All posts tagged Journalism

  • The Weekend Australian Magazine story: ‘The Bone Collector: Dr Carl Stephan’, October 2015

    A story for the October 24 issue of The Weekend Australian Magazine. Excerpt below.

    The Bone Collector

    Carl Stephan is building Australia’s first modern skeleton library – with a little help from an army of flesh-eating bugs.

    'The Bone Collector: Dr Carl Stephan' by Andrew McMillen in The Weekend Australian Magazine, October 2015. Photo by Eddie Safarik

    It is dark inside the skeletisation room, which is just how the hide beetles like it. It’s dark beneath the soil, too, which is where they are more commonly found. Down there, the purpose of their existence is to seek and consume the soft tissues attached to bones, which they do methodically, stripping off every last molecule of flesh while leaving the bones intact. Here in the laboratory it’s quiet, too, with only the gentle drone of a fume hood providing the soundtrack. This is their home, above a bed of coco peat and beneath layers of torn cardboard and paper towel that’s occasionally sprayed with water. Here, they are well-fed on the soft tissues of Queenslanders who have chosen to donate their bodies to science.

    These native beetles have a key role in an Australian-first project whose educational benefits will echo through these halls for generations. They’ve travelled 1700km via air freight to the University of Queensland, where a kindly forensic anthropologist named Dr Carl Stephan ensures they’re never hungry. Inside large plastic tubs in this secure, well-hidden room in the School of Biomedical Sciences, they are thriving in thousands-strong colonies.

    Stephan removes the lid of one tub and a new odour fills the room – not unpleasant, exactly, but certainly strange and distinct. Inside the tub on this Wednesday in early May are the tarsal bones of a human foot. Noticing my ­reaction, Stephan says, “That smell you’re ­getting – not very much of that is bone. Most of that is the natural smell the beetles have: it’s an ammonia-type smell, kind of like Windex, so it’s sharp on your nose.”

    While he’s here, Stephan has brought some fresh material for the beetles to feed on. He produces a few sealed plastic bags containing small bones from five digits of a right hand. Before proceeding, he looks me in the eye through his plastic goggles. “If you feel like you’re hot in the feet, and that heat grows up your legs, just let me know, so I can catch you before you hit the ground,” he says. I thank him for his concern, but this isn’t my first exposure to a cadaver: that happened a few months earlier, when I began observing first-year medical students while they dissected donor materials in anatomy classes.

    As he opens the first bag, out leaks an unmistakeable waft. “This material hasn’t been embalmed,” he says. “But it’s been dissected down as much as it needs to be.” The finger bones are cool, having been recently removed from a freezer. Their owner once used them for writing, waving, typing, texting and shaking hands; small, routine gestures that we take for granted, yet help define a life and make us human. “You can see that we have them labelled. There’s a reason for that, so that we know precisely which digit these bones come from, after they’re cleaned. That way, there’s no chance they can be mixed up.”

    He reaches into the tub and pulls back a layer of cardboard, revealing a few dozen adult beetles and some hairy juveniles attempting to hide from the light. “We try to keep them nice and healthy, and happy,” he says with a smile. He gently places the new bones beneath the cardboard and closes the lid.

    To read the full story, visit The Australian. Above photo credit: Eddie Safarik.

  • The Weekend Australian Review story: ‘Artistic Insight: Stephen Nothling’, October 2015

    A story for the October 24 issue of The Weekend Australian Review. Excerpt below.

    Artistic Insight 

    A visually impaired Brisbane painter turns ordinary street scenes into extraordinary works of art.

    'Artistic Insight: Stephen Nothling' by Andrew McMillen in The Weekend Australian Review, October 2015. Photo by Glenn Hunt

    The house on the corner of Louisa Street is designed to catch the eye. It is painted pink, with purple gutters, for the simple reason that he always wanted to live in a pink house, though shocking the neighbours was a pleasant side effect, too. Though largely hidden by greenery, his friends like to refer to it as “the jewel of Highgate Hill”. He walks out the front gate, pausing to shut it so that his two small dogs are confined to roaming the yard and barking at passers-by. Held in his left hand is a white cylinder that he periodically consults while climbing the footpath as it rises to a crest, revealing the skyscrapers and construction cranes of Brisbane in the distance. Since buying the house on the corner in 2001, walking this route has been an entrenched part of Stephen Nothling’s daily routine. Now, this route has become art.

    When unfurled, the cylinder becomes a long sheet of paper that details the gallery layout of the artworks that comprise his upcoming exhibition at the Museum of Brisbane. The star of the show is this unremarkable street in the city’s inner-south. On a map, Louisa Street lies at the edge of two suburbs, which is why Nothling has chosen to name it The Last Street in Highgate Hill. The museum exists to capture the people, places and stories of its inhabitants, and when director Peter Denham approached Nothling to present an idea for its ongoing Document series, the artist replied that what he’d really like to do is head out the front gate and paint the street he walks up and down every day.

    Nothling, 53, carves a striking figure as he strides up a street he knows better than anyone on the planet. Tall, blond and pale, a white shirt hangs loosely from his thin frame atop blue jeans and scruffy black shoes. Between June 2014 and June 2015, Nothling worked most days on this collection of paintings, which depict the beautiful minutiae of Queensland urban life. With a camera, he captured every house on the street, then used those images as reference points to work from, occasionally dashing back out to inspect smaller details — such as particular colours and materials — from up close, with his own eyes.

    His work reveals a forensic attention to detail, a point influenced by the fact Nothling’s eyes are different than most. He was born with oculocutaneous albinism, a genetically inherited condition that affects around one in 20,000 people worldwide. The vision in his right eye operates at about 10 per cent functionality, thanks to a cataract and deformed nerve endings at the back of the lens, while missing parts of the cellular structure in his left eye means he has a significant blind spot, which he describes as a “black hole of nothingness”. His visual impairment resulted in social isolation while growing up in the seaside Queensland city of Redcliffe; as a child, he was never picked for team sports. “When you can’t be a player, you become introspective,” he says.

    He also wore thick, Coke-bottle glasses in an attempt to correct his vision. It didn’t work. An eye specialist once told him that if he truly knew how other people see the world, he’d be crushed by depression. It is ironic, then, that for three decades Nothling has built a career out of looking at things and painting what he sees.

    To read the full story, visit The Australian. Above photo credit: Glenn Hunt.

  • Announcing ‘Penmanship’, my podcast about Australian writing culture, May 2015

    Logo for 'Penmanship', Andrew McMillen's podcast about Australian writing culture, launched in May 2015. Logo design by Stuart McMillenI’m proud to announce the launch of Penmanship, my podcast about Australian writing culture.

    Penmanship will feature interviews with Australians who earn a living from working with words: writers, editors and publishers, among others.

    Each episode consists of an in-depth, one-on-one conversation about the guest’s career, craft and inner life. The show’s goal is to provide unique insights into the creative process, mechanics and skills behind the best writing in the country. The podcast exists to explore the diversity and complexity of Australian storytelling by speaking directly with leading contributors to the field.

    The written description and embedded audio for the first episode are included below.

    Penmanship podcast episode 1: Trent Dalton, interviewed by Andrew McMillen, 2015Penmanship Episode 1: Trent Dalton

    Trent Dalton is a staff writer at The Weekend Australian Magazine.

    He’s one of the most influential journalists in my life, and I’m honoured that he’s my first guest on Penmanship.

    Trent’s writing moves and inspires me with shocking regularity. Judging by the volume of praise-filled letters to the editor published in The Weekend Australian Magazine following each of his stories, I’m not the only one.

    Our interview touches on Trent’s upbringing in Bracken Ridge, Brisbane; his early interest in magazine journalism; working at an auto-electrical parts supplier for a year after finishing high school; studying creative writing at university; his first writing job at Brisbane News on a salary of $26,000; his pre-interview tactic of looking in the bathroom mirror and reciting a mantra misquoted from Reservoir Dogs; and his transition to writing feature stories with great emotional depth.

    Previously, Trent was a staff writer at Qweekend and an assistant editor of The Courier-Mail. He has won a Walkley Award for excellence in journalism, been a three-time winner of the national News Awards Feature Journalist of the Year Award, and was named Queensland Journalist of the Year at the 2011 Clarion Awards for excellence in Queensland media. His journalism has twice been nominated for a United Nations of Australia Media Peace Award.

    Trent Dalton on Twitter: @TrentDalton

    Direct download          iTunes          libsyn

    Click here to read the show notes for this episode.

    To learn more about Penmanship, head over to its standalone website, and subscribe via iTunes or your preferred method of podcast consumption.

    The show’s logo and header image was designed and illustrated by Canberra-based cartoonist Stuart McMillen; click the below image for a closer look at the full desk scene.

    Desk scene logo for 'Penmanship', Andrew McMillen's podcast about Australian writing culture, launched in May 2015. Logo design by Stuart McMillen

  • Backchannel story: ‘How I Snuck Through Wikipedia’s Notability Test’, March 2015

    A story for Backchannel, the technology section of Medium.com. Excerpt below.

    How I Snuck Through Wikipedia’s Notability Test

    I’m not famous. But judging by my expansive Wikipedia entry, I’m a star!

    Backchannel story: 'How I Snuck Through Wikipedia's Notability Test' by Andrew McMillen, March 2015

    The English-language edition of Wikipedia is composed of 4,735,036 articles at the time I write this sentence. One of those articles is a ridiculously detailed biographical summary of my career as a journalist and author. At 1,905 words in length, excluding references, it is shorter than the entries onThe Simpsons’ family dog, Santa’s Little Helper (2,908 words), spontaneous human combustion (2,347), the internet meme Rickrolling (2,307) and Barack Obama (10,302).

    The article in my name is longer, however, than the ones devoted to the Academy Award-winning actress Frances McDormand (1,880), The Simpsons character Barney Gumble (1,848), screenwriter and director Lena Dunham (1,480) or stand-up comedian and podcaster Joe Rogan (1,029).

    I’m not well-known by any stretch of the imagination. It’s not that journalists get some kind of special treatment on Wikipedia, either. Take Jon Ronson, a journalist who is two decades and several global bestsellers ahead of me. Casual readers of nonfiction may know him as the author of The Men Who Stare At Goats and The Psychopath Test. His latest title is So You’ve Been Publicly Shamed, an excerpt of which appeared in The New York Times Magazine in February 2015.

    In a 2012 story he wrote for GQ on income inequality, Ronson, 47, declared his annual income to be in the range of $250,000, a figure that I can assure you is much greater than my own. He also co-wrote the screenplay for a 2014 feature film, Frank, starring Michael Fassbender. Yet by some strange quirk of the web, the Wikipedia summary of Ronson’s remarkable career is 1,223 words in length—precisely 682 words shorter than my article.

    The story of how my entry came to be reveals the quirks of Wikipedia’s process for determining what to keep, and what to jettison, on the encyclopedia’s servers. There’s a name for this: the ‘notability test.’ I had the rare opportunity to observe this process up close, in real time.

    As a frequent Wikipedia reader, I had long wondered about the people who studiously edit its content, writing paragraphs, creating links, sourcing citations and tweaking code behind the scenes to keep it running smoothly. As a professional writer, I’ve been particularly intrigued by the unpaid nature of this work, as I abhor the notion of writing for free.

    I wanted to know what compels a person to create—from scratch—an article on some esoteric subject, landmark or person. I needed a case study. Purely by chance, that esoteric subject turned out to be none other than me.

    To read the full story, visit Backchannel.

    Note: since the publication of this story in March 2015, the ‘Andrew McMillen‘ article on Wikipedia has been trimmed considerably, having survived a deletion debate.

  • The Monthly story: ‘Dogs On The Inside’, March 2015

    A story for the March 2015 issue of The Monthly. An excerpt appears below.

    Dogs On The Inside

    The BARK program at Arthur Gorrie Correctional Centre sees prisoners taking care of dogs

    The Monthly story: 'Dogs On The Inside' by Andrew McMillen, March 2015. Illustration by Jeff Fisher.

    A handful of inmates are gathered in the library of the Arthur Gorrie Correctional Centre in Wacol, 20 kilometres south-west of Brisbane. The centre of attention is Kia, a boisterous young Staffordshire bull terrier. As the dark-brown dog does laps of the group, sniffing at thong-shod feet, gratefully receiving rough pats and gulping water from a plastic bowl on the carpet, the four men follow her with their eyes.

    “There’s a lot of bravado in here,” says Ricky, a muscular, tattooed man with a shaved head. “When we have a dog, it tones the unit down. To pat a dog, you’ve gotta soften your heart. You can’t be looking tough when you go, ‘Hello, good girl! Why’s your tail like that for?’” His voice rises an octave as he addresses this last part to Kia and forcefully pats her flank. The dog looks up at him, confused.

    “It’s good responsibility for us as well,” says the big, bearded Alex. “Cleaning up after poo and wee, picking up rubbish lying around. People throwing stuff in the unit – you’ve gotta stop that when there’s an animal around.” On the outside, Alex bred Shar Peis, a breed known for their wrinkled features. In here, his favourite is Pippy, a fluffy, white Maltese aged three. “She’s lovely all round.” He grins at the anxious animal as she’s led into the room on a leash, warily eyeing off Kia. “She’s perfect.”

    Pippy was donated to RSPCA Queensland through the Pets in Crisis program, indicating that she and her owner were fleeing domestic violence. Since early 2013, the RSPCA’s Wacol campus has teamed up with staff and inmates at Arthur Gorrie to run the Bars and Rehabilitation Kanine (BARK) program. During that time, 54 abandoned or surrendered dogs, some with behavioural or medical problems, have been placed in prison units of up to 70 men, who act as foster carers for the animals until they’re adopted in the community or can be returned to their owners. A similar program at the nearby Brisbane Women’s Correctional Centre partners cats with female inmates.

    In the prison library, Ricky is the only one not wearing a uniform of green shirt and shorts; a red shirt denotes his role as a mentor for inmates struggling to adapt to their new environment. “There’s a lot of mental illness in here, believe me,” he says. “And most of us guys have trust issues.” He raises his hand. “I, for one. This program does help instil that little bit of trust again. It may be with an animal, but it’s a start.”

    To read the full story, visit The Monthly. Above illustration credit: Jeff Fisher.

  • The Weekend Australian Review story: ‘Clarke & Dawe: In The Line of Satire’, February 2015

    A feature story for The Weekend Australian Review that appeared on the cover of the February 14 2015 issue. An excerpt appears below.

    Clarke & Dawe: In The Line of Satire

    Andrew McMillen delves into Clarke & Dawe, the sharpest two-and-a-half minutes on television.

    The Weekend Australian Review story: 'Clarke & Dawe: In The Line of Satire' by Andrew McMillen, February 2015. Photo credit: Luis Enrique Ascui

    On a Wednesday morning in mid-November, a man picks up that day’s edition of The Age from a neighbouring table in a cafe in Melbourne’s Fitzroy. He skims the headlines and sips a flat white between turning the pages. What is he looking for? “Something I haven’t seen before,” he says. The 66-year-old is a picture of unhurried composure. To outward appearances, he’s an inner-city retiree happily fulfilling a daily routine of caffeine consumed alongside current affairs. On closer examination, however, this man is engaged in the serious, difficult business of turning news into satire, so that his work may make us laugh while also making us think.

    When a girl of about three pauses by his table after spilling sultanas on the floor, John Clarke looks up and greets her with a sonorous hello. The young girl is momentarily entranced by one of the most familiar faces on Australian television. She clocks his bald dome, the unkempt patch of white hair that circles behind his ears, the slight smile and the handsome black overcoat with matching slacks topped by a black bowler hat. Most of all, though, she’s drawn in by a pair of bright blue eyes that sparkle with a tangible sense of knowingness, as if their owner lives in a state of perpetual amusement at life itself.

    His task today is much the same as it has been for the past 25 years. Once a week, he writes and records a short television program that distils newsworthy issues into a satirical dialogue between two men: Bryan Dawe and himself. On camera, Clarke adopts the guise of a public figure in name alone. Dawe queries his guest in the public interest, while Clarke’s character — anyone from the prime minister or a premier, down to a lowly economic consultant — alternately answers and evades questions. The resulting two-and-a-half minute program, Clarke & Dawe, airs nationally at 6.57pm every Thursday, immediately before the ABC’s nightly news bulletin. More often than not, it is the among the week’s sharpest commentary on up-to-the-minute matters relating to Australian politics and public life.

    The Weekend Australian Review story: 'Clarke & Dawe: In The Line of Satire' by Andrew McMillen, February 2015Pages of The Age keep turning while mid-morning traffic streams by on Gertrude Street. On today’s agenda are several competing topics, which Clarke discusses casually while continuing to take in the newsprint. Throughout the week, he says, “I take notes subconsciously, but I don’t have a piece of paper.” This is how his writing days always begin: with a blank page, as it were, but not with a blank mind. “There’s been quite a lot of that in the media [with regard to the G20]. There are some very big things being discussed. That huge China trade deal, that was a nine-year job. The complexities in that must be colossal, and it’s a bit ridiculous to have it discussed at the level of ‘my dad’s bigger than your dad’.”

    With this, Clarke smiles wryly, as he so often does when he knows he has delivered a funny line. “So there’s that,” he continues. “Domestic politics hasn’t much changed lately because they’ve still not got the budget through, and aspects of that have come apart in their hands a little bit. And then the global economy is always quite interesting, because when I was a kid you could not spend more than you had. Now you can spend whatever you like. Governments have started doing that in order to create what they call growth, which has not been an unalloyed success in parts of Europe” — the corners of his mouth curl upward — “because growth can just as easily go backwards as forwards.”

    To read the full story, visit The Australian.

  • CNET story: ‘Ingress: The Friendliest Turf War on Earth’, February 2015

    A feature story for CNET; excerpt below.

    Ingress: The Friendliest Turf War on Earth

    We embed in the field and go behind the scenes of Google’s augmented reality game, Ingress. Is walking through the streets of hundreds of countries the future of gaming?

    CNET story: 'Ingress: The Friendliest Turf War on Earth' by Andrew McMillen, February 2015

    Eleven of us gather deep in the enemy heartland on a balmy Sunday evening to partake in Operation: Green Court. Meeting in secret, we are agents of the Enlightened, a faction which seeks to advance society through our actions. The enemy will be unaware of our presence until we begin attacking and capturing a long corridor of their prized portals, flipping them from blue to green while figuratively flipping them the bird. Our movements must be coordinated and efficient, as it won’t be long before we attract the attention of the Resistance, the opposing faction which fears change and seeks to crush our idealism and progress.

    In actuality, we are 10 adults and one child meeting on a street corner to bond over our smartphones — specifically, an app called Ingress, a free-to-play augmented reality game that has been downloaded over 8 million times and is being played in more than 200 countries.

    The massively multiplayer mobile game encourages its players to walk around the real world, using data overlaid atop Google Maps to attack and defend real-world public locations known as “portals”. Our common goal for this operation is to turn the suburb green — the colour of the Enlightened, and the colour of the shirt of Aladrin, the 39 year-old agent who arranged this operation via Google+ earlier in the week.

    Milton — an inner-city suburb of Brisbane, Australia — is usually coated in blue, thanks to the dedicated efforts of its Resistance population, many of whom work at nearby IT firms. Our own neighbourhood, just across the Brisbane River, is firmly green-held, but on this Sunday night we’ve set out to ruffle a few blue feathers. Owing to their team colour, Resistance players are commonly referred to as “Smurfs”. The Enlightened tend to self-identify as “frogs”.

    Among the eleven of us is Apocs85, a dedicated level 15 agent who is widely known and respected as the unofficial guardian of Brisbane’s West End. The 29-year-old loves his day job of testing video games, and his Ingress statistics show that he has walked 118 kilometres (73 miles) in the last week while defending and rebuilding portals throughout the inner-city.

    Niantic’s ‘success failure’

    In-game action is shown on our smartphone screens, which act as “scanners” to reveal the portals located all around us. They’re invisible to the naked eye, but with Ingress loaded on our Android or iOS devices, we’re able to see portals attached to structures, artwork, historic locations and buildings of cultural significance — train stations, public parks and post offices are three common examples.

    The portal locations are user-submitted and manually checked by staff at Niantic Labs, the game’s Google-owned developer, to ensure their accuracy and suitability. Globally, more than 3 million such locations have been approved so far, in numbers far greater than expected when the game was first released as a public beta version in November 2012.

    “At Google, we call that a ‘success failure’,” says Niantic Labs founder John Hanke with a chuckle. “It’s a failure because it’s so successful: lots of people submitted portals, which is great, but now it’s more than we can really handle to keep the response time down.”

    To read the full story, visit CNET.

  • Qweekend story: ‘Think Inside The Box: Float therapy’, October 2014

    A story for the October 19-20 issue of Qweekend magazine. The full story appears below.

    Think Inside The Box

    Solo enclosure in a dark tank of salty water isn’t everyone’s cup of calm, but converts to this niche form of stress management say there’s peace – and space for deep thought – to be found in the 60-year-old practice.

    Qweekend story: 'Think Inside The Box: Float therapy' by Andrew McMillen, October 2014

    by Andrew McMillen / Photograph by Russell Shakespeare

    ++

    I’m floating naked with my hands behind my back in a warm, shallow pool. Calming music plays quietly. My ears are plugged and submerged. It’s so dark that I can’t see my feet; the only light comes from a lamp outside, which filters through tiny slivers in the sliding door on the ceiling. I close my eyes, and from time to time, feel the currents of this private ocean causing my relaxed body to gently bump the sides. With the merest flex of a toe, elbow or finger, I push myself back toward the centre. Outside of my mother’s womb and my eventual coffin, I’m unlikely to encounter such a closed, sense-deprived environment – which, plainly, is a claustrophobe’s nightmare.

    After ten minutes, the music fades out, and I’m left alone with the sound of my breathing and my thoughts. I’m in a flotation tank: a vehicle for introspection slightly bigger than a dodgem car, containing 350kg of Epsom salts – hence the ability to float, as this water has the same density as the Dead Sea. It sits inside a storefront called Brisbane Float & Massage in the south-western suburb of Sherwood, yet for the duration of my disconnected hour inside, I could be anywhere in the world.

    I’m here because of Joe Rogan. Sometimes alternative therapies need celebrity advocates to shift public opinion from a fruity-sounding way to spend one’s time to an attractive prospect. For many float converts, Rogan – popular American stand-up comedian, podcast host and television presenter – has been the canary in this particular coal mine. “The sensory deprivation chamber has been the most important tool I’ve ever used for developing my mind – for thinking, for evolving,” he says in a YouTube clip that’s had more than 750,000 views. “Everybody should do the tank. You will learn more about yourself than any other way.”

    My first session reveals the truly abstract notion of time, as in the silence, I quickly lose all sense of the clock. For someone who has zero experience with meditation and a similarly low desire to spend time alone without some sort of stimulus – music, book, notepad, video game, smartphone – I wasn’t sure how I’d handle this dark, quiet vacation from reality. After I got comfortable in the water – whose warmth mimics my body temperature – time seemed to stand still.

    Before long, though, I was so deep in thought that I was surprised to hear the music return, signalling that five minutes remained in the hour. In the tank, a wide range of topics crossed my mind – partner, family, health, work, music, self – and I was able to carefully grasp each of these and examine it with newfound clarity.

    British-born John Battersby, 56, is the owner of Brisbane Float & Massage, one of only a handful of tank operators in Queensland. He shows me around his simple premises. “I built this myself,” he says, gesturing at the surrounding walls. “It’s not high-quality, but it’s functional.” A qualified sports therapist and local soccer coach, he leads me into one of his two float rooms, which both contain showers to be used before and after each session. Battersby explains that he found this therapy after a car accident in Sydney in 1989 left him with whiplash, a neck brace and limited mobility. He was sceptical of this alternative therapy at first: “A Pom, lying in a big bath of water?” he jokes with a smile. During his first 90 minute float, he experienced extraordinary pain relief. After that, he floated every day for six months.

    The sensory deprivation tank was first explored in 1954 by American physician John C. Lilly, who sought to isolate the human mind from external stimulation. Flotation therapy has since become a niche form of stress management. After its initial popularisation in the 1980s, public interest in floating dried up following health concerns about AIDS and the transfer of bodily fluids. “Now we know that’s not possible,” says Battersby, “as the water is so sterile that you can’t grow bacteria in it.”

    Battersby, who lives with his wife Kerry in the Lockyer Valley town of Laidley, 85km west of Brisbane, has used the tank at least once a week over the past 25 years. “It’s such a simple process that anyone can do it,” he says. Anyone, that is, except most children, whose short attention spans tend to limit the appeal of sliding the lid closed on a small space for an hour or more.

    When I mention Joe Rogan, Battersby describes him as “a breath of fresh air”. “I don’t believe in his use of drugs, though,” he clarifies. “We don’t allow people to use drugs here. But he’s an experienced floater, and he does good things. We need more of him.” For Battersby, the tank represents “one of the most creative spaces I’ve ever found. There are no distractions – only what’s going on between your ears.”

    For some, that same space between the ears can be the source of seemingly endless darkness and despair. Michael Harding knows a bit about this. A former army infantryman, Harding was medically discharged from service in 2011 after developing Post-Traumatic Stress Disorder (PTSD) born out of an intense, prolonged firefight in Afghanistan during which he witnessed a fellow soldier shot and killed. He developed full-body twitches, was diagnosed with conversion disorder and sent home early. The two years that followed were a mess of prescription medications and alcohol abuse. He’d drink a bottle of spirits every day, while his partner was at work, and his junk-food diet saw his weight top out at 110kg.

    Qweekend story: 'Think Inside The Box: Float therapy' by Andrew McMillen, October 2014. Michael Harding and Rebecca Houghton photographed by Russell ShakespeareHarding discovered floating in March and in his first week completed three sessions. “The changes I’ve seen in him after floating are incredible,” says his partner, Rebecca Houghton, who left her office job to care for Harding full-time. Having since lost dozens of kilos, Harding now wears his brown hair in thick, curly locks that belie his military history. He’s sitting in shorts, thongs and a black cap in an armchair outside the two float rooms in Sherwood, with Houghton at his side. The pair [pictured right] met at primary school in Bracken Ridge, in Brisbane’s north-east, and reconnected just before Harding joined the army.

    As the Department of Veterans’ Affairs does not view flotation therapy as a valid form of rehabilitation for Harding’s PTSD, their visits to Battersby’s Sherwood premises were paid for out of their own pocket. Both 27, they live in Lawnton, on Brisbane’s northside, and found that the 100-minute round trip was adding to Harding’s stress, eroding some of the benefits gained by floating. The solution? Battersby recently installed a reconditioned tank in their home basement. “I was in the tank by 3.20am this morning, for a four-hour session,” Harding beams. “It’s been great for my positivity, and my motivation. It allows me to de-stress, and get out of my head. A lot of my mates prefer to drink, take meds and try to forget about it all.”

    It’s a little early in my own floating career to expect to see the remarkable improvement in mental health and clarity that Harding reports. “When you first start doing the isolation tank, it’s hard to completely let go who you are,” Joe Rogan cautions in that popular YouTube clip. “But as you get more and more comfortable with the experience, you get better at actually letting go.”

    Once the music stops in the tank, I slide back the door on its ceiling, stand up and allow the salty water to run off. I shower, dress, hand over my $50 and bid Battersby a fond, grateful farewell. I look forward to my next session, and the one after that, as I float in the quiet dark and allow my mind to venture deeper and deeper inward.

  • ‘Talking Smack: Honest Conversations About Drugs’ extracts and book launch, August 2014

    My first book, Talking Smack: Honest Conversations About Drugs, was published by University of Queensland Press in July 2014. Here’s the synopsis:

    'Talking Smack: Honest Conversations About Drugs' by Andrew McMillen – book coverOf all the creative industries, the most distinct link between drug use and creativity lies within music. The two elements seem to be intertwined, inseparable; that mythical phrase “sex, drugs and rock and roll” has been bandied about with a wink and a grin for decades. But is it all smoke and mirrors, or does that cliché ring true for some of our best-known performers?

    In this fascinating book, journalist Andrew McMillen talks with Australian musicians about their thoughts on – and experiences with – illicit, prescription and legal drugs. Through a series of in-depth and intimate interviews, he tells the stories of those who have bitten into the forbidden fruit and avoided choking.

    This isn’t to say that stories of ruin and redemption are avoided – they’re not. These celebrated performers have walked the straight-and-narrow path of alcohol, caffeine, nicotine and prescription medication, as well as the supposedly dark-and-crooked road of cannabis, cocaine, ecstasy, heroin and methamphetamine.

    By having conversations about something that’s rarely discussed in public, and much less often dealt with honestly, McMillen explores the truths and realities of a contentious topic that isn’t going away.

    Talking Smack is a timely, thought-provoking must-read that takes you inside the highs and lows of some of our most successful and creative musicians, including Paul Kelly, Tina Arena, Gotye, Steve Kilbey (The Church), Phil Jamieson (Grinspoon) and Holly Throsby.

    I worked on the book throughout 2013, between freelance assignments. Seeing it through – from my initial conversation with the publisher in September 2012 to holding the printed product of around 70,000 words in my hands – was the single most satisfying process of my life and career. It took nearly two years and I loved every minute. Writing a book is a great thrill and privilege, and I have every intention of repeating the process again – as soon as the next idea strikes me, that is.

    Talking Smack is available in paperback (RRP $29.95) at bookstores throughout Australia, and as an ebook throughout the world. For more on the book, including where to buy it online, visit its standalone website at talkingsmack.com.au. The book’s trailer, created by Brisbane studio IV Motion, is embedded below.

    Three of the book’s 14 chapters were published as extracts in Australian media outlets, beginning with an edited version of the chapter featuring Steve Kilbey, which was published in The Weekend Australian Review on July 26, 2014:

    The Dark Side: The Church frontman Steve Kilbey reveals his battle with heroin

    At the age of 37, Steve Kilbey found himself at a crossroads. He’d become a pop star fronting the Church, a band whose song Under the Milky Way, the lead single from their fifth album, Starfish, became a worldwide hit in 1988. He’d made quite a lot of money: he had a house and a recording studio in Sydney, a couple of cars, a load of instruments and some cash to spare. He wasn’t filthy rich, but he was certainly very comfortable.

    By this point, Kilbey considered himself a worldly drug user: he had started smoking pot in his late teens, tried psychedelics soon after and bought his first gram of cocaine after making his first record, Of Skins and Heart, in 1980. Eleven years later, he was recording for a new project named Jack Frost with his friend Grant McLennan, a fellow Australian pop star best known for his work with Brisbane act the Go-Betweens. One night, while out at a bar and feeling an empty sense of unhappiness at the life he’d earned, despite his success, Kilbey was taken aback by McLennan’s proposal: “Let’s get some heroin.”

    To read the edited book extract of my interview with Kilbey, visit The Australian. (Note: the full chapter is around 6,000 words; the Review extract is cut down to around 3,000 words.)

    The chapter featuring Mick Harvey was published on the blog of Brisbane author and journalist John Birmingham, Cheeseburger Gothic, on August 22 2014:

    Mick Harvey extract from Talking Smack: Honest Conversations About Drugs, by Andrew McMillen

    Amphetamine is best known as a drug of alertness: snort or shoot a line of speed and you’ll be awake far longer than the body can usually tolerate. The avoidance of sleep is one of its major benefits, especially for creative people who feel compelled to spend their time on this earth productively, rather than being laid out in bed for one-third of every day. But the drug can be used medicinally in this sense, too, especially if you’re in a band where others are burning the proverbial candle for days on end. As Mick Harvey found, using amphetamine was sometimes the only way to keep up with Nick Cave and the Bad Seeds, the band that he co-founded and managed.

    In the mid-eighties, while based in Berlin, the guitarist would look around the studio and realise that his bandmates were invariably loaded on one substance or another. He’d partake in half a line of speed and stay up for two days. ‘I don’t know why they would keep going back and taking another line every two hours,’ he says. ‘There was no need whatsoever!’ Sometimes, the group would spill into a bar at seven in the morning and rage on. All of this was fun to Harvey, then in his mid-twenties, who thoroughly enjoyed being part of a band perceived then – and now – as one of Australia’s edgiest rock groups. Speed was incredibly useful on those occasions, but its medicinal purposes only stretched so far. ‘I certainly never had a desire to continue to take it every day, or to deliberately go and find some and party,’ he says. ‘I just didn’t really do that.’

    To read the full book extract of my interview with Harvey, visit Cheeseburger Gothic.

    The chapter featuring Bertie Blackman was published on TheVine.com.au on August 26 2014, following Jake Cleland’s in-depth interview with me:

    Gotye, Paul Kelly, Bertie Blackman and more talk drug use in Talking Smack

    Her first thought was that she was having a heart attack. One night, on tour on Queensland’s Sunshine Coast in early 2009, the twenty-six-year-old had a sudden and terrible feeling: she couldn’t breathe. Severe chest pains were accompanied by shallow breaths. She was scared, and so were her bandmates. Next stop: the emergency department of Noosa Hospital. The diagnosis: inflamed cartilage rubbing against her ribcage. The cause: overexertion on and off stage; drinking too much alcohol too often, and feeling invincible as a result. Yet here was concrete proof that the young musician was doing serious damage to her health and that perhaps it might be a good idea to rethink things.

    Anyone who saw Beatrice ‘Bertie’ Blackman perform in the years leading up to that health scare would have found her to be one of Australia’s most arresting rock frontwomen. Night after night, she’d be slugging from a bottle of Jameson between singing into the microphone, thoroughly inhabiting the loose, hedonistic image that rock history has conditioned us to expect, if not demand. Blackman’s body became conditioned to the abuse: she could drink a bottle of whisky each night, then hop in the van the next morning, inured to the ill effects. And off to the next city she’d roll, to do it all over again.

    To read the full book extract of my interview with Blackman, visit TheVine.com.au.

    Talking Smack was launched in Brisbane on Thursday, 21 August 2014 at my local bookstore Avid Reader, in conversation with one of my favourite Australian writers, John Birmingham. Footage from the event is embedded below, or click here to view on YouTube.

    For more on Talking Smack: Honest Conversations About Drugs, including where to buy it online, visit its standalone website at talkingsmack.com.au.

  • Qweekend story: ‘Orange Crush: Thomas Broich’, April 2014

    A story for Qweekend, published in the April 5-6 issue of the magazine: a profile of Brisbane Roar footballer Thomas Broich. An excerpt appears underneath; click the image below to view a PDF version.

    Orange Crush

    His sublime skills made Thomas Broich one of Queensland’s most welcome sports imports. And his move from Germany not only revived his passion for football but gave Brisbane Roar a man for all seasons.

    Qweekend story: 'Orange Crush: Thomas Broich' by Andrew McMillen, April 2014

    Story by Andrew McMillen / Photography by Russell Shakespeare

    The Saturday morning sun warms the lawn as 20 or so men in orange shirts follow the path of a round ball. Players yelp after bone-shaking tackles and groan at the sight of missed shots skirting the crossbar. Complimentary coffee and bacon-and-egg burgers are on offer for the crowd that has gathered outside Ballymore Stadium in Brisbane’s inner-north Herston for this open members’ training session.

    Wendy Shaw stands with arms crossed beside a sign that reads Beware: flying footballs. The 55-year-old supermarket manager hasn’t missed a Roar home game since the club’s inception nine years ago. She stares intently at number 22, a tall, tanned man with dark hair and green boots.

    “He’s had a shave, that’s always a good thing,” she laughs. “That’s one of our superstitions – if Thomas has a shave, it means we’re going to win!”

    Just out of earshot, attacking midfielder Thomas Broich is delivering cross after cross to the team’s strikers, who attempt to put the ball past goalkeeper Michael Theo. The 33-year-old Broich – who earlier this year played his 100th game for the club – has been a professional footballer for nearly half his life, and has been subject to intense media and fan scrutiny.

    After a rollercoaster ride of a career throughout the 2000s in the German premier league, the Bundesliga – the world’s most attended football competition – Broich was near the end of his tether, and considering quitting. It took a timely transfer to a club halfway around the world to reignite his passion.

    Since he first wore the orange jersey in the 2010-11 season, Brisbane Roar has been a consistent presence at the pointy end of the A-League, winning two of the past three championships.

    A home game on March 22 saw the team secure its second premiership in four years; the match-winner arrived in the 92nd minute, when Broich attracted the close attention of four Melbourne Victory defenders before he passed to midfielder Luke Brattan, whose pinpoint strike sealed the game 1-0. The team heads into the finals series as favourites to take its third championship.

    ++

    So deafening was the buzz surrounding the young midfielder in the seasons leading up to his Bundesliga debut that a television journalist named Aljoscha Pause approached him in 2003 with a tempting offer: to be the subject of a feature-length documentary, the first such film portrait of a German footballer.

    “I wanted to find somebody who would be charismatic enough to carry a whole film, and intelligent enough to reflect the business from inside – not an easy task,” Pause tells Qweekend. At the time, Broich was 22 and playing in the second-division Bundesliga; the project was initially scheduled for two years.

    “It was meant to show me break through into a big club, or the national team,” says Broich. “Then it just turned to shit. Excuse my language!” He gives a sheepish grin, momentarily forgetting his well-practised media manners. “It went the complete other way. That’s when the project became interesting for completely different reasons – it wasn’t about the rise of a footballer any more, it was more about the fall of a footballer.”

    Pause estimates that the pair spent about 400 hours filming together, over the course of eight years and several club transfers, first with Borussia Mönchengladbach (2003-06); later, FC Köln (’06-’09); and finally, with FC Nürnberg (’09-10). The pair became close during the process, which made Pause’s job more difficult; the line between filmmaker and friend became blurred. The result, Tom Meets Zizou, was released in 2011 and charts Broich’s youthful naivety.

    Early on, the football press picked up on his preferences for classical music and philosophy, dubbing him “Mozart”. The youngster was eager to please, and played up to the caricature by posing for photographs while engaged in intellectual activities such as reading, chess, and playing piano. These points of difference weren’t particularly well received in the hyper-masculine world of professional football. Says Broich with a grimace in 2014: “I look at the young guy in the film and think, oh my god, you’re so stupid. Who do you think you are?”

    Ultimately, the film chronicles an optimistic, skilled young player being gradually worn down by a ruthless industry. It was only when then-Brisbane Roar coach Ange Postecoglou travelled to Germany to offer Broich a lifeline that a fitting dénouement became clear.

    “When I hit rock bottom, I made the decision to come to Australia, and that’s where the fairytale started for me,” says Broich. “For the first time in years, I was able to enjoy my football again.”

    The film ends with the Roar’s spectacular first grand final in March 2011. Before a record home crowd of more than 50,000, Brisbane was down 2-0 to the Central Coast Mariners with just three minutes of extra time remaining. It would take something remarkable to claw back the scoreline. In response, Broich made a casual assist in front of goal to the Brazilian striker Henrique, who netted the chance and made it 2-1. Then, in the 120th minute, Broich sent a corner kick onto the head of fellow midfielder Erik Paartalu, who tied the game, resulting in a penalty shoot-out won by the home team. It was Broich’s first championship trophy. He was 30 years old.

    To read the full story, visit The Courier-Mail.