Paul Kelly's latest song sat in a shed for 40 years. It was in good company
Dean Lukin was a household name in 1984. Paul Kelly not so much. In August that year, in a share flat in Sydney, the rising songwriter was cheering at the TV as the fisherman from Port Lincoln won Olympic gold for weightlifting in Los Angeles.
Fast-forward 40 years and Dan Kelly finds a dusty cassette in his uncle's back shed in St Kilda. Cool Hand Lukin had been recorded in that long-ago flat around a kitchen table: a simple mix of strident strums, handclaps, recorder, sweet harmonies and a story for the ages. Finally, last week, it was released.
Leaving it off his Post album was probably the right choice. It would have been dated already. Released last week, it became something more valuable — like a cracked photograph or a message in a bottle. The lost years are everything.
My favourite lost song might be Time Song by the Kinks. Left off Village Green Preservation Society, it vanished for 50 years until the 2018 reissue. Imagine Ray Davies at 74, hearing his 24-year-old self on that tape: 'When we were young / And our bodies were strong / We thought we'd sail into sunsets / When our time came along.'
We tend to think of songs as arriving complete, of their time. But more often they miss the moment, unfinished, set aside or just lost in the churn. When they resurface they're not the same. We're not the same. Time has a way of making them feel deeper, sadder, wiser — less about the pop thrill than the long game.
Some songs are born so fragile or strange it takes years for anyone to know what to do with them. Vegetable Man, by Pink Floyd's Syd Barrett, was too close to the edge he fell over, and so shelved for decades by a band still reckoning with his loss.
Nick Drake's Tow the Line, recorded just before his death in 1974, sounded less like a demo than a quiet truth that just needed a bit of distance.
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News.com.au
an hour ago
- News.com.au
Ryan Murphy defends upcoming JFK Jr. series as nephew Jack Schlossberg calls it ‘grotesque'
He's on the defensive. Super producer Ryan Murphy is blasting critics of his upcoming show American Love Story, which is about the '90s It couple, John F. Kennedy Jr. and Carolyn Bessette-Kennedy. 'It's very interesting that people become so inflammatory,' Murphy told Variety in a story published Thursday. He was referring to the backlash when he posted a 'first look' photo of actors Paul Kelly and Sarah Pidgeon in costume in the roles on Instagram last week. Critics derided the clothing as being 'completely off' and looking like 'Zara,' and failing to capture the essence of the fashion icons. 'This is OFFENSIVE,' one indignant fan posted on Twitter, alongside the photo of Pidgeon in costume. Another critic blasted it as, 'This is so Zara Basic 2015.' 'Her blonde hair is all wrong,' wrote another person. 'She was famous for the varying blonde tones, the highlights and lowlights. It should be warmer. Not platinum. Please try again.' 'Doesn't capture the essence of CBK,' another person commented. 'Nope. Accuracy & research in costume design. Even in test photos. I'm underwhelmed. That shade of blonde …You can't just throw on a modern (cheap) coat and thinks it's giving this,' they concluded, sharing a photo of the real Bessette-Kennedy. Murphy told the outlet that the actors' outfits were not pieces they'll wear on the show. Rather, they were thrown together for lighting and colour tests – to get ahead of the paparazzi set photos when the production films in New York City. 'There were comments like, 'I hate that coat, Carolyn would never have worn that,'' Murphy said. 'That was just a coat we threw on for colour. People were writing, 'How dare you use the No. 35 Birkin bag? She wore a 40!' Yes, we have a 40 but we just threw on a bag from another costume department because that was the soundstage we were on.' He said he had a 10-person 'style advisory board' to put together Bessette-Kennedy's look. Bessette-Kennedy was famous for her high-end fashion. The socialite died at age 33 in a plane crash off the coast of Martha's Vineyard in 1999. JFK Jr. died with her in that crash, at age 38. Murphy said the production will use some clothing from the real Bessette-Kennedy. 'We have multiple pairs of Manolo black heels and sandals from 1992 to 1999. We have the Manolo boots she wore in black and brown. We have her Prada tall boots. We have her Prada bags,' he explained. 'We have the Birkin No. 40 that we have taken to a specialist to scruff it up so it looks identical to the one she would wear half-open on the subway.' Murphy insisted that the public reaction is 'not fair.' 'We're writing a story about a person – an unknown person – who falls in love with the most famous man in the world and suddenly she can't leave her house. She was constantly being photographed, being called a c** t by the paparazzi,' he said. Regarding the scrutiny on the first look photos, he said, 'They're doing to our Carolyn, what they did to the real-life Carolyn. It's not fair.' This isn't Murphy's first time landing in hot water with the real-life subjects of his shows. His 2024 show Monsters: The Lyle and Erik Menendez Story faced criticism for suggesting an incestuous relationship between the infamous brothers who went to jail for the 1989 murder of their parents, Jose and Kitty Menendez. Erik, 53, spoke out in a statement and said the 'dishonest' show is filled with 'horrible and blatant lies' about himself and his brother Lyle, 56. Some relatives of Jeffrey Dahmer's victims also spoke out against Murphy's other Netflix series Dahmer – Monster: The Jeffrey Dahmer Story. On Thursday, former President John F. Kennedy's grandson Jack Schlossberg put Murphy on blast and said that American Love Story is 'grotesque.' 'Lately, my news feed has been filled with pictures of my uncle, John F. Kennedy Jr., a great man,' Schlossberg, 32, said in an Instagram video, referencing the Murphy-produced show. 'For those wondering whether his family was ever consulted, or has anything to do with the new show being made about him, the answer is no. And there's not much we can do.' The Kennedy scion added, 'For the record, I think admiration for my Uncle John is great. What I don't think is great is profiting off of it in a grotesque way.'
The Age
10 hours ago
- The Age
Hey, Torvill and Dean, remember the time I danced with you?
Fitz: What is it? Torvill: Bolero is obviously a very special routine because it opened the door for the future, and we wouldn't still be doing what we're doing without that. Fitz: So let's go back to the romance one! The personal chemistry and physical intimacy that you two display on ice as you dance is so wonderful; it dinkum is amazing that you can do it without ever having been a couple. Was there never a time, Chris, when you said to Jayne, surely, 'Let's go and see a film Saturday night?' And she said, 'No, forget it.' Dean: No, never like that. We have spent a lot of time together, seeing movies, going for drinks, and the theatre, all of those things. And of course, we've been together on many long tours, like when we were touring Australia for the first time. We were meant to be coming for just two weeks, but ended up staying for three months doing shows, and then stayed a further nine months putting a show together. So we were in Sydney area for almost a year, and we made lots of friends. Fitz: [ Painfully persisting ] So never in that year, two young English athletes a long way from home, did you exchange smouldering looks over your Vegemite on toast ... Torvill: No, our main focus was getting the work done. You know, we had just turned professional, and for us, it was an exciting time in that we weren't competing anymore and we didn't have any rules and regulations of competition. So, in fact, you know, we were free to be more creative, which is something that we've always enjoyed. Fitz: What about blues then? There must have come a time over the last 45 years when you two were dancing, when Chris lifted you up, Jayne, so you could do a twirly gig and the booger didn't catch you properly? Surely, there must have been times where, to use the Australian expression, you came an absolute cropper, occasioning strong words? Torvill: No. Lucky for us, we never did have any major falls in competition, which is what counts. Falls in training, you accept. But we trained so hard that to be ready for anything, that we didn't really make any mistakes. So, no 'blues'. Fitz: Moving on! By some reckoning, the pop group ABBA was said to be a bigger success in Australia, even than in Sweden. There was something about ABBA that Australia, more than pretty much any other country, loved. Is it possible that the same applies to you two, that Australia loves Torvill and Dean more than even Britain loves Torvill and Dean, and that we loved you more than anywhere else on Earth. Dean: Maybe. When we first came to Australia, it was such a surprise for us to be so welcomed. The Australian promoter had pre-booked the Russian Olympic figure-skating team, thinking that they would win everything at the 1984 Sarajevo Winter Olympics, and they didn't. We did. And so the promoter said, 'We've got to get those bloody Poms down here.' And so within a very short time, somebody came over to see us and gave us a contract, and we came down to Australia and we were adored. I mean, they tell the story of when the tickets first went on sale, that the line instantly formed up right round the Sydney Entertainment Centre. Fitz: Which is very odd, yes? Because in Sydney, we're surfers, netballers, cricketers, footballers, but not really, as a people, ice skaters – with only a rink or two open on a good day? Dean: Yeah, I think what happened, Channel Nine were the host broadcasters at the Olympics, and we became very popular because they gave us a lot of air time. And we became the base of promoting the Winter Olympics in Australia. And, there were also a lot of British expats who took to us, right? Fitz: Whatever else, our love affair with you has been enduring. We also have a saying that a person has had 'more comebacks than Dame Nellie Melba', lately replaced by 'more farewell tours than Johnny Farnham'. Whoever, with you two, came up with the title for your tour, Our Last Dance, has to be commended, because it captures the imagination. But seriously, seriously, when you perform your last dance in Sydney [at Qudos on Sunday afternoon], when you come off the ice, is that really going to be it for you two? Your last dance? Dean: It will certainly be our last performance skating in Australia. But then we go back to Nottingham, our hometown, and we actually do four performances there, and then on the last day, that will be our last skating performance, live skating performance, that we will do. You know, we've been skating together now for 50 years, and we think that that's a good round number to sort of call it a day from the performing side. And the body is ready to say it's time as well. Fitz: But don't you think that five years from now, one of you might say, 'I'm in your town, I'm going to put on a red wig. You put on a blonde one, and I'll see you down at the rink, and just one last time in the moonlight, let's dance?' Torvill: It's not to say that we won't ever skate on the ice together, but we won't actually be performing together. So we may be together like choreographing or teaching somebody. We'll do other things together, but just not performing. This is it. Fitz: Chris? Don't you think that you might just do it one more time in the moonlight, when you're 80, one more time to capture the magic, one more time without anybody knowing, just the two of you? Dean: [ Thoughtfully ] I'm not saying that we won't do that ... but it's not something that we would show off to anybody ... It would be personal. Fitz: Bingo! Now, without being too mealy-mouthed about it, your dancing ability on ice must be comparable, in terms of how much it's celebrated, with Fred Astaire and Ginger Rogers. Did you two ever watch footage of their dancing and swoon? T & D: Yes! Dean: They were very much a part of our viewing and we took a lot from them in their style and the movement and their performance quality. Yeah, absolutely, they were our idols. Fitz: You mentioned that you two have been doing it for 50 years. That means – dot three, carry one, subtract two – you must have started in the mid-70s. How much have your physical abilities waned? Are there many things you used to be able to do, that you simply cannot do now? Torvill: There are things that have got harder as we got older, and we're no longer 25, but we still feel that we can put on a show that we're happy with. And we've put it together with some amazing [younger] skaters from around the world. So we're really excited by the show, and the show itself tells a story, our story, right from the beginning, up until now. Loading Fitz: When Mick Jagger was 23 years old, he said, 'I hope I'm not still singing Can't Get No Satisfaction when I'm 30.' Could you two have conceived that you'd still be going 50 years later? And would you have been thrilled? Torvill: No and yes. We would never have imagined it would have been possible. Back then, when skaters turned professional, they would maybe do two years, three years in a professional show, and then, you know, sort of maybe go into teaching or just retire anyway. We've just been so lucky, with the way things happened for us that we were able to create several different tours, and then go back to the Olympics in '94 because that became a possibility, and that extended our professional careers. Dean: And then, in more recent times, television people came and said, would we be interested in teaching celebrities to skate? And that's when Dancing On Ice was born. And that extended us, too.
Sydney Morning Herald
10 hours ago
- Sydney Morning Herald
Hey, Torvill and Dean, remember the time I danced with you?
Fitz: What is it? Torvill: Bolero is obviously a very special routine because it opened the door for the future, and we wouldn't still be doing what we're doing without that. Fitz: So let's go back to the romance one! The personal chemistry and physical intimacy that you two display on ice as you dance is so wonderful; it dinkum is amazing that you can do it without ever having been a couple. Was there never a time, Chris, when you said to Jayne, surely, 'Let's go and see a film Saturday night?' And she said, 'No, forget it.' Dean: No, never like that. We have spent a lot of time together, seeing movies, going for drinks, and the theatre, all of those things. And of course, we've been together on many long tours, like when we were touring Australia for the first time. We were meant to be coming for just two weeks, but ended up staying for three months doing shows, and then stayed a further nine months putting a show together. So we were in Sydney area for almost a year, and we made lots of friends. Fitz: [ Painfully persisting ] So never in that year, two young English athletes a long way from home, did you exchange smouldering looks over your Vegemite on toast ... Torvill: No, our main focus was getting the work done. You know, we had just turned professional, and for us, it was an exciting time in that we weren't competing anymore and we didn't have any rules and regulations of competition. So, in fact, you know, we were free to be more creative, which is something that we've always enjoyed. Fitz: What about blues then? There must have come a time over the last 45 years when you two were dancing, when Chris lifted you up, Jayne, so you could do a twirly gig and the booger didn't catch you properly? Surely, there must have been times where, to use the Australian expression, you came an absolute cropper, occasioning strong words? Torvill: No. Lucky for us, we never did have any major falls in competition, which is what counts. Falls in training, you accept. But we trained so hard that to be ready for anything, that we didn't really make any mistakes. So, no 'blues'. Fitz: Moving on! By some reckoning, the pop group ABBA was said to be a bigger success in Australia, even than in Sweden. There was something about ABBA that Australia, more than pretty much any other country, loved. Is it possible that the same applies to you two, that Australia loves Torvill and Dean more than even Britain loves Torvill and Dean, and that we loved you more than anywhere else on Earth. Dean: Maybe. When we first came to Australia, it was such a surprise for us to be so welcomed. The Australian promoter had pre-booked the Russian Olympic figure-skating team, thinking that they would win everything at the 1984 Sarajevo Winter Olympics, and they didn't. We did. And so the promoter said, 'We've got to get those bloody Poms down here.' And so within a very short time, somebody came over to see us and gave us a contract, and we came down to Australia and we were adored. I mean, they tell the story of when the tickets first went on sale, that the line instantly formed up right round the Sydney Entertainment Centre. Fitz: Which is very odd, yes? Because in Sydney, we're surfers, netballers, cricketers, footballers, but not really, as a people, ice skaters – with only a rink or two open on a good day? Dean: Yeah, I think what happened, Channel Nine were the host broadcasters at the Olympics, and we became very popular because they gave us a lot of air time. And we became the base of promoting the Winter Olympics in Australia. And, there were also a lot of British expats who took to us, right? Fitz: Whatever else, our love affair with you has been enduring. We also have a saying that a person has had 'more comebacks than Dame Nellie Melba', lately replaced by 'more farewell tours than Johnny Farnham'. Whoever, with you two, came up with the title for your tour, Our Last Dance, has to be commended, because it captures the imagination. But seriously, seriously, when you perform your last dance in Sydney [at Qudos on Sunday afternoon], when you come off the ice, is that really going to be it for you two? Your last dance? Dean: It will certainly be our last performance skating in Australia. But then we go back to Nottingham, our hometown, and we actually do four performances there, and then on the last day, that will be our last skating performance, live skating performance, that we will do. You know, we've been skating together now for 50 years, and we think that that's a good round number to sort of call it a day from the performing side. And the body is ready to say it's time as well. Fitz: But don't you think that five years from now, one of you might say, 'I'm in your town, I'm going to put on a red wig. You put on a blonde one, and I'll see you down at the rink, and just one last time in the moonlight, let's dance?' Torvill: It's not to say that we won't ever skate on the ice together, but we won't actually be performing together. So we may be together like choreographing or teaching somebody. We'll do other things together, but just not performing. This is it. Fitz: Chris? Don't you think that you might just do it one more time in the moonlight, when you're 80, one more time to capture the magic, one more time without anybody knowing, just the two of you? Dean: [ Thoughtfully ] I'm not saying that we won't do that ... but it's not something that we would show off to anybody ... It would be personal. Fitz: Bingo! Now, without being too mealy-mouthed about it, your dancing ability on ice must be comparable, in terms of how much it's celebrated, with Fred Astaire and Ginger Rogers. Did you two ever watch footage of their dancing and swoon? T & D: Yes! Dean: They were very much a part of our viewing and we took a lot from them in their style and the movement and their performance quality. Yeah, absolutely, they were our idols. Fitz: You mentioned that you two have been doing it for 50 years. That means – dot three, carry one, subtract two – you must have started in the mid-70s. How much have your physical abilities waned? Are there many things you used to be able to do, that you simply cannot do now? Torvill: There are things that have got harder as we got older, and we're no longer 25, but we still feel that we can put on a show that we're happy with. And we've put it together with some amazing [younger] skaters from around the world. So we're really excited by the show, and the show itself tells a story, our story, right from the beginning, up until now. Loading Fitz: When Mick Jagger was 23 years old, he said, 'I hope I'm not still singing Can't Get No Satisfaction when I'm 30.' Could you two have conceived that you'd still be going 50 years later? And would you have been thrilled? Torvill: No and yes. We would never have imagined it would have been possible. Back then, when skaters turned professional, they would maybe do two years, three years in a professional show, and then, you know, sort of maybe go into teaching or just retire anyway. We've just been so lucky, with the way things happened for us that we were able to create several different tours, and then go back to the Olympics in '94 because that became a possibility, and that extended our professional careers. Dean: And then, in more recent times, television people came and said, would we be interested in teaching celebrities to skate? And that's when Dancing On Ice was born. And that extended us, too.
