All posts by Michael Burge

Journalist, author, artist

Free-range free-for-all

FREE AND EASY My own chooks.
FREE AND EASY My own chooks.

A Writer makes an omelette out of egg politics.

WHAT is it about free-range eggs that ruffles so many feathers, sets governments against corporations, farmers against consumers, and treats ethical producers as the lowest member of the economic pecking order?

Every year there is another squabble in the mainstream media, blaming one sector of the egg industry for upsetting the economic balance of the whole, followed by another crow for clear production standards regulated fairly by government.

Last year, freshly-laid Agriculture Minister, Barnaby Joyce, expressed his fears about bird flu destroying the egg industry, all supposedly because of free-range chicken flocks!

Understandably, free-range egg producers are crying ‘fowl’…

It’s probably wildly inappropriate to make light of the issue, especially while animals are suffering as we fail to overcome the obstacles; it’s just that the politics of egg production match the terminology of the chicken coop so well.

The facts at the moment are this: if you buy eggs labelled “free-range” at a supermarket, you’ll be paying a premium, and there seems no way of telling, whilst standing at the overwhelming display of product, whether the eggs are truly free-range, or the expensive result of bending the rules.

If you really want free-range eggs, it’s probably best to have your own chooks. Most Australians live in areas where produce stores will sell you everything you need to set-up and maintain a backyard flock, including the birds themselves.

You’ll have to feed, nurture and care for your birds extremely vigilantly, and wait a while before you get eggs; but when they come, you’ll soon have enough to feed your household and the neighbours’. The eggs will be delicious.

“Open the egg carton before you pop it in your trolley.”

By that stage, you might be left feeling like you put a lot of time, energy, and pricy chook feed into the venture, and may come to understand why paying more for truly free-range eggs is completely justifiable for the producers who do it within the voluntary ethical codes of practice.

If building (or buying) a predator-proof chicken house, and allowing the birds to roam a bit every day, is not for you, the next best thing you can do is to find a local free-range egg producer.

Your fruit and veg shop probably stocks their products. The best way to check their free-range credentials is to pay them a visit. If they’re a bit cagey (sorry), then they may be using the term “free-range” a little loosely.

But there is also the growing phenomenon of the farm-gate, akin to the cellar-door movement amongst wineries, allowing consumers to see what we’re getting for our dollar.Farmers in Australia are getting increasingly wary of visitors. It’s a combination of activist intrusions, on top of the traditional “Get orf moi land!” emotions.

You might only be exposed to the friendly face of the farming operations, not the behind-the-scenes realities, but a farm visit will give you an idea of the people and the practices you are paying for.

For me, the best way to cut through the marketing spin of “free to roam” (yes, with 20 birds per square metre, PR people), and “barn laid” (give me a break), is to open the egg carton before you pop it in your trolley.

The sight of a range of slightly different eggs – some a little misshapen, some with a patina of the farmyard, even a trace of chook poo and feather – will see me place that carton very carefully where the milk cannot crush it, because I know my $7.00 is going towards birds who are truly liberated.

I have been an egg producer in my own backyard, and I can spot a real free-range egg from a fake.

© Michael Burge, all rights reserved.

 

Voyage to the new news world – part one

ON THE JOB reporting the news cycle like an old school journo.
ON THE JOB reporting the news cycle like an old school journo.

A WEEK after the 2013 federal election I was driving to my casual sub-editing job on a Fairfax weekly newspaper when I let a brilliant photo opportunity go.

During the campaign I’d had to pass a vast billboard of our electorate’s returned sitting member, Andrew Laming, along that route.

But on that day, Laming’s face was burning into black ash as a farmer torched his latest crop’s stubble. It was one of those moments when your mind takes the shot, writes the story and formulates the headline in a flash.

‘Laming wins, Redland City loses’ was my angle, with the remnant of that smiling, burning face front and centre, while Redlanders settled in for another stint of terrible representation because our federal member had no currency in Canberra.

Laming’s team, the Coalition, had won the election, but after representing the people of Bowman, Queensland, for almost ten years, he’d sent inappropriate tweets that put us on the map for all the wrong reasons. Word was he wouldn’t be getting a promotion in the Abbott Government.

“Having an opinion is not reporting. Reporting is getting off your bum, taking a few risks and meeting people.”

It was a scorching week. Parts of the nation were ablaze. At work there were half-hearted jokes about not mentioning the D-word – drought – for fear of scaring-off advertisers.

Up to my ears sub-editing, I sorely missed my stint as a citizen journalist for No Fibs.

I stumbled into No Fibs following a Twitter conversation on the Peter Slipper fallout and was immediately drawn to its fresh interface.

The election was just weeks away and my gut told me marriage equality would be a hot issue, but when I tried to find the subject on the site I came up with nothing.

I mentioned that to editor Margo Kingston and she immediately suggested I write it.

NOT SHORT of an opinion: Mia Freedman of Mamamia (Photo: Anthony Johnson).
NOT SHORT of an opinion: Mia Freedman of Mamamia (Photo: Anthony Johnson).

My opinion piece was published the week that tweeters were bitching about lack of pay for online journalists.

Mia Freedman of Mamamia was praised for finally paying some of her contributors, but slammed for suggesting most of what she published was opinion so shouldn’t attract a high dollar value.

I tended to agree. Having an opinion is not reporting. Reporting is getting off your bum, taking a few risks and meeting people in order to flush out the truth. But it was clear a generation of hungry media graduates blogging in their pyjamas expected their musings to garner a living wage.

“Can’t pay the rent with a by-line,” one tweep fired-off.

“That’s where the day job kicks in,” I fired back.

My young tweep admitted she had a day job that kept her in the flow of human experience that will never be replaced by the internet, but wanted to blast down the doorways of media companies to create entry-level positions.

What would she have found if she had?

At my workplace she’d have felt the fear of cutbacks, amalgamations and redundancies, like standing on the deck of a ship when a list starts to show, and someone’s just noticed there are not enough lifeboats.

It was an extremely bleak landscape for journalists. No wonder a reporting stint on the No Fibs election project was so attractive to me.

It didn’t matter that Bowman was safe Coalition territory. I wanted to meet the candidates and decide where my preference votes should go. I also wanted to flex my journalistic muscles.

HE WINS WE LOSE Andrew Laming and family.
HE WINS WE LOSE Andrew Laming and family.

Not for me the ease of press conferences. Here in Bowman, otherwise known as Redland City, politicians need flushing-out.

Most Australians don’t know where the region is and many locals like it that way. It’s a blind spot perfect for parachuting any political aspirant into.

I lined-up interviews with candidates from the Palmer United PartyLabor and The Greens and netted thousands of words of material in three hours’ work, knowing none of it was going to make an ounce of difference to sitting member Andrew Laming’s 10.4 per cent margin.

As I published, a few savvy heads popped up on Twitter – critical thinkers dotted across greater Brisbane, grateful for more than the coverage in the local paper, The Bayside Bulletin.

Andrew Laming said he’d talk to me once the election was called, then reneged. Knowing that nothing I’d offered him was different to what every other candidate had agreed to, I got despondent, wrote my wrap-up piece and sat back to watch the reporting on the neighbouring divisions.

One day later, a breaking story on campaign cheating landed in my lap, with a great editorial photograph (taken not by a journo, but one of the candidates), and a social media audience urging me to file it with No Fibs, so I did!

A week later I read The Bayside Bulletin was hosting a candidates’ forum. No one could recall if they’d been held before, but the perception was they were ineffective.

So I called the editor, Brian Hurst. Before I’d finished saying “No Fibs” I got put through to him. He’d read my work, heard Margo interviewed, and was more than happy for me to tweet from the event.

“We made a tiny scratch on the surface of the area’s democratic future.”

I sat up the back, all thumbs on my phone while The Bayside Bulletin’s journos had luxurious tablets, but I got as many tweets out to my audience, who were glad I was providing a less-constrained voice on Bowman’s newly minted hashtag #bowmanpol.

Brian generously gave No Fibs permission to publish his paper’s photographs with my article on the event.

The election came and went and I struggled to settle back into sub-editing and blogging, because I acknowledged to myself I should have taken that photograph of Laming’s poster burning – it’s just in my nature to report.

I’d been part of nudging the mainstream media (MSM) into a brief communion with the social media, and we made a tiny scratch on the surface of the area’s democratic future.

But a scratch can become the infected wound which brings down a sizeable political animal like Sophie Mirabella, a process that was unfolding at the other end of the country in the division of Indi.

The No Fibs election project had excellent, strong rowers, skilled navigators who knew the currents, and the courage of explorers charting new territory. I just couldn’t let it go, so I decided to take a risk and stay on the lifeboat.

creating-waves-cover
BUY NOW

It felt buoyant enough for a journo wanting to join the great reader migration to the new news world.

This article appears in Michael’s eBook Creating Waves: Critical takes on culture and politics.

© Michael Burge, all rights reserved.

Breaking heartland in August: Osage County

BROKEN HEARTS Julia Roberts and Meryl Streep.
BROKEN HEARTS Julia Roberts and Meryl Streep.

A Writer’s review.

SIX decades ago, great American playwrights like Arthur Miller, Eugene O’Neill and Tennessee Williams only ever alluded to addiction, sexual diversity, mental health and suicide, or portrayed them in the hands of villains who always ‘got it’ at the end.

These days, there’s a growing number of storytellers courageous enough to begin where their antecedents left-off, helped by more relaxed censorship laws and a broader understanding of the human condition.

Tracy Letts’ play, and now screenplay, August: Osage County, is one of those, and has already become a benchmark in 21st century storytelling.

There are no spoilers in revealing that Violet Weston (played by Meryl Streep) opens this film with a frank revelation of her pill popping and her mental maladies in the kind of scene Eugene O’Neill could only have dreamt about including in Long Day’s Journey into Night (published in 1956).

Streep marks out a battlefield within a crumbling, overheated Oklahoma country house, and proceeds to destroy every member of the family who steps inside it in the wake of the disappearance of her husband (played by Sam Sheppard).

With a sister, three daughters, their partners, a Native American housekeeper and a granddaughter, she has plenty of adversaries, and she goads them until they all bite ferociously back.

Just who takes it up to her, and why, is the story of this film, revealing the life changing consequences of staring-down and surviving addiction.

It’s a bitter conflict, with violence, assault, and enabling wrapped into every scene. Letts’ greatest achievement is that not one character, not even Streep’s, could be described as either purely hero or villain.

“This is Roberts’ most controlled, and most out of control performance.”

They are all as bad, and as good, as one another, an unthinkable concept in 20th century drama, where every protagonist had to battle with their equivalent antagonist, so that the audience knew who to barrack for, and who won or lost.

On this score, it’s hard to know if August: Osage County is a comedy or a tragedy.

Streep has never climbed higher in an entirely convincing portrayal, a tribute to her risk taking. It will be hard to topple this performance, which spills off the screen like vomit.

Yet Violet has grace. She has you hating her and sympathising with her in turns, never revealing anything ultimately honest, yet claiming to be the “truth teller” of the family. Nothing about Streep’s Weston is absolute, apart from her total inability to be saved.

Julia Roberts as Violet’s eldest daughter Barbara wears the family angst as a barely concealed boxing glove which she is not afraid to wield. There is little that can be said about the role and the performance which will not reveal the plot, just know this is Robert’s most controlled, and most out of control performance.

In the midst of the family intrigue, it’s easy to forget the isolation and hardship of the American heartland (and remote communities everywhere), but Letts reminds us now and again that we are not in the city, we are in dangerous country, stolen from Native Americans, fought over by settlers, and reminisced in the poetry of Violet’s husband.

This is a universally rural story about the experiences of country souls, those that escaped and those who got left behind. In the final scene, with Julia Roberts caught at an emotional crossroads, this reality becomes a painful reminder of what can go wrong when great, unsustainable dreams are created in farming regions.

CREATING WAVESAugust: Osage County is a heartbreaking elegy to all broken heartlands and the souls they failed to nurture.

This review first appeared on NoFibs.

© Michael Burge, all rights reserved.

This article appears in Michael’s eBook Creating Waves: Critical takes on culture and politics.