Bribie Island Board Riders

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crabmeat thompson
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Re: Bribie Island Board Riders

Post by crabmeat thompson » Mon Nov 27, 2017 1:34 pm

steve shearer wrote:
Mon Nov 27, 2017 11:23 am
God Carroll, can you please stop cross-pollinating from one forum to the other. What goes on there is there and what happens here is here.

But it is true. Most of what we understand as reality are merely epiphenomena operating in empty space.

Give Thomas Nagel's book Mind and Cosmos a whirl if you want to see a decent attempt to make sense of mind beyond Darwinian materialism.


Bribie has more than the colonial gothic feel to it, it also has a very strong evanescence of a South Pacific WW2 outpost. The so called Brisbane line, which was the point at which Australia would be defended against an expected invasion from the Japanese was in fact, the Bribie Line.
Fortifications along the Island were built with the purpose of being the front line of defence against a naval invasion.

They were the forts we played in as kids, used as markers for our surf spots. That history seeped into our bones and informed our day to day reality, although we weren't able to put it into context until much later.

In the next surfing life – which went to print last week – there is a piece in there from a phd philosophy professor. who also happens to be a surfer.

Im super interested to see what you think about it. it's way deep.

there's also a good interview with craig ando. who calls the wsl a bunch of redbull, wavepool robots ... it's a good read as well, and none of it is the usual puff surfing pieces we've become used to.
Kunji wrote:
Wed May 27, 2020 8:09 am
Would you mind throwing in a little more homoeroticism

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steve shearer
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Re: Bribie Island Board Riders

Post by steve shearer » Mon Nov 27, 2017 1:48 pm

I can't wait.
I want Nightclub Dwight dead in his grave I want the nice-nice up in blazes

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crabmeat thompson
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Re: Bribie Island Board Riders

Post by crabmeat thompson » Mon Nov 27, 2017 2:00 pm

plus your excellent olympics piece as well.

should be good reading all round!
Kunji wrote:
Wed May 27, 2020 8:09 am
Would you mind throwing in a little more homoeroticism

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Lucky Al
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Re: Bribie Island Board Riders

Post by Lucky Al » Mon Nov 27, 2017 2:43 pm

Where can I buy a copy in Bangkok I wonder.

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Re: Bribie Island Board Riders

Post by Lucky Al » Mon Nov 27, 2017 2:44 pm

Steve has an article about the Olympics? Greek boys and olive oil get a mention?

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Re: Bribie Island Board Riders

Post by Lucky Al » Mon Nov 27, 2017 2:45 pm

How many Olympians have come out of Bribie Steve?

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Re: Bribie Island Board Riders

Post by Lucky Al » Mon Nov 27, 2017 2:47 pm

How many barefooted humanitarian socialists?

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Re: Bribie Island Board Riders

Post by Lucky Al » Mon Nov 27, 2017 2:49 pm

How many stiff-limbed Lynchian midget blabber-mouth Brizzo blow-ins on Bribie?

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crabmeat thompson
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Re: Bribie Island Board Riders

Post by crabmeat thompson » Mon Nov 27, 2017 3:16 pm

Lucky Al wrote:
Mon Nov 27, 2017 2:43 pm
Where can I buy a copy in Bangkok I wonder.

You can buy a digital copy! Im not sure if we ship print internationally anymore as it cost more than the actual mag.
Kunji wrote:
Wed May 27, 2020 8:09 am
Would you mind throwing in a little more homoeroticism

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steve shearer
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Re: Bribie Island Board Riders

Post by steve shearer » Mon Nov 27, 2017 3:18 pm

Al, next time you come back in country, I'm taking you on a personally guided tour of Bribie Island.
Warts and all.
I want Nightclub Dwight dead in his grave I want the nice-nice up in blazes

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Re: Bribie Island Board Riders

Post by Beanpole » Mon Nov 27, 2017 6:19 pm

Lucky Al wrote:
Mon Nov 27, 2017 2:49 pm
How many stiff-limbed Lynchian midget blabber-mouth Brizzo blow-ins on Bribie?
Most of them left for the Gold Coast, Lennox.......or Lakemba.
Put your big boy pants on
I mean, tastebuds? WGAF?

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Re: Bribie Island Board Riders

Post by Cranked » Mon Nov 27, 2017 7:03 pm

Lucky Al wrote:
Mon Nov 27, 2017 2:49 pm
How many stiff-limbed Lynchian midget blabber-mouth Brizzo blow-ins on Bribie?
Well Al, at first I thought your use of Lynchian may be a reference to Wayne Lynch, but then I realised it was probably David. This was even more interesting and still more when I came across this definition:
If you ever need to explain to someone what Lynchian is, any of these answers would probably suffice:

It's like being dropped into the middle of someone else's dream.
It's like the real world, only people speak backwards and the sun rises at night and sets in the morning.
It's what avant garde would look like if it was personified as a sociopathic serial killer trying really, really hard to not to kill again (but failing pretty bad).
It's a woman's crimson lips, a highway at night; it's red drapes and a spotlit stage.
It's an inescapable small town in America.
It's eery detachment and a crushing blow.
It's ostensible -- you'll know it when you see it.
or maybe this:
AN ACADEMIC DEFINITION of Lynchian might be that the term "refers to a particular kind of irony where the very macabre and the very mundane combine in such a way as to reveal the former's perpetual containment within the latter." But like postmodern or pornographic, Lynchian is one of those Porter Stewart-type words that's ultimately definable only ostensively – i.e., we know it when we see it. Ted Bundy wasn't particularly Lynchian, but good old Jeffrey Dahmer, with his victims' various anatomies neatly separated and stored in his fridge alongside his chocolate milk and Shedd Spread, was thoroughgoingly Lynchian. A recent homicide in Boston, in which the deacon of a South Shore church reportedly gave chase to a vehicle that bad cut him off, forced the car off the road, and shot the driver with a highpowered crossbow, was borderline Lynchian. A Rotary luncheon where everybody's got a comb-over and a polyester sport coat and is eating bland Rotarian chicken and exchanging Republican platitudes with heartfelt sincerity and yet all are either amputees or neurologically damaged or both would be more Lynchian than not. A hideously bloody street fight over an insult would be a Lynchian street fight if and only if the insultee punctuates every kick and blow with an injunction not to say fucking anything if you can't say something fucking nice.
Bribie? Lets go!
“I don’t necessarily agree with everything I say ”— Marshall McLuhan

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Re: Bribie Island Board Riders

Post by steve shearer » Mon Nov 27, 2017 7:32 pm

Bungaree became the first known Aboriginal person to circumnavigate Australia and contribute to the mapping of the Australian coastline.

A short man with a sharp intellect, Bungaree arrived in Sydney in the 1790s with the remains of his Kuring-gai mob, after conflicts with white settlers had escalated along the Hawkesbury River. He must have quickly made a mark in the fledging colony, as by 1798 he was employed on a 60-day round trip to Norfolk Island on the HMS Reliance, where he met the young English naval lieutenant Matthew Flinders. Flinders was so impressed with Bungaree’s friendly demeanour, intuition and bravery that the following year he took him on a coastal survey voyage to Bribie Island and Hervey Bay (Qld) on the 25-tonne longboat Norfolk.

Bungaree was a brilliant diplomat and despite language barriers could quickly ascertain the wishes of the coastal Aboriginal groups they encountered. Flinders therefore used him again on his most exploratory voyage, the circumnavigation of Australia in the HMS Investigator, from 1802 to 1803. It was on this expedition that much of Australia’s unknown coastline was mapped.

Back in Sydney, Bungaree established a reputation as a brilliant mimic, imitating the walk and mannerisms of various governors and personalities. He was given fine clothing, including military cloaks and a hat. Governor Macquarie took a particular liking to Bungaree, and gave him both the fictitious title ‘King of the Broken Bay Aborigines’ and the first Aboriginal land grant, on Georges Head, where he briefly grew peaches and other produce.

In 1817, Bungaree sailed to north-western Australia with Phillip Parker King in the 76-tonne cutter HMS Mermaid, again showing his skill as a diplomat and intermediary between white and black people. He died in Sydney in 1830 and was buried at Rose Bay.

Many paintings exist of Bungaree in his European garb. He is also remembered through the naming of the Bongaree settlement on Bribie Island and, early in 2015, the naming of a walk at Mosman, Sydney, from Chowder Bay to Georges Heights, where his farm had been located.
I want Nightclub Dwight dead in his grave I want the nice-nice up in blazes

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Re: Bribie Island Board Riders

Post by steve shearer » Mon Nov 27, 2017 7:35 pm

Bribie Island is named after a convict from the Moreton Bay penal colony who became the first European to live on the island. According to the folklore he became an expert at mud crabbing for the officers and was rewarded with his freedom. His name was Bribie and, once freed, he lived on the island for the rest of his life with a local Aboriginal woman.

Prior to European settlement Bribie Island was the home of the Gubbi Gubbi Aboriginal group who used bark canoes, nets for fishing and catching birds and spears for killing the local kangaroos and wallabies. There is also evidence that they used stone traps to catch fish. There is evidence of middens on the coasts of the island. It has been claimed that by 1897 there were no Aborigines left on the island.
I want Nightclub Dwight dead in his grave I want the nice-nice up in blazes

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Re: Bribie Island Board Riders

Post by swvic » Mon Nov 27, 2017 7:44 pm

Thanks the time and effort to post that, steve. Always interested in Aboriginal history which always delivers a greater sense of what they, and we, lost
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Re: Bribie Island Board Riders

Post by foamy » Mon Nov 27, 2017 7:58 pm

Lucky Al wrote:
Mon Nov 27, 2017 2:45 pm
How many Olympians have come out of Bribie Steve?
There was a gymnast.

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Re: Bribie Island Board Riders

Post by Over55yrs » Mon Nov 27, 2017 8:51 pm

And I regularly walk that Bungaree track up to the lookout at Georges Heights

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Re: Bribie Island Board Riders

Post by steve shearer » Mon Nov 27, 2017 9:00 pm

In March 1945 he embarked in an old lifeboat, landed by chance on nearby Bribie Island, and found 'the idea of the bush that haunted me in India and brought me back here against all reason'. He stayed seven months, but, after the theft of his diaries, moved to Melbourne and to Lina Bryans's Darebin studio at Heidelberg. There he lived among other artists and worked tirelessly for two years, seemingly content. Most of the gouaches he produced were irretrievably damaged before reaching the Redfern Gallery.

At the end of 1947 Fairweather went back to Cairns and later sent his work to the Macquarie Galleries, Sydney. In September 1949 the gallery organized a solo exhibition, and subsequently showed his work almost annually until 1970. In 1949 he moved off again, through Bribie and Townsville to Darwin, where he lived in an old boat during 1951-52. His relatively scarce drawings mostly date from this Cairns-Darwin period. On 29 April 1952, having carefully studied seamanship and navigation, he set out for Timor in a small raft which he had made from discarded materials. After almost perishing, he collapsed on the beach at Roti, Indonesia, sixteen days later. He was interned, shunted to Timor, Bali and Singapore, then (apparently after diplomatic intervention) placed in a home for derelicts whence he was repatriated to England. It was some five years before direct references to the raft experience appeared in his painting (including 'Lit Bateau' and 'Roti'). In England, Fairweather dug ditches to help repay his passage, but his 'strange experience going home after twenty-five years . . . wasn't a happy one'.

Eventually his relations funded his return to Australia. Reaching Sydney in August 1953, he headed straight to Bribie, 'glad to be back in the sun . . . in the friendly bush'. On a site affording him almost complete solitude, he erected two Malay-style thatched huts of local bush materials in which to live and work. 'Roi Soleil' (1956-57) began his larger works. From mid-1958 Fairweather used synthetic polymer paint, often mixed with gouache; thereafter his works were generally more stable. Thirty-six abstract paintings sent to the Macquarie Galleries in 1959-60 are among Australia's finest. 'Last Supper' (1958) was the first of his great religious subjects; 'Monastery' (1961) won the John McCaughey Prize in 1966; and his largest, 'Epiphany' (1962), Fairweather thought his best. His exhibition at the Macquarie Galleries in August 1962 remains significant in Australian art history. From early 1963 Fairweather devoted more time to translating and less to painting: he translated and illustrated The Drunken Buddha (1965). His painting, 'Turtle and Temple Gong', won the W. D. & H. O. Wills prize in 1965. A travelling retrospective exhibition of eighty-eight of his works, mounted by the Queensland Art Gallery that year, enabled Fairweather to see, for the first time, his paintings publicly shown. His work had also been included in the Bienal de Sao Paulo, Brazil (1963), and toured Europe with 'Australian Painting Today' (1964-65) and Asia with 'Contemporary Australian Paintings' (1967-68).

Bribie's increasing accessibility and tourist appeal—acknowledged in 'Barbecue' (1963)—together with the publicity that surrounded his exhibitions, prompted Fairweather to leave Australia on 7 August 1965. He went to Singapore and India, then returned in September. One year later he flew to London, where he contemplated establishing a studio. Realizing that he was a misfit, he came back to Bribie. He briefly resumed abstract painting in 1968, producing his last great work, 'House by the Sea'. In 1973 his fellow artists bestowed on Fairweather the International Co-operation Art Award for his outstanding contribution to art in Australia. About 1970 publicity had prompted investigations which revealed that he owed a five-figure sum to the taxation office. Fairweather's inability or unwillingness to accept his increasing income had prompted the Macquarie Galleries to establish a trust account on his behalf. The realization of his financial security came too late for his enjoyment. Plagued by arthritis and cardiac disease, from 1969 he had found it hard to stand and paint (in his customary manner) over a low, flat table. He died on 20 May 1974 in Royal Brisbane Hospital and was cremated with Presbyterian forms.

Fairweather's work is held by the National Gallery of Australia, Canberra, all State and many regional galleries, the Tate gallery, London, the Leicester art gallery and the Ulster museum, Belfast. Many influences affected him, including Turner, Cézanne, Chinese culture and Buddhism. Chinese calligraphy, Post-Impressionism, cubism, abstraction and Aboriginal art strengthened and individualized his style. The content of his work was significantly autobiographical, and mostly reflective. A master colourist, he used colour sparingly. Starting as a landscape painter, he became more interested in figures, almost exclusively in people 'generally speaking'. 'MO, PB and the Ti Tree' is a rare portrait of individuals. He worked slowly, making many alterations as ideas occurred to him, whether by day or at night. 'Painting to me is something of a tightrope act; it is between representation and the other thing—whatever that is. It is difficult to keep one's balance'. A tall, slim figure, with intense blue eyes, Fairweather had a shy, gentle and dignified manner. He resented interference with his style of life, which was reclusive, self-disciplined, austere, and determinedly unrestrained by society. His painting, an 'inner compulsion', was self-consuming—'It leaves no room for anything else'.
I want Nightclub Dwight dead in his grave I want the nice-nice up in blazes

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