October 12, 2025 • 15 mins
From ideas of belonging, to what's great in art, to funny feelings in the tummy and figuring out what they mean (eventually): this is why, for Osher, the Rocky Horror Picture Show was a real reva..... lation.
to hear more true stories like this one, get tickets to Story Club (and more) here
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
Good day. Thanks for listening to the show. This is
better than yesterday. Useful tools and useful conversations to help
make your day to day better than yesterday. Every week
since twenty and thirteen. My name's Sashi Ginsburg and I'm
in here every week since then, and I'm glad you
were here today. If this is your first show, hey, hey,
he come on. There are hundreds, actually over a thousand
episodes to get stuck into. Scroll back through your feed
(00:24):
and enjoy. Thank you to the folks who sent me
a message this week. Send Usher email at gmail dot com.
It's my email address, and it was lovely to meet you,
the people who came and said hello last night at
story Club. Each month I do a live storytelling show
in Sydney at the Factory Theater in Merrickporth, and last
night was brilliant. Cam Walker was there, Jenfrika, Emma and
(00:46):
Lucy Bloom. So we're not on lodge. Our theme for
the night was the Big Reveal, the Big Reveal, and
so in honor of that, allow me to share with
you the story that I told on stage last night.
Just imagine you're sitting in a big, very comfy chair
with a gigantic, comedically oversized storybook. The best thing about
(01:09):
parenting is also the worst thing about parenting. Your kids
won't do what you tell them, but they will do
everything that you show them. The way you drink, the
way you eat, the way you react to fuck wits
who cut you off in traffic when the kids are
(01:29):
in the back. That is how I learned to say
are you fucking right? Cut from my mum. So rather
than have my son learn that from me, I try
to intercept these words on the way to my mouth,
hopefully in time to say, are you learning to drive today? Mate? Well,
(01:49):
that's okay. Mistakes are a part of learning, son, you say,
it's important that we give people space and time to
get better at things, because we can't learn anything new
if we don't make mistakes on the way. O buddy, Yeah,
big breath. No matter what we do, our behaviors are
burned into their brains thanks to some conveniently ironic survival
(02:11):
and instinct which requires you to confront your own flaws
head on lest you pass your own bullshit down your offspring. Alas,
regardless of how much I work on my attachment style
or my self esteem issues, I still get to give
my kids the gift of you know, congenital heart defects
and udiversity. Hey, sorry, kids, We also influenced our children
(02:34):
with the cultural choices we make. My father was a doctor,
but should have been a musician. He was brilliant. He
was always very interested in the avant garde, the artistically ambitious,
and the abstract. He had a nose for this stuff,
sniffing out the most odd and interestingly bizarre, fearless art
and music wherever he went. Before I was born, back
(02:54):
in London, he took mum to see the original production
of the Rocky Horror Show. It was Upset Dares at
the Royal Court Theater, a tiny space with room for
only sixty people. So it is understandable that in nineteen
eighty two, nine years later, and now living in the
cultural abyss of Brisbane, when Dad saw there's a movie
(03:15):
version of this musical that might remind him of a
time that he wasn't living in a city of thunburnt
thong slappers who pronounced the word pull with two eyes.
One Saturday he ended up taking me and my elder
brother to go and see the matinee showing of the
Rocky Horror Picture Show at the Shanell Theater at the
campus of the University of Queensland. I was barely seven
(03:37):
years old, and during the opening credits I figured out
by myself that this film was wildly inappropriate for me
to see. When Richard O'Brien's Riffraff came to the door
as Brad and Janet arrive at the Big Castle, I'm
terrified this gaunt faced, straggly haired hunchback answering the door.
(04:00):
Pretty quickly, the entire cast launch into a dance called
the TimewARP, a dance that I had learned during pe
and primary school the year before. So this movie must
be fine, after all, It's just a bunch of seven
year olds doing a jump to the left and then
a step to the right, and then the pelvic thrust.
I know it really drives you insane, because teaching state
(04:22):
school kids dance from a film where the lead character
is a cross dressing mad scientist Cannibal is more than
enough to make children decide to swap genders before recess. Luckily,
we came to our senses around this stuff and figured
out that a drag queen reading a story to kids
is something that we should barricade a library to prevent
but at this point I'm seven years old, forty years
(04:44):
away from being saved by an angry Facebook mob riled
up by far right American internet memes. So once the
fun song was over on the screen, a lift begins
to descend from above while a throbbing backbeat build. There's
flashes of a six inch glitter heel stomping in time
to the music, and when an almighty guitar chord rings
(05:08):
out as doctor Frankenfurter appears before my eyes, I dive
off my chair to the cover provided by the seat
in front of me, hiding among the decaying Maltese is
and popcorn on the sticky student carpet while the song
Sweet Transvestite blares through the cinema. A lot of the
movie was really scary, but there was one moment etched
(05:30):
into my mind when Susan Sarandon grabs Rocky's hands, puts
them on her boobs, and sings to touch me. I
want to be dirty. I feel something strange and my
tummy like I'm at the very top of a swing
and I need to wee well. At the same time,
(05:50):
I know I'm seven years old. But we don't get
to choose how our brains are wired when it comes
to who we're attracted to or what were it acted too.
We're born this way. It wasn't until many years later
I watched this film again for a movie that was
supposedly a sure thing. Green lit off the back of
(06:12):
the hottest musical debut in living memory, The Rocky Horror
Picture Show was expected to demolish the box office, but
it was pretty much a flop. With the exception of
a few sparse cinemas, it all but closed soon after
it opened. The tight, powerful performance of the stage show
did not translate at all to the edit, and when
(06:32):
you watch it now you'll find aching chasms of time
between lines of dialogue and lingering shots of actors in
reaction or anticipation, shots that make no sense. But the
film persisted, and by the time I saw it again
in nineteen eighty nine, it was about to celebrate twenty
five years of continuous release. Star wars and sounded music
(06:55):
only made it a pitally. Two and a half years,
man in Brisbane on a Friday night with my mate Damien,
the guitar player in the first band I've ever been in.
He insists that were going to see the ten pm
screening of the Rocky Horor Picture Show. Think. Look, I'm
fifteen years old. If I leg it as soon as
it finishes, I can make the last bust home at
twelve oh five. Sure, why not? Once I get inside
(07:20):
the theater, something is immediately different. I recognize people. My
recent discovery of the small but potent improvisational theater scene
in Brisbane had me going to the laboyte Theatre, often
by myself, to watch these teams of improvisers compete against
each other. Only a few years older than I am.
They're the kind of cool and funny that I dreamed
(07:44):
of being. They were a portal to transport me away
from my Rugby union obsessed all boys Christian Brothers school.
For those not in the know, the Christian Brothers are
a religious order dedicated to Christ as the education and
in my experience, the physical punishment of misbehaving children. But look,
(08:10):
I was far away from all that stuff here in
these dark and cinema with the cool air condition and
blowing on my face, sitting among these cool improv grown ups.
I'm here next to them in the cinema with them
holy shit, I'm somewhere cool now. Since I first went
(08:30):
to the movies, I have been shushed and shamed and
tuttered for talking while the movie was on. But tonight,
as soon as the film starts, the crowd is yelling
at the screen. The same aching pauses which made the
movie ploddingly slow, provide convenient space for people in the
(08:52):
crowd to shout out set up lines which the dialogue
will pay off when the car breaks down. Brad Majors says,
didn't we pass a castle back down the road a
few miles. Maybe they've got a telephone we might use.
Jane says, I'm coming with you, and we all scream.
That'll be a first. Besides, the owner of that telephone
(09:13):
might be a beautiful woman. He is, and you may
never come back. You should be so lucky. I could
not believe how clever, how funny, and how exciting it
was to mess with the sanctity of the cinema. Thinking
about it now, the entertainment business model is built on
(09:34):
an idea that an audience will pay to see something
more interesting than them, And what was happening here in
this room was turning that on its head. Fourth song
in I Jump up and I dance the TimewARP again,
this time with a cinema full of every other freaky
theater kid in Rismond. But as soon as the next
song starts, this time I don't jump for cover behind
(09:57):
the seat in front of me. I'm intrigued. There's that
same glittery heel that's saying thumping beat. But this time
I see him arrive. The lift doors crash open, and
there he is Doctor Frankenverter, the mad scientist, cross dressing
Cannibal in a neck to ankle satin cape with ruby
(10:20):
red lips that make Dorothy's magic slippers look like a
dull tea Moon knockoff kind of red. He strides past
Brad and Janet, launching into the first verse of Sweet Transvestite.
The pre chorus hits, and standing full frame on a
screen the height of the building at the Queen Street
moor hoists in Brisbane, Tim Curry flings open that cape
(10:44):
and I lose my breath. He's in elbow length sheer
gloves covering some slutty forearm prison tats, a glittery corset
open at the navel bit of a snail trail, a
garter belt, suspend his stockings and in a time before
here removal cream the centerpiece, a bushy and bold pair
of nickers, so tight you can see what he's packing.
(11:06):
Tim's grinding his hips at the camera and pers the line,
I'm just a sweet transvestine from transsexual Transylvania. Oh there's
that feeling in my tummy again. Welcome at the very
top of a swing, and I need to do awe
all the same time. We don't choose how her brains
(11:29):
get wired when it comes to what we're attracted to.
We're born this way. I went to that late night
screening of Rocky Horror every Friday night for three years
straight to be among the freaks, to mess with the medium,
not to disrespect the construct of the cinema, but to
make something more of it by playing around the edges
(11:51):
of it. That sensibility has informed every piece of work
during my career, the perpetual need to go meta, to
go angle, to break the fourth wall, to play with
the very fabric of the universe we've built, to make
the show work just enough so that we can connect
just a little bit better, And then when it all
comes back together, it does say with a bang, Now
(12:15):
This is what I try to teach my son now,
to play around the edges of an agreed upon reality
in an effort to create something new, something fun, to
explore possibility. I'm glad I can show him that without
the added trauma of showing him this film when he's
just seven. The Rocky Horror Picture Show informed my life
(12:37):
in many other ways as well. That feeling in my
tummy is one that for a while, quite a while,
I was ashamed of. I went to an all boys
school in Brisbane if the bashing was still a thing.
By my mid twenties, though, I ventured out into the
world and begun to test the potency of that element
(12:59):
of my sexuality. I conducted a number of field experiments,
and when the results came back and I analyzed the data, look,
it turns out the way I feel about that part
of me is exactly the same way that I feel
about jet skis. I get it, I understand it. I've
(13:24):
even tried it a few times. It's exciting and dangerous,
having that amount of power throbbing between your legs. I
see the appeal, but in the end it's not for me.
I'm more than happy to stand on the shoreline. I
can appreciate it from here, but off you go, you
knock yourself out. There's something over here that I'm far
(13:46):
more into. But I am glad that I had a
chance to get comfortable with that part of me because
now I can watch, for example of Brisbane Broncos half
back super start Reese Walsh, would be amazed at his
athletic ability and incredible skill as he scores the most
unbelievable fucking try in the twenty five Grand Final. At
(14:10):
the same time, that's really really appreciating how fucking hot
he is. Oh that was fun. True stories man, the
look that beats it. Thanks so much for listening. Thanks
to add a bunch of her producing this show. If
(14:31):
you want to come along with a story club, the
links in the show notes we do one every month
if you want to get around the new book So
what now? What? Tickets and show notes for that as well.
Thanks for listening to the show. If you like this
so you go send it to someone, You go send
it to someone that through pieces of Toast in the Air,
brought a newspaper along to a rocky horror show one
night in the cinema. Let him know they're not the
(14:52):
only person who did it. I did it for years, man,
and that's such a huge part of making who I Am.
Subscribe to the show. Like the show, rate it, review it,
give it to a friend, put it in a flower VARs,
and pop it on your table. I don't care what
you do with it, but it really helps us. Thanks
for listening. I'll see your Wednesday.
Good day. Thanks for listening to the show. This is
better than yesterday. Useful tools and useful conversations to help
make your day to day better than yesterday. Every week
since twenty and thirteen. My name's Sashi Ginsburg and I'm
in here every week since then, and I'm glad you
were here today. If this is your first show, hey, hey,
he come on. There are hundreds, actually over a thousand
episodes to get stuck into. Scroll back through your feed
(00:24):
and enjoy. Thank you to the folks who sent me
a message this week. Send Usher email at gmail dot com.
It's my email address, and it was lovely to meet you,
the people who came and said hello last night at
story Club. Each month I do a live storytelling show
in Sydney at the Factory Theater in Merrickporth, and last
night was brilliant. Cam Walker was there, Jenfrika, Emma and
(00:46):
Lucy Bloom. So we're not on lodge. Our theme for
the night was the Big Reveal, the Big Reveal, and
so in honor of that, allow me to share with
you the story that I told on stage last night.
Just imagine you're sitting in a big, very comfy chair
with a gigantic, comedically oversized storybook. The best thing about
(01:09):
parenting is also the worst thing about parenting. Your kids
won't do what you tell them, but they will do
everything that you show them. The way you drink, the
way you eat, the way you react to fuck wits
who cut you off in traffic when the kids are
(01:29):
in the back. That is how I learned to say
are you fucking right? Cut from my mum. So rather
than have my son learn that from me, I try
to intercept these words on the way to my mouth,
hopefully in time to say, are you learning to drive today? Mate? Well,
(01:49):
that's okay. Mistakes are a part of learning, son, you say,
it's important that we give people space and time to
get better at things, because we can't learn anything new
if we don't make mistakes on the way. O buddy, Yeah,
big breath. No matter what we do, our behaviors are
burned into their brains thanks to some conveniently ironic survival
(02:11):
and instinct which requires you to confront your own flaws
head on lest you pass your own bullshit down your offspring. Alas,
regardless of how much I work on my attachment style
or my self esteem issues, I still get to give
my kids the gift of you know, congenital heart defects
and udiversity. Hey, sorry, kids, We also influenced our children
(02:34):
with the cultural choices we make. My father was a doctor,
but should have been a musician. He was brilliant. He
was always very interested in the avant garde, the artistically ambitious,
and the abstract. He had a nose for this stuff,
sniffing out the most odd and interestingly bizarre, fearless art
and music wherever he went. Before I was born, back
(02:54):
in London, he took mum to see the original production
of the Rocky Horror Show. It was Upset Dares at
the Royal Court Theater, a tiny space with room for
only sixty people. So it is understandable that in nineteen
eighty two, nine years later, and now living in the
cultural abyss of Brisbane, when Dad saw there's a movie
(03:15):
version of this musical that might remind him of a
time that he wasn't living in a city of thunburnt
thong slappers who pronounced the word pull with two eyes.
One Saturday he ended up taking me and my elder
brother to go and see the matinee showing of the
Rocky Horror Picture Show at the Shanell Theater at the
campus of the University of Queensland. I was barely seven
(03:37):
years old, and during the opening credits I figured out
by myself that this film was wildly inappropriate for me
to see. When Richard O'Brien's Riffraff came to the door
as Brad and Janet arrive at the Big Castle, I'm
terrified this gaunt faced, straggly haired hunchback answering the door.
(04:00):
Pretty quickly, the entire cast launch into a dance called
the TimewARP, a dance that I had learned during pe
and primary school the year before. So this movie must
be fine, after all, It's just a bunch of seven
year olds doing a jump to the left and then
a step to the right, and then the pelvic thrust.
I know it really drives you insane, because teaching state
(04:22):
school kids dance from a film where the lead character
is a cross dressing mad scientist Cannibal is more than
enough to make children decide to swap genders before recess. Luckily,
we came to our senses around this stuff and figured
out that a drag queen reading a story to kids
is something that we should barricade a library to prevent
but at this point I'm seven years old, forty years
(04:44):
away from being saved by an angry Facebook mob riled
up by far right American internet memes. So once the
fun song was over on the screen, a lift begins
to descend from above while a throbbing backbeat build. There's
flashes of a six inch glitter heel stomping in time
to the music, and when an almighty guitar chord rings
(05:08):
out as doctor Frankenfurter appears before my eyes, I dive
off my chair to the cover provided by the seat
in front of me, hiding among the decaying Maltese is
and popcorn on the sticky student carpet while the song
Sweet Transvestite blares through the cinema. A lot of the
movie was really scary, but there was one moment etched
(05:30):
into my mind when Susan Sarandon grabs Rocky's hands, puts
them on her boobs, and sings to touch me. I
want to be dirty. I feel something strange and my
tummy like I'm at the very top of a swing
and I need to wee well. At the same time,
(05:50):
I know I'm seven years old. But we don't get
to choose how our brains are wired when it comes
to who we're attracted to or what were it acted too.
We're born this way. It wasn't until many years later
I watched this film again for a movie that was
supposedly a sure thing. Green lit off the back of
(06:12):
the hottest musical debut in living memory, The Rocky Horror
Picture Show was expected to demolish the box office, but
it was pretty much a flop. With the exception of
a few sparse cinemas, it all but closed soon after
it opened. The tight, powerful performance of the stage show
did not translate at all to the edit, and when
(06:32):
you watch it now you'll find aching chasms of time
between lines of dialogue and lingering shots of actors in
reaction or anticipation, shots that make no sense. But the
film persisted, and by the time I saw it again
in nineteen eighty nine, it was about to celebrate twenty
five years of continuous release. Star wars and sounded music
(06:55):
only made it a pitally. Two and a half years,
man in Brisbane on a Friday night with my mate Damien,
the guitar player in the first band I've ever been in.
He insists that were going to see the ten pm
screening of the Rocky Horor Picture Show. Think. Look, I'm
fifteen years old. If I leg it as soon as
it finishes, I can make the last bust home at
twelve oh five. Sure, why not? Once I get inside
(07:20):
the theater, something is immediately different. I recognize people. My
recent discovery of the small but potent improvisational theater scene
in Brisbane had me going to the laboyte Theatre, often
by myself, to watch these teams of improvisers compete against
each other. Only a few years older than I am.
They're the kind of cool and funny that I dreamed
(07:44):
of being. They were a portal to transport me away
from my Rugby union obsessed all boys Christian Brothers school.
For those not in the know, the Christian Brothers are
a religious order dedicated to Christ as the education and
in my experience, the physical punishment of misbehaving children. But look,
(08:10):
I was far away from all that stuff here in
these dark and cinema with the cool air condition and
blowing on my face, sitting among these cool improv grown ups.
I'm here next to them in the cinema with them
holy shit, I'm somewhere cool now. Since I first went
(08:30):
to the movies, I have been shushed and shamed and
tuttered for talking while the movie was on. But tonight,
as soon as the film starts, the crowd is yelling
at the screen. The same aching pauses which made the
movie ploddingly slow, provide convenient space for people in the
(08:52):
crowd to shout out set up lines which the dialogue
will pay off when the car breaks down. Brad Majors says,
didn't we pass a castle back down the road a
few miles. Maybe they've got a telephone we might use.
Jane says, I'm coming with you, and we all scream.
That'll be a first. Besides, the owner of that telephone
(09:13):
might be a beautiful woman. He is, and you may
never come back. You should be so lucky. I could
not believe how clever, how funny, and how exciting it
was to mess with the sanctity of the cinema. Thinking
about it now, the entertainment business model is built on
(09:34):
an idea that an audience will pay to see something
more interesting than them, And what was happening here in
this room was turning that on its head. Fourth song
in I Jump up and I dance the TimewARP again,
this time with a cinema full of every other freaky
theater kid in Rismond. But as soon as the next
song starts, this time I don't jump for cover behind
(09:57):
the seat in front of me. I'm intrigued. There's that
same glittery heel that's saying thumping beat. But this time
I see him arrive. The lift doors crash open, and
there he is Doctor Frankenverter, the mad scientist, cross dressing
Cannibal in a neck to ankle satin cape with ruby
(10:20):
red lips that make Dorothy's magic slippers look like a
dull tea Moon knockoff kind of red. He strides past
Brad and Janet, launching into the first verse of Sweet Transvestite.
The pre chorus hits, and standing full frame on a
screen the height of the building at the Queen Street
moor hoists in Brisbane, Tim Curry flings open that cape
(10:44):
and I lose my breath. He's in elbow length sheer
gloves covering some slutty forearm prison tats, a glittery corset
open at the navel bit of a snail trail, a
garter belt, suspend his stockings and in a time before
here removal cream the centerpiece, a bushy and bold pair
of nickers, so tight you can see what he's packing.
(11:06):
Tim's grinding his hips at the camera and pers the line,
I'm just a sweet transvestine from transsexual Transylvania. Oh there's
that feeling in my tummy again. Welcome at the very
top of a swing, and I need to do awe
all the same time. We don't choose how her brains
(11:29):
get wired when it comes to what we're attracted to.
We're born this way. I went to that late night
screening of Rocky Horror every Friday night for three years
straight to be among the freaks, to mess with the medium,
not to disrespect the construct of the cinema, but to
make something more of it by playing around the edges
(11:51):
of it. That sensibility has informed every piece of work
during my career, the perpetual need to go meta, to
go angle, to break the fourth wall, to play with
the very fabric of the universe we've built, to make
the show work just enough so that we can connect
just a little bit better, And then when it all
comes back together, it does say with a bang, Now
(12:15):
This is what I try to teach my son now,
to play around the edges of an agreed upon reality
in an effort to create something new, something fun, to
explore possibility. I'm glad I can show him that without
the added trauma of showing him this film when he's
just seven. The Rocky Horror Picture Show informed my life
(12:37):
in many other ways as well. That feeling in my
tummy is one that for a while, quite a while,
I was ashamed of. I went to an all boys
school in Brisbane if the bashing was still a thing.
By my mid twenties, though, I ventured out into the
world and begun to test the potency of that element
(12:59):
of my sexuality. I conducted a number of field experiments,
and when the results came back and I analyzed the data, look,
it turns out the way I feel about that part
of me is exactly the same way that I feel
about jet skis. I get it, I understand it. I've
(13:24):
even tried it a few times. It's exciting and dangerous,
having that amount of power throbbing between your legs. I
see the appeal, but in the end it's not for me.
I'm more than happy to stand on the shoreline. I
can appreciate it from here, but off you go, you
knock yourself out. There's something over here that I'm far
(13:46):
more into. But I am glad that I had a
chance to get comfortable with that part of me because
now I can watch, for example of Brisbane Broncos half
back super start Reese Walsh, would be amazed at his
athletic ability and incredible skill as he scores the most
unbelievable fucking try in the twenty five Grand Final. At
(14:10):
the same time, that's really really appreciating how fucking hot
he is. Oh that was fun. True stories man, the
look that beats it. Thanks so much for listening. Thanks
to add a bunch of her producing this show. If
(14:31):
you want to come along with a story club, the
links in the show notes we do one every month
if you want to get around the new book So
what now? What? Tickets and show notes for that as well.
Thanks for listening to the show. If you like this
so you go send it to someone, You go send
it to someone that through pieces of Toast in the Air,
brought a newspaper along to a rocky horror show one
night in the cinema. Let him know they're not the
(14:52):
only person who did it. I did it for years, man,
and that's such a huge part of making who I Am.
Subscribe to the show. Like the show, rate it, review it,
give it to a friend, put it in a flower VARs,
and pop it on your table. I don't care what
you do with it, but it really helps us. Thanks
for listening. I'll see your Wednesday.
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The Brothers Ortiz
The Brothers Ortiz is the story of two brothers–both successful, but in very different ways. Gabe Ortiz becomes a third-highest ranking officer in all of Texas while his younger brother Larry climbs the ranks in Puro Tango Blast, a notorious Texas Prison gang. Gabe doesn’t know all the details of his brother’s nefarious dealings, and he’s made a point not to ask, to protect their relationship. But when Larry is murdered during a home invasion in a rented beach house, Gabe has no choice but to look into what happened that night. To solve Larry’s murder, Gabe, and the whole Ortiz family, must ask each other tough questions.