
00:37:48.960 --> 00:37:50.190
So it's got, you know,
739
00:37:50.190 --> 00:37:52.870
there's all of these kinds of negative connotations
740
00:37:52.870 --> 00:37:54.050
about Canberra, I guess.
741
00:37:54.050 --> 00:37:57.610
You had Gutthega pipeline.
Gutthega pipeline,
742
00:37:57.610 --> 00:37:59.370
all of which are documented,
743
00:37:59.370 --> 00:38:01.200
you can't see them because
744
00:38:01.200 --> 00:38:02.033
they are off-camera.
Are The Numbers from here?
745
00:38:02.033 --> 00:38:03.640
Are The Numbers from here?
746
00:38:03.640 --> 00:38:05.230
Yes, The Numbers are from here.
I remember Gutthega
747
00:38:05.230 --> 00:38:08.023
Pipeline where we played with them.
748
00:38:08.023 --> 00:38:10.109
They were the most beautiful boys.
749
00:38:10.109 --> 00:38:12.860
They really were, I loved them.
750
00:38:12.860 --> 00:38:15.920
I mean, Steve Kilbey.
That's right, Steve.
751
00:38:15.920 --> 00:38:17.885
They lived in Canberra.
And people like Midnight Oil
752
00:38:17.885 --> 00:38:22.230
they kind of started out when Peter Garrett
753
00:38:22.230 --> 00:38:24.752
was a law student at ANU, you know,
754
00:38:24.752 --> 00:38:27.570
so it does have this real history,
755
00:38:27.570 --> 00:38:29.320
which we've managed to sort of capture
756
00:38:29.320 --> 00:38:31.922
in the exhibition with all of these photographs
757
00:38:31.922 --> 00:38:34.540
by a man named well his photographer name was 'pling
758
00:38:34.540 --> 00:38:38.230
Kevin Prideaux, who was sort of public servant by day,
759
00:38:38.230 --> 00:38:39.510
edgy photographer by night,
760
00:38:39.510 --> 00:38:42.380
and he'd go around to all of these venues in Canberra,
761
00:38:42.380 --> 00:38:44.190
and document all of the bands,
762
00:38:44.190 --> 00:38:47.790
not just sort of locally grown bands like Gutthega Pipeline,
763
00:38:47.790 --> 00:38:49.090
but also the big name bands
764
00:38:49.090 --> 00:38:51.240
who were sort of stopping up here to do gigs at the ANU.
765
00:38:51.240 --> 00:38:52.270
We've got the whole wall
766
00:38:52.270 --> 00:38:54.750
of the things.
Oh, you've got them on.
767
00:38:54.750 --> 00:38:55.730
Thanks Robert, yeah.
768
00:38:55.730 --> 00:38:57.340
Some on the other side as well.
769
00:38:57.340 --> 00:39:01.219
So it's a, I mean, and that's been a real eye opener
770
00:39:01.219 --> 00:39:02.370
to me, I'm not someone who's from Canberra,
771
00:39:02.370 --> 00:39:04.308
I didn't grow up here.
772
00:39:04.308 --> 00:39:07.700
And to know that there was this incredibly thriving scene
773
00:39:07.700 --> 00:39:11.760
has been, you know, that was like a real eye opener for me,
774
00:39:11.760 --> 00:39:13.332
a really sort of great discovery.
775
00:39:13.332 --> 00:39:15.671
And then to hear it sort of backed up.
776
00:39:15.671 --> 00:39:17.045
Yeah, yeah.
777
00:39:17.045 --> 00:39:18.640
Yeah, fantastic.
778
00:39:18.640 --> 00:39:22.007
Yeah, I actually did a tour to Canberra with Zero.
779
00:39:22.007 --> 00:39:24.501
That's the band you were in?
780
00:39:24.501 --> 00:39:28.580
Yeah, we came and played in Canberra as well.
781
00:39:28.580 --> 00:39:32.963
And that was a trip to remember too.
782
00:39:32.963 --> 00:39:34.578
(both laughing)
783
00:39:34.578 --> 00:39:36.550
Someone put us up in their house
784
00:39:36.550 --> 00:39:39.702
and I managed to break the washing machine
785
00:39:39.702 --> 00:39:43.107
and the coffee percolator.
786
00:39:43.107 --> 00:39:45.870
(both laughing)
787
00:39:45.870 --> 00:39:48.368
A whole spread of appliances.
788
00:39:48.368 --> 00:39:49.933
(Jo and Lindy laughing)
789
00:39:49.933 --> 00:39:51.390
Robert has just given us the five minute warning.
790
00:39:51.390 --> 00:39:53.730
You've got five minutes, which is plenty of time
791
00:39:53.730 --> 00:39:55.180
to still address a few things.
792
00:39:55.180 --> 00:39:58.570
But I was just wondering how did Lindy get involved
793
00:39:58.570 --> 00:40:01.070
with Tracey Thorne from Everything About the Girl.
794
00:40:04.077 --> 00:40:06.125
That would that because I mentioned the book.
795
00:40:06.125 --> 00:40:07.264
Yes, perhaps.
796
00:40:07.264 --> 00:40:10.861
(Lindy and Jo laughing)
797
00:40:10.861 --> 00:40:14.900
Well, I mean, she's got it all in the book,
798
00:40:14.900 --> 00:40:19.900
but in the eighties, I walked into her dressing room
799
00:40:20.749 --> 00:40:23.700
when we were doing a gig together,
800
00:40:23.700 --> 00:40:26.800
she was the Marine Girls and I was in the Go-Betweens,
801
00:40:26.800 --> 00:40:30.293
and I tell you, I have to be at two I guess,
802
00:40:31.885 --> 00:40:33.677
and asked to borrow her lipstick,
803
00:40:33.677 --> 00:40:36.922
and we became great friends, incredible friends,
804
00:40:36.922 --> 00:40:40.121
now that were very, very successful.
805
00:40:40.121 --> 00:40:45.121
And she and been able to organise
806
00:40:45.557 --> 00:40:49.844
all these fantastic old houses,
807
00:40:49.844 --> 00:40:51.460
where they would holiday,
808
00:40:51.460 --> 00:40:53.555
and I would have us to come and stay
809
00:40:53.555 --> 00:40:56.860
with them in the country.
810
00:40:56.860 --> 00:41:00.442
And they would have me to dinner regularly
811
00:41:00.442 --> 00:41:03.410
at their Hampstead place.
812
00:41:03.410 --> 00:41:06.930
And we became very, very good friends,
813
00:41:06.930 --> 00:41:09.850
and I have so many letters,
814
00:41:09.850 --> 00:41:13.250
she discovered I had all these letters from her,
815
00:41:13.250 --> 00:41:15.753
and she had kept a lot of mine.
816
00:41:17.400 --> 00:41:22.400
And she wanted to readdress what she saw as a retailing
817
00:41:22.660 --> 00:41:25.446
and remaking of history about the Go-Betweens
818
00:41:25.446 --> 00:41:29.260
prior to the documentary 'Right Here',
819
00:41:29.260 --> 00:41:30.930
the story of the Go-Betweens coming out,
820
00:41:30.930 --> 00:41:34.246
where the Go-Betweens had become Robert and Grant,
821
00:41:34.246 --> 00:41:36.216
post our breakup.
822
00:41:36.216 --> 00:41:41.216
And that my participation was totally diminished,
823
00:41:44.230 --> 00:41:48.870
and she wanted to readdress that, yeah.
824
00:41:48.870 --> 00:41:51.002
And she wrote the book.
825
00:41:51.002 --> 00:41:53.820
I tell you what, there's lots of stuff in the book,
826
00:41:53.820 --> 00:41:56.810
it's an outrageous book in some respects, you know,
827
00:41:56.810 --> 00:41:59.380
she had my diary, she had all my letters,
828
00:41:59.380 --> 00:42:03.386
it's all primary sources and she went through interviews.
829
00:42:03.386 --> 00:42:06.455
So some of it's fairly shocking and,
830
00:42:06.455 --> 00:42:08.858
but you've just got to live with it.
831
00:42:08.858 --> 00:42:11.950
Yeah, have you ever thought about writing?
832
00:42:11.950 --> 00:42:13.978
I thought about it so often,
833
00:42:13.978 --> 00:42:16.450
you know, I've really thought about it a lot,
834
00:42:16.450 --> 00:42:20.790
and I just, well, one, I'm not sure I'm a writer,
835
00:42:20.790 --> 00:42:24.262
you know, you can't just say, "Oh, I'm gonna be a writer."
836
00:42:24.262 --> 00:42:29.262
I'm not sure I'm a writer, but it's so much work to do that,
837
00:42:31.370 --> 00:42:32.850
it really is a lot of work.
838
00:42:32.850 --> 00:42:35.473
And also I'm not sure about my memory.
839
00:42:37.114 --> 00:42:38.541
(both laughing)
840
00:42:38.541 --> 00:42:41.458
So I have to really think about it.
841
00:42:42.800 --> 00:42:47.640
I mean, Tracy's book is her perspective on our friendship
842
00:42:47.640 --> 00:42:50.477
and her insights into what she thinks
843
00:42:50.477 --> 00:42:53.780
the music industry does to women,
844
00:42:53.780 --> 00:42:58.780
so it's with lots of really gritty stories in there,
845
00:42:59.541 --> 00:43:03.643
but it wouldn't be how I would write it.
846
00:43:07.386 --> 00:43:08.998
But I don't think or write one,
847
00:43:08.998 --> 00:43:13.145
I'll probably die before I write one.
848
00:43:13.145 --> 00:43:15.812
(both laughing)
849
00:43:17.306 --> 00:43:20.326
All right, well, I think we're almost there
850
00:43:20.326 --> 00:43:22.120
unless you got something to wrap up.
851
00:43:22.120 --> 00:43:25.722
No, just it's, I could probably keep talking all day.
852
00:43:25.722 --> 00:43:27.809
Yeah, we could probably keep talking all day.
853
00:43:27.809 --> 00:43:28.642
I know we could.
854
00:43:28.642 --> 00:43:32.190
But it's been really, it's so great that Lindy
855
00:43:32.190 --> 00:43:35.140
has been able to come here and see the exhibition,
856
00:43:35.140 --> 00:43:40.140
see the paintings again, see all of this and yeah,
857
00:43:40.270 --> 00:43:42.790
it's been great to meet you and great to chat.
858
00:43:42.790 --> 00:43:43.790
So thanks so much, Lindy.
859
00:43:43.790 --> 00:43:45.350
I wanna thank you for the invitation,
860
00:43:45.350 --> 00:43:48.250
I can't tell you how thrilled I was to have the invitation.
861
00:43:48.250 --> 00:43:51.057
It was right out of the blue and I just went,
862
00:43:51.057 --> 00:43:55.320
"Wow, that really is wild to be asked you to do this."
863
00:43:55.320 --> 00:43:56.153
Thank you so much.
864
00:43:56.153 --> 00:43:56.986
Yeah.
865
00:43:56.986 --> 00:43:58.100
And I should say, I'm sorry if I've just
866
00:43:58.100 --> 00:44:01.090
kind of glazed over, I am a massive fan.
867
00:44:01.090 --> 00:44:02.799
Oh, oh really?
(Jo laughing)
868
00:44:02.799 --> 00:44:04.500
So if I've kind of totally lost my train of thought
869
00:44:04.500 --> 00:44:06.240
or I've just been sort of looking adoringly at you,
870
00:44:06.240 --> 00:44:08.997
it's because you're wonderful, and the Go-Betweens
871
00:44:08.997 --> 00:44:13.997
has sort of been the soundtrack of my youth, I suppose,
872
00:44:14.450 --> 00:44:17.270
and even more so that I've been working on this exhibition,
873
00:44:17.270 --> 00:44:20.453
it's been the soundtrack for the past 12 months for me,
874
00:44:20.453 --> 00:44:22.953
so thank you (laughs)
Oh, right, wow, thank you.
875
00:44:24.196 --> 00:44:25.373
Thanks everyone.
876
00:44:27.910 --> 00:44:29.840
Thank you very much, Jo and Lindy,
877
00:44:29.840 --> 00:44:34.113
that was fascinating going on a memory lane, walk down.
878
00:44:35.640 --> 00:44:36.890
Thanks for joining us today
879
00:44:36.890 --> 00:44:39.010
for our fortnightly conversation.
880
00:44:39.010 --> 00:44:41.790
Come back in another fortnight or so,
881
00:44:41.790 --> 00:44:44.470
check the detail under what's on
882
00:44:44.470 --> 00:44:46.610
on the National Portrait Gallery website,
883
00:44:46.610 --> 00:44:48.610
and you'll see all of our virtual programmes,
884
00:44:48.610 --> 00:44:51.610
and our programmes here on site.
885
00:44:51.610 --> 00:44:54.390
And we have a new exhibition opening very shortly as well,
886
00:44:54.390 --> 00:44:56.336
and you'll hear lots more about that.
887
00:44:56.336 --> 00:44:58.320
On Tuesday at 12:30
888
00:44:58.320 --> 00:45:00.630
with our regular Virtual Highlights Tour,
889
00:45:00.630 --> 00:45:03.970
we have got style and substance,
890
00:45:03.970 --> 00:45:06.390
fashionistas in the gallery.
891
00:45:06.390 --> 00:45:08.600
So that sounds like one not to miss.
892
00:45:08.600 --> 00:45:11.027
All right, we will see you next time, bye bye.