Oatley is a prime piece of residential real estate in the southern suburbs of Sydney. The suburb faces on to the Georges River (Tucoerah River in the local indigenous language). Large leafy blocks of land and water views abound in this “north shore” status locality of the south. One of the star attractions in the western fringe of Oatley is the 45-hectare Oatley Park, a dense concentration of natural bushland with Edwardian era baths and sandstone ‘castle’ built during the Great Depression and now encircled by lofty smooth-barked Angophoras Costatas.
If you cross the railway line to the east side of Oatley you can see a tower dedication to the early Sydney settler the suburb is named after – James Oatley. Oatley was yet another transported felon made good in New South Wales’ formative years. The Oatley tower in the high street contains a clock face which alerts us to J Oatley Esq’s association with timepieces. Oatley from Staffordshire in the West Midlands got napped for stealing two featherbeds and linen to the value of £16, sentenced to death for his crime but transported instead to Australia in 1814. Oatley put his watch and clock making skills to good use, winning a conditional pardon and a Georges River land grant from Governor Macquarie in 1821. On his Georges River land—stretching from Gungal Bay in the west to Boundary and Hurstville Roads—where he established a farm on his property called “Needwood Forest” after the woodland in his native Warwickshire. Oatley’s Needwood Forest grant included the area of today’s eponymous suburb.
Appointed colonial clockmaker, Oatley plied his trade from a shop in George Street opposite the Sydney Town Hall, with a bit of a flair for constructing grandfather clocks. His best known work was the clock in the turret at the Hyde Park Prisoners’ Barracks built by fellow emancipist Francis Greenway (Oatley’s clock has featured on the Australian $10 note).
Oatley’s work also won favour with later governors who granted him 515 acres in the Hurstville area between 1831 and 1835. The clockmaker died on his residential property ‘Snugburough’ in 1839. The precise location of Snugburough in Sydney is not certain…some sources give it as Canterbury, others Beverley Hills or Pubchbowl. After Snugburough was sold by Oatley’s family, future owners had to accede to a curious condition of sale – they were required to retain Oatley’s sepulchre and his body on the property. Clockmaking stayed in the family after Oatley’s demise, his third son took over the George Street shop.
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Books and sites consulted:
Frances Pollon, The Book of Australian Suburbs (1988)
Brian and Barbara Kennedy, Sydney and Suburbs: A History and Description (1982)
Oatley, James (1770–1839)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, https://adb.anu.edu.au/biography/oatley-james-2514/text3399, published first in hardcopy 1967, accessed online 30 March 2021
In 1937 the Nazi regime organised two art exhibitions in Munich concurrently, separated only by a park and a few hundred metres. One was intended to hammer home to the German volk the inequity of the type of art that the führer Adolf Hitler found abhorrent, ie, anything in art that even hinted of modernity. The other representing all that Hitler found good in art was the complete antithesis of this – a paean to traditional, realistic painting and sculpture and art that conformed to classical themes and forms.
⇧ A Hitler, landscape (Source: Widewalls)
Hitler’s early experiences and his perceived emotional pattern suggest a motive of personal revenge contributing to the Nazis’ fanatical war on the modern and the avant-garde in art. As a young man Hitler dreamed of a career as an artist but a double rejection by the Vienna art academy saw those aspirations dashed. His paintings were summarily dismissed as passe by the art establishment in favour of abstract and modern styles (Burns), leaving the future Reich leader with a bitter aftertaste and a grudge①.
In Mein Kampf Hitler avers that “Cubism and Dadaism are symptoms of biological degradation threatening the German people”, Werckmeister, O. K. “Hitler the Artist.” Critical Inquiry, vol. 23, no. 2, 1997, pp. 270–297. JSTORwww.jstor.org/stable/1343984. Accessed 2 March 2021.
The purging of so-called “degenerate art”
The Degenerate Art Exhibition (Entartete Kunst) in 1937 was the culmination of a concerted campaign waged by the Nazis to root out all manifestations of avant-garde art in Germany. The first efforts by Hitler’s henchmen were a reaction to the preceding liberal and permissive Weimar era which had embraced the modern style in art and especially Expressionism. In 1933 the Nazis held their first art exhibit of the supposed “degenerate art” in Dresden. Allied to this, the systematic confiscation of modern artworks from museum across Germany took place. Hundreds of thousands of the plundered art pieces including works by modern masters were sold by the Third Reich (some of the proceeds were siphoned off into armament production)②. Much of the minor, less marketable art works were ultimately burnt.
⇧ Beckmann: ‘The Night’
The “wrong type” of art
Hitler rejected the avant-garde and modernity in part for aesthetic reasons. Hitler like many of his Nazi followers had an innate conservative aesthetic taste in art. Politics and ideology also played a part, the führer associated modernism with Jews and communism, and by extension, with democracy and pacifism. Jewish influences, Hitler held, had contaminated the classical art styles so beloved by him. At the same time he denounced what he called “cultural Bolshevism” for weakening German society. Modern art, the Nazis believed was an evil plot against the German people, a “dangerous lie” which would poison German minds. In chilling words given the Nazis’ later unbridled lethal use of eugenics Hitler stated that “anyone who paints a green sky and fields blue ought to be sterilised”.
⇧ Kokoschka: ’Portrait of a Degenerate Artist’
“Sick art” and culture as a propaganda tool
Hitler and the Nazis believed that art played a critical role in defining society’s values. Expressionism③ and the group Die Brücke (“The Bridge”) and artists like Oscar Kokoschka and Ernst Kirchner got singled out for extra repressive measures. The Nazis depicted avant-garde art as the lowest of the low—”impure and subversive”, it’s artists ‘diseased’ specimens corrupted by mental, physical and moral decay—conversely they elevated classical Greek and Roman art to a sublime place, the highest of cultural planes.
⇧ Hitler viewing the ‘Degenerates’
The Degenerate Art Exhibition
The Nazis’ 1937 exhibition was carefully stage-managed as a propaganda vehicle to mock and deride the modern art Hitler so detested. The exhibition comprised Expressionist, Dada, Cubism, Abstract (allocated its own room designated the “Insanity Room”) and New Objectivity artworks. Paintings were hung in a careless, haphazard fashion, with graffiti scrawled on the walls which defamed the artists. Actors were hired to prowl through the gallery loudly denouncing the “Modernist madness”. Adolf Ziegler, the Reich”s top arts bureaucrat and Hitler’s favourite artist, declared the displayed works “monstrosities of insanity, insolence, incompetence and degeneration”. And to ram home the degeneracy point, the vilified artworks were juxtaposed alongside paintings by the enfeebled and the disabled, by psychotic patients and the like. According to the Nazis, degenerate art was the product of Jews and Bolsheviks, but interestingly only six of the 112 artists whose work was displayed in the exhibition were Jewish. The 650 paintings, prints and sculptures included works by Grosz, Dix, Klee, Beckmann, Nolde, Chagall, Picasso, Wandinsky, Marc and Mondrian.
⇧ Führer taking in the “good art”
Exhalting in the “pure Aryan art”
To provide Germans with a favourable point of comparison, the Nazis simultaneously held the Great German Art Exhibition in the same Munich neighbourhood. This displayed ‘Ayran’ art➃, the type of art Hitler approved of. Often gargantuan in scale⑤ – statuesque blond nudes, idealised heroic and duty-bound soldiers and imagined pastorals and idyllic landscapes (reflecting Hitler’s predilection for realistic paintings of outdoor rustic settings). Characteristically the favoured Nazis’ male figures in art represented the concept of the Übermensch (an idealised ‘superman’). Hitler’s intention was that the Groß deutsche Kunstausstellung propaganda would help mobile the German people behind the Nazis’ values.
Footnote: The outcome of the dual 1937 exhibitions was not anticipated by Hitler and the Nazis: Entartete Kunst proved wildly popular, attracting more than two million visitors, whereas Groß Kunstausstellung only managed less than a third of this number. The “Degenerate Art” show was such a hit that it was toured on display throughout the German Reich after the Munich premiere closed.
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Postscript: German artists deemed ‘degenerate’ understandably were more at risk of persecution from the Nazis from those outside the country. Special attention was given to artists like George Grosz and Oscar Dix who were openly critical of the totalitarian regime. Grosz mocked Hitler on canvas while Dix earned the enmity of the Nazis for his excruciating depictions of the horrors of war. As one writer put it, “the Nazis labeled Dix a ‘degenerate,’ but the term is better applied to the society he depicted—cannibalizing itself and hurtling toward destruction” (Alina Cohen).
Dix’s ‘Seven Deadly Sins’ (1933)
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① Hitler’s own preference for subject matter as an artist was for painting buildings and largely unpopulated pastoral landscapes (the future “world leader” had no talent for capturing the human form)
② Hitler and the National-Socialists’ notion of modern art as being the product of entartung (degeneracy) can be traced to a Jewish Austro-Hungarian social critic Max Nordau who decried the new art and literature in 1890s Europe as being the work of diseased minds
③ the focus on Expressionism as a target for the Nazi “culture police” proved a particular problem for Joseph Goebbels. The propaganda minister had early on championed the Expressionist movement and had to backtrack swiftly on this to avoid the führer’s opprobrium
➃ Ayran art uniformly infuses a celebration of youth, optimism, power and eternal triumph
⑤ the Nazi taste for mega-scale art reached its apogee in architecture, massive structures like ‘Germania’. “Monumentality and solidity (exuding power), simplicity and timeless eternity” were the bywords of Nazi architecture
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Bibliography
‘Degenerate art: Why Hitler hated modernism’, (Lucy Burns), BBC News, 06-Nov-2013, www.bbc.com
‘Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937’, (Jason Farago), The Guardian, 13-Mar-2014, www.theguardian.com
‘Degenerate art’, Wikipedia, https://en.m.wikipedia.org
‘Nazi architecture’, Wikipedia, https://en.m.wikipedia.org‘Why “Degenerate” Artist Otto Dix Was Accused of Plotting to Kill Hitler’, (Alina Cohen), Art Sy, 11-Feb-2019,www.artsy.net‘Art as Propaganda: The Nazi Degenerate Art Exhibit’, Facing History and Ourselves, (Video, 2017)
‘Adolf Hitler’s war against modern art’, The Canvas, (Video, 2019)
Like the great majority of the world’s population I’ve never been to North Korea…but unlike most people I have been to the very edge of Kim Jong-un’s secretive “Hermit Kingdom”. In 2019 I ate at restaurants run by North Korean exiles in the vibrant, lively Chinese border city of Dandong (directly opposite the seemingly dead NK city of Sinŭiju). I have also bought North Korean souvenirs from ex-pat market stall-holders on the Yalu River, the DPRK’s western boundary. Technically, I can even boast of having penetrated deep into North Korean territorial waters, having sailed around and across the river in a tourist boat➊.
Source. CFR
Kim Jong-un took the helm of the North Korean regime in 2011, succeeding his father Kim Jong-Il. Given his youth, 28, and lack of experience, external observers have had doubts whether the novice could establish a lengthy hold over the country. But ten years later Kim Jong-un is still firmly in control. This can be explained by a number of factors.
The first two Supreme Leader Kims (Photo: Reuters)
Stalinist purges – Korean “Game of Thrones”
The Kim dynasty had been entrenched for over 60 years by the time it was Kim Jong-un’s turn, allowing him to inherit a stable regime commanding absolute authority as “Supreme Leader” (Suryong). Kim Jong-un also inherited the “Stalinist dictatorial public persona of his grandfather (cult of personality) and the political nous of his father” (Patrikeeff). On top of this the young Kim has adopted a ruthless approach to dealing with potential threats to his leadership through periodic purges … senior military figures removed from high office, politicians including his own uncle executed and a half-brother assassinated in Malaysia. In this Kim Jung-un (KJU) was following the pattern of his predecessors in “coup-proofing” his rule (playing off one institutional rival against another, coupled with the purging of latent threats) (Habib). Kim’s purge targets include the North Korean economic elites (the Donju who like the army had benefitted from the Supreme Leader’s patronage system). Purges keep the elites in a state of instability, unable to predict Kim’s moves (Michael Madden).
Flag of WPK
Hegemonic role of the Party
Another strategy employed by KJU to consolidate his hold on power was to reinvigorate the effectively obsolete Worker’s Party of Korea (WPK) as the core political organ of the state. This saw the emergence of a new pecking order under KJU – the rhetoric of Party / State / Army signalled the relegation of the military in politics to a role of secondary importance➋.
(Photo: Korean Central News Agency via AP Images)
The Kim Jong-un ‘vision’
Modernisation and beefing up the DPRK’s lethal strike force are high on the totem pole of KJU’s objectives. Kim has ploughed ahead with nuclear tests and missile launches in a transparent show of strength and intimidation aimed at the state’s enemies. The “Dear Leader”, as he likes to be called, is intent on more than military modernisation. Kim wants to be seen as a modern leader of a modern country, pursuing economic development as an instrument to “hook into the South Korean economic engine”…which goes a good way to explaining KJU’s diplomatic change of tack (the recent pivot to diplomatic relations with Seoul) (Ken Gause).
Leader Kim & Sister Kim
Succession plan?
The only apparent dark shadow on the landscape for Kim Jong-un➌ is the state of his own health. Overweight, a heavy smoker with a preference for rich imported foods and alcohol, rumours intensified after his three week disappearance in April 2021. Succession talk has surfaced with a possible candidate being Kim’s younger sister Kim Yo-jong.
“Crazy and irrational” Kim Jung-un
It’s tempting to write off KJU, with his erratic behaviour and bombastic pronouncements—as some sections of the mass media do—as crazy and irrational. Benjamin Habib demurs from the caricature image of Kim, contending that it deflects from the existence of a rational strategy by the regime. The argument goes that the nuclear flexing by KJU and the blustering official statements are all part of a calculated rhetoric.
(Source: The National Interest)
In this view Pyongyang’s raison d’etre in an ultimate zero-sum-game is it’s existential survival and the over-the-top weaponising is more about projecting a deterrence to South Korea, Japan and the US, rather than an aggressive intent to carry through with the threats. In the logic of North Korea’s circumstance, the use of military force is the “only credible security guarantee in what it perceives to be a strategically➍ hostile environment”. The country’s H-bomb/A-bomb and ballistic missile capability, Habib suggests, should not automatically be seen as signifying an intention to deploy on the part of the North Koreans (Habib).
Kim has stepped up the elaborate military parades recently (one in October 2020 and again in January 2021), this can be seen as a show of resilience for public consumption in the face of the triple threat to the country – Covid-19, a wave of economic sanctions and a spate of natural disasters (WPR).
Inhuman excesses
Human rights are of course at a premium in such a doctrinaire totalitarian state, but Kim’s excesses and violations again can be viewed as part of “the rational and predictable politics” which are standard in authoritarian dictatorships such as the DPRK (Habib). Social control under KJU has a distinctly Orwellian tinge with the Songbun system which herds citizens into three distinct “socio-political” classes – ‘loyal’, ‘wavering’ and ‘hostile’ (HRW).
Juche Torch, Pyongyang
🇰🇵 Endnote: ‘Juche’ – Official state ideology
The “Hermit Kingdom” endorses a philosophy of Juche, devised by Kim Il-sung. Roughly translated as “self-reliance”, by which the regime means that the Korean masses acting as the masters of their own destiny make it possible for the nation to become self-reliant and strong and thus attain true socialism (‘Juche Idea: Answers to Hundred Questions’).
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➊ peering over the border into Kim Jong-un-World, even from the excellent high vantage point of Hushan Great Wall, didn’t disclose much evidence of human habitation. I saw kilometres and kilometres of not unattractive empty fields and meadows, lots of green countryside but no people to speak of. The DPRK’s population of 25 million must be somewhere over there but clearly not on this borderland of the country
➋ since the 1990s Songun “military first” (over other elements of society) had been a key ideological tenet of the regime
➌ leaving aside the possibility of Kim miscalculating his hand or overreaching himself internationally with his policy of aggressive regional brinkmanship
➍ we might add “and ideological”
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Bibliography
‘The dangerous enigma that is Kim Jong-un’, (Felix Patrikeeff), InDaily, 08-Jan-2016, www.indaily.com.au
‘5 assumptions we make about North Korea — and why they’re wrong’, (Benjamin Habib), Nest, (2017?), www.latrobe.edu.au
‘North Korea’s Power Structure’, (Eleanor Albert), Council on Foreign Relations, 17-Jun-2020, www.cfr.org
‘North Korea Events of 2018’, Human Rights Watch, www.hrw.org
‘North Korea’s Latest show of Strength Masks Its Weaknesses’, WPR, 28-Jan-2021, www.worldpoliticsreview.com
Pyrmont Bridge Road in the inner suburb of Camperdown—no small distance from the now pedestrian only Pyrmont Bridge itself—is where you’ll find the brew house of James Squire, reputedly Sydney’s first brewer. It’s current name, Malt Shovel Brewery, is a yesteryear nod to the “Malting Shovel Tavern”, a pub run by the brewery’s namesake and founder James Squire at Kissing Point (present-day Putney on Sydney’s Parramatta River) commencing ca. 1798.
Squire (or possibly ‘Squires’) commenced cultivating hops on the riverside location around 1806. Squire is considered to be the first person to brew beer successfully in Australia, although some claim the title on behalf of one John Boston who made corn beer in Sydney in 1796 with the aid of an encyclopaedia. Boston’s Indian corn-based beer “was so successful that he erected at some expense a building proper for the business” (Iltis).
Squire also was particularly successful at it, so much so that he eventually acquired a vast estate that stretched from Parramatta River to a point north of Victoria Road. Squire’s real estate empire wasn’t exactly down to superior business acumen on the brewer’s part…Squire kickstarted his land holdings monopoly by revelling in decidedly unethical behaviour.
But more of that later, first let’s look at the earlier chapter of Squire’s life, the sequence of events that brought him to Britain’s colony at Port Jackson. From his early years in England Squire found himself on the wrong side of the law, arrested for highway robbery which launched him on a path of recidivism. He was subsequently nabbed for pilfering from somebody else’s hen house and managed to escape the noose through transportation to Botany Bay with the 1788 First Fleet. Being transported didn’t cure Squire of his predilection for thievery however. Stealing hops (an illustrious start to brewing immortality!) got him 300 lashes of the ‘Cat’ (150 immediately and another 150 on “lay-buy” when his back was deemed up to it again).
After winning his freedom Squire was granted a small plot of land which with “a little skillful swindling” from other less diligent emancipist-land grantees he managed to grow into an estate in excess of 1,000-acres (the “unethical behaviour” alluded to above).
Squire’s business was the recipient of government incentivisation a few years later when Governor King began encouraging the brewing of beer as a counter to the pernicious trafficking of rum and corruption perpetrated by the colony’s military. King’s largesse bestowed on the “enterprising rogue” included a cow and the title of Australia’s first brewer.
The brewery and Malting Shovel Tavern at Kissing Point was strategically located, roughly equidistant from the colony’s two arms of settlement (Sydney Cove and Parramatta) …very handy for thirsty passing sailors and boat passengers on the river. By 1820 James Squire was producing a weekly output of 49 hogsheads of beer most of the year long (Walsh).
Squire’s wealth did not rest on the brewery concern. Due to the vagaries of the local grain market and the import trade at the time, it rested on a number of diversified interests which included farming and grazing as well as beer making (Walsh).
Interestingly, the James Squire brewing company of today has, rather than playing it down, whole-heartedly embraced the “scoundrel’s’ legendary ill-repute as a marketing ploy. Convict-related names biographically referencing the exploits and misdemeanours of the man himself resound in the label titles of James Squire beers – “One Fifty Lashes”, “The Swindler”, “Broken Shackles”, “Hop Thief”, “Four Wives” (a reference to JS being married four times) and the like.
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Bibliography
G. P. Walsh, ‘Squire, James (1754–1822)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, https://adb.anu.edu.au/biography/squire-james-2688/text3759, published first in hardcopy 1967, accessed online 16 March 2021.
Judith Iltis, ‘Boston, John (?–1804)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, https://adb.anu.edu.au/biography/boston-john-1804/text2051, published first in hardcopy 1966, accessed online 16 March 2021.
The ardent British football fan while waiting for match day or counting down the off-season days to next August can often be found lapping up all the available literature he or she can get their hands on about the beloved round ball game. The appetite for football fiction extends to the graphic novel and it’s predecessor the comic book. The perennially popular exemplar of this quintessential “Boy’s Own” exploits genre is Roy of the Rovers.
[R] 17-y-o Roy Race on his ‘debut’
The comic Roy of the Rovers had its debut in Tiger magazine in 1954…the strip follows the fortunes of fictional football team Melchester Rovers, with the spotlight very much on its star centre forward Roy Race. Captain Roy and his team invariably find themselves the underdogs, battling adversity, foul play, injuries and bad luck, somehow in the end they manage to beat the odds and spectacularly win the game in the last minute usually with a corker of a goal by Roy (for supposed ‘underdogs’ Melchester Rovers are decided overachievers – over the years racking up eight fictional FA cups, three European cups and one UEFA cup!).
Roy on the field epitomises fair play (often in contrast to his opponents), his personality embodies all the virtues of “sportsmanship, etiquette and why a fractured ankle, a broken rib and an early case of polio should never stand between a determined team captain and victory in FA cups” (McGinty). Roy’s Rovers competed against the other teams in the League—like their arch-rivals Tynefield United—who never come close to ever matching up to the ethical pedigree of Melchester Rovers.
Roy of the Rovers momentsRoy of the Rovers permeates English football culture to the extent that it is a standard trope for fans of the game to invoke the comic strip to describe memorable sporting incidents, unexpected comebacks, miraculous wins from behind, etc.
Roy is beyond the slightest doubt the absolute gun player in Melchester’s colours, however it’s not quite a one man band. He gets stirling assistance from teammates, most notably from Johnny Dexter the team’s “hard man” and goalie Gordon (“the safest hands in soccer”) Stewart (cf. Gordon Banks).
The créme de la créme, the “Roy of the Rovers Annuals” were a staple for boys each year…over the years of the publication Roy and his team go through all the highs and lows – relegation to Second Division; kidnapping of players; a terrorist attack; the club experiences financial calamities and so on. In the process Roy briefly defects at one time to a rival club before returning to the fold before losing a leg in a skiing accident. After enforced retirement he becomes Melchester manager and his son Rocky assumes the mantle of the side’s star striker.
[B] Roy with his Prince Valiant hairstyle
By the early 1990s, with the inevitable ebbing of ROTR’s popularity, the publication folded. However, at several intervals, the comic, phoenix-like, has been resurrected for the diehearts, most recently in 2018.
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Socialism in one football club
In 1988 the BBC produced a two series radio program drawing inspiration from the legendary Roy of the Rovers comic but taking it in a very different direction. Lenin of the Rovers, “the story of Britain’s only communist football club”, written by Marcus Berkman, is both spoof and affectionate satire, sending up the football comic classic while retaining a sliver of nostalgia both for Roy of the Rovers and the British game of yesteryear. Lenin of the Rovers conversely takes a massive swipe at the contemporary (that is, as at 1988) world of Brit soccer, ridiculing big game commentators and pundits alike, skewering top-flight players for being overpaid, pampered show-ponies with their “in-car leopard skin yoghurt dispensers” (nothing’s changed!). Also in the program’s cross-hairs is the run amuck degree of football sponsorship (eg, the “Heinz Sandwich Spread FA Cup”) and stockbroker hooligans (Hughes). The LCD gutter press also gets a pummeling for its bald-faced lies and facile and trivalising reporting (eg, “Curvy Corinne’s” tabloid article in The Daily Tits: “My night of lust with Ralph Coates”✧).
The story line is pure farce, supposedly detailing the experiences of communist East European football player Ricky Lenin (Alexei Sayle in a heavily accented voice which appears to be channelling his Balowski family character from The Young Ones) at Midlands club Felchester Rovers. Lenin is portrayed as a “tactical mastermind/balding midfield maestro” but more accurately might be described as thick as two planks. Through constant rhetorical flourishes Lenin lectures the team on dialectical materialism, the inevitable destiny of Felchester Rovers football club*, but he is exposed as a faux Marxist for covertly trying to enrich himself through football connexions. Lenin launches a proletarian coup which removes the club’s manager Ray Royce (a transparent pun on Roy Race), and then himself has to ward off a challenge from Felchester’s “burly defender” Stevie Stalin and “hard nut” henchman Terry Trotsky.
A riotous hoot
Many misadventures follow as Lenin and the club bungle their way through sex scandals, corruption and dodgy business deals, and a disastrous mid-season holiday in a war-torn Central American banana republic (El Telvador)+. The latter episode spoofs cult movie Apocalypse Now (“I love the smell of shin-pads in the morning”), with a side reference to the WWII football plot of Escape to Victory!
In the episode where Felchester travel to Germany to play Borussia Mönchenpastry (cringe!), they encounter diabolical German tabloid publisher Max Gut, a thinly disguised Robert Maxwell. Piss-taking comes fast and furious in LOTR, another episode involving Ricky putting out feelers for a move across the Irish Sea to represent the Republic of Ireland national whose team sheet reads like the United Nations with not a solitary Gaelic name in it! One of the team apparently qualified for Ireland due to having once read a James Joyce novel!
A recurring device sprinkled liberally through Lenin of the Rovers has Ricky Lenin speaking random lines from well-known pop songs – “We are family! I have all my sisters with me”; “A rebel to the core”, “Don’t go breaking my heart“, etc. ad nauseum.
From go to whoa it’s a pun bonanza, reminding me a lot of those exquisite Sixties radio comedies like I’m Sorry I’ll Read That Again. Felchester’s Euro opponent is Swiss club FC Toblerone (groan!). Their arch-rivals in the English comp is the thuggish Crunchthorpe United, however the Felchester team itself triumphs in the Cup employing the same tactics of illegal crunching tackles and skilless brawn. Needless to say that in the computer football universe, Felchester Rovers would be Melchester’s Crunchthorpe United.
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✧ LOTR takes no prisoners with the reputations of past FA stars with a constant flow of running gags at their expense (particularly cruel on Ralph Coates)
* with ideological fidelity he also devises a “five year goal plan” for the club, prompting his teammates to slag Arsenal for its “five goals a year plan”
+ there’s a reference to Terry Venables here, the former English manager’s nickname was “El Tel”
Reference material:
‘A teen magazine for boys — but will they buy it?’, The Scotsman, Stephen McGinty, 15-Jan-2004, www.thescotsman.co.uk
‘Lenin of the Rovers’, Wikipedia, http://en.m.wikipedia.org
‘Radio revolution’, Rob Hughes, When Saturday Comes, November 2010, www.wsc.co.uk
‘Lenin on the goalpost’, Paul Shaffer, Lion and Unicorn, 2017, www.thelionandunicorn.wordpress.com
Rusting and decaying dinosaurs of the sea moored permanently off Sydney Olympic Park
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Walkers and cyclists doing the path section of Sydney Olympic Park that stretches from Bennelong Speedway (oops! I mean Parkway) to the Badu Mangroves that guard the northern edge of Bicentennial Park would be familiar with the sight of half-a-dozen or so shipwrecks sitting calmly in the waters of Homebush Bay.
🔺 HMAS Karangi: once an important contributor in the defence of Darwin against the Japanese attack, now decomposing incrementallyin the bay
🔺 the “interpretative and scenic lookout”
ჱჲს A metal plaque on the ground alongside the trail directs the curious passerby to an old wooden viewing platform where you can observe these maritime relics redolent of rotting timber and rusting metal. This spot contains the ship-breaking ramp (or what remains of it) that was used to dismember these ex-naval vessels. Missing is the wooden crane (presumably submerged) and the telescope.
🔺 The ship-breaking dock
ჱჲს The story of how these ships ended up here begins in 1966 when the Maritime Services Board approved the use of land here as a ship-breaking yard for the Port of Sydney. From 1970 till to the early Nineties private companies leased the yard to demolish hulks which had surpassed their use-by-date.
ჱჲს With the passage of time, left to nature and the elements, a number of these ex-ships have experienced an almost complete organic makeover. The dense mangroves of the bay have invaded the vessels, turning them into what one observer described as “a floating mangrove forest” (May Ly) and another, “a floating rusty relic forest” (Ruth Spitzer). The stricken and abandoned vessels are now a haven for local coastal birdlife (at dusk the hovering and nesting white gulls are easy to spot aboard the arboreal hulls).
ჱჲს The most striking example of this process of afforestation of wrecks is the SS Ayrfield. The UK-built steam collier, which ended up in Homebush Bay in 1972 after World War 2 service, is spectacularly overgrown with mangroves, a dense armada of trees literally bursting out of the ship’s disappearing hull and threatening to swallow it whole! High-rise residents in the Wentworth Point estate and people strolling along the waterfront of the Point are afforded the best views of the organically-refashioned Ayrfield.
ჱჲს Also warranting special mention for a similar makeover courtesy of its biotic vibrancy–albeit much more obscurely located around the bend close to the Waterbird Sanctuary–is the 1924-built SS Heroic. The Heroic, a steam tug boat, saw service in both world wars before being consigned to the Homebush Bay cast-iron graveyard. Hidden behind a cloak of thick mangroves, you need to position yourself right on the muddy edge of the water and crane your neck to get a decent sighter of the nature-engulfed old tug boat. Its predicament, mirrors the Ayrfield’s but in a less advanced stage of arboreal encroachment.
ነሃጣፈነ A curious footnote to the 50 year-presence of the scuttled and abandoned ships in Homebush Bay is that the vessels, despite the egregiously bad state they are in, are ‘protected’ by legislation (under the Commonwealth Historic Shipwrecks Act 1976).
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Materials referenced:
‘Shipwrecks of Homebush Bay’, (May Ly), 30-Jul-2013, www.weekendnotes.com
‘Graveyards of a different kind at Homebush Bay’, (Ruth Spitzer), 2015, www.ruthspitzer.com
⇧ A Hitler, landscape (Source: Widewalls)
⇧ Beckmann: ‘The Night’
Dix’s ‘Seven Deadly Sins’ (1933)
Like the great majority of the world’s population I’ve never been to North Korea…but unlike most people I have been to the very edge of Kim Jong-un’s secretive “Hermit Kingdom”. In 2019 I ate at restaurants run by North Korean exiles in the vibrant, lively Chinese border city of Dandong (directly opposite the seemingly dead NK city of Sinŭiju). I have also bought North Korean souvenirs from ex-pat market stall-holders on the Yalu River, the DPRK’s western boundary. Technically, I can even boast of having penetrated deep into North Korean territorial waters, having sailed around and across the river in a tourist boat➊.
Source. CFR
(Source: The National Interest)
Inhuman excesses
Human rights are of course at a premium in such a doctrinaire totalitarian state, but Kim’s excesses and violations again can be viewed as part of “the rational and predictable politics” which are standard in authoritarian dictatorships such as the DPRK (Habib). Social control under KJU has a distinctly Orwellian tinge with the Songbun system which herds citizens into three distinct “socio-political” classes – ‘loyal’, ‘wavering’ and ‘hostile’ (HRW).
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Squire (or possibly ‘Squires’) commenced cultivating hops on the riverside location around 1806. Squire is considered to be the first person to brew beer successfully in Australia, although some claim the title on behalf of one John Boston who made corn beer in Sydney in 1796 with the aid of an encyclopaedia. Boston’s Indian corn-based beer “was so successful that he erected at some expense a building proper for the business” (Iltis).
Squire also was particularly successful at it, so much so that he eventually acquired a vast estate that stretched from Parramatta River to a point north of Victoria Road. Squire’s real estate empire wasn’t exactly down to superior business acumen on the brewer’s part…Squire kickstarted his land holdings monopoly by revelling in decidedly unethical behaviour.
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[R] 17-y-o Roy Race on his ‘debut’
Roy on the field epitomises fair play (often in contrast to his opponents), his personality embodies all the virtues of “sportsmanship, etiquette and why a fractured ankle, a broken rib and an early case of polio should never stand between a determined team captain and victory in FA cups” (McGinty). Roy’s Rovers competed against the other teams in the League—like their arch-rivals Tynefield United—who never come close to ever matching up to the ethical pedigree of Melchester Rovers.
Roy is beyond the slightest doubt the absolute gun player in Melchester’s colours, however it’s not quite a one man band. He gets stirling assistance from teammates, most notably from Johnny Dexter the team’s “hard man” and goalie Gordon (“the safest hands in soccer”) Stewart (cf. Gordon Banks).
By the early 1990s, with the inevitable ebbing of ROTR’s popularity, the publication folded. However, at several intervals, the comic, phoenix-like, has been resurrected for the diehearts, most recently in 2018.
The story line is pure farce, supposedly detailing the experiences of communist East European football player Ricky Lenin (Alexei Sayle in a heavily accented voice which appears to be channelling his Balowski family character from The Young Ones) at Midlands club Felchester Rovers. Lenin is portrayed as a “tactical mastermind/balding midfield maestro” but more accurately might be described as thick as two planks. Through constant rhetorical flourishes Lenin lectures the team on dialectical materialism, the inevitable destiny of Felchester Rovers football club*, but he is exposed as a faux Marxist for covertly trying to enrich himself through football connexions. Lenin launches a proletarian coup which removes the club’s manager Ray Royce (a transparent pun on Roy Race), and then himself has to ward off a challenge from Felchester’s “burly defender” Stevie Stalin and “hard nut” henchman Terry Trotsky.
In the episode where Felchester travel to Germany to play Borussia Mönchenpastry (cringe!), they encounter diabolical German tabloid publisher Max Gut, a thinly disguised Robert Maxwell. Piss-taking comes fast and furious in LOTR, another episode involving Ricky putting out feelers for a move across the Irish Sea to represent the Republic of Ireland national whose team sheet reads like the United Nations with not a solitary Gaelic name in it! One of the team apparently qualified for Ireland due to having once read a James Joyce novel!
From go to whoa it’s a pun bonanza, reminding me a lot of those exquisite Sixties radio comedies like I’m Sorry I’ll Read That Again. Felchester’s Euro opponent is Swiss club FC Toblerone (groan!). Their arch-rivals in the English comp is the thuggish Crunchthorpe United, however the Felchester team itself triumphs in the Cup employing the same tactics of illegal crunching tackles and skilless brawn. Needless to say that in the computer football universe, Felchester Rovers would be Melchester’s Crunchthorpe United.
Rusting and decaying dinosaurs of the sea moored permanently off Sydney Olympic Park
🔺 the “interpretative and scenic lookout”
