All posts tagged profile

  • The Courier-Mail author profile: Melissa Gregg and ‘Work’s Intimacy’, October 2011

    A short author profile for The Courier-Mail’s new Life section, which is included in the Saturday paper. Click the below image to view the version that appeared in print.

    The text I’ve supplied underneath is the full article, which was slightly edited in print due to space restrictions.

    How to leave work at home: Work’s Intimacy by Melissa Gregg

    If the office exists in your phone, how is it possible to claim the right to be away from it for any length of time?

    This question is central to Work’s Intimacy by Melissa Gregg, a senior lecturer in gender and cultural studies at the University of Sydney. Gregg’s book is the result of a three-year study of information workers – including broadcast journalists, librarians and academics – which took place in Brisbane between 2007 and 2009.

    “That question captures the twin tensions in the book’s title: the idea of work being something that we’re invested in, in a way that’s pleasurable, and the way that technology allows that relationship to be available wherever we are,” she says. “Mobile devices are increasingly marketed as this desirable object because it gives us access to every pleasure we could possibly imagine,” she laughs. “The more portable the device, the more intimate the device, right?”

    If we’re to believe the companies that market these devices, that’s absolutely correct. Yet Gregg’s book contains dozens of examples of salaried professionals struggling to draw barriers between their work and leisure. This behaviour extends to checking and replying to emails outside of the workplace, in preparation for the actual workday.

    “That was extremely common,” Gregg says. “It seemed to point to a sense of unpredictability in people’s work days. We once thought of the office as a mind-numbing routine of 9-5, of always knowing what’s coming, and that being part of the problem. This tendency to check email outside of the office seemed to suggest that, individually, people did not know how to cope with the pace and the unpredictability of the workplace today.”

    For Gregg [pictured below], being based in Brisbane for the duration of her study was a blessing. “As someone who’s always been a bit of an outsider to any city I’ve lived in, I saw this as a great chance to look, from an outsider’s point of view, at changes that were happening in Brisbane at that time”; namely, the way in which the city was positioning itself within a creative economy.

    This confusing transitional period was reflected in the workers Gregg interviewed. She met a 61 year-old university professor, Clive, who said “I worry that I’m going to miss something” if he doesn’t check his email constantly. “I’m a bit addicted,” he said. “Partly because I don’t want email to swamp me. If I had a weekend off the Internet, then on Monday, I just have a huge inbox.”

    Similar anxieties were expressed by Patrick, a 24-year old part-time radio producer who barely sees his partner, Adam, since their schedules rarely align. Yet Patrick admitted “I do get a pang of sadness” when the pair were home at the same time, but both absorbed in their individual computer screens. The author dubs this being ‘together alone’.

    Gregg says that maintaining an emotional distance in these scenarios is “one of the challenges of this kind of research, because you’re always needing to retain objectivity in the moment of the interview, and to say as little as possible to affect them telling you what’s really going on.”

    She says that “a number of the interviews were quite shocking to me, and did make me feel that there was merit in having people talking about these issues, because they could at least become prominent in their minds for a while, to see just how much they could recognise their relationships had changed within the family structure.”

    Though Gregg says she’s “no shining example” in contrast to the work/life issues raised by her interviewees, she hopes that people “take a little more independent action to refuse the pace of their workplace. Teamwork culture is very coercive because of the rhetoric of collegiality and friendship, so it does make it very difficult for people to resist. But that’s not going to stop me recommending that people do it.”

    Work’s Intimacy can be ordered via Polity Books’ website.

  • Qweekend story: ‘The Long Dry Spell’; Chris Raine and Hello Sunday Morning, June 2011

    This is my first story for Qweekend, The Courier-Mail’s Saturday magazine. It appeared on the cover of the June 4-5 2011 issue.

    Click the below image to read the story as a PDF in a new window, or scroll down to read the article text underneath.

    The Long Dry Spell

    Story: Andrew McMillen. Photography: Russell Shakespeare.

    When Chris Raine gave up drinking for 12 months just to see if he could, he started a Gen Y revolution.

    ++

    At just after nine on a Saturday night, Chris Raine greets me at the door of his Fortitude Valley apartment in Brisbane’s inner city and leads me upstairs where he fixes a couple of French martinis (vodka, raspberry liqueur and pineapple juice). It’s my first alcoholic beverage of the night; it’s his sixth. Or seventh. He’s not really sure. On the couch, his friend Tamara, 26, sits in front of an Apple TV streaming photographs, mostly of people and nature scenes. Dance music is playing on the stereo.

    Raine’s two housemates – an engaged couple – are downstairs in the jacuzzi, requesting top-ups for their martinis. Plans for the rest of the evening are discussed. Raine and Tamara intend to head to a dance club in the CBD. I have plans to meet friends at a British pub at midnight to watch live soccer games. Some of Raine’s friends arrive at the apartment, already liberally soused and keen to continue drinking.

    None of these momentary decisions will have much bearing on any of our wider lives. It’s just another Saturday night in Brisbane and a handful of young people are deciding how they will spend the next few hours. The only difference is that one man in the room – 24-year old Raine – is actively turning the tide of his generation’s unhealthy obsession with binge-drinking. Although he’s wearing a loud shirt and a new haircut, nothing about him screams “revolutionary”. Yet his idea – Hello Sunday Morning (HSM) – could be seen as such, at least by a growing army of Gen Y binge-drinkers.

    Raine has spent two years developing, nurturing and disseminating the HSM philosophy. The project began humbly, but is now chipping away at Australia’s imbibing culture, one young drinker at a time. Raine’s idea acknowledges that Australia has a drinking problem, one that is both unhealthy and unsustainable. But it’s here that any resemblance to government-funded, multimillion-dollar anti-bingeing public health campaigns ends.

    HSM is not about guilt or scare tactics. While federal taskforces and marketing teams execute plans that admonish and demonise young Australians who drink to excess, HSM prefers to start conversations around alcohol use by challenging those people to give up booze for three, six or 12 months at a time.

    Built into this process – known as “doing a HSM” among self-dubbed “HSMers” – is a request that participants publish blog entries on the project’s website (hellosundaymorning.com.au). Many HSMers prefer to write their own blogs; some film and upload video versions. Most choose to share these confessional entries with friends and followers on Facebook and Twitter. You could call it abstinence by social network.

    Blogging is a request, not a demand. Some HSMers choose not to blog, in the same way that some partygoers refuse to stop drinking. Instead, they work through their HSM by keeping their cards close to their chests, and telling only their close friends. But those who do blog add to an online resource that – with each additional webpage visit, comment, Facebook “like” and retweet – infiltrates the culture.

    As Raine mixes my second cocktail, I ask him if he’s had many doors shut in his face over the past few years. “Constantly. Of course,” he replies. “Even the idea of being abstinent for a short period is confronting [to some people]“.

    Then it hits me – isn’t the founder and CEO of Hello Sunday Morning “binge-drinking”, according to the National Health and Medical Research Council definition of the term? He’s had more than four standard drinks in a night.

    “All that kind of public policy is important, but it’s not really my cup of tea,” he shrugs. “I’m more interested in individuals working out what works for them. And tonight, having French martinis is working for me.”

    Raine’s a realist. And besides, he’s just completed a three-month break from the booze. In fact, since he began waving the HSM flag in January 2009, he has spent 15 of those 29 months stone-cold sober. If anyone deserves a few casual martinis, it’s him.

    ++

    Christopher Keith Raine was born at the Royal Brisbane and Women’s Hospital on November 28, 1986. He has a younger sister, Jess, 22. Their parents, Ellen and David – both GPs – split when Chris was eight years old.

    As a child, his first love was tennis. In primary school he would spend his lunch breaks with a ball, a racquet and a brick wall. Nothing else mattered. His father recalls that Chris “had a bit of McEnroe in him at one stage”. He routinely threw tantrums and launched his racquet over fences if he lost even a single game. Like his older half-brothers, Chris later boarded at Brisbane Grammar School in inner-city Spring Hill. Early on, a teacher’s offhand remark earned him the nickname “Nugget”, owing to his adolescent chubbiness.

    The first time Chris got drunk was at his father’s third wedding. He was ten years old. “As a parent you hear about these things later on,” David laughs. “It’s amazing what goes on at the time.”

    Chris Raine’s next formative experience with alcohol was when he was 13 and in Year 8. It was at a farewell party for his half-brother Andrew, who was leaving for Cambodia where he lived for a year as a junior diplomat. Chris “got written off” and embarrassed himself. He slept it off, then returned to boarding school.

    His parents were vehemently opposed to excessive drinking. “Chris wasn’t allowed to drink [without our approval] until he was 18,” Ellen confirms. David was also very much against what he saw as the schoolies tradition “where they try to stuff as much alcohol into their systems as they possibly can”.

    For a time, drinking and partying became Raine’s tennis; his obsession. There was no history of alcohol abuse in his immediate family, nor did he consider himself a problem drinker.

    Raine’s entrepreneurial flair became apparent in Year 10 when he would smuggle $10 bottles of alcohol into his dorm and sold them for $20 each. This went on for six months, until he and most of his friends in their senior years progressed to obtaining fake IDs so they could drink in pubs. While Raine was never caught drinking on the school campus, his teachers might have been grudgingly impressed by the lengths to which he and his mates would go to sneak out of the dorm at night to attend boozy parties. Raine still relishes the chance to “push the social envelope” to see how far he can take things.

    His academic results at school were never exceptional. “He spent 12 years not really knowing why he was at school,” mother Ellen says. “He thought it didn’t relate to his life [beyond school].” It was her idea for Raine to travel through South America for a year as an exchange student when he was 17. He recalls it was a time of “lots of drinking, lots of partying”.

    On his return he began a Bachelor of Communication at the University of the Sunshine Coast (USC), also at his mother’s suggestion, and lived in his parents’ Caloundra apartment. He had no career plans, though he knew his talents lay in marketing because he’d always been a good communicator.

    Raine hit what he calls “rock bottom” halfway through his degree after he broke up with a girlfriend. His parents were worried about him – he was depressed and drinking heavily, and often. He says he was stuck in a rut where his life had “no real purpose or vision”. Yet getting his heart broken was the impetus for him to climb out of the hole he’d dug for himself.

    Simon Maher – a marketing and management student at USC – was Raine’s flatmate at the time. Maher had just gone through a difficult relationship break-up of his own when he first moved in with Raine. He says the pair of them shared a lot of thoughts, experiences and feelings at the time – unusual for two young men. Although there were times when Maher would arrive home and find his flatmate halfway through a bottle of tequila, he’d just as often be woken by a 5am knock on the door by Raine inviting him out on a morning jog.

    “I developed a lot as a person, living with Chris. He challenges people in positive ways,” says Maher, who now works as a HR and marketing manager for Telstra and retains a strong friendship with Raine. “Sometimes he doesn’t even know he’s doing it.”

    As a budding entrepreneur, Raine booked Mooloolaba’s Wharf Tavern for regular Thursday night alcohol-fuelled events for his fellow students. At 21 he became the venue’s marketing manager but says he found it unconscionable to participate in the exploitation of young drinkers.

    Later, he hustled an internship at a Brisbane-based youth advertising agency called Fresh, his first job on graduating. It was here that he made his first pitch to a government client whose brief was to reduce alcohol-related violence among teens. “[But] none of what we were coming up with was going to change the way I drank,” he recalls. At the time Raine was drinking “quite a lot”, which led to another crisis of conscience.

    His colleagues challenged him to come up with something better, so he decided to make it personal. Raine swore off alcohol for a year on New Year’s Day, 2009, just a couple of hours after midnight. He decided his findings should be made public, because he’d never heard of anyone sharing such an experience socially.

    Naming his blog Hello Sunday Morning, he wanted it to be “something positive, fun, lighthearted, and focused on individuals”. “It was like ’carpe diem‘, you know?” he says. “Hello Sunday Morning, for me, was a call to action. It’s about making the most of every day, not just Sunday. You only have one opportunity to make the most of your life. And it all starts with ’hello’.”

    ++

    Raine was a barely competent blogger at first. His web entries were brief, shallow and gave the impression he wasn’t too keen on teetotalling. But he was just too proud to back down in front of his mates or, more importantly, to reveal the truth about himself.

    His first entry, grandly titled “The Odyssey Begins”, reads:

    “[It's] Sunday morning and I am actually sitting at my desk, typing in a mildly coherent fashion on my laptop … as apposed [sic] to being completely hungover, bedridden and dreading doing absolutely anything except lay [sic] in my bed and eat KFC. This is a blog about what crazy things can happen to a normal, social, 22-year-old when they don’t drink alcohol for an entire year. It is a real-time look into the wonderful Australian pastime of drinking through the eyes of someone who isn’t.” – January 11, 2009

    Unexpected challenges soon cropped up. Just a week into his year of sobriety, Raine was dumped by another girlfriend.

    “There would be nothing more I would like to do right now than go straight to [a bar] and write myself off on tequila shots,” he wrote. “But I can’t, so I type. It’s a strange place, having to sit in your own emotions.” – January 18, 2009

    In the same blog entry, he confessed he had been dependent on the relationship with his ex-girlfriend because it meant he didn’t have to deal with the awkwardness of chatting up other women without the aid of liquid courage…

    “I don’t think I ever actually learnt how to socialise with girls, sober. I mean, I’m good at talking to women. I have lots and lots of women friends, but when it comes to putting the moves on – horrible. What I don’t understand is: why aren’t young men taught how to communicate with women? 1. There would be less violence. 2. People would drink less, and 3. Kebab sales would plummet.” – July 28, 2009

    Rather than suffering in lonely silence, during his HSM abstinence adventure Raine chose to put himself in social environments on a regular basis. He was going out on most weekends, taking notes and blogging all the while. By April, his new role as a sober observer led to an epiphany – while he was watching his hero Michael Franti, an outspoken 45-year-old American musician and social justice activist, perform at a festival in Byron Bay, northern NSW.

    “In the past three months I have gone through a lot of realisations and I feel that Hello Sunday Morning is my life’s purpose. Even if it is small now, I feel like we are making a bit of a difference. I feel so good when people tell me that it makes them think about their own actions around drinking. It makes me believe.” – April 15, 2009

    Over the next few months, Raine’s passive observations of drinking culture metamorphosed into deep, detailed essays – on drinking, social interaction, sobriety – which showed how seriously he now took his role. He left Fresh in September that year to give HSM his full attention and by November, five of his close friends had agreed to undertake their own HSMs. Their support strengthened his resolve.

    “I’m humbled by the willingness of young people to stand up and make a choice not because they have to, but just because they believe in a better way,” he wrote. “They believe they can challenge those belief systems around alcohol which have been handed to them from one generation to the next. More importantly, they believe they can change it for the generations that will follow them. We are not many. But we have conviction and purpose, which is stronger than any number.”

    Against the odds – and in defiance of his peers’ initial disbelief – Raine completed the year-long dry spell, and then decided to postpone that first drink a little longer, despite being out at a bar surrounded by friends…

    “I didn’t end up drinking at 2am because I didn’t think it would add any value to the experience I was having. I look forward to giving it a ’yes’ sometime soon, but it will have to be for the right reasons. Wow. One year. One year of change, evolution and freedom. I’m 23 years old and my life has never been more full.” – January 1, 2010

    ++

    Our martinis drained, Raine, Tamara and I catch a taxi to Rosie’s, a club on Edward St in Brisbane’s CBD. We head downstairs where dozens of young adults are dancing to dubstep (a sub-genre of electronic dance music) beneath strobe lights. We sip mixed drinks and take in a few songs. I leave them at the club and meet friends nearby at Brit-themed pub the Pig ‘N’ Whistle. After watching two full games of live English soccer, I walk home to New Farm. It is 4am.

    Over the course of the night I’ve consumed two French martinis, a vodka raspberry, a gin and tonic, two pints of full-strength beer, a Coca-Cola, and two pints of water – about eight standard drinks, all up. By government definition, it’s a binge; by mine, an anomaly. I’m usually in bed, sober, by 1am.

    On the walk home, my low-level booze buzz has been replaced by overwhelming exhaustion. I think of the parallels between Raine’s experiences with alcohol and my own. Though he’s a year older than me, we’ve both made poor decisions under the influence. He’s lost his licence for drink-driving. I was once taken home in the back of a police car as an underager. But as Raine points out, we’re no better or worse people for having made these decisions.

    Since starting Hello Sunday Morning, Raine’s persistent networking – hustling, as he calls it – means he has positively influenced hundreds of young lives while also building a business around his idea. HSM is now primarily funded by The Australian Centre for Social Innovation which, in turn, is funded by the South Australian Government. TACSI’s $200,000 contribution to HSM last year allowed Raine to hire a full-time operations manager, plus a handful of part-timers specialising in research, web creative (programming, design and branding), membership coordination, and university relations. Raine halved his own salary so he could afford those five part-timers, although he says they’re still not paid half what they deserve.

    Michael Thorn, CEO of the Canberra-based Alcohol Education & Rehabilitation Foundation (AERF) – who recently awarded HSM $20,000 in funding for a web documentary series – describes HSM as a logical step. “It’s dealing with a demographic where we know there are serious causes for concern,” he says. AERF research published in April this year found that most Generation Y survey respondents drink specifically to get drunk. “Over one-third (35 per cent) of all drinkers consume alcohol for this purpose,” the survey said, “but [it particularly] applies to the majority of Gen Y drinkers (61 per cent).”

    HSMer Anthea Flint, 22, fell firmly into that category. She got drunk for the first time at 14 after raiding the liquor cabinet at a mate’s house. After that she drank every weekend until one too many public mistakes under the influence led her to HSM at age 21. During her seven months of sobriety, she saved money, travelled to India, regained her physical fitness and is finishing a degree in PR and advertising at Queensland University of Technology.

    Flint remains a strong advocate of HSM. “It’s exciting to be a part of this as it gains momentum and as you see the reactions of other people to what you’ve achieved through not drinking,” she says. “It makes you feel like you’ve achieved something, and you’re a part of something really special.”

    More than 800 Australians like Flint have publicly committed to taking a break from drinking through HSM. One of them, Jill Stark, a 35-year-old health reporter for The Age in Melbourne, condensed her blog posts into a feature story run by the newspaper in April. It summarised her own HSM experience, an initial three months without alcohol.

    “Politicians, drug and alcohol sector workers, teachers, mental health experts – they’re all wringing their hands about this booze-soaked culture that we have in this country,” she says. ”Everyone talks about changing that culture, but no-one really knows how to do that.

    “HSM is about changing a culture. You do that by engaging the people that you’re trying to reach with the problem. I’m not sure why it works, but it does. Possibly because young people can see someone like Chris, who looks like them, is the same age as them, and came from the same background. Even those who haven’t taken up HSM are looking at their own drinking habits and saying, ’Hold on, maybe I could do this a better way’.”

    ++

    Footnote: As of June 4 2011, I’ve undertaken a three-month HSM of my own. You can read about that on my HSM blog.

    ++

    This story in Qweekend was accompanied by a smaller, summarising story inside the main section of The Courier-Mail, on page 18. Article text below.

    Social group leaving hangovers behind

    ALL across Queensland on New Year’s Day, the words “not drinking again” escape the lips of innumerable hangover sufferers.

    Most of them soon back down in the face of both social pressures and a desire to regularly imbibe alcohol that seems practically etched upon the DNA of our national identity.

    A beacon of hope in dark, drunken nights is named Chris Raine. He uttered that commitment on January 1, 2009, and kept his word for an entire year.

    Then 22 years old, Raine adhered to the straight and narrow through what could be called abstinence by social network. Rather than carry it close to his chest, he opted to create a blog and document his experience online.

    Raine’s curiosity toward Australia’s cultural obsession with alcohol – and his desire to subvert that culture – was dubbed ‘Hello Sunday Morning’. Now, two and-a-half years later, Raine’s “HSM” community now numbers more than 800.

    Not all of them blog about their experiences on the HSM website, but many do. In turn, its word-of-mouth marketing approach propels Raine’s message deeper into Australian culture with every subsequent blog comment and pageview.

    Raine, now 24, and living in Fortitude Valley calls HSM “an opportunity for anyone who is ready to take a three-month break from our drinking culture and find out what life is like without a hangover”.

    It’s not a life-long abstinence movement. Many who undertake an HSM a nominal period of three, six or 12 months without alcohol find that, once they return to the drinking scene, their relationship with alcohol has significantly changed … for the better.

    Ask 32-year-old Shane Yearbury, who is midway through a six-month break from booze.

    Previously, Yearbury business manager at a Motorama car dealership in Moorooka had subscribed to the “weekend warrior” mentality for over half his life.

    Since signing on to HSM in March, his perspective has shifted and already the benefits are apparent in his work.

    “I noticed an increase in productivity as soon as I stopped (drinking). I wanted to be involved in every process that we have here,” he said.

    Raine’s long-term goal is to halve Australia’s cultural dependency on alcohol. If that seems a tall order, consider that, just over two years ago, the concept of HSM was real for just one person: him.

    Now, it’s a part of daily life for hundreds of former binge drinkers.

    For more on Hello Sunday Morning, visit hellosundaymorning.com.au.

  • triple j mag ‘We Salute You!’ party-starter profiles: Jaddan Comerford, James Wright, Zoe Barrett, June 2011

    A couple of short profiles of young Australian party-starters for triple j mag, as part of their party-themed issue (#50, May 2011).

    Click the images below for a closer look, or just read the accompanying text.

    ++

    Who: Jaddan Comerford

    Where: Melbourne

    weareunified.com

    Although it wasn’t a party in the traditional sense, 2010′s No Sleep Til festival put thousands of music fans in a celebratory mood. According to promoter Jaddan Comerford, the mission statement was simply “to put on a punk rock event”. Headlined by Megadeth, NOFX and Dropkick Murphys, No Sleep took in five Australian capitals, as well as Auckland.

    “There was a bit of stress involved,” 27 year-old Jaddan admits. The Brisbane event was most memorable, as it rained all day.

    Jaddan says he love “organisation and making sure the ‘product’ is good”. That means ensuring people are enjoying themselves at the festival, and that there’s enough food, drinks, and toilets.

    Though No Sleep Til 2011 is unconfirmed, Jaddan is busy as the owner of UNFD, a ‘music services’ company he founded. Part label, part manangement/marketing/booking agency, UNFD recently announced a deal with Warner Music.

    Festival models Jaddan digs: “I love Laneway. It’s small, it books new acts and actually breaks them in the market. I also love the way they use venues not everyone else uses.”

    ++

    Who: James Wright

    Where: Brisbane

    thefansgroup.com

    For 22-year old James Wright, becoming booking and event manager of Brisbane’s most popular club night was a result of performing at similar events. As drummer in indie punk band Stature::Statue , James played a show put on by the Fans Group in 2008 and was intrigued to see its inner workings. “Fans is a party-throwing company started by four guys who wanted to do cool things with their love of music, girls and alcohol,” James says. “Their sole purpose on this earth is to effect that end.”

    After asking Fans’ directors if he could learn more, James now sees Lambda Lambda Lambda – held each Thursday at Fortitude Valley’s Alhambra Lounge – closer than anyone: he books bands and DJs, coordinates worksheets, organises fees and makes sure that the night runs smoothly.

    A recent highlight of James’ career was when most of the bands playing Laneway Festival crashed the party. Warpaint and Les Savy Fav were booked to DJ, but Yeasayer, Ariel Pink’s Haunted Graffiti and !!! turned up, too.

    Qualities a good event manager should have: “Patience; ability to listen and comprehend carefully; be organised and open to ideas, even from unlikely sources. You also need to have a professional attitude and a penchant for late nights and drunken conversation.”

    ++

    Who: Zoe Barrett

    Where: Fremantle

    thenewport.com

    According to Zoe Barrett, four ingredients comprise a great party: being organised, creating the right atmosphere, social networking ads, and bubble machines. As Events and Marketing Manager at the Newport Hotel in Fremantle, Zoe loves the fact that she gets to see “loads of great live music for free”. With her help, the Newport has a growing reputation for putting on quality original bands each week; recent headliners include the John Steel Singers, Illy and Philadelphia Grand Jury.

    Zoe recently launched a new club night, Bass Culture, which is “all about heavy, heavy bass music. It’s nerve-racking starting a brand new night,” Zoe says, “but when the place fills up and the new idea takes shape and kicks ass, it’s an awesome feeling.” If Zoe could’ve attended one legendary event, she’d pick the club party in London after The Beatles finished recording Magical Mystery Tour. “I would love to go back in time for that,” she says. “That’d be genius!”

    Zoe’s CV: “I just moved to Freo and I was working at the bar [at the Newport] but I have a degree in Creative Industries majoring in Advertising, so when the Newport marketing manager left, I applied for that job.”

  • The Courier-Mail author profile: Neil Strauss – ‘Everyone Loves You When You’re Dead’, April 2011

    An author profile for The Courier-Mail. This isn’t available on their website (at time of publishing), so you can either click the below image to view a bigger version, or read the full article underneath.

    Neil Strauss: Choosing the right minute

    To American writer Neil Strauss, the traditional format of the cultural journalism anthology was tired and predictable.

    After his 2009 book, Emergency – wherein Strauss switched into survivalist mode and learned a raft of new skills so he’d be prepared in the event of an apocalyptic catastrophe – the accomplished Rolling Stone and The New York Times writer thought he’d give himself a break.

    “I thought I’d do an anthology,” he says, “because anyone who’s been writing articles and feature stories for 20 years feels like, ‘why not collect my favourite pieces and put them in a book?’”.

    The problem with this formulaic approach became evident once Strauss started sifting through thousands of published interviews with some of the world’s most famous musicians and actors.

    “I like telling stories,” he explains – as evidenced in Emergency, and in the 2005 bestselling exposé of the then-hidden pick-up artist community, The Game – but in this instance, “there were no through lines”.

    He spent some time with anthologies by some of his favourite writers.

    “Half of them I didn’t finish, because I got bored. With the other half, after I was done, I was bored of the writer, and bored of the voice, because it’s not a book if it’s just articles bound together, he says.

    Eventually, Strauss realised that his best published work simply showed moments where readers were allowed to see “the real person behind the mask”.

    So he began collecting those moments. The final product is a 500-plus-page tome named Everyone Loves You When You’re Dead, which features 228 such moments.

    In the book’s preamble, Strauss writes that you can learn a lot about a person or a situation in a minute – but only if you choose the right minute.

    Strauss is known for his ability to get closer to his interview subjects than most writers.

    Some of the book’s best moments are when he’s far from the regular interview locales, like hotel rooms or cafes.

    Instead, far more revelatory material is gained when he’s lying in bed interviewing Jewel, or driving with Snoop Dogg to pick up diapers for his kid, or being flown in a private jet by licensed pilot and jazz saxophonist Kenny G, or riding motorcycles and going to the Church of Scientology with Tom Cruise and his mother.

    Reporting from these extraordinary situations comes at a cost, though. For Strauss – who says he only does one or two interviews per year, now – these outlandish experiences have raised the journalistic bar considerably.

    “In the past, I succeeded by getting to be in the same room as this great artist who I looked up to,” he says.

    “Now it’s not enough. I’ve got to get the best interview this person has ever given in their life. You have to somehow go in, with a limited amount of time with someone, and you have to walk away and leave with something they’ve never told to any other writer before. That’s a lot of pressure. The better you get at something, the harder and more intimidating it gets.”

    Does he ever feel guilty for relentlessly extracting information from his subjects? “Sometimes I feel guilty. Say I’m leaving with four hours of recordings of one person spilling their soul to me, and all of a sudden it’s like, ‘thank you very much, goodbye’. I’m walking away with their soul on a tape, to some degree. They have nothing. That part always feels strange to me. It’s like having sex with someone, then running away.”

    Aspiring and existing journalists will be pleased to learn that Strauss is human after all, though. He doesn’t shy away from including one of his most embarrassing moments in the book.

    Forty minutes into an interview with Jimmy Page and Robert Plant – guitarist and singer for legendary British rockers Led Zeppelin – Strauss realised that he’d plugged his microphone into the headphone jack. The result: blank tape.

    To make matters worse, it was the pair’s first in-depth interview together since Zeppelin broke up fourteen years earlier, and it was one of Strauss’ first assignments for The New York Times.

    When he later attempted to surreptitiously backtrack over some of his questions, Page and Plant gleefully discovered his mistake.

    Strauss can laugh about it now, but at the time, he was  ”so mad” at himself.

    “After that, I started bringing two recorders to every interview, just in case one failed, or something went wrong.”

    Everyone Loves You When You’re Dead is out now in Australia via Text Publishing. For more Neil Strauss, visit his website or follow him or Twitter.

    Bonus material: for the full transcript of my 45 minute interview with Neil Strauss in early March 2011, click here.

     

  • The Courier-Mail author profile: Dave Graney – ’1001 Australian Nights’, March 2011

    An author interview for The Courier-Mail. Excerpt below.

    Proud and dodgy Dave Graney

    AS ONE of Australia’s most prolific rock musicians, Dave Graney has stood on stages across the world for more than 30 years, wielding guitar, voice and attitude.

    His output covers 24 recorded albums his hard-earned musical experience began in Mt Gambier, South Australia.

    Yet despite his longevity, vitality and originality, Graney says: “There are only a small number of people who really like my music, and who communicate with me.”

    Don’t mistake that for a complaint. Ever the realist, Graney knows that his confrontational, occasionally oddball style isn’t for everyone.

    “I’m glad they find my stuff, and get a kick out of different aspects of what I’m doing. My vocal style is full of little cries and gasps, and weird noises and yelps and screams,” he says.

    “I guess some people must think it’s kind of weird or something, because most indie rock is so uptight that there’s no physicality in a lot of it. We just do it.”

    The “we” refers to Graney, his wife, percussionist and creative partner Clare Moore, and the revolving cast of players who’ve had bit parts over the past 30 years.

    Graney admits that he’s always been interested in being a performer, not just being a writer.

    “But I think you’ve got to be one or the other,” he says. “You have to hold the pose to be a serious songwriter.”

    He cites Paul Kelly and Bernard Fanning as serious-looking dudes, before stating that he’s never been that sort of person.

    “So to answer your previous question, most people probably think I’m dodgy, and that’s something that I prefer, actually. I’d rather be dodgy than worthy,” he says.

    Now, for the first time, Graney’s wide – if disparate – audience has the chance to absorb his world-weary wisdom in text form, unaccompanied by music.

    His memoir, 1001 Australian Nights, traces Graney’s path from Mt Gambier to a consistent creative circuit of writing, recording and touring, both across this country and throughout the world.

    Split into two halves, the book first deals with the intense, solitary experience that Graney lived out upon finishing school, driving up the east coast of Australia, and eventually starting his first band, a post-punk act named The Moodists.

    With his focused sense of self-awareness, Graney admits that many of the things he writes about in that half are not particularly special.

    For the full article, visit The Courier-Mail. For more Dave Graney, visit his website. The music video for his song ‘Knock Yourself Out‘ is embedded below.

  • The Courier-Mail artist profile: Reggie Watts, March 2011

    An arts profile for The Courier-Mail. Excerpt below.

    Reggie Watts: Unscripted, but well prepared

    BEFORE American performer Reggie Watts even opens his mouth, you can’t help but form preconceptions.

    Watts is keenly aware of this, which is why he does his best to challenge those who try to pigeonhole him based on his appearance, performance style or surroundings.

    Watts’ act is unique; a compelling fusion of comedy, music, vocal prowess and impressionism, all delivered at a whirlwind pace.

    “I like it when people are laughing hard,” Watts says, “but I also like it when audiences are confused.”

    During his well-attended appearance at the Brisbane Powerhouse in May 2009, a bound-and-gagged Spiderman struggled to break free from his bonds throughout his set; he succeeded during the encore break, to wild cheers from the crowd.

    Watts made no reference to the character throughout his act.

    “It’s good to have things happening ambiently in the background,” he laughs when reminded of that night.

    Much of Watts’ act is improvised. While he has a handful of snippets he can bring into the set at any time, for the most part he prefers to make it up as he goes along.

    His inspiration comes from driving around and absorbing the sights and sounds of the city, or listening to his driver, who most likely will be local.

    “He’s driving me around and telling me stuff about the city. A lot of this stuff will show up in the show,” Watts says. “I don’t really write down notes. I experience something, find a funny thing about it, and then log it.”

    If it’s funny – or important – enough, Watts trusts that his memory won’t fail him while he’s on stage.

    For the full article, visit The Courier-Mail. For more Reggie Watts, visit his website. The music video for his skit/song ‘Fuck Shit Stack‘ is embedded below.

    Elsewhere: an extended interview with Reggie Watts in May 2009

  • The Australian story: ‘Alex Grey art tour’, January 2011

    An artist profile for The Australian. Excerpt below.

    Grey area of spirituality’s personal connection

    To look at the art of Alex Grey is to look inside oneself, literally and figuratively. The American artist is best known for his psychedelic paintings that combine human anatomy with allusions to infinite time and space.

    Grey, 57, describes them as “visual meditations on the nature of life and consciousness”. They are intricate images depicting open-cut bodies, bathed in glowing light or what Grey calls “spiritual energies”.

    “My work has been called visionary because I’m a painter inspired by glimpses into the subtle visionary realm, which is the source of all sacred art,” he says. “There is more of a spiritual motivation to the work than an intellectual rationale.”

    With his long, ponytailed hair and dressed head to toe in black, Grey looks nearly as striking as his art. He has a warm, avuncular presence that may recall Gandalf or Albus Dumbledore: fitting, really, as Grey portrays himself as wizard-like, a man who strives to be seen as not quite of this world.

    If his art looks familiar, it may be from the album covers he has designed for the American band Tool: 2001′s Lateralus and 2006′s 10,000 Days. The band is about to appear at the Big Day Out, and while Grey is not part of that line-up, he and artist wife Allyson are in Australia at the same time for a series of art workshops.

    Grey has been a career artist since he was a teenager. At 17, he painted carnival funhouses; at 19, billboards. Two years later he got a job in the anatomy department at Harvard Medical School, where he was charged with preparing exhibits on the history of medicine and disease, as well as preparing cadavers for dissection by medical students.

    His observations there informed his own art-making, leading eventually to Sacred Mirrors, a series of 21 life-sized paintings. It took 10 years to complete, but his job as a medical illustrator ensured that his skills were constantly in use.

    For the full article, visit The Australian. More Alex Grey at his website.

  • IGN Australia story: ‘Krome Studios: Things Fall Apart’, November 2010

    My first feature for IGN Australia. Excerpt below.

    Krome Studios: Things Fall Apart

    It’s the question that’s been reverberating around the corridors of the Australian game industry for three weeks: what causes Australia’s largest video game development studio to close its doors? Andrew McMillen investigates, and discovers that Krome’s current situation isn’t as clear-cut as first reported.

    The Precursor

    “Too often, game companies can fall into a production line mentality, and I think that hurts the morale of the employees who are naturally creative people – and in turn the creativity of the company, as a whole.” –Ex-Krome Employee

    As the annual Game Connect Asia Pacific (GCAP) event drew to a close on Friday, October 15, the local games industry’s mood of inspiration, optimism and enthusiasm was given a brutal reality check via whisperings that Brisbane-based Krome Studios was shutting its doors. Word spread among the industry quickly, and reports began appearing on sites like Tsumea that the developer – established in 1999 – was conducting a round of staff lay-offs.

    Such events were not unfamiliar to the Australian gaming industry, as the studio had been through regular rounds of employee redundancy in parallel to a decrease in development contracts. At its peak in July 2009, Krome employed over 400 staff across studios in Brisbane, Melbourne and Adelaide; four months later, 60 staff were let go, followed by another 50 in April 2010, and then an estimated 100 in August, which brought Krome Studios Adelaide to an end. The company was co-founded in 1999 by CEO Robert Walsh, creative director Steve Stamatiadis, and design director John Passfield, who left Krome in 2005.

    Read the full story – which runs to three pages, and around 3,000 words – on IGN Australia.

    This is the biggest story I’ve written, both in length and in terms of its scope. For three weeks, the Australian gaming industry had been assuming that Krome was dead. I looked closer, and found something different.

    Thanks to the editors at IGN AU, Cam Shea and Narayan Pattison, for taking a chance on this story. As a sidenote, working with Cam on this story closed a nice little circle: as a teenager, I was a big fan of Hyper Magazine, which Cam edited between 2005 and 2007. Thanks also to the ex-Krome employees and gaming industry contacts I spoke with for this story, both on and off the record, as well as Krome CEO Robert Walsh.

    16 November edit: IGN have also published my full interview with Robert Walsh. Read it here.

  • Rolling Stone story: ‘Hungry Kids Of Hungary Stay Close to Home for Debut Disc’, October 2010

    A story for the November 2010 issue of Rolling Stone, on Brisbane band Hungry Kids Of Hungary.

    Click the below image for a closer look, or read the article text underneath.

    Hungry Kids of Hungary Stay Close to Home for Debut Disc

    Queenslanders finally drop their debut after a pair of promising EPs

    For Brisbane-based indie pop quartet Hungry Kids Of Hungary, the three-year path to their debut album was paved with transcontinental correspondence, two EP releases, and a stack of national tours supporting the likes of OK Go, Little Birdy and Bertie Blackman.

    Escapades took shape in the suburban home of producer Matt Redlich, with whom the band recorded their second EP, last year’s Mega Mountain. Over cold drinks on a warm Brisbane day, singer/guitarist Dean McGrath and singer/keyboardist Kane Mazlin reflect on a recording process that began in January 2010 and concluded six months later.

    Ultimately, the band were faced with a choice: record with a familiar face in a comfortable, inexpensive environment, or return to Tony Buchen’s studio in Sydney, where the band recorded earlier single “Let You Down”.

    As an indie band faced with financial realities, though, the decision to remain Brisbane-bound seemed simple. ”We love Matt’s recording space,” says McGrath. “It’s underneath his house; it’s just cosy, and suits us down in the ground. There’s a pool out the back. We started recording in January – when it was far hotter than this – so we could do takes and then go for a swim. I was interested in doing something different and pushing us out of our comfort zone, but I think the right decision got made in the end.”

    The band also found that removing time and money constraints had a positive effect on their songwriting. “We actually did some pre-production this time,” reveals Mazlin, in reference to an exhaustive process of rehearsal, deconstruction and rearrangement of each song.

    “Sometimes you end up putting it together exactly the same as you started,” says McGrath,”but I think it’s a dangerous thing to have an album’s worth of songs ready and then just recording those 12. The cool thing about stretching it out over a long time is there’s four songs on the record now that weren’t written at the start of the recording process.”

    Hungry Kids formed in mid-2007. Drummer Ryan Strathie had played in separate bands with both Mazlin and bassist Ben Dalton; McGrath was a mutual friend. As McGrath and Mazlin share vocal duties, the band agonised over Escapades‘  tracklisting. “It was always going to be a little tricky for us to make everything flow,” says Mazlin. “But I think we managed it.”

    When asked to pinpoint the band’s sound, McGrath is laconic. “Pop’s the simplest way to describe it. It’s what we do. I think it’s unnecessarily complicated to give it a whole bunch of sub-genres.”

    More Hungry Kids Of Hungary on MySpace. The music video for their song ‘Coming Around‘ is embedded below.

  • The Big Issue story: John Birmingham – ‘After America’, August 2010

    A story for The Big Issue #360 (3-16 August 2010), wherein I profiled Brisbane-based author and journalist John Birmingham and his new book, After America.

    Click the image below for a closer look at the scanned article, or read the text underneath.

    'Afterwords', a profile of John Birmingham and his book 'After America' for The Big Issue by Andrew McMillen

    Afterwords

    The prolific, genre-hopping John Birmingham discusses some recent achievements, which include a new thriller, a martial-arts injury and way too much tweeting

    On March 14, 2003, the United States Of America went to hell – in John Birmingham’s mind, at least. His latest novel, After America, is the second part in a speculative fiction trilogy based in a USA subject to an enormous energy wave that decimated the majority of the country’s population.

    Two years ago, Birmingham wrote part one of the trilogy, Without Warning, as a potential stand-alone novel. ”You could read it, close it, and if you wanted to, you could walk away from it,” he says. ”It’s got a dénouement at the end where you obviously set up another story, but it didn’t have to go on. And I found After America really fucking difficult to kick off because I was really happy with the first book as a novel; as a book.”

    “Having written what, to me, was the perfect book – although others would disagree vehemently – I just thought, “Fuck, how do I top that?” And I had about six months where I just sat around. I know what I have to do in this second book because I’d already plotted it out, but it was just really difficult firing up. And then when I finally did fire up, I broke my arm. I’d written the first draft and I was just about to sit down and edit that.” He shows me the plate inserted into his left arm, which was busted in a Jujuitsu training accident.

    “The funny thing is I reckon it was, in a sense, a left-handed gift. The enforced break allowed me to sit back and actually spend about two months in my lounge chair thinking about the characters, thinking about the stories. When I could literally lay fingers on a keyboard, I came back much more charged up.”

    This series of novels isn’t the author’s first dalliance in the thriller genre: his Axis Of Time series (released from 2004 to 2007) are alternate history adventures that begin in 2021, when a US-led task force off Indonesia is sent back to 1942.

    Axis Of Time seemed an abrupt about-face for someone best known for his grungy 1994 share-house memoir, He Died With A Felafel In His Hand and, more recently, as an essayist and non-fiction author.

    Before his breakthrough with Felafel, Birmingham was a freelance writer for Rolling Stone and Australian Penthouse magazines. Then, five years after his first book, came Leviathan, a comprehensive (if unauthorised) biography of Sydney – another stylistic right-turn. After that, Birmingham smoked his way through a hands-on exploration of Australia’s marijuana culture in Dopeland (2003). Now, judging by his book sales. readers are becoming comfortable with Birmingham’s incarnation as thriller writer.

    His latest book examines a nation in conflict through the eyes of several very different characters, including the President of the United States, a vengeance-seeking Mexican cowboy, a pair of heavily-armed smugglers and an adolescent fighting in the name of Allah. The book’s central locale is a crumbling New York City so beset upon by pirates, looters and conflict-hungry freedom fighters that the military is forced to reconsider whether it should remain standing.

    The result is a non-stop adrenaline rush threaded across multiple narratives. Birmingham – who became enamoured of thrillers after reading Matthew Reilly’s The Ice Station – doesn’t mince words when asked about the divide between popular fiction and literary fiction.

    “I do entertainment,” he says. “That’s it. Lower middle-brow entertainment with a lot of explosions. And they’re great fun. They’re read by people who are not going to read literature and they’re read by people who like literature. But [the books] aren’t literature themselves. There’s not much point in trying to compare and contrast, because it’s like trying to compare and contrast first person shooters [video games] with traditional theatre. They’re both mediums for telling stories but they do very different things in very different ways; both are enjoyable and they both have validity.”

    “One is not necessarily worth more than the other. The thing that energises this debate is literary critics getting themselves really worked up because they perceive, quite rightly, that literary authors are working really hard to not get the rewards they deserve. And they do deserve the rewards, because they do work every bit as hard as the rest of us. Their craft is honed to a much finer point than ours is.”

    Outside of his recent successes with fiction, Birmingham is a widely read online columnist for Fairfax and a prolific user of Twitter, where he has amassed more than 5,500 followers.

    “It works for me,” he says of the microblogging service, “But I’m a bit unusual because I worked in journalism for 10 years before I wrote Felafel. I like people. I love literary festivals. I love going on tour. I just love this. Sitting in these bizarre, shitty little cafes in back streets, talking to people I’ve never met. I love all that stuff. Twitter is almost the perfection of that way of dealing with people.”

    by Andrew McMillen

    After America is out now. Following John Birmingham on Twitter: twitter.com/johnbirmingham

    Naturally, it was a blast to speak with one of my favourite writers for the first time. (It also helped that I’d finished reading an advance copy of After America half an hour before we met, so the story was fresh in my mind.)