It’s been a long time between drinks. Around 23 years or so. 1994 was a life-changing time and then life took over and now I’m looking at another transitional period.
Life changes daily though. It seems slow but every detail matters somewhat, and if you care to remember it.
Right now I’m sitting in an office, getting paid and doing very little work of reward. The kind that is emotionally unfulfilling. But right now, I’ll take the money, thank you very much.
Somehow, over time, you learn that working for ‘the man’, as opposed to working for yourself, is something that must be exploited to the full. I managed to get myself into a position at one point of not doing any work-related activities at my job and started doing my own hobbies in company time. Somehow I was also well paid for this. It was always slightly precarious and eventually, it came to an end. Then it happened again – and with the same company to boot. I do thank you, although I wish it could’ve been more rewarding for both of us, to our mutual benefits. Perhaps I feel guilty. I know I would sometimes get annoyed when I actually had work to do that was interrupting my personal time and that’s not a good place to be.
The more depressing it became, the more I strove to distraction. I ended up being very productive. I could never make that jump though, to make money from doing the things I enjoyed. I am envious of people who have been able to position themselves in this way. I’m lacking in artistic talent, not through want of trying. Often lacking in concentration, born on the cusp of distraction entertainment as I was. The advent of new technologies only makes this worse and now that even they have surpassed my knowledge and I am like the old man programming his first VCR with only a 3-button remote, I sometimes pine for those days again.
My nostalgia is aligned with depression. I was deeply unhappy for periods of time that I now reminisce. That depression was an artistic motivation, a driving force. The actions often more thrilling than the results.
Right now, I am biding time again. In this strange period of inertia, the feeling of anticipation is immense and I am highly conscious of the grass always being greener on the other side of the fence. Hence to take time enjoying the moment, the present, the now. I visualise vividly a relaxing future whilst aware of the constant need for ‘work’ whether in some paid variety or just the work of remaining alive and managing the mundanities of life. I hope to derive great pleasures from the digging of weeds or painting of walls but worry that I will start to ignore the dust that settled in the corners many years before.
Luckily I have an outside motivation, my wife, Amy. Could I do it without her? Probably, but without so much pleasure, enjoyment and fulfilment.
The bones of the tale are this. In 1994, I relocated from small-town England to small city Australia. Sydney and thereabouts. In 2018, I will relocate from small-city Australia to small-town Thailand. In 1994, I documented my time in transition. I have not looked over those diary entries since, but the intention is to add them here alongside current musings. Let’s see how they compare. Let’s see if I have really gained some wisdom in the intervening years.
[Editor’s note: Pangbianr’s man down under (actually, he lives in Beijing) Bob Blunt writes in with a report on Shaun Tenzenmen, founder of eponymous Australian DIY label/distro tenzenmen. Shaun’s one of the earliest and hardest-working proselytizers of Chinese music abroad. Between his distro, his Alternative China tumblr, his Sino-Australian Music Exchange program, and his general web omnipresence in all matters China-music-related, he is nothing short of an indispensable component of the greater Chinese rock diaspora. If you’re so inclined, you can get 30% off all Tenzenmen releases through Bandcamp during the entire month of June. And here’s Bob with some background on the man behind the Tenzenmen enterprise:]
Fans – those who love what they first hear, they find it, follow it, fuck with it, it fucks with them, then they meet friends, acquaintances, lovers, and presto- a lifetime passes and the memories are sweet, the stories are long, and no matter how many times you scratch the itch, it won’t rub out- it’s in your blood, tiger, so just enjoy it.
Fans again – the people that write fanzines, those that hunt record stores, those that collect old dusty vinyl, have crates of scratched CDs, manage their friends’ bands, and, if they are clued up enough, they may even start a label or a venue of their own, spreading some germs to different corners of the world.
Well, if you get my long-winded drift, then meet Shaun Tenzenmen, he of his own self-named label, and one responsible also for the distribution and touring of fine Chinese bands into Australia, as well as other corners of the world. He’s a trooper, a fan, and a lovely guy.
I couldn’t help first asking him if he was fucking mad to pursue such a thing and all he could say was:
“Perhaps it’s a sign of madness that I’ve never even considered the possibility. I live in Australia so it makes sense to promote music into this country though I’m pleased that I get attention from all over the world. Still, it’s not enough to make me any money, but then that’s not really my motivation.”
Bob Blunt: Of course, it isn’t your motivation, and generally it isn’t with a lot of us. We just like what we hear, and if someone else isn’t sharing the love, the motivation within us to share it somehow is the essential part of what fandom really is. Am I right?
Shaun Tenzenmen: First and foremost I’m a music fan. I’ve always liked my music a little less conventional so even in my youth I would enjoy the weirder ends of the spectrums within a specific genre. For me, it has always been about discovery, whether searching thru the racks in record stores and taking a chance at the look of a record sleeve, or scouring the internet for some obscure gem from a backwater band in a garage. There are plenty of easy ways to find Western music so it seemed less interesting to me to add to that, and instead focus on something that not many other people were doing. After moving to Australia and becoming exposed to many other different cultures, I became curious about music from the East. Japan was already known about, but how about elsewhere? I got curious, I started investigating and I started finding gems! What was particularly attractive was that some of the equivalent music scenes were still in their genesis and hadn’t become segregated by micro-genres or jaded with time. It was a return to the origins of punk and all of what was encapsulated in its ideas. Many of these musicians are dealing with the struggles of daily survival and it’s amazing to see the communities born out of this adversity. As a comparatively rich observer, I felt I could lend my support to these scenes by promoting them and making it easier for others to discover them just as I had.
Shaun left England for Australia in 1994 when he was 27, thankful that he had been exposed to a burgeoning punk scene that even made it to Dorset in the south. It was there that the seeds were sown for his love affair with punk and DIY culture, which he still can’t shake off and wouldn’t want to. Here goes his background story:
ST: Whatever romantic notions you may have about England, it’s not a great place for a young lad prone to depression to grow up in. I found solace in the punk scene as best I could living in the countryside in Dorset. During the late ’70s and early ’80s, punk was such a huge phenomenon that it had penetrated even the remotest parts of the country, so yes I’m thankful for that. I was a vocalist in a couple of bands and after growing up a little I got somewhat involved in the organization of shows with a bunch of friends. I was also writing a bit for local zines and was somewhat immersed in the DIY ethic which was born out of the Crass/anarcho-punk scene. Not really having any idea about my future at this point though, when I fell in love with an Aussie girl I accidentally found my escape!
BB: How did that transpire in Sydney then?
ST: I sought and found the local punk scene here in Sydney and quickly got involved with it, most notably putting together a complete Aussie special edition of Maximum Rocknroll. Also at this time a record label I had been involved with released some noise recordings I had made back in England and this went under the moniker of Tenzenmen – it’s a bit of a collector’s item and may finally see a re-release on cassette through a good friend in Finland. Anyway – that was the start of the name, though I wouldn’t see or use it again for another 10 years.
BB: So what spurred you on as a kid then? I’m guessing you for postpunk blood?
ST: Looking back further I can remember my mother taking me to see her boyfriend’s folk band playing in pubs around the Lake District – I was 5 years old. She had a limited music collection but I really remember the band Mud and Lonnie Donegan standing out because they were so much faster than the other things she had. Next thing I remember is I’m watching Top of the Pops, as much of the nation did every Thursday night, and these out-of-control freaks are playing “Pretty Vacant”. I tell my mum that the bass player looks like Frankenstein. I’d start taping things off the TV (cassette tape – no video back then!) and I kept listening to this track and remembering the performance. And that was it – punk rock fever set in at the tender age of 10. I was quite rigid in the music that I allowed myself to like back then and I had to sit through some awful disco music to hear the occasional punk tune, but in retrospect, I was hearing a lot of great music in that period and it all had an influence. The definition of punk was also extremely broad and that is something that has really stuck with me so it is of particular annoyance seeing kids these days just go and see one style of band play, especially on a mixed bill lineup. You don’t have to like everything you hear – but to me, it’s all punk. In fact, this is a phrase we used a lot back in England in the early ’90s as gentrification was taking place: “It’s all punk rock, innit?!”
Twenty years on from 1977 Shaun became curious about China, and particularly its influence around Sydney at that time. You indulged in all things Chinese, am I right?
ST: I started going to the library and reading whatever I could find – be it history, culture, anything. I made myself a profile on an old China Friend Finder website, signed up for [Chinese chat program] QQ and started making friends. With the help of a few of them, I took the plunge and headed over in 2001, having no idea what to expect, which in turn produced a myriad of amazing stories that I needn’t bore you or any of your readers here with. Asides what was amazing about this first trip was that it was much cheaper than I expected and I could afford to go again six months later. Of course, both these visits coincided with the May and October holidays, as that was also the only time my new-found friends had time off from work. On the second trip I picked up a weekly English-language newspaper which was only about 10 pages, but it was great to be able to find something I could actually read. In there was an article about this tiny, tiny punk scene in Beijing. Very curious, the only clue I had about it was that they hung out somewhere near a train station (whose name I forget now). Of course, I went there and only saw thousands and thousands of your everyday Chinese going about their daily lives. No pink Mohawks and no leather jackets.
Shaun then took the plunge starting Tenzenmen, and it was then that he first toured a Japanese band, Limited Express, inAustralia. Through this, he was able to garner a shitload of contacts for people to help book the shows, and then…
ST: Everyone was coming to me and asking me the same questions – who do I contact here or there to book a show. I decided to start keeping a database to share this information with everyone, and as that expanded, I started investigating who would you contact in all the Asian countries to do the same thing.
BB: And China?
ST: Through all this investigation I found out what I could about those punks in China. Through an amazing set of circumstances, I ended up back in Beijing in 2007 and went to D-22, as I had a feeling this was the place to be. And boy, it sure was. What I saw there was amazing to me. In just six short years something was born out of almost nothing. And the energy and enthusiasm were infectious – I couldn’t really believe what I was seeing and it felt like I was watching history happening. Whilst some of the music was very Western-inspired, I was pleased to see a couple of bands really push the boundaries with what they were doing. I don’t remember all the bands I saw but I reckon it was all the top ten bands at the time. Can’t believe how lucky I was to have been in the right place at the right time.
BB: Now that it has been boiling for some time now, how do you see it all evolving?
ST: This is a difficult question for me to answer as I haven’t been to China for 4 or 5 years now, and as you well know, things change constantly there. I think already there is a feeling that artists need to take more control over their own destinies. Perhaps 7 or 8 years ago there was only the dream of being signed and somehow being made famous. I think these illusions were quickly shattered as everyone, as elsewhere in the world, is struggling with how to be able to make money with music these days. Piracy culture is even more prevalent in China than elsewhere, so artists know they really need to engage with their audience. There is also the two-pronged approach to promotion with bands obviously keen to market themselves abroad, but I think increasingly now bands and artists are more aware of nurturing something locally as that is really the long game.
BB: What about punk and DIY attitudes. Is there a real voice there?
ST: Continuing on this thought about developing a local scene really plays into the punk and DIY attitudes. It’s a grassroots thing and this is how I see it surviving. There will always be artists kicking against the pricks even as others fit into the mainstream or leave through frustration. There are already small waves starting to happen in the more experimental genres (who truly fit the definition of punk these days).
The ambiguity of terms like “indie” and “alternative,” and the marketing of them at will, to some extent “punk” also, can have a blurred effect on what people’s perception of style and voice really is. Shaun has some interesting thoughts on this:
ST: DIY is a very ambiguous term these days, and will probably transform in the same way “indie” has changed over the last 30 years. For me, DIY has developed out of the early punk cultures where one took control of their own work and output, and didn’t necessarily buy into the existing systems in place which generally benefit others rather than the artists themselves. If I analyze the work I do, it is not correctly called DIY as most things I do are for the benefit of the artists. I just do my best to break even and if I don’t that’s no big issue as this is my passion. When you ask about labels I assume you mean such as “punk,” “DIY,” “indie” etc – to me these are just quick identifiers that point in the general direction of a sound but it’s all very vague these days. It’s pretty useless and pointless to debate what does and doesn’t fit into one label or another. Just listen to the music and decide if you like it or not!
But your question also begs the question about labels such as Tenzenmen or EMI etc. From my point of view, I see Tenzenmen as a literal “label,” like Heinz or Louis Vitton for example. It might help identify for people something of quality or meaning when compared with something from another label. I push artists to take as much control of their work as possible. To be honest, I shouldn’t even have to do Tenzenmen – artists can do everything for themselves! And this has become the case quite often with artists coming to me saying they already have a product, everything already paid for and ready to go – nothing for me left to do except promote and distribute. These artists are keen to be part of the Tenzenmen label because they might see it as an advantageous association or they’re happy to help build a little community of understanding around the label. (Maybe there are other factors I don’t know about – I guess it’s a question for the artists.) Either way, it’s all positive and indicative of a culture of everyone pitching in to help each other to make something happen.
BB: So what now? I mean you’re a 9-5er in an office gig, where do you get your strength and longevity to do this love of your life?
ST: I’m worse than a 9-5er – I’m generally on call 24/7/365 and often have to work over weekends too. My strength is in my passion for what I’m doing. I do question my sanity on a weekly basis, and there are a lot of things to get down over, but there always seems to be something that comes along that picks it right back up for me. Right now I’m hoping to do a 7″ with a new-ish Sydney band that I’m really excited about. It reminds me of the traditional 7″ from the late ’70s – not in sound, but in style. A two-minute infectious pop song gem on the A-side and a more experimental, longer track on the B-side, which starts to stand out the more you play it. I don’t know if this will end up on Tenzenmen, but it is things like this that keep me excited. In amongst all this, there’s so much great stuff coming from China, too.
So the main struggle is time and how to wind down. I do have the help of a friend or two now – one who sends out the weekly mail list for underground/non-commercial shows in Sydney, a list which has come out weekly for the last seven years or so. And also a young web guru who helps me out with the website and also ideas to help promote what I’m doing. Ideally, I’d love to be able to start working with someone who has the same keen attitude who could keep Tenzenmen going as my involvement drops off, as I have plans to go live in South East Asia myself and kick back if I can remember how. Otherwise, I think I might have to draw a line in the sand sometime in the next few years and say, that’s it for the label for now.
[Editor’s note: I’ve been sitting on this article for far too long. In that time Tenzenmen has pivoted in the direction of focusing even more exclusively on Chinese music. I asked Bob to oblige my sluggishness in posting this by hitting Shaun up with a few quick followups:]
ST: As for now I’m pretty much doing what I’ve always been doing — helping with distributing Maybe Mars and Genjing products around Australia.
BB: A labor of love hey?
ST: It’s what it is. That’s not to say there’s no interest. I mean it is still a niche thing. As always there are things in the pipeline and who knows what is in store for this year. But really I’ve been seeing and feeling that for the last 2 or 3 years.
BB: What do you mean by that?
ST: What I mean is that things grow fairly organically and at a steady rate, but obviously not fast enough for me to make a fortune and retire though…
S: My princess, this morning, this cold morning I pulled out of the driveway and onto the road to prison, my personal prison but my day would not be clouded by these dark thoughts. In the dullish light of the day, a beautiful silver-leaved tree shone out to me and spoke in a way I hadn’t seen in a long time. It spoke the whispered words of love and light and life. Without doing anything at all the tree made my day. Within that thought was a vision of you. Thank you.
T: thank you sweety. S: Anytime (when I get the time – that’s a song by the Descendents – ‘When I get the time, I write a little rhyme – for you’) T: i was just thinking the other day “how come shaun never writes me any poetry any more?” i suppose it’s because the wooing is over……..hmmmm? S: Are you wooed? The poetry isn’t over – it’s being written every day. T: i haven’t seen anything you’ve written lately, which is a shame, cause i was hoping you’d never stop writing. S: I promise to never stop.
T: i remember when you started writing poetry when i first got to know you. you wrote this poem because hayden had fallen while on some play equipment and about how worried you were – you told me about it. S: Hmm..I don’t remember that – but a lot has happened since then.
T: i’m really sorry about what you and your wife and hayden have had to go through over the past week. S: It’s been rough but I’m really glad Bronwyn and I have been able to still be parents for HJ despite us being separate. T: thank you so much for your support too – it has been much appreciated. i really hope your wife gets to england and hope hayden’s 200% better by then. S: I do too – it would be excellent for them both and everyone in England.
T: it’d be great for her to catch up with everyone. it’s only a shame you can’t see your friends and show hayden off together. S: We’ll take him when we go shall we? T: and you really need to see your mother – she’ll sort you out! S: She got me into this mess in the first place!! T: missing you, S: Not as much as I’m missing you sweety T: i really hope hayden gets better soon, S: Me too T: and that you get to england soon, S: we..we get to England. T: love you, tlj S: LoveUtoo sh
Gaunts Common was a quiet rustic village in Dorset, the heart of the south of England. It’s only shop, Gaunt’s Common Post Office, closed down in 1985 due to lack of funds and use. No more would the children be able to gather outside its window in the small parking area perturbing customers and neighbours alike.
17th Apr 2021 – The picture above is all that is left to remind me there was once a post office here. The traditional red public phone box has gone too.
The village school still thrived though, taking in the five to eight-year-olds from many surrounding areas. Morning and afternoon would be the busiest time of day as parents ferried their offspring to the South end of the village, packing the car park with their vehicles and causing quiet traffic jams. Some of the luckier pupils need only walk across the road and into the school.
17th Apr 2021 – I seem to remember more foliage around the front and being able to run around all sides of the school as we would often play ‘flashlight’ here at night time.
The community was mainly a farming one, though several of the newer houses were built specifically for their rich owners who travelled into Wimborne Minster, the nearest town, about four miles away. So, slowly the community was diversifying though tractors were as frequent on the roads as buses or taxis, leaving behind them great clumps of mud from the sodden fields. Everyone knew by name the farmers who ploughed the land and looked after the cattle.
17th Apr 2021 – Occasionally we would steal one of these hay rolls and roll it down the road until we got bored, or roll it into the woods where we were hidden from view, set light to it and talk shit with each other whilst throwing asbestos into the flames to hear it crackle and pop.
There were several riding stables in the village and surrounding area, riders taking advantage of the woodlands which began at the top of the hill and spread out to the Northeast towards Holt and Holtwood (more woodland areas). Cars were often required to slow down driving through the village as they waited behind a troop of horses and riders on their way to the woods for a healthy gallop.
By night time, after the small of rush of cars carrying people on their way home from work, the village became quiet except for one or two of the noisier children who would gather at the bottom of the school field, away from the prying eyes of their parents. The focus would then turn to the football club about a quarter of a mile south of the village where people were welcomed by friendly faces to share a beer, a game of darts or pool or, most importantly, to catch up on the latest gossip.
17th Apr 2021 – On the left, the ‘impenetrable’ woods where, as kids, we built a BMX track, camps, fires, war zones and get drunk before we were of age, at which time we migrated to the Football Club, on the right.
Entries from 1994 are left as written, except fixing any typos. On reading these words again 24 years later I can see they don’t always form a great narrative structure and introduce people, concepts and ideas without any background. That may become apparent in future entries from this period and I’m also loath to add to this dialogue from the present – ‘knowing all the things I know’.
All written here dedicated for Steve Burgess R.I.P. 28/12/93
Many things have happened since Steve’s death. It was a shock to everyone. I remember when Rob called and Bronwyn called me from the other room, I could tell by her voice some had died and I initially thought it might be my mum. We were both in tears. And I was still getting over chicken pox. What a terrible Christmas.
We went to see everyone in Southampton on the 30th. We went to John and Selena’s. It was a funny atmosphere but we all had a few drinks and by the end of the night, we were pretty drunk. Selena spoke to Chrissy in the morning. She was still sad but seemed fairly positive. New Year’s Eve was the worst. I burst into tears several times with Bronwyn comforting me. I had a big cry and did feel better for it.
Things have been pretty quiet otherwise around this time. Thursday 6th was Steve’s funeral. It was very good (if that’s the right word). I’m sure everyone he knew was there. A lot of us went to the pub afterwards. It ended up with me, Bronwyn, Fatty, Rich, Rob, John, Selena, Gary and more (can’t remember). It got very emotional. I had a little cry and so did everyone else. Me and Fatty had a heart to heart as he was upset that I considered Steve my best friend – though we didn’t really resolve anything. Bronwyn suggested writing to him and after a day’s thought I did so.
On the Saturday me and my baby drove up to Southampton. We dropped in on Rich and Rob before going to Chrissy’s. I felt happy to be where Steve lived and didn’t feel uncomfortable in any way. I didn’t once think it was strange that Steve wasn’t there. There were lots of flowers and cards. Chrissy seemed very well. She’s been a lot stronger than I expected. Heaven knows how I’d feel if I lost my beautiful Bronwyn.
We went to pick up John and Selena. Selena said she felt a bit strange about going round but we convinced her it was going to be the best thing to do. I think people are worried about what to say to Chrissy. Chrissy just wants everyone to act normally. Rich and Rob were a bit worried about that too.
I took a bit of control in the evening by organising everyone (I consulted Chrissy all the time though), in the hope of relieving Chrissy from having to worry about people coming round. Selena phoned up Rich and Rob to get them to come down but she said Rich sounded a bit off on the phone. I snuck out and went and got them.
By this time pizza had arrived and a few drinks had been consumed. Everyone started to relax a bit and I think Chrissy was happy with that.
I had a chat with Amanda in an effort to try and get her to sleep!
Well, everyone got pretty drunk and had fun playing cards til 2 o’clock when everyone left and we went to sleep in Amanda’s room.
We spent all Sunday playing with Amanda. I think she enjoyed having a male adult around. I really enjoyed myself and had lots of fun though it was very exhausting. Steve said ‘The best thing you can do it have kids’ and I did find myself a bit clucky. Wow!
Rebecca’s a beautiful little baby too. What a shame she’ll never meet the man who fathered her and a shame he’ll not be able to watch her grow up. I felt attached in some way to Chrissy, Amanda and Rebecca and think it’s my way of hanging on to Steve.
I was sorry to leave Sunday night but happy to know me and Broni will be having our own kids someday. We talked virtually non-stop on the way home. I dropped the letter into Fatty’s too. Rang him up next day and he looks like he’ll definitely be moving out of there and we can move in. He said we should have a talk so we decided to go out on Thursday. I couldn’t tell from his voice if he was upset with me or not. He sounded kind of stern – like it was what we ‘ought’ to do. However, he seemed fairly chirpy otherwise which certainly is a change.
Spoke to Rob tonight about the poetry booklet and it could cost us a fair bit but feel it to be worthwhile. I’m writing an introduction which I think is fairly good even if I do say so myself.
Me and Broni had a couple of P.M.T. fights but we resolve things fairly quickly. I want to be more patient and understanding. I want to stop putting her down too I don’t even know I’m doing it. She’s great, really the best girl I could ever wish for. A true companion for the rest of my life. I’m pleased other people say this to me too.
There’s a riot going on England won away Everyone is running Better not to stay People under foot start to bleed They’re getting crushed in the stampede
They’re winding up the world that’s got too old Flowers destroyed and no earth to hold No precious life for us to grasp Only contaminated air to gasp
Historic monuments will all crumble down Finally destroyed the government and crown All the class barriers finally broke Lying now on the grass to choke
The power struggle has finally closed To my waiting death, I slowly dozed The fright has ended, the shock has gone Now I’m asking you – who has won?
Record of the week: Cutouts – D.I.Y. Highest entry: Crusaders – Street Life
6th Jun 2022 – The Cutouts D.I.Y. is a great quirky tune, of its time, much in line with early Devo, XTC and Cardiac Arrest (pre-Cardiacs) though not quite as manic. There’s a tune on the guitar practice app I use (Yousician) that reminds me of this too. It’s fun to play and takes me exactly to 1979! Street Life has some cool funky elements but production values were already changing in this pop genre to what would become very familiar in the 80s.
20th August 1979 Carnival in Aldeburgh Bought some things 2p 165p*
6th Jun 2022 – No recollection of Aldeburgh so I had a look on the map. I believe Eileen and Dick lived in Saxmundham, at least, that name rings a bell and Aldeburgh is not far away. Finding photos of Aldeburgh too, upsets me a little that I don’t remember anything about it.
What I love about doing this investigation is seeing all these Olde English names again on the map. After watching The Last Kingdom over the last 12 months it’s interesting to see how names have changed or been influenced over time.
I’m a little bit more interested in English history than I was in school where things like the cavaliers and roundheads got boring very quickly. None of that stuff was given any context (that I remember anyway). Being a teacher now makes me think about the tough job my teachers had with me and my classes. How to make a class interesting for everyone?
21st August 1979 TBX B MBNCPSHIJOJ VSSBDP T SAW A LAMBORGHINI URRACO S 2p 163p*
6th Jun 2022 – Perhaps inspired by old war movies I started working on secret codes, though this one is pretty straightforward – no need for a Turing machine.
22nd August 1979 Arsenal 0-2 Ipswich TBX B NBUSB TJNDB CBHIFSSB SAW A MATRA SIMCA BAGHEERA 2p 161p*
23rd August 1979 1. Cliffie 2. Boomtown Rats 3. BA Robertson 4. Ian Dury 5. EWF 6. Darts 7. Sham 69 8. Specials 9. Abba 10. ELO 2p 159p*
24th August 1979 Come back from East Anglia My room’s fucking bloody mess because of a puff 2p 157p*
6th Jun 2022 – Whilst we were away, Lorna and Jim would have stayed over and my cousin Elise would stay in my room. On this occasion, I had pinned string across various parts of the room to make it difficult to move around. Of course, she would’ve immediately taken it all down and thought I was an idiot!
But I was annoyed that she had done this and resorted to the common insult of calling her a puff, without knowing what it even meant. Probably we all called each other that at school.
I wonder if anyone that I went to school with was gay or not? There’s definitely no one that stands out. Being gay was still often derided then and coming out was a real big deal. Here, in the classrooms of Thailand, it is very obvious who is gay and no one cares. There may still be some in the closet but being an extravagant extrovert gay-as teenager is very common here. Girls too, have no problem, talking about liking girls. It is refreshing.
1994ever 