the dinkum bloke
wed 15 aug 1923 - the argus (melbourne, vic. : 1848 - 1957) page 8 -
the dinkum bloke .
the argus (melbourne, vic. : 1848 - 1957), wed 15 aug 1923, page 8 -
the dinkum bloke .
‘‘we have been making hard decisions to show that this guarantee is fair dinkum, that our low interest rate guarantee is fair dinkum, ’ he declared. ’
i add some fair dinkum commentary to one... - ozzy man reviews
‘if you want the dinkum oil on the islands, he' s your chap. ’
‘they have the dinkum oil, and the department of conservation is the neighbour from hell. ’
‘you' re stuck up a gum tree, and that' s the dinkum oil. ’
[ 29 ] “ the sentimental bloke”, sydney morning herald, 20 october 1919 .
‘‘it' s fair dinkum, mate, ’ said don, with a straight face. ’
‘it' s also great fun listening out for all the dinkum aussie accents amongst the talented cast. ’
article details ,
kenny: the return of the decent aussie bloke in ...
it was a dead set classic. it was a dead set classic, fair dinkum .
‘we were trying to find the “dinkum oil”, and we both hoped we would find it here. ’
reliable; genuine; honest; true. this word is a shortening of fair dinkum which comes from british dialect. the compound fair dinkum' fair dealing which is just and equitable' is recorded from lincolnshire in 1881, and is the equivalent of west yorkshire fair doos fair dealing. the adjective is first recorded in australia from the 1890s. for a more detailed discussion of dinkum see the article' the story of dinkum' on our blog .
‘‘burt' s just told me he' s packing up in a month. ’ ‘fair dinkum? ’’
oil is often found in the terms dinkum oil and good oil, both also occurring in the context of the first world war. in wartime the camps and trenches were rife with rumour, and the soldiers’ thirst for accurate information is reflected in these terms. dinkum is an australianism meaning ‘reliable’ or ‘genuine', and dinkum oil means ‘reliable information’ or ‘an accurate report’. for more information about dinkum oil and other words from the gallipoli campaign, see our blog anzac: words from gallipoli .
‘don' t worry about me; i swear to you, straight dinkum, that i am absolutely comfortable. ’
1) person a - i nearly had a car accident today! person b - fair dinkum? 2) person a - it & apos; s going to cost me lot of money to fix the car. person b - fair dinkum
‘it is light and satisfying, the flakiness - the result of using real butter, unbleached flour and no preservatives - is the dinkum deal. ’
‘which was just as well, really - for as every dinkum aussie knows, booing the prime minister at sporting events is the australian way. ’
‘bring on a fresh face to implement the sound policies proposed in the budget - reply speech, and it will be taken as fair dinkum. ’
for the dinkum oil on australian english. a blog from the australian national dictionary centre, a joint australian national university and oxford university press project urltoken
1910 sunday times (perth) 6 march: i' ll tell you, sir, what happened, and i tell the dinkum truth .
[ 27 ] “ the sentimental bloke: successful private screening of film version”, advertiser (adelaide), 27 november 1918 .
private lives of a sentimental bloke”, cinema journal, 37, no. 4 (1998), 3 - 18) ;
like the sentimental bloke, he had been wild and uncontrolled in his early youth. pubs and two - up schools had known much of him. again, like the bloke, and most amazing coincidence of all, he had really met and married his doreen, whose influence had weaned him from dissolute ways, until he had become, even as the bloke, a self - respecting member of reputable society .
2001 b. courtenay four fires 501 tommy doesn' t want the poor bloke to be standing there like a shag on a rock .
‘at albrecht, the crowd was down, but with two neutral umpires centre stage and vital premiership points on offer, play was fair dinkum from the first delivery. ’
‘i think you' ll most probably see a few more unless they really sit down in a fair dinkum manner and say enough' s enough. ’
ginger mick (gilbert emery) and bill (arthur tauchert) in raymond longford’s the sentimental bloke. from the national film and sound archive of australia .
kenny: the return of the decent aussie bloke in australian film comedy: throughout australian cinema history, the figure of the bloke has come in many guises: the lovable larrikin, the ocker abroad, the naive dad, and now, with the popularity of kenny (clayton jacobson, 2006), the decent everyman. felicity collins traces this history
former first bloke tim mathieson laughed off gay slurs against him and revealed his parents' reaction to it in a hilarious a radio interview .
it was not until two years later, after i had met tauchert in the flesh, that i solved the riddle of his peculiar attraction in the film. he had not merely acted the bloke - - he was the bloke, and, by an extraordinary coincidence, might have been the very man upon whom i modelled the character .
fight club... bloke punches himself. encourages others to punch him. leaves his job. shaves his head. bad influence on meatloaf
1992 j. davis in our town: that' s my sister. what a sheila. every bloke in northam wants to date her .
‘or one featuring a bus using its enormously powerful and technical - sounding engine to drag a rock away so that a fair dinkum aussie farmer can finish a fence. ’
shirley, graham,' restoring and re - releasing' the sentimental bloke'', national film and sound archive (nfsa), urltoken. details
{ { cite news urltoken | title =
the dinkum bloke .
| newspaper = [ [ the argus (melbourne) ] ] | issue = 24, 032 | location = victoria, australia | date = 15 august 1923 | accessdate = 10 july 2018 | page = 8 | via = national library of australia } }
former first bloke tim mathieson has laughed off the gay slurs against him and revealed his parents' reaction to the claims during a hilarious interview about his time in the lodge .
‘by the time i arrived scenes reminiscent of the end of world war ii were already underway, but i interrupted the spontaneous dancing to grab these quotes from dinkum aussies who have been doing it tough. ’
1960 r. s. porteous cattleman:' the bloke on the other end of the line is only some useless galah tryin' to sell a new brand of dip' .
na mate, i & apos; l tell ya what... the guy come roun he - gain. . il give to em right. . bloody fair dinkum mate !
‘but to show just how fair dinkum and innocent of any charges or accusations they are - their lawyers have writs virtually flying out the door that will legally prove the media are liars and character assassins. ’
as for the bloke himself, arthur tauchert’s face and physique are those of the beefy “blue collar” brawler, a masculine type that was already superseded in hollywood. a 1923 article reported :
‘no, fair dinkum that' s what mr stanhope said in answer to a question from the alp' s senator sue mackay who had asked how telstra could justify the new charge, which starts in july. ’
we produced posters, press - material and accessories and announced the sentimental bloke on our schedule for the year, but in every public test the picture failed. that the public did not understand the slang cannot be offered as the reason … the sentimental bloke failed because of its inferior production qualities. from australian standards it was a masterpiece; in comparison with american and continental techniques it was hopelessly outclassed. [ 46 ]
• ina bertrand, “the sentimental bloke: realism and romance”, in film and the first world war, eds. karel dibbets & bert hogenkamp (amsterdam, amsterdam university press, 1995) ;
byrnes, paul,' curator' s notes:' the sentimental bloke' (1919)', in australian screen, national film and sound archive (nfsa), urltoken. details
kenny: the return of the decent aussie bloke in australian film comedy: throughout australian cinema history, the figure of the bloke has come in many guises: the lovable larrikin, the ocker abroad, the naive dad, and now, with the popularity of kenny (clayton jacobson, 2006), the decent everyman. felicity collins traces this history
by collins, felicity - metro magazine, issue 154, october 2007 | online research library: questia
authenticity aside, the problem kenny raises for me is not so much its one - joke contribution to mockumentary comedy, in the footsteps of the office and kath & kim, but, rather, its transformation of australian comedy' s national type from a beer - swilling larrikin or sex - crazed ocker into a decent bloke whose ultimate role in the social imaginary is to affirm and preserve the supposed decency, goodness and superiority of the australian way of life. by transforming the' dinkum bloke' into a' decent aussie', kenny becomes an exemplar of a long - standing, popular and, arguably, deeply conservative strand in australian film comedy .
2014 sydney morning herald 29 july: the electorate is better educated than ever before, people are more financially successful and they see through the paradox that governments promise more and more but can achieve less. the starting point is to make the debate more dinkum .
given that clothing signifies so much in everyday life, it is not surprising that the sentimental bloke uses bill’s headgear and clothing to indicate his progress from drunken lout to responsible husband and father. in part, the bloke’s costumes infuse the film with cultural associations from the everyday world – as do any costumes. but once on the screen, their semiotic function is condensed, as the “authenticity” of everyday menswear combines with the “artifice” of filmmaking convention .
although it has been nearly a century since the 1915 publication of c. j. dennis’ verse narrative songs of a sentimental bloke, dennis’ comic use of the australian vernacular continues to endear the work to contemporary readers .
i saw little of him in those later years; but the sudden and unexpected news of his passing affected me quite as much as if i had lost an old and valued friend. arthur had little to answer for at the judgement seat, for, despite many hectic experiences and an environment that tends to
toughness ,
he remained always strangely unsophisticated and, in the true australian sense, ever a
dinkum bloke .
[ 23 ] this paper deliberately focuses on perceptions at the time of the film’s release. in addition to bertrand and routt (1989), previously cited, more recent writers who engage with the “authenticity” of the sentimental bloke include :
ironically, though, the bloke’s journey of “self realisation” aligns, to a great extent, with glamour’s endorsement of consumerism. where, then, does his journey diverge from those shown in hollywood films ?
1923 bulletin (sydney) 12 july: it was a pommy bloke wot put me wise. i was in snotty padger’s bar one day ’avin’ a quiet couple wiv the flies when pom. lobs in .
london critics may not have gone so far as to suggest that dennis was australia’s bard, but the popularity of songs of a sentimental bloke indicates that australians reveled in dennis’ celebration of their nation’s distinctive vocabulary .
poor old arthur. even until the end he could never quite understand why, despite his growing baldness and other evidence of age, i would not consent to his playing the bloke in every subsequent interpretation of the part. i really believe that, after his success with the role, not only in australia, but in england as well, he ceased to be arthur tauchert, but became, and remained until the finish, the only real
sentimental bloke .
when we were selecting the cast for the silent film version of
the sentimental bloke
we had much difficulty in choosing exactly the right type of man to play the leading part. finally, after many had been considered and rejected, the producer, mr raymond longford, wrote me from sydney that he had happened upon an ideal man to play the bloke. with the letter came a photograph of tauchert and a brief sketch of his stage career. i was not impressed, either by the photograph or the history .
the film had been completed and cut before i had my first opportunity of having a pre - view in adelaide, in company with the local sharebrokers, newspaper men and squatters who had taken a sporting chance and put up the money to back the filming of the
bloke
.
[ 41 ] raymond longford, 1958, “longford typescript memoir”, rpt in raymond longford’s the sentimental bloke: the restored version, monograph accompanying dvd release, national film and sound archive, 2009, canberra, act, pp. 153 - 157 .
2014 sydney morning herald 14 july: what you write about your life in your autobiography is a little like what you say when under oath. when you call that autobiography this is my life it is a further affirmation that what i am telling you is the dinkum oil .
if some of the slang in the captions to this truly superior picture are translated into american slang, and if this translation process is carried just far enough to make the captions easy of understanding without destroying the racy flavor … then the sentimental bloke will be a great success. [ 45 ]
the sentimental bloke is essentially australian, but he belongs to the world at large, and his whims and fancies, his quaint philosophy and his altogether likeable personality, will be as readily welcomed in britain and the united states as in the land of his creation. [ 24 ]
the bloke ambles into the film’s opening scenes wearing a pale - coloured soft - felt hat with a darker band. the hat has no particular shape or style. its crown hasn’t been shaped; by comparison, the fedora worn by ginger mick (gilbert emery) has pinches in the front of the crown .
this was not, however, the first time the sentimental bloke had been seen in california. the oakland enquirer reported in december 1919 that “the first showing in this country of an australian - made moving picture” took place at the st francis hotel. the reviewer, like the australian and british critics, responded positively, declaring that the film :
the bowler was worn informally when introduced in the 1860s. a favourite of working men, by the 1920s it nudged aside the top hat to become “correct day or business wear”, appropriate with an ensemble of black jacket / striped trousers or with the sort of dark lounge suit [ 59 ] worn by the bloke .
tell a humorous love story as bill ‘the bloke’ tries to reform his rough larrikin habits in order to win the affections of doreen, a young pickle factory worker. the book is full of examples of australian colloquialisms, particularly words relating to the world of the urban larrikin (then a word meaning ‘hooligan’) .
early reviewers emphasised the “authenticity” of the sentimental bloke, an aspect of the film still much discussed. [ 23 ] indeed, today’s writers are as intrigued and perplexed by the links between “realism” and nation as were those writing at the time of the film’s release. a green room writer predicted that the “australian” nature of the film would ensure overseas commercial success :
1915 argus (melbourne) 9 june: gallipoli… our lads commenced to pinch themselves to make sure they were really under fire. they had been disappointed so often that now they could hardly believe they had the real thing. i heard one man say, ‘saida the dinkum oil at last; no more furpheys; ’ and that was the feeling all round .
even before the sentimental bloke was released, reviewers at an early private screening praised the “wonderful realism” of tauchert’s performance: “he might have been the actual ‘bloke’ who was born in the sordid slum areas …” [ 27 ] gilbert emery, playing ginger mick, was seen as similarly “authentic” with his “true woolloomooloo slouch and manners perfect for push life”. [ 28 ] “graceful” doreen (lottie lyell) was “natural and life - like from beginning to end of the larrikin romance” [ 29 ], wrote one reviewer, while another said: “doreen … is impersonated with a naturalness and fitting charm that gives the real touch …” [ 30 ]
yesterday australians were struggling to understand how the self - proclaimed
wildlife warrior australian bloke
was killed on the innocuous venture by the whip of a stingray' s barbed tail. the creature, which would only normally thrash out if threatened, struck with a reflex powerful enough to puncture a hole in the 44 - year - old conservationist' s chest .
in a tragically short life, lottie lyell made an extraordinary contribution to the early development of the australian feature film industry, as well as establishing herself as one of australia' s first film stars. committed to developing films in her own country, her career highlights included making and starring in one of the landmark silent features of the era - the sentimental bloke .
similarly, police photographs show the crooks’ clothing styles are replicated in outfits worn in the sentimental bloke. and far from presenting newly purchased costumes or just - built sets – or a romantic idea of poverty – the film invites the audience to notice time’s effects on surfaces, in the build - up of grease, dirt, and sweat, the wear - and - tear of fabrics .
2005 sydney morning herald 12 march: how do colleagues know when i am having a go at shane warne? … they can see my fingers moving on the keyboard. look, i try not to do it all the time, honest! but sometimes the compulsion just overwhelms me, as a hideous case of tall poppy syndrome grabs me by the throat and, fair dinkum, makes me do it .
the hats in the sentimental bloke are, in conclusion, incessantly chatty. not only do they “talk” for bill when he is inarticulate; they “talk” about bill, telling stories about his personality, frame of mind, class and income; and in these ways, they support the unfolding story. but most intriguingly, the hats also critique the narrative trajectory they have helped to create .
the bloke and doreen have a “ding dong row” over the attention doreen receives from the straw ’at coot. bill’s outfit, with new stiff white collar, displays his improved social standing, along with his involvement in consumer culture. topping it all off is a new hat: a dark, hard - felt bowler that contrasts to the earlier formless soft - felt hat .
the 1919 film the sentimental bloke, based on c j dennis' s much - loved poem, also turned the tide in its sympathetic portrayal of city and working class life. in australian features up to this point virtuous women often came from wholesome country backgrounds, with their move to the city leading to them to corruption and bad habits. in contrast, lottie lyell' s factory girl doreen is sweet, hardworking and funny, and is the moral compass that guides the larrikin' bloke' to a life of sober happiness. the film was released and praised internationally for the quality of its acting, the engaging blend of humour and pathos as well as and the charm and authenticity of its characters and locations. lyell' s contribution to the film included production, screenplay and editing as well as playing the female lead .
. after a prolonged search for the male lead, longford chose a vaudeville performer and former laborer, arthur tauchert, to play bill, the
sentimental bloke .
lyell co - starred as the heroine, doreen, and is also believed to have co - authored the screenplay, written the titles, edited the film, and helped with the overall production including art direction. much of the film was shot on location in the sydney working - class suburb of woolloomooloo. the narrative is a striking departure from films like
in 1918, when the sentimental bloke was made, menswear – including hats, “those great male emblems” [ 9 ] – contributed to changing ideas of masculinity. thus freud’s 1911 comment that “a hat is a symbol of a man (or of male genitals) ” [ 10 ] does not do justice to the complexity of headgear, which can signal a range of cultural dimensions :
it is easy to see, then, that the “natural” faces, clothes, sets and streets of the sentimental bloke held little appeal for audiences for whom glamour, beauty and consumerist inspiration were the hallmarks of a good film. “in view of the fact that 70 per cent of cinema audiences are women, ” stated bob dexter, “and women’s interest lies primarily in the garments of the principals, extraordinary care must be taken if australia desires to avoid the reputation of being a country of antiques. ”
for australians, the film’s “realism” affectionately celebrated australia; for us audiences, the “realism” was, apparently, just ugly. the sentimental bloke was made far from hollywood where the screen glamour became fully established during the early 1920s – so that, when the film was trialled in the united states in 1922, three years after the australian premieres, it was seen in the context of an aesthetic that was reaching maximum impact. [ 38 ] significantly, notions of beauty and glamour were entwined with american national pride, just as australians saw the film’s unassuming “authenticity” as proudly representing their nation .
later still, the bloke and doreen watch a theatre production of romeo and juliet. his new job in a printing works explains his small bow tie. it is difficult to be completely sure, but it seems that he still wears his old hat. but whereas, on their first date, the crown of the hat sometimes seemed to have a pork - pie shape, now it resembles a bowler, and the brim is jauntily turned up all around .
the interiors – shot on open - roofed sets at wonderland amusement park in bondi – are complete artifice that conscientiously communicates the characters’ impoverished lives. the bloke’s mean quarters, with its loud wallpaper, and even mar’s delft - filled sitting room, strongly resemble 1920s sydney police photographs of crime scenes. [ 34 ] cramped passageways, narrow sagging beds, mis - matched chairs, shelves with chipped paint, and even the way the furniture sits in the rooms: the film’s sets resemble the ghastly real - life interiors, illuminated by flashes from police cameras .
according to one enthusiastic reviewer, kenny is the kind of film airlines need to show on incoming flights to teach tourists about australian values:' kenny is like the castle [ rob sitch, 1997 ] without the patronising or crocodile dundee [ peter faiman, 1986 ] without the brashness... its values are those of most australians, indeed most human beings.' (1) online fans lauded the film for its' very australian' sense of humour, exemplified by the eponymous everyman kenny smyth (shane jacobson) - -' the hard - working bloke' notable for' his complete decency as a human being'. (2) the film' s' australian' values, although never clearly specified by reviewers, seem to add up to a sense of humour, the capacity to appreciate an inventory of toilet jokes, and a home - spun philosophy which valorizes the ordinary aussie bloke (oddly americanized in the press kit tagline as' a lovable guy, in a not so lovable job') .
with his catchphrases
crikey
and
look at that beaut !
irwin acknowledged that some australians saw him as an anachronism .
they actually see a little bit of themselves when they see me and they find that a little embarrassing. i' m fair dinkum, like kangaroos, winged keels and bloody flies. i think i' ve got animals so genetically inside me that there' s no way i could actually be anything else .
cecil b demille defined his approach as “sex, sets and costumes” [ 57 ], and, like other directors, used glamour’s glittering surfaces to explore sweeping post - war social changes. these productions “defined the limits of the moral revolution on the screen for the next decade”. [ 58 ] by 1922, when the sentimental bloke reached the us, demille had already made over ten features with extravagant production design and tantalising titles like don’t change your husband (usa, 1919) and old wives for new (usa, 1918) .
one example of the older type was william farnham, whose trademark was his on - screen fistfights. [ 61 ] by comparison, the straw ’at coot, sleek and slim, looks somewhat like the new type of leading man, best exemplified by douglas fairbanks. fairbanks’ roles showcased his “playful physicality” [ 62 ], and by the early 1920s, he had featured in expensive adventure films like the mark of zorro (fred niblo; 1920) and robin hood (allan dwan; 1922) – productions full of artifice and fantasy that contrasted strongly with the prosaic “authenticity” of the sentimental bloke .
very angry; crazy; eccentric. the phrase also takes the form mad as a snake. the different senses of the phrase derive from the fact that ‘mad’ has two main senses - ‘crazy’ and ‘angry’. the ‘crazy’ sense is illustrated by ‘that bloke wearing a teapot on his head is as mad as a cut snake’, and the angry sense is illustrated by ‘be careful of the boss this afternoon, he’s as mad as a cut snake’. there are similar phrases in australian english including mad as a meat axe and mad as a gumtree full of galahs. mad as a (cut) snake is first recorded in 1900 .
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these “yankalian” suits embody the broad full skirt, the long lapel, the low - cut vest, the full trousers of the american suit. [ 66 ]
by the late 1840s the term had been transferred to the route followed by a person who journeys through the country, especially in search of seasonal work. it often occurs in the phrase on the wallaby track and in in the abbreviated form on the wallaby :
to get a raw deal, or to receive unfair or inequitable treatment. the force of the phrase derives partly from the fact that either end of a pineapple is ‘rough’, although the end with the prickly leaves is very rough indeed. this expression is recorded first in 1959, and the early evidence is for the form to get the wrong end of the pineapple. from the 1970s onwards the ‘rough end’ takes over from the ‘wrong end’ as the more common form of the expression. the equivalent american saying is ‘to get the fuzzy end of the lollypop’ .
lyell continued to work on films although from 1920 illness interrupted her career. she played a smaller role in longford' s on our selection. in 1921 she co - produced and performed in the sequel to the sentimental bloke - ginger mick - then concentrated solely on producing & directing the blue mountains mystery before performing in rudd' s new selection. in 1923 longford and lyell formed a new production company - longford lyell productions - and they worked on a further 6 films together, two of which were released after her death, at 35, from tuberculosis on 21 december 1925. she is buried in the northern suburbs cemetery in ryde, nsw alongside raymond longford .
unkempt when he goes into jail, bill is still unkempt when he is released; when he hawks vegetables in the street; and when he first sees doreen. (it is telling that, as bill eyes doreen at the market, his headgear looks particularly dirty, and a woman in the background energetically brushes a second - hand hat .) by the time of their “proper” introduction, however, the bloke has smartened up. although his hat is still quite formless, he wears a tie. a striped waistcoat, with a firm lower edge, replaces the cardigan with its over - stretched hem. bill further polishes his appearance for his first date with doreen. he again wears his striped vest, and has added a cravat .
2000 tracks january: the scourge of the summer festival - goer has to be the crusty dunnies .
he also achieved the status reserved for the best - loved figures across the us when he appeared as a cartoon character in the simpsons .
1959 l. rose country of the dead: he looked up through the gauze wire serving as the outer wall of the sleep - out, across the dry river flat .
this paper uses the costumes of bill, the sentimental bloke (arthur tauchert) to reveal tensions between “authenticity” and artifice. hats provide a particular focus, because as well as helping to draw bill’s character, they contribute to the narrative. for instance, at moments when bill struggles for words, he communicates by using his hat. he signals frustration or confusion by shoving his fedora to the back of his head, and when he is “properly” introduced to doreen – after she has twice snubbed his approaches – his hat helps him overcome his awkwardness. “i dips me lid, ” he tells us. “i sez, ‘good day. ’ an’ bli - me, i ‘ad nothin’ more ter say! ”
for a discussion of the phrase the big stoush, see our word of the month for april 2015 .
tim mathieson, the partner of julia gillard takes a peak at the media outside the lodge in canberra .
the contemporary press often reported with particular pride on the favourable reception of this film adaptation in the ‘mother country’. in 1920, the port pirie recorder proudly relayed a london critic’s view ‘that it was the best film he had ever seen’ and in the same year the sydney morning herald also reported on the success of the film in london, noting that ‘none of the language was changed—the slang seemed to appeal to the people’ .
2001 u. dubosarsky fairy bread: the morning of the party, becky and her mother were in the kitchen making fairy bread. her baby brother sat on the floor eating the bits that fell off the table .
police vehicle used for transporting criminals. named after the protective' division' between the driver and the villains .
if the kiwis can claim the first evidence for pavlova, australia can claim the first evidence of the common abbreviation pav, first recorded in 1966 .
yesterday toxicology experts said the death was more likely to have been the result of the physical injury to his chest than the stingray' s venom .
1924 argus (melbourne) 3 september: the icing may be poured over the lamingtons, but it is simpler to dip the cake into the icing .
stoush was also used to refer to military engagement during the first world war, and later the phrase the big stoush was used of the war itself .
following the poem’s publication, the phrase wide brown land began to be used from the 1930s to refer to australia .
catch up on the latest words in the news this june with robert groves .
to swim or bathe. bogey is a borrowing from the aboriginal sydney language. the earliest records show the term being used in the pidgin english of aborigines :
gods derive their power from post - hoc rationalizations. - the inquisition using the supernatural to explain events in your life is a failure of the intellect to comprehend the world around you. - the inquisition
the act or process of criticising the australian government and its bureaucracy. canberra, the capital of australia, has been used allusively to refer to the australian government and its bureaucracy since the 1920s. the term canberra bashing emerged in the 1970s, and is also applied in criticisms of the city itself. for a more detailed discussion of the term see our word of the month article from february 2013 .
fool, silly person. named after the bird of the same name because of its antics and the noise it makes .
this sense of bodgie seems to be an abbreviation of the word bodger with the addition of the - ie (- y) suffix. one explanation for the development of the teenage larrikin sense was offered in the age (melbourne) in 1983 :
the big nothingness of the australian outback. great australian f * * k all .
, and lyell, convinced it would be ideal for the screen, encouraged longford to pursue the project. following the success of
see our blog ‘the convict origins of “public servant”’ for a discussion of the term .
1936 j. devanny sugar heaven: the cockies are supposed to pay this retention money into the bank and we are supposed to draw interest on it but normally they don’t pay it in. they keep the use of it through the season and we draw the bare amount at the end of the cut. it’s the greatest rort ever .
probably from the perception of the bandicoot' s burrowing habits, a new australian verb to bandicoot arose towards the end of the nineteenth century. it means' to remove potatoes from the ground, leaving the tops undisturbed'. usually this activity is surreptitious .
1881 w. e. abbott notes of a journey on the darling: at the blackfellows' tanks the clay excavated is still seen beside the waterholes, while in the gilgies there is no appearance of any embankment, the ground all round being perfectly level .
the phrase is used allusively to refer to the ideals of the australian labor party. in 1949 prime minister ben chifley spoke of the labor goal of social justice as' the light on the hill, which we aim to reach by working for the betterment of mankind'. since then the light on the hill has become a catchphrase in australian politics, used to evoke traditional labor values .
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1846 boston daily advertiser 5 may: like the strange missile which the australian throws, your verbal boomerang slaps you on the nose .
the public memory is notoriously short, and the brief mention in the press this week of the passing of arthur tauchert was probably passed over by the many while it recalled to a few some vague memories of the one outstanding australian triumph that was associated with his name .
( in traditional aboriginal belief) a collection of events beyond living memory that shaped the physical, spiritual, and moral world; the era in which these occurred; an aboriginal person' s consciousness of the enduring nature of the era. the term also takes the form dreaming. dreamtime is a translation of alcheringa - a word from the arrernte aboriginal language of the alice springs region in central australia. the term is first recorded in the 1890s .
2003 j. birmingham dopeland: the club sanger is the only reason i stay here .
1997 t. ferguson left, right and centre: they appealed to the irreverence of the australian spirit, the larrikin in us all .
but the word battler, at the end of the nineteenth century, starts to acquire some distinctively australian connotations. for this reason, it gets a guernsey in the australian national dictionary .
1998 m. keenan the horses too are gone: in the rangelands an unbranded calf becomes a cleanskin and cleanskins belong to the first person capable of planting a brand on the rump .
a phrase used to allude to wool as the source of australia’s national prosperity. the notion is often expressed as riding on the sheep’s back, and sometimes as living off the sheep’s back. for much of australia’s recent history wool has been the basis of the national economy and the country’s major export. the first wool exports from australia to britain began in the 1820s, and the industry boomed throughout the 19th century and beyond. despite setbacks such as drought, world war, and depression, wool continued its traditional dominance until the mid - 20th century .
1954 queensland guardian (brisbane) 20 january: snow says he thinks that this is the raw prawn. we do all the work, the mob behind menzies gets all the dough .
2013 courier - mail (brisbane) 28 october: cairns could become the canberra of the north under a plan to force public servants to move from the national capital to the tropics .
the australian soap opera is one of the most deeply rooted features of everyday australian life. from
, based on a novel about a clergyman who murders the father of the girl he seduced .
the term is used largely by people from states in which rugby league and not aussie rules is the major football code. this interstate and code rivalry is often found in evidence for the term, including the early evidence from the 1940s .
2011 shepparton news 27 june: the talented norman - trained trotter tsonga, also driven by jack, speared across the face of the field at barrier rise from outside the front row in the mobile - and from then was never headed .
the word bluey in australian english has a variety of meanings. the most common is the swag (i. e. the collection of possessions and daily necessaries carried by a person travelling, usually on foot, in the bush) so called because the outer covering of the swag was traditionally a blue blanket (which is also called a bluey). the earliest evidence for bluey as a swag is from 1878 where the bluey is humped as it was by the itinerant bush worker tramping the wallaby track in the works of writers such as henry lawson and banjo paterson .
1847 a. harris, settlers and convicts: in the cool of the evening had a' bogie' (bathe) in the river .
2015 sun - herald (sydney) 11 january: cruise express' s legends of the mediterranean package will cruise the waters off the turkish coast at dawn on april 25 and the official dawn service ashore will be broadcast on the ship .
1832 colonial times (hobart) 21 august: the lass i adore, the lass for me, is a lass in the female factory .
used to designate a style of aboriginal painting that originated in western arnhem land (northern territory). the style is characterised by the depiction of internal as well as external organs of the subject, as if the artist is seeing it with x - ray vision. the first evidence of the term is found in the early 1940s .
1902 sydney mail 10 december: neenish tarts... on the top of the whole spread the thinnest layer possible of icing made with the white of an egg and icing sugar sufficient to form a thick paste. with coffee, colour one half a pale yellow, and the other half a deep brown. ice the tarts carefully, having the top of each half dark, and the other half light, the division being exactly in the centre. care must be taken that the two colours do not run into each other .
something extremely impressive; the best of its kind. ant' s pants is an australian variant of the originally us forms bee' s knees and cat' s whiskers with the same meaning. the term is first recorded in the 1930s .
2013 sydney morning herald 23 october: we welcomed the byelection so we could send you the message: we don' t support a government that is giving us the rough end of the pineapple .
1937 cairns post 19 july: this is the season, according to the experience of recent years, for the influenza ‘wog’ to become active, and this year is no exception to the rule .
the work of longford and lyell has had a lasting influence on the australian cinema. in their films, rich with humor and insightful observation, they revealed to the world for the first time on screen the plucky, resourceful, democratic national character of the australian. their unaffected, naturalistic filmmaking marked a new approach to cinema at the time .
a sweet biscuit typically containing rolled oats and golden syrup. while variations on this classic recipe exist, its simplicity is its hallmark. the association with the australian and new zealand army corps goes back to 1917 when the recipe was first recorded. the biscuits are also known simply as anzacs. the following quotations show the evolution of the recipe :
extremely lazy. the phrase derives from the artificial respirator that kept polio patients alive by ‘breathing’ for them in the days when up to ten thousand people annually were affected by poliomyelitis (' infantile paralysis’) in australia. when vaccinations became routine in the mid - 1950s, the fear of polio diminished. the phrase is recorded from the 1970s .
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lottie lyell' s death coincided with the close of the first dynamic era of australian feature film production. the 1927 royal commission into the moving picture industry was ineffective in implementing measures that would prevent the industry' s decline in the face of imported films. lyell' s dedication, talent and willingness to work outside of traditional women' s roles contributed enormously to the flowering of cinema production in australia at the beginning of the 20th century .
1827 p. cunningham two years in new south wales: in calling to each other at a distance, the natives make use of the word coo - ee, as we do the word hollo, prolonging the sound of the coo, and closing that of the ee with a shrill jerk .
is one of the most charming i have ever seen. the story is of homely heart - interest, clean as a whistle and brimming with appeal to all the better emotions. and how excellently the australians cast the characters in their picture! the actors are of high excellence. [ 44 ]
to these geographical, historical and political reasons for preferring the name, he adds in his 1814 account of his voyages that australia is' agreeable to the ear, and an assimilation to the names of the other great portions of the earth' .
household linen, and the department of a shop where such goods are sold. the term is an elliptical and transferred use of manchester wares or manchester goods' cotton goods of the kind manufactured in manchester' in lancashire in england. the city of manchester in northern england was the centre of the english cotton industry in the 1700s and 1800s. london sales assistants are reputed to be quite baffled by australian customers enquiring where in the store to find manchester. the word is recorded from the 1840s .
person of mediterranean origin. a milder insult than the same word in the uk and perhaps elsewhere .
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1915 camperdown chronicle 2 december: lord kitchener told the' anzacs' at the dardanelles how much the king appreciated their splendid services, and added that they had done even better than the king expected .
1918 7th field artillery brigade yandoo: next morning, the brigade was on the' wallaby' .
the black stump of australian legend first appears in the late 19th century, and is an imaginary marker at the limits of settlement. anywhere beyond the black stump is beyond civilisation, deep in the outback, whereas something this side of the black stump belongs to the known world. although the towns of blackall, coolah and merriwagga each claim to possess the original black stump, a single stump is unlikely to be the origin of this term. it is more probable that the burnt and blackened tree stumps, ubiquitous in the outback, and used as markers when giving directions to travellers is the origin - this sense of black stump is recorded from 1831 .
very commonly in australian english galah is used to refer to a fool or idiot. this figurative sense is recorded from the 1930s, and derives from the perceived stupidity of the bird. the following quotations give an indication of how the term is used :
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1923 mercury (hobart) 21 march: in the commonwealth arbitration court. . mr justice powers to - day delivered judgment on the point. he said that the ambit of the dispute before the court was confined to constructional work, but that the court could and would deal with claims for maintenance work .
a queenslander. the term derives from the joking notion (as perceived from the southern states of australia) that queenslanders spend their time putting bends into bananas. an article from 15 july 1937 in the queenslander provides a forerunner to the term when a man is asked by the queen what his occupation is :
s. weller, bastards i have met (1976) writes: 'he was a battler, into all the lurks about the place and just one jump ahead of the coppers all the time'.
the dinkum bloke is a 1923 australian silent film directed by raymond longford . despite the title and the presence of arthur tauchert and lottie lyell in the cast , the film is not a direct sequel to the sentimental bloke ( 1919 ) or ginger mick ( 1920 ) . it was known in the uk as a gentleman in mufti . 
the dinkum bloke is a 1923 australian silent film directed by raymond longford. despite the title and the presence of arthur tauchert and lottie lyell in the cast, the film is not a direct sequel to the sentimental bloke (1919) or ginger mick (1920). it was known in the uk as a gentleman in mufti.
the dinkum bloke is a 1923 australian silent film directed by raymond longford. despite the title and the presence of arthur tauchert and lottie lyell in the cast, the film is not a direct sequel to the sentimental bloke (1919) or ginger mick (1920). it was known in the uk as a gentleman in mufti.