Richard Middleton (Sticks) - Transcript of Interview

Total Page:16

File Type:pdf, Size:1020Kb

Richard Middleton (Sticks) - Transcript of Interview Australians at War Film Archive Richard Middleton (Sticks) - Transcript of interview Date of interview: 4th September 2003 http://australiansatwarfilmarchive.unsw.edu.au/archive/803 Tape 1 00:38 Well, good morning. My name’s Richard Middleton and I was born in 1932 in Brisbane, Queensland. I started off life a very confused little fellow and I’m at the age of 71 now and I’m still confused, but that’s not the point. I had a lot of happy memories as a child, but then again, when I got to the age 01:00 of about nine, my mother died and I was left in a situation where I believed I had a father and a sister and brother, which only turned out to be a father but a stepsister and stepbrother who…and I was then in the situation where I wasn’t needed around the place - I was surplus to requirements and my father, who was a very brutal man and drinking man, I had some…no one to fall back on to so 01:30 I had a lot of problems and I decided at a very early age that any other place was far better for my health than where I was so I persisted with it until I was old enough to get out of it and I did. I went to school. I liked school but my brother was much smarter than I because my father sort of doted on him. My sister wasn’t allowed to help much because she was only a female and in those days females had to keep their 02:00 place and know their place in life. Lorna to me was more like a sister and a mother after my mother died. So school and I sort of didn’t agree much. So I must admit history and geography were my favourite subjects. drawing, acting the fool was the best, but being in school wasn’t very funny. After my mother died I was sent to Toowoomba to my Aunt Alice’s place, 02:30 who was a sister of my father, and I sort of got out of the fire into the frying pan because she was a very religious lady and she tried to impound her knowledge on the hereafter on me and I sort of rejected this in large lumps so I gave her merry hell in my own inevitable way as a nine year old possibly can, and a Scorpio I might add, so I was shipped back to my father who in the meantime had married 03:00 again and this lady came into my life. Even though I didn’t know her, she was my godmother, I sort of vowed and declared that I wouldn’t let anyone take my mother’s place but over the years as things went by I learnt to love this woman very deeply. She was a very genuine and honest person and even to this day I miss her very much, but transgressing there a bit. 03:30 I got to the age of 14 and I was at Ashgrove State School then and there was a Mr Wink there who was I think he was an offshoot from some Gestapo organisation because he did not like me and I did not like him, and I read or heard somewhere that the day you were 14 you could walk out of school, and in the middle of a mathematics examination, of which I was not doing terribly good at, I put my hand up and asked is that true you can leave school the day you’re 04:00 14 and he said that is correct. I said, “You can just walk out?” He said, “That’s correct.” I started packing my gear up and he said, “Where are you going?” I said, “I’m leaving school. I’m 14. I’m out of here.” So I walked out the door and I went home. I never thought of the consequences, because even at 14, I was a big lump of a lad. My father was still big and he could hit hard and I went home and when I told my stepmother about this, she freaked out. “What in God’s name are you going to tell your father?” Well, I hadn’t even got that far, 04:30 but I told him at dinner that night and he said, “Well you’re not going to bludge on me, boy. You’d better get yourself a job. So what do you want to do?” Well getting away from home was the best thing I could do getting away from him so I said, “Well, I’d like to I’d like to go and work in cattle stations and do things like that.” Why I don’t know because I’d never been away from home before apart from Aunt Alice’s place and going onto a cattle station was beyond my wildest 05:00 imagination because I didn’t know what the heck it was all about. So I went out to a place out at Chinchilla fellow by the name of Green, and Mr Green was one of the old tough old schools, because if anyone knows what an old tin milking shed is, like, it’s about 12-by-12 and there was an army cot in there - an iron wire cot, a dirty old mattress that I think the WAS DOUBLE QUOTE CHOOK s used to lay eggs on, but 05:30 it was cleaned down and one pillow and two blankets. No floorboards, no curtains, no nothing, and a kerosene lamp, and that’s where I stayed, and Mr Green told me that I would be working from sunup until sundown and he wasn’t joking, and he also told me at night when he whistled I was to come over to the house and get my meals, but he didn’t tell me that when he whistled that the dog turned up at the same time and that dog beat me twice to meals at night 06:00 and ate both meals and I didn’t get any, and course when I saw Mr Green about it, he said, “Well, you’ve got to smarten your footwork boy.” Shut the door in my face and I had to wait till breakfast. Things were tough. I worked for the pricey sum of, today’s money, $1.25 for a six-day week, swinging a nine-pound short shaft Kelly axe, ringbarking. Now I had never done that in my life before, and within a couple of days I 06:30 had blisters all over my hands and a couple of days after that I had blisters on those blisters, and when I said to him, “What can I do?” and I…he said, “Peel them, boy. That’ll make them strong and hard.” And that’s the only medication he gave me and I still had to swing that axe and there was no messing’ around with Mr Green. Mr Green and I parted company after three weeks because one of his cows…we 07:00 had to had to run them one day in a bit of a storm, and they were Amber and Angus, they were Black Polls and one of them puffed up and died because we ran them too fast and they’re not used to that sort of thing, and it lay there for a day before he went out and butchered it and I wouldn’t eat the meat. I didn’t think it was good because I’d never seen cattle butchered before, and I’d never didn’t think it was a good idea so I didn’t have terribly much to eat for a couple of days so I said to myself, 07:30 “Mrs Middleton’s little boy Richard should be in another place,” and I, I got the hell out of it. Now, the show was on at the time Chinchilla show and he said he wasn’t going to take me into town on a special trip so I had to wait till they went to the show, which was Saturday and he paid me by cheque right for my three odd weeks, which I couldn’t get cashed, and here I was, 14 years old at Chinchilla. Could have been the other side of the moon 08:00 for all I knew, and I did not have a clue how the hell to get to Brisbane or which direction it was in. With my little trusty port [bag] and my little hat on my head, I thought, “Well, what the hell am I going to do?” and I ran into this bloke who wanted to know a lot about me and he looked like he was a soldier was in khaki with his hat turned up on the left hand side, but he turned out to be a copper. And I’d never seen a country copper before, and he wanted to know what I was doing, and by that time I was pretty close to tears because I was not impressed 08:30 with the country people in general, and Mr Green in particular, so I told him the story and he said, “That mongrel.” “Alright son,” he said, “what’s the cheque for?” So he pulled the money out of his pocket and he said, “I’ll fix Green up,” and he rode me down to town down to the railway station in his - what was it? Was a motorbike with a sidecar, which I thought was a good idea because I’d never ridden on a motorbike before, nor a sidecar, and I had to wait about five hours for the train to come, so a 14-year- old boy 09:00 from the city sitting on a railway station with a thousand flies waiting for a train to come was more than I could cop and thinking all the time, “What the hell’s my father going to do when I front up?” Anyhow, I got to Brisbane safely and I went down there and I got home and he was not impressed, and I ended up getting another job out at Winton.
Recommended publications
  • Anglo Australian Young People
    Report No 6: Anglo Australian Young People Australian Multicultural Foundation Ethnic Youth Gangs in Australia Do They Exist? Report No. 6 Anglo Australian Young People by Rob White Santina Perrone Carmel Guerra Rosario Lampugnani 1999 i Ethnic Youth Gangs in Australia – Do They Exist? Acknowledgements We are grateful to the young people who took time to speak with us about their lives, opinions and circumstances. Their participation ought to be an essential part of any research of this nature. Particular thanks goes to Megan Aumair for making contact with the young people, and for undertaking the interviews. The Criminology Department at the University of Melbourne hosted the research project, and we are most appreciative of the staff support, office space and resources provided by the Department. We wish to acknowledge as well the assistance provided by Anita Harris in the early stages of the project. Thanks are due to the Australian Multicultural Foundation for financial support, information and advice, and for ensuring that the project was able to continue to completion. We are also grateful to the National Police Ethnic Advisory Bureau for financial support. About the Authors Rob White is an Associate Professor in Sociology/Law at the University of Tasmania (on secondment from Criminology at the University of Melbourne). He has written extensively in the areas of youth studies, criminology and social policy. Santina Perrone is a Research Analyst with the Australian Institute of Criminology where she is currently working in the areas of workplace violence, and crime against business. During the period of the present study, she was a lecturer and researcher in the Department of Criminology at the University of Melbourne.
    [Show full text]
  • Early Examples Youth Subcultural Styles
    Bloomsbury Fashion Central - 18.1.2019 17.02 Sign In: Aalto University Personal No Account? Sign Up About Browse Timelines Fairchild Books Store Search Databases Advanced search The Berg Companion SUBCULTURES to Fashion David Muggleton eBook Valerie Steele (ed) Pages: 657–661 Berg Fashion Library A point on which many costume historians have concurred is that fashion, as it is currently understood—the propensity for continual change in clothing designs, colors, and tastes—is a relatively recent phenomenon in the history of humankind, virtually unknown before the fourteenth century and occurring only with the emergence of mercantile capitalism, the concomitant growth in global trade, and the rise of the medieval city. (Among the few exceptions are Tang Dynasty China and Heian Period Japan.) Other scholars have analyzed fashion as an aspect of a distinctively modern and Western consumer culture that first gained impetus in the eighteenth century, concurrent with the onset of the industrial revolution. Either way, to be “fashionable” in this sense of the term must not be understood as a natural, universal, or biologically given aspect of human behavior, but as a socially and historically specific condition. Fashion is, in other words, a cultural construction. Its very existence, form, and direction are dependent on the complex interplay of quite specific economic, political, and ideological forces. If fashion is cultural then fashion subcultures are groups organized around or based upon certain features of costume, appearance, and adornment that render them distinctive enough to be recognized or defined as a subset of the wider culture. Depending on the group in question, subcultures may be loosely or tightly bounded; their collective identification may be self-attributed or imputed to them by outsiders.
    [Show full text]
  • Bogan-Ville: Reframing Class and Place Through Humour
    University of Wollongong Research Online Faculty of Science, Medicine and Health - Papers: part A Faculty of Science, Medicine and Health 19-2-2013 Welcome to Bogan-ville: reframing class and place through humour Chris Gibson University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/smhpapers Part of the Medicine and Health Sciences Commons, and the Social and Behavioral Sciences Commons Recommended Citation Gibson, Chris, "Welcome to Bogan-ville: reframing class and place through humour" (2013). Faculty of Science, Medicine and Health - Papers: part A. 173. https://ro.uow.edu.au/smhpapers/173 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Welcome to Bogan-ville: reframing class and place through humour Abstract On August 4, 2009, Australian online news commentary website the Punch announced that Albion Park, in the Australian industrial city of Wollongong, was one of the nation's top ten “most bogan” places. This paper explores what it means to be bogan in Australia, tracing historical antecedents, local debate at the time of this media event, and the manner in which the politics of class and place identity are negotiated through humour. Some local residents railed against associations with “lower-class” culture or feared damaged reputations for their neighbourhoods; others responded in sometimes unexpected and creative ways—through humour, and by claiming bogan as an alternative source of legitimacy for working-class identity. I reflect on this case for how humour operates ambiguously in an age of email, blogs, and social media technologies—building on previous norms of media dialogue and on established understandings of class polarisation in Australian cities.
    [Show full text]
  • Southern Land, Hardened Heart: the Possibility of Australian Neon Noir
    Southern Land, Hardened Heart: the possibility of Australian neon noir Christopher Przewloka Bachelor of Fine Arts (Creative Writing) Creative Writing and Literary Studies (Hons) Creative Industries Faculty Creative Writing and Literary Studies Discipline Queensland University of Technology Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy 2016 Keywords Neon noir, hard-boiled, crime writing, genre, craft, Australian fiction, creative writing, practice-led research. ii Abstract Much can be learnt from dwelling in the dark underbelly of society, and it is for such reasons neon noir crime fiction has become one of the most enduring ways of analysing our culture at large. Evolving from the hard-boiled private detective stories found in early pulp fiction magazines, neon noir offers violent narratives that vivisect the social, historical, and political landscape, often blurring the line between fact and fiction. Thus neon noir eschews the romanticism of the classic hard-boiled model, and embraces something far more subversive: populist novels driven by contemporary cultural analysis. Despite both literary and commercial success in North America, Australian authors have often shied away from wholly embracing the neon noir style. This is somewhat perplexing, as Australia has had a long and enduring relationship with all forms of crime writing, especially hard-boiled—the progenitor of neon noir. So why do we shy away from the neon noir style in Australia? What are the difficulties, considerations, and possibilities of localising the form? Do the conventions of the sub-genre shift when placed in an Australian setting? This practice-led thesis consists of an Australian neon noir novel entitled Coffin’s Reach, and a 50,000 word exegesis that accompanies the creative work.
    [Show full text]
  • Abstracts and Contact Details
    1 THE INAUGURAL SYMPOSIUM OF THE INTERDISCIPLINARY NETWORK FOR THE STUDY OF SUBCULTURES, POPULAR MUSIC AND SOCIAL CHANGE London Metropolitan University, Thursday 15 and Friday 16 September 2011. - Abstracts and Contact Details - Christian Punk, Subcultural Resistance and Populist Traditionalism. Ibrahim Abraham, University of Bristol, UK. - [email protected] The idea of music-based subcultures as vehicles for socio-cultural resistance seems – at best – rather retro. A decade or two of British subcultural studies has abidingly argued for the depoliticized nature of music subcultures, or their irreducible internal multiplicities such that thick political descriptions are decidedly difficult. Drawing on interviews with 46 Christian punk musicians and fans from the UK, USA and Australia, this paper argues that Christian punk is a contemporary music-based subculture that evinces a subtle but determined program of individual and collective resistance to what it constructs as the mainstream culture of secular modernity and liberal capitalism. Developing the concepts of ‘populist traditionalism’ and ‘populist anarchism’ utilized in the analysis of popular music and culture by US American sociologist and theologian Tex Sample, this paper analyses the ways in which the values of punk and the ethics of Evangelical Christianity are deployed as tools of resistance by young people, and the ways in which they seek to remedy the contradictions between these traditions. This paper offers further evidence that empirical analysis of specific
    [Show full text]
  • Understanding Popular Music, Second Edition
    Understanding Popular Music Understanding Popular Music is an accessible and comprehensive introduction to the history and meaning of popular music. It begins with a critical assessment of the different ways in which popular music has been studied and examines the difficulties and debates which surround the analysis of popular culture and popular music. Drawing on the recent work of music scholars and the popular music press, Roy Shuker explores key subjects which shape our experience of music, including music production, the music industry, music policy, fans, audiences and subcultures, the musician as ‘star’, music journalism, and the reception and consumption of popular music. This fully revised and updated second edition includes: • case studies and lyrics of artists such as Shania Twain, S Club 7, The Spice Girls and Fat Boy Slim • the impact of technologies including on-line delivery and the debates over MP3 and Napster • the rise of DJ culture and the changing idea of the ‘musician’ • a critique of gender and sexual politics and the discrimination which exists in the music industry • moral panics over popular music, including the controversies surrounding artists such as Marilyn Manson and Eminem • a comprehensive discography, guide to further reading and directory of websites. Roy Shuker is Associate Professor in Media Studies at Massey University, New Zealand. He is the author of Key Concepts in Popular Music (Routledge 1998). LONDON AND NEW YORK Understanding Popular Music Second edition I Roy Shuker First published 1994 now known or hereafter invented, including by Routledge photocopying and recording, or in any 11 New Fetter Lane, London EC4P 4EE information storage or retrieval system, without permission in writing from the publishers.
    [Show full text]
  • A History of the Early Days of Rock 'N' Roll in Brisbane . . . As Told by Some
    A history of the early days of rock ‘n’ roll in Brisbane . as told by some of the people who were there. Geoffrey Walden B. Ed., M. Ed. (Research) Thesis submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy to the School of Cultural and Language Studies in Education, Faculty of Education Queensland University of Technology January 2003. Abstract The music history that is generally presented to students in Queensland secondary schools as the history of music is underpinned by traditions associated with the social and cultural elite of colonialist Europe. On the other hand, contemporary popular music is the style with which most in this community identify and its mass consumption by teenagers in Brisbane was heralded with the arrival of rock ‘n’ roll in the mid-1950s. This project proposes that the involvement of the music education system in, and the application of digital technology to, the collection and storage of musical memories and memorabilia with historical potential is an important first step on the journey to a music history that is built on the democratic principles of twenty-first century, culturally and socially diverse Australia rather than on the autocratic principles of colonialist Europe. In taking a first step, this project focused on collecting memories and memorabilia from people who were involved in an aspect of the coming of rock ‘n’ roll to Brisbane. Memories were collected in the form of recorded conversations and these recordings, along with other audio and visual material were transferred to digital format for distribution. As an oral history focusing its attention on those who were involved with the coming of rock ‘n’ roll to Brisbane in the mid to late 1950s and the early 1960s, this project is intended as a starting point for that journey.
    [Show full text]
  • CHACA May 2018 JOURNAL
    The official magazine of the Classic & Historic Automobile Club of Australia ACN 004 677 570 May 2018 Volume 52 Number 11 On our way to Gisborne, club run 22 April 2018 To bring together persons with a common interest, to encourage the use, maintenance and preservation of automobiles built from the 1st January, 1931 up to 25 years old, without prejudice to make, model, method of manufacture or country of origin. Committee Meetings Secretary: Brian Garrett 4th. Thursday of the month at 8pm (except December) at [email protected] CHACA Clubrooms, Unit 8, 41 Norcal Road, Nunawading Mob. 0400 166 762 Tea, coffee and snacks are served at the conclusion of each President: Brian Garrett meeting. Visitors and prospective new Members are welcomed. [email protected] CHACA is a Disabled Friendly Club with fully paved parking Mob. 0400 166 762 facilities, level access throughout, disability toilets, PA system with Tele-Loop compatibility for hearing impaired and wheel- Vice President: James Allan chair lift to the upstairs library. The Club is equipped with a Ph. 03 9729 6729 portable defibrillator for medical emergencies at all meetings Treasurer: Fred Eakins and events. [email protected] Club Newsletter Ph: 03 9735 1151 The Journal is published monthly. Items for inclusion in the Mob: 0408 343 409 Journal must be mailed, emailed or passed on to the Editor at Editor: René Gielen Club Meetings. The Committee reserves the right to edit or [email protected] decline any article deemed unsuitable. Photographs submitted Mob. 0430 526 328 for possible publication should preferably be glossy 5”x 7” or Property Officer: Eddie Reynolds 6” x 4” prints or high resolution jpg/bmp images to ensure best [email protected] reproduction in the Journal.
    [Show full text]
  • The Scientists and Grunge: Influence and Globalised Flows
    (This essay was first published in Jon Stratton Australian Rock: Essays on Popular Music, Network Books: Perth, 2007) The Scientists and Grunge: Influence and Globalised Flows The Scientists, or at least two of the band‘s three members, left Perth for Sydney in September, 1981. By this time Kim Salmon was already redefining the sound of the band. In Perth the first version of the Scientists, with James Baker who subsequently joined the Hoodoo Gurus on drums, had produced what, in retrospect, was the quintessential Perth punk album. Released in 1981, the Pink Album as it came to be known for its pink cover was composed of songs that had a powerful combination of English and American influences. Crudely, you could say the sound amalgamated the Sex Pistols and the New York Dolls. However, the band‘s over-riding influence was the conservative tunefulness of the English power-pop tradition that runs from the Troggs to the Buzzcocks and the Vibrators. The Scientists mrk I had already decided to break up when the Pink Album was recorded. Salmon subsequently formed the short-lived band Louie Louie with the drummer who would later provide the beats for the second version of the Scientists, Brett Rixon. It was during this time that Salmon began to evolve the sound that would characterize the second, and more well-known nationally and internationally, version of the Scientists. ‗Swampland‘, a song that will feature prominently in the historical narrative of this chapter, was written at this time with the third member of Louie Louie, Kim Williams.
    [Show full text]
  • Road Runner 6(1) January 1983 Donald Robertson Editor
    University of Wollongong Research Online Roadrunner Historical & Cultural Collections 1-1983 Road Runner 6(1) January 1983 Donald Robertson Editor Follow this and additional works at: http://ro.uow.edu.au/roadrunner Recommended Citation Robertson, Donald, (1983), Road Runner 6(1) January 1983, East Sydney, New South Wales, 64pp. http://ro.uow.edu.au/roadrunner/49 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Road Runner 6(1) January 1983 Description Contents: 2. Upfront—The sP ychedelic Furs/ The ainS ts/ Great White Noise/ Ya Ya Choral/ Iron Maiden/ Zoo. 7. Singles Reviews/ The Belle Stars. 8. The Reels. 11. Go Ask Alice. 14. Mental As Anything. 16. Dexy’s Midnight Runners. 20. The eN w Cabaret. 24. Tim Finn. 28. Ivan Lendl. 32. Sounds from Senegambia. 36. King Sunny Ade. 40. Beatnix. 41. John Cooper Clarke. 42. Simple Minds. 44. Film Reviews. 46. Recording an Independent Single. 48. Les Bean (Fashion). 49. Casio Keyboards. 50. New York, New York. 53. Album Reviews. 61. Home On The Road (Fiction). 64. Black Power. Publisher East Sydney, New South Wales, 64pp This serial is available at Research Online: http://ro.uow.edu.au/roadrunner/49 JANUARY 1983 hterview with h Rowlands TENNIS’ RISING ng Sunny Ade % nts, Oz Albums ’82 9 \ r r S' appy G2ADOO QOE7 ROADRUNNER PUBLISHER. Donald Robertson . •* EDITOR. Donald Robertson SUB EplTOR. Larry Buttrose DESIGN AND LAYOUT. Simon Penny. ASSISTANT EDITOR. Jodi Hoffmann. V CORRESPONDENTS. ADELAIDE. Giles Barrow. 1; Toby Cluechaz.
    [Show full text]
  • Middle Class Youth Subcultures 1975 -1995
    After the Counterculture : From political protesters to music consumers- Middle class youth subcultures 1975 -1995 Nigel Bowen (B.A) School of English , Linguistics and Media Submitted - January 1998 TABLE OF CONTENTS Declaration pi Title Page p2 Table of Contents p3 Summary p7 Introduction p9 1. Antecedents of contemporary middle class youth subculture 2. Australian subculture and subcultural studies 3 . American and British subcultural studies 4. A balanced approach 5. Thesis objective 6.Endnotes Chapter One p 31 The Rise and Fall of Australia’s Middle Class l .The Professional-Managerial Class 2.Globalisation , post-industrialism , social democratic economic rationalism and the decline of Australia’s middle class 3 . Unemployment in Australia 4.Higher education in Australia 5 . Credentialism and graduate underemployment 6. The erosion of Anglo-Celtic advantage 7. Class Problematic 5.Epigoni 9. Endnotes Chapter Two p 72 Epigoni in Interregnum 1. Class consciousness and political attitudes in Austraha 2.Counterculture in Australia 3 . The emergence of non-oppositional PMC subcultures 4. Growing up post-Marxist 5 . The role of the extra-parliamentary and parliamentary left 6. Identity politics , the new social movements and PMC youth 7 . The end of ideology and the return of futilitarianism 8, Endnotes Chapter Three p 115 Contemporary Australian PMC Youth Subculture l .The Indie subculture 2. The Gothic subculture 3 . The Feral subculture 4. The Rave subculture 5 . The myth of Generation X 6. Differing subcultural responses 7. Contemporary PMC subcultures 8. Endnotes Chapter Four p 195 Oppositionality in Contemporary Australian PMC Subculture 1 Hegemony -the pre-post modern perspective 2 . Hegemony in decline 3 .Foucault vs Gramscian-Marxism 4.
    [Show full text]