Mount Pleasant – A Track By Track Breakdown

Here is a track-by-track breakdown of the songs on the record, what inspired the band and how I used those ideas to create the narrative of each song for the book.

Listen to the album here: MOUNT PLEASANT

Prologue

I wrote the Prologue as a way of establishing the setting and motifs of the collection, that of deceit, deception and false facades. The setting of Western Sydney was inspired by the origins of the band, and it is the city I live in.

The Prologue is a fictional retelling of the changing of the name of the suburb where three of the band members grew up. There is no music for this piece of flash fiction but it explains the origins of the album’s title and frames the inspiration of each track, and allowed me to explore a set of stories based in Western Sydney in the 1990s and early 2000s.

The title of the album comes from the name of the suburb where three of the band members grew up. As a name it no longer exists. The local council wiped its name to clear itself of the violence and dangerous youths inhabiting the space. Nothing changed except the name.

Track 1 Holding Pattern

This was the first song released off the album and the first story I wrote. The title of the song is an in-joke as a close friend of the band claimed they were being kept in a ‘holding pattern’ due to the band’s lack of decision making. The band describe the song as being a bit all over the place but feeling right.

It was released with the cover art of the album which gave me the idea of a young girl living in an apartment complex, running up and down the stairs as a means of having some form of control in her life. She meets a recently arrived young boy and the story explores the holding pattern each of them lived in based on their suburb and how it affects their lives.

The song is angular and emphatic in the opening before a pause, a held breath leading to a crushing crescendo, and I wanted the narrative to have that same sense of movement. To have the reader imagine what it means to run, to be held within social strictures, and to be left behind.

Track 2 – Potemkin

The song title refers to the Potemkin village. The myth of the term comes from stories of a fake portable village built solely to impress Empress Catherine II by her former lover Grigory Potemkin, during her journey to Crimea in 1787.

I translated the original setting of Crimean Russia to that of a high school student, the pauper queen as she is named in the story, attending a performance of King Lear and explores the artifice of theatre as a metaphor of the schoolgirl’s existence. This existence extends to where she lives and how it defines her life and the life of her younger brother.

For the ending of this story I channelled John Hughes and The Breakfast Club for a monologue that would look great as a short film or a slam poem.

Track 3 – Pendock and Progress

This is my favourite song on the album. It is fast, frenetic, chaotic and triumphant, yet has pauses for breath. And I love the sound of the snare drum; it’s a perfect sonic fit in the track. It is the names of the streets where the band grew up.

It was the second song released and the second story I wrote. Pendock Close became a cul-de-sac, a dead-end street the protagonist rides his second-hand bike around. The cul-de-sac stands as a metaphor for the facades of society we inhabit, those we are forced to live and yet have no understanding there is something other what you consider normal.

Track 4 – Meet Me In The Meadow

This is a softer sounding song, and the narrative follows the burgeoning relationship a girl has with her crush, and the metamorphosis of adolescent sexuality. It is almost romantic in its feel, and the band used a quote from the Wes Anderson film, “Moonlight Sunrise” as the title.

In reading a synopsis of the film, the romantic element stood out. Not wanting to frame a narrative with a Wes Anderson style I diverted it to examine how boys and girls engage with the facades of masculinity and femininity; how they are both forced into frameworks that are detrimental to their developing sense of emotional, sexual and mental identity.

There are echoes and facets of these facades found in other stories in this collection, notably “Potemkin,” “Time Away” and “Gueules Cassees.” We need to interrogate who we are and understand how we have been deceived into accepting less than what we are worth.

Track 5 – Shambles

This story has a lightness in the music and in the content in comparison to the other stories. It is more comic in its approach than the other stories but still reflects the divide we encounter between what we think we are and what we really are. It is tongue in cheek in places, and it was definitely fun to write, and is reflected in the bouncy joyfulness of the music.

The protagonist is in his last year of high school and his academic life is a bit of a shambles. He’s a Western suburbs philosopher who likes grunge, works in a fish’n’chip shop and says there are two types of people in every situation. It even had my editor, Jodi, using “There are two types of people…” in her vernacular after editing this story.

I don’t think we use the word “shambles” enough. Time to bring it back.

Track 6 – Time Away

The band describe the song as an attempt of taking “time away” from all of the pitfalls of life but the escape is never found. Therefore my vision for this story was the father of a family who get to go on a holiday to the Gold Coast only to come home and find out he has been retrenched.

When Jodi sent back her initial edits, the email began with an expletive enhanced exclamation. I know if I get that then the story is working. Ben Hobson, who provided the quote on the cover, also connected with this story. I believe it is the heart of the collection.

The opening of this song has two parts. The first sounds like a demo track, setting up the motif of the track. The second part of the opening is a favourite section of mine as it has the drum track muted, all the top end rolled off so there is no sibilance in the hi hats, and it feels like a heartbeat, which was channelled into the father in the story. When the track kicks in proper, the bass drum is a thumping vibrancy underpinning the remainder of the track. There are so many layers to this track in its construction as it builds and builds in the midsection of the track before pulling back, and it is in this section, the return to the muted drums, that the father in the story wrestles with himeself.

It is perhaps one of the “softest” stories to read but the resonance is unsettling. Stories of masculinity and what that means, are in the forefront of our minds, and how that affects us, our children and families, and the wider community. From that central story, which as Track 6 is like the halfway point, every other story resonates from that point and reflects the broader perspectives and perceptions. One action can have far-reaching consequences.

Track 7 – Summer Sun

This story references the horrendous summer bushfires of 2001/2002 in Sydney where the paradoxical beauty of the world is slowly being destroyed. Our understanding of the macro comes into focus when we see the lives of individuals in the micro.

Bushfires are a constant threat in Australia and in 2019-2020, from September to almost March, significant parts of the country were on fire. This year we have had significant rainfall and lower temperatures.

We will within this dichotomy, between risk and reward, and the story focuses on a young man who observes the destruction of the bushfire even as his own body undergoes chemotherapy treatment.

Track 8 – Well, Go Well

This song serves as an interlude before “Gueules Cassees” and the band was influenced by Boards of Canada in the composition of this track.

I used it as a platform to lead in the final track, and once I knew what the focus was for “Gueules Cassees” I focused on developing a masculine voice for this interlude. A Twitter thread gave this piece its impetus where the user asked people to respond with apologies used by men in situations of domestic violence, sexual assault or manipulative behaviour in relationships. This narrative is a compilation of various apologies which frames the final track on the album.

The opening of the narrative begins, “APOLOGISE LIKE A MAN.” and uses various iterations of this sentence with different punctuation and capitalisation. It is also the final line. I was interested in how punctuation and capitalisation affected the reading experience and the intended meaning.

Track 9 – Gueules Cassees

The band describes this as the most brutal track to close on. “Gueules Cassees” is a French term meaning ‘broken faces’ and refers to ex-servicemen of World War 1 who returned home with disfigured faces due to the war. A Google search will provide you with some horrifying images of the reality of war, and the people who tried to assist them in their return to society where physical disfigurement lead to social ostracism, loss of status, breakdown of relationships or being turned away from jobs.

I needed to find a parallel of broken faces and in choosing the issue of domestic violence, I wanted to engage with the issue and the hiddenness of its impact on women. I was hesitant to write this, wanting to be authentic and truthful without getting it wrong, so I sought the opinion of other readers. Three women volunteered to read for me, to ensure I had the veracity of the story correct. Unfortunately, it rang true for those early readers, and they also offered new insights to develop the narrative further. I hope I have done this narrative justice.

It is a brutal concept, reflected in the music and the language. Seeing this song played live at the end of 2020 was remarkable as I had had the story drafted, and the intensity of the track was palapble to me.

Thank you for reading, and thank you for listening.

Finding Your Creative Solitude in Isolation

As writers and artists, we have always valued our time alone to work on our latest creations. In fact, we often complain that there isn’t enough time in solitude to really get in the zone to work on our writing, music, or art.

My, how things have changed in the last few months.

When I first found myself without a brick and mortar school to be driving to on a daily basis, I thought that I would be absolutely sick of all the creating I was going to do in that “down” time. But the sudden void was filled with pandemic-related needs and concerns. I, like millions of others, had been displaced; our routines had been disrupted, if not destroyed.

It took a good three weeks for me to establish a different routine that was antithetical to any practice I had established over decades of teaching in a school building, and I started to rebuild a creative practice that is now a part of my new, still odd, daily routine. At least for the foreseeable future. I have found that solitude to write once again.

What this pandemic has created, though, is an equal demand for community. We are wrapping up an 11th week of isolation here in the United States, and we seek out moments shared in a creative commons, virtual or otherwise. We long to share our experiences, emotions, and works-in-progress with others. We also seek out support, even a tandem play period as we continue our work side by virtual side, separated not by the space between our chairs, but by the number of clicks and scrolls as we connect through technology.

What’s tough is establishing our work in that virtual art world as something entirely different from our daily Zooms, Meets, and digital connections that were hardly a part of our lives just three months ago.

Jodi, Adam, and I have been fortunate as this is all we have ever known as a Collective. I have never met either of them in real life. Through our own virtual community, we have published two novels (with more on the way), countless blog posts, challenges, and shared ideas in creativity and writing. But that was all done in a carefully constructed balance with our busy worlds.

As a result, even we have struggled to maintain that drive; the toll this 24/7 isolation is taking on all of us is deeper than we could have ever previously imagined.

Still, there is great value in understanding that, just like we found time in our busy, pre-pandemic schedules to create – write, draw, compose – we must define and separate our virtual time as creatives so that it holds a unique energy that we may accept for ourselves and lift up to others.

A few weeks ago, while giving a virtual book reading for a community literary group, I was so inspired by talking with, and learning from, other creatives. The experience continues to lift me today. What they offered me (and others) is that we’re all still creating, even from a distance. The energy is out there, and we need our communities to share that with each other.

This is what we hope our June Writeathon provides the creatives from all over the globe: a sense of community in a time where isolation and video chats consume our days and evenings. For the 20+ writers who have made the commitment to focus on their personal writing goals for these 30 days in June, we are excited to create – side by side – with you.

And, we encourage all of our readers and followers to take time for your creative selves each day. You will always have a community right here at The JAR.

We wish you the space and community to continue your creative expressions, both for you and for the world to cherish.

cof

8.1 Something Old

As we ease back into JAR blogging, and while uncertainty and profound change swirls around us in eddies, we have decided to explore the maxim: something old, something new, something borrowed, something blue.

Today, something old.

JODI

There is comfort in the old and I like that (even when I am always wanting to rush forth into the new or novel). I was reminded of that this week when it was finally cool enough to pull out my favourite jumper. But this isn’t an article about how much I love that jumper or how it drags up memories which have not been entirely laid to rest.

My “old” is two fold; both are forms of retreat.

The first is my poetry; a retreat in terms of space for daily moving meditation. My tools of quiet are scissors, glue, fragments of book text, cardboard, photos and a willingness to let go and allow poetry to form up through the text. This is where I can be most free and held at the same time. Where I can be true to myself but also in service to others.

Spark and Essence #19 Jodi Cleghorn 📸 Michael Rogers 📖 Frankenstein by Mary Shelley

My second retreat is a formal commitment to silence and withdrawal. This has been a decision to delete my social media and messaging apps. I am in digital seclusion and I have not been more at peace in a long time.

Silence has extended to music, podcasts and recorded classes. There has been nothing but bird song and the intense symphony of multiple small children in my corner of suburbia and their emotional state in any given five-minute block.

Digital seclusion is a stillness, solitude, silence and simplicity I know well though it has been more than a year since I have retreated like this. I am not at all surprised to find myself here.

Spark and Essence #13 Jodi Cleghorn 📸 Chu Son 📖 Frankenstein by Mary Shelley

Both are old, but unlike my jumper, neither are worn or pulled out of shape, no matter how much time I spend in them.

ADAM

Every artist is a cannibal, every poet is a thief
All kill for inspiration and sing about the grief.

So sang Bono in “The Fly,” the first single from the album Achtung Baby, an album which, in sound, was a radical departure from The Joshua Tree, the album that made them stratospheric rockstars. Both albums are brilliant in their own way. 

I like the old for the anchor that it can serve in our lives. The old can be a sense of certainty, a foundation, a building block. The old can be the rituals and traditions of family, the liturgy and recitation of beliefs forming the locus for who we are and what we are. The old becomes the central tenets we adhere to.

The old is what we are an apprentice to. We learn from the old, the ancient, the wise who have travelled before us and said, “This is what I have found” in their voices of poetry, music, dance, philosophy, faith. 

When we have learned enough to not be ignorant, but too little to be wise, we draw the anchor, relocate our position and fix ourselves to a new point to see how far we have travelled, or moved away from, in our own individual transformation and development, perhaps seeing those fixed points we used as our focal point in a different way. As another constellation to map our progress.

And in all this we return to the maxims and mantras of the masters, the proverbs and parables of the prophets, and understand them in a new way. It means returning to what was our first love, our awareness of what some would call vocation, or ministry, or calling, the idea that initially sparked our pilgrim’s progress. 

I like tradition for the symbolism and meaning it conveys but I look for ways that the old can be communicated for the new, in order that I may point them back to the old. As a teacher, I teach not to draw attention to myself, but to help students focus on what has come before them, to help them understand how to create their own foundations.

RUS

Our lifetimes provide us with more moments and memories than we know what to do with. Sometimes, we hold on to the older moments that keep us prisoners to our past, where we allow regret or desperation to grip us in our present. They are tempting, though, aren’t they? They lull us into “what-ifs” that make us believe the past is still attainable.

It is not.

What we are afforded from our past, however, are moments of great strength that serve us in different ways now. For me, that’s time spent living in a cabin along the shores of Chesapeake Bay. Instead of letting the “what-ifs” grip me, I embrace the still-present smells of the cool brackish waters mingling with the clays of the ancient cliffs around me, the sounds of a low-flying heron looking for a sunrise snack, the feeling of cold grains of wet sand formed around my feet like customized, natural sandals protecting me from the pin-pricks of fossilized teeth, lost millions of years ago by the sharks that inhabited these waters.

When I first experienced these things 33 years ago, I savored them for the moments in which they were born, and sometimes with the people with whom I so graciously shared them; today, though, I cherish the tranquility and solitude they bring me in the most hectic of hours; they bring peace to a present that is often far from the days living in a hand-built cabin in southern Maryland.

From this that is old, I do not wallow in regret; I bask in the glow of experiences gained to sustain my balance, my peace, on this long journey that carries me decades beyond those first hours spent along the shores of Chesapeake Bay, where I pondered my own existence among the cliffs that held fossils millions and millions of years old.

We are gifted with what is old; we are lifted by what we take from it.

SPARK: 27 Ways To Get The Most Out of Creating in 2020

As we approach each year, we reflect on what we have achieved, and forecast what we’d like to achieve. 

Over here in the JAR Laboratory we’ve been thinking about how we can get the most out of creating in the Year of Hindsight: 2020. 

Every creative person will have a different plan or path, reason or excuse, direction or wandering about how and what they are going to create.

We’ve put together our lists of 9 Ways To Get the Most Out Of Creating in 2020.

JODI

1. Commit to explore something you love.
In the same way you might commit to someone you love: get excited, make time, turn up, engage your curiosity, open your heart, and keep turning up. This doesn’t have to be massive investment of time. The smaller the time investment, the more powerful this becomes over time, because ultimately consistency matters. Aim to want to spend time doing this and the excitement will flow over into other aspects of your life.

2. Know WHY you create.
Then remain true to that regardless of what shiny things cross your path. Knowing your core values in regards to your creative expression and practise is an essential tool. This is good for the soul but it is also good business sense. Doing an inventory of your beliefs and personal narratives at the beginning of the year can be a way to know how aligned you are with where you want to go (because it may be different to last year!).

3. Create/schedule downtime.
Guard it with all your might and all your heart. This is time and space to check in with yourself and check out of reality; to slow down, dream, mentally meander; it is time to remember how to breathe and to remind yourself of what’s important. To get grounded and centered.

4. Care for yourself as the precious individual you are.
It is not selfish to put yourself first, especially when prioritising good health and wellness as a 360-degree experience. If something doesn’t feel right, treat it as something not right. Believe me, being sub-par physically makes creating more difficult than it needs to be.

5. Have something you want to achieve by the end of the year.
…and start now. Work out what you need to do to move yourself from here to there. Break it down into the smallest possible actionable pieces. Decide what resources you need. What support you require. Set it up–now! Test drive it for a few weeks before you begin, to allow space and time to trouble shoot and refine your process. Schedule with plenty of padding (add 3x the amount of time you think you will need–it is human nature to underestimate the time required). Find ways to stay accountable that inspire rather than shame. Find ways to stay excited.

6. Engage with inspirational people.
Those souls who expand your mind, your heart, your world view and bring sanity, stability or a deeper understanding to your experience. Ask questions. Make space for discussions. This doesn’t have to be other creatives. Inspiring people come from all walks of life, professional disciplines, backgrounds, traditions and experiences.

7. Build bridges.
Between different different parts of your creative life; between different parts of your overall life; with people you’d love to collaborate with. Introduce people you know who would love to get to know each other. Be willing to reach out to someone you haven’t spoken to in a long time. Initiate something especially when it would be easier to do nothing.

8. Tend your flame.
This is different for everyone but the essentials are similar. Tending requires focus, time, patience, persistence, maintenance, love, care and attention. Passionate people are the best antidote to apathy. Being passionate invites more of the same energy and people into your life. Sometimes they will come along to help tend the flame, when you’re struggling to do it.

9. Sync with natural cycles.
Why battle the tides? I can think of better ways to invest my energy than doing something the hard way. Jack Dann once told me: Give the best part of the day to your writing. Know what’s the best part of your day. Know how you can flow with the wax and wane of the moon. Know what moon signs are best for doing specific jobs. Find the dates of Mercury Retrograde (the best time for editing). Get to know the prevailing astrological forecast and use it (like you use the weather forecast to plan your day/week).

ADAM

1. Limit your projects.
Ideas are like seeds; some will grow and some will not. You need to tend and nurture the ideas you care about the most. Others are dandelions you can blow away on the breeze.

2. Measure your time.
It’s finite. It involves sacrifice. It involves commitment. Waste it when you want to and have planned to do so. Don’t waste time when you have planned to make it productive.

3. Listen to new music.
Or read new books. Buy a new comic book. (or make use of second hand stores and thrift shops – if it’s new to you, enjoy it).

4. Finish the fucker.
I’m not usually a swearing person but I liked the alliterative burst it gave because it’s also a kick in bum for me to make sure I keep forging ahead. Make it happen. If it takes a year, it takes a year. Plan your time to make sure you finish.

5. Walk around the house naked.
Be happy in your own skin literally and metaphorically. If you want to be a creative person, become a creative person. Don’t doubt it; own it. 

6. Know your body’s cycles.
Rest if you need to. I know the times of the year when my work load makes creativity difficult to achieve. I can therefore plan around it. Those times of busyness may be times you allow yourself to be fallow and let the ground regenerate. 

7. Support other artists.
Respond to their Instagram posts or blog feeds. Tell them why you like their work. Give them shout outs. 

8. Blow words up.
Interrogate them. Exploit them. Cuddle next to them and spoon them. Be intimate. Very intimate. Draw your thoughts. Write explicit stories and destroy them. Aim to be included in the Bad Sex in Literature Awards. 

9. Discuss your process with other creatives.
Find out how other creative people outside of your creative field operate. Learn new techniques. Work out how your process operates. Read about others’ experiences. It may not be compatible to yours but understand how to learn.

RUS

1. Write uninhibitedly.
Unless you are on deadline for some urgent piece that an editor’s nudging you to finish, write uninhibitedly for an audience of none. Discard worries about spelling, punctuation, grammar, tense, and anything else that nags at you. Just write whatever draft or entry that thrives undiscovered within you. No real rules, no real expectations; just write uninhibitedly.

2. Be one with your Daybook.
It doesn’t really matter if it is a 59-cent spiral notebook or a 30-dollar Moleskine journal; find a daybook that is the perfect fit. If you’re wondering what that feels like, you’ll get that feeling like Harry Potter had when he was paired with the wand that was made for him. You might like blank or lined pages; a spiral or flex binding; 5 x 8 or 9 x 12; or thin or thick paper. Perhaps you like to write with fountain pens and require a thicker paper; maybe you want to feel the ballpoint roll over the parchment sleek like silk.

Once you discover your one-of-a-kind daybook, keep it with you always, and chronicle your life in it, in all ways.

3. Create playlists.
I have a unique playlist for every story I write. I even have playlists just for daybooking. They unfailingly put me in the zone to write (uninhibitedly) that particular story, essay, or entry. Playlists can be as short as one song (“Eleanor Rigby” on repeat got me through the final edits on my MFA thesis) or 137 songs (as were my playlists for my last novel). Creating a playlist that insulates you as you write will put you in the zone instantly, making you more productive, as well as a better writer,

4. Find your Querencia.
This – Querencia – is your wanting-place, where you feel invincible. For some, this might mean a very physical, geographical location, like the beach, or even the outdoors; for others, it might mean wherever you are with your Daybook. As writers and creatives, we need to find that place where we can do the work stay focused. Nothing can touch you here. Find it. Preserve it. Believe in it.

5. Trust the process.
How can we ever fully understand what we have not yet created or written? As much as we might want to control the process, to map out our every word, we must trust the process to lead us from the undiscovered to the end product. We might believe that we have the whole story prewritten in our minds, but the process might lead us down a very different path. Trust the process. As Jodi reminds me all the time, the day you are writing is the day you were meant to write that story. So just trust the process.

6. Find your tribe.
I learned the hard way that there are some people who will actually sabotage you and your writing for selfish reasons. You need to find your small tribe of creatives that will support you, give you the advice you need, and encourage you to take risks to grow in your craft.

7. Make (and keep) little deadlines.
The best way to reach the Deadline of all Deadlines: the final, polished product, is to make hundreds of tiny, little deadlines to keep your project moving forward. Write one page a day, or 1,000 words. Finish a chapter in three days, or three weeks. Whatever you are working on, break it up into little, do-able chunks, and make the little deadlines that lead you to slaying that Deadline of all Deadlines, and probably with a few days to spare.

8. Find, and then never surrender, your voice.
One of the greatest moments in a writer’s life is when s/he discovers their voice within, that distinct style in writing that distinguishes them from every other individual who has ever picked up the pen. We discover our voice through writing daily and uninhibitedly, as well as trusting the process fully. And once you do find it, never EVER surrender it for brevity or under the (really bad) advice from an editor. Your voice is your DNA.

9. Just write the damned thing.
Probably the best advice ever given to me. When I had the chance to talk about writing with author Tom Clancy, I babbled on about this and that and why and why not. He sat there and listened patiently, then said, “Just write the damned thing.” And that’s what I’ve been doing ever since. Don’t tell me or others about why you can’t write; instead, just write the damned thing.

📸 annette.amini2019 via Pexels

If you could pick from our lists to create your own, what would your list of nine be? Listen to Clare Bowditch’s beautiful song while you create your list…