On the 24th of February 1970, a 14-year-old boy named Keith Sapsford died after falling from the wheel-well of a Tokyo-bound Japan Air Lines DC-8. It was only seconds after taking off from the Kingsford Smith Airport at Sydney, Australia.
An amateur photographer, John Gilpin, was testing his new camera lens as the plane took off and unwittingly caught Sapsford’s tragic 200 foot plunge to death. He only discovered what he captured much later after developing the film.
Wikipedia has a long list of wheel-well stowaway flights, it usually doesn’t end well.
This arcade game was the holy grail when I was growing up in Perth.
I’ve been trying to find the name of it for years, but have only been able to come up with Ikari Warriors, and a few other worthless double dragon clones. I had a brain wave and did an image search for rotary joystick arcade games and had a
small mega victory. Thanks internet!
Midnight Resistance (ミッドナイトレジスタンス Middonaito Rejisutansu?) is a side-scrolling action shooting game produced by Data East for thearcades in 1989. The game was ported by Data East to the Sega Mega Drive in 1990 and by Ocean Software to various home computer platforms during the same year.
The game is set in a dystopian future where the player controls a member of a resistance movement who goes on a mission to rescue his kidnapped family from a mad scientist.
Check out how fun it is!
I’d play it at the White Star Super Deli, which looks exactly the same today. It cost 40c for a credit and I remember the turmoil I experienced as that was the exact cost of two redskins.
Once I was walking home after deciding not to play it and buy Allens Toffee Apples instead (this was very, very common) and some strange lady stopped me in the street. I was about nine or ten and she was about 40 or 50 with big bushy 80s hair, the look of a failed politician’s wife and she was pretty flustered about something. She was by her white station wagon, and she said she’d locked the keys somewhere inside, up the front, and would I mind climbing through the back window to to retrieve them. It was then I thought, this is it, THIS is stranger danger. My midnight resistance training kicked in, my eyes narrowed and I said No. Loudly. She persisted for a while, as I backed away as if she was the disturbed water buffalo in Crocodile Dundee.
I scurried off home, eager to tell my story, I’d probably have to be on the news, or at least in the paper. I raced up, told Dad and he gave me a look as if to say those stupid lollies are going to rot your stupid teeth out. Then he caved and said yes yes TJ (old nickname) you did the right thing, that was very good of you, very brave etc. It wasn’t exactly the parade I expected but I was still pretty stoked. Dad then upped the ante and said we’d have something very special for dessert. This was a game changer, dessert was taken very seriously.
Dinner came and went, and I was a very patient little dude, as if I foiled abductors’ plans every day. Then dessert was presented, and Dad had a small smile on his face, it was a tray with a pineapple on it. Not even delicious CANNED pineapple, actual useless, icecreamless, disgusting plain old FRUIT pineapple. My face was nothing but utter disbelief. I remember dad laughing a bit, so I think he just forgot. All I could think of was the amazing dessert i could be off somewhere having with the kidnappers, and the severe injustice of it all.
It went down just near the big tree in the distance.
French Blaise Pascal stamp
Size: 21.45 x 36 mm
Face value: 1.20+2.80 ₣
Print run: 1,097,000
Current value: A buck oh five
Nothing is so insufferable to man as to be completely at rest, without passions, without business, without diversion, without study. He then feels his nothingness, his forlornness, his insufficiency, his dependence, his weakness, his emptiness. There will immediately arise from the depth of his heart weariness, gloom, sadness, fretfulness, vexation, despair.
(Note to self: Don’t read Pascal on Mondays in case you shoot yourself in the face after)
Adam Goodes points the finger after being called an ‘ape’ by a young Collingwood supporter during the AFL’s Indigenous Round.
Photo: Andrew White
Hostility to John Pilger’s film a denial of nation’s brutal past
March 3, 2014
By Adam Goodes for the Sydney Morning Herald
For the last few weeks, I’ve seen a film bring together Aboriginal people all over Australia. The buzz around Utopia - a documentary by John Pilger - has been unprecedented. Some 4000 people attended the open-air premiere in Redfern last month - both indigenous and non-indigenous Australians - and yet little appeared in the media about an event that the people of Redfern say was a ”first”. This silence has since been broken by a couple of commentators whose aggression seemed a cover for their hostility to the truth about Aboriginal people.
When I watched Utopia for the first time, I was moved to tears. Three times. This film has reminded me that the great advantages I enjoy today - as a footballer and Australian of the Year - are a direct result of the struggles and sacrifices of the Aboriginal people who came before me.
Utopia honours these people, so I think the very least I can do is honour Utopia and the people who appeared in it and made it.
It takes courage to tell the truth, no matter how unpopular those truths may be. But it also takes courage to face up to our past.
That process starts with understanding our very dark past, a brutal history of dispossession, theft and slaughter. For that reason, I urge the many fair-minded Australians who seek genuine prosperity and equality for my people to find the courage to open their hearts and their minds and watch Utopia.
There is a good reason why Pilger’s film resonates with so many of my people and is the talk of Aboriginal Australia.
Put yourself in Aboriginal shoes for a minute.
Imagine watching a film that tells the truth about the terrible injustices committed over 225 years against your people, a film that reveals how Europeans, and the governments that have run our country, have raped, killed and stolen from your people for their own benefit.
Now imagine how it feels when the people who benefited most from those rapes, those killings and that theft - the people in whose name the oppression was done - turn away in disgust when someone seeks to expose it.
Frankly, as a proud Adnyamathanha man, I find the silence about Utopia in mainstream Australia disturbing and hurtful. As an Australian, I find it embarrassing. I also see an irony, for Utopia is about telling the story of this silence.
Some say the film doesn’t tell the ”good stories” out of Aboriginal Australia. That’s the part I find most offensive.
Utopia is bursting at the seams with stories of Aboriginal people who have achieved incredible things in the face of extreme adversity. Stories of people like Arthur Murray, an Aboriginal man from Wee Waa, and his wife, Leila, who fought for several decades for the truth over the death in police custody of their son Eddie.
Their quiet, dignified determination helped spark the 1987 Royal Commission into Aboriginal Deaths in Custody, a landmark inquiry that still plagues governments today.
Even before that, Murray led a historic strike of cotton workers and forced employers to provide better wages and conditions for Aboriginal workers. How is this achievement negative?
The film also features Rosalie Kunoth-Monks, a strong Aboriginal woman who proudly speaks of truth and a long overdue treaty.
The work of Robert and Selina Eggington is also profiled in Utopia. After the suicide of their son, Robert and Selina created a healing centre in Perth called Dumbartung. Its aim is to stop the deaths and provide an outlet for the never-ending grief of so many Aboriginal families.
I reject any suggestion that by telling those stories, that by honouring these lives, Pilger has ”focused on the negative”. Their achievements may not fit the mainstream idea of ”success” but they inspire me and other Aboriginal people because they’re shared stories. They are our courageous, unrecognised resistance.
Nana Fejo, another strong Aboriginal woman, appears in Utopia. She tells of her forced removal as a child. It’s a heart-wrenching story and yet she speaks with a graciousness and generosity of spirit that should inspire all Australians.
Like Fejo, my mother was a member of the stolen generations. My family has been touched by suicide, like the Eggingtons. My family and my people talk of truth and treaty, just like Kunoth-Monks does. My family has been denied our culture, language and kinship systems, like all the Aboriginal people who feature in Utopia. This extraordinary film tells the unpleasant truth. It should be required viewing for every Australian.
(Editors Note: Everyone should listen to this guy, he’s the best guy ever.)
Watch the trailer for Utopia
For an outsider’s point of view there’s Amy Toensing’s The Aboriginal Homeland for National Geographic
Michael Cody’s new film Ruin has a trailer out.
Glendyn Ivin says:
Soon to be released, Ruin is one of the best
Australianfilms I’ve seen. Shot on a micro-budget in Cambodia, in Cambodian language, the film follows two lovers as they violently drift across the country. Kind of an Asian Natural Born Killers, but with more spirit, heart and poetry. Ruin will hopefully be released sometime in 2014 keep your eyes out for it!
New York City, 1993
Photo Chi Modu
This is his bedroom at the Queensbridge houses.
Note the stuffed animal and the bullet hole above his head.
Can’t believe Illmatic was two decades ago
Wax Poetics has the interview
Illmatic is generally credited with changing the whole East Coast rap scene and introducing the mafioso style into hip-hop. Where did that come from?
That was lifestyle, you know? It was me and my boy who passed away, and another boy of mine who’s locked up, realizing that it was our turn to take the block, and we had to watch the movie Scarface. We turned off the lights and went to my boy’s apartment in the projects and watched it and came outside with a different understanding. This is before the records; this is when we was kids.
How old were you?
Fifteen, sixteen. That’s just lifestyle. You can’t fake that. You can’t even label it. What happened was the whole rap game started to become obsessed with it, and even I got lost in it. But it was super fun, and it was just something that we all had to grow out of.
What was it about that movie that rang true to you?
It wasn’t just that movie. It was what I was seeing outside and what I was hearing. So the movie on top of that just gave us another perspective on it. It gave us the cars, it gave us the taking-no-shit kind of vibe. It showed us how far it could go to be the man, from a fantasy point of view.
He’s still got it