Wednesday, 1 November 2023

Why is local history important?

Why is local history important?

To me, local history is a passion, one that grew as I became acquainted with the area. Local history helps us understand the development of our community, the people who lived and still live there, and the events that shaped its character. By learning about the local history, we can gain a deeper appreciation of the area and the people who call it home. Preserving our history helps to keep alive the stories, traditions, and culture of the people who reside there, and helps to pass them down to future generations. Something that nearly every native culture has done throughout the millennia.

Local history helps to support the identity of a community. It provides a sense of place and belonging and helps to foster a sense of pride and attachment to the place they call home. When learning about the history of a community, we can gain insights into the social, economic, and political forces that have shaped our world today. It also provides an opportunity for education, not just via established educational institutes but by members of the community.

Published works and readily available resources can also be an important factor in tourism. Visitors are often interested in learning about the history of the places they visit, and local history can provide a unique and interesting perspective on a community.

We are lucky in this particular area of Melbourne thanks to the foresight of its residents, many, not necessarily scholars, recording our history, and even more locally with people like Ric Coxhill, the Knox Heritage Society, and the many clubs and societies who preserve the history of the area and their particular field. 

Who knows, we all have the chance of being mentioned in the future, either as a subject or as an author.


Previously published Boronia & the Basin Community News Issue 326 Oct 2023 as the Editorial


Sunday, 1 October 2023

Chelsea Australian Garden Olinda.

 

Chelsea Australian Garden Olinda.

A woolemi Pine

Chelsea Australian Garden Olinda at the Dandenong Ranges Botanical Garden (DRGB) on Wurundjeri land has finally opened and for someone like me who needs no excuse to visit the old rhododendron Garden no matter what season, this was a long-awaited event, having watched its construction from afar since the park had reopened post CoVid. Based on Phillip Johnson’s Chelsea Flower Show Grand prize-winning garden from 2013, it is a beautifully designed showpiece.

Whilst many options were explored the perfect outcome was to bring it back to where the garden was originally designed and inspired. In Olinda where Johnson calls home. The new garden is 20 times larger than the original and has been incorporated into the DRBG seamlessly on land that was unused from the bordering golf course. Another factor that makes the garden appealing is the effort to introduce native plants as far-flung as Western Australia & Queensland. Including the world’s oldest and rarest tree the Woolemi

Pine. The centre piece is the Billabong with its waterfall and huge Waratah sculpture, but it is these introduced natives like the Boab or Bottle trees In another section, which I loved, where the Grass trees with their black spires shooting out the top and with Acacia waterfall trees they looked like something straight out of Dr. Seuss’ Whoville. The rich red volcanic soil of the area has made it possible to plant this type of flora, and as it is an experimental garden, hopefully, thrive. I cannot recommend the garden highly enough and suggest everyone take the opportunity to see it. It’s only up the hill, free to visit, and is going to be there forever.











Originally printed in the BBCN issue 325 Sept 2023

 

Wednesday, 2 August 2023

Basket ball Jones Cheech & Chong

 Basket ball Jones Featuring Tyronne Shoelaces

Cheech & Chong

Things were a lot different in the 1970s.

As this video attests, Cheech & Chong were and I believe still are a popular comedy duo that based most of the humour on dope and counter culture life.

The sold many albums and had several successful movies.

Sung in falsetto by Cheech Marin, playing the title character Tyrone (as in "tie-your-own") Shoelaces, it tells the story of Shoelaces' love of basketball. It is a parody of the No. 16 Billboard Hot 100 song "Love Jones" by Brighter Side of Darkness. In the album version, the song is preceded by a mock interview with Jones' basketball coach named "Umgwana Kickbooti", in a parody of a Wide World of Sports interview conducted by a character named "Red Blazer".


The song's opening lyric, "basketball jones, I got a basketball jones", references "jones" as slang for craving or addiction. A "basketball jones" thus refers to loving basketball so much that it overtakes all other thoughts.


Musicians who appeared on the record included George Harrison,[2] Billy Preston, Tom Scott, Klaus Voormann and Carole King (so the record became the highest-peaking single on which she appeared during 1973). The Blossoms and Michelle Phillips (from The Mamas & the Papas) performed vocals as cheerleaders on the track.

The video was designed by animator Paul Gruwell who worked on many series, including The Banana Splits, Scooby-Doo, GI Joe, The Transformers, The Simpsons, and the film Heavy Metal.

The video is very risque compared to todays standdards and features many -what would be deemed these days  -highly offensive.

Look out for a guest appearance from the Beatles and the Singing Nun near the end.

Source: Wikipedia

Saturday, 1 July 2023

Mystic Mountain Memories Part 2

 

 Mystic mountain discovery.

In search of the thunderbox steps.

 


After writing about Stella Patrone’s inspiring life in the New Mystic Lake estate last issue. I decided with information supplied by Stella’s grandson Gary Pope, I would head back up to the estate to use my very amateur archaeology and sleuthing skills to rediscover some history.

The day we chose couldn’t have been any better for climbing around the site. 18 degrees in February, dry but overcast meant at least we could be comfortable in protective clothing. This was needed due to the grasses being long (some sharp). broken branches and stumps both visible and hidden that were a burden on exposed skin. Armed with clues that may point us towards some hidden treasure we walked up into what once was Stella’s home for 15 years. On entering Alamein Ave., we were surrounded by butterflies, if it had been a warmer sunnier day, I dread to think how many more there would be. It’s just one of the charms of being up in this part of the woods in February. Moving down the road they flittered and fluttered in front of us until we reached the bend in the road that landmarked the property entrance.  Here, we could identify the flat area, known as the bottom landing that sat in front of the large gum tree, that in another age was where a table was set up for outside meals. It was clearly still there for anyone to find complete with a rock surround, and I was amazed it wasn’t bulldozed away back in the 1980s during the reclamation. Up where the front fence and top landing have been was now overgrown and were destroyed with any trace of the foundations for the floor supports.

One thing we were specifically looking for was the remains of the outback toilet, a standalone structure further up the block, something Gary had rediscovered on a visit with his wife Betty after reading the Mystic Estate article in the BBCN last year.

Misreading the orientation of the house and where it faced on the block we were looking further back than we needed to be when my sharp-eyed assistant Madelyn discovered a piece of cast iron just below the surface in an area surrounded by rocks of various sizes, almost perfect for a garden border. We identified it as a flue transition from an old wood stove, coincidently almost identical to one I have as an ornament in my own garden.

Getting our bearings thanks to Gary’s reference and the massive gum that is the one remaining tree that still can be identified from old photos, we moved a bit deeper into the block where we found the partially covered steps leading up the hill. I started to clear away the grass, dirt and fallen trees that covered them. I was using my little hand spade to clear the area when just as I was bringing it down to find an edge of a step, a reptilian head popped out and I smacked the face of the blade right on its head. At this point, I was ready to give up completely. However, my trusty assistant, Madelyn, who is a keeper at the Mt. Evelyn Nocturnal Zoo and handles these things on a daily basis was more concerned for the reptile which to my mind was a giant anaconda but she had wisely identified it as a blue tongue lizard. By now it had recovered from its bonk on the head and decided to turn around showing its body and legs and go back into its hole. When we (I) recovered we unearthed eight steps, all flat concrete and spaced evenly. This took a bit longer than anticipated because instead of hitting a lizard I had to avoid Madelyn who kept getting in the way trying to retrieve the reptile. The steps look so out of place amongst the natural flora.

 How the bulldozers removed all traces of introduced vegetation but missed these is a mystery, but proof still exists that life was once vibrant up this now closed-off and abandoned street. On consultation, the piece of cast iron didn’t belong to the house,  as Stella had an open brick fireplace and chimney but it was confirmed that the area it was found in was a garden bed and was full of found pieces to house cactus and smaller plants.

I have a theory of why after 35 years Lot 61 still has some traces left. The main aim was to remove structures and evasive flora. Other items not bulldozed would be reclaimed by nature and since the Pope property was higher on the mountain, the other two established sites referred to in the last issue faced the Mountain highway and with widening and reinforcing of the road, a lot more area was eventually removed. Ironically, the one property that blatantly stands out with its set of stairs leading up to a flat pad was never built beyond that point and is clearly visible from the highway today.

 

I have discovered that the New Mystic Lake estate is a piece of history that just keeps giving and there is still so much to explore but that’s it for now.

It's wonderful to point out that thanks to ladies like Stella, the Basin and the Mountain still had women with a pioneer spirit right up to the middle of the last century.

Thursday, 1 June 2023

Mystic Mountain Memories.


 Mystic Mountain Memories.


Since writing the article on the New Mystic Lake Estate (BBCN issues 111 &112) I have had the pleasure of people contacting me with their own stories. The most notable is The Basin resident Gary Pope, a gentleman with a history that spans the entire timeframe of the estate's existence.  Conversations with Gary have filled in so many gaps in the estate's history and what he knows could easily fill a book and here’s hoping one day he makes that a reality. He has inspired me to go back up the mountain and dig a bit deeper, literally, this time into Gary’s family’s home at the New Mystic Lake Estate.

If anyone is interested in what the legendary Mystic Lake looks like, there is a wonderful black and white picture hanging in the Chocolate Dragonfly at the Basin shops that displays it beautifully.

Gary, Yola and Bill with Stella in the back.

But first some background.

Gary’s parents: Bill and Yola Pope, bought and began building on their plot in 1953.

It was for Gary’s nana Stella Patrone, who was a single independent woman who craved solitude and simple living away from the city. Stella moved into Lot 61 Alamein Avenue New Mystic Lake Estate in 1955, also there to celebrate the move was a six-month-old Gary.

Stella thrived in her new abode, with no electricity or running water, a kerosene fridge, and an open fireplace for cooking that doubled for heating. She enjoyed her own company, except for her soul mates, her rescue pups Monty and then Whiskey, where she spent her time reading and establishing a garden in the sparsely populated estate. Every fortnight Bill, Yola, and Gary would travel up from Blackburn South -then on the outskirts of the metro area- to visit, bring wood and continue working on the house which in time became known as “ The Ranch”.

Lot61 Alamein Avenue. 1950s

The house afforded amazing views and looked directly up at the mountain in a time where Stella could watch the remaining transmission towers being erected on top. Not that it interested her. Stella never had a television the entire time she occupied the home. She had a battery-powered transistor radio that gave her all her entertainment and information needs.

The house’s construction helped accommodate these views with the street frontage being 14 feet (4.2 metres) high on the east elevation and 8 feet (2.4 metres) on the West tapering down to nothing at the back door due to the fall of the block.

As the years progressed Gary spent many weekends and holidays at Alamein Avenue, exploring the area and getting to know the other brave souls who built on the steep and solitary blocks in the isolated and quiet estate. One exception was the house on the opposite side of the road. The weekender owned by the Meisel family faced the Mountain Highway. A large two-level house built for entertaining, with a large room underneath to accommodate parties, the house also sported a swimming pool. Not only was this a place to have a cool dip for Gary, but it was also an opportunity for employment for Stella, who cleaned the house up during the week after parties the previous weekend. Shopping was usually dropping into the nearby general store or catching the bus a short walk down the highway to the Basin or Boronia.

Staying up in the estate was not without its drama. Stella enjoyed walking her dogs and early in 1959 unwittingly passed by the infamous murder site of another resident of the estate; Dr. Annie Yoffa, a Doctor in her late 60s who had purchased land on the estate but insisted on living in a tent. Stella thought something was odd when her dog Monty reacted strangely and was in some discomfort when approaching the tent. Days later Dr. Yoffa’s body was discovered. She had been murdered by one of her ex-patients who was later deemed insane.

Mr Meisel's house with Gary in the pool.
Stella on the left behind him,

During her time at the property, Stella planted close to a hundred pine trees around its borders and grew some amazing rhododendrons and azaleas, as well as a large arbor that supported a climbing rose outside the home and fruit trees. The property was littered with garden beds.  Gary recalls how he and Stella would visit the ruins of Ferndale property as a kid, and aware of the fabulous gardens of its heyday when an army of gardeners serviced the property. Many of the 3-leaf clover-shaped metal tiles which were used as garden bed ornate frames still remained, and since the properties were only a short distance apart some found their way to Lot 61. Hexagonal ceramic tiles, anything you could scrounge up from the stuff people used to throw out along the 1-in-20 ( Mountain Highway) in those days that his Nanna would improvise into some sort of free decoration in the garden.

Both house and the garden narrowly survived two bushfires in 1962 (the one that took out Ferndale) and 1968 which made Stella appreciate the CFA and formed a close relationship with them. Electricity came to the estate in the late 1960s and for a short time Stella even had a telephone but by then she was preparing to leave.

Stella had to move out in 1971 when her health made it too difficult to live by herself and she moved in with the family in Blackburn South. where she lived until she passed away in 1976. The house then continued as a family holiday home. Gary even spending his honeymoon there, until it was sold in the early 1980s to the final owner, who in turn gave it up when the Forestry Commission claimed back the area as National Park. With that reclamation meant everything had to go, all the introduced trees and plants, the buildings, and all traces of human habitation.

Thanks to my conversations with Gary, I found that to be not quite true. So, with this information in hand, I was heading back to the estate to use my very amateur archaeology and sleuthing skills to rediscover some history.

To be continued.

originally published in BBCN issue 322 June 2023

Monday, 1 May 2023

Aussie Comics & Cartoons in 1970s a very brief history. Part Two


Aussie Comics & Cartoons in 1970s a very brief history.

Part Two

Part One

IS ANYBODY MAKING AUSSIE COMICS ANYMORE?



So, was there anyone who did a standard-type Australian original comic that was so popular in the era before the 1970s? It seemed everyone was vying to be an editorial cartoonist. Let’s face it. It was where all the money was being made. One exception was Skippy by Fauna Productions, it was based on the popular TV series and was drawn by Keith Chatto and A. Cubi. But it only ran for six issues between April 1970 and July 1971 because it was realised that having a comic of a show that was no longer in production didn’t help sales all that much. If Skippy had not been canceled just before the first edition it may have been more sustainable.

But there were still some creators out there with original characters and ideas, they just weren’t appearing in the standard comic format.

The Saga of Iron Outlaw was produced by Greg and Grae, (Written by Graeme Rutherford and drawn by Gregor MacAlpine) two young men just out of Swinburne Uni that was published by the flailing Melbourne Sunday Observer. Not to be confused with the Maxwell Newton owned enterprise which followed four years later. The colour strip was a satire on Australian life, language as well as Federal and State politics where a Ned Kelly type superhero fights the forces of evil. The comic would be in present times, considered highly inappropriate due to its language (racist) and storylines (also racist). The page continuous comic started in June 1970 and transferred to the Nation Review where it ran as a black and white full-page comic and retitled Iron Outlaw and Steel Shelia when the Sunday Observer folded in February 1971. Attempts have been made to make the 50-year-old strip into a collection but the copyright owners just want to bury the strip in the past because of repercussions due to its content.

Another Ned Kelly continuous story Ned Kelly by Monty Wedd ran uninterrupted in the Sydney Sunday Mirror for two years in the early 1970s. It was eventually collected as a collection / graphic novel by ComicOz in 2014.



Captain Goodvibes  (aka Pig of Steel or Vibes) was created by Tony Edwards and first appeared in  Tracks a popular surfing magazine in March 1973. Goodvibes was a pig who came into being after a porkchop was irradiated by a nuclear plant accident. He was crass, vulgar, smoke drank, did drugs and surfed. Of course, this made him an instant success with the youth of the era. Goodvibes may have been relatable to his readership but it was the evolution of Edward's artwork and splash pages that lifted Captain Goodvibes the strip to a whole new level. Edwards's pen and ink line work were intricate as it was vast, incorporating fantasy islands and cityscapes sometimes making Goodvibes a minor player in the story. With his popularity, Goodvibes became a radio star and released a record, a disco single  Mutants of Modern Disco (all Edwards of course), in 1978. Captain Goodvibes also had a cinematic cameo in the 1973 surfing documentary, Crystal Voyager, appearing in a brief but spectacular animated sequence during the film. But most importantly Captain Goodvibe's popularity led to the publication of several Goodvibes comic books, including the Whole Earth Pigalogue (1975) and Captain Goodvibes Strange Tales (1975).  In 1982 Tony Edwards killed off Captain Goodvibes forever.

Notable one-off comics not associated with any larger publications (independent) were The Atomic Horror Comic in 1977 drawn by Phil Pinder and Blinky Bill Comes To Town 1976 by Sarah Curtis.  

 

ONE MAN STANDS ALONE

 

Gerald Carr started the 1970s running and was alone in the Australian comic scene for most of the decade, as an original creator of the traditionally formatted product.

Carr's first self-publication was a comic fanzine, a one-shot title, Wart's Epic, which was issued in 1970, containing a mix of adult science fiction, violence, nudity and psychedelic artwork. Wart's Epic was distributed in Melbourne and by mail order to the USA. Carr had already had another adult-style creation Fabula appear in 1969 with the David Syme paper Broadside. The same people who published The Age. 

With nobody producing comics locally Carr contributed shorter stories like Aussie Fan to Rats Satirical Magazine but soon became interested in producing his own, which he undertook all the writing and illustrating himself. His first attempt at self-printing in 1974 was modest, with the comic only being distributed in Victoria. In 1975 Carr added more material and had his comic, Vampire!,


professionally printed for distribution around Australia. Vampire! which ran for six issues between 1975 and 1979, was a black-and-white 
horror comic that capitalized on the popularity of similar American adult horror comics and has repeatedly been compared to titles such as Creepy, Eerie and Vampirella. During the Vampire! run, Carr produced Brainmaster (1977) – which Alternate World co-owner Peter Hughes said “Blew his mind” and was “a hallmark moment” for him. and Vixen (1977) which became Australia's first comic book superheroine and was eventually released overseas in 1992

THE ENDING

In conclusion, the period from 1970 to 1979 was a watershed decade for Australian comics. Artists found their identity but not in the usual format. The rules changed, style and layout evolved but nobody was prepared for how different the 1980s would turn out and bring life back to the  Australian comic scene.

 Panel by Panel was published in 1979 and it’s almost as if those who read it sighed a collective “What the…?” because as soon as the decade ticked over to 1980 we saw in that year alone the creation of Inkspots Anthology by Phillip Bentley. Tony Edwards Captain Goodvibes Porkarama and the emergence of ex-cop and motor enthusiast Brendan (BJ) Akhurst whose cartoons and strips would appear in all manner of auto magazines from bikes to cars to trucks as well as his oversize collections. Gerald Carr would restart his Bridgett strip for the Sydney Sun-Herald and continue his self-produced one-shots.

The 1980s would be a quantum leap from the experimental 70s as Australian comic books and publishers came back with a vengeance.

 

SOME REFERENCES:

Magazine Data File www.philsp.com

The University of Wollongong archivesonline.uow.edu.au

Panel by Panel John Ryan (Cassel 1979)

DownUnderground Phil Pinder (Penguin 1983)

Captain Goodvibes My life as a pork chop Tony Edwards ( Flying Pineapple Media 2011)

Daniel Best ohdannyboy.blogspot.com

The University of Queensland www.textqueensland.com.au

Peter Hughes & Joe Italiano Alternate Worlds Comic book shop

ComicOz website www.comicoz.com

The Inked In Image  Vane Lindesay (Hutchinson 1979