‘Brunswick Baptist Church Sign’, Brunswick, September 2006, photo by Alicia Bee.

PUBLIC SPEECH – The Good Stuff

Years ago when George Bush spoke his State of The Union speech on 29 January 2002 against the terrorist attacks I was most moved by his ‘Axis of Evil’ phrase. It was simply that I didn’t even have a concept of ‘evil’, and did not understand his use of words and labeling system.

In reaction I decided to fight the ‘Axis of Evil’ by promoting the word ‘good’. For I was lucky enough to have lived in a Western world without danger and had only known ‘good’.

On the road en quest I invented the phrase ‘good stuff’ and told it to everyone until they said it aswell. The phrase spread around Meredith, Melbourne and the great expanse of Australia.

It may have even gone around the world with travelers, though it is not known by all people quizzed when visiting foreign places.

Over time people of all ages were saying ‘Good Stuff’ easily in conversation. When I was producing and presenting National Breakfast on COMRAD SAT Radio an older female from York in Western Australia said ‘Good Stuff’ back to me over the phone, without even knowing how they first knew the phrase; that was when it was known as a big catch phrase. It had seemed at the time as if she had invented it herself, and no-one really knew where the phrase came from or that it did indeed have a creator in Melbourne.

Everyone was saying ‘Good Stuff’. ‘Good Stuff’ was such a successful buzz phrase, and it was sending a positive message to the world.

Though most would not know I followed it up years later in 2004 when I invented The Good Folk Club, and then in 2005 when starting the Good Country Club. Then in 2006 when I started The Good Booking Agency it had nothing to do with ‘The Good Book’ (the bible), itself but the common good that we all share in our societal laws of living.

Our paths for survival rely on everyone else being ‘good’ and following the rules, and everyone here, even the criminals, fall back on it as a safety guard.

I don’t need to point out that The Good Wine (+cheese) Club started in 2007, nor the Good Look Book label of 2010, but want to put it all on the table for you before you miss the point.

I really like the word GOOD, and that’s all that was ever decided. And I don’t think you have to sign a deal with the devil like Robert Johnson to survive. I think you can do it by being nice to people.

PUBLIC PREACH – Christian Dior

In order to straddle the swing of the new century I present to you that CHRISTIAN DIOR could be worn entirely differently by people who are Christians; some do love the word so much they could wear Dior with a different pride. There ARE people who think that way, even though it’s a fashion label.

There were hungry eyes that would have scanned last week’s write up searching for Christian meaning in my fashion lamentations for it had the ‘word’.

This week serves them the bread and is the real Christian blog designed to counter any thoughts from conservatives that I don’t have balance in my power.

Take a look at our interviewees, they all sound saintlike as Christians. Only two of the interviews are Christian while two are not.

See if you can work out which ones by reading the articles. I dare you to read each interview randomly finished in time to be included in this issue and not selected for religious sake; and consider them as Christians in this very cool Art Writing based magazine blog called Miss Piggy Journalist.

Does them being Christian make you like them?

Or does it make you think something different about them?

What would the religion of a person matter in a world that is not supposed to be prejudiced?


The biggest world news story this week was the rescue of 33 miners from the San Jose mine in Chile.

The second miner to finally emerge from the Chilean mining tragedy this week was Mario Sepulveda who later was proud to state, “I have been with God and with The Devil. I fought between the two. I seized the hand of God, it was the best hand. I always knew God would get us out of there.” (quoted from The Age article by Alexei Barrionuevo + Simon Romero).

Knowing that the 33 miners were underground for 69 days in darkness, where the imagination can run wild with insomnia, mental conditioning and depression; don’t you think its nicer that Mario Sepulveda choose ‘God’ over the ‘Devil’ while her was down there?

Atheists readers who are reading should heed that religion can give hope and guidance to others in a world that does not always make sense; and it is not wrong or naïve but indeed very strong.

We all have be respectful of others religious choices on the guided middle path.

Also note that it was heavily reported that champagne was ‘flying’ and ‘flowing’ in celebration at the miners new freedom at more than one party around the world.

My favorite quote came from Marta Mesias, 51 aunt of one miner, Claudio Yanez, 34, who said, ”We’re going to toast him with champagne and feed him a bit of roasted chicken.”

‘Prize Pack’, Brunswick, Friday 15 October 2010, photo by Alicia Bee. Note the mysterious white light coming from the left of the Virgin Mary is flash damage also found on the plastic cover of the Lynn Anderson cassette tape.


I have put together a cost effective little Christian Party Pack to giveaway for the first person to tell me which two interviewees are openly Christian in this week’s blog issue. The winner will receive a Virgin Mary Greeting card NEW, a green plastic Crucifix Ball game NEW, and The Best of Lynn Anderson Cassette Tape NEW including hits ‘The Devil Went down to Georgia’ and Heaven’s Just A Sin Away’ from the singer of ‘Rose Garden’. You will probably win if you just email misspiggyjournalist@gmail.com


Attraction to the ‘good’ word has led me to meet numerous interesting people who also share a common faith in the four letters. John Meyer from The Good Ship in Queensland was another of the kindred good folk met through music.

They are so good last time they toured they made a pub sound into the Amazing Grace Darling of Smith Street, where the full house tapped their affirmation like they were playing gospel.

ALICIA BEE – What happened last time you played the Grace darling? Can you describe the gig?

JOHN MEYER – Last time we played the Grace Darling was incredible. It was our album launch and we sold it out; it was only the second time we’d played in Melbourne so it was a great feeling. We had a great lineup of The Stillsons and The Barons of Tang and that certainly helped make for a fantastic night. As with most of our shows there was a ramshackle element to it with us being a bunch of idiots and the crowd heckling and dancing like mad people. It seems like the Grace’s floor is going to collapse half the time.

ALICIA BEE – What is your latest release? What does it sound like?

JOHN MEYER – In July we released our debut album “Avast! Wretched Sea”. It’s a big messy mix of folk, country, pop and rock, with a bit of a pirate edge; we kind of channel the old sea shanty vibe, using a lot of filthy lyrics and adult themes, but with a modern feel as well. We get compared a bit to dark stuff like the Decemberists and Nick Cave, but a lot of our darkness is wrapped up in sweet sounding tunes and melodies. It’s sneaky, before you realise it you’ll be singing along to a song about a prostitute’s enormous tally of penises.

ALICIA BEE – Where did you grow up in Queensland?

JOHN MEYER – I grew up on the Gold Coast and a place called Beenleigh, halfway between the coast and Brisbane, both pretty much cultural wastelands. As a teenager I wasn’t into surfing, robbing houses or knocking up girls (well maybe I would if I’d had the opportunity…) so I tended to keep to myself a lot, play guitar and write songs. I think it was a good training ground, lots of depressing songwriting inspiration.

ALICIA BEE – How did you meet the band?

JOHN MEYER – I started The Good Ship with Daz Gray, who I’d been friends with for a couple of years (our former bands played a bunch of shows together). The band started as a side project but really quickly became our main focus because we were having so much fun. We just co-opted a few friends to play, pretty much anyone who wanted in was in, and it was a really relaxed fun vibe from the start. We’ve had quite a few people cycle through the band but the lineup is fairly stable at the moment; fingers crossed it lasts!

ALICIA BEE – Did you study music? Where did you study?

JOHN MEYER – I haven’t studied music since I was 13. The teacher wouldn’t let me continue on, presumably because of my behaviour, although I can’t remember what I could have done to disturb her so. I’m mostly self taught, I guess I absorb stuff from watching others play, sing and write, and that seems to be enough of an education for me.

ALICIA BEE – What was the first life lesson you learnt after schooling?

JOHN MEYER – My first big life lesson was dealing with share housing at Uni. I moved into a shitty flat with a school friend and my girlfriend and the first six months were a bit of a shock, dealing with personality clashes, budgets etc while trying to figure out how the hell the Uni system worked. I highly recommend it for all those people who live with their parents; gives you some pretty good life skills nice and fast. Pain is creation!


Friday 22 October The Loft Chevron Island Surfers Paradise

Friday 29 October The Troubadour Brisbane Queensland

Saturday 20 November The Grace Darling Hotel, Collingwood Melbourne

Sunday 21 November The Tote, Collingwood, Melbourne.


This article below was rejected in July 2010 from an industry magazine called CX for being “a little fringe”, though previously I had been a paid journalist whose ideas were accepted and trusted.

The sound and event magazine has been a supporter of my writing for a time, until I was harassed by some individuals who thought “I didn’t look like a sound guy” and therefore had no reason to ‘do sound’ nor be published in CX. They contacted CX and complained and mysteriously my next article was rejected, though there was no real reason.

I also had done the sound engineering work while writing as a paid journalist for the sound industry magazine CX.

This was the type of article I would write for paid gigs, though in a time when people are still claiming the Global Financial Crisis has weight on cutbacks, any excuse will squeeze the writers that they had to pay as rate journalists.


Please take some time, if you care, to write to the editor and tell them how interesting it is that a female does the sound on top of all her other jobs at the church, for Rachel MacDougall is one of the most interesting people to meet in Melbourne. CX Magazine editor Julius Grafton can be contacted – juliusmedia@me.com

St Paul’s Cathedral Melbourne / Venue Review /

Midweek Evensong June 17 2010/ by Alicia Bee.

One of the tallest venues in Melbourne to amplify for weddings, funerals or choir events is the landmark of St Paul’s Cathedral. At 28.6 metres high and 78.3 metres long this large church space was not designed to create a sound echo for the speakers, it was built in looming Gothic heights to illustrate the power of God as one of the southern city’s first skyscrapers.

St Paul’s Cathedral always had a sound system to amplify the spoken word from the front of the church down to the people in the back pews.

Church Precentor Rachel McDougall is the dedicated sound person of this venue located opposite Flinders Street Railway Station and Federation Square; walking distance from The Forum and Melbourne Town Hall.

Employed as a priest; she also performs to sing liturgies while managing the daily running of St Paul’s under the Dean. When asked about her experience the multi tasking McDougall said that the AMX computer sound system, “took a couple of weeks to get my head around.”

McDougall’s training at the Hobart Conservatorium of Music with majors in viola and piano, gave her a hand at understanding how to be a sound engineer.

The first step to obtaining the role of sound guy for this popular venue was achieved when Rachel McDougall became a female priest; which may still seem novelty even this century.

“It is important that we have both male and female priests on the staff,” McDougall stated for the record, though made no acknowledgement of also being a female sound engineer.

As priest she achieved the position of ‘cantor’ lead singer of the male choir; while knowledge of the sound system and basic mixing of the microphone levels are just another part of her job.

The performance that I viewed was ‘Evensong’ which is presented five days a week like factory clockwork at 5.10pm.

The choral show goes for around 30 minutes and highlights a range of male voices. While other cities in Australia and the world have developed female or mixed choirs, the choral at St Paul’s in Melbourne has always been male as a “traditional choir set-up from monastic times”. When McDougall started as priest she filled the singing position without a lengthy debate on tradition and sexism.

Unlike some performers Rachel McDougall was a calm interviewee as she spoke up to the minute, before the nightly choral performance.

When asked of her preparations McDougall related, “basically I’ve got to put my robes on, I’ve got to find some prayers I’ve got to make sure there aren’t any picky words in the reading and then go out and sing with the choir.”

To do the sound for the weekly performance McDougall would turn the system on via a touchscreen, and use a preset template; though she can also adjust the microphone level from her stall to stage right.

The bishop with his staff came to me a minute later at McDougall’s request and told that there should be no photos during the live performances. Though my front row position would have produced some images; it would never have been able to capture the height of the venue above the performers, nor the beauty of atmosphere within the vocal choir sound.

With minimal lighting from the natural stained glass windows, ‘Evensong’ presented a meditational prayer ending to the day; while the sun set to the side of the city, and was appreciated by around 20 punters who then journeyed home on public transport.

As a sound venue St Paul’s was always a “definite worship space in a place that didn’t have any amplification at all”. Sticking to the preservation of tradition ‘Evensong’ was an acoustic performance of the choir whose voices were, “meant to carry and be the pure sound throughout the building.”

Each audience member was entreated to a live performance that concentrated more on speaker investment placement rather than boost of sound from the one source.

St Paul’s Cathedral has such a naturalistic approach to sound, that it would never be too loud for ears. If there is ever a problem, it would be due to an outside source such as a broadcaster or recording body altering the preset levels.

The sound comes out to the audience via two speakers on each of the Gothic columns in the body of the church totalling 46 evenly placed low volume sources.

The simple amplification “sounds as though you are next to the person who is speaking – it provides that intimacy”; and the double speakers are camoflagued with grey covers on each of the columns, while more run along the isles throughout the venue.

The added long lines of speakers appear as Deco additions to the Gothic Revival columns, which works in organic harmony to protect the awe of the Cathedral. The church team helped to choose the grey color of the metal casings that surround each speaker, thankfully also hiding the branding so St Paul’s doesn’t look too commercialised.

The speakers are local brand AT Professional, chosen for their camouflage from the Architectural Line Array series. As an added venue sound fact ordinary household towels were placed to the back of each speaker to soften the sound.

Funnily the speakers look to be so much a part of the looming multi tiered columns, that the large heaters may be confused as a sound source.

The sound system was designed mainly to project the voices of the speakers, which may be the Cantor, Bishop or others who read speeches, or passages from the Bible; the choir is not amplified and the church carries its dramatic cathedral effect in the same way as it always had since the structure was opened in 1891.

“There is the capability that we can put boundry mics’ to slightly amplify the choir, there is that facility,” admitted McDougall, though for most weekly performances the choral remains unplugged.

Since installed between July – October 2007 the new AMX sound system was a commissioned contract for Acoustic Directions consultants Glenn Leembruggen and Mark Hanson, who had also designed the sound set-up for St Mary’s Cathedral in Sydney. Rutledge Engineering wired all of the microphones, and local electricians fitted the microphone wires.

Prior to that a 25-year-old system was lagging behind with only three speakers working.

As a professional McDougall has performed many times at St Paul’s without any sound system, and explained that in such a venue performers must, “sing slower …and – space – your – words – out – clearly so that the actual acoustics of the building (separates the sounds).”

When St Paul’s Cathedral launched a restoration appeal in 2004 they were seeking funding to maintain stonework of the building. As a model statement for community churches McDougall said that a sound person was not employed because, “in an ideal world you would have someone who would look after it all the time, but churches do not have a lot of money.”

The AMX system has been programmed so that different settings for the types of uses from baptisms to funerals, isolate the microphone outputs and the speakers possibly needed.

State Funerals for instance have all speakers, delay microphones, CD Player, broadcast output, and the capability for a multiple system to work with broadcasters and recorders. Occasionally wireless microphones are also used for State Funerals and the larger Christmas or Easter religious events.

The computer Graphical User Interface of the AMX screen features a clear map of the venue, against a transparent image of the stained glass windows. On the map the microphones are named rather than numbered, so that most people can understand the screen without sound knowledge.

The main Shure microphones plug into boxes on the floor, and are placed for the Lector, Pulpit and Archbishop.

“They have made it really easy with the sound system,” commented McDougall as she used the touch screens.

“I manage it mainly to a degree, often with a state funeral the government will pay for a sound person to be with us for the recording of the service, so they manage the recording of it, and at times they will provide the foldback and things. If it’s a very big funeral and we’ve got lots of performers, they will provide someone to help supplement our facilities here,” explained McDougall.


Kathleen Maltzahn is representing The Greens for the Richmond seat in the state election at the end of November. Like Richard Wynne she took about a month to answer the questions, simply because I made it hard for them by putting too many down, however there wasnt a team of people working on the interview nor correspondence other than a simple delay apology. Kathleen was given a few different questions to draw out her personality, and it was here that I have decided to simply put the same questions for each seat to make the answers easier to compare. It was impressive to find Kathleen Maltzahn like some great Australian writers, though.

ALICIA BEE – Who is your favorite Australian female writer?

KATHLEEN MATLZAHN – There are too many great writers to have an absolute favourite one. Australian women writers: I like Dorothy Porter for poems like punches, Melinda Bobis for prose like poetry and poetry that sweeps me back to the Philippines, Ruth Park for heart-breaking reminders of how hard Depression Australia must have been, Alexis Wright for Carpentaria’s Australian magic realism… But there’s lots more.

But if I have to choose (and I’d really rather not), the book that moved me most last year was Eva Hornung’s Dogboy – it was ambitious, astounding, devastating. It’s a slow start, but the second half of the book is breathtaking. Can’t wait for her next book.

ALICIA BEE – What did you think of The Female Eunuch?

KATHLEEN MATLZAHN – I read it in my early 20s, and, for all the misgivings I might have about some of what Germaine Greer says at times, it blew my mind. It made me think about things that I’d never come across before, and was the beginning of reading books and essays by countless feminist writers who have re-written what it means to be a woman (and a man), helping create possibilities we didn’t know we had before.

ALICIA BEE – What female writer have you been reading lately?

KATHLEEN MATLZAHN – I have to confess that I read Jessica Rudd’s Campaign Ruby. And Mary Delahunty’s bio. I’m having a bit of a politics hit.

ALICIA BEE – Do you read The Age?


ALICIA BEE – If you were to read The Age what section would you read?

KATHLEEN MATLZAHN – I try to get through most of it, but if I really can’t, I at least make sure I read the news and opinion bits.

ALICIA BEE – What section don’t you ever read?


KATHLEEN MATLZAHN – Have you read any books set in the seat of Richmond?

I’ve read Helen Garner’s books for 1970s Fitzroy, the Power and the Glory, Christos Tsiolkas’ Loaded (and my book Trafficked talks quite a bit about Fitzroy), and I want to read Wisdom Man, by Banjo Clarke – apparently it’s fabulous.

ALICIA BEE – I heard your Dangerous and Persuasive Women speech. What is your opinion of non-traffic prostitution in melbourne? Why are there so many sex trade billboards in richmond? how many brothels, sex shops or topless venues are there in Richmond?

Why do you think people are drawn to work in the sex industry in a safer country like Australia?

KATHLEEN MATLZAHN – The short answer to the question why there are so many brothels and topless venues is that men go there – there’s a demand that is being met.

Many women go into the sex industry because they’re hoping to earn a decent income, as well as for lots of other reasons. A question we ask less is why women stay in the sex industry, and I think it’s an important one. I’m not talking about women who are happy in the sex industry. I’m talking about the many women I’ve talked to over the years who, over time, find it harder and harder to work in a brothel, but end up feeling really stuck. Often women say that they’ve lost confidence that they can do anything else, but find it harder and harder to do prostitution. It can be really difficult for women. There’s not much outside support for women in the sex industry at the best of times, and women can feel really alone – it can be hard to talk to people about your experience in the sex industry, because of the stigma attached, and women can end up feeling isolated and blamed (both by other people and themselves) for how they’re feeling. It’s because of that (as well as lots of other reasons) that I loved working at Project Respect, supporting women to build the life they want, after periods when they had felt that they had no choices and no hope for the future.

ALICIA BEE – I have spoke to Richard Wynne about the years 1990 – 1991, where were you during that time? what were you doing? what has that time taught you that would make you a good leader for the seat of Richmond?

KATHLEEN MATLZAHN – In 1990 I came home from 15 months in the Philippines, where I had been learning about human rights issues. Back in Melbourne, I worked with the Centre for Philippines Concerns-Australia. I came home just as Filipino community started looking at violence against women – three women were killed by their non-Filipino partners around that time – so I learned a huge amount from people in that community, particularly women, who were trying to do something about these murders.

It taught me that leadership is about tackling hard issues, that you can change lives in profound ways if you work with other people, and that there are many great leaders who don’t make the front pages of the newspaper.

And it taught me faith in change – that small group of people did a whole lot to change both the way Filipino women were seen and treated, and how the Australian government was responding to violence against Filipino women.

ALICIA BEE – Richard Wynne must be thinking he owns Richmond with a name like that, how can you make Richmond a ‘richer’ place to live and enjoy? What is ‘Rich’ about your leadership? I think I heard you quote a writer call ‘Rich’? can you tell me about that writer?

KATHLEEN MATLZAHN – I quoted Adrienne Rich, an American poet and essay writer, who as a lesbian and feminist has written powerfully about women (among many other things). The quote I love from her is:

‘When someone with the authority of a teacher, say, describes the world and you are not in it, there is a moment of psychic disequilibrium, as if you looked into a mirror and saw nothing. Yet you know you exist and others like you, that this is a game with mirrors. It takes some strength of soul – and not just individual strength, but collective understanding – to resist this void, this non-being into which you are thrust and to stand up, demanding to be seen and heard.’

It says a lot to me about who gets left out of decisions, of power, and what is needed for those people to be heard. I think that’s part of rich leadership – going beyond people who are already powerful, and standing up for other people, or indeed the environment. That’s at the core of Greens politics – we’re not there for big developers, or the coal industry, or big business – we stand up for ordinary people and the environment.

Richmond would be a richer place to live if we had public transport that really worked, clear rules on planning, real support for live music and the arts, enough (clean) water flowing into the Yarra to stop it dying. (And a whole stack of other things.)

ALICIA BEE – What do you know about the Yarra, and the drainage that goes into it in Richmond? What is your own personal policy on the Yarra?

KATHLEEN MATLZAHN – The Yarra is the heart of the city. It’s what gives us so much of our green space, our peaceful places. It’s a lifeline for wildlife. It’s a place for quietness and thought amidst the city’s noise and movement. And it’s thirsty and dying.

We need to stop high-rise development on the Yarra, capture our storm water so we can use it rather than letting it get contaminated on the roads and run into the Yarra, and we need to use our water better, so we can have enough water running into the Yarra to stop it dying.

ALICIA BEE – What is your favorite memory of seeing a music act in Richmond, can you describe it? Do you have another Richmond memory you could share?

KATHLEEN MATLZAHN – This is from years ago, but I remember coming home from the Philippines and seeing Weddings, Partys, Anything at the Evelyn – it felt like a really Melbourne homecoming.

ALICIA BEE – What is your favorite Richmond place?

KATHLEEN MATLZAHN – Too many to name. I love the Edinburgh Gardens before dawn in winter, when there’s frost on the grass and the city is an arc of light in the dark sky. I love riding along the Yarra, out of the traffic and the cars. The view across Collingwood from the Panama Dining Room. The convent and the Collingwood Children’s Farm. The bike bath along the Yarra. The Nylex sign as you cross the river.

ALICIA BEE – Do you have a favorite shop?

KATHLEEN MATLZAHN – The second hand shops in Swan St. I don’t go there much, but I love getting lost in the back lanes filled with old doors and windows when I do.

ALICIA BEE – Eatery?

KATHLEEN MATLZAHN – Chopsticks House in Brunswick st for late night laksas, Babka’s for chocolate cake, Monkey Bar on St George’s Rd for an answer to the question why are Melbourne bars so good, too many to name in Victoria st for great Vietnamese.

ALICIA BEE – Place to sit?

KATHLEEN MATLZAHN – My tiny tiny backyard when the wisteria is in bloom and I know Spring’s here.

ALICIA BEE – Ask me a question (you can ask just as many, if you like).

KATHLEEN MATLZAHN – Why do you live where you do (house, suburb, city, or how else you define it)?

ALICIA BEE – I live in Melbourne because my good people are here, and it is easier to work as a writer with that support network close. I like being in Melbourne as opposed to working in Sydney because we have a bit of a garden, at the moment we have 8 fruits trees and lots of vegetables and for that space near the city, I feel very lucky.

KATHLEEN MATLZAHN – Who’s your favorite contemporary writer?

ALICIA BEE – I have loved Tom Wolfe since journalism school, and he is still writing. He doesn’t really like the Internet though, and won’t be reading blogs online; so I doubt he will read my writing in return.

KATHLEEN MATLZAHN – Is Alicia Bee the name you were born with?

ALICIA BEE – No it is my married name; I took it up as a writer because it worked to sell, and Bee will still stay for a long time. At the moment I’m also using Miss Piggy Journalist as another name; but have used Penny Lane, Alice in Wonderland and Alicia Bee Good amongst many other words.


‘Miss Piggy Gets Mad!’ is an ongoing Animal Liberation Society campaign that is unaffiliated with this blog. Like this Miss Piggy Journalist Blog the ALS did not get permission to use the muppet logo but are renegade in their energy for a good cause.

You can support Animal Liberation Youth as they launch a new campaign called ‘Slap The Butcher’ (tongue in cheek from the ABC’s Summer Heights High) at Queen Victoria Market this Sunday from noon to 2 pm.

ALY is inviting everyone of ALL AGES who care about animals to come and join in with them in front of the meat market on the corner of Elizabeth and Victoria Street. They will have three VEGAN banners and four ‘candy girls’ who will distribute free vegan lollies and fruit to the public. Email youth@alv.org.au

Ransom TeeVee made this story about Christian Hosoi titled it ‘A Letter For God’.


Christian Hosoi was born again Christian like his given name; after a drug bust and trafficking charges when he was found carrying .68kg of Crystal Methamphetamine from Los Angeles to Honolulu airport in January 2000.

He’s now ordained as an associate pastor; continues to skate and spread the good word. Days after his 43th birthday CHRISTIAN HOSOI answered questions from his home in Huntington Beach California about his skating injuries.

ALICIA BEE – You are an experienced skater of many years, how long have you been skating?


ALICIA BEE – You must have had some damage over time. What is the worst of your injuries?

CHRISTIAN HOSOI – Broke my left humorous bone at fifteen on a ramp in Lincoln Nebraska. Doing a reck called a gay twist. Imagine that! Only broken bone so far…

ALICIA BEE – Do you have any scars? had broken bones? been to a rehabilitation clinic?

CHRISTIAN HOSOI – The only stitches I’ve had was for the pin that went into the humerus bone to hold it together. Had my knee scoped and needed rehab in 2004.

ALICIA BEE – what is your favorite scar?

CHRISTIAN HOSOI – Wheel burn on my knuckle from backside airs.

ALICIA BEE – Have you ever taken time off skating? how long?

CHRISTIAN HOSOI – Five years being in prison.

ALICIA BEE – did you approach skating differently afterwards?

CHRISTIAN HOSOI – I appreciated life and skateboarding and take anything for granted anymore.

ALICIA BEE – what protective gear do you hate using? what do you always use? CHRISTIAN HOSOI – Protective gear is what has kept me from getting permanently injured a million times over! Their have always been my friend…

ALICIA BEE – what do you do when not skating?

CHRISTIAN HOSOI – Spend time with the family and friends… Go to the Sanctuary church, and travel around the world preaching the gospel…

ALICIA BEE – what is your worst habit?

CHRISTIAN HOSOI – Not stretching enough.


Drink a bottle of 2006 Dal Zotto Prosecco King Valley sparkling wine until the police informant is called at The Evelyn Hotel for the special undercover alcohol bust operation.


Carrying Wooden Cross

by Alicia Bee ©

Roll your shoulders back sister, heavy is history’s rugged cross,

You weren’t meant to bend over carrying wood, or pick up sticks for boss,

Stand tall before the greatest alter, strong from your religious pride,

Bow at neck and waist not your back, your heart will cover wounds of loss,

Life is full of trial sacrifice, but your spine has taken the cost,

Roll your shoulders back sister, heavy is history’s rugged cross.

Those who don’t listen to your Lord are not wandering or lost,

Though it is a different world your religion carries no moss,

Christian duty seeks that you respect other’s beliefs by their side,

Head strong God’s people are models of charity from mould emboss,

A century of family, you have lived opera as ride,

Warm is the Christian home you have shared with love and prayer from frost,

You weren’t meant to bend over carrying wood, or pick up sticks for boss.

Rest easy now in age sister, you have worked long for all of us,

Hold your head higher, relax your frame; you have nothing to hide,

You weren’t meant to bend over carrying wood, or pick up sticks for boss,

Roll your shoulders back sister, heavy is history’s rugged cross.

END. Alicia Bee © 2010.