Autobiographical Notes 46 4 Songs/Poems 64 5 Tales of Harold the Kangaroo and Captain Beefheart the Dog 76

Pienke W.H. Kal The colourful life of Harold Leslie Thornton alias The Kangaroo 1915–2004

Compiled and edited by Willem Campschreur

Lecturis

Contents Foreword 6 John McDonald

Introduction 8

Part I Biography and art historical context 11 1 Bringing art to the people 12 The biography of a sign writer who became an artist 1915–2004 2 The painted world of Harold L. Thornton 32 Erica Kubic-Vegter

Part II Harold Thornton’s writings 45 3 Autobiographical notes 46 4 Songs/poems 64 5 Tales of Harold the Kangaroo and Captain Beefheart the Dog 76

Part III Gallery of paintings and murals 93

Entries in Major Art Prize Contests 158 Exhibitions 158 Bibliography 158 Acknowledgements 159 Credits photographs and illustrations 160

Part I Biography and art historical context 1 12 | Part I Biography and art historical context Bringingarttothepeople The biographyofasignwriterwhobecameanartist1915–2004 everyone else[Chapter anyway. ‘You’vegotnobrains’,Haroldremembered her tellinghimand suffered fromherlackofattention.Hismotherwasunhappy withhisbirth the RedCross,andalwaysaway,helpingfamiliesinneed. ButlittleHarold Harolddescribedhismotherasconstantlyknittingandcrocheting for mother whocouldn’tcopewiththissituation. greatly becauseoftheirfather’spost-traumaticstressdisorder,andwitha Sydney Sign& Co.A‘natural’intermsof techniqueandhisuseofcolour and obvious thathe becameanapprenticesign writerwithalocalcompany, Whenhedidfinallyleaveschool attheageoffourteen, itseemedquite make anyspellingmistakes. Apparentlythisearnedhimsomemoney. kind ofadvertisingtextsthat werewrittenoutforhimsothathewouldn’t in hisautobiographicalnotes, fromtheageofeighthestartedsignwritingall turned outthathesuffered from aformofdyslexia.Meanwhile,asherelates Harold left.neverfully overcamethischildhoodtrauma.Laterit several yearstheschoolauthoritiestoldhisparentsthat itwouldbebetterif sister Dulciewastheretocomforthim.Butschool anightmareandafter old Harold to go to school, he was absolutely terrified. Fortunately, his eldest if hedroppeddead,wouldbeleftaloneasacasualty. them. AsyoungashewasHaroldunderstoodwhathisfatherwantedofhim: were wokenupandtostandinlinethentheirfatherpretendedshoot hallucinations. Attimes,allthesiblings–Haroldwasstillyoungest which washardonthechildrenashedraggedthemdownwithhimintohis shell-shocked fromthetrenchesinFrance.Hehadhorrendousnightmares, Haroldwasfond ofhisfather,agentle,butshakenman,whohadreturned trams. old. AfterhisreturntoSydney,fatherJohntookupformerjobonthe actually onlymethisfatherforthefirsttimewhenhewasthreeorfouryears Harold’s birthhisfatherwasinEuropefightingWorldWar and Harold;Norman,anafterthought,wasbornin1927.Atthetimeof Ann wasdaughterDulcie,bornin1907,followedbyReginald,Basil,Elvie driver andhismotherahousewife.ThefirstchildoffatherJohn 1915. Hewasraisedinalowermiddleclassfamily;hisfathertram Harold LeslieThorntonwasborninEnfield,aSydneysuburb,on26August The genesisofanartist more ofthesometimeshilariousdetailshisexuberantlife. broad outline,inhisAutobiographicalnotes[Chapter theless triednottolosesightofchronology.Whereasthischapteroffersa proper sequence.Insteadamorethematicapproachwaschosenthatnever and vagueanecdotes,whichoccasionallymadeitdifficulttorelateinthe The adventurousandeventfullifestoryofHaroldThorntonisfullgaps  , §3 ]. Consequently,whenitcametimeforsix-year-  ] Haroldsharesmuch 1 Thefamilysuffered  , soHarold

- Harold paintingaportraitofhis mother. Harold asaboy. 2 1 1 Bringing art to the people | 13 4 3 Signboard ‘Thornton Signs’. Signboard ‘Thornton The Thornton Family, c. 1918. From left to right: Reginald, mother Reginald, mother left to right: c. 1918. From Family, Thornton The Basil, Dulcie. with Harold, Elvie, father, - 6

- Harold (right) and his eldest brother Reginald (Reg), 1946. ) as a camouflage painter ) as a camouflage painter  spread to Asia in December 1941, Harold was 26 years spread to Asia in December  5 Father’s portrait in studio. Father’s old. He didn’t want to go and fight, but wanted instead to serve his war duty to serve his war duty to go and fight, but wanted instead old. He didn’t want anyway. He worked different’ kept him out of the army, in Australia. ‘Being Aerodrome in the Air Force Station at Tocumwal at the Royal Australian Wales ( southern Riverina region of North South for oil companies, for the railways, and also painted warning and instruction also painted warning and instruction for oil companies, for the railways, and in Penrith, near Sydney. At the request signs in St Marys Munitions Factory concerts to entertain wounded sol of the labour unions, he staged weekly 2000 – mainly women – employees. diers and the factory’s approximately another sign writer who talked to him constantly about art and He met to draw nude models. At the time, took him to a sketch club in Sydney to his sign painting in that he could Harold regarded this as complementary Harold realised he wanted to be a add portraits to the lettering. Eventually streak in the family: his eldest brother fulltime artist – there was an artistic and his other brother Basil proved to be Reginald became a graphic designer an accomplished story illustrator. understood that to become a professional painter he needed formal Harold Julian Ashton Art School in Sydney. training, so in 1944 he enrolled in the by day, he had to attend evening Working at St Marys Munitions Factory travelling 130 kilometres to and classes, two nights a week and on Saturdays, interested in the anatomy drawing fro by train each time. Harold was most antique Greek and Roman heads as well classes, for which gypsum replicas of he was so tired that he fell asleep during as live models were used. Sometimes the lessons, his charcoal in his hand. He didn’t have enough time to practice to so he tried to draw portraits on the train ride home, which was too bumpy put in the eyes. After a year Harold left Julian Ashton’s and enrolled in the newly founded (1943) Desiderius Orban School of Art. bold forms, Harold proved to be a promising pupil, and some clients were were clients and some pupil, a promising to be proved forms, Harold bold – in He was lucky skilled. already so kid was fourteen-year-old that a amazed – and he work to find it was difficult Depression of the Great first years these Despite spelling develop his abilities. opportunity to further used this and painter, sign writer become an exceptional a problem, he had remaining Sign & Co He left Sydney spent it all on beer. money, but and was earning hours jobs with long working firm’, but regular for a ‘top sign after a while own for a He worked on his keep him for long. bosses couldn’t and ‘mean’ money as a wres Thornton Signs, while also earning while under the name in the public since school and was very confident tler! He’d been wrestling painter to artist that his transformation from sign arena. It was in Griffith father (1942), who on canvas was a portrait of his began. His first painting die soon afterwards. was very ill and would When World War 16 | Part I Biography and art historical context ( Oneday,whileroving thecountryside, HaroldfoundhimselfinGloucester received a‘highlyrecommended’ commendationanyhow. tried toletOrbanknowwhich paintingwashis.Hedidn’tsucceed,but art prize;hisoldteacher Mr.Orbanwasoneofthejudges,andHarold the nightbefore.InWagga WaggaHaroldsubmittedaportraitforthelocal who cametocomplainabouttheportraitoftownmayor hehadpainted Dyke. Once,heneededallofhiswrestlingskillstotrounce somelocalmugs tried tosneakintohisexhibitionsforfree,butwerefrightened offbyVan in myeyes,andclawingoverwetcanvas,attracted bythelight’.People little mepaintingportraitsofalocal.Wasbloodyhard, withmoths,insects where. Itwasn’talwayseasy:‘Therewasaneaselupon theplatformwith Such exhibitionswereheldinCondobolin,Leeton,Wagga Waggaandelse unfold hiseaselandinvitevisitorstohavetheirportraits paintedbyhim. frequently tosetupanexhibition,usuallyintheopen air, wherehewould accompanied asalwaysbyhisdog,VanDyke,andpaintings.Hestopped Nowand then Harold‘wentbush’,roamingtheoutbackinhishearse, the day. tent on the grassinthemainstreetandsellhisartworkswhilepaintingduring Griffith atEasterfortheVintageFestival,wherehewouldsetupa visited would runfortheirlives’.EvenafterhisreturntoSydney,Haroldstill ‘they would evenwalkuptotheminthestreet,pretendingdrawtheirfacesand covered theirfaceswithhandstopreventhimfromdrawingthem.He and madedrawingsofthepeoplewhowerediscussinghisevildeeds.Some demned bytheWadeShireCouncil.Haroldwenttocouncilmeetings Attimeshis processionactswerecriticisedontheradioorcon saying ‘TheDevilReturns’[seep.49]. which apparentlyhedidoften.Onhisheadworebull’shornswithasign bathers, hislipspaintedbrightredandallteethindifferentcolours, Water WheelFestivalwithafloat.Herodepushbikedressedonlyinskimpy suggesting heshouldberunoutoftown.AyearlaterHaroldenteredthe there wereletterstotheeditorofAreaNewscallingHaroldadeviland falling apartwithitslimbsscatteringeverywhere.Hewasnotarrested,but depicting the story ofthewoodconstruction companyhehadonce owned. Way Motel.During achat,themotelproprietor askedHaroldtopaint amural depict lifeinandaroundGloucester. The owneroftheBucketts wayMotelusedtoownawoodconstructioncompanyaroundGloucester. Mural intherestaurantBucketts Way Ahistoricallylistedmuralthattookoveroneyeartocomplete.The Motel,Gloucester, variousscenes 1967–1968.  10 ). Hedidn’thave work,neededaplaceto sleepandspottedtheBucketts 11 - - 1 Bringing art to the people | 17 - ]. - §39-52 , ). There ). There   14 So it was clear from the So it was clear from the 13 : ‘Harold isn’t a merchant in facts; he : ‘Harold isn’t a merchant in facts; he 12 12 Pacific Islands Monthly One of the Papua New Guinea apprentice’s works of art; name of artist New Guinea apprentice’s works of art; name of artist One of the Papua unknown. accurate impression can be gained from newspaper and A reasonably Harold in Papua New Guinea. Stuart magazine articles that appeared about Reid wrote in the in New Guinea. About a year ago deals in images. This is the story of Harold him to go to the Gulf of Papua and (1968) a “millionaire friend” of his asked to go. He flew to Port Moresby and paint murals in a pub. Harold agreed Once there, Harold had to do quite then on to the Gulf country in an airplane. as a builder and small ships operator. a bit besides painting. He had to work the locals. Harold stayed in the Gulf for But he enjoyed himself and he liked he fell out with his European boss eight months, living the ideal life. Then Otter, and did for a living the best he and he made for Moresby, again in an He painted, or at least started to could, which is paint murals and signs. paint, a mural in the Four Mile Club. He almost completed this when, for unspecified reasons, he decided to return to Sydney.’ beginning that Harold planned to be back after not too long. When he spoke back after not too long. When he spoke beginning that Harold planned to be his adventures in Papua New Guinea,about it, Harold was never specific about is full of wild stories [Chapterbut his written memoir of this period are several accounts. A medical friend from Griffith might have invited him, have invited him, A medical friend from Griffith might are several accounts. who moved to Papua New Guinea or possibly an acquaintance from Sydney in his hotel. Whatever the reason, he asked him to come and paint a mural had to leave his beloved dog Van Dyke embarked on a new adventure, but he behind in Stewart’s Dogs’ Home at Randwick. ried on with their lives and Harold had over-estimated their reception of the their reception of the lives and Harold had over-estimated ried on with their He never went back. results of the accompanying auction. exhibition and the ( why Harold left for Papua New Guinea It is not exactly clear New Guinea (1968–1970) in Papua A restaurant ever, the exhibition was a great disappointment. People in Griffith had car was a great disappointment. People ever, the exhibition His payment would be food and a place to stay. The present large mural in in large mural present stay. The a place to food and be would His payment the result. Motel was Way the Bucketts room in the conference/dining director by the unveiled officially mural was 1967, the later, in a year Almost that ‘Harold the same time in Brisbane, around Art Gallery of the Queensland public in opened to the Famous Art Exhibition’ Internationally Thornton’s School of Arts. the Gloucester exhibitionlarge a with Griffith to returned Harold 1988, in later, years Many country town. he had left the and elsewhere after created there of his paintings, the larrikin they once the residents what had become of He wanted to show its inhabitants. How had developed. He loved Griffith and knew, how his art 11 Harold in Papua New Guinea. Harold in Papua 21 22 Façade of The Bulldog coffeeshop, with Harold. Details of the façade. 1 Bringing art to the people | 25

- ). -

24 ‘koffiehuizen’ Lounge of the Bulldog Hotel with Harold relics, including a painting of Henk de of Henk de Hotel with Harold relics, including a painting Lounge of the Bulldog Bulldog. owner of The Vries, 23 Harold starts painting the owner’s bulldog, Joris, on the façade. the owner’s bulldog, Joris, on the façade. Harold starts painting opened in December 1975, was the first coffeeshop in the Netherlands where coffeeshop in the Netherlands where opened in December 1975, was the first At first it was like an ordinary sitting the sale of soft drugs was tolerated. transformed into a ‘coffeeshop’, to room in an ordinary house. Later it was coffee houses ( differentiate it from the traditional Amsterdam Oudezijds Voorburgwal 90: painting the coffeeshop’s façade. The Bulldog, which Oudezijds Voorburgwal 90: painting the applied to their windows in a special font named ‘krulleletters’ after its font named ‘krulleletters’ after its applied to their windows in a special Dutch word for ‘curl’). Harold was extremely curly letters (‘krul’ is the his assignment at Large Leather he used unfamiliar with that tradition but for them with his unique colour patches. bold ‘krulleletters’ and surrounded largest commission in Amsterdam, and one that deserves special Harold’s owner of The Bulldog ‘coffeeshop’ at attention, came from Henk de Vries, became Henk de Vries saw Harold painting murals in the neighbourhood and who called himself ‘The Kangaroo’ curious about this colourful Australian He invited him to the coffeeshop and and who always had his dog with him. ‘I could paint the façade of your while they were having tea, Harold said: - responded Henk, and much to his sur coffeeshop.’ ‘Okay Harold, show me’, prise Harold started painting immediately without showing him any sketches. 90, the adventures of Looking at the façade of Oudezijds Voorburgwal with Henk’s dog, Bulldog Joris, begin at bottom right (to left of the doorway) Joris smoking a water pipe. The narrative continues towards the left (below the window) with a depiction of the Oudezijds Voorburgwal. Joris is seen jumping into the canal and swimming to the next alley, the Dollebegijnen steeg. The painting continues up the vertical wall to the left of the window: the Joris eats magic mushrooms, grows in size momentarily, and then visits ‘ladies’ for a friendly chat. Above this is Dam Square with the Freedom Mon Joris ument; the Royal Palace is behind it. The magic mushrooms have made sick, but he turns in Superdog. Turning right above the coffeeshop window, a the painting passes the town hall and opera house, and then descends via juice bar with a band that includes Harold’s dog, Captain, playing the drums; Henk, his family and guests dance to the music. Above the door Harold signed the painting with ‘Harold Kangaroo Thornton, The Greatest Genius That Ever Lived’ (the same epithet he painted on the back of his jacket). Above the doorway and extending to the right is a portrayal of the Leidseplein with has the then newest Bulldog coffeeshop. The wall to the right of the doorway fantasy figures, some of Henk’s other dogs, and a self-portrait of Harold. who was struggling to make a life Henk grew attached to this unique man for himself and wanted acknowledgment of his talent. Harold enjoyed and 34 | Part I Biography and art historical context Thereisthe the paintingsHaroldcreatedduringthisperiod. And indeed,theinfluenceofstylesartistsOrbanlikedisvisiblein whilst atDesideriusOrban’sArtSchool’,or‘OrbanStyle’,andsuchlike. of workagain.Inhisnoteshecommentsontheseworks:‘Paintedin1949 The FiftiesandSixties–Development Then, in1949andtheearly1950s,Haroldseemstohavegeneratedarealbody entered apaintinginoneofthem[seep.158]. New SouthWalesinSydney.Between1946and1994Haroldregularly prize contestsinAustraliaatthattime,allorganisedbytheArtGalleryof in theArchibaldPrizeContestandExhibition.Therewerethreemajorart In1946hewasapparentlyconfidentenoughtoenter In makingthiscopyHaroldwastestinghisabilities,seeingifhecoulddoit. painting bythewell-knownAustralianartistRussellDrysdale(1912–1981). Alsofrom1946isthetownscape shirt andthebulgingveinsonOldBill’sruggedarms. treatment ofdepthandtextures.Muchattentionisgiventothefoldsin can seethattherelativeflatnessofolderworkhasgivenwaytoastrong Incomparingthisportraitwiththatofhisdyingfather(1942)[p. 94]one lower arms. relaxed posebycounteringthediagonalsofupperlegswiththose Muchmoreinteresting isthe engaging andlively. arrangements ofobjects,draperiesandotherelementsmakethepaintings of hislaterportraits,landscapesandviewsthroughwindows,thespecific could makeaninterestinganddynamictwo-dimensionalcomposition.Inmany exercise helearnedtolookatobjectsinathree-dimensionalspacesothat glass andmetal.Eventhoughitisnotaveryinspiredpainting,fromthis the table,drapedtowel,fruitinforegroundandreflectionson Cézanne’s andtheCubists’stilllifes;earthycolours,diagonalangleof a viewreassembling thoseMatisseandthe Fauvespaintedintheearly 1900s. their prowspointing towardsthetown,with achurchinthebackground, SelfPortraitwithDogBeetlebumandCat pinks andorangesinhisfacetie. from thetipofeachshoulder.Heretoocoloursareearthy,exceptfor diagonally tothepictureplane,whichisenhancedbyflowinglinescurving with whatappearstobestoredbagsandboxes.Haroldplacedhimselfslightly example, Miró’s clay, asistheforelockofhishair.Weseeasimilarrenderingtextilein,for forms. Theslightlyraisedridgesofthefoldsarepaintedasifsculptedfrom Cubists fragmentedtheirvolumesintoshallow,rectangularandtriangulated unfolded shirt.WiththeshirtfoldsHaroldcreatedshapessimilartoway young manfromthewaistup,hisrighthandonhip,wearingafreshly ment. Duringthisperiodhislandscape paintingsunderwent theirowndevelop and inhowhebalanceseach colouroverthesurface. the shirtcollar,withtwo circularformsinthetopcornersofpainting, sense ofcompositioninthe waythewindblownshirttailechoesshapeof ground. HereHaroldshows oneofthegreatstrengthshisart:aninnate a dog.Behindtheeaselaremorecolouredabstractshapes onablackback coloured abstractshapesand,perhaps,adraftofanother self-portraitwith brushes, behindHaroldisatiltedpainter’seaselwith canvaswithbrightly tones ofwhathecalledthe‘Orbanstyle’.Atfrontright isavasewithpaint Harold alwayslovedcolourandherehebreaksfreefrom theCubistearth one. Butthisisaverydifferentpainting,fullofboldcolours andstylisation. in roughlythesameposewithadogonhisleftarmand acatunderhisright Rushcutter’s Bay Still Life Self Portrait (1950)[p. 102] showsaharbourwithsmall sailboats, of1949[p. 100], whichshowshowHaroldexplored of1919.Inthebackgroundaninteriorisvisible Self Portrait Old Bathurst [p. 103]from1951showsHarold [p. 99]of1949.Weseeadapper [p. 95]. Thisisacopyof Old BilltheBootmaker

is Sewer Drain, Sewer Drain, Gypsy Tanya [p. 109] and 109] and [p. [p. 108], a painter a painter 108], [p. Gypsy Tanya (1954) [p. 108]. 108]. [p. (1954) (1951) [p. 104] portrays the irrigation the irrigation 104] portrays (1951) [p. The Famous Michael Kmit [p. 106] from 1952 is very different. This is a lyrical This is a lyrical 1952 is very different. 106] from [p. Highbury Hospital, Dog looking for Harold The Famous Michael Kmit , both from 1953. Additionally, when a building symbolised , both from 1953. Additionally, when a building symbolised Irrigation Works, Griffith in which this same, well-chosen perspective makes for an interesting, makes for an interesting, in which this same, well-chosen perspective The boats, buildings and trees all have strong, dark outlines. The colours The colours outlines. dark have strong, trees all and buildings The boats, are roof. or a a boat deck of red on a patch except for but saturated, subdued boats of the the triangle with – composition – harmonious is a classical This at the top. the church steeple inward towards corners pointing in the lower Flood Wagga Wagga in background. the house in the water that reflects trees standing in painting of curving lines composition. The the symmetry of the hard lines and Gone are touch. tentative, subtle with an almost and river are rendered of the trees left hand corner lighter, with the branch in the lower The colours are much the roof. Harold along the left edge and the slope of echoed by branches shades of the painting frame with patches of paint in decorated the painting’s in Harold’s decorative feature recurs occasionally itself. This pleasant, work. of that in two strong paintings of waterworks Yet another style is handled and a dynamic firm outlining, a subdued colour scheme period. Both show angle of sight. diagonally across almost the entire painting. In 1952 he painted diagonally across almost the entire painting. 107] and [p. (1954) sluice and the canal. The water is greyish brown with rusty brown patches; brown patches; The water is greyish brown with rusty sluice and the canal. mountains is high up in the depiction. the horizon with some trees and distant is the way Harold represents the scene What makes this painting so powerful of the irrigation works zigzag from a perspective that makes the sluices Griffith subject. dynamic painting of a rather commonplace approaches can also be discerned in the many portraits he painted Different to be chosen to suit the character during his period in Griffith. They seem can be made between of the sitter. An interesting comparison friend of Harold’s. Here we see a strong, energetic artist in his somewhat friend of Harold’s. Here we see a strong, energetic artist in his somewhat chaotic studio. Portrayed from about the waist up, Kmit poses confidently, is leaning on his right arm. The outline of the slightly opened yellow curtain in thecountered by the curve of the right shoulder and the edge of the painting right hand corner. The subtle play with diagonals continues in the painting hanging against the wall, the sagging hem at the top of the curtain and the face string that seems to hold the curtain together. The three-quarter turned has strong dark outlines to set it off against the yellow background. Harold As uses the same shade of yellow to highlight the forehead, cheek and chin. on usual, he accurately balances his colours, the green outside the window the the left recurring on the wall on the right, the red patches spreading from red tablecloth on the left into the art objects and paintings on the right. The its frame picks up the red again to complete the zing of the painting. For all apparent casualness, this is a powerful painting of an obviously strong person. buildings he had a personal con Off-and-on Harold painted ‘portraits’ of nection with, such as the sitter’s profession, he used them as backdrops to portraits, for instance, a rather small bust portrait of a young girl with intense, melancholic, black girl with intense, melancholic, black a rather small bust portrait of a young lips and dark black hair. She wears a eyes in a long white face with full red an oval blue brooch beneath her chin. black sweater over a white shirt with in his autobiographical notes, Harold In his comments about this painting I found her wandering the tells Tanya’s tragic story: ‘She was beautiful. and committed suicide.’ Harold streets, took her in, but she [was] wretched softer touch. The edges of the blue used no hard outlining here, but a much of the brooch, are undetermined and black background, echoing the colour enhances the paleness of her face on the white canvas, and the white frame and the white of the shirt. It is immediately clear that this is a sad girl, painted with compassion for her fate and admiration for her beauty. The opposite can be said about House in Croydon 63 cm 72 cm x x 54 | 62 | 18 15 The Famous Michael Kmit Michael Famous The Irrigation Works, Griffith Irrigation Works, Oil on board | Oil on canvas 19 | 1952 | Highbury Hospital, Dog Looking Highbury Hospital, Dog Looking for Harold 1953 | 20 17 14 16 House in Croydon Gypsy Tanya Wagga Wagga in in Wagga Wagga Flood Sewer Drain, Griffith

Part II Harold Thornton’s writings 3 46 | Part II Harold Thornton’s writings mine. Spellingwascorrectedwhennecessary. arranged chronologically;thenumberingandheadingsare Aselectionwasmade fromhisautobiographicalnotesand biography inChapter1. had articlesabouthim.Thisinformationfounditswayintothe Harold’s familyandfriendsbycheckingpublicationsthat Detailsinhisnotes wereconfirmedthroughinterviewswith indulge infantasies,whichheoftenexpressedhiswriting. whether allofitistruthful,however.Inreallifehecouldeasily how Haroldexperiencedtheworld–itisanothermatter Fromwhathewrote itisn’tdifficulttogetavividpictureof life, startingattheageof8andcontinuingintohisearly70s. in whichheshareswiththereaderaninsightfulaccountofhis result isabundleofserioustalesandwild,hilariousanecdotes or transport,whilesittinginapubwithglassofbeer.The Hewrotewhenaloneinhisroom,whilewaitingforfriends written inthe1980s,whenhelivedAmsterdamandSydney. hands on.Hedidn’tdatehisnotes,buttheymusthavebeen of paper,onpubcoasters,anymaterialhecouldlayhis Harold wroteaboutepisodesinhislifenotebooks,onscraps Autobiographical notes change tosuit thesubject.Myrealpainting ispsychedelic. around theworld. WhatdoIpaint;have manystyles,and IamfamousinAmsterdam,and Australia,andknown the richonlytheycanseeit. fun backinartandbring tothepeople.Ifyousellyourart I don’tlikesellingmypaintings, theyaremychildren.Putthe not sellmymajorworksand havelivedlikearatforyears.Also people cancomeandseemy art.That’swhyIdonemybestto some moneytohelpmedothat.Iwantanoldbuilding where carry on.Thisbook(ohImeanit’snotabook)mayearn me own workthatcanbringbigcrowdsandwhenIdieit will still a museum,permanenthomeformybigartcollection ofmy artist, oneofthereasonstotellyouthatmymainaim is toopen daughter ofaMethodistpreacher.Thatmakesmevery good father wasatramdriver,sonofpublican.Mymother wasthe born inEnfield(in1915),nearBurwood,Sydney MyrealnameisHaroldLeslieThornton.Iam76yearsold, autobiography. you an Introduction tothis,itis not a Book it’s an auto-grog-og/     . Iamgoingtotryandwrite  himself. Harold draws . My 1

3 Autobiographical notes | 47 -

I used to sit next to a boy in school who used to talk about Depression was with us. Things were bad, no work and a job I always who sent me on sign writing firm For the Well I worked with that firm for about a year, then the the sign writers sitting near me waiting also to see the boss; the boss; to see waiting also near me sitting writers the sign hear I could cloths and on their the paint were by tell they could short with my boy new office be the said I must talk. They them They got a big a small feather. pinched in hat with pants and office boy. not to be the new I turned out surprise when a place which was irrigated, where there was no drought so a place which was irrigated, where there was no drought so I made for there; it’s a long way out. put a big top on We made up our minds to go to the country the Box on the side of the old Harley, had a big drunken sendoff party, set out to the country with only 3-10-0 pounds. The old Harley was not registered, it had a painted number plate. different than the Boy was it hot, my shoes were odd, one other, hair was dirty dry and straight up by this, my trousers was more ripped and about nobody would give us a job. We slept on the channel bank. This place had a big irrigation, plenty of water (Christ I’ve got a bad cold tonight can’t stop sneezing, can hardly see to write, won’t be writing much tonight). the 3-10-0 pounds Gee, it got hot, a heat wave. We drank the first stop. It was impossible to get work, we didn’t look presentable as far as getting work. I was fat 16,5 stone, long hair, curly like waves going, arse out of my pants. My music looked young. The big company I was doing the job for, would job for, would I was doing the The big company looked young. down sent a little boy on the job. I still had ring up and say you have I would take the big boy who didn’t on my face. Then the job, give him the docket to interview much experience on Then the job for, stand by and listen. the guy we were doing docket out of the room, I would take the after we would come a ring on job out. One time the sign firm got off him and set the doing to know why the little one was the phone; they wanted the lift room on top of the building, while the scale plain in the space side on the scaffold painting out the man was over the where the lettering was to go. I worked around Sydney before I was 21. I worked around Sydney before I was 21. other firm saw I was good and they were the best sign writers the best sign writers other firm saw I was good and they were them. So I left the ever and they told me I could work for top sign firm. coupon company, and worked for the a very mean man. I used to have to pick up the tacks He was to put up a sign on my before he would buy any, and send me or more from where way home at 5 o’clock. I lived 10 miles he sent me. It would be 7 or 8 o’clock when I got home. So I didn’t get on well with the boss’ son. There was a job adver I didn’t get on well with the boss’ son. tised for a lad 2 years at the trade. That’s me, 1,5 years at the me, 1,5 years at the tised for a lad 2 years at the trade. That’s were 250 boys trying for trade, so I applied for the job. There to write a sign. They the job. I was given a brush and asked I showed them. They didn’t believe the samples of my work writing at my young age. really wanted [to] see [how] I did sign short and still in short I was only about 14,5 [years old], small, pants. Yes I got the job. §8 §7 Griffith §10 §9 - . In support of my dear mother she was a beautiful woman; a beautiful woman; . In support of my dear mother she was  I would never be an artist, though I used to draw well at It came about that I was an entertainer. A big school concert was painting signs for my father At the age of 8 years old I have remember my mother told me I didn’t As early as I can Oh oh youngest of 6, 4 boys and 2 girls. I was the second was at war. I Sydney. My father in 1915 in Enfield, Born school. I was kidded into being a sign writer and they done me a school. I was kidded into being a sign writer and they done me a good turn, because sign writing is part of art. Sign writers make good artists, better than being a commercial artist. Commercial artists are inside an office, trying to trick the public. sign painter. I saw Well I went in to see about my job as a §6 was held in the old big house theater in Enfield on the Liverpool was held in the old big house theater in Enfield on the Liverpool road; it was made of tin. There was a big guy nobody liked, the stage manager. I used to sing like I was stuttering all of a sudden, I got nervous and forgot my lines. So I did a little dance. The crowd started throwing things at me, oranges, cardboard boxes etc. I picked them up and threw them back. Then the stage manager tried to get me off the stage and chased me around and through run I sudden a of All go. wouldn’t I but stage the around his legs and tripped up; he fell over, the crowd jumped up and roared with laughter. I was a hit. They thought all this was an act by my little self. The next day I was told by the mob that I was the best turn that night and it would have been a dull show without me. if anyone was sick, even if she didn’t know them, she was there know them, she was there if anyone was sick, even if she didn’t to help. any brains. Maybe I wasn’t governed by her; she was a strong strong I wasn’t governed by her; she was a any brains. Maybe ‘we’ll to say, and she always told everybody woman with plenty and they never reared never rear our Harold, he has no brains’, I was convinced I couldn’t him. So by the time I went to school learn; how could I with no brains. well again, my younger brother was 12 years younger than me, me, brother was 12 years younger than well again, my younger I shit for 12 years. The first day at school so I was the youngest little sister was sent for to take her smelly myself and my young 2 ft wide home. fat brother 2 ft high don’t know where I came from because the rest of the family of the family because the rest where I came from don’t know goodies. square and goody were to me §5 ductor, was standing for Parliament. ductor, was standing for Parliament. sign writing: ‘Vote Labor E. E. Cook’. Then turned So I was etc. Was seen up a to sign writing milk carts, bankers cards I couldn’t spell; they ladder, people watching me. Then days than my dad. I left wrote it down. I was earning more money sign writer at a big school at 13 coming on 14; was apprentice Co. Painted father Xmas firm in Sydney named Sydney Sign & got offered 2 jobs, I took on shops, painted signs on windows, for better class of work, learn more. who was a Labor man. He was a tram driver; his mate, the con who was a Labor man. He was a tram §4 §3 §2 Youth §1 I don’t follow the old masters, no, I am one. My art is honest, is honest, My art I am one. no, the old masters, follow I don’t book. of this the writing so is 48 | Part II Harold Thornton’s writings §11 Hollywood wrestler. own school,hadaboutsixartexhibitionsandbecamethefirst Griffith woke upwithaheavydewalloveryou. had noblankets,justabottleofrumandfallover,inthewinter grapes sotherewasplentyofcheapwine,rumandbrandy.We glass ofcoldbeer,infacttherewasnobeermostly.Theygrow to abigtown(Griffith a littlemoney,filleduptheHarleycycleandmovedon.Came We hadtocuttin,wedidthatwithapairofscissors.Igot a whileIgotlittlejobdoingpricesforcakesincakeshop. stuck inthistown,nomoney,food,slepttheopen.After pimply skinanddry,bothofuslookedveryfunny.Wewere friend matehadstraightlonghair,funnybigeyesandteeth, Griffith, 1950s. Harold working on ascaffoldatTom Appoloni’s Grocery, Griffith,1950s. painting andsaidIdidn’tsaypaintapictureofit,meant well onthewayhecameoutofhouseandlookedatmy house andstartedtopaint.AfterawhilewhenIgotthepainting ThenextdayIturned upwithacanvas,stoodinfrontofhis ful houseandaskedmetopaintit. owned averyniceposhhouse.Heproudlyshowedmebeauti 2 3 AstorekeeperinGriffithtookmedowntoSydney.He  , whereIbuiltasignbusiness,taughtartinmy  ). Itwassohot,youcouldn’tgeta

- I gavehiman airplane spinroundandaround wenthislonglegs at me,witha tall leggedblokeonyourback mademeangry,so my back.Icould tellsomethingwaswrong. Theyweregetting on myback.Thegonghadnot gone,sothisbigblokewason legs aroundwhenallofasudden thisfunnytallblokejumped doing myexerciseinthering. Kickingmylegsupswinging The matchwasheldup.They couldn’tfindmyopponent.Iwas Myturncame.IseeI’vepackedthestadium withpeople. the war. Oh,IalmostforgottotellyouthatnighttheJapscameinto drunk. MaybeIshouldeverytimewritetoyou. Iamturningthispageover.It’sthe3bottlesofbeerI’ve dressing gownwithredflowersonit,myseconddogs andall. came intothestadiumatfrontdoor,wrappedmy orange one anotheroutin5minutes.Theysupposedtobechamps. I The match was on. The main match was boring, they knocked as wellsayIwasthefirstHollywoodwrestler. With aUnionJacksowedonmybigorangeshortpants.Imay being braveIgotsomefeathers,paintedtattoosonmybody. him asouthwesterhatandcalled‘fanemfanny’.Forme long hairgoingeverywhereandbigteethmovingabout.Igot working forme,wasafunnylookingboywithverystiffhalf it waslikeawindmill,youturnthehandle.IstillhadJimHelder T the door.WhatcouldIdonow. F knew IwastowrestleScenicHallJack,ashighthedoor. of Italy.NowI’dhadcalledmyselfSignWriterBravebutInever it readKingElletChampionofNewZealand,veteran get moreknowninthiswildblowtownofGriffith. I’ll takehimon.Nowbeingagoodshowman,andwantedto hold, aholdwhichiseven Sign WriterBravewillintroducetoGriffiththefamousXmas Sign WriterBraveinvitesthepublictoseehistrainingdisplays. over thetown.ItreadSignWriterBravevsScenicHillJack. T about Harold,getonwiththestory.) four bottlesofTooheysRed,myfavoritebeer.Don’tfuck (Stop,havetoleave it,bettergoandgetadrink.Backwith in veryhardtraining. was themanager. spell, forgiveme). Therewasastadiumintheater,calledReo(ChristIcan’t very hard,likeeverythingItakeon. down. myself. AlsoIwas16,5stone,maybecouldgetsomeweight known andwonafew.Butnothingwrittenabout. I said Ihaveawrestleraboutyourweightwhowilltakeyouon §12 gym. It wasjustbeforethewarstarted.Somechapstartedawrestling well. ing ofit,whenyoufinishIwillbuyit.Thepaintingturnedout the gutterandwindows,butnowyouarepaintinganicepaint hadsomewrestlingmatchesbeforeintownswhereIwasnot ancy, afat16,5stone5fttallbywidewrestleguyashigh I he wrestlingwasspectacular.Imadeanairconditioner; he footballclubmanagerbroughtoutaposterandputitall I t wasinthetownofGriffithwhereIfirststartedwrestling. wasalwaysgettingattackedsoI Wrestler SignWriter Brave I wasanaturalwrestlersaidmytrainerandIworked H I t wasrunbythefootballclub.CasieDooke e wantedtoputmeonaboutforme.He

unknown tobrotherJonathan.Then

had tolearndefend A ll right I said, ll rightIsaid, S o Igo .

- 3 Autobiographical notes | 49

5 giving out wine. They kept asking me to have a drink as we as we have a drink me to kept asking They out wine. giving to my work so I said a bit high getting I was Oh dear, stopped. ﬂoat and the wine run into or I’ll the truck drive boy better He said I thought girls everywhere. be wine and lovely there will happen boss. that would her thing off and was painting the ribbon Of course I ripped of a sudden the sexy acts, when all up and making and running I looked good the nude canvas. and I fell through truck stopped well, it’s nude wrapped around my neck. Oh sitting there with a told a woman walked up to the sergeant almost the end. I was see it’s indecent. The sergeant said I don’t and said arrest him, again; it really. It makes me feel young anything wrong with eyes for a bit? can’t you close your Harold in various Harold in various costumes at various Water various Water Wheel Festivals in Grifﬁth [see Chapter 1, p. 15-16].

never stopped wrestling for one month after. Griffith and sex was used I had many acts in processions at 4 a lot because it was the best thing to upset them and it was just a lot because it was the best thing to upset them and it was just another Peyton Place. I can remember one where I put a well painted nude on an easel with a ribbon across the beautiful spot, dressed up my work boy as an artist with brushes in his hand to make out he is painting it. They looked good on the platform of my Ford truck. I was the driver. We joined the procession. In front of my float was a very nice float with lovely beautiful girls ‘Wrestling day’, Harold posing as a wrestler at the age of about 29. Harold day’, ‘Wrestling I jumped on him giving him the body press. I noticed the Ref press. I noticed the Ref I jumped on him giving him the body the ring and another Ref who started the match stepped out of this Ref was a champ stepped in. He also was wrestling me; down he wouldn’t count. fighter, every time I got my opponent the Ref in the head lock So I counted myself. At one time I had both were pleading to let and my opponent in the scissors they would touch the ground, them go. At one time my shoulders he would count 12 then. get up and knocked him [to] the other side of the I would and count myself. The ring. Then I would down the tall guy into the ring and said match was only 3 rounds. The Ref got was no fall. out loud, this match was a draw, there there will soon be one and took two handfuls of hair I said got the Ref in a head out of his head, then I jumped on him, was trying to pull me lock; my trainer came into the ring and wouldn’t let go then and off him around the ring by the legs. I his hands slipped and I had him in the strangle hold. I could have killed him but I am not a killer, so I let go. I sat on top of them and said I won and held my own hand up. dog go and he bit Sorry I forgot to tell you someone let my the Ref. and the air conditioner My second got tangled up in the ropes fell to bits as he landed in the middle of the ring, it broke in bits, he picked it up, turned the handle and a bit of the fan hit me on the head. instead of I forgot to tell you my second gave me rum water. I §13 sticking out; then I threw him. I knew I had to work hard so I had to work hard so sticking out; then I threw him. I knew

4 Songs/poems | 65 I am I am , a long song in which he describes , a long song in which he describes easy to read out aloud as they are to sing, and sometimes their their as they are to sing, and sometimes easy to read out aloud of rap songs. Harold himself occasionally metre resembles that referred to them as rock songs. know how many of these he wrote, but it could We don’t represents all his have been a hundred or so. This selection (mostly happy), in important subjects: his time in Amsterdam his character, Aboriginals,London (often gloomy), his paintings, caught between love and girls, and the eternal dilemma of being strings of little tales (like art. Harold often wrote his songs as connected through his autobiographical notes and cartoons), this kind of writing is repetitive lines. The best example of an Aussie, looking for a Possie are several versions of it, his attempt to settle in London. There words or a couple of lines like many others: in some only a few entire story has been have been altered, but in others the adapted. Harold was highly dyslexic and because his songs often Since sometimes difﬁcult to incorporate Australian slang they were use of capital letters, and decipher. He was inconsistent in his even repetitive lines. The they often emphasise whole words or mistakes and brought editors chose to correct obvious spelling some uniformity to the use of capitals and punctuation.

] -

- §49 , Ah Choo  along along describes how he put the instrument aside describes how he put the instrument aside ). These elements of poetic style contribute to ). These elements of poetic style contribute to poems / The Guitar

Dressmaker

with the band and then wrote: ‘Gerry Gardiner said: you Gardiner said: you with the band and then wrote: ‘Gerry One night he taught me how to write music.’ [Chapter music.’ [Chapter One night he taught me how to write missed your vocation Harold, you have timing, should be a singer. missed your vocation Harold, you have art shows, so felt at ease in front of an audience. He sang art shows, so felt at ease in front of an This section presents a number of poems or songs (Harold uses uses a number of poems or songs (Harold This section presents the wrote for roughly a decade from both words) that Harold in Amsterdam and early 1970s. In this period he lived alternately on his experiences in London. The focus is therefore mainly cartoons. His output of these two cities, as is the case with the 1980s, but in this same poems or songs seemed to wane in the notes. It is inter period he began keeping his autobiographical esting that these notes, while constantly referring to his paint esting that these notes, while constantly reference to, or quotes ings, exhibitions and murals, lack any from, his songs. does tell us about his first contact with music But Harold singing and writing. In that made him confident enough to start the former bass player of Papua New Guinea, Gerry Gardiner, became front-man for the then famous Johnny O’Keefe band, in Port Moresby. Harold the house band in Harold’s restaurant dances, as a wrestler, in had been on stage before: doing funny and the strong rhythm that carries the poems/songs, so they are as the strong rhythm that carries the poems/songs, so they are as Not much later, in Amsterdam, he wrote his first song or poem. his first song or poem. Not much later, in Amsterdam, he wrote One cartoon portrays him and his dog, Captain Beefheart, in ‘their’ studio in Amsterdam: ‘…they could write rock songs with one hand and play guitar with the other, write signs with one foot and play drums with the other, write poems with their tail and paint with a brush in their mouths’. It’s a good example of how he saw himself, with all his capacities. Whether Harold wrote these as real poems or as lyrics with music already in his head is unclear. struggled to play it In London he bought an old guitar but – the song in frustration. In spite of that, he recorded almost all of his songs on tape and sent them to a record company in London. In his cartoons he depicts three Mr Wormy’s (one ‘with keen cold eyes and half a smile’) from Wormy Bros Record Company. The cartoon is part of the imaginative tale about Harold and Captain Beefheart having their own band. his short lines not Harold’s language is direct and simple; only rhyme but often also have internal rhymes, too. He echoes words or uses onomatopoeia, sometimes together (e.g. Songs 4 66 | Part II Harold Thornton’s writings He saidyouhavenopainbutwemust Three times,threetimesIcriedmywater. The nursesaidassheplayedwithastringwewantsample The dayswentbywithahazetheyputmeunderan Ifeltsick Thing shegavemethreecartons&sticksfordays tofix thenice I amaKangaroo,strikemelucky,oughttoknow,stick tomy atmyself How manytimeshaveyoubeenyellowmyfellow?Idon’t look doctorsaid Mixed meupawitches’ girl The Dutch Ihave  You’re sufferingfromimagination.SoIwenttoseethenice Next daytheykickedmeoutandsaidyou’renotapatient Going wrong.NowIamina Send youtothe In mydayI’vedrankabrewortwo,butthislittledropwill terrible I am My temperaturerise. She putthethermometerinmybackside,youcouldfeel I amaKangaroonotusedtothisbloody I am There’s nothingwrongwithyou,yousmile I thoughtthisisit:I’vegotpainter’scolic,buttheysaid At thenursesIsmiledandsmiled,theytookasampleofmyblood I amHaroldtheKangaroo.hadtogodoctor’sagain.  Witches brew. I’ll shotthroughtothe There’s nothingwecando,youmayhaveavirusortwo,soIthink Haven’t gottheDutch withyou And shavedmeandsaid:You’rebeaut,there’snothingwrong She laidmedownthecouchinmybirthdaysuit,pushed They saidyou’reinafix,theytookmetoladydoctor Because you’reaKangaroo.Nowit’sfourmonthsI’vebeensick Getting highbecauseyou’regettinghigh,   Said you’regettingworsewhatajerkcurse! I don’tknow,somaybeI’llblow,theniceDutchnurse   AH CHOO 26 August1971(writtenonHarold’s 56th birthday) said.   -sister. Shesaid:hellomisteryoulookyellow. IhavetheDutch IhavetheDutch 

    the the   Iam      .      IhavetheDutch saidthenurse,butyou’re ? You’reaKangaroothemandoctor   ,    the , thatnightthingswereabitskook , itwassostrongthoughtI . Ihadtogothedoctorsagain Iam Iam  IhavetheDutch threetimesadayItakethis    IhavetheDutch  whatitis   , whattodo , Iam the the saidthenurse aprettyGerman      -ray the   .  the . 20 October1972  It’s blueandgreen And blueandgreenhope Blue andgreensoap Monotony – And blueandgreeneyes Blue andgreenlies Blue andgreenmudbluelove That ﬁllsusfullofcheer But there’sblueandgreenbeer Monotony – That aretoosweet So thereisblueandgreenteeth They’re allthesame Blue andgreentrains And blueandgreenbrains There isblueandgreenrain Blue andGreen– And blueandgreenballs There isblueandgreenwalls Blue andGreen– All I’veseenisBlueandGreen Since I’vebeeninHolland Blue andGreen meout. 4 Songs/poems | 67     

     I met the politest nice chappies When I was about the roundhouse They took me to the Stone Henge Told me it was legal I believed them Everything went well there was no hell What a shame the coppers came drove us insane Then farmer Brown popped up through the crops And said you can’t camp here this is my ground It’s a pity you’re dirty hippies and bold I bet you’re all on the dole, I work for my living Not much, one hippie cried, by the size of your guts How are you mate I sensed London a Bonzer Place And sport there are plenty of good sorts The booze is crook and tastes like horse’s piss But I don’t feel quite I can Still buy Aussie beer I am a little Aussie looking for a Possie In Went to Trafalgar Square; a big pole there I was told there’s a man standing on As high as a mountain next to a fountain So beautiful don’t want to go anywhere The coppers looked twice And the people are nice Black and white seem to mix alright I am a little Aussie looking for a Possie In For the start offhand the Clancy rockband I was staying with on the floor Was a bit of bore sleeping I had no room to move their groove But I could get into I always knew they knew their game Now they are a band of fame They are good blokes Always ready for a joke I am a little Aussie looking for a Possie red trains The underground is strange with little Somewhere to get out of the rain You feel like a rabbit and get the habit find Bakerloo line Piccadilly line I can never and then get lost It’s a flop I get squashed blow my top Can’t even breathe can’t even sneeze I am a little Aussie looking for a Possie In The customs let me through The customs we know you They said the Kangaroo You’re Harold You have two art shows find a studio So you will have to looking for a Possie I am a little Aussie In I am a little Aussie looking for a Possie for looking a little Aussie I am for a Possie Aussie looking I am a little In    it has porno shops, you may think they’re shops, you may it has porno  Leaning buildings that seem to go, to-and-fro and some with a bow to go, to-and-fro and that seem Leaning buildings 7 April 1972 7 April 1972 Man! Oh Man! Amsterdam is a Fa Fa Fa Man! Amsterdam Man! Oh water see all the muddy canals you ought to Winding their act with a quack, the child band close The ducks swim past tower the big clock chimes on the Amsterdam is a fairyland, can hear it all around. As a rich sound you streets made of cobbles Pretty lights, and narrow pop like a lot. Somewhere to buy chocolate With little shops I is a fairyland Because Amsterdam it large smell it from here I always order Heineken Beer, I can out of my ears and eyes Drink it until it runs bridges have charm and The little boats and the friendly people Nobody wants to do you any harm, lips Have nice smiles white skins and red The pretty girls I like to kiss Fa Fa For man, Oh man, Amsterdam is a Fa and if you go in Rijksmuseum is a very fine building number for For a walk you will think you’re a back by the time Having to look at all that burnt humbler off You get to Rembrandt you’re browned Amsterdam is a fairyland The Modern Museum I adore The masters as I stroll around the floor colour Because I am a lover of their beautiful Van Gogh You always notice everybody looks at is a Fa Fa Fa Because man, Oh man, Amsterdam  Man! Oh Man! Amsterdam is a fairyland is a Man! Amsterdam Man! Oh Fa Fa Fa Amsterdam is a fairyland Amsterdam

5 Tales of Harold the Kangaroo and Captain Beefheart the Dog | 77

between 1971 and 1976, and portray Harold’s adventures in in and portray Harold’s adventures between 1971 and 1976, and comment in an often highly ironical these years. They surround Harold refer fantasy. Many of the fantasy ﬁgures that life as animals or even to real people, but they are given a new tales, he depicts himself ghosts. Being the lead character in the that he creates, he mixes as a kangaroo. In the wondrous world to him with his most deeply the unpleasant things that happened had met in Amsterdam, cherished wish: to marry Sky, who he story closes the tales. in Westminster Abbey. This very short fairy-tale style on what happens to him and his dog Captain and his dog Captain fairy-tale style on what happens to him reality and sheer Beefheart, going back and forth between - -

oured crayons or paint. These were probably the only materials probably the only materials oured crayons or paint. These were years. The accompa he could afford during these quite difﬁcult sheets of paper and nying texts were handwritten on lined glued to the back of the cartoons. original folder of cartoons, of which the cover drawing The approximately 60 and ten tales are presented here, contained endings and there must pictures. The tales have all kind of loose Harold’s nomadic life.have been more, unfortunately lost during scenes are all located in Amsterdam and London, The Harold drew his cartoons – as he referred to them – in the 1970s the 1970s – as he referred to them – in Harold drew his cartoons col or paper of different sizes with on (corrugated) cardboard Tales of Harold the Kangaroo and and Kangaroo the Harold of Tales

Beefheart Captain the Dog 5 78 | Part II Harold Thornton’s writings Tale 1 the actress namedKarinthegoodWitch.Karin’sboyfriendfrom blonde PonyCalifornianIndiangirl,andthebeautifulDutch of hisgoodfriends:JudythelovelyElephant,Skybeautiful their food&secondhandclothes,thatweregiventhem.Soﬁve The workersgotnowages.Theylivedlikemonks,justreceived who wantedtokickdrugs;alsohelpedthoseneededit. country oftheworldworkedthere.Theylookedafterjunkies He foundaplacecalledDeLaurier.Alotoffreaksfromevery Harold, theKangarooarrivedinAmsterdamfromAustralia. try toescape. wear shoes.TheyrunbetterwithoutButHarolddidn’t be abletorunfast.Theywerewrong,asaruleKangaroosdon’t Harold’s shoes,becausetheysaidifhegetsawaywouldn’t They puthiminjailuntiltheendofday.Thecopperstook believe him.Hehadnoreturnticket,sohecouldn’tgetin. When HaroldarrivedinHollandtheyoungcopperswouldn’t Captain Beefheart,afterBeefhearttheBandsman. the littleblackpuppythatusedtoridearoundinhispouch the greatestgeniusthateverlived.HaroldKangaroo called the cleverestdoginworld.BecauseHaroldKangaroo is But withHaroldtheKangaroo’steachingpuppyturned into Water RatWitchhasneverforgivenherboyfriendto this day. wooden muddyDutchshoeson.Karinthebeautifulgood was sopleasedhegotdownandkissedherfeetshe hadbig her togivethelittleblackpuppyHaroldKangaroo.He she saidno,butherboyfriendPaul,theWashedOutOwl,got Karin thegoodWaterRatWitchtogivehimpuppy.Atﬁrst little blackpuppylovedHarold.Sohebeggedthebeautiful Harold theKangaroojustlovedlittleblackpuppyand they likedogs,andareverykindtothem. water rat.MostlythepopulationinHollandareratsand looked acleverlittledog.KarinthegoodWitchisbeautiful was acleverlittleblackpuppywithcurlytailandbigeyes.He cruel peoplehadputtheminarubbishbinandleftthem.One dam andshefoundfourlittlepuppiesinarubbishbin.Some One dayKarinthegoodWitchwasgoingforawalkinAmster get usedtothem,hesaid. don’t wearclothesinAustralia,it’stoohot.ButIwillhaveto is goingtobecoldhereinAmsterdamthiswinter.Kangaroos clothes; youbetterwearthemorwillhavetoleaveandit Storky, whobroughtthebabies.Wehaveyousome  HaroldcomestoHolland , hewascalledtheWashedOutOwl;notforgetting

- 5 Tales of Harold the Kangaroo and Captain Beefheart the Dog | 79 - -

ies & workers how to paint. To Harold most junkies are artists, artists, to paint. To Harold most junkies are ies & workers how are world, so they go for drugs and drugs too sensitive for the used job teaching, so Harold and Captain no good. It’s a hard own. Being the greatest to love working in their studio on their rock songs with one hand genius that ever lived they could write signs with one foot and and play guitar with the other, write with their tail and paint play drums with the other, write poems Harold the Kangaroo with a brush in their mouths. Of course couldn’t do this with clothes on. to De Plorea [De Laurier] When Harold the Kangaroo first went was 50 years behind the in Amsterdam he was told Australia he painted some abstract world and had no culture. But after murals flipped out the murals, oh what a big upset, his abstract So they painted them flippers and flipped out the non-flippers. was happening. There’s all-out. His cultured friends saw what Washed out Owl and the Sky, Karin the good Witch, Paul the were all horrified. very cultured Hurry the Crow. They garoo, who had all the girls crazy about him also. Alas, he fell in in Alas, he fell also. about him girls crazy all the who had garoo, very a good match. Captain, beautiful Sky; what love with turn of kissing girl dogs had their lover boy dog, the handsome Lady belonged to got jealous. his real sweetheart, him as Lady, were four lovers. Sky, so there had fun in their studio in De Laurier, Harold, Sky and Captain Harold the Kangaroo said I love colour, so Amsterdam. Harold their shoes & clothes. I am a colourful and Captain painted and they all laughed. Kangaroo, he shouted the junk job at De Laurier was to teach Harold the Kangaroo’s All the boys tried to win the beautiful Californian American American Californian the beautiful to win boys tried All the Kan the with Harold in love but she fell Sky, girl named Indian

Archibald Prize Contest 1958 Allen, Christopher, Art in Australia: From Colonization 1946 Wollongong, , Australia (with catalogue) to Postmodernism. Thames and Hudson, 1997. Old Bill the Bootmaker (William Roberts) Baily, Ron, The Squatters. Penguin Books, 1973. 1958 Baily, Ron, The Homeless and the Empty Houses. Penguin 1948 Bissietta Art Gallery, Sydney, Australia Books, 1977. Roy René (Mo) Carlano, Annie (ed.), Vernacular Visionaries: International 1963 Outsider Art. Yale University Press/Museum of 1952 Gloucester, , Australia International Folk Art, Santa Fe, 2003. Mr. E.V. Timms (Author) David, Thomas, Desiderius Orban: Retrospective. 1984 New Castle Art Gallery, Newcastle, , 1969. 1954 United Artists Gallery, St. Kilda, Melbourne, Australia Brahman, Susan, Desiderius Orban and Selected Students. Chief Attendant of the Art Gallery NSW Catalogue of an exhibition held at The Lewers 1985 Bequest and Penrith Regional Art Gallery, 5th 1954 Pitt Street Studio, Sydney, Australia August–2nd October 1988. Alister Brass Foundation, The Famous Michael Kmit Sydney, 1988. Jan–March 1988 Docking, Gil, Desiderius Orban, His Life and Art. 1955 Woodside Hall, Griffith, , Australia Methuen Australia, North Ryde, , 1983. The Genie (large retrospective exhibition) Harrison, Paul, Inside the Inner City: Life Under the Cutting Edge. Penguin Books, 1983. 1982 1989 Hughes, Robert, Nothing If Not Critical. Selected Essays Al Grassby Oude Kerk (Old Church), Amsterdam, on Art and Artists. Harper Collins Publishers, 1990. the Netherlands (large retrospective exhibition) Hughes, Robert, The Shock of the New. Art and the 1983 Century of Change. World of Art, Thames & Hudson, Dr Brown and Green Old Time Waltz 1991 1991. Moore Park Gallery, Sydney, Australia Hungerford, Alice, UpRiver. Untold Stories of the 1984 Franklin River Activists. UpRivermob, 2013. Renée Geyer 1992 MacLagan, David, Outsider Art. From the Margins of the Inner Circle Gallery, Sydney, Australia Marketplace. Reaktion Books, 2009. Mak, Geert, Een kleine geschiedenis van Amsterdam. Wynne Prize Contest 1993 Atlas, Amsterdam/Antwerp, 1995. 1945 Pod Theatre, Darlinghurst, Sydney, Australia Mamadouh, Virginie, De stad in eigen hand, provo’s, Redfern Lane kabouters, en krakers als stedelijke sociale beweging. 1999 Amsterdam, 1992. 1948 ‘Sydney Eccentrics, A Celebration of Individuals in Norman, James, Bob Brown. Gentle Revolutionary. Weir, Lake Cargelligo Society’, State Library of , Sydney, Australia Allen & Unwin, 2004. Old Bathurst Orban, Desiderius, A Layman’s Guide to Creative Art. Edwards & Shaw, Sydney, 1957. 1949 Orban, Desiderius, What is Art All About? Van Nostrand Sydney Reinhold, 1978. Rexer, Lyle, How to Look at Outsider Art. Harry N. 1953 Abrams, 2005. Darlinghurst Steps Rhodes, Colin, Outsider Art: Spontaneous Alternatives. World of Art, Thames & Hudson, 2000. 1955 Rimas Kabaila, Peter, ‘Harold Thornton.’ In: Griffith Backyards of Darlinghurst Heritage: A Thematic History of Griffith Based on a Community Heritage Study. Prepared for Griffith City 1957 Council and  Heritage Office. 2005, pp. 151–152. Chapel Lane, Sydney Smith, Bernard, The Death of the Artist as Hero: Essays in History and Culture. Oxford University Press, 1959 Melbourne, 1988. Blast Furnace, Wollongong Smith, Sydney Ure, Understanding Art. Desiderius Orban. Ure Smith, 1968. 1982 Sydney Opera House

1984 Blue Waters of Sydney Harbour

Sir John Sulman Prize Contest 1959 Blast Furnace, Wollongong 158