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Twiggy leads tributes to Dame Mary Quant

<p>Dame Mary Quant has died “peacefully at home in Surrey” at the age of 93.</p> <p>Her family confirmed the news, with tributes pouring in from around the world, led by model Twiggy Lawson. </p> <p>“Dame Mary Quant died peacefully at home in Surrey, UK, this morning,” the statement from her family read. </p> <p>“Dame Mary, aged 93, was one of the most internationally recognised fashion designers of the 20th century and an outstanding innovator of the Swinging Sixties.</p> <p>“She opened her first shop Bazaar in the Kings Road in 1955 and her far sighted and creative talents quickly established a unique contribution to British fashion.”</p> <p>While Dame Mary’s contributions are numerous, the one she is perhaps best known for is her work in inventing - and popularising - the iconic miniskirt, a staple piece that played a major part in defining the Swinging ‘60s. </p> <p>As model Twiggy, an icon of the times, wrote on social media that Dame Mary “was such an influence on young girls in the late 50s early 60s.</p> <p>“She revolutionised fashion and was a brilliant female entrepreneur. The 1960s would have never been the same without her. Condolences to her family, RIP dear Dame Mary”.</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/Cq-36MCNMgO/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/Cq-36MCNMgO/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank" rel="noopener">A post shared by Twiggy (@twiggylawson)</a></p> </div> </blockquote> <p>“A true influencer,” make-up artist Sandy Linter agreed, while comments poured in thanking Twiggy and Dame Mary for their contributions to the world of style, with many fans noting that the pair had been the main influence on their own fashion journeys. </p> <p>It was a similar scene when fellow model Pattie Boyd paid tribute, writing that it was “very sad news today to learn of the passing of the 60s daringly creative, fun genius, much-loved lady, Dame Mary Quant.</p> <p>“Mary insisted on making George's and my wedding coats in 1966; his, Black Mongolian Fur and mine, Red Fox. A true icon.”</p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="en">Very sad news today to learn of the passing of the 60s daringly creative, fun genius, much-loved lady, Dame Mary Quant.<br />Mary insisted on making George's and my wedding coats in 1966; his, Black Mongolian Fur and mine, Red Fox.<br />A true icon. RIP <a href="https://t.co/qQeNjyFz2T">pic.twitter.com/qQeNjyFz2T</a></p> <p>— Pattie Boyd (@thepattieboyd) <a href="https://twitter.com/thepattieboyd/status/1646506146063339520?ref_src=twsrc%5Etfw">April 13, 2023</a></p></blockquote> <p>Like Twiggy, Pattie was a model in the ‘60s, and made leaps and bounds in popularising Dame Mary’s clothing - alongside the likes of Jean Shrimpton and Cilla Black. </p> <p>And it has said that Dame Mary’s working relationship with Twiggy helped propel the signature ‘Chelsea Look’ to historic heights - with shop Bazaar at the centre of London’s ‘Swinging Chelsea’ after opening in 1955 - though she gave credit in 2014 to her customers, too. </p> <p>“It was the girls on King's Road who invented the mini,” she said. “I was making clothes which would let you run and dance and we would make them the length the customer wanted. I wore them very short and the customers would say, ‘shorter, shorter’.”</p> <p>Former <em>Vogue </em>editor Alexandra Shulman called her a “leader of fashion but also in female entrepreneurship” in her tribute, while also noting that she was “a visionary who was much more than a great haircut."</p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="en">RIP Dame Mary Quant. A leader of fashion but also in female entrepreneurship- a visionary who was much more than a great haircut</p> <p>— Alexandra Shulman (@AShulman2) <a href="https://twitter.com/AShulman2/status/1646483984505884678?ref_src=twsrc%5Etfw">April 13, 2023</a></p></blockquote> <p>“She was one of the truly influential figures in fashion and defined the way women thought about themselves,” Alexandra also said. </p> <p>"Her influence on both fashion and women's liberation cannot be underestimated. Her sleek, simple designs were a million miles from the kinds of shapes and costumes women were wearing in the 1950s.</p> <p>"As well as short skirts, she had low-heeled pumps rather than high heels and her clothes entice you to behave in a different way after the formality of the past.</p> <p>"Her clothes reflect the way the social changes of the 1960s, with young women taking the pill and working more.”</p> <p>And as the Victoria &amp; Albert Museum wrote, “it’s impossible to overstate Quant’s contribution to fashion. She represented the joyful freedom of 1960s fashion, and provided a new role model for young women. </p> <p>“Fashion today owes so much to her trailblazing vision.”</p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="en">Dame Mary Quant (1930-2023)</p> <p>It’s impossible to overstate Quant’s contribution to fashion. She represented the joyful freedom of 1960s fashion, and provided a new role model for young women. </p> <p>Fashion today owes so much to her trailblazing vision. <a href="https://t.co/4z3MXp0tZl">pic.twitter.com/4z3MXp0tZl</a></p> <p>— V&amp;A (@V_and_A) <a href="https://twitter.com/V_and_A/status/1646488354626600964?ref_src=twsrc%5Etfw">April 13, 2023</a></p></blockquote> <p><em>Images: Getty</em></p>

Beauty & Style

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Short shift: Fashion week research on how the ’60s and ’70s rocked Australia’s clothing industry

<div class="copy"> <p>It was the dress that shocked a nation and signalled an industrial revolution.</p> <p>When sixties model Jean Shrimpton attended the 1965 Melbourne Cup dressed in a simple white shift hemmed well above the knee – with no gloves or stockings – the outfit immediately sparked scandal.</p> <p>The moment encapsulates a series of cultural, social, economic and technological shifts underway in Australia which led to the unravelling of the local clothing manufacturing industry.</p> <p>It was this iconic photo, depicting nonchalant Shrimpton on the lawns of Flemington Racecourse, which inspired Pauline Hastings PhD research at Monash University into the history of Australia’s textiles and clothing industry from the 1960s on.</p> <p>Hastings is <a href="https://mfw.melbourne.vic.gov.au/event/miniskirts-the-unravelling-rag-trade/" target="_blank" rel="noreferrer noopener">presenting her research</a> as part of Melbourne Fashion Week.</p> <p>A lesser-known detail about ‘that dress’: Shrimpton was sponsored to attend Derby Day by industrial chemical and fossil fuel company Du Pont, to promote the company’s new synthetic fabric, Orlon. </p> <p>Cheap, mostly imported synthetic fabrics (made from fossil fuels) were one of several factors contributing to a major shift in Australian clothing manufacturing and consumption, Hastings says.</p> <p>Hastings says, there is a clear thread linking the rise of synthetic fabrics like Orlon, Dacron, Rayon (… anything ending with an ‘on’), which had a throwaway quality to them, and today’s <a href="https://cosmosmagazine.com/earth/sustainability/fast-fashion-part-one/" target="_blank" rel="noreferrer noopener">fast fashion addiction</a>. Australia is the second largest consumer of textiles globally, buying on average <a href="https://www.monash.edu/msdi/news-and-events/news/articles/2022/urgent-call-to-reduce-australias-sizeable-fashion-footprint-and-its-impact-on-planetary-and-human-health" target="_blank" rel="noopener">56 new items of clothing </a>per person, per year.</p> <p>Post war immigration and the rise of the ‘baby boomers’ led to a greater emphasis on youth culture and individualism. </p> <p>This, together with the rise of advertising and mass marketing helped drive a cultural shift away from the ‘make do and mend’ era where fabrics and clothing were often unpicked and re-sewn into new garments. </p> <p>Hastings says the removal and reduction of tariff protections was another contributing factor to the demise of local manufacturing.</p> <p>Before the post-war era, “everyday clothes weren’t imported. They were manufactured here … made for local consumption,” she says.</p> <p>“Imports on mass were kept out by tariff protection. So, very high tariffs on anything important [which] meant that if they did come in, imports were sort of priced considerably higher in the marketplace than our local product. And our local product was not overly cheap from what I can gather, because it was pretty,  labor intensive and Australian wages at the time were quite high.”</p> <p>Interwoven, these different factors – the commodification of youth culture, the reduction in tariff protections by the Whitlam government, and the rise of new synthetic fabrics – all contributed to the demise of Australia’s local clothing manufacturing industry.</p> <p>Today, 97% of Australia’s clothing is imported.</p> <p>By sharing her research, Hastings says, she hopes we can learn from history.</p> <p>“It’s how culturally we can shift. Because, we did a major shift from the post war era of what I call ‘thrift and making do.’ We did a major shift then to a sort of a ‘purchase everything we can possibly see throwaway society’ when it comes to fashion, in a couple of decades.” </p> <p>She says, history shows, if we really wanted to, we could learn again, to value things, recycle, upcycle and cultivate a culture of sustainability.</p> <p><em>Image credits: Getty Images</em></p> <p><em><!-- Start of tracking content syndication. Please do not remove this section as it allows us to keep track of republished articles --> <img id="cosmos-post-tracker" style="opacity: 0; height: 1px!important; width: 1px!important; border: 0!important; position: absolute!important; z-index: -1!important;" src="https://syndication.cosmosmagazine.com/?id=217818&amp;title=Short+shift%3A+Fashion+week+research+on+how+the+%26%238217%3B60s+and+%26%238217%3B70s+rocked+Australia%26%238217%3Bs+clothing+industry" width="1" height="1" /> <!-- End of tracking content syndication --></em></div> <div id="contributors"> <p><em>This article was originally published on <a href="https://cosmosmagazine.com/people/how-the-60s-rocked-australian-fashion/" target="_blank" rel="noopener">cosmosmagazine.com</a> and was written by Petra Stock. </em></p> </div>

Beauty & Style

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Andy Warhol’s Marilyn Monroe portraits expose the darker side of the 60s

<p>“If you remember the ‘60s, you weren’t really there”. This <a href="https://quoteinvestigator.com/2010/05/07/remember-1960s/">famous quip</a> says much about our rose-tinted nostalgia for the decade. The fun-loving hedonism of Woodstock and Beatlemania may be etched into cultural memory, but Andy Warhol’s Marilyn Monroe portraits reveal a darker side to the swinging 60s that turns our nostalgia on its head.</p> <p>Warhol’s iconic Marilyn Monroe portrait <a href="https://www.nytimes.com/2022/03/21/arts/design/christies-andy-warhol-marilyn-monroe.html">Shot Sage Blue Marilyn</a>, due to go on sale at Christie’s in May, is expected to fetch record-breaking bids of $200 million (£153 million), making it the most expensive 20th century artwork ever auctioned. Nearly 60 years after they were first created, Warhol’s portraits of the ill-fated Hollywood star continue to fascinate us.</p> <p>According to <a href="https://www.nytimes.com/2022/03/21/arts/design/christies-andy-warhol-marilyn-monroe.html">Alex Rotter</a>, Christie’s chairman for 20th and 21st century art, Warhol’s Marilyn is “the absolute pinnacle of American Pop and the promise of the American dream, encapsulating optimism, fragility, celebrity and iconography all at once”. </p> <p>Hollywood stars were great sources of inspiration for the <a href="https://www.tate.org.uk/art/art-terms/p/pop-art">Pop art</a> movement. Monroe was a recurring motif, not only in the work of Warhol but in the work of his contemporaries, including James Rosenquist’s <a href="https://www.moma.org/learn/moma_learning/james-rosenquist-marilyn-monroe-i-1962/">Marilyn Monroe, I</a> and Pauline Boty’s <a href="https://www.artfund.org/supporting-museums/art-weve-helped-buy/artwork/11953/colour-her-gone">Colour Her Gone</a> and <a href="https://www.tate.org.uk/art/artworks/boty-the-only-blonde-in-the-world-t07496">The Only Blonde in the World</a>.</p> <h2>Mourning Marilyn</h2> <p>Born Norma Jeane Mortenson but renamed Marilyn Monroe by 20th Century Fox, the actress went on to become one of the most illustrious stars of Hollywood history, famed for her roles in classic films like <a href="https://www.imdb.com/title/tt0045810/">Gentlemen Prefer Blondes</a> and <a href="https://www.imdb.com/title/tt0053291/">Some Like It Hot</a>. She epitomised the glitzy world of consumerism and celebrity that Pop artists thought was emblematic of 1950s and 1960s American culture.</p> <p>While Rotter’s statement may be true to some extent, there is also a sinister edge to the Marilyns because many were produced in the months following her unexpected death in 1962.</p> <p>On the surface, the works may look like a tribute to a much-loved icon, but themes of death, decay and even violence lurk within these canvases. Clues can often be found in the production techniques. One of the collection’s most famous pieces, <a href="https://www.tate.org.uk/art/artworks/warhol-marilyn-diptych-t03093">Marilyn Diptych</a>, uses flaws from the silkscreen process to create the effect of a decaying portrait. Warhol’s <a href="https://news.masterworksfineart.com/2019/11/26/andy-warhols-shot-marilyns">The Shot Marilyns</a> consists of four canvases shot through the forehead with a single bullet. In this, the creation of Warhol’s art is as important as the artwork itself.</p> <h2>Death and Disaster</h2> <p>At a glance, the surface level glamour of Warhol’s Marilyn immortalises the actress as a blonde bombshell of Hollywood’s bygone era. It is easy to forget the tragedy behind the image, yet part of our enduring fascination with Marilyn Monroe is her tragedy. </p> <p>Her mental health struggles, her tempestuous personal life and the mystery surrounding her death have been well documented in countless biographies, films and television shows, including Netflix’s documentary <a href="https://www.imdb.com/title/tt19034332/">The Mystery of Marilyn Monroe: The Unheard Tapes</a> and upcoming biopic <a href="https://www.imdb.com/title/tt1655389/">Blonde</a>. She epitomises the familiar narrative of the tragic icon that is doomed to keep repeating itself – something that Warhol understood all too well after surviving a shooting by <a href="https://www.artnews.com/art-news/news/who-was-valerie-solanas-andy-warhol-1202689740/">Valerie Solanas</a> in 1968. </p> <p>The death at the heart of Warhol’s Marilyns is not just rooted in grief but is also a reflection of the wider cultural landscape. The 1960s was a remarkably dark period in 20th century American history. A brief look at the context in which Warhol was producing these images reveals a decade plagued by a series of traumatic events.</p> <p><a href="https://www.life.com/">Life Magazine</a> published violent photographs of the Vietnam War. Television broadcasts exposed shocking police brutality during civil rights marches. America was shaken by the assassinations of John F Kennedy, Robert Kennedy and Martin Luther King Jr. Footage of JFK’s death captured by bystander Abraham Zapruder was repeatedly broadcast on television. Celebrated Hollywood stars were dying young and in tragic circumstances, from Marilyn Monroe and Judy Garland to Jayne Mansfield and Sharon Tate.</p> <p>This image of the 1960s is echoed by the postmodern theorist <a href="https://www.jstor.org/stable/466541">Fredric Jameson</a>, who describes the decade as a “virtual nightmare” and a “historical and countercultural bad trip”. Stars like Monroe were not as flawless as they may appear in Warhol’s portraits, but were “notorious cases of burnout and self-destruction”.</p> <p>Warhol understood this more than anyone. His <a href="https://publicdelivery.org/andy-warhol-death-disaster/#:%7E:text=Andy%20Warhol%20created%20a%20series,repetition%20to%20communicate%20his%20ideas.">Death and Disaster</a> series explores the spectacle of death in America and affirms the 1960s as a time of anxiety, terror and crisis. The series consists of a vast collection of silkscreened photographs of real-life disasters including car crashes, suicides and executions taken from newspapers and police archives. Famous deaths are also a central theme of the series, including portraits of Marilyn Monroe, Elizabeth Taylor and Jackie Kennedy – all of whom are associated with significant deaths or near-death experiences.</p> <p>Death and Disaster came about in 1962 when Warhol’s collaborator <a href="https://www.google.co.uk/books/edition/Andy_Warhol/-sotEAAAQBAJ?hl=en&amp;gbpv=1&amp;dq=Maybe+everything+isn%27t+always+so+fabulous+in+America.+It%E2%80%99s+time+for+some+death.+This+is+what%E2%80%99s+really+happening.&amp;pg=PT32&amp;printsec=frontcover">Henry Geldzahler</a> suggested that the artist should stop producing “affirmation of life” and instead explore the dark side of American culture, "Maybe everything isn’t always so fabulous in America. It’s time for some death. This is what’s really happening."</p> <p>He handed Warhol a copy of the New York Daily News, which led to the first disaster painting <a href="https://artimage.org.uk/6123/andy-warhol/129-die-in-jet--plane-crash---1962">129 Die in Jet!</a>.</p> <p>The recent hype around the auctioning of the Marilyn portrait reveals as much about our time as it does about our nostalgia for the 1960s. We choose to remember the decade in all its glorious technicolour, but uncovering its darker moments provides room for reconsideration. Perhaps Warhol’s Marilyn is not just a symbol of the swinging 60s, but an artefact from a time that was as turbulent and uncertain as our own.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/andy-warhols-marilyn-monroe-portraits-expose-the-darker-side-of-the-60s-181213" target="_blank" rel="noopener">The Conversation</a>. </em></p>

Art

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An ode to surf music

<p>The first tune I ever wrote – a proper tune, with an intro, verses, choruses and a middle bit – was a surfing instrumental.</p> <p>I have always been a pretty crappy singer, and I figured that the guitar could sing for me (I know, I know). But like anyone who grew up in the 60s this genre made sense to me. It was both fun and familiar, and there was room for storytelling in the sound of the guitar.</p> <p>Surf music was born with the release of Dick Dale’s first single Let’s Go Trippin’. Dale was born in Boston, but arrived in California as a teenager and started surfing. He played a left-handed guitar, but with the strings upside down, that is with the low strings at the bottom and the high strings at the top. This quite odd arrangement made for an idiosyncratic sound, all the physical movements up-ended; the dynamics reversed, the emphasis offset.</p> <p>Dale first played <a href="https://www.youtube.com/watch?v=WOlmBC1DlsY">Let’s Go Trippin’</a> in 1960, and it was a wild and crazy sound, the birth of a genre.</p> <div class="embed-responsive embed-responsive-16by9"><iframe class="embed-responsive-item" src="https://www.youtube.com/embed/WOlmBC1DlsY"></iframe></div> <p>The fact that he has a Lebanese background informed his style. The frenetic oud and tarabaki playing that drives Lebanese pop music of the 50s seeped in, along with his love of drummer <a href="https://en.wikipedia.org/wiki/Gene_Krupa">Gene Krupa</a>’s snappy snare.</p> <p>It didn’t take long for Dale’s influence to spread. Not really very surfy, but in 1962 Monty Norman’s James Bond theme for Dr. No was <a href="https://www.youtube.com/watch?v=GqcevBO9fi8">played by the tremendous John Barry Seven</a> and is a great example of the foregrounding of the edgy guitar sound that Dale perfected.</p> <div class="embed-responsive embed-responsive-16by9"><iframe class="embed-responsive-item" src="https://www.youtube.com/embed/GqcevBO9fi8"></iframe></div> <p>The first of the teen surf movies, <a href="https://www.imdb.com/title/tt0056860/">Beach Party</a>, was released a year later: tales of teen idiocy, with Annette Funicello and Frankie Avalon at the helm, centred around summer, surf, music and endless partying.</p> <p>At least a dozen of these films were made, formulaic and sanitised, with established comedians like <a href="https://en.wikipedia.org/wiki/Paul_Lynde">Paul Lynde</a> and <a href="https://en.wikipedia.org/wiki/Don_Rickles">Don Rickles</a>, promoting a romanticised image of surf culture.</p> <p>Although the movies were built on beach party guitar bands, the music charts and radio waves of the time were also home to beautiful, evocative guitar instrumentals. The Ventures from Washington state had their first hit with <a href="https://www.youtube.com/watch?v=owq7hgzna3E">Walk, Don’t Run</a> in 1960.</p> <p>They played mostly covers, but developed a new sound - pounding toms and unison picking guitars - releasing many twangy gems including covers of Joe Meek’s Telstar, The Champs’ Tequila, as well as two of the touchstone tracks of the surf music genre in <a href="https://www.youtube.com/watch?v=tqC3BjIyq_0">Pipeline</a> and <a href="https://www.youtube.com/watch?v=XjiOtouyBOg">Wipeout</a>.</p> <div class="embed-responsive embed-responsive-16by9"><iframe class="embed-responsive-item" src="https://www.youtube.com/embed/tqC3BjIyq_0"></iframe></div> <p>In the UK, The Shadows were exploring similar terrain, with hits like <a href="https://www.youtube.com/watch?v=NoN6AKPGkBo">Apache</a>, <a href="https://www.youtube.com/watch?v=_rR0trsOUaY">Wonderful Land</a> and <a href="https://www.youtube.com/watch?v=VycZVyApqew">Atlantis</a>. They took a more lyrical approach, stepping away from the blues-based patterns of the US guitar artists, and sliding in minor chords and more complex structures.</p> <div class="embed-responsive embed-responsive-16by9"><iframe class="embed-responsive-item" src="https://www.youtube.com/embed/VycZVyApqew"></iframe></div> <p>But the thing that really sets The Shadows apart is the sound: the guitar amp producing washes of spacious reverb, as well as the watery bubbling of the vibrato; the guitar tremolo stretching the strings into tonal waves, and the orchestral layering on some of the grander tracks.</p> <p>Santo and Johnny’s <a href="https://www.youtube.com/watch?v=2rwfqsjimRM">Sleepwalk</a> is a lesson in subtle mood-making with its lap steel guitar evoking the distant Hawaiian islands.</p> <div class="embed-responsive embed-responsive-16by9"><iframe class="embed-responsive-item" src="https://www.youtube.com/embed/2rwfqsjimRM"></iframe></div> <p>It appears in the repertoire of both The Ventures and The Shadows, inspires another deeply influential beauty, <a href="https://www.youtube.com/watch?v=QooCN5JbOkU">Albatross</a>, by Fleetwood Mac, with Peter Green on guitar, and echoes through the decades to the wonderful <a href="https://www.youtube.com/watch?v=ueMaYzvXX8w">work</a> of Richard Hawley.</p> <div class="embed-responsive embed-responsive-16by9"><iframe class="embed-responsive-item" src="https://www.youtube.com/embed/QooCN5JbOkU"></iframe></div> <p><strong>Australia in the 70s and beyond - great beaches, great surfers, great music</strong></p> <p>The beaches south of Sydney produced Australia’s most notable surf band in 1961. The Atlantics had their genetic roots in Greece and Eastern Europe, an immigration success story years before Vanda and Young.</p> <p>Their biggest hit, <a href="https://www.youtube.com/watch?v=-3agVtY4Z6M">Bombora</a>, is a surf rock classic and was an international sensation in the earliest days of the genre.</p> <div class="embed-responsive embed-responsive-16by9"><iframe class="embed-responsive-item" src="https://www.youtube.com/embed/3agVtY4Z6M"></iframe></div> <p>They had another big hit, The Crusher, and then in 1964 released War of The Worlds, awash with echoes and distortion and moodiness. It was innovative and brave, but ultimately spelled their demise as a surf band.</p> <p>As the 60s hit their twilight, and the wave of political enlightenment from Prague and Paris reached our shores, the blonde, post-war beach party was dragged out by the undertow. The Summer of Love, then Woodstock came and went, leaving the surfing subculture chilling with a joint in the back of the panel van rather than wildly dancing around the bonfire with a bottle of Mateus Rosé.</p> <p>The twangy instrumentals, with their snappy drums and lightning guitar lines stretched and grew, as synthesizers and production techniques replaced the earlier simple arrangements. The sound changed and became spacious, echoing the endless drift of the waves, and the slow drama of the incoming storm.</p> <p>In 1970, <a href="https://www.imdb.com/title/tt0248194/?ref_=fn_al_tt_1">Morning of the Earth</a> was released, becoming the first film soundtrack to earn a gold record in Australia. It not only has tracks by singer-songwriters and pop stars but also by the acid-surf instrumentalists <a href="https://en.wikipedia.org/wiki/Tamam_Shud">Tamam Shud</a>. It became an enormously influential film, capturing the idyllic nature of the surfing culture.</p> <div class="embed-responsive embed-responsive-16by9"><iframe class="embed-responsive-item" src="https://www.youtube.com/embed/K3uLj-YYaBs"></iframe></div> <p>But the twang hadn’t gone. The sound of the surf guitar is core to the music of The Cramps and The Pixies. It surfaced in <a href="https://en.wikipedia.org/wiki/Ricky_Wilson_(American_musician)">Ricky Wilson</a>’s great guitar lines for <a href="https://www.youtube.com/watch?v=szhJzX0UgDM">The B52s</a>.</p> <p>It rang clear as a bell in 80s Australian bands like The Sunnyboys, Surfside Six, Radio Birdman, The Riptides, and Mental As Anything.</p> <div class="embed-responsive embed-responsive-16by9"><iframe class="embed-responsive-item" src="https://www.youtube.com/embed/b2D84Ma-CxI"></iframe></div> <p><a href="https://www.youtube.com/watch?v=0CINvgez73g">The Cruel Sea</a> rose in Sydney in 1987 from the ashes of Sekret Sekret, settling around the ebb and flow of guitarist Danny Rumour and guitarist/organist James Cruickshank and the rhythmic undertow of Ken Gormley and Jim Elliot.</p> <p>Instrumental rock became groovy again. Eventually, Tex Perkins joined and they became award-winning mainstays in the rise of 90s festival culture.</p> <div class="embed-responsive embed-responsive-16by9"><iframe class="embed-responsive-item" src="https://www.youtube.com/embed/H_wam2QImAY"></iframe></div> <p>More recently <a href="https://headland.bandcamp.com/music">Headland</a>, who began in 2014 playing live original instrumentals to gloriously evocative Super 8 footage of big surf at Lennox Head in the 70s, have restored faith in the power of the instrumental for the post millennium. Surf music lives!</p> <p>I only ever played my little surf instrumental a few times and then that version of our band exploded – Lindy Morrison left to join the Go-Betweens and we entered a more angular and fierce phase. But last year, in a performance at the State Library about Brisbane posters and how they help to tell stories about our past, our culture and our place in the world, I played it again.</p> <p>It felt odd to be doing it on my own, but it also felt both funny and appropriate. The tune had the twang of a simpler time. As does <a href="https://www.youtube.com/watch?v=sJWuQV2u9ns">this little gem</a> from Brian Wilson, who believes that smiles can fix the problems of the world. <!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/128914/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: http://theconversation.com/republishing-guidelines --></p> <div class="embed-responsive embed-responsive-16by9"><iframe class="embed-responsive-item" src="https://www.youtube.com/embed/sJWuQV2u9ns"></iframe></div> <p><em><a href="https://theconversation.com/profiles/john-willsteed-107411">John Willsteed</a>, Senior lecturer, <a href="http://theconversation.com/institutions/queensland-university-of-technology-847">Queensland University of Technology</a></em></p> <p><em>This article is republished from <a href="http://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/surf-music-in-praise-of-strings-sand-and-the-endless-swell-128914">original article</a>.</em></p>

Music

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Joan Collins on working in Hollywood in the 1960s: “The very thought was utterly repugnant”

<p>TV and screen legend Joan Collins appeared on CBS recently and opened up about many aspects of her life, including her career and courtships, to roles such as <em>Cleopatra</em> and the casting couch.</p> <p>The actress, 85, was candid about her experiences as a film star in the light of the #MeToo movement. She revealed she was promised one of the biggest roles in film history as long as she slept with the producer.</p> <p>“There were some very, very big people who promised me this role if I would be ‘Nice’ to them,” she explained.</p> <p>“This was the casting couch. I was dancing with one of the men who was the head of the studio. And he said, ‘I can put you up in a nice little apartment and I will come and visit you and you’ll not only get all the best roles at Fox, but we will see that you get <em>Cleopatra</em>.”</p> <p>Collins revealed in a column for <em>The Daily Mail</em> in 2017 that this man was Buddy Adler, the then head of 20<sup>th</sup> Century Fox.</p> <p>Collins responded quick-wittedly: “I said, ‘Great idea, and I am here with my agent, Jay Kanter, let’s go talk to him about it.’”</p> <p>Collins was questioned on whether she was aware of her actions of denying these propositions and Collins explained she had long held firm on her values.</p> <p>“I was never, ever, ever going to settle for giving my body to some old man for a role, or even a young man or anybody. I would never do that, ever, ever,” she reiterated.</p> <p>In the column she recalled Adler’s response to this remark. He said “Honey, you have quite a sense of humour.”</p> <p>She replied with the same wit, saying, “And a sense of humour is all you’ll ever get from me.” This response cost her the role of <em>Cleopatra</em>, as Elizabeth Taylor landed the coveted gig playing the Egyptian Queen.</p> <p>Collins further discussed her experience in a column for <em>The Daily Mail</em>.</p> <p>“The head of 20<sup>th</sup> Studio Fox at the time, Buddy Adler, and the chairman of the board – a Greek gentleman old enough to be my grandfather – bombarded me with propositions and promises that the role was mine if I would be ‘nice to them,’” Collins wrote for <em>The Daily Mail</em>.</p> <p>“It was a euphemism prevalent in Hollywood. I couldn’t and I wouldn’t – the very thought of these old men was utterly repugnant. So, I dodged and I dived, and hid from them around the lot and made excuses while undergoing endless screen tests for the role of Egypt’s Queen.”</p> <p>Collins further opened up about her romances, from her love affair with Warren Beatty and on-set romance with Harry Belafonte to ranking her five husbands in the interview.</p> <p>Collins alluded to Warren Beatty as one who relished in his press.</p> <p>“We used to stop on Sunset Boulevard at the newsagents and Warren would look through modern screen and see if we had pictures in a magazine,” she recalled.</p> <p>The screen legend was asked if she was in love with Beatty and replied: “I think so. It’s like Prince Charles said, ‘Whatever love is.’”</p> <p>Later, on the set of <em>Island In The Sun</em>, Collins met Harry Belafonte and romance soon followed. Although Collins revealed John Forsyth on <em>Dynasty</em> wasn’t her biggest fan.</p> <p>“John didn’t like me,” Collins revealed. “John is old school and misogynistic, and a bit sexist. He frankly didn’t like this English woman and every person saying that she made the show.”</p>

Movies

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Inside Elvis Presley’s 1960s mobile home

<p>Elvis fans have been given an intimate look into the life of the King of rock 'n' roll as his mobile home goes to auction.</p> <p>Photos inside his 1960s Delta home have been released prior to the auction taking place at GWS Auctions in Beverly Hills this Saturday.</p> <p>The “Legends: Iconic Film &amp; Music Memorabilia Auction” will also be selling the iconic star’s personal Bible and his Sea-Mist Green Cadillac Seville, the last car he purchased before his death.</p> <p>According to the auction house, the two-bedroom mobile home has been restored to its original fashion.</p> <p>Elvis and Priscilla Presley purchased the mobile home in 1967 and parked it on their “Circle G Ranch” near their home in Graceland.</p> <p>“Elvis liked his Memphis Mafia around, and he figured the way to do that was to buy eight house trailers and have them installed on poured concrete pads near the lake on the property,” it says on GWS Auctions <a href="http://www.gwsauctions.com/"><span style="text-decoration: underline;"><strong>website</strong></span></a>.</p> <p>“The accommodations for the guys were set way back on the 163-acre property, however, Elvis seemed to have really loved hanging out with his buddies back in the trailer area, and as a result, in March he ordered this two-bedroom trailer for him and Priscilla.”</p> <p>GWS Auctions also revealed that some sources believe Lisa Marie was conceived in the mobile home, due to the date of purchase.</p> <p>The home features a vintage-style kitchen and is primarily wooden.</p> <p>GWS Auctions said the home is currently owned by a museum and has been authenticated, so the lucky new owner will receive the original paperwork that features Elvis’s signature.</p> <p>Scroll through the gallery above to see inside the King’s mobile home. </p>

Music

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Saying goodbye to my family farm in the 1960s

<p><em>Missed the start of series? Read <span style="text-decoration: underline;"><strong><a href="https://www.oversixty.com.au/lifestyle/family-pets/2018/02/growing-up-on-a-farm-in-1950s-australia/" target="_blank">Chapter 1: Aussie Summers – 1950s</a></strong></span>, <span style="text-decoration: underline;"><strong><a href="https://www.oversixty.com.au/lifestyle/family-pets/2018/02/growing-up-on-a-farm-in-1950s-australia-part-2/" target="_blank">Chapter 2: Aussie Winters – 1950s</a></strong></span>, and <span style="text-decoration: underline;"><strong><a href="http://www.oversixty.com.au/lifestyle/family-pets/2018/03/a-time-of-great-change-in-my-childhood/" target="_blank">Chapter 3: Aussie Winters – 1960s</a></strong></span>.</em></p> <p align="center"><strong>Chapter 4: Aussie Summers – 1960s </strong></p> <p>The 60s were great for me, but did result in the biggest changes in my life, certainly towards the end of the decade. I was in my late teenage years, and a little outspoken as to what I wanted regarding my farming future. However, all of that were to happen much later.</p> <p>I still loved everything involving the sheep. Uncle Henry still continued to supply us with rams, until his untimely death due to a road accident in Western Australia in early 1962. He was only aged 54 at the time of his death.</p> <p>His widow was Mum’s sister so Mum immediately flew to WA to comfort her. Mum would later tell us that every day she was away, for about three weeks, the temperature never dropped below 40 degrees.</p> <p>We still continued growing wheat and barley, the success of which was dependent entirely on receiving the right amount of rain when we needed it. Some years we received too much rain, which could result in partial flooding, other years not enough. This was just part of being a farmer.</p> <p>This decade saw huge changes as to how harvesting was done. From bags, and carting them all to Wasleys, bulk handling was slowly introduced. The grain was poured into a large bin on the back of the truck and then driven to where there were several grain silos. Once weighed, the truck was driven onto a grid, the sides of the bin opened up to release the grain from where it was sent into one of the huge silos, by various conveyor belts. The truck was then weighed, and the process continued until harvesting was completed.</p> <p>After I left school, Robin and I did all the tractor work. Robin did the harvesting, and I drove the truck to the silos at Roseworthy which was about a 20-minute truck drive away. Depending on weather conditions, harvesting could take several weeks. I was 16, the first season this happened. It was not uncommon for many of the other truck drivers to be farmers sons of similar age.</p> <p>It was during the harvest time in ‘63 that American President Kennedy was assassinated. It only seemed like yesterday when this tragic event occurred. I had ridden my bike home from school, and Mum had heard about it on the wireless, so she told me to tell Dad and Robin. Like everyone else, certainly in Australia, everybody was deeply shocked, as JFK appeared to be a great world leader.</p> <p>Robin was married in the 60s and he and his wife moved onto a recently purchased property about two miles away. As usual, Robin and I had some funny experiences during the summers in that decade.</p> <p>At the front of his house, was a solid looking stone wall. For some reason, the decision was made for it to be demolished. The intention was for Robin to reverse the truck as close to the wall as possible, so we could dismantle it and put everything onto the truck. I was to tell him when to stop. However, I made a crucial mistake. Instead of being out to the side, I stood directly behind the truck, and directly between the truck and the wall, with Robin slowly inching the truck back. I was getting a little concerned for my health, because despite my best efforts to tell him to stop, he continued reversing. Finally and by now fearful for my life, I yelled out, almost begging him to stop. I’m certain the terror in my voice was heard many miles away. The wall was eventually safely removed without further mishap, or near loss of life.</p> <p>Another time, he decided to change part of the fence leading from the road, to the house. This required digging several post holes. I decided, because the ground was really hard after a long dry summer, and it was HIS driveway, that he should dig the holes, which he did. A post was then put in the hole, and some dirt tipped back in. Robin then rammed the soil with the round heavy round piece on the end of the crow-bar. This process was repeated several times, until the dirt reached the top of the ground, to make the post nice and tight. Having fenced with Robin previously, it was then customary for me to then ram the ground with the heel of my foot.</p> <p>A major disaster was about to happen. For some unknown reason, this time we were both ramming at the same time, with the inevitable result that my foot was in the wrong place at the wrong time. I was only wearing light-weight old tennis shoes at the time, and soon we could see blood seeping up through the top of my shoe. I was too frightened to see the mess of my big toe, so decided not to take my shoe off.</p> <p>Eventually we went home and Mum cleaned it up for me. What hurt the most was the fact I was unable to play tennis for a few weeks, because my toe was too sore. I’m not sure if I eventually lost my toe nail or not, as that did not seem so important.</p> <p>When I was aged about 10, I began playing Under 12 competitive tennis on a Saturday morning. We played against teams like Kangaroo Flat, Gawler River, Sandy Creek and Williamstown to name but a few. As was normal for me, at that age, I had undoubted beliefs (which were totally unfounded) in my abilities with anything sporting. I think there were six players per team. As we had many more players than that, we had to give others a turn, no matter how good we were, or thought we were.</p> <p>One Friday we were in Gawler doing our weekly shopping. We saw Robin (my best friend’s mother), who was the selector for the team. She told me, that the following day I would not be playing, and would be replaced with a player I felt was well below my abilities.</p> <p>I was totally devastated because I knew we were playing Kangaroo Flat who happened to be THE best team in the competition. Without me, I knew we would lose, which we did. My rationale at the time for our defeat was simply because I was not playing.</p> <p>Robin was not yet married and still living at home. He happened to be the Captain of the senior team that played in the afternoon. Sometimes a Gent player would ‘phone about lunch time saying that for some reason he could not play. Rather than trying to get another player at short notice he would ask me… my hero. I still loved to win, but somehow that did not seem so important. I was playing in the same team as my brother and other players I knew and respected, and to me that seemed to be enough.</p> <p>My sister-in-law and her younger sister, both of whom were top sportswomen in the district eventually joined our team which strengthened it considerably. We later went on to win the prized premiership for many consecutive years.</p> <p>When aged about 10, if I wasn’t going to become a farmer, then I wanted to travel the world playing tennis like Rod Laver, Lou Hoad, Ken Rosewall, and John Newcombe amongst others.</p> <p>I truly believed I was that good.</p> <p>During my final year at primary school, it seemed highly likely that rather attending Gawler High School, I would be sent to boarding school in Adelaide and be coached by one of the State’s leading tennis coaches. It would give everyone a true indication of my abilities, or lack of. Although I hated the ides of being away from the farm, I thought it was a sacrifice worth making. However, circumstances changed and the possibility never eventuated.</p> <p>By now, both Mum and Dad had become excellent lawn bowlers, winning countless events and trophies. Sometimes on a really hot, summers night I would go along and play with them at Wasleys. It was great fun as I knew most of the people and I really enjoyed it. I was asked to play more regularly, but in those days, bowls was something “older” people played, not energetic teenagers like me.</p> <p>Initially, we still had our annual holidays at Port Elliot, which were still the highlight of the year. However, a few years later Mum and Dad purchased a caravan, so our holidays were spent visiting different places like Barmera, and Port MacDonnell (south of Mt. Gambier) visiting Uncle Murray’s property at Keith on the way, to name but a few.</p> <p>These holidays were still great, but different. The highlight one year was when a really neat couple who were farmers and lawn bowler friends, decided to drive to Port Lincoln. For both Alison and I this was really exciting as we knew it was a long drive. To make it even more exciting, we drove through the night, because it was too hot to travel during the day time. I loved following on the map, where we were going. I would have a doze, then excitedly wake up and ask where we were, and then look on the map. It was fantastic to drive through towns I had studied in geography like Port Pirie, Port Augusta, Whyalla and finally Port Lincoln. We had a great holiday, with great friends.</p> <p>In 1967 we had one of the worst droughts on record, resulting in no financial return from our cereal crops. We also had to sell many of our precious sheep, because we had no feed for them. It was very sad for us and our neighbours to see our once beautiful farms transformed into what looked like deserts.</p> <p>After much family discussion it was decided to sell the farms, and move to the South East of the state. It was a huge decision, which would affect many lives. Not the best thing to do when gripped in a severe drought, but there were several other factors involved.</p> <p>I remember our first trip to look at properties. It was early morning after our table tennis Grand Final against our greatest rivals Kangaroo Flat, and it seemed fitting that after years of friendly rivalry, our final, Grand Final would be against them, and that we would win.</p> <p>After several trips looking at properties and many sleepless nights, two properties were purchased within about an hour’s drive of each other, one farm for Robin and his family, and one for Dad, Mum, Alison and I.</p> <p>Eventually the properties were sold, farm machinery and tools railed to the new properties, and sheep loaded and moved. It was a mammoth job, not helped by the drought, and by now, oppressive summer heat.</p> <p>After Robin and family had relocated, it was our turn.</p> <p>I can still vividly remember the day. It was a really hot summer’s day with the temperature in the low 40’s when the furniture men packed our furniture into a huge van. It took them all day and was dark by the time they had completed their huge task.</p> <p>After a final clean of all the rooms and our individual goodbyes to our home of many years, a home in which Mum and Dad had raised four children. A home in which they had personally lived for almost 30 years. It was a very emotional time for us all, with very little talking. We were totally absorbed with our own thoughts, and memories.</p> <p>It was time to begin the next chapter of our lives. We finally left on our 4 hour journey, during which the temperature never dropped below 38 degrees.</p> <p>We drove in a convoy, Mum and my sister with our spoilt cat in the car. Dad drove the Land-Rover with our sheep dog in the front between us. In the enclosed back, on top of various soft bags, with her head sticking out of a wool pack and looking quite happy, was our spoilt pet kangaroo, Josie. Behind in the trailer were our 20 or so chickens.</p> <p>It was a slow hot, journey, with numerous stops. We finally arrived at our new home which was empty. We soon settled the animals into their new homes, and relaxed on mattresses we had previously taken down on a previous trip, with a big fan, until the furniture truck arrived.</p> <p>That day it was 44 degrees in the nearest town. Understandably everyone was exhausted after the furniture truck arrived and everything was safely in the house. We then went for a short drive into town for a much deserved milkshake.</p> <p>The next day, we all started our new lives. We knew things would be different and would take time to adjust to everything new, but we were still going to be farmers, so nothing had changed. We would still be reliant, as we always had been, on the weather. That was not about to change.</p> <p>To quote the words from a well-known poem we learnt at school, written by Dorothea Mackellar in 1908, part of which reads:</p> <p align="center"><em>I love a sunburnt country,</em></p> <p align="center"><em>A land of sweeping plains,</em></p> <p align="center"><em>Of rugged mountain ranges,</em></p> <p align="center"><em>Of droughts and flooding plains,</em></p> <p align="center"><em>I love her far horizons,</em></p> <p align="center"><em>I love her jewel sea,</em></p> <p align="center"><em>Her beauty and her terror</em></p> <p align="center"><em>The wide brown land for me</em></p> <p>The 17 years were amazing with some great, and some not so great years financially, but always happy, with fantastic memories. How appropriate therefore to end my stories about South Australian weather with such a beautiful poem.</p>

Family & Pets

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1960s: A time of great change in my childhood

<p><em>Missed the start of series? Read <span style="text-decoration: underline;"><strong><a href="https://www.oversixty.com.au/lifestyle/family-pets/2018/02/growing-up-on-a-farm-in-1950s-australia/" target="_blank">Chapter 1: Aussie Summers – 1950s</a></strong></span> and <span style="text-decoration: underline;"><strong><a href="https://www.oversixty.com.au/lifestyle/family-pets/2018/02/growing-up-on-a-farm-in-1950s-australia-part-2/" target="_blank">Chapter 2: Aussie Winters – 1950s.</a></strong></span></em></p> <p align="center"><strong>Chapter 3: Aussie Winters – 1960s</strong></p> <p>The 1960s were for me personally, a decade of changes. From leaving a small country primary school to attending a large high school where I did not know many kids, to leaving school and working on our family farm with Dad and Robin. Later in the decade we changed farms and moved from the district, but that will be dealt with in another story.</p> <p>During this decade, I became an excellent driver of tractors and farm vehicles. Sport was a dominate feature of my life, about which I had grandiose, but totally unachievable dreams.</p> <p align="center"><span style="text-decoration: underline;">Dealing with foxes</span></p> <p>Lambing time was still one of the highlights of the year, providing we received enough rain to provide feed for the ewes. We still had our pet lambs, and the first were still called Sally and Jimmy, and they lived their lives quite happily on the farm, with the Sally’s eventually having lambs of their own.</p> <p>We still had problems with foxes. On really dark nights, I used to go out with Dad and some friends/neighbours, in our Land-Rover with me holding the spotlight. I soon learnt the foxes were difficult to find and were very cunning. Sometimes they were very scarce and we would only shoot one or two, other nights we would get many more. All the neighbours knew us so had no problems with us shooting on their properties. By the time we arrived home (anytime between midnight and 3am) we would be FROZEN with the cold. After a short sleep it was probably back to tractor driving the following day.</p> <p>Shearing time continued to be great fun, especially after I left school and could spend all day trying to help. Initially I continued just to sweep the floor, but as I grew taller and stronger, I was taught how to do other jobs. I simply loved everything about shearing, the smells, sounds and the sights left me with happy, life-long memories.</p> <p align="center"><span style="text-decoration: underline;">Farm “accidents”</span></p> <p>The older I became, the more Dad trusted me to do things unsupervised. This was best illustrated with driving the tractor. When I was about 12, Dad had just started cultivating a new paddock. By now I had seen him do this numerous times and it required a fair amount of skill, to pull an implement wider than the tractor, getting as close to (but not hitting) the fence. This was especially difficult when turning 90 degrees in the corners.</p> <p>After the outside few rows were completed, Dad would allow me to take over while he watched, providing there was nothing in the paddock that I could hit. I tried really hard to impress him, by driving straight like he and my brother.</p> <p>This particular day, it was starting to get really dark and overcast, and with the wind in the NW usually meant we could expect thunderstorms. After a while, Dad said, “I’m going home for tea, you can take over for awhile”. With a huge grin and pride to match it, I started, trying really hard to keep the lines straight like Dad had done.</p> <p>A short time later, I could see flashes of lightning and even above the noisy tractor, I could hear the thunder, and it seemed to be getting closer. My rows started to become quite crooked as I was become more fearful by the minute. I didn’t know a lot about lightning but knew that it struck the highest point, so I was trying to work out which was the highest, my head or the tractor exhaust.</p> <p>By now, it was windy and raining as well and I was pretty nervous and fearful of my life, so I pulled the tractor to a stop (I didn’t know how to turn off the motor) hopped off the tractor and crouched on the ground between the rear wheels.</p> <p>Finally Dad arrived and I was SO embarrassed for him to find me like that. He said laughing “What are you doing”? I explained my thinking. He laughed again and said, “The tractor has rubber wheels so you would be perfectly safe”. It was a lesson well learnt, and a huge blow to my ego.</p> <p>Another tractor driving incident when I was about 14. By now Robin drove one tractor and me the other, and Dad would take over on one of them while went home for lunch.</p> <p>Obviously with two tractors going around and round, very quickly the paddocks became smaller, until it reached the stage there were just the corners (headlands) left to do. It took a fair amount of skill and practice to complete the 180 degree turn, when confronted with two fences fast approaching, especially considering the fact that the combined length of tractor plus cultivator would have been at least 6 metres. I had ALWAYS been told that before turning, to change the tractor down to a much slower gear, thereby making the turn that much easier to complete.</p> <p>This particular day, we were working in the hill paddock, which was on a fairly busy road close to the house. One of the fences was brand new. Nearly completion of the paddock, Robin and I discussed what we would do. It was decided he would drive off and start in a different paddock so I did the headlands as I had been taught.  </p> <p>On the final one, with the new fence, I decided NOT to change to a slower gear, because I thought I was clever enough to achieve it. However, I left the turn far too late. Suddenly, the front wheels were disappearing through Dad’s new fence and the wires were getting tangled around the front wheels. I pulled the tractor to a halt in total panic and absolute shock, not knowing what to do. To continue would totally destroy the fence, to reverse meant driving over an expensive implement, either way I knew Dad would not be impressed. I decided to leave the tractor and walk home and face the music. As I expected, Dad was not at all happy with me. I’m not sure what happened next, as I think I was too traumatised to remember.</p> <p align="center"><span style="text-decoration: underline;">Sporting glory</span></p> <p>By now I was totally absorbed with table-tennis and played when I could. The matches were fiercely competitive with our team. Reeves Plains was still one of the top teams, with our main opposition being Kangaroo Flat. Other teams included Wasleys, Two Wells, and teams from Gawler, amongst others. Each team consisted of six players, so with Dad, Mum, Robin and me, we only needed two others. One of Kangaroo Flat’s top players was Janice, so when she married my brother and played for us, that firmly tilted the balance in our favour.</p> <p>We played in the Adelaide Plains Table Tennis Association, and it was always a great honour to be selected to play for the association against others like Clare and Strathalbyn. In my final couple of years I was selected and it felt great to play with the rest of the family and friends from other clubs.</p> <p>Every year a local tournament was played in Wasleys and I was always keen to win the Under 15 Boys Single title. When I was 12, I was beaten in the semi-final by an older boy who played for our team. The following year I lost in the final. I was not happy, as I had played him many times previously and had always beaten him.</p> <p>The following year which was my last, all the older boys were too old, so I won with virtually no opposition, which was almost a hollow victory. Still, it was great to win a silver teaspoon, which I treasured dearly for many years, and have my name in the local paper.</p> <p>Those cold winter nights I will never forget. To come home after a night of table-tennis, have some of Mum’s cooking, a hot drink of Milo as we put our feet in the ARGA stove to warm up before going to bed, nothing has ever topped those feelings, of un-bridled happiness, and contentment. Then, getting up early next morning sit on a tractor in the freezing cold and rain, it didn’t seem to matter, as my world was perfect.</p> <p align="center"><span style="text-decoration: underline;">A time of change</span></p> <p>After leaving primary school, I was faced with the daunting situation of high school. My first year was spent at the new school that was being built by the race-course (Barnet Road) in Gawler. To get there, I first had to ride my bike 2 miles to catch the Mallala to Gawler bus.</p> <p>After our small primary school, where everybody knew everyone, to be faced with at least 200 new faces was rather daunting. With a series of tests completed, I was placed with about 40 others with Mr. Barr, in 1C who was our very nice class teacher. My good friend from primary school, Graham, was in another class so initially I missed him a great deal, until I got to know some of the others, (mainly “townie” boys from Gawler) and some nice girls.</p> <p>I was just an average student and didn’t really like high school and left when I turned 15 as I had no desire to be anything other than a farmer.</p> <p>Dad still went on his annual bush trips with friends, but now it was different. No longer being able to shoot kangaroos he now shot foxes on outback sheep stations. To cover their costs, they would skin the foxes, and then sell them to a firm in Adelaide.</p> <p>Most winters were cold and wet, with the wind from a southerly or south west direction. Sometimes however, we did not receive enough rain which caused all sorts of problems regarding the feed for the sheep, and germination of the seed crops. This lack of rain during the winter and early spring months meant our crop yields would be really low, therefore affecting us financially, a great deal.</p> <p>In those days, no one had nice warm tractor cabins to sit in. We were outside totally exposed to the weather. During the winter, no amount of warm, waterproof clothing could keep us warm, but as we did not know any different, we just endured it without complaining.</p> <p>I slept in a sleep-out attached to the house, with solid brick walls on two sides but the West and North sides were louvre windows down to about my waist. Sometimes as a thunderstorm approached on a winter’s night, I liked to watch the flash, and count the seconds to work out how far away it was, because I knew four seconds equalled one mile.</p> <p>About 20 metres from my room there was a large, high power pole. Suddenly there was a tremendous whizz-bang noise, which almost resulted in me almost hitting the ceiling and soiling the sheets because of the fright. Next day we realised the lightning had struck the nearby power pole. After that experience, I became a little warier when thunderstorms were approaching.</p> <p>Being married with two children (which a couple of years later became three), Robin was looking at alternative farming options in other areas of the state. Dad was looking to downsize, and I wanted a property with sheep and cattle, and no tractor work, because as much as I loved to drive a tractor, I was not the slightest bit interested in anything mechanical.</p> <p>Without doubt, the biggest problems were the droughts. In 1967 we had one of the worst droughts on record. In the middle of winter when we should have had lush green pastures, and thriving, healthy crops, we were experiencing strong northerly dust storms which took much of the priceless top soil. We had one sheep trough (where the sheep drank water) that was completely covered in dust. That year, like most farmers, we had to sell most of our sheep, which broke our hearts.</p> <p>It was time to stop and revaluate and decide what to do next. Despite the possibilities of droughts and associated problems with farming, it was still a great life. I couldn’t imagine my life not involved with farming.</p>

Family & Pets

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Remembering dinnertime in the 1960s

<p><em><strong>Kevin Moloney appears with his wife Janetta in the reality TV show </strong></em><strong>Travel Guides</strong><em><strong>. He is a ghost writer and travel and lifestyle writer whose work has appeared in more than 30 different publications across the globe.</strong></em></p> <p>Mum, of course, was a good cook. From the beginning of time, every boy thinks his mum is the best cook in the world except, maybe, for Cain and Abel who were apparently and literally ‘fed up’ of their mum’s cooking repertoire, which featured apples in every dish. I was no exception. Mum cooked every one of our meals, as did every mum of her day, and she cooked the same sort of food as every other mum of her day did.</p> <p>There was nothing flash about Mum’s cooking but she always had our meals on the go by the time we arrived home from school. When we were little, we ate our tea at the kitchen table at about five thirty and as we grew older, the meal was served a little later. Like most of the people we knew, we called the evening meal tea, not dinner.</p> <p>The kitchen table was always set with a tablecloth (sometimes a plastic one), salt and pepper shakers and cutlery. Our plates were a snot-coloured green with ribbing around the edges and most of them were slightly chipped, but that was only the kitchen stuff. We had another set of crockery which was the ‘good’ one and we only brought that out for special occasions like Christmas, when we ate at the big table in the dining room (which was really the lounge room). It had to be a very special occasion for us to get out the ‘good’ plates. They were a wedding present to Mum and Dad. Mum never set the table, it was always a job for one of us kids, and I’d usually make myself scarce around this time. I hated setting the table, it was boring. Eating wasn’t boring though as the food was always good.</p> <p>Every meal, except breakfast, started with potato – mashed, steamed, fried, boiled, baked, or if Mum was being really adventurous, we had them scalloped. Whichever way they were cooked, there was potato of some sort and I loved potatoes; couldn’t get enough of them. My favourite was mashed and no-one made it like Mum. It was always creamy, buttery, white, fluffy and hot with an extra knob of butter on top which would melt down the side of the white pile like a golden stream of lava down an albino volcano. There was always a large hessian bag of dirt covered potatoes in the cupboard under the sink, next to the string bag of onions, and Mum would buy a new bag every Friday when she went to Dickins’s supermarket at Chadstone. I think we ate more potatoes than the entire population of Dublin.</p> <p>Dad loved potato too and Mum knew it. She always cooked just a little extra so Dad could have some on a piece of bread after tea was finished. Half way through tea, Dad would always ask Mum, ‘Any more spuds, Duck?’ even though he knew the answer. (Dad used to call Mum, Duck, but I don’t know why, she didn’t look or sound like a duck.) I’d listen for her answer too because just like Dad, I started to develop an unhealthy love for mashed potato sandwiches. I ate anything that Dad ate.</p> <p>‘There might be some left, I’m not sure,’ she’d tease, knowing full well there was a half a saucepan of white starch left on top of the stove.</p> <p>We both knew there would be more for later too so we didn’t have to ration the average sized pile of mash that she’d served up on our plates. If a lot of potato was left over, Mum would put it in the fridge and we’d have it fried on toast the next morning. That was the best way to eat potato. The best.</p> <p>But although I thought I didn’t really need anything else apart from spuds, we were served other things at mealtimes. Mum would cook all sorts of dishes like casseroles, curried sausages, shepherd’s pie, stews, meat loaf, roasts, chops and crumbed cutlets, which were my favourite. Every meal had at least three vegetables placed in little piles on our plates. We never had the same meal twice in one week and Mum had about thirty different meals she could cook from memory. She never had to look up a recipe for meals – she just knew what to do.</p> <p>Roasts were always cooked in the oven and almost everything else came out of the electric frying pan. That was until we got the Upright Electric Grill, which Mum thought was fantastic because all the fat went ‘in a drip tray instead of your waist’, or so Maggie Tabberer said in the TV commercial. Once we got the Upright Electric Grill, our meals became a feast of charred mixed meats for several months. Chops, sausages, rissoles and steaks all came from the ‘Upright’, as it affectionately became known. The Upright had a permanent and prominent home on the kitchen bench and wasn’t even put away in the cupboard after use. It was such a hit. It was there for breakfast, lunch and tea. We all thought it was a revolution in cooking with its little slide-out crumb tray, lift-out rack and variable heat setting. It was very modern – the sort of thing Samantha Stephens from <em>Bewitched</em> would have had on her kitchen bench.</p> <p>Mum always (or usually) prepared two courses for tea, the main course and dessert, which we called sweets or pudding. Half way through the main course, just before or after Dad would ask about the leftover spuds, someone would ask the question. ‘What’s for sweets Mum?’ and of course, Mum would reply with the usual ‘You’ll just have to wait to find out.’ Or the old faithful, ‘A wigwam for a goose’s bridle.’ (Still have no idea what that means.)</p> <p>Knowing there was dessert of some sort to follow was incentive enough to finish off the main course. But missing out on sweets, for any reason, was a disaster.</p> <p>There was never really a problem in our house with anyone having major dislikes to any food that Mum served. Some of us preferred peas to sprouts and would balk at the thought of cabbage but, generally speaking, there were no real issues. However, as little kids being trained to eat green things like peas and beans, there were a few episodes that kept us sitting at the table for hours. There was a standard language that all parents used to coax kids into eating stuff they didn’t like: ‘You’ll sit there until every mouthful is gone young man,’ or ‘If you don’t eat it now, you’ll have it for breakfast,’ along with ‘Come on, just one more mouthful,’ and ‘I want to see that plate shine.’ Mum and Dad had all the lines.</p> <p>I’d sit there with half a plate full of green-grey, cold, shrivelled peas, rolling them all over the plate and refusing to put them anywhere near my mouth. There was no potato left to glue them to the fork so it was a matter of eating them unadulterated. I couldn’t think of anything worse. Dad would sit with me at the table and play the cat and mouse game, watching my every move, of which there weren’t many, as I just sat there stubbornly with mouth firmly shut, eyes downcast, arms crossed and feet dangling under my chair. ‘It’s not fair’ would be the only thing I’d say in response to any sort of coaxing from Dad. Even Dad’s aeroplane coming into the hangar stunt didn’t work.</p> <p>‘Dad, I’m five,’ I’d protest at his desperate attempts to get me to eat the filthy peas. Then I’d go back in to my downcast eyes and dangling feet pose with another ‘It’s not fair’ as I could hear all my sisters in the lounge watching <em>The Beverly Hillbillies</em> and laughing loudly at Jethro’s antics.</p> <p>Eventually, persistence would win and if I refused long enough, Dad would get bored and eventually give up in despair. I’d always opt for the ‘having it for breakfast’ option because I knew Mum or Dad wouldn’t make me eat the peas next morning; they would have forgotten all about them by then and besides, they had more important things to worry about than making me eat cold peas for breakfast.</p> <p>The worst part about the pea saga though, was that I missed out on sweets, which was terrible.</p> <p>Mum made the best baked creamed rice in the free world and that’s what I missed out on. She had an oval Pyrex dish that she’d make the rice in and it always looked, smelt and tasted perfect. The rice was fluffy, creamy and sweet and the top had thin brown skin like a really good suntan, which bubbled and blistered as it cooked in the oven. In the centre of the skin was a stick of cinnamon, which looked like a piece of bark, and it lay there like a little paddle on the top of the rice. As it baked in the oven, I could smell the cinnamon, milk and sugar throughout the entire house. It was the sort of smell that keeps you close to the kitchen so as to breathe in lungfuls of the stuff. The aroma was so enticing and pungent it was just like eating dessert before the main course; the thick scent of the baked creamed rice cooking in the oven was strong enough to eat.</p> <p>And just as well, as my problem with peas meant I didn’t get to taste it. It wasn’t fair.</p> <p>It didn’t matter though, it was even better cold, so I got to eat it after school the next day anyway with a dollop of cream, straight from the dish. I didn’t miss out after all, Mum had left more than enough for me. She always did.</p> <p>While Mum cooked every meal, as we grew a little older, she refused to cook on Sunday nights. Sunday night was ‘scraps’ night and Mum would unashamedly ‘go on strike’. The previous week’s cooking and her careful portion control meant we usually had a fridge full of leftovers which could be reinvented into another meal, or two.</p> <p>While Mum refused to cook on Sunday nights she was happy to supervise operations in the kitchen. Dad wasn’t allowed in the kitchen unsupervised unless he was just making a cup of tea. Anything he attempted to cook usually ended up with some sort of disaster, like the time he tried to make blackberry jam from blackberries we’d picked on someone’s farm that day. Dad thought he’d help Mum make the jam but decided it was a bit too lumpy after she had removed it from the stove. ‘Few lumps in this, Duck,’ he said to Mum, who had already left the kitchen for a quiet cigarette.</p> <p>Dad put the hot jam in the blender and turned it on, forgetting that the lid was still sitting on the bench. As he flicked the switch, boiling jam swirled in the blender and spewed out the top, showering the entire kitchen with boiling hot crimson jam. Every surface, including Dad’s face was now covered in little hot red dots.</p> <p>Mum came back from her break, stood at the kitchen door, looked at the scene of devastation and immediately closed the door behind her as she went back into the lounge with her good friend Peter Stuyvesant. Dad swirled the wettex around the surfaces spreading a thin layer of jam over everything, cursing. ‘Shit, shit, shit, shit, shit.’</p> <p>Mum was less than happy about boiling jam being peppered all over the cupboards, ceiling, walls and windows, so she made Dad paint the entire kitchen the following weekend. He wasn’t impressed at that either and never offered to help with the cooking again. He was much better at building rock gardens.</p> <p>So, on Sunday nights, under Mum’s supervision, we’d cook. If there weren’t enough leftovers for a meal, we’d have fried bread or waffles or pancakes with lemon juice and sugar. It was all a bit of a treat on Sundays and none of the usual rules applied. We could choose what we wanted to cook and if we just wanted dessert like pancakes or waffles, that was okay. Mum knew exactly what was in the fridge and could do a mental stocktake without even looking. She’d know what could be converted into bubble ’n’ squeak, and what could be turned into rissoles or fritters. There was usually some sort of batter involved in Sunday night’s meal, either sweet or savoury.</p> <p>On the rare occasion there was absolutely nothing in the fridge, or if Mum was feeling particularly benevolent, we’d all pile in to the Valiant with Dad and head off to the local Chinese restaurant armed with a saucepan and aluminium steamer which would later be filled with fried rice. That was rare, but great! We’d all eat the fried rice once we got home and Mum would order a serve of chicken balls in batter with sweet and sour sauce. We preferred the rice.</p> <p>All four kids got our basic cooking skills from Sunday nights in the kitchen. It was too late for Dad; as a cook, he was a lost cause and he stuck to making tea and driving to the Chinese, which he irreverently but fondly called the Choong Wah shop. He called every Chinese person Choong Wah.</p> <p>In fact, Chinese, Korean, Thai, Japanese – they were all Choong Wah!</p> <p>Sunday nights were better than any other night as we were allowed to eat our fantastic creations on our laps in the lounge room in front of the TV because <em>Disneyland</em> was on. This was a real treat – not having to sit at the table to eat.</p> <p>Mum sat in her chair, doing the crossword or knitting jumpers while we cooked in the kitchen, making all sorts of mess. We’d bring her meal into her and she’d eat it on her lap as we all sat in a semicircle around the TV, totally engrossed in Tomorrowland, filling our faces with questionable food and waiting on an appraisal of the meal we’d created for ourselves and Mum.</p> <p>She’d always finish her meal by saying, ‘Well, that’s the best meal I’ve had all week,’ even though she may have just feasted on fried Camp Pie in waffle batter with tinned peaches and beetroot.</p> <p><img width="94" height="143" src="https://oversixtydev.blob.core.windows.net/media/44168/last-australian-childhood-cover_94x143.jpg" alt="Last Australian Childhood Cover" style="float: right;"/></p> <p><em>This is an extract from </em>The Last Australian Childhood<em> by Kevin Moloney, New Holland Publishers RRP $29.99, available from all good bookstores or <a href="http://www.newhollandpublishers.com" target="_blank"><strong><span style="text-decoration: underline;">online</span></strong></a>. </em></p>

Family & Pets

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Smile and stay thin: What life was like as a 60s air hostess

<p><em><strong>Dr Prudence Black is a Research Associate in the Department of Gender and Cultural Studies at the University of Sydney.</strong></em></p> <p>“They looked fantastic but it must have restricted their movements something terrible.” – Max White, Qantas flight steward, 1947 to 1980</p> <p>In 1958, Qantas began employing Japanese flight hostesses to work on the “Cherry Blossom” route to Japan. Qantas’s Marj de Tracy had flown to Japan to select, from 150 applicants, Yoshiko Watanabe, Teruko Oshima and Kazuko Otsu. Publicity photos of the new recruits, all in their early twenties, showed them arriving in Sydney wearing full kimonos, similar to the ones they would wear on the flights to Tokyo.</p> <p>Teri Teramoto was selected to fly on the Japan route in 1964. She started training with two other young Japanese women, and the stress of the new environment meant that none of them slept properly. Each morning they left on the bus for training school without breakfast, instead each snacking on their own packet of Arnott’s Scotch Finger biscuits.</p> <p>Snacking on biscuits was not a good idea but it was difficult to find Japanese food in Sydney. With a change of diet they all put on weight, and were put on the scales and reprimanded in front of the other trainees.</p> <p style="text-align: center;"><img width="500" height="375" src="https://oversixtydev.blob.core.windows.net/media/39393/in-text-1_500x375.jpg" alt="In Text 1 (13)"/></p> <p style="text-align: center;" align="center"><em>Exotic cosmopolitanism: the Qantas Japanese flight hostess (in the background) Image credit: Qantas Heritage Collection.</em></p> <p>After training they were sent one-by-one with a check hostess on a test flight to Hong Kong. Only after completing a three-month probation period were they taken by Qantas’s Tokyo manager to a shop in Ginza to be fitted for a kimono. They would board the plane in the “Jungle Green” uniform, and after take-off, go to the toilet and, in less than five minutes, change into the traditional kimono. Qantas continued to recruit Japanese-born flight hostesses into the 1980s but in the 1970s they stopped wearing the kimono, partly due to expense but also safety issues.</p> <p>Other major international airlines introduced Asian women on their flights, and they too would wear traditional forms of dress as well as the standard uniform. In 1961 Cathay Pacific had two flights a week between Hong Kong and Sydney. It proclaimed the use of British pilots who “fly you efficiently” while the “demure Oriental hostesses pamper you charmingly”.</p> <p>Other airlines attempted to exoticise their air hostesses. On board Ansett-ANA’s new Lockheed Electras, hostesses wore gold lamé dresses for the Golden Supper Club Service on the last flight out of Melbourne to Sydney at 10pm. The dresses only came in three sizes; if the size didn’t fit safety pins were used. The rationale behind the service was that it would attract businessmen who “could relax 4 miles high” while “attentive hostesses” served meals.</p> <p>In 1967, <span style="text-decoration: underline;"><strong><a href="https://www.britishairways.com/en-gb/information/about-ba/history-and-heritage/uniforms/boac-uniforms" target="_blank">BOAC introduced a paper mini dress</a></strong></span> covered with a print of a sun and large flowers to be worn on the Caribbean and Bermuda flights. Cut, literally, to whichever length wanted, the dress was worn with a flower in the hair (usually a fresh orchid), and white gloves and bright green slip-on shoes. The dresses weren’t practical as they tore easily and became transparent and disintegrated when wet.</p> <p style="text-align: center;" align="center"><iframe width="400" height="300" src="https://www.youtube.com/embed/h2XkQfmjRVE?feature=oembed" frameborder="0" allowfullscreen=""></iframe></p> <p>They were meant to be fireproof, which was just as well as some passengers would try and stub their cigarettes into the fabric. After the plane had emptied, the hostesses would put on the standard uniform and throw away the short-lived paper dress.</p> <p><strong>The discipline of appearance</strong></p> <p>In 1959 Qantas only had 85 flight hostesses, but was receiving 800 applications a year. With the introduction of the round-the-world service and the new Boeing 707 services, advertisements were placed in the major daily newspapers for new flight hostess positions. In Melbourne the interviews would be held at Qantas House, over a period of three days. Applicants were expected to have a “pleasant personality and attractive appearance” and undergo three interviews before being selected into the training school.</p> <p>June Dally-Watkins, a well-known Australian model, had opened a school for deportment in Sydney in 1950 and Qantas employed her to teach deportment to its trainees. Pat Woodley, who had been Miss New South Wales in 1951, also ran a modelling and deportment school in Phillip Street, Sydney, which would-be air hostesses attended. Woodley advertised her school on the side of buses with the claim, “I’ll make any girl pretty”.</p> <p style="text-align: center;"><img width="500" height="688" src="https://oversixtydev.blob.core.windows.net/media/39392/in-text-2_500x688.jpg" alt="In Text 2 (9)"/></p> <p style="text-align: center;" align="center"><em>Keeping up the national image, Qantas flight hostess wearing the ‘Jungle Green’ uniform with koala, Image credit: Qantas Heritage Collection.</em></p> <p>Pat (Willbrandt) Gregory-Quilter, who started with Qantas in 1957, recalls that for her second interview she had to walk up and down the interview room before the panel of four, remove and put on her gloves and make a PA announcement.</p> <p>When she started the job, hostesses were wearing a white summer dress and she would hang her six spare uniforms on the back of the toilet door in the plane to avoid them getting crushed. More than once, an inebriated passenger urinated over the uniform.</p> <p>Gregory-Quilter worked with Qantas until 1961, then left to marry, and when the marriage failed came back in 1969 as trainer for 14 years. She was interested in achieving a more individualised look and so the Qantas training school created its own hair and make-up salon. Still the strict standards meant that the flight hostesses did tend to look very similar. The other reason for this was that wigs were commonplace at the time. They too had to be approved; they had to look natural.</p> <p>Maureene Martin joined Qantas in 1964 aged 22 and she recalls one of her colleagues calling Gregory-Quilter “Mrs Grooming Looming”, as she would appear from her office and ask them to put some more lipstick on, or something along those lines.</p> <p><strong>The high price of gaining weight</strong></p> <p>The Qantas Flight Hostess Manual was almost 260 pages, and Bev Maunsell, who had previously worked at Ansett-ANA for two years, remembers sitting in the Qantas training school thinking that they took things very seriously. As well as matters such as the placement of parsley on plates, the flight hostesses would be instructed about what to do during stopovers or between flights. They were advised to set aside one night each week to delve into their personal appearance. The order of activities suggested were:</p> <p>1. Relaxing bath.<br />2. Finger and toenails.<br />3. Hair – combed and brush scrubbed clean.<br />4. Skin care.<br />5. Superfluous hair removed.<br />6. Odd jobs – mending etc.<br />7. At least eight hours restful sleep with plenty of fresh air.</p> <p>Most were happy to adhere to the checks and the strict standards knowing that if they didn’t they could be grounded and therefore lose their pay.</p> <p>Janette (Freeman) Davie AM began with Qantas in 1967. She had to stay in training school for a bit longer as she had pimples and had to wait for her skin to “settle” before she could fly.</p> <p>When she was finally allowed to fly she would have her skin checked on each return flight. Eventually she was sent to a skin specialist and put on the pill, which normally meant weight gain.</p> <p>The issue of the hostesses’ weight was a concern as they were rostered off if they put on too much. This would have dire financial consequences, as Davie explains:</p> <p><em>We’d all moved from interstate. We all had to pay a bond to live in an apartment and we had no money left over once you paid the bond and your rent every week and fed yourself. So if someone said come back when you’ve lost the weight, it might take you three or four weeks to lose that half a stone and there was no salary during that period.</em></p> <p>It is easy to trace discrimination back to the airlines and their individual policies but there was also a sense that the air hostesses themselves endorsed the “look” required to be employed with many of them thinking that you shouldn’t fly when “you’re too fat or too old”.</p> <p>For most airlines the criteria to join were almost the same. While the height over the years had increased, the weight had remained much the same (usually a maximum of about 9 stone 7lb, but often described as proportionate to height) and it was still necessary to have completed a first-aid course. Glasses or contact lenses couldn’t be worn.</p> <p><strong>The work of glamour</strong></p> <p>While few would dispute the sheer hard work of the job there was also the hard work of being highly groomed and attractive; what might be called the work of glamour. No doubt as a recognition of the standards that Qantas achieved with their flight hostesses, Pat Gregory-Quilter was used as a judge for beach girl competitions and the Miss Australia contest.</p> <p style="text-align: center;"><iframe width="400" height="300" src="https://www.youtube.com/embed/OSkPyZSaWhk?feature=oembed" frameborder="0" allowfullscreen=""></iframe></p> <p>With most airlines offering similar services on often identical planes, the air hostesses became the point of difference. In the 1960s there was a trend for representing a sort of authenticity in ads. It was for this reason that in September 1967, Susan ( Jones) Foster became the face of Ansett-ANA appearing in an advertising campaign pitched firmly against their competition – TAA. The slogan was “How can both Airlines be the Same? We’ve got Susan Jones”.</p> <p>Foster was 22 years old. Even though she was comfortable on board chatting to the passengers, she was very shy. Without any preparation she was sent on a promotional tour of Australia doing radio and television interviews. Festival records also produced a Susan Jones EP record to be handed out on flights. The song, about a young woman who had “escaped” a small town to join the airline, was sung by the young, then unknown Johnny Farnham.</p> <p>That November, the airline ran a new advertisement, “Whoever you are, please stop sending our Miss Jones roses”, citing that they were losing “too many good hostesses to matrimony as it is”.</p> <p style="text-align: center;"><iframe width="400" height="300" src="https://www.youtube.com/embed/g2TyaXc2TAw?feature=oembed" frameborder="0" allowfullscreen=""></iframe></p> <p>By the end of the year Foster had become engaged. When the time came for her to leave Ansett-ANA, the airline placed a full-page advertisement in every major paper with a photograph of her in a wedding dress and veil, with the simple caption, “I do”.</p> <p>The idea that young, attractive and single women should represent an airline continued into the 1970s. Over at Qantas, the staff magazine announced it would run a series of photographs of the “fly-birds”. After one flight hostess appeared in her bikini alongside the caption, “a delightful decoration for any swimming pool”, it seems there were no further images in the series.</p> <p style="text-align: center;"><img width="237" height="340" src="https://oversixtydev.blob.core.windows.net/media/39391/in-text-3.jpg" alt="In Text 3 (3)"/></p> <p style="text-align: center;" align="center"><em>New Guinea Air Hostess. Image credit:  TAA Museum.</em></p> <p><strong>Indigenous Air Hostesses</strong></p> <p>After <span style="text-decoration: underline;"><strong><a href="http://www.naa.gov.au/collection/fact-sheets/fs150.aspx" target="_blank">the 1967 referendum</a></strong></span>, where over 90 per cent of people voted to have Indigenous Australians included in the census, there were attempts to actively promote opportunities for Indigenous Australians. In June 1968, as part of a “Your Career” section in Dawn: A Magazine for the Aboriginal People of New South Wales, the Department of Labour and Industry had forwarded information about the duties and qualifications necessary to be an air hostess.</p> <p>It mentioned that the “work is often tiring, and the hostess must be of first-class health. She must speak fluently and clearly and have good eyesight, a pleasing appearance and personality and an ability to get along well with people”. The question of health was becoming an issue. An article from London mentioned that many hostesses were giving up their jobs because their health was suffering from the demands of the job and medical conditions associated with flying.</p> <p>Sue Bryant became the first Indigenous Australian air hostess when she started working for Ansett Airlines in 1970. Bryant had grown up in the inner west of Sydney, under the flight path, and she would often gaze out of the classroom window, thinking she would like to be an air hostess.</p> <p>Bryant’s first uniform was a white mini dress worn with a thin tan belt and a matching pillbox hat. By the time she left in 1973, the uniform was orange hotpants worn with a wraparound maxi skirt and brown boots. Working for Ansett Airlines of New South Wales meant Bryant flew to many of the outback towns: Dubbo, Bourke, Brewarrina and on to Charleville in Queensland. With large Indigenous populations in the towns it may have been advantageous to have Bryant on these routes but she didn’t think so, as there weren’t that many Indigenous passengers at that time.</p> <p>In 1971, Bryant appeared in Roderick Hulsbergen’s book <span style="text-decoration: underline;"><strong><a href="https://www.abebooks.com/Aborigine-Today-Hulsbergen-Roderick-Photography-text/963532992/bd" target="_blank">The Aborigine Today</a></strong></span> wearing her uniform, representing a modern young woman engaged in life at work.</p> <p>It was not until the end of the decade, that TAA employed three indigenous air hostesses.</p> <p>The 1960s, going into the 1970s, were a very progressive period for Australia. The postwar baby boomers were coming of age, and Australia was still an industrial country with an expanding economy. Unions were strong, and the progressive government of Gough Whitlam was elected. Support for Aboriginal Australians was on the rise, along with the inclusive policy of multiculturalism.</p> <p>Airline hostesses were part of the “boomer” demographic, and some were no doubt influenced by the atmosphere of sexual liberation and second-wave feminism. But for the most part they were professionally focused, and that suppressed any sense that sexy ad campaigns were exploitative.</p> <p>Still, what was sustaining for most of these young women was the esprit de corps that had started to gel with unionisation.</p> <p>In 1970, Qantas celebrated its 50th anniversary. A new campaign was started with an advertisement featuring a beaming flight hostess, alongside the slogan, The Friendliness of the Long Distance Australian. Now, even the smile was a matter for competitive international marketing:</p> <p style="text-align: left;"><em>Every airline has smiling hostesses. But nobody has that special open-hearted Australian smile except Qantas.</em></p> <p>What Qantas failed to notice was that their workforce of 230 flight hostesses had stopped smiling. On the 1st July 1970, the women started a seven-day strike over improved salaries and conditions.</p> <p><em>This is an edited extract from Prudence Black’s Smile, Particularly in Bad Weather: The Era of the Australian Airline Hostess, published by UWAP.</em></p> <p><em>Written by Prudence Black. First appeared on <strong><span style="text-decoration: underline;"><a href="http://www.theconversation.com" target="_blank">The Conversation.</a> </span></strong></em><img width="1" height="1" src="https://counter.theconversation.edu.au/content/77102/count.gif?distributor=republish-lightbox-advanced" alt="The Conversation"/></p>

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Then and now: Tabitha Stephens from “Bewitched”

<p>Back in 2015, <a href="/entertainment/tv/2015/11/tabitha-stephens-bewitched-now/" target="_blank"><span style="text-decoration: underline;"><strong>we got a rare glimpse</strong></span></a> at what Erin Murphy (who famously played Tabitha Stephens in <em>Bewitched</em>) looks like now. Today, she’s given us an update, posing for photos and chatting with <a href="http://www.foxnews.com/entertainment/2017/04/18/bewitched-star-erin-murphy-elizabeth-montgomery-had-dirty-sense-humor-and-so-do.html" target="_blank"><strong><span style="text-decoration: underline;">Fox News</span></strong></a> – and you won’t believe how different she looks from her <em>Bewitched</em> days.</p> <p><img width="500" height="323" src="https://oversixtydev.blob.core.windows.net/media/35590/image__500x323.jpg" alt="erin murphy bewitched" style="display: block; margin-left: auto; margin-right: auto;"/></p> <p>These days, the 52-year-old is a busy mother of six, but reflects fondly on her time on the iconic show, which ran from 1964 to 1972. “[Elizabeth Montgomery] really was like a mum to me,” she tells Fox. “I definitely think of her more like a family member than a co-worker […] We were friends outside of the set and she had three children around my age, so we grew up together. So it was a close relationship for sure.</p> <p>“I was very lucky because I stayed in touch with people after the show was over, so I had the pleasure of hanging out with Dick Sargent as an adult and having phone conversations with Dick York. As a kid, I was very close with both of them. I grew to admire them as adults because they were such great men.”</p> <p>Murphy is set to return to screens with a web comedy series titled Life Interrupted, in which she will star alongside a number of other child stars including Alison Arngrim (<em>Little House on the Prairie</em>), Dawn Wells (<em>Gilligan’s Island</em>) and Michael Learned (<em>The Waltons</em>).</p>

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