All posts tagged 2013

  • FasterLouder story: ‘Urthboy – The Storyteller’, July 2013

    A story for FasterLouder; a profile of the Australian hip-hop artist Urthboy. Excerpt below; click the image for the full story.

    Urthboy – The Storyteller

    Andrew McMillen charts Tim Levinson’s rise from petty criminal to one of Australia’s most important musical voices.

    FasterLouder story: 'Urthboy - The Storyteller' by Andrew McMillen, July 2013

    The middle child began acting out in his teens. Spurred by small-town boredom, a desire to test the boundaries of authority, and an absentee father, a fascination with petty crime took shape. The adrenaline rush of “bombing” public property with spraypaint cans, breaking into empty buildings, and shoplifting were all par for the course among his friends. The more audacious would steal cars and nearly run over their accomplices by accident, or go “searching” – their innocuous euphemism for the serious transgression of popping store tills, grabbing the money, and fleeing.

    Stints in juvenile detention followed for these boys, yet Tim Levinson was in awe of the wits that crime demanded. “Those graffiti artists and crims were the sharpest thinkers and quickest responders to nerve-wracking situations,” he says now. “I feel like I was never really that way inclined.” A voice at the back of his head told him, as the age of 18 fast approached, that soon, these boys would no longer be tried as children in the court system. And so the middle child and petty crime parted ways.

    Tim Levinson tells stories. His preferred medium is the song and verse of hip-hop, where he performs under the pseudonym Urthboy, a name which has no greater significance other than sounding cool, an all-important factor for a teenager registering his first Hotmail address. Levinson’s skill in this field has developed to the point at which the 35 year-old finds himself in mid-2013: surrounded by a strong national audience, critical plaudits (three of his four solo albums have been nominated for the industry-polled Australian Music Prize) and widespread respect among his peers of all musical stripes.

    For a genre that was largely derided and dismissed at the turn of the century, this country’s hip-hop culture has slowly but surely moved from the fringes to the centre. And at the centre of that culture is this particular storyteller. His father left the family home in the small Blue Mountains town of Wentworth Falls, NSW – population 5650 – when Levinson was nine, owing to issues over drinking and domestic violence.

    This separation shook up their lives considerably: suddenly, his mum became the breadwinner through necessity, working up to 14 hours a day to support her three children. Levinson processed this abandonment as best a child could, but would still find himself out on the front lawn some nights, alone, watching cars on the highway and wishing that the tiny headlights of his mother’s beaten-up Corolla would come home.

    Music became a refuge during this formative time. His elder brother, Matthew, introduced a raft of influences by sharing his CD and cassette collection. At first, Britpop bands like Blur and Pulp appealed, before his ears attuned to Leonard Cohen. Run DMC’s Tougher Than Leather was the first hip-hop record he truly loved. His own rhymes scribbled on pages would eventually be coupled with beats, and recorded. His first band was named Explanetary, a hip-hop six-piece that featured Levinson and two others on vocals.

    Staying in Wentworth Falls never appealed; he moved to Sydney after completing high school. His musical aspirations slowly shifted from a hobby – something done with friends, and not taken seriously – to a full-time career. Explanetary would only record one EP together: In On The Deal, released in May 2001. Twelve years later, Levinson has released four solo albums, five with influential Sydney-based nine-piece band The Herd, and worked with dozens of hip-hop artists to release their music on Elefant Traks, an independent record label that Levinson co-founded in 1998, and where he still works as a label manager.

    Despite the widespread enjoyment of this once-niche music genre nowadays, it’s worth remembering that it took quite some time for the nation’s ears to attune to Australian accents backed by synthesised beats. “Because hip-hop was such a strong Afro-American music, it was hard to hear it another way,” says Paul Kelly, who Levinson is supporting on a national tour this month. “But to me, hip-hop is like soccer: it’s very portable, adaptable, and can work worldwide. It just needed to seed for a while here, so that our own blooms could grow out of that. It’s well-suited to local vernacular, so once people get their own style, it’s going to work well, wherever it goes.”

    To read the full story, visit FasterLouder.

  • Shorthand story: ‘The Making of England v Australia’, July 2013

    A story for Shorthand, a Brisbane-based digital technology company. Excerpt below; click the image to read the full story.

    The Making of ‘England v Australia’

    The Making of 'England v Australia' by Andrew McMillen for Shorthand, July 2013

    The first project released by Australian digital publishing company Shorthand details one of sport’s ultimate rivalries, yet ironically, it only came to fruition after partnering with an iconic British media outlet which recently launched down under. In collaboration with the Guardian Australia, ‘England v Australia’ is a long-form interactive story that traces the history of the the two countries’ ongoing contest, which spans generations, oceans and sporting codes.

    “We wanted to develop a tool that would be used by the publishing industry,” says Shorthand executive manager Ben Fogarty. “And what better way to find out what it needs to become than working with someone like the Guardian, with their experience and their approach to storytelling, news and features? It was a great opportunity to get straight into the thick of it with a very well-known, professional organisation, and see how and where Shorthand fits into that scenario.”

    The Brisbane-based start-up was founded in March 2013 in recognition of a problem that had emerged in online journalism: how could publishers tell ‘epic’ stories without the requisite eye-popping budgets, labour-intensive web development, and months of lead time?

    In short: how to craft an interactive masterpiece like ‘Snow Fall’ without breaking the bank each and every time? The start-up saw a gap in the market to provide a high-quality, affordable platform for digital storytellers. Although Shorthand’s goal was clear, the team still had many unanswered questions.

    “‘England v Australia’ helped us define our scope very well,” says Fogarty. “We had a big question around where the content was going to come from, and how digital storytelling is crafted. Do you start with media and put text around it? Do you grab text and find the media to go with it? Being part of that process from an early stage with the Guardian Australia has helped shape in our minds how to create the product features that’d work best for telling these sorts of stories for the web.”

    To read the full story – and get a better idea of the tool that the company is developing – visit Shorthand’s website.

  • The Weekend Australian album review, July 2013: Karnivool – ‘Asymmetry’

    An album review for The Weekend Australian, published 20 July 2013.

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    Karnivool – Asymmetry

    Karnivool - 'Asymmetry' album cover, reviewed in The Weekend Australian by Andrew McMillen, July 2013Never before has an album like this been released by a popular Australian rock act. Dark, deep and challenging, Asymmetry is the third album by Karnivool in eight years, and it sees the Perth quintet moving further away from the accessible, pop-like approach to songwriting that characterised its early releases in favour of intricate, unwieldy prog-rock suites.

    For this, the group is to be admired, as it certainly is not taking the easy way out by pandering to the sensibilities of its significant national audience. Taken in whole, as a 66-minute song cycle, it’s an interesting listen. The problem here is that the songs simply aren’t strong or memorable in isolation. “Interesting” is probably not the adjective these five musicians were aiming for, either.

    Better known as frontman for Birds of Tokyo, Ian Kenny is Karnivool’s most potent weapon. While this was certainly true on 2005 debut Themata and 2009’s Sound Awake, here, Kenny’s vocal hooks are frustratingly few and far between. Dominating the mix is the incessant sturm und drang of his bandmates, who appear to have become scholars of Swedish technical death metal band Meshuggah.

    Shifting tempo changes are the order of the day; aggressive and contemplative moods crash into one another, with little rhyme or reason. The overall effect is as messy and disorienting as the album artwork. Complexity for the sake of complexity soon numbs the ears, and even after repeated listens Asymmetry simply doesn’t make much sense.

    LABEL: Sony
    RATING: 2 stars

  • Qweekend story: ‘Learning As One’, July 2013

    A story published in The Courier-Mail’s Qweekend magazine, July 13-14 2013. Click the below image to view the PDF, or read the full story text underneath.

    Learning As One

    Mainstream education is the goal for thousands of Queensland children with disabilities. The ideal of inclusion for all remains fraught and Gavin, 8, is one of many yet to make the leap.

    Qweekend story: 'Learning As One: Queensland inclusive education' story by Andrew McMillen, July 2013. Photo by Russell Shakespeare

    Story Andrew McMillenPhotography Russell Shakespeare

    The stomping of little boys’ feet on polished wooden floors echoes through the Angas-Johnson family home in East Brisbane. At the front door, Ben greets me with a smile and a handshake. He’s flanked by his excited sons – Gavin, 8, and Lachlan, 5. After the boys are given ice blocks and decamp to the next room to watch television, Ben, 40, and his wife Dina, 42, take a seat in the kitchen and begin talking about their ongoing attempts to find suitable schooling for Gavin, who was diagnosed with Autism Spectrum Disorder four years ago.

    “It is an emotional and social disability, not something that’s really obvious,” Dina says. Alarm bells sounded when they noticed that Gavin wasn’t talking like his peers. At first they thought speech therapy was the answer. “We found that Gavin started falling behind because of the limited support in the [state] school system,” Ben says. “He was also doing one hour of speech therapy per week, all year, but that wasn’t enough for him to improve.”

    Now in Year 3, Gavin attends The Glenleighden School in Fig Tree Pocket in Brisbane’s west, a specialised co-ed facility that accommodates students from early childhood to Year 12. Its motto is “Helping children to speak … and find their voice.” Gavin needs the extensive speech and language programs that only Glenleighden can provide.

    “We’re unbelievably lucky that it’s in the same city as we are,” Dina says. Yet she and Ben want nothing more than for Gavin to be in mainstream education. “He’s going to a special school now, but that’s not where he’s going to learn to live in the world,” Dina says. “It’s just a temporary thing to help him get up to speed.” She smiles and compares her eldest son’s complex educational needs to a puzzle, a Rubik’s Cube.

    “You keep adjusting, twisting, and tweaking.”

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    Since coming into effect in August 2005, the Disability Standards for Education manifesto has sought to ensure that Queensland students with disabilities are “able to access and participate in education on the same basis as other students”. That’s the goal: all children, in the same classroom, learning as one. Previously, Queensland operated on a segregation model for children with disabilities, both physical and cognitive. These students would attend special schools, known then as “opportunity” schools and they rarely interacted with children in regular schools. In 1975, a Division of Special Education was established by the State Government; three years later, following a report titled Future of Special Education in Queensland 1978-1982, this form of teaching was trialled in the state for the first time.

    The vernacular surrounding special education has changed over the years, from “opportunity” to “mainstreaming” and now “inclusive” education. Education consultant Liesl Harper, of Ladder Consulting, prefers to talk about diversity, not deficit. “The phrase ‘inclusive education’ gives the sense that somebody’s out, and somebody’s in,” says Harper, 43, who has worked in the area of special education for 20 years. “It says that you’re still working to include someone, as opposed to just saying, ‘they’re actually all here!’ Our communities have diversity, so do our schools, and we have policy and legislation which requires us to understand that diversity.”

    This naturally presents a challenge to teachers called on to manage up to 28 students per class – a number which is likely to include at least one child with a disability. “It’s tough to find the time to understand the child, their style of learning, and determine the best way to teach them,” Harper says.

    Qweekend story: 'Learning As One: Queensland inclusive education' story by Andrew McMillen, July 2013. Photo by Russell ShakespeareLast year, 24,955 students with disabilities were enrolled in Queensland government schools, roughly 5 per cent of their students. Of that number, 3892 – about 15 per cent – attended 42 state special schools, meaning just over 21,000 were mainstreamed. Within the other schooling sectors, Independent Schools Queensland says 2500 of its students, or about 2 per cent, have ascertained disabilities, while in the Catholic sector, it’s 3 per cent or 4253 students, an increase of 82 per cent since 2007.

    The trend for state schools in recent decades is to operate Special Education Programs and Early Childhood Development Programs, which provide learning support for children with hearing, intellectual, physical, speech-language and vision impairments, as well as Autism Spectrum Disorder – 628 SEPs and ECDPs currently operate in schools statewide. “Parents can choose wherever they want to send their student,” Harper says. What parents of children with disabilities find, though, are systemic roadblocks that stand between their ideals and some schools’ attitudes towards inclusion. “Unfortunately, parents of kids with disabilities are questioned [during pre-enrolment interviews] about the skills of that child, how the school’s going to manage, and a series of other, often really intrusive, personal questions.”

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    The inclusive classroom presents a range of challenges to Queensland teachers. Elliott*, 24,  is a second-year high school teacher in a practical field. In his second semester last year, Elliott taught a Year 8 class of 25, which included five children with disabilities. The first four weeks of class were particularly difficult, as the student with the most complex behavioural problems hadn’t yet been assessed but was eventually found to require a full-time carer. “The teacher aide and I spent the majority of our time with those five students, while the rest of the class just worked through their activities,” he recalls. “I was still helping them, but I wasn’t extending their learning. They were getting enough instruction to pass the subject, but that’s it.”

    The student with complex problems was eventually diagnosed with ASD and Attention Deficit Hyperactivity Disorder, as well as intellectual impairment. “He threatened students on numerous occasions with sharp implements; he’d fight with them in the classroom,” Elliott says. “It was overwhelming. With that student, I was frightened to go to class.” Elliott his drive to and from school each day thinking about how to manage the situation and at night he was preoccupied with how to control the student. “I’ve never dealt with anyone like that in my life,” he recalls. “This year I have a similar student who is difficult to work with, and although I have the experience from last year, the same techniques don’t work with him. This time I’m just lucky I only have three children with disabilities in that classroom, not five.”

    Despite the difficulties, Elliott says he believes in inclusive education. “I have beautiful ‘learning support’ children as well, who strive for excellence despite their disability. But I think there needs to be a hard line drawn on safety. For me, that’s the biggest concern. If any student is being violent, there’s no way they should be allowed in the classroom, regardless of learning ability.”

    Now in her mid-50s, Bundaberg primary school teacher Helen* has witnessed the shift to inclusion. “When I first started teaching, any children of the level we’ve got now would’ve gone to the special school,” Helen recalls. “When the change-over first happened, teachers didn’t want to have kids with disabilities in their class. I felt the same. You’ve got enough to do with the children you’ve already got, let alone trying to cater for those with particular needs. I would rather not have had them, but you’re basically chosen because the administration thinks you can cope with them. Someone has to have them.”

    In recent years Helen has taught students who are blind, have spina bifida, acquired brain injury, autism, muscular dystrophy and intellectual impairment. Despite receiving no specialised training for any of these disabilities, Helen – like all state school teachers – is expected to be a jack-of-all-trades. “The majority of parents don’t understand the stress and difficulties that the situation presents,” she says.

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    Shiralee Poed is the co-ordinator of the Master of Education (Special Education, Inclusion and Early Intervention) course at the University of Melbourne. A former Queensland Catholic school teacher, Poed, 42, later worked as a policy advisor for Education Queensland, and is completing a PhD on nationwide court cases where families sued state education departments on the basis of discrimination.

    “Within the first five years of teaching – which is when we lose the largest numbers of teachers from the system – the number one reason cited for them leaving is working with children with ‘complex behaviour’,” Poed says. “It might be kids without disabilities who are doing things like ‘out-of-seat behaviour’ – they’ve been told to sit down, but they’re roaming around the room – through to kids who bite, kick and punch as a way of communication, because they don’t speak.”

    “The second reason they leave is uncertainty about how to program for all of the children in their class. There’s such tension surrounding inclusive education because everyone wants the best outcome. The family wants the best for their child; to a lesser extent, they’re not as concerned about the peers, whereas the schools, and the teachers, are looking for the best outcome for all kids.”

    True inclusion remains fraught. Queensland Teachers Union president Kevin Bates says there are very few circumstances left where that withdrawal model – where students spend most of their time in a Special Education Program, and occasionally interact with students in the general classroom – is the one that dominates within a school. “The employer, EQ, has a very clear policy about inclusion,” Bates says. “and I think schools are gradually moving toward realising that policy across the state.”

    One school where inclusive education is working is the 1400-student, independent Canterbury College in Waterford, 30km south of Brisbane. “We have a non-selective enrolment policy,” head of college Donna Anderson says. “Our inclusive education is not solely for students with disability; there are children with other low-level skills, or who need advancement in certain areas. Some of those students may be qualified to receive funding from Independent Schools Queensland, but there are other students who receive no funding, that we support through a range of learning support teachers.” The school funds this initiative itself.

    Executive director of Independent Schools Queensland, David Robertson, explains how funding is allocated. “Students have to go through a verification process to determine their specific needs,” he says. “The higher the need, the higher the funding.” Level one allocates approximately $3000 in commonwealth and state government funding per student, per year; level two $7000, and level three about $10,000 annually. “The school makes the final decision [about fund allocation], but ultimately the money has to be used to support the student’s education plan,” he says. “The number of students eligible for funding in independent schools is increasing at a very rapid rate. This year we’re close to 2500 students, whereas five years ago, it was about 1500.”

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    On March 21, 2011, the sixth anniversary of World Down Syndrome Day, Queensland Senator Sue Boyce addressed her colleagues in the federal Senate. “I am a very strong advocate of closing down all our special schools and moving all the resources of the special schools into the mainstream,” Boyce said. “I see this as the only way that we will, long term, push inclusive education and, therefore, real inclusion into the education system.”

    Boyce, 62, has a daughter with Down syndrome, 28-year-old Joanna, and today remains committed to her view. In 2009, Boyce ran a public seminar at the Brisbane Powerhouse, titled Making Inclusive Education Work: Is it the Will, the Skill, or what’s in the Till?

    “The answer is ‘all of the above’,” she says, “but I think the will is the most critical part. I had an interesting experience with the primary school where Jo went: about five years later, under a new principal, another child with Down syndrome tried to enrol there, and suddenly the same school ‘just didn’t have the resources to cope’, and was pushing this child elsewhere. In my view, it’s mostly about the will. You can always work your way around the resources, if people want to make it work.”

    Academic Jennie Duke finds herself regularly challenging “urban myths” with the teachers of tomorrow, when lecturing in inclusive education at Queensland University of Technology.

    “They think they’re not going to be teaching kids with disabilities, because, ‘Oh, they’ll all go to a special school!’. In fact, 82 per cent of students with disabilities are enrolled in their classrooms, not in special schools,” says Duke, citing a figure taken from the Department’s 2011-2012 annual report.

    “They think, someone else will deal with those kids, not me. A lot of our upcoming teachers are white, middle-class people who didn’t go to school with the variety of learners that they’re about to meet [in the classroom] when they graduate.”

    Training teachers to cope is difficult: though they’ll encounter a wide range of students with disabilities in their career, compulsory inclusive education modules comprise only a small part of an undergraduate teacher’s Bachelor of Education program. While mainstream teachers are increasingly called upon to educate children with disabilities, this is an area that requires specific skills.

    “It’s incredibly specialised,” says Ches Hargreaves, vice-president of the Australian Special Education Principals’ Association. “Not everybody can be a good teacher in this area. [Special education] is not a place for refugees who can’t teach. It’s a place for the very best teachers in our system – because if you don’t have that, then you don’t get the outcomes.”

     * Names have been changed

  • The Weekend Australian album reviews, June 2013: QOTSA, Sigur Ros

    Two album reviews published in The Weekend Australian Review in June 2013.

    Queens Of The Stone Age – …Like Clockwork

    Queens of the Stone Age - '...Like Clockwork' album cover, reviewed in The Weekend Australian by Andrew McMillen, June 2013The sixth album from this Californian hard rock band solidifies its reputation for consistency. Though founding singer-guitarist Josh Homme is the only ongoing member, he has become known for attracting a rotating cast of accomplished players since the band’s self-titled debut in 1998.

    This time he has re-enlisted master sticksman Dave Grohl (Nirvana, Foo Fighters) to keep time, after first trialling this experiment for 2002’s Songs for the Deaf, widely regarded as QOTSA’s finest album. (It helped that the pair hooked up with Led Zeppelin bassist John Paul Jones in 2009, too, as Them Crooked Vultures.)

    As expected, it’s an inspired decision, one that sets the tone for yet another compelling collection. Songs such as ‘If I Had a Tail’ and ‘Smooth Sailing’ swagger with a momentum that only Homme and his comrades can muster. First single ‘My God is the Sun’ is the weakest of these 10 tracks; the real gold is buried towards the back.

    ‘I Appear Missing’ and the closing, title track exceed five minutes and hark back to the expansive suites that featured on the band’s excellent second album, 2000’s Rated R. Homme has long since learned that rock music is all about contrasts: atmosphere is just as important as breakneck chord changes.

    “One thing that is clear / It’s all downhill from here,” he sings in the album’s final lyric; he must be taking the piss because six hits and no misses is as remarkable a scorecard as you’ll find among bands of any genre.

    LABEL: Matador/Remote Control
    RATING: 4 stars

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    Sigur Ros – Kveikur

    Sigur Ros - 'Kveikur' album cover, reviewed in The Weekend Australian by Andrew McMillen, June 2013There are bands with distinctive sounds, and then there’s Sigur Ros. These Icelandic gentlemen have produced seven albums, including Kveikur (pronounced ‘quaker’, meaning candlewick in the mother tongue); and with each successive release they further distance themselves from any other act, past or present.

    Formed in 1994, Sigur Ros has long been associated with the post-rock genre that favours sprawling, intricate compositions eschewing traditional verse-chorus structures. Kveikur is the group’s strongest album yet. It’s certainly Sigur Ros’s most accessible collection. Nine tracks, 48 minutes in total; only the closer, ‘Var’ (Shelter), is forgettable: a wordless, aimless dead-end of sunken, delayed piano notes and sighing strings.

    The other eight tracks are thrilling, powerful and inspiring. The nature of the cinematic sound, coupled with the band members’ Icelandic heritage, inevitably conjures mental images of snow-capped mountains and glaciers. Its winter release is ideal. Here, the former quintet is reduced to a three-piece for the first time. Jon Por Birgisson’s incomparable falsetto and bowed guitar playing practically defines this band; even his solo album, 2010’s Go, was virtually indistinguishable from the Sigur Ros catalogue.

    Only Georg Holm (bass) and Orri Pall Dyrason (drums) accompany him here, yet you’d never guess that based on the complexity of the production. Layered strings, clattering percussion and soaring sampled effects run through these songs, as best exemplified on second single ‘Isjaki’ (Iceberg). This is excellent music, unlike anything else on earth. For the uninitiated, Kveikur is the ideal starting point.

    LABEL: XL Recordings
    RATING: 4.5 stars

  • Rolling Stone album review: Midnight Juggernauts – ‘Uncanny Valley’, June 2013

    Midnight Juggernauts - 'Uncanny Valley' album reviewed in Rolling Stone Australia by Andrew McMillen, June 2013An album review for the July 2013 issue of Rolling Stone Australia.

    Midnight Juggernauts
    Uncanny Valley

    Melbourne outfit hit the bullseye on third full-length

    Midnight Juggernauts’ first two albums suffered from inconsistency, but there are no such issues here: Uncanny Valley‘s 10 tracks is packed with hooks. If anything, they’ve streamlined their approach, cutting the fat and boning up on the pop smarts that’ve been central to the Juggernauts’ appeal since their excellent debut, 2007’s Dystopia. Distinctive, sinister first single “Ballad of the War Machine” isn’t the strongest song here: that’d be the masterful finale, “Melodiya”, a stunning summary of the trio’s ability to marry shadowy dance music with elements of electronica, rock and pop. A fine way to close their most accomplished set yet.

    Label: Remote Control
    Rating: 4 stars

  • Wired story: ‘Daft Punk’s album premiere in Wee Waa, Australia’, May 2013

    A story for Wired.com – my first contribution to the website. Excerpt below.

    We Went to the Daft Punk Album Premiere in Wee Waa, Australia, Pop. 2,100
    by Andrew McMillen / Photographs by Rachael Hall

    Wired story: "Daft Punk's Australian album premiere in Wee Waa" by freelance journalist Andrew McMillen, May 2013. Photo by Rachael Hall

    WEE WAA, Australia – The world premiere of the latest Daft Punk album, Random Access Memories, was originally scheduled to take place on May 17 at a farm show in the rural Australian town of Wee Waa, population 2,100. The unconventional choice of locale made worldwide news, as intended. The event (and its marketing) was always about more than just two French guys releasing an album: It was an attempt to breathe life into the idea that a distinct collection of songs could still be relevant in 2013, when digitally downloaded singles dominate and launch dates have become almost meaningless.

    Imagine Sony’s frustration, then, when Random Access Memories trickled onto the internet on May 14, three days ahead of the intended world premiere in Wee Waa, and Daft Punk hastily started streaming the album on iTunes to tide over listeners till the actual release date. The impact on the planned celebration was immediate. A journalist from the local newspaper The Narrabri Courier told Wired that the Wee Waa Motel experienced 37 out of 60 cancellations in the day following the leak. What had been sold as a world premiere now seemed humdrum, an experience that anyone with an internet connection, BitTorrent or iTunes could have.

    To many music fans, Tuesday’s news was an inevitability, and surprising only in its lateness: most big releases appear online weeks, or even months ahead of their true street date. So what value, if any, does an album release event have after once an internet leak has removed the mystery? I went to Wee Waa to find out.

    When I wake up on the morning of 79th Annual Wee Waa Show, I add Random Access Memories to my to collection on the streaming music service Rdio, a process that takes only minutes. During the seven-hour drive to Wee Waa, the temptation to listen to the album is powerful. After all, it’s right there. I resist, though, out of respect for the album and the experience ahead. I figure that saving that crucial first listen for the first night will be worth it.

    Situated 560 kilometers (347 miles) north-west of Sydney, Australia’s most populated city, Wee Waa was previously known for its cotton production, and little else. The choice to host the album launch here had everything to do with sheer disorientation — hence the global headlines. Sony first floated the idea with the Narrabri Shire Council in February, two months before the news was made public in mid-April. The Wee Waa Show committee discussed at length how the showgrounds would cope with the influx of tourists; local accommodation was fully booked soon after the news broke.

    This three-day event is an important cultural staple of the region, even when Daft Punk isn’t around. The show format combines elements of agricultural presentations (cattle judging, pet shows) with competitions (horse-riding, cake-baking) and carnival rides familiar to attendees of American state fairs. It’s easy for city-dwelling outsiders to poke fun at these meets, but for local farming families, these regional shows provide a welcome respite in their routine. It’s a chance to put down tools for a couple of days, socialize with one another, and celebrate successes.

    In the days before the main event, rumors of a last-minute appearance from the French duo still circulate, and Sony stokes the flames by refusing to rule out the possibility. On Friday, there’s talk of the local airport being temporarily closed for a couple of mysterious, high-security chartered flights. Perhaps Thomas Bangalter and Guy-Manuel de Homem-Christo had elected to make the trek after all, people say; perhaps their statements to the contrary were a smokescreen to deter all but the true believers, the fans who still thought an album launch meant something, leak or no leak.

    For the full story, and more photographs, visit Wired.com.

  • The Monthly story: ‘Chalking The Walk’, May 2013

    A story for The Monthly in the May 2013 issue – my first contribution to the magazine, in ‘The Nation Reviewed’ section. The full story appears below; the illustration is credited to Jeff Fisher.

    Chalking The Walk

    The Monthly story: 'Chalking The Walk' by Andrew McMillen, May 2013On a Tuesday morning in March, 80-odd young people wearing red T-shirts hopped off two buses in Lismore, in northern New South Wales, and began canvassing shoppers and retailers in the central business district. Their quest, as declared on their chests, was to help end extreme poverty. Not in Lismore per se, but globally, by petitioning the federal government to bump up its foreign aid spending.

    The team was one of many converging on Canberra from around the country, as part of “The Roadtrip”, a week-long campaign organised by the Oaktree Foundation, the youth-run group that also arranged the MAKEPOVERTYHISTORY concert in 2006. About eight hundred “ambassadors” were taking part all over the country. Their aim was to gather 100,000 signatures, or around 125 each, over the course of the trip via a smartphone app.

    The target didn’t sound overly ambitious. But, by noon, many of the locals out and about in central Lismore had been approached several times. Some were starting to get ticked off. “We’re actually irritating people now,” noted a group leader, Tammy, and the entire team retreated to a McDonald’s restaurant, where the buses were parked. One overweight team member was in tears. A local woman had accosted her, shouting: “If you stopped eating at fuckin’ McDonald’s, there wouldn’t be any poverty!” The canvasser’s peers moved in to soothe her. “That’s really rude,” someone countered.

    Three days earlier, the volunteers, aged from 16 to 26, had met for the first time at the University of Queensland in Brisbane to undertake an intensive course in political campaigning. Most were university students; a handful were still in high school. Ebony from Townsville was a champion skateboarder pining for her board. James, 21, was a soccer-mad Scot. Emily Rose, a petite redhead, showed off an unnerving party trick: the ability to dislocate her limbs at will. Each had stumped up $400 to cover food, travel and accommodation costs.

    The ambassadors had been taught some handy lines: “The door to ending poverty is opened by thousands”; “Two-thirds of the 1.3 billion worldwide living in poverty are our neighbours”; and “Australia’s fair share is just 70 cents in every $100 to fight global poverty”. This last line was central to the campaign. In 2000, Australia agreed to adopt the United Nations’ Millennium Development Goals, aimed at reducing extreme poverty. This meant setting aside 0.5% of Australia’s gross national income for foreign aid by 2015 (recently put off till 2016) and 0.7% by 2020. Currently, the nation contributes 0.37%.

    “The government has made a commitment,” the Roadtrip ambassadors pitched to shoppers. “We’re here to keep them true to that.” At night, the team slept rough in local church and sports club halls. By day, when not canvassing or on the buses, the team courted the local media, debriefed, attended further campaigning lessons and enjoyed “personal energising time”, as spare hours were denoted on the itinerary. Some members worried that they were falling behind on their petition targets. “Relax, it’s not about the signatures,” said a group leader. “It’s about the movement.”

    The day before they were in Lismore, the team had detoured briefly to the retirees’ paradise of Bribie Island, where half the group “chalked the boardwalk” with messages – “Help keep the promise of a fair share!” – while the other half were assigned the task of “painting the town red”, by asking local businesses to display campaign posters in their shop windows.

    Many shop owners were charmed enough to comply. “I don’t think they’ll achieve anything, but good luck to them,” a 74-year-old manager said. A girl serving ice-cream next door could barely remember the pitch – “something about foreign aid?” – but said she assented to their request because “they were young, and looked like they were important”.

    Wyatt Roy, the 22-year-old local MP, joined the ambassadors for a barbecue lunch. Wearing sunglasses and a crisp white shirt with rolled-up sleeves, he stood on a picnic table and said, “In this job, very often do people come to me with problems, and very rarely do they come with solutions. Thanks so much for doing what you’re doing.” As the team left Bribie, a sudden downpour washed away the chalked messages. The ambassadors coasted into Canberra two days later, via Kempsey and Port Macquarie, late on Wednesday afternoon, with 47,000 digital signatures.

    The next morning, at seven o’clock, the various busloads from around the country assembled at Parliament House. A giant map of Australia had been painted on the lawn, and the eight hundred ambassadors stood within their respective state boundaries. Chanting slogans, they made a lot of noise. Greens MPs hung around. A cherry picker was on hand so that TV crews and Oaktree’s media team could take shots from above. Bob Carr, the foreign minister, addressed them. “We are on target for 0.5%,” he said, before turning and gesturing behind him. “It’s up to you to persuade everyone in that building that they’ve got to act!”

    Scores of meetings had been scheduled between ambassadors and their local MPs, but many representatives either cancelled or sent staff in their place. Julie Bishop, the shadow foreign minister, slated to speak at the morning assembly, sent her apologies, too.

    The bus trip home, via Sydney, was a long one. A question kept coming up: had they actually made a difference? Was Wayne Swan, the treasurer, any more inclined to heed their call to increase spending on foreign aid by a third, to 0.5% of gross national income? His sixth federal budget will answer that, on 14 May. No one is holding their breath.

  • Sydney Morning Herald story: ‘How hackers can switch on your webcam and control your computer’, April 2013

    A feature story for smh.com.au, the website of the Sydney Morning Herald. Excerpt below.

    How hackers can switch on your webcam and control your computer

    A malicious virus known as Remote Administration Tools (RATs) can be used by hackers to switch on your webcam and control the machine without your knowledge. Andrew McMillen reports.

    'How hackers can switch on your webcam and control your computer' story for Sydney Morning Herald by Andrew McMillen, April 2013

    The 14-year-old couldn’t believe his eyes. The virtual currency he’d worked so hard to amass in the online role-playing game Runescape had vanished. He’d lost the equivalent of $700 in the blink of an eye, after investing his pocket money into the game’s economy for months. All that remained was an instant message dialogue box: “Haha, you got RATted!”

    Sitting in his bedroom in Wauchope, on the mid-north coast of NSW, the teenager wrote back: “What does that mean?” He didn’t know at the time that his machine had been compromised by a Remote Administration Tool (RAT), an aggressive form of malware that allows hackers to access a victim’s entire computer. It was too late. The thief had disappeared. “He ran away with my money, like a girl,” laments Alex (not his real name).

    Weeks later, his desolation and rage had been replaced by joy. After researching RATs and spending an entire day spreading an innocuous link using Runescape’s in-game chat function, in the hope that someone would visit the page and run the Javascript application embedded within, Alex had his mark.

    Within a few clicks, the teenager had access to a stranger’s entire computer, without their knowledge. “I was the happiest kid in the whole entire world,” he says. “I could see their desktop, what they typed, the history of what they’d typed, stored passwords, files – everything.”

    His victim didn’t have a webcam, so Alex wasn’t sure of their gender or their appearance, although he assumes they were male. But he knew that they played Runescape, so he got straight to work on what mattered: looting their gold, just as he’d recently experienced himself.

    After emptying the stranger’s account, the teenager watched, intrigued, as his mark realised that he’d been hacked, and began trying to close the connection. Fifteen minutes later, Alex’s first “slave” – hacker shorthand for a compromised user – had disconnected himself.

    The RATted had become the RATter. “I felt unstoppable,” says Alex, now 17 and studying Year 11. “I was really insecure about myself at the time. I felt like the most powerful person on Runescape.”

    The senior security manager at antivirus software company Trend Micro has another name for RAT: Remote Access Trojan. “It’s a piece of software loaded onto somebody’s computer that allows it to be controlled or accessed from a third-party location,” says Adam Biviano in Sydney.

    “They often arrive on a computer masquerading as something else,” he says. “Just like the mythological story, you open your gates up and you allow it inside your protected walls. All of a sudden, you think you’re getting one thing, but in reality you’re getting what they call a ‘RAT’. You’re giving access to your computer to … who knows who.”

    To read the full story, visit smh.com.au.

  • The Weekend Australian album review, March 2013: Songs – ‘Malabar’

    An album review for The Weekend Australian, published 16 March 2013.

    ++

    Songs – Malabar

    Songs - 'Malabar' album cover, reviewed in The Weekend Australian by Andrew McMillen, March 2013The second album by one of the least Google-friendly bands is short in duration – 39 minutes all up – but long on quality ideas.

    A quartet based in Sydney, Songs were impressive on their self-titled 2009 debut: an eclectic set that centred on taut, jangle-pop numbers, but also found room for a couple of sprawling noise-rock epics. Malabar is a more focused collection than the first that favours the former style over the latter.

    The duelling male-female vocals of songwriters Max Doyle and Ela Stiles are just as complementary as before. If anything, this is their defining trait, and the band uses it to stunning effect on this album’s sixth track, ‘Ringing Bells’. Late in the piece,

    Stiles’s wordless melody weaves between sparkling guitar notes and the driving rhythm section: the result is one of the finest songs in their young career. Fans of veteran American indie trio Yo La Tengo will enjoy Songs’ approach, as the two bands have a few stylistic tropes in common.

    Never is the mix any more complicated than a handful of instruments working together; all in all, Malabar represents a remarkable command of songwriting dynamics and sonics. ‘Looking Without Seeing’ is another highlight, built on a hypnotic bassline, featuring Stiles’s soaring vocals and the unexpected appearance of a flute.

    The core duo clearly made the right decision in introducing Cameron Emerson-Elliot (guitar, formerly Youth Group) and Ben James (drums, Talons) into the fold, as the eight ideas here, plus the abbreviated ninth track, ‘Reprise’, a return to the haunting melody of ‘Ringing Bells’, are all winners.

    LABEL: Popfrenzy
    RATING: 4 stars