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judy smith Sep 2016
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
Harry J Baxter Nov 2013
High school was a breeze
I mean forget the braces years
and the glasses and the acne and the bone crushing awkwardness
it was a breeze
rolling around in Mark's beat up VW hippie van
Smoke trailing behind us as we tore through suburban Richmond
worrying about Mom 'n Pop's more than the DEA and Cops
and finding empty houses to drink what we thought was good alcohol
if no houses were available
we'd just wait for the parentals to fall asleep
singing pop punk at the top of every lung
rapping along to gangster rap
hopelessly Caucasian
class was a joke
homework a no go
and we'd worry about the consequences later
talking about how we couldn't wait to be grown
well I'm growing now
and I can tell you
no bed time is awesome
but it isn't all it's always cracked up to be
Coop Lee Jul 2015
hammock and a stack of playboys.
first emerged,
boy.

feature trees and teens and punch drunk lovers.
chalk murals,
girl.

into the quiet density of love.
quiet city.
dance party, usa.

we end up making movies about our fathers
whether we know it or not.
home videos.

we double down on arcade tickets
& spin for a kite to tangle.
climb the town hill and bury our warmth.

kiss to forget or remember this bliss
& strange language.
strange sprawl of lights seen.

the homeowner’s association melt a pile of plastic flamingos
into an idol osiris.
dead god.
& wait,
wait for halloween.

our parentals diligently sweat.
they are conjurors of snacks and supper.
they are creatures of the ritual routine.

we ritual.
we homework.
we breathe easy, waiting for nothing.

   (except for more holidays)
recently published in The Bayou Review


//
Westley Barnes Aug 2013
The curse of a great, well-known or (at least) culturally interesting family.
Heralded at birth to mimic similar (or even, surpassing) social feats of achievement/wealth/renown.
Instead manages to underpasses even  mundane non-impressivenesses of second-generation parentals.

I
See them, smirk or folly with time, silently.
....which they seem to quite often.
Biding weekend with multitudes of varying categories of "friends"
and sweethearts who never seem to stick around too long
All aware, of course, of the famous family lineage
Themselves, instead
after lifetimes where first words, senior infants homework,
cheerful accusations of mischief and certificates of age-appropriate health
were lauded as signifiers of a future onslaught of fulfilled capabilities
emerge as providence's lackeys– and meekly, to be
Written out of History
One by One by One.

II
Talent is frequently a despairing life-cycle
for people who witness
and go without.

III
But what price success?
Is it to be counted in public
or left behind in wreaths?
Stern evidence
of favour, fought for and won
or shaky good fortune
One life's profitable fluke

IV
Does the cost of success itself
admit backstories of other kinds of loss
that children
without the chance of ever knowing
or changing their inheritances of fate
are powerless to cease the flow
of their own anonymity
all for the insistences of the unarguable
and for merely treading the average?
Harry J Baxter Apr 2013
You ******
you absolute ******* *****
I mean seriously
how much of a ****** are you?
silent to your friends
silent to the parentals
silent to yourself
except for in times of strife
(as if you know real strife)
you just want to be nice,
right,
correct,
for the girls you string along
you feel for all of them
which is why
you are afraid of everything
afraid of committing
afraid of hurting
afraid of loving
you love them
almost as much
as the self loathing
which runs through your veins
Beth-any Sep 2011
I had a dream when I was a kid,
Although, I can't remember it
Because my adult parentals shattered it.
Mind shattering, filling my head up
With a bunch of **** that doesn't make sense to me.
They taught me everything stereotypical.
Kai Mar 2014
1:07 a.m.
wake up
shake

it's foreign
my legs are being clung to
i just want you to let go
it's a beg,
it's a cry for help
in the back of a black suburban
a scary place
where headlights are not used
a hand cannot be seen an inch in front of you
but somehow my body is found
and you invade
without permission
the words to shout
"Please stop"

3:34 a.m.
wake up
shake

sitting on the rotting dock
the cloth i wear
falling through
the salty rain
burns my cuts
lashed
the Norman in the yellow boots
and the white beard
retrieves my soul
he is not the gangster
who disturbed me before

4:56 a.m.
wake up
shake

powering into the church
stumbling over the invisible crutch
nothing more strange
it's a place i've rarely been
all eyes are on me
they know i am the spawn
of the heathen
but all i can do is cry
into the open arms of the church goers
and explain my long travels
and running away
the horrid torture that has reached my city

6:21 a.m.
wake up
shake

the white beat up car
holds a young mom
with her baby
who just stares at me with envy
as if i hadn't just been hurt like she
my parentals were called
and i was on my way out
something the young mom seemed
to have never seen
I had this nightmare March 29 and every time I woke up crying. I put it into words and hope to never replay it again.
ogdiddynash Jun 2020
if my true name you uncovered,
and called me out by same,
without spasm-ing,
first middle and the lost at-last

you, like me would wonder
what the heck my parentals
were imbibing
at such a joyous occasion, my
cursed naming ceremony

but thanks to them,
I’ll be buried with a full head
of fair thicker hair;
that’s why parents say:

“**** good thing you kids don’t get to pick your parents names!”
ogdiddynash Jul 2019
twentee one.
if my true name you uncovered,
and called me out by same,
without spasm-ing,
first middle and the lost, at-last,
you,
like me would wonder
what the heck my parentals
were imbibing
at such a joyous occasion,
at my cursed
naming ceremony

but thanks to them,
I’ll be buried with a full head
of fair thicker hair;

that’s why they say,
“**** good thing
you don’t get
to pick your parents
names!”

— The End —