Up, up and away! Take a balloon ride anywhere in Australia!

BALLOONING FANTASY! IN WESTERN AUSTRALIA, YOU’LL DRIFT EFFORTLESSLY OVER THE WHEAT FIELDS OF THE AVON RIVER IN A BRILLIANTLY COLOURED HOT-AIR BALLOON. THE SPORT OF BALLOONING IS BLOSSOMING WORLD- WIDE. RIGHT ACROSS AUSTRALIA, ENTHUSIASTS WAIT FOR THAT COOL, GENTLE MORNING BREEZE TO INDULGE THEIR FLIGHTS OF FANCY. TO CAP IT IN ONE WORD – MAGIC!


Aboriginal Painting: Our environment through the eyes of the first Australians

ANCIENT MURAL SHOWS FOUR-LEGGED BEASTS RUNNING EVERY WHICH WAY. Below: BULUN BULUN EXPLAINS THE MEANING OF HIS WALL MURAL TO A GROUP OF ONLOOKERS.

How do Aboriginal people ‘see’ and experience the nature of their surroundings?

ADAPTED BY FRANK MORRIS

Many traditional paintings are really ‘maps’ which show particular places, ‘tracks’ of ancestral beings, and the important features of an individual’s ‘country’. Any map or painting reflects a way of thinking about places and locations.

Conventional maps, in particular, are a way of organising and making sense out of spatial area; they help one to find particular places or one’s present location. Aboriginal paintings, on the other hand, depict those features of the physical and mythological environment which are of most significance to an Aboriginal.

Such paintings meaningfully organise a particular environment and, at the same time, re-create its coming into being. To understand a traditional Aboriginal painting is, in a very real way, to experience the environment as an Aboriginal does.

Johnny Bulun, an Aboriginal man from Central Arnhem Land in the Northern Territory, painted this mural on a wall of the Communications Centre in the Foreign Affairs Building in Canberra.

The painting is of Djakaldjirrparr, the ‘country’ to which he belongs, through his father; and his membership in the Ganaldbingu clan. The painting allows us to understand, in a limited way, how Bulun Bulun ‘sees’ and feels about his country.

Actual places depicted in the painting are those that relate to important mythological events, during which the landscape and environmental features were created.

In the upper centre of the painting, for example, is a mountain which rises from the Arafura swamp which is said to have been made by two dog wongarr or creation beings while digging for yellow clay.

……………………………………………………………………………….........…
TIMELINES: THE HEIDE MUSEUM OF ART, MELBOURNE. THE PEOPLE.
1979
IN MARCH, SWEENEY READ TAKES HIS OWN LIFE.
1980
THE REEDS SELL HEIDE II, MOST OF THE ADJOINING PROPERTY AND PART OF THEIR ART COLLECTION TO THE STATE GOVERNMENT.
1981
HEIDE PARK AND THE ART GALLERY OPEN WITH AN EXHIBITION OF NOLAN’S KELLY SERIES ON NOVEMBER 12. MAUDIE PALMER IS THE INAUGURAL DIRECTOR OF THE MUSEUM.
JOHN REED DIES ON DECEMBER 5. SUNDAY REED DIES ON DECEMBER 15.
THROUGH THEIR BEQUEST THE REMAINDER OF THEIR ART COLLECTION PASSES TO THE NEW MUSEUM.
THE END.
……………………………………………………………………....……………….....
 

In the centre of the painting a funeral ceremony is taking place; bones are washed and inserted into the hollow log coffin; while the spirit of the man who had died is ‘sung’ back to his clan well.

In the lower left corner of the painting, is a two headed snake which lies beneath the surface of the clan well. It is variously called the rainbow serpent or lightning snake. In the painting, the snake has swallowed men who threw spears into the water, thinking it was a fish.

Water species, land species and human ancestral beings are shown together in the painting, with fish and kangaroos swimming side by side.

This reflects the Aboriginal belief that all life is really one; that there is no real difference between the creative past and the present; and that all life comes from the waters of the clan well – the spiritual ‘well of life.’

This painting is not simply a ‘picture’ of a place -- Aboriginal people do not ‘own’ land in a European sense. Rather, they are ‘owned by’ and are part of the land itself. An Aboriginal ‘sees’ the land as part of his very being.

His spirit comes from the land, is nourished by the land, and returns to the land at death.

For Bulun Bulun, a painting of his country is a self-portrait; his clan’s identity; it is literally who he is. The very painting of one’s country is a magical and religious act. Perhaps when we see the earth as that which has given us life, sustains us, and provides a meaning for our life, we shall begin to understand what ecology is all about.

Bulun Bulun was born in 1946 and died in 2010.

<< Adapted from Aboriginal Painting; from the Australian Institute of Aboriginal Studies.

MARY HAGINIKITAS, AS PART OF HER WORK AS A SUCCESSFUL PAINTER, IS SEEN RECORDING SOME ANCIENT ABORIGINAL ROCK ART.


VALE: JEANNE LITTLE -- Talented entertainer shines through a book about her life story!

JEANNE ALWAYS CAME UP WITH THE GOODS. AUTHOR KATIE LITTLE WITH HER MUM. Below: KATIE’S BOOK ON HER MUM.

THAT HAIR, THOSE HUGE EYES AND THAT BOUNCING PERSONALITY.

FRANK MORRIS

JEANNE LITTLE WAS DESTINED TO BE A SENSATION. HER RAUCOUS VOICE WAS HER CATCHCRY.

“HELLO, DAAAHLING” IN UNDISPUTED AUSTRALIAN VERNACULAR.

KATIE M. LITTLE, HER ONLY CHILD, DECIDED TO WRITE A BOOK EXPLAINING HER UNCONVENTIONAL MOTHER. SHE CALLED IT, CATCH A FALLING STAR. READING IT NOW, IT’S A REAL TEAR-JERKER!

THE AUTHOR SAID SHE WANTED TO GIVE HER MOTHER’S FANS A FIRST-HAND LOOK AT WHAT IT WAS LIKE TO BE JEANNE LITTLE.

“I GREW UP BACKSTAGE, TAKEN EVERYWHERE WITH HER”, WRITES KATIE. “IN MY MIND, I CAN RETRACE OUR STEPS AS I HELD HER HAND AND FOLLOWED HER INTO THE LABYRINTH OF THE CHANNEL 9 STUDIOS.

“WHILE WE CONTINUED TO LAUGH ALONG”, WRITES KATIE. THE STICK-THIN EMPRESS OF FUN-FASHION”, JEANNE, ALWAYS CAME WITH THE GOODS.

“IT SEEMS UNTHINKABLE TO MANY THAT SHE WON THE ROLE IN THE JERRY’S GIRLS HIT MUSICAL IN WHICH SHE TO HAD SHOW HER SINGING AND DANCING CAPABILITY.

EVERYONE LEAPT FOR JOY – THE SHOW WAS A HIT.

HER ONE-WOMAN PLAY, MARLENE, WAS PLAYED TO SELL-OUT AUDIENCES IN THE UNITED STATES.

SHE THEN SCORED AS A REGULAR PANEL MEMBER ON FOXTEL’S BEAUTY AND THE BEAST.

JEANNE, ON ALL ACCOUNTS, WAS A TALENTED SEAMSTRESS.

“DAD AND I SQUASHED MILK BOTTLE CAPS IN FRONTOF THE TELLY … WHILE MUM SEWED THEM ON”, KATIE WRITES SO AFFECTIONATELY.

“IT WAS HEADLINES AGAIN FOR JEANNE WHEN SHE REVEALED SHE HAD ALZHEIMER’S DISEASE.

“IN 2018, 10 YEARS AFTER DIAGNOSIS, MY MOTHER … IS STILL ALIVE AND PATRON OF THE JEANNE LITTLE ALZHEIMER’S FUND”, KATIE WRITES.

<< CATCH A FALLING STAR, WRITTEN IN 2018, IS STILL AVAILABLE.


VALE: FLASHBACK – To 1985, when Jeanne’s just one of the girls!

GETTING A LEAD ROLE IN JERRY’S GIRLS AS THE “CRAZIEST MOMENT IN MY LIFE”. BELOW: ALL DRESSED UP FOR JERRY’S GIRLS.

FRANK MORRIS

JEANNE LITTLE, THE FORMER MADCAP STAR OF THE MIKE WALSH SHOW, IN A SPECTACULAR NEW BROADWAY MUSICAL?

RIGHT!

JEANNE LITTLE, WHO ONCE DESCRIBED HER WHINING VOICE AS “THE WORST IN AUSTRALIAN” SINGING IS DANCING AND SHARING THE SPOTLIGHT WITH THREE OF THE NATION’S LEADING LADIES.

RIGHT AGAIN.

JEANNE STRUTS HER STUFF WITH JUDI CONNELLI, DEBBIE BYRNE AND
MARCIA HINES IN THE HIGH KICKING JERRY HERMAN MUSICAL, JERRY’S GIRLS.

FOR JEANNE, IT’S “THE CRAZIEST DREAM OF A LIFETIME COME TRUE”.

IN A RECENT INTERVIEW SHE SAID: “MY FIRST REACTION WHEN I HEARD I HAD THE PART WAS ECSTASY MIXED WITH TERROR”.

BUT SHE LOST NO TIME IN “TAKING DOUBLE DOSES” OF SINGING AND DANCING LESSONS.

A GOLD LOGIE WINNER IN 1976, LITTLE’S WHINING VOICE BECAME HER TRADEMARK ON TELEVISION.

“IF YOU THINK MY VOICE IS AFFECTED YOU ARE WRONG”, SHE SAID ONCE. “MY EIGHT SISTERS ALL SOUND LIKE ME”.

……………………………………………………………………………………….....
TIMELINES: DON’T LEAVE FIRE HAZARDS NEAR THE HOUSE …
IN AUSTRALIA LAST YEAR WE HAD ONE OF THE WORST BUSHFIRE SEASONS, WHICH WILL BE FOREVER WITH US.
MANY FAMILIES LOST THEIR HOMES TO RAGING BUSH FIRES, 34 PEOPLE DIED.
THE WHOLE OCCASSION WAS DESCRIBED AS ‘CATASTROPHIC’.
BUSHFIRE IS A CONSTANT HAZARD OF THE AUSTRALIAN SUMMER.
DON’T LET YOUR HOME BECOME A VICTIM FACING BUSH FIRE.
A FIRE NEEDS THREE THINGS TO BURN: HEAT, AIR AND FUEL. A LITTLE THOUGHT AND PREPARATION COULD PREVENT A TRAGEDY.
………………………………………………………………………….........................

WHEN THE MIKE WALSH SHOW WAS CHOPPED BY CHANNEL NINE 18 MONTHS AGO, SHE VOWED SHE “WOULD STARVE” THAN GO BACK TO PLAYING THE IDIOT ON TELEVISION.

“ALL THOSE YEARS I PLAYED ON THE MIKE WALSH SHOW, I WOULD HAVE LIKED TO HAVE TAKEN THE MONEY BUT NOT GO ON”, SHE SAID.

SINCE THE LATE 1970S SHE HAS BEEN MUCH IN DEMAND FOR PUBLIC APPEARNCES, FASHION PARADES AND OTHER SOCIAL FUNCTIONS, APART FROM HER TELEVISION ENGAGEMENTS.

“I’M WHAT THEY CALL A TV PERSONALITY”, SHE SAID. “WHICH MEANS I CAN’T SING, I CAN’T DANCE AND I CAN’T SPEAK PROPERLY.

NONE OF THESE DISABILITIES PROVED A HINDERANCE TO LITTLE’S CAREER.

SHE WAS VOTED THE MOST POPULAR FEMALE PERSONALITY IN NSW AT THE 1975 LOGIE AWARDS. THE FOLLOWING YEAR SHE COLLECTED THE NSW AWARD AS WELL AS THE GOLD LOGIE FOR THE MOST POPULAR FEMALE PERSONALITY IN AUSTRALIA.

FRANK MORRIS COMMENTS …

THIS ARTICLE COMES FROM MY SYNDICATED SHOWLINE COLUMN IN 1984.

NEXT JANUARY: WHAT JEANNE LITTLE HAD TO SAY ABOUT SHOWBIZ AND HOMELIFE.


LET’S LAUGH WITH THE CAT …

BLIMEY, YOU BEAUTY! SANTA CLAUS IS ABOUT TO TOUCH DOWN


HUMOUR! One-minute mystery … something strange is happening to Mrs Ellison Clarke!

WHO’S THE THIEF? IS IT THE STRANGER … OR HER?

ADAPTED BY FRANK MORRIS

“Did you call for help?” Professor Fordney said with a smile. “No – I was too frightened”, replied Mrs Ellison Clark.

“It was terrifying experience,” said Mrs Ellison Clark to Professor Fordney. “The most horrible I’ve ever had. I’ve been completely unnerved ever since.”

Fordney interjected. “Naturally, you have been greatly upset. It’s not to be wondered at. A hold-up is an alarming matter, especially for a woman. I’ll ask as few questions as possible. Will you bear with me?”

While he smiled at her nod of assent, he did not fail to notice the broken nail of the first finger of otherwise beautifully manicured hands. She drew a handkerchief from her elaborate negligee and covered them.

“Well?” she inquired.

“I understand you were standing outside your dressmaker’s at 3pm, waiting for your chauffeur, when a man slipped up to you, inquired the time, and demanded your money and the jewellery you were wearing. Correct?”

“Yes. That’s what happened.”

“Did you call for help?”

“No. I was too frightened.”

“Did you hand over the valuables or did the robber take them?”

“Why, I gave them to him, I was …”

Fordney interjected. “… Is this list correct?” He pulled from his pocket a piece of paper. “Two diamond bracelets, one emerald pendant, a diamond tiara, two emerald earring, $45 cash, and three diamond rings?”

“That is correct.”

"Did they take them?"

“Were you wearing a wrap?”

“No. It was extremely warm.”

“And your wristwatch?” the Professor asked, looking closely at the woman.

“I’m sorry, Mrs Clark, to take action in the case. But, of course, I know the alleged robbery was a frame-up.”

How did he know?

That the “robbery” was a frame-up was obvious to Professor Fordney. No woman wears that type of jewellery at three o’ clock in the afternoon. After confessing that the hold-up was a fake, Mrs Clark, and the man who conspired with her to obtain money from the insurance company for the alleged theft of her jewels, served a prison sentence.

<< Adapted from the Australian Printer, 1904.

MERRY CHRISTMAS DEAR READERS.

GRAND YEARS WILL BE PUBLISHED ON DECEMBER 14.

Posted in: Grand Years with Frank Morris at 29 November 20

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