Welcome to Notes From Pig City. This is my online archive for as much of my journalism as I can keep up with. Published pieces will be reposted here as soon as they can be. I also write exclusively on my Patreon page; those pieces are not republished here.

I’m the author of two books: Pig City (2004), a book about Brisbane, and Something To Believe In (2019), a music memoir. I work independently for many different publications and occasionally for others behind the scenes.

I have a wide variety of interests, and they’re reflected by the number of tabs in the main menu. You can click through those, or the archive list at the bottom to find what you might be interested in, whether you’re a casual visitor or looking for something specific.

This site used to be known as Friction. I changed it to something more clearly identified with my work and where I live. If you want to get in touch send me a message here, or via Twitter (@staffo_sez), though I don't hang out there much anymore, because you really should never tweet.

Amyl & The Sniffers: Comfort To Me

Anger, as the punk formerly known as Johnny Rotten put it, is an energy. For Amy Taylor, singer for Melbourne band Amyl & The Sniffers, it’s a renewable resource. “It’s my currency,” she tells us on Guided By Angels, the rip-roaring opener from the band’s second album, Comfort To Me. An electric performer, Taylor crackles like a live wire with too much current running through it.

 

One can only imagine what Melbourne’s long lockdown, and not being able to perform, has done to the psyche of someone like Taylor. Comfort To Me gets it all out in an eruption that’s more intense, and much less playful, than their self-titled debut from 2019. Taylor’s voice is defiantly flat, yet more powerful – like a poetry slammer fronting the Cosmic Psychos, the Sniffers’ spiritual forebears.

In Taylor’s words, she’s a “little bit classy, bit of a rat”. But she’s no cartoon figure, and the lowbrow profanity of a song like Don’t Need A Cunt Like You To Love Me is no joke. Like much of Comfort To Me, it’s an expression of independence and confidence. “I’m a businesswoman, run my own company,” she spits. The Sniffers swing furiously behind her in defence: “She’s 10 out of 10 / You’re so-so / You think you can fuck with her?… Read more..

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Bringing Boy Swallows Universe to the stage

On the face of it, bringing Trent Dalton’s 471-page debut novel Boy Swallows Universe to the stage sounds impossible. The Brisbane-based author summarises his initial response to playwright Tim McGarry – who approached him with a proposal to adapt his massive manuscript before the book had even been published – as “good luck to you, mate”.

At close to three hours, broken by a short intermission, Boy Swallows Universe is a big night out. That’s nothing, though: the first of McGarry’s 10 drafts took a full six and a half hours to be read out by the cast. “It was a very difficult novel to unpick; every moment is interdependent on the other,” McGarry says.

But at a preview performance this week at QPAC, time (to borrow a phrase from the final scene) does not exist. Led by a bravura performance by Joe Klocek as Eli Bell, who is on stage and narrating almost throughout, the stage adaptation is taut and tense. It was received with a standing ovation.

Boy Swallows Universe was a publishing phenomenon rarely seen in Australian literary fiction. A year ago, HarperCollins announced the book had sold more than half a million copies since its publication in July 2018.… Read more..

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The fight to save the Golden-shouldered Parrot

In 1922, Cyril Jerrard captured the first and only photographs of the Paradise Parrot, the only Australian bird to be officially declared extinct since European colonisation. Jerrard was well aware he was looking at one of the last of its kind: “The one undisguisable fact [is] that the advent of the white man has spelled destruction to one of the loveliest of the native birds of this country,” he wrote in 1924.

The last accepted sighting of a Paradise Parrot – also by Jerrard – was in 1927, near Gayndah in the Burnett River district of southern Queensland.

Nearly a century later, in the fading light of dusk, I’m standing 20 metres from a bird feeder, clicking away in vain as a pair of Golden-shouldered Parrots, the Paradise Parrot’s closest surviving relative, accept a handout at Artemis Station, a cattle property on Cape York Peninsula in the state’s far north. My images are rubbish, but while I’m watching, I have an eerie sense of how Jerrard might have felt.

Male Golden-shouldered Parrot, Artemis Station, 13 July 2021

Almost exactly 10 years ago, I watched a flock of 50 Golden-shouldered Parrots beside the Cape Developmental Road at Windmill Creek, near the northern boundary of Artemis.… Read more..

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Who’s your Daddy? Daddy Cool

If you are of a certain age, as I am, you might owe your entire existence to Daddy Cool’s Eagle Rock. Your parents probably had sex to it. No one wants to think about that, do they? It makes it literally Dad rock. Or Mum-and-Dad rock, if you prefer.

Eagle Rock is 50 years old this year. It is a cultural touchstone, voted the second greatest Australian song of all time, behind only the Easybeats’ Friday On My Mind, in a 2001 Australasian Performing Right Association poll.

Yet there is a younger generation that semi-ironically loses its mind over Daryl Braithwaite’s Horses – a naff cover of a Rickie Lee Jones song – but spurns Eagle Rock. Why?

It could be Mondo Rock, the new wave band that Daddy Cool leader Ross Wilson fronted from 1976 to 1991. More specifically, it could be their creepy 1983 hit Come Said The Boy. But you can’t totally blame Wilson for that one. It was written by guitarist Eric McCusker.

More likely, it’s the ubiquity. Overexposure can do terrible things to a tune, and Eagle Rock is inescapable. In Australia, it has charted twice in my lifetime: 17 weeks at No.… Read more..

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My ticker was a time bomb

The scar on my chest is seven inches long. At the top of my sternum, the incision site, it’s white and waxy, slowly fading on its journey south. But the last inch is a raised, red, rubbery knob of keloid tissue – a constant reminder, not that I need it.

It will be a year on Tuesday since I underwent open-heart surgery. I have not been quite the same person since; something for which I am mostly profoundly thankful, as much as I am to still be alive.

Mostly, I’m calmer. I had been warned of possible depression in the wake of the surgery. For years, especially in the last decade, I lived in a constant fritz of anxiety, having at least one very public meltdown. I have written openly about my mental health over the years.

These days, by comparison, I feel like a Zen master. Not that I’d recommend heart surgery as a solution to psychological trauma, but if nothing else it gave me a radical sense of perspective and gratitude, an attitude I wasn’t previously on familiar terms with.

Which means I can’t help but ask the question: to what degree was my psychological wellbeing affected by my literally broken heart?… Read more..

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Questions Raised by Quolls

All Harry Saddler really wanted to do was to see a quoll in the wild.

It was November 2019, and the Melbourne-based author was enjoying a surprise publishing success: his small book, The Eastern Curlew, a telling of the extraordinary migration of Australia’s largest shorebird, had sold through its hardcover print run, opening a new niche in Australia for natural history writing.

This was when Australia’s Black Summer bushfires were beginning to choke the eastern states, and before the pandemic that would force Saddler to write from home. It changed his focus. “It became impossible to write about the state of the environment in Australia and not confront those things head on,” he says.

Saddler’s new book, Questions Raised By Quolls, became more a work of moral philosophy than natural history. Written quickly, it became part-treatise on the legacy of colonialism, part-family history: Saddler’s ancestor Michael Farrell was transported as a convict to Sydney from Ireland in 1816.

“I think that aspect of the family story in the book was a way to write about the human effects of colonialism without co-opting other people’s stories,” Saddler says. “I touch on the damage done to Indigenous societies in the book too, but I was conscious that those are not my stories to tell.”… Read more..

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