The moment Melania Jack knew her life was changing came into focus on a Queensland roadway in 2007. Driving towards Cherbourg as part of a carpool of arts workers, she spotted Patty Preece leaning against a yellow utility vehicle. Preece, wearing a striped 1970s men’s T-shirt, possessed a striking image – a rat’s tail hairstyle catching the morning light. “She looked electric,” Jack recalled in a recent account.
The group was en route to deliver a series of workshops as part of Stylin’ Up, an Indigenous arts festival focused on beatmaking, songwriting, and dance. The festival, and its regional program, aimed to foster creativity and cultural expression within communities like Cherbourg, Woorabinda, Logan, and Hope Vale. CBG Stylin Up Crew, a hip-hop collective formed through the program, later gained recognition on triple j Unearthed, showcasing the talent nurtured by the initiative.
Jack, a songwriter and guitarist, admitted to a visceral reaction upon seeing Preece. A turning in her stomach and a sense of premonition signaled something significant was about to unfold. At the time, the queer community in Queensland was relatively small, making the encounter all the more impactful. Despite the professional context of the upcoming five-day workshop series, Jack confessed to feeling nervous about connecting with Preece.
The initial connection blossomed quickly, fueled by a shared passion for music – Preece as a drummer and producer, Jack as a songwriter and guitarist – and a mutual belief in the power of art as a catalyst for social change. Jack had recently returned from working in East Timor, although Preece was involved in youth transitional housing programs, bringing diverse experiences to their burgeoning bond.
The connection deepened beyond the professional sphere. Months later, Preece invited Jack to a performance with her queer band, Bertha Control, in Lismore. It was during this evening that their mutual attraction became undeniable, culminating in a shared moment in a nearby park. A subsequent text message from Preece, sent from a payphone, confirmed her feelings: “I’ve got the biggest crush on you.”
Their relationship flourished, characterized by shared adventures – exploring forests and oceans, attending gigs, and immersing themselves in festivals. They eventually established a home and music studio in a six-bedroom house nestled in the forest near the Channon, between Lismore and Nimbin. This period provided a space for creative collaboration and deepening their love.
Throughout their journey, Jack and Preece have faced challenges, including instances of prejudice within the arts scene. They recounted experiences where venue managers attempted to silence their voices due to their identities. Despite these obstacles, they remain committed to their work, viewing it as a means of expressing their values and advocating for change.
“Creativity brought us together, and it continues to be the way we love, work, and imagine new futures,” Jack stated. “I still look at her and am amazed at this incredible person, who is always trying to learn and grow with me.” The rat’s tail may have disappeared over the years, but the love and Preece’s enduring spirit remain central to Jack’s life, both on and off stage.
