The industry. Anyone with an ounce of smarts will pretty quickly sense the delusion from those in control. You feel it, it surrounds you. The walls you hit, the absolute tossers you meet in a nepotistic room of mediocre. A back woods of stale ideas, non risk takers with no chance of letting any outsiders adding to the creative gene pool. Top heavy management more concerned with the idea of being part of it.  A structure that stifles. Money wasted on just keeping those in power and all their cronies in a job. If you are not contributing, it’s time to take the long snow walk, I say. Anyway, it’s just too many games and a waste of time for those who see through the bullshit. This is how it will always be.

As consumers, us discerning ones, we begin the search. We tell the spoon feeders to piss off, we turn them off. Easy solution. There will always be lazy mouth breathers holding their remotes, nob twisters whose tastes are imprisoned by mainstream manipulators perpetuating low expectations for advertisers to slot into. “It’s up to the individual how much you want to play the game” Screenwriter Dean Cavanagh’s brilliant insight into the film industry should be part of life’s curriculum, not just film school. His passionate wisdom and ‘suffer no fools’ approach is yet another refreshing individual to cross my path. Sound and vision, his creative is non stop. A synchronistic barrage that melds into his followers. Firing wires, thoughts and ideas. The secret collaborative, inspiration experienced just by viewing his work.

It is too difficult to encapsulate on a page such an amazing artist. Dean is extraordinary. He doesn’t bombard with work. Taking his time between passions. Though what I have found so far definitely excites. So I thought I would start with his directorial debut. 2012 movie release, Kubricks. He and son Josh Cavanagh are given the reigns to see what they can conjure. Hence my spleen vent. It’s movies like these, small budget beauties that brighten me more than any heart string pulling, bulging blockbuster could ever do. Filmed over five days, this is pure heart and humour.

It is a vision of psychological games centreing around the power trips of Kubrick fan, Donald (Roger Evans). A complete egoist, directing his own imagination. His life an insane play filled with Kubrickian symbolism. It has plenty. The story moves through a neurolinguistics therapy session with real life neurolinguistic therapist and Chinwag host Chris Madden. These intimate barefoot sessions tell all and nothing. There is no way to get through to him. Between giggles, the real story of Donald comes out.  He is more in love with the ‘idea of things’ than having any real skill to fulfil them. His motivational tactics are insane. When the demands of a psychotic get screamed at you from a megaphone and in the confines of a yurt, it is not long before you see the cracks appear. An ongoing prop that had me and the cast in stitches. I loved the reality of that. What made this story move for me was its look at the creative experience, the ‘process of not having a process’. A dogma of having fun, making it so exciting to witness. You watch the bewildered cast within the cast weathering his onslaught. Is he “a madman genius” or “somebody from the mental institution who has just been for a walk“. Have they been duped by some maniac taking the piss. The acting is adorable throughout. It seems to have no script, an ad-lib magic that rumbles along with an absurd laughter that is infectious.

Actors Joanna Pickering & Gavin Bain are flimflammed into a chance to fresh air it and quickly get sucked into the trauma. The scenario experiencing its own certain ‘heart of darkness’ inside an ‘apocalypse now’ feel, in a field, on Hay On Wye. Joanna is sceptical, Gavin’s eyes are wide shut. Big cheers must go to producer Alan McGee doing his best to placate the madman on his property and believing in the whole project. He plays ‘down to earth landowner’ so perfectly, so patient and bewildered. Donald’s catalyst to reality. Tom Mitchell’s photography has moments of stunning but also that perfect fly on the wall personal moments. a2172169501_16Its pace within the soundtrack, written by Dean Cavanagh enhanced everything, delivering that madness that was so prevalent. A hyperreal homage to the mood that A Clockwork Orange soundtrack conjured when I was a kid. A reminiscence that exceeded my ears.  Loads of slow mo and white, countryside and masks, love the salted egg scene. Its documentary bones scraped close to real life.




You can watch Kubricks worldwide release here.  You can connect with more of Dean’s mind via twitter.

His latest The Secret life Of the Novel will be arriving in October 2016.



Art Dean Cavanagh film Reviews

The Cross by Joseph Ridgwell

Besides the brilliant zine Paper And Ink, Martin Appleby’s latest publishing venture is a three part novel in zine format – The Cross by Joseph Ridgwell


It started in the 70s. Development moguls began squeezing the sleaze out of one our more notorious suburbs. Sydney’s Kings Cross was our beacon. We were told the stories at a young age and believed every one of them. The Cross was often referred to as a state of mind. It held a place in our imaginations and everyone’s was different. It was a magical fun fair, bright light dream maker, twenty four hours of sin. When I first experienced it, it was 3am schnitzels and live music after everything else had closed. It’s where we all came for a night cap, star gazed at the bar and a little R&R. It was where we usually watched the sunrise or passed out whichever came first. Everyone was welcome. It had a great history of bohemia and mystery, dark alley deals and violence. Corrupt cops and a dodgy underbelly. Sure it was dangerous at times, but us regulars were all pretty street smart. This is where we learned a load of lessons.

dddAs the noughties moved in, so did the ‘nanny state’ brigade. It’s march down Darlinghurst Road was swift, we were all grounded for being very naughty boys and girls. 10pm licensing and a heavy hand was in place. So now the snakes of real estate and government control the way we socialise and interact with each other. Our most famous strip has changed forever. My drinking habits have also. Kings Cross got too involved with the wrong crowd, it was an all or nothing cleanse. Soon, all its history will just be a framed photo on a twenty dollar hamburger joints wall, and I will scream ‘bastards!’ and I will run by blue plaques crying cause all that is left is a homage to it’s former glory! El-Alamein fountain watching the new brigade stroll by surprised that that no one doesn’t piss on his dress anymore.

So where did all the misfits go? The great characters that make the world different. We are losing comfortable, unassuming and cheap places to congregate. Places to listen to bands, to dance, to rally. Our churches of the like minds all destroyed by these new gods of mammon. We lose our community and even lives in the name of development. Many mysteries. It’s all about money, safety, litigation and with that our spirits sanitised. The cafes are oh so nice, yet oh so expensive. Bayswater beauties needing their nails done and the tops of their macchiatos decorated.

We have become so intolerant of the anti social that even those that dress a little crazy would be risking a chat with the cops. The fear of coming face to face with a guy in a harlequin suit talking to angels just too damn uncomfortable these days. It upsets the locals. Kings Cross had a thriving music and art scene once. Even when I lived there in the 90’s it still had a few pockets untouched by greased palms. The over-spill from The Yellow House still in our memories. The divine characters of The Sydney Push, our favourite ‘futilitarians’ would not recognise an inch of what Kings Cross has become…*she sighs*

A tourist’s perspective on a city is very enlightening. Not trapped down by local knowledge, just recording exactly how they see it. The bruises and sins skim cream like, the obvious end of an era noted by a stranger. That traveller is London born writer Joseph Ridgwell. Joe became an honorary Australian back in the 90’s. He lived in Kings Cross the same time I did. When I found out I was surprised we hadn’t shared a pash and kebab or at least a bar stool at the Bourbon & Beefsteak. I got in touch with Joe a few months back to talk about his writing. An interview I’ve not yet written. But since then I’ve got to read plenty of his work. Even done a few reviews. I became a fan of his writing real quick. Joe slipped me a copy of a story I might be interested in. It was called The Last Days Of the Cross. Set in Sydney, he thought I might dig his reminiscences of my home town. The suburb that was on the cusp of change. The Kings Cross we all loved for it’s filth, characters and notoriety was dissolving. He could still feel the tremors of an old Kings Cross. He has a gift for that. The beauty found in the backstreets. He also saw the sadness. We liked it dirty. I think he did to. Rents were hiking, gentrification and crime evolution were just some contributing factors that made me feel it was losing its spirit and individuality. That book unfortunately now out of print sunk right in. Joe got it so right. The feels for an old cross and a great story that I hope gets a re release one day.

The Last Days Of the Cross got me yearning. I hadn’t been back to my old stomping ground for a few years. So one Sunday I went on safari in search of the old cross. First thing I noticed was no prostitutes, no junkies, no one asleep on the footpath, no vomit, no goldfish bowl and no coke sign. Quite disconcerting I must say. I began walking down the backstreets and clicked away matching the memories that Joe had sparked in me. I sent them his way on a whim that maybe it would spark him. A few must of stuck cause he asked me if he could use them in the release of The Cross, a novel in three parts released in zine format published by Martin Appleby of Paper And Ink Zine. A beautiful coincidence.

Part one has all the regular pace and humour that I expect in a Ridgwell adventure. Once on Australian soil, he soon gets sucked into the vortex of eccentrics, drug addicts, strippers, witches, locals and tourists. His charm getting a roof, a job and a root in no time. Each chapter blends into the other and yet on their own stand out with it’s own unique atmosphere and yarn to tell. This issue is only a limited release and nearly sold out and Part 2 is available soon. You will enjoy them just as much as single entities but aim for the three part set if you can. Also in the stages of release is Paper And Ink zine’s Hangover Issue. Inside you’ll find a few masters of the morning after including Joseph Ridgwell, Dean Lillyman, Ford Dagenham & u.v.ray. The Cross and Paper & Ink #7 is available here.



Joseph Ridgwell Reviews Zines & Journals

“I write poetry for the heart and the gut. I write poetry for the boy and girl in the miniature Minotaur masks crouched in the corner of the burning doll’s house” – Miggy Angel

part 4 of interview series with Miggy Angel

miggy 4


Words & Image by Miggy Angel

art as therapy
“Poetry/writing saved my life. The blank page was the only receptacle that could contain the infernal mess of wild overspill that I was. I believe that art was/is the first therapy. Art was the first tool we wrought and reached for in our initial primeval howling and wailing. I have for a long time had this image in my mind of a woman crouched down, directly after a stillbirth, and in her grief she reaches her hands down into the blood and viscera and begins to mark the walls with the raw material of her grief. That’s the birth of art, right there. I saw recently that they did a study and found that the vast majority of hands used in the very first cave paintings were womens’ hands. Basically, if a person doesn’t understand that blood and viscera were the first ink or paint then I don’t have a lot to say to them. We are obviously not mining the same vein nor drinking at the same vine. I facilitate a weekly writing workshop for people who are facing addiction issues, and I also take poetry workshops into schools for teenagers. My whole life makes sense in the context of community arts. I went through what I had to go through, so that art could save my life, and so I could then take that passion and enthusiasm for art into the lives of people who need art the most. Poetry for some of us is do or die, and around people for whom that is the case, I am at my most content. If you ever saw me turn a school assembly hall into an open mic for 300 teenagers then you would understand. I feel most myself when I am pulling poems from the forever nooks of your broken heart”.

poetry for the ear or eye
“I write poetry for the heart and the gut. I write poetry for the boy and girl in the miniature Minotaur masks crouched in the corner of the burning doll’s house. Ah, I don’t know. I crawled on my hands and knees for eternity across broken glass and molten tarmac just to tell you a poem. But if you’d like to read it, instead, quietly, inside the halls of your own sweet mind, to yourself, then that’s perfectly ok, too, because I love you enough to let you choose. I’d say that craft is what people mean when they talk about page poetry, and content is usually associated with oral, spoken, performed poetry. So when I write I suppose what I’m trying to do is achieve a balance between wild content and hard craft. Go read a book like Ai’s ‘Cruelty’ for the balancing of content and craft. Women tend to do it best, in my opinion. Plath knew all about it, and no one has ever done it better, really”.

Miggy’s poetry collection Grime Kerbstone Psalms is available digitally here.

GKPPaperback copies are a little rare, best to contact Miggy’s website.
Miggy organises and comperes Nottingham’s monthly
poetry event Speech Therapy and facilitates writer’s workshops.
Part 1 & Part 2 & Part 3 of interview series with Miggy



Interview Miggy Angel Poetry