Did anybody see a little girl named Charlene
She went to school somewhere near Tremont St.
It was early sixties and the sky was always clear
In Las Vegas Nevada spelt NV

Her Daddy was a hit man, come from Chicago way
He told me not to look at her "don't get in the way"
I'm only here to do a job
After that we'll both be gone
So leave my daughter be you little one

Charlene, Charlene
My little kindergarten queen
I know That you are not bubbles
The girl that brought me double trouble
So try to hunt me down please please
Charlene, Charlene

Remember how you loved your nap
And the kiss I gave you after snack
It's been almost fifty years
And I'm still missing you my dear
  

Charlene, Charlene
You are my kindergarten queen
I hope to see you someday again
Please, Please, Please
Charlene, Charlene

It was confused and dark, dark, so dark,
dark like when Charlie got drunk for the first time, came back, and stumbled-open the door long after Sam had screamed at everyone to leave her the f--- alone.  

And Jesse is standing there, swaying slightly with the beer and the pounding music, and Charlene feels her ribcage shiver with each bass beat.  The pale light oozing off the stage silvers Jesse’s angled face like water, soaks the black shapes around her, pools in each eye as the constant ripple and shudder of the crowd shifts her hips.  Somehow her thin, bare shoulders speak her excitement, and in the dim shuffle of the audience she’s half drunk and lovely.  “You know that calc test is tomorrow,” Charlene screams over the straight roar of chaos. “Don’t remind me! God!” Lovely Jesse laughs and her hand sketches a lazy gun that jerks at her head -- don’t remind me, God don’t don’t don’t --  and Charlene clenches her eyes shut and still that flashes, dark dark dark, her loose-jointed fingers flicking up, twitching in sickening unison with her mocking head, again again again-- don’t remind me, God,
don’t remindmegoddon’t remind megod god oh God,
Sam loved drinking herself sick, stumbling home with her arm ‘round Charlie’s neck, slurring alcohol love and despair to her ‘bes’ fren, besh’ roomate evr, Charlene a.k.a. Charlie.  And “a.k.a.” as Sam loved to call her, was always there to pick Sam up and clean Sam up and sober Sam the **** up.  And every stupid drunk party night that semester she told Charlie over and over again: ‘listen, a.k.a., here’s a funny story: a girl went to buy her mother aspirin cause her mother had a terrible ******* headache and she bought some from her dear second cousin Kurt the cashier who was a trublueblooded Eagle scout mama’s boy back from college, that sonofabitch and she came home, but her momma didn’t have that headache anymore and gave her a mostly delicious popsicle and it was red strawberry, the end.’  And every stupid drunk party night that semester Charlie watched and listened as Sam made up new stories about aspirin (always ending with popsicles).
See, Charlie was always there. Charlie never drank.  And Charlie, she always listened to the stupid f---ing drunk-strawberry-popsicle story.  And Charlie never gave a **** about Sam, did she? She sure didn’t, no, Charlie didn’t.  

“I’m gonna go find the bathroom” Charlie screams into Jesse’s ear and plunges out into the sea of dark shadows circling her.  The door struggles open, then she’s crushing it shut, crushing splinters into her palms, she’s bending over the counter, both hands white-pressed onto its imitation marble, choking down these sharp sparks of nausea bursting like fireworks inside, and the music’s faded out, its just the thud of that ******* drum that pulses over and over and over --god stop it-- fills the room, rattles the stalls, over and over and Charlie’s convinced its a heartbeat, its Sam’s heartbeat, thud thud thud, god its going on and on and pounding, OH GOD, charlie screams, IT STOPPED, no no no no SAM no SAM SAM SAM OH GOD it stopped no no GOD
next song. drum starts again. and the room is inside of the drum, it is the inside, the taut air’s quivering with each beat, taut ribcage quivering with each beat. Charlie is inside a drum. beat beat beat drumbeat heartbeat thud, thud, thud,
god I look awful, Charlie’s looking at her face in the dim vibrating mirror: blue shadows under her dull eyes, pale, dead-tired, dead-drunk, and so f---ing dead-alive,
she goes back to Jesse, wriggling through the black lumps: lovers making out, heavy spellbound listeners, uneasy loners, angry drunks, drunk as-- drunk as Charlie’s first drunk night.

Sam was so ****** that night and Charlie dragged her home to their dorm, sick of Sam’s tangy alcohol breath and her sagging, skinny weight on her shoulder. “I’m sick of your breath, Sam.” sick of it, god Sam, just stop it, wish that breath would go away, I mean,
it was blowing all over my cheek Sam, cause your **** beautiful face was lying on my neck-- that’s why I said that, I didn’t mean that, Sam.
And then you said ‘well, all right Charlie, I’ll tell you a funny story Charlie,’ and I said ‘oh god Sam, not again,’ and you said ‘no, its different this time’ and you said ‘one day there was a little girl who went to the store to buy aspirin for her mom and the cashier took her into the back of the store and hurt her and she came home and told her mom and her mom slapped her and told her to stop talking ***** and shut the **** up and then that little girl’s throat sure did ache, Charlie, even after a popsicle it did. And Charlie, Charlie, a.k.a. Charlene, sure did hate her breath. see, that’s my story and isn’t it a funny story...”
you drop your drunk roommate on the gritty hallway carpet, give her the key say
‘’bye Samantha", goodbye samgoodbye, bye bye Sam, "I’m going to go get drunk don’t be too much of a ***** while I’m gone.’

floormates told Charlie later that Sam screamed at everyone “hey, all you motherf---ers, leave me the f--- alone,” then laughed, slammed the door. and they did leave her alone.
Charlie came back *****-drunk, touched the doorknob and heard the shot, the door opens,
Sam’s falling and Charlie watches her beautiful, bony wrist flick back as she gets blood all over and ruins her face and Charlie sobers up really f---ing fast.  She always was good at that.
There's a note on the desk in Crayola washable marker (purple): "well, a.k.a., I guess I am being way too much of a ***** while you’re gone. you’re welcome. sorry for ******* it all up again as usual"
*Thanks for that Sam, thanks a lot Sam thanks thanks f--- you

the thought of death is an uneasy thought
in my case it's a ****** nightmare

on the 16th day of May, 1967, Mr Youngblood took his 6th grade class to the playground as he always did, every Tuesday after lunch. The kids spread out to their usual positions. Some played catch with Mr Youngblood. A few, like Roger and me went to the basketball net and several played on the monkey bars, both of which were part of the big asphalt square. Just opposite this area was the soccer field and then some good distance between that and the Middle School. Lots of open space for a bunch of suburban kids to have fun. The Sun was bright and the wind was light and the temperature was right around perfect. We had been playing for 10 minutes or so when the wind picked up and clouds seemed to move in out of nowhere. We all thought it must be a storm coming...and it was. A distant laugh froze everyone. At first no-one saw him, but then we all saw him at once. He was walking across the soccer field towards us, long deliberate strides with long thin legs that seemed to bend once slightly below where the knee should be and again slightly above, making each stride awkwardly horrifying. Where he came from is a mystery as there was nothing but open land behind him for several hundred yards. He was tall and lanky and as he approached us, I noticed that his face was contorted and discolored...a pale, almost painted white and he had jet black hair combed back, long and greasy. His lips were thin and black and his eyes bloodshot and almond shaped. He wore a black suit, a black shirt and candy apple red tie. He looked like a mosh-up of Curry's Pennywise and Ledger's Joker, only I would have traded for either one of those ******* right now over this guy, ten to one. He came to the edge of the concrete square. Johnny ****** his pants and Charlene fell from the monkey bars, landing awkwardly on her left side and causing a compound fracture, her radius protruding from her skin leaving her hand dangling like a dead fish. She did not scream either because she was scared it might draw his attention or she was going into shock...or maybe both. He took two more steps forward and then began laughing as if he'd just heard the funniest joke he'd ever been told. His teeth looked as if they'd been replaced with shark's teeth. I swear there were rows of them and his mouth stretched inhumanly wide. His laugh slowly winded down to a snarl, and he gave a long look to each one of us, as if he was burning the faces to memory. And then he spoke..."You children just go on having lots of fun! Well, except for you Johnny...didn't your Mom just rip you a new *** for ******* your pants at Grandma's? shame, shame!" And Johnny was off...tripping twice before he got his feet under him. "You run home and ...Ha Ha Ha...oh my...change your pants, you pathetic little ****!" Mr Youngblood picked up Charlene and started to carry her inside. By this time her pretty pink dress was soaked in blood. The freak addressed him. "Nice man...but you can't save them. In a few days they will all be mine." He laughed again and every kid ran for their lives back to the school. I was the only one who stayed. To this day I'm not sure why. He turned and walked towards me slowly. "What have we here? The little man isn't running with the others. Are you not afraid Billy boy? Afraid for your life?"...and he leaned in close...close enough that I smelled a foulness that cannot be described. "Because that is what I'm here for...your life!" "Who are you?", I asked... and with that his dark black and pointed eyebrows raised and he straightened up. "Who am I...Who am I? My, my the boy has a backbone. The nerve to question while others lose control of their bladders. Well, I'll tell you who I am, child. I am God's worst nightmare. I am every ***** little secret thought you've ever had. I am evil in all it's forms wrapped up in one little package and sent to collect the souls of the innocent. All of you here today will be mine tomorrow. Roger will fall down the stairs off of his front porch and break his neck. Charlene will die from infection due to that nasty little accident and Becky will be hit by the school bus Thursday morning. That will be most nasty! Almost a decapitation. I won't bore you with the rest, but they will all die. Hmmm...you know what Billy... I like you, so I'm thinking, perhaps...yes, I'm going to make a special offer to my new special friend. I won't take your soul until you die from natural causes. What do you think of that idea? At that moment, when your family is gathered round your bedside after suffering that...well, maybe you don't want to know the details... you will see a bright light...but you won't be going towards the light Billy...at that moment I will place my hand on your shoulder and that light will slowly fade into darkness and we will meet again, and you will become my apprentice. So, what do you think of that, Billy? Do you want to be my apprentice, or do I **** you now? Come, come...I haven't much time!" I tried to answer, but my mouth was as dry as cardboard and I could only manage a weak gasp. That laugh again and he turned and walked away in the same direction..."I'll take that as a yes. Remember, you are mine upon your death, Billy boy!" The wind died and the Sun appeared again.
By the end of the week, every child on the playground that day had died...exactly as he stated they would.

And now you know why, even in my darkest days, I never, ever contemplate suicide.

They’d never got on before the dance
And they certainly wouldn’t now,
For Geoffrey Raise had showered praise
On the Fireman’s girl, somehow,
And she, Charlene, was impressed, it seems
With the Engine driver’s call,
And changed her date, though it seemed too late
To the Fireman, at the ball.

They stood on the plate of the Duke of Kent
With the fireman raising steam,
Shovelling coal to the firebox
In a movement swift and clean,
He scattered the coals on the glowing bed
With a practised twist of his wrist,
While the driver kept his eyes ahead
As the steam built up, and hissed.

‘Why did you jump on Charlene then,’
Said the Fireman, Henry Rice,
During a break, his back was bent
With sweat, but his eyes were ice,
‘I don’t have to answer to you,’ said Raise,
‘Charlene was anyone’s girl,
I liked the way that she held herself
And she sure knew how to twirl.’

The train pulled out of the station with
A puff and a cloud of steam,
And clattered along the track from Klifft
On its way to Essingdean,
Pulling a dozen coaches and
A Guards van at the rear,
And a hundred and twenty passengers
At the high time of the year.

‘What would you say if I did to you
What you did to me, back then,
Cutting in on your date that night,
What was her name, that Gwen?’
‘She wouldn’t have looked at you,’ said Raise,
As he pulled the chord to toot,
‘And as far as your feelings go, old chum,
I really don’t give a hoot.’

The train was rocketing down the line,
And flew past the water tower,
While Raise had opened the ***** right up
To give the Express more power,
The gauge was inching at sixty five
As they flew past Barton Dale,
While Rice was shovelling coal once more
Though his face was pinched and pale.

He took Raise down with the shovel as
They raced through Weston Town,
Who lay, half stunned on the footplate
Hanging off and looking down.
He kicked on out at the Fireman with
His size twelve steel-capped boots,
Who reached and hung on the chord that gave
The Duke of Kent its *****.

The train was racking up seventy five
As they kicked and punched and swore
Totally out of control it passed
The Halt at Elsinore,
They narrowly missed a rumbling freight
As the points took it aside,
While Raise had yelled, ‘You can go to hell,
But control your wounded pride.’

The Fireman opened the firebox
Spraying hot coals on the plate,
‘Now dance again as you danced Charlene,
If you think that you’re oh so great.’
‘Just let me get to my feet,’ said Raise
‘Or you’re going to wreck the train.’
‘It might be time,’ said the Fireman,
‘For your life to fill with pain.’

They hit the buffers at Essingdean
And the engine left the track,
It leapt up over the platform as
The roof ripped off the stack.
Raise was told when they went to court
That he’d never be re-hired,
And Rice, for want of the girl he sought,
The Fireman was fired.

David Lewis Paget

the thought of death is an uneasy thought
in my case it's a ****** nightmare

on the 16th day of May, 1967, Mr Youngblood took his 6th grade class to the playground as he always does, every Tuesday after lunch. The kids spread out to their usual positions. Some played catch with Mr Youngblood. A few, like Roger and me went to the basketball net and several played on the monkey bars, both of which were part of the big asphalt square. Just opposite this area was the soccer field and then some good distance between that and the Middle School. Lots of open space for a bunch of suburban kids to have fun. The Sun was bright and the wind was light and the temperature was right around perfect. We had been playing for 10 minutes or so when the wind picked up and clouds seemed to move in out of nowhere. We all thought it must be a storm coming...and it was. A distant laugh froze everyone. At first no-one saw him, but then we all saw him at once. He was walking across the soccer field towards us, long deliberate strides. Where he came from is a mystery as there was nothing but open land behind him for several hundred yards. He was tall and lanky and as he approached us, I noticed that his face was contorted and discolored...a pale, almost painted white and he had jet black hair combed back, long and greasy. His lips were thin and black and his eyes bloodshot and almond shaped. He wore a black suit, a black shirt and candy apple red tie. He looked like a mosh-up of Curry's Pennywise and Ledger's Joker, only I would have traded for either one of those ******* right now over this guy, ten to one. He came to the edge of the concrete square. Johnny ****** his pants and Charlene fell from the monkey bars, landing on her left side and causing a compound fracture, her radius protruding from her skin leaving her hand dangling like a dead fish. She did not scream either because she was scared it might draw his attention or she was going into shock...or maybe both. He took two more steps forward and then began laughing as if he'd just heard the funniest joke he'd ever been told. His teeth looked as if they'd been replaced with shark's teeth. I swear there were rows of them and his mouth stretched inhumanly wide. His laugh slowly winded down to a snarl, and he gave a long look to each one of us, as if he was burning the faces to memory. And then he spoke..."You children just go on having lots of fun! Well, except for you Johnny...didn't your Mom just rip you a new *** for ******* your pants at Grandma's? shame, shame!" And Johnny was off...tripping twice before he got his feet under him. "You run home and ...Ha Ha Ha...oh my...change your pants, you pathetic little ****!" Mr Youngblood picked up Charlene and started to carry her inside. By this time her pretty pink dress was soaked in blood. The freak addressed him. "Nice man...but you can't save them. In a few days they will all be mine." He laughed again and every kid ran for their lives back to the school. I was the only one who stayed. To this day I'm not sure why. He turned and walked towards me slowly. "What have we here? The little man isn't running with the others. Are you not afraid Billy boy? Afraid for your life?"...and he leaned in close...close enough that I smelled a foulness that cannot be described. "Because that is what I'm here for...your life!" "Who are you, I asked" and with that his dark black and pointed eyebrows raised and he straightened up. "Who am I...Who am I? My, my the boy has a backbone. The nerve to question while others lose control of their bladders. Well, I'll tell you who I am, child. I am God's worst nightmare. I am every ***** little secret thought you've ever had. I am evil in all it's forms wrapped up in one little package and sent to collect the souls of the innocent. All of you here today will be mine tomorrow. Roger will fall down the stairs off of his front porch and break his neck. Charlene will die from infection due to that nasty little accident and Becky will be hit by the school bus Thursday morning. That will be most nasty! Almost a decapitation. I won't bore you with the rest, but they will all die. Hmmm...you know what Billy... I like you, so I'm thinking, perhaps...yes, I'm going to make a special offer to my new special friend. I won't take your soul until you die from natural causes. What do you think of that idea? At that moment, when your family is gathered round your bedside after suffering that...well, maybe you don't want to know the details... you will see a bright light...but you won't be going towards the light Billy...at that moment I will place my hand on your shoulder and that light will slowly fade into darkness and we will meet again, and you will become my apprentice. So, what do you think of that, Billy? Do you want to be my apprentice, or do I **** you now? Come, come...I haven't much time!" I tried to answer, but my mouth was as dry as cardboard and I could only manage a weak gasp. That laugh again and he turned and walked away in the same direction..."I'll take that as a yes. Remember, you are mine upon your death, Billy boy!" The wind died and the Sun appeared again.
By the end of the week, every child on the playground that day had died...exactly as he stated they would.

And now you know why, even in my darkest days, I never, ever contemplate suicide.

~wherever, whenever and forever for Sally B.~


"Don’t urge me to leave you.              "If I could, then I would
To turn back from you.                          I'll go wherever you will go
Wherever you go,                                   Way up high or down low
I will go,                                                   I'll go wherever you will go
And where you stay,                              Run away with my heart
I will stay.                                                 Run away with my hope
Your people will be                                Run away with my love
My people                                                I know now, just quite how
And your God                                         My life and love
my God.                                                   Might still go on
Where you die, I will die,                      In your heart, in your mind
There I will be buried."                          I'll stay with you for all of time"

(Book of Ruth 1:16)                                  (Charlene Soria Lyrics)


Let it be writ,
Let it be sung,
All should know,
This I swear,
Where you are,
So, I shall be too.
Your hope, my hope.
Your heart, my heart.
Life and love,
But one.

Where you run,
I'll shall follow.
Now, today,
Forever,
If our bodies apart,
If our hands cannot
Grasp each other,
Yet, still,
In your heart,
In your soul,
I will be,
I cannot leave.

Where you are,
So, I shall be too.

Charlene I dont know why I waited.
If I dont recognise her beauty I might get assassinated.
By her beauty accused. Her hearts road closed due to all the pain she was caused.
If she doesnt like this poem I will be laughed at like a clown.
A beautiful pass into her hearts town.
You cant put a price on her heart.
A banner with her beautiful picture and name on it.
Her beauty reflected in the crystal clear water when she looks into it.
I dont know if she will talk to me.
A courtyard with purple flowers isnt as beautiful as her beauty.
Her poem in this letter seal. I wont regret telling her how I feel.

WHEN Kylie Minogue began the process of tracking down 25 years of costumes and memorabilia for an exhibition on her (literally) glittering stage career, she had one crucial call to make.

“There were a few items the parentals were minding,” laughs Minogue. “I, too, do the same thing as everyone else: ‘Mum, Dad, can you just hold onto a few things for me?’ It’s just lucky they weren’t turfed out from under their watchful eye.”

Kylie On Stage is the singer’s latest collaboration with her beloved hometown’s Arts Centre Melbourne. She’s previously donated a swarm of outfits to the venue, going all the way back to the overalls she wore as tomboy mechanic Charlene on Neighbours.

This new — and free — exhibition rounds up outfits starting from her first-ever live performances on 1989’s Disco in Dream tour. Still aged just 21 and dismissed by some as a soap star who fluked a singing career, Minogue found herself playing to 38,000 fans in Tokyo, where her early hits “I Should Be So Lucky”, “The Loco-motion”, “Got To Be Certain” and “Hand On Your Heart” had made her a superstar.

“From memory, I was overexcited and didn’t really know what I was doing. I just ran back and forth across the stage,” says Minogue of her debut tour.

Disco in Dream also premiered what would become a Kylie fashion staple: hotpants. “Those ones were more like micro shorts, not quite hotpants, but they started it,” she admits. “There were also quite a few bicycle pants being worn around that time, too, I’m afraid.”

That first tour stands out for one other reason: Minogue officially started dating INXS’s Michael Hutchence at some point during the Asian leg.

“I had met Michael previously in Australia, but he was living in Hong Kong [at the time] and I met him again there. The tour went on to Japan and he definitely came to visit me in Japan.”

Fast-forward from Minogue’s very first tour to her most recent, 2015’s Kiss Me Once, and the singer performed a cover of INXS’s “Need You Tonight”. She remembers first hearing the song as a teenager. “I don’t think I really knew what **** was back then,” notes Minogue. “But that’s a **** song.”

Before the Kiss Me Once tour kicked off, the Minogue/Hutchence romance had been documented in the hit TV mini-series Never Tear Us Apart: The Untold Story Of INXS. Minogue said then it felt like Michael was her “archangel” during the tour — “I feel like he’s with me.”

Her “Need You Tonight” costume was also deliberately chosen to reflect what Minogue used to wear when she was dating the rockstar. “It was a black PVC trench coat and hat,” she says. “I loved that. It just made so much sense for the connection to Michael. I literally used to wear that exact same kind of thing, except it was leather, not PVC.”

By 1990, Minogue’s confidence had grown, something she’s partially attributed to Hutchence’s influence. Before her first Australian solo tour, she performed a secret club show billed as The Singing Budgies — reclaiming the derisive nickname the media had bestowed on her. It would be the first time her success silenced those who saw her as an easy target. Next year marks her 30th anniversary in pop; longevity that hasn’t happened by accident.

Minogue’s career accelerated so quickly that by 1991 she was on her fourth album in as many years and outgrowing her producers, Stock Aitken Waterman, who wanted to freeze-frame her in a safe, clean-cut image.

On 1991’s Let’s Get To It tour of the UK, Minogue welcomed onboard her first major fashion designer — John Galliano. He dressed her in fishnets, G-strings and corsets; the British press said she was trying too hard and imitating Madonna at her most sexed-up.

“Of course those comparisons were made, and rightly so. Madonna was a big influence on me,” says Minogue. “She helped create the template of what a pop show is, or what we came to know it as, by dividing it up into segments. And if you’re going to have any costume changes, that’s inevitable.

“I was finding my way. I don’t think we got it right in some ways, but if I look back over my career, sometimes it’s the mistakes that make all the difference. They allow you to really look at where you’re going. I’m fond of all those things now. There was a time when I wasn’t.

“Now I look back at the pictures of the fishnets and G-strings I was wearing ... Maybe the audience members absolutely loved it, maybe they were going through the journey with me of growing up and discovering yourself and your sexuality and where you fit in the world.”

As the ’90s progressed, Minogue started experimenting with the outer limits of being a pop star, working with everyone from uber-cool dance producers to indie rocker Nick Cave.

Her 1998 Intimate And Live tour cemented her place as the one thing nobody had ever predicted: a regular, global touring act. Released the year prior, her Impossible Princess album had garnered a credibility she’d never before enjoyed. But more credibility equalled fewer record sales.

The tour was cautiously placed in theatres, rather than arenas. Yet word-of-mouth led to more dates being added — she wound up playing seven nights in both Melbourne and Sydney, and tacking on a UK leg. All received rave reviews.

The production was low-key and DIY: Minogue and longtime friend and stylist William Baker were hands-on backstage bedazzling the costumes themselves. The tour’s camp, Vegas-style showgirl — complete with corset and headdress — soon became a signature Kylie look, but it was also one they stumbled across.

“I remember the exact moment: the male dancers had pink, fringed chaps and wings — we’d really gone for it. I was singing [ABBA’s] “Dancing Queen”. I did a little prance across the stage and the audience went wild. I thought, ‘What is happening?’ That definitely started something.”

Then came the “Spinning Around” hotpants. Minogue couldn’t wear the same gold pair from the music video during her 2001 On A Night Like This tour — they were too fragile — but another pair offered solid back-up.

“That was peak hotpant period,” says Minogue. “Hotpants for days.”

After the robotic-themed Fever 2002 tour (featuring a “Kyborg” look by Dolce & Gabbana), 2005’s Showgirl tour was Minogue’s long-overdue greatest hits celebration.

Following a massive UK and European run, her planned Australian victory lap was derailed by her breast-cancer diagnosis that May. Remarkably, by November 2006, Minogue was back onstage in Sydney for the rebooted Showgirl: The Homecoming tour.

“I look at that now and I’m honestly taken aback,” she admits. “It was so fast — months and months of those 18 months were in treatment.”

Minogue now reveals her health issues meant she had to adjust some of the Showgirl outfits: “I was concerned about the weight of the corset and being able to support it. I was quite insecure about my body, which had changed. For a few years after that I really felt like I wasn’t in my own body — with the medication I was on, there was this other layer.

“We had to make a number of adjustments,” she adds. “I had different shoes to feel more sturdy ... It was pretty soon to be back onstage. But I think it was good for me.”

The singer’s gruelling performances involved dancing and singing in corsets, as well as ultra-high heels and headdresses that weighed several kilos.

“A proper corset, like the Showgirl tour one, is like a shoe,” she explains. “It’s very stiff when you first put it on. By the end of the tour it was way more comfortable. The fact it made it quite hard to breathe didn’t seem to bother anyone except for me. But it was absolutely worth it. I felt grand in it.

“It took a while to learn how to walk in the blue Showgirl dress,” she continues. “I had cuts on my arms from the stars that were sticking out on pieces of wire. You’re so limited in what you can do. You can’t bend your head to find your way down the stairs.

“Whether it was the Showgirl costume or the hotpants, or the big silver dress from the Aphrodite tour [in 2011] that was just ginormous, they all present their own challenges of how you’re going to move and how you’re going to do the choreography. There are times the costume can do that [figuring out] for me; other times I really have to wrestle with it to do what I need to do.

“But you’re not meant to know about that,” she adds, “that’s an internal struggle.”

Minogue has spent much of 2016 happily off the radar, enjoying the company of fiancé Joshua Sasse, 28. She gets “gooey” talking about her future husband, whom she met last year when she was cast opposite him in the TV musical-comedy series Galavant. He proposed to Minogue last Christmas.

Just like the “secret Greek wedding” that was rumoured but never happened, reports of summer nuptials in Melbourne are also off the mark.

“I hate to let everyone down, but no,” she says. “People’s enthusiasm is lovely, we appreciate that, but there are no wedding plans as yet. I’m just enjoying feeling girly and being engaged.”

Minogue will be in Queensland next month filming the movie Flammable Children. The comedy, set in 1975, features her former Neighbours co-star Guy Pearce and is written and directed by Stephan Elliott (The Adventures Of Priscilla: Queen Of The Desert ).

“It’s Aussie-tastic,” laughs Minogue. And she is also planning a sneaky visit to check out her own exhibition when she’s back in Melbourne.

“I’ll probably try to move things around the exhibition,” she says. “And they’ll probably tell me off: ‘Who’s that child playing with the costumes?’”Read more at:http://www.marieaustralia.com/formal-dresses-sydney | www.marieaustralia.com/formal-dresses-2016

there once was a woman named Arlene
who had an older sister named Darlene
their youngest sister was named Karlene
and her twin was named Charlene
the ladies of (lene) had a matriarch named Marlene

"Don't take your love away"
Cuz "I wanna be close"
So if we "separated"
"My first love"
Will rot
A----

"Charlene"!
"Since I seent you"
You've been my "diamond in the rough"
So my boys know
That I'll be a "broken man"
If "her heart"
"Float" away from me
"The point of it all"
Is "im a mess"
So "please stay"
So I can see "better days"
Quit tampering
A------ H-------

"When a woman loves"
She's "happy people"
"When a woman's fed up"
"I wish" that I can make her happy
I'm sorry, it's just "if I could turn back the hands of time" I would
You say that you love me
But "it seems like you ready"
To "step in the name of love"
In another mans "chocolate factory"
Hope I'm not being petty
R. -----

"A house is not a home"
But "if this world were mine"
"If only for one night"
I'll give you "endless love"
"Here and now"
"Always and forever"
You'll be my "superstar (don't you remember)"
When I told you that It's  "never too much" of your love that I can have?
Without you I'm lost
-----r V-------

Why are you "playing possum"?
Tell me a lil "sumthin' sumthin'"
Spread your "pretty wings"
And soar to "whenever wherever whatever" you want to go
My "bad habits"
Makes "this woman's work"
And when I see her cry
I can't help but to have a "fist full of tears"
In my "lifetime" I never been so
"Fortunate" until now
My "ascension" never been so high until now (don't ever wonder) us falling
Because it will "stop the world"
"Know these things: shouldn't you"
If so don't ever bail
--x----

It's not just your "chocolate legs"
That I crave
"I wanna be loved"
And "sometimes I cry" when I can't
"Spend my life with you"
Don't leave me for lonely "Harriett jones"
We have "real love"
Don't go stray
E--- --n--

"Me and those dreamin' eyes of mine" wishes that you were my "lady"
I wish that we were "cruising"
I Wish that I could take you "higher"
But since you're "untitled (how does it feel" to be my "brown sugar"?
Do you "feel like making love"? Huh?
Like Animals
-'A-----

"U got it bad"
"You make me wanna"
"Let it burn"
But I got a few "confessions" to make
When I "love you gently"
And go "nice and slow"
"You remind me" that I should toss them "papers" away
Tonight I want it "my way"
"Can you handle it"?
I love her and lust her
U----

"I'm tired of being alone"
But "how can you mend a broken heart"?
How can I reach "love and happiness"
And stay harmonious when we're tied by "unchained melodies"?
Can we ever just be "simply beautiful"?
Not just a cute couple?
Do you believe?
-- --een

Your art
Your mind
Your eyes
Your heart
Is described by our artist
Your art is painted in their lyrics
Sing songs as long as you belong
I long for your love
So my ears are plugged with earphones
As I sing along

The sun is drowning in the horizon
Flailing its brittle breaking rays
The Oakridge girls sweat in the factory
Sisters of Mercy in a hospital 10,000 miles away

Chasing down a wailing ambulance
Inside, a patient who swears he's still alive
His eyes are crying milk white protein
The Priest and Doctor insist to him he die

And I've become so lonesome
Now that the Oakridge girls are gone
The dusk is blood red in the East
But a celebration is started with the dawn

Nothing, no nothing ever changes
Quick and clean if you are blind
Charlene will turn your heart to stone
But the Oakridge girls are always kind

The day he locked himself out is not specific, a
Monday or a Thursday, some square on some calendar
I tossed in the trash years ago.

We lived in a small white house yards off a small suburban street. I dubbed it The White House. I cannot remember how many of my holidays passed inside. It's all stuck in fog.

Some time later my mother and brother and myself moved not a quarter mile from The White House; a trailer park, owned by Aunt Charlene and her callousness. She cares deeply for my mother. I still pass The White House as I drive to my great-grandma's home, years later. It is hidden from the street, all branch and leaf and overgrowth, flora hiding its face from the cars and their people, the birds, sunlight, illumination.

My great-grandmother's eyes are thick with a knowledge I am fortunate to not possess. Great-grandma. My father's grandma. Mother told me he began to drink when Grandpa Jesse died and never managed to shelf it. I meditate on my genes. My great-grandma is 84-years on this earth. I have trouble bringing myself to talk to her.

It is so much. So fast. I am a man now—not grown, hardly seasoned, no hint of gray—of 21-years. I have not seen my father since I started smoking. I wonder, now, following all these years of silence what, exactly, we might have to say to one another. He may ask about my girlfriend: I may ask of his. Years apart, a ridged gap, and yet still a kinship, some foreign hurt deeply threading the vein.

The malignancy of feelings.

I bury my anger and let it age, whiskey soaking in the oak, cultivating a taste, a character, an identity. I cannot change this. It is my blood. I will always bear his name. He may die before me. I will always bear his name.

.                                        Wherever (Synthesis)
                                                  t­wo years later...

"Don’t urge me to leave you.              "If I could, then I would
To turn back from you.                          I'll go wherever you will go
Wherever you go,                                   Way up high or down low
I will go,                                                   I'll go wherever you will go
And where you stay,                              Run away with my heart
I will stay.                                                 Run away with my hope
Your people will be                                Run away with my love
My people                                                I know now, just quite how
And your God                                         My life and love
my God.                                                   Might still go on
Where you die, I will die,                      In your heart, in your mind
There I will be buried."                          I'll stay with you for all of time"

(Book of Ruth 1:16)                                  (Charlene Soria Lyrics)


                                      Let it be writ,
                                      Let it be sung,
                                     All should know,
                                     This I swear,
                                     Where you are,
                                     So, I shall be too.
                                     Your hope, my hope.
                                     Your heart, my heart.
                                     Life and love,
                                     But one.

                                     Where you run,
                                     I shall follow.
                                     Now, today,
                                     Forever,
                                     If our bodies apart,
                                     If our hands cannot
                                    Grasp each other,
                                    Yet, still,
                                    In your heart,
                                    In your soul,
                                    I will be,
                                    I cannot leave.

                                   Where you are,
                                   So, I shall be too.

~~~~

Thank you all for loving this poem so much.  I have long thought of the symmetry between Ruth and the lyrics to the song "Wherever You Go,"
when ever I hear them on Pandora....last nite around Two Am, I decided to set them up side, by side and then to see what happened...and the merger, the synthesis was the obvious and only solution.

The literal worst.

Some might say Nixon- the criminal in charge

Martin for the tear he let the native’s tread

Hoover for the shanty towns that rose

Fillmore who let the escaped and finally free be returned to captivity.

John Taylor the whig who wasn't a whig but manifested his Ideas in us going west.

Warren G Harding and the Affairs

James Buchanan who started the war.

But the worst were the ones who never got to be.
The literal worst because I got to see a world that will remain unknown to me.
And they are:
Jessie  
Charlene
Victoria and Shirley
Belva
Elaine
Carol ‘n Patsy and
Cynthia McKinney
And who can forget Joan Jett Blakk the black Drag Queen


Because Despite what the winners want you to think WE do not look like James Buchanan!

Warren Harding!

John Taylor and all the other men who have persisted to reign.

And still, we sit here and watch as all other make strides in the field we claim to have created.
Brazil
Germany
India
Israel
Iceland
Ireland
Liberia
Norway
Pakistan
The Philippines
Sri Lanka
South Korea
And the UK

I hope I live long enough to see America rise to the silent challenge of its peers.

To see a woman at the podium
To see a woman at the desk.

To see

The black woman
The trans woman
The bisexual woman
The old woman
The unmarried, unmothered woman
The minority woman
The asexual woman
The not so average American woman woman.
The bleeding woman.