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Skyhooks’ Bongo reprises Oz’s glam rock

HOOKED: Former Skyhooks guitarist Bob ‘Bongo’ Starkie and Million Dollar Riff bandmate Laura Davidson. Picture: Joe Mastroianni

GUITARIST Bongo Starkie’s colourful frill-necked lizard collar is one of Australian rock’s more curious 1970s images.
But then, his band, Skyhooks, was not known for its shy, retiring ways.
White suits and fedoras, mock Tudor vests and wimples, jumpsuits, capes, wigs, boas, makeup by the bucketload – the biggest Aussie band of the era had a fair clout on stage and screen alike.
Forty years later, Starkie’s running the show out again with a bunch of younger musical mates to critical acclaim.
The originals, he said, had either passed on, become otherwise occupied or even a tad weary of touring.
Starkie’s new band, Million Dollar Riff, has resurrected the glitz and glitter, the punchy riffs and counter-riffs, and catchy chart-busting lyrics of Greg Macainsh’s original Skyhooks hits.
The songs are driven by the powerhouse vocals of Laura Davidson to help kick up a ’70s revival storm.
Starkie was clearly excited about it when talking to the Independent, which was unsurprising given the swag of familiar favourites in the hit-kit to draw from: Toorak Cowboy, Balwyn Calling and Carlton (Lygon Street Limbo), You Just Like Me ’Cos I’m Good in Bed, Blue Jeans, Jukebox in Siberia, Million Dollar Riff, Living in the Seventies, Horror Movie and Ego is Not a Dirty Word and Women in Uniform.
“We’ve got the glam going, a bit of colour and movement. I’ve glitzed the band and all the boys are wearing glitter and I’ve got the lizard collar out – it’s all happening,” he laughed.
“Laura’s a great rock chick, a western suburbs girl, I found her working in AC-DSHE singing Bon Scott. She’s got a great personality and she’s great with audiences.
“We couldn’t do it without her.”
Starkie said late Skyhooks frontman’s Shirley Strachan’s high-register vocals were a hard ask for any male singer but Davidson delivered the goods in spades, making the show a “real celebration of Greg Macainsh’s songs”.
Strachan died in a 2001 helicopter accident.
“Over the years people have often requested Skyhooks tunes but the fact of the matter was you really needed someone who could deliver a performance like Shirl,” Starkie said.
“I’ve found that someone in Laura. She’s wonderful to perform with and can sing the hell out of these ‘Hooks tunes.”
Starkie, 62, said he had developed considerably on the guitar skills he deployed alongside Red Symons in Skyhooks.
“I was self-taught and I’d be more interested in getting feedback and then working out riffs to go with Macainsh’s tunes. I was learning on the job.
“It wasn’t very good musical training, idiosyncratic I call it, but it all worked. We made a lot of records and a lot of tunes but in the end it was hard to play with others, I was so used to making up my own stuff.”
Starkie hightailed it to Brazil where he found a triple-set of Chuck Berry songs and set to learning everything he could. It took a while but he figured out 30-odd songs, note for note, and feels much more comfortable with his proficiency these days.
He also teamed up with Great Train Robber Ronnie Biggs while in Rio for a film documentary that, regrettably, never saw the light of day.
“I’ve got some of the best footage of Ronnie in the world but it’s sitting in my garage,” Starkie said.
Bob Starkie and Million Dollar Riff will perform at North Geelong’s Sphinx Hotel on 13 February.

High-flying jungle bungle just bananas

Took a while but I finally figured out who was responsible, thanks to young Gex’z Anei of Ubud. And all in the middle a torrential tropical Indonesian downpour.

It wasn’t Warren Buffett, or Milton Friedman, whose names and portraits are emblazoned across the mysterious Boeing 737 deep in the Balinese mountain village of Penestenan.

I know Boeing has its issues but I wouldn’t have thought it’s been crash-landing these suckers in the Ubud jungle.

Tell the truth, it’s not a wreck, it’s a hotel room, and yours for about $100 a night at the Villa Biyu Siyu, which means the hundred bananas villa.

It has most things you’ll want: wifi, aircon, hot tub, tv, workspace, swimming pool, free parking, a river and a waterfall.

You can even jump into the cockpit to play Flying High if you’re silly enough. I missed the plantains but you can pick the fattest passionfruits you’ve ever seen straight off the trees.

I’d been trying to figure the plane’s provenance since discovering it on Google Earth and visiting briefly a couple of years back. All I’d figured was some bloke named Hugo someone assembled it on his estate.

Young Anei explained he was the late Hugo J. Van Reijen, a Dutch-born economist and champion of free-market ideas, smaller government and free immigration, and head of an import/export business handling large quantities of bank notes and stamps between more than 80 different countries.

Hugo was an entrepreneur, globetrotter, artist, photographer and author, and clearly a fan of Buffett and Friedman. But why the plane?

Turns out he was a regular critic of airlines which might have something to do with things. He published the 1997 book, Why Not Fly Cheaper? How to Save in Air Travel Costs, which has become a collector’s item with Amazon asking a not-so-cheap $780. That’s a good few bananas.

Hugo was a well-known and well-regarded economic commentator, who ran conferences and discussions at his Ubud estate.

He published a photo book, Love them or hate them, more than 1000 articles, addressed international conferences and also ran up annual calendars, made by villagers in Nepal, to help along his Libertarian cause.

Funny thing, for all his celebrity, for the fact he pulled a thumping great 737 together in his back yard, locals know bugger-all about the place.

I spent a couple of hours with a GPS and a surveyor trying to locate the place a couple of years back. Even the neighbours were unaware of the aircraft.

It’s easy to find now I know where to go but, man, in the middle of an Ubud monsoon? I know who’s bananas …

See also: https://noelmurphy.com.au/blog/bushwhacked-by-the-jungle-again/

And also: https://noelmurphy.com.au/portfolio-item/fortune-favour-and-crocking-fnq/

 

Down a Merrijig rabbithole

Tassie tiger sightings, rusty antediluvian tractors, eagles rocking the paddocks, vineyards, shearing sheds, luthiers, Teutonic headstones, redgums and wild apple trees … funny the places you frequent without ever knowing jack about them.

Running the Teutonic midget hound on her regular beach forays at Torquay has taken on too many traffic lights between Geelong and the water, necessitating a westerly detour through the verdant pasture lands, for the time being at least, of the Anglesea Road.

Aussie landscapes being the flat, acquired taste they often seem, it takes a weather eye to appreciate, even spot, the curiosities and attractions on offer. But they’re there, they are.

And no better a site to dig about than Merrijig Creek, I’ve discovered, with the aid of some cartography, a surveyor errant, some wet weather gear, sturdy boots and GPS.

My curiosity about the area was piqued years back by a cockie concerned that reports about cryptozoological critters were being played down for fear of attracting sporting shooters from out of town and savaging the local serenity.

He was being ridiculed, he griped, in the face of mauled, mutilated livestock and multiple sightings of thylacines, melanistic leopards, black pumas and big cats in general. Livestock were uneasy, farmers likewise, he argued, as his claims were poo-pooed as feral cat, fox and wild dog sightings.

Giant cats and scats are nothing new to the area, or further southwest. Might even find some ancient bunyip and more-recent yowie reports if you look hard. Try some of the pubs and drinkers will relate greyhounds painted with stripes for sport. In the gold days, client-hungry pubs painted horses as zebras.

So it’s worth turning off the road somewhere around where the road dips and tightens amid the redgums, creek reeds and green flats either side of the Merrijig culvert.

If you fancy figuring just where the creek itself runs, good luck. There are at least five tributaries running into its two main branches between all the eucalypts, cypresses, wattles, bracken, vines and grasses that pepper the landscape. But given the area’s multitude swales, saddles and berms, you’ll be imaging dozens arising from each rain before you know it.

In due course, it spills into Thompson Creek making its way through open fields to the Horseshoe Bend, around The Minya and over the Blackgate, debouching to the sea beside a statically indeterminate concrete WW2 gun bunker at Breamlea’s clothing-optional Point Impossible.

Heads up back around the Merrijig’s Freshwater-Paraparap headwaters, you’ll find not just crypto critters but more tangible woodswallows, cuckoos and orioles ringing through the woodlands along with various colourful parrots, honeyeaters and wetland species chirruping, squawking and abusing the serenity.

Also, things like Buddhist temples, an equestrian centre, a Wolseley-driven winery, stud farms, getaway cottages, pet retreats, shearing sheds, ancient tractors standing artistically sentinel  … it’s a quiet little multicultural bucolic bonanza in truth.  Kind of fits in with the meaning of Merrijig: good or well done.

Just check what your nav system or AI say if you’re looking up Merrijig. It’s just as likely they’ll send you to northeast Victoria or Ireland’s County Leitrim – might find yourself up another type of creek altogether.

This article appeared in the Geelong Advertiser 14 October 2025.

History-mystery repeats itself

The Vanishing Place, by Zoe Rankin, Hachette

Okay, you emerge from the deep bush of New Zealand as a young girl after fleeing a mad/bad, abusive/loving dad who kept you, your siblings and your mum apart from the world.

Mum’s dead, dad’s clean off his rocker, a serious and paranoid boozehound killing blokes with shovels, so it’s get out of Dodge time, even if your siblings won’t follow.

Locals are flummoxed by your wild child nature, authorities never get a handle on anything and a new isolation, bar one or two tight friends, and haunting memories and grief, make life a painful, stressful daily travail.

Fast forward some 17 years and our protagonist, Effie, has long fled the Long White Cloud for Scotland when she’s petitioned back home by the policeman boyfriend she was forced to leave behind. The magnet is dynamic, she can’t resist.

There’s a curious job to investigate and he needs a very singular hand; an eight-year-old red-headed girl has just emerged from the wilderness, collapsing half-starved in a shop, with blood all over her hands.

She’s clearly traumatised. Won’t talk. Says her name, Anya, then slams the door shut. Shrieks at anyone trying to talk to her, attacks them tooth and nail.

Chillingly, she’s also the dead spit of Effie when she wandered out of the bush, red hair, green eyes.

History-mystery is repeating itself, with a poisonous unavoidable question: is her father still out?

Faced again with everything she’d tried to escape, the isolation and fear enforced by damaged parents, Effie is the only one who can get through to Anya, but it’s an agonising task, for both: one terrified, religious mania-like, of her new surroundings; the other of revisiting her horrific past – as well as her painful lost love.

Author Rankin employs a rapid-fire, present-past-present-past technique to relate the two stories. It’s a somewhat infuriating mechanism running two tales in tandem but it’s effective in maintaining a tense and compelling narrative. Mercifully, the to-and-fro annoyance is abated by short, sharp and fast-moving chapters.

That aside, Rankin delivers a harrowing account of murder and mayhem as police raid the bush home the still-mute Anya escaped. And as Effie, unconvinced by the all-too-neat findings of the police, inevitably and foolishly returns to the wilderness with Anya to find an unexpected, and very nasty, small but deadly cult. But no so sign of her father.

Things turn very pear-shaped when she’s predictably trapped, chained, starved, humiliated and menaced with a misogynistic religious zealotry. Effie’s outlook is even bleaker when Anya reappears beside one of the cult’s monsters to chastise her and order her to repent for not fulfilling a biblical female submission to men.

That’s enough spoilers for one review. Rest assured, sufficient twists and turns exist to make the book one that will keep you reading well into the night. You might find daytime just that little bit more comfortable.

Flying kangaroos loose in the top paddock

Couldn’t help being reminded of Maynard G. Krebs, the hapless beatnik from the Dobie Gillis Show years back, when I saw our Albo losing it in a Johannes Leak Qantas upgrade cartoon.

If you remember Maynard, he went to water at any mention of employment. “Work!” he’d shriek in a high-pitched panic.

In the Qantas cartoon, Jim Chalmers suggests a need “to shift the focus back to the economy”. Albo erupts in similar shivering, sweating, white-knuckled, wide-eyed fear, squeaking: “Economy??!”

You might better recall Maynard as the castaway Gilligan, who seems another appropriate doppelganger for someone lurching haplessly from one disaster to another and yet staying afloat if adrift.

But the many questions about Airbus Albo’s closeness to former CEO Joyce and Qantas’ favoured treatment when Qatar came knocking with new flights and offers for Aussie customers are only part of the issue.

Think also MP upgrades, Qantas selling a million flight tickets to flights that didn’t exist, Joyce’s remuneration and bonus payments, oversight by the Qantas board – which included consumer guru Todd Sampson – deplorable treatment of passengers whose flights are cancelled, generally atrocious in-flight service …

People are going on about Dutton on Rinehart flights, but he wasn’t the one keeping Qatar out of our airways.

It’s not just Qantas and its Jetstar that the Feds are letting let us down. Returned from OS last week on Branson’s Virgin, who I’ve swung across to out of fear of being stranded somewhere noxious by the flying kangaroo.

Not much better. Check-ins are a long and lengthy farce, automated or in person. Seating space is ridiculous, painful and outrageous. In-house comms don’t work and the “hope you enjoy flight” nonsense over the PA is pure insult to injury.

These flights clearly don’t need to meet anything like the health or disability regulations demanded of any other structure accommodating human beings.

Passengers are blithely told the two toilets servicing some 160 people can’t be used while stewards spend an hour doling out drinks and over-priced food you wouldn’t feed your dog.

The 12 or so happy upgraded Albos in business, meantime, have one all to themselves. Nice ride if you can wangle it.

Not so nice when, like my last trip, the two cattle-class johns are commandeered by two gastro-infected squatters who refuse to give up their tenancy. Twenty cross-legged people in the aisles squirming and moaning did nothing to convince them otherwise.

Mercifully, those in the holding pattern didn’t succumb to the same diarrhoea or vomiting. Bowels like Grenadier Guards, though, shouldn’t need to be a necessity on everyday flights.

Not that Virgin, Qantas, Jetstar or anyone in CASA seem to share this thought on what is surely a matter of basic human rights.

Funny thing, Bonza used to serve up drinks and meals to your seat individually. None of this hijacking the road to the dunny nonsense Albo and our MPs obviously think is below their station. That indiscretion didn’t last.

Nor did poor old Rex, which went belly-up for having the temerity to try cutting into Qantas’ miserable bailiwick. Seems that’s what happens when you get too close to a protected species – or in Airbus Albo’s case, an endangered species.

Speaking of different species, Virgin is looking to let pet animals on board next year. I suspect that’ll only end in tears, or howling, yelping, baying-at-the-moon mutts on a plane.

Hold on to your seats, and your noses, because they won’t worry about waiting for the dunny line to clear. It won’t be the only thing that stinks about our airlines.

 

Bushwhacked by the jungle … again

Nothing quite like throwing yourself to the not-so-gentle vicissitudes of jungle-bashing. Never any shortage of geography, critters, climes or circumstances waiting to assail you.

The Amazon’s a nice place to start, not that I’m any kind of authority on these things. Its bushmasters, jaguars, fire-ants and piranha and non-stop rain thrumming from the dripping condensation of millions of leaves should spark your imagination. And any phobias you might  have about stings, bites, tropical diseases or being eaten alive.

Of course, you can wrangle with tigers and pythons and bugs the size of plates in the dense forests of India. Or perhaps the lion, leopard, cheetah and spotted hyena predators of the deepest darkest Congo, if you’re an Afrique tragic.

Not this armchair explorer, though. Much prefer my Spot out in his backyard kennel.

I do, however, occasionally venture into the jungle, those species of jungle that aren’t a million miles from civilisation at any rate.

I’m happy to explore their waterfalls and beaches and rivers and gorges and the like. I’m big on old jungle temples. But I’d much rather avian squawkers and howler monkeys ahead of apex predators yet to understand their place in the planet’s food chain.

Matter of fact, one of the best sounds you’ll hear is the cry from a jungle bar, a shout to be precise. Nothing quite so inviting, especially when it’s attached to a pisco sour in Peru, an icy Antarctica pilsener under Morro Dois Irmaos or a chilly Bintang in Ubud.

A recent sojourn to Bali’s Gianyar regency found me scuttling down a precipitous track to revisit the famed Tegenungan Waterfall. Great way to cultivate a thirst.

 

By no means off the beaten track these days, it’s still a jungle favourite. Cliffs chiselled like something from Fred and Barney’s Bedrock, impenetrable jungle foliage, blazing sun and a stunning cascade crashing onto the heads of fools splashing about a hundred feet below. It’s a jaw-dropper.

I was taken aback, however, to realise this erstwhile primitive attraction – one of decidedly shonky stairs, rusty handrails, slippery muddy tracks and dodgy bamboo footbridges – had been concreted over, updated, usurped and pitched headlong over a cliff into the A-level rankings of knockout tourist traps.

Lord help me, even a massive, brand spanking, glass-bottomed 199-metre suspension bridge soars over the entire precinct, connecting two villages separated by the Petanu River gorge 66 metres below. The Bali Glass Bridge.

Never seen anything like it.  Yet right next door, the Omma Day Club, designed by bamboo magicians Studio 3 Bali, is giving it a fair run for its rupiah.

Perched impossibly on the edge of a cliff punctuated by smaller waterfalls, Omma is an architectural cacophony of said bamboo, thatch, outrageous mosaic tiles, swimming pools, restaurants, cafes and lounges.

It’s somewhere between George of the Jungle tree-hut, Gilligan’s Island and Pablo Luna with its mathematical hyperbolic twists and turns. Its outlook is eye-watering. and, thankfully, nowhere as vertigo-inducing as the bridge.

Tellingly, it’s an important refreshment station as you gird your loins for the exhausting, dehydrating climb back up those precipitous million or so steps. But gloriously, as a doe-eyed angel behind the jump told me, it also hosts an elevator back to the top.

Whaaat?! Of course it does. How else do the staff and everything else come and go? Brain fade moment. Curse this damn heat. Edgar Rice Burroughs never really mentioned that in the Tarzan comics and novels I was raised on.

Tell you what, though, for sheer feverish jungle intrigue you can’t go past the Boeing 737 I discovered deep in the Ubud suburb of Penestanan below the Svargo Loka Hotel.

 

Yep, giant bloody airplane surrounded a river gorge, a rocky redoubt, coconut trees and palms, and any number of monkeys, chinchilla squirrels and spa healing tragics you can imagine.

And it’s loud. Emblazoned with giant tailplane images, and fuselage wording, of none other than the uber-capitalists Warren Buffett and Milton Friedman. Straight out of Ripley’s Believe It Or Not.

You can’t see the thing from basically anywhere except the hotel property it’s on: Villa Biyu Siyu. It comes up, however, like a priapic Roman brothel sign on Google Earth.

Coincidentally, ridiculously, the hotel room and pool I’m polluting just happens to be directly opposite this plane, across the gorgeous Tjampuhan River gorge. I can see part of tailplane through the trees a hundred metres away. You wouldn’t know what it was unless you knew what it was, to mangle logic and language.

It’s further evidence the universe is dragging me into the jungle towards those rock apes my forebears descended from several generations ago. But tracking the plane’s provenance down is proving tricky.

No-one was around with enough English to quiz when I visited Biyu Siyu. No marketing spiels or blurbs or web ads offer any clues. Pretty pictures around, sure – you can find some sharp drone footage at https://www.youtube.com/watch?v=CDj3Sznd9-E&t=15s – but these websites offer next to nothing about the whys or wherefores of the plane’s presence in an impossible location.

Neighbouring locals are no help, repeat no help. They don’t even know it’s there, and that includes staff of two popular hotels less than 100 metres away. Fortunately, I had a surveyor with similar jungle fixations to me on hand. He discovered the thing in the first place, on Google Earth, so we knew where it was, we just couldn’t get there.

Upper food-chain apex predators that we fancied ourselves, a couple of hurdled fences and gates and it didn’t take too long. Shove over Tarzan Greystoke, we’re the lords of the jungle now.

A dying art at Warrock

 

Art takes a never-ending variety of guises. Given the number of artists extolled for their drafting skills, it seems only reasonable that good drafting might itself be considered a legitimate art form.

This is especially so when, as in so many artistic representations, a tale of some note accompanies the work. It is even more important given that it is a dying skill, one that has been slowly but surely replaced by the cyber skills of computer assisted drafting.

Take the measured drawings of the Warrock farming station north of Casterton overseen by Geelong architect and former Deakin University lecturer Lorraine Huddle.

The striking plans, elevations and sections prepared by 100 Deakin fourth-year architecture students for this project, undertaken in the early 1990s, presently live within the Special Collection of the Deakin woolstores campus library.

All up, there are some 230 drawings of the past settlement’s belfry, bull shed, homestead, shearing shed, shearers quarters, lavatories and much more. The drawings were worth an estimated $300,000 some 20 years ago, and were used by Heritage Victoria to assist in the station’s restoration.

 

The wider Warrock collection at Deakin includes monographs, maps, music, ephemera and pamphlets. However, it is the drawings that really strike the observer. Most are rendered in ink, some in pencil, and display inordinate details which at times extend as far as nail holes in timber weatherboards and often individual bricks.

The measured drawings were used for the restoration of dozens of buildings on the property, a Western District pastoral station about 30 km north of Casterton built by Scottish cabinet-maker George Robertson from the 1840s onwards.

It is considered Victoria’s, perhaps Australia’s, most important collection of farm buildings and includes 57 structures mostly built of sawn timber.

The complex sprawls across a gently rolling parkland of ancient river redgums with its grainstore, dairy, bacon house, blacksmith shop, bullock byre, branding shed and numerous other buildings reflecting the life of an isolated sheep station where all the necessary essential to life and such circumstances had to be grown or stored for long periods.

Other buildings in the complex include a pigsty, privies, stable, kennel, hayshed and hay barn, branding shed, foot dip, slaughterhouse, skin shed, cow bail, duck run, coach house and a cottage.

“Some of the buildings are just marvellous, they’re gorgeous,” said Huddle. “Also, it’s a dying art. All the Warrock drawings were done by hand. The students were very, very keen. The place got them in. There was no electricity there, only in the main house and a little cottage.

“One night I went walking about 10.30 and saw some lights in the conservatory. Students had placed candles in the dirt of a garden bed and were working on the drawings. That’s how keen they were.”

Huddle says George Robertson’s cabinet-making skills were reflected in the detail of numerous buildings at the station.

“You can also see his strong Protestant work ethic expressed in these buildings,” she says. “The bell tower, for instance, looks like a little chapel but it’s just a bell to call people to work.

“Time management was a pretty important part of that work ethic and while Robertson worked hard all the time, he treated his workers very well. He gave them good accommodation and looked after them a lot – but he expected them to work hard too.”

The original version of this article was published in the Geelong Advertiser 18 March 2001.

Island of the gods, guardians and peripatetic primates

Peculiar pre-match entertainment for a Cats-Tigers clash when you’re kicking back peanuts and Bintangs in the Bali mountain jungle town of Ubud.

A dozen or so Barbary macaques parading alongside the bar – upside-down infants clutching their mothers, cocksure males trooping the colour – suggested a peculiar cheer squad on the march. Perhaps not that peculiar in Tigerland, though.

Oh, sorry, I take that back but it’s been said now. Maybe I can’t.

Bar staff have abandoned the traditional shanghai slingshot deterrent favoured by hotels for coloured laser beams, which seems to be taking the fun out of things. When you’ve been hissed at, spat on and tackled by the little blighters and their rabid claws, sympathy levels for primates aren’t high.

The lasers send them scarpering, non-violently. My remonstration to a staffer about new tech over old tech is countered with: “Monkeys are sacred, they’re guardians of our temples.”

Oh yeah, that’s right. If only they stuck to the temples and off the hotel balconies spooking the tourists.

Peripatetic chimps are far from the only organic entertainment on offer on the Island of the Gods, though. Look closely around the place and you’ll find all sorts of oddities.

Think tourists buying satay sticks and sausages to feed stray dogs. Café tables and chairs washed out to sea by the incoming tide. Hawker knock-offs three times more expensive than home. Locals eating with ducks off the same table. Girls in dental floss bikinis practising yoga in front of beachside diners. Missile-like fireworks blasting out to sea as Boeings come out of the sunset to land in the shadow of giant deity statues.

Then there are plantain squirrels whipping through the jungle foliage, giant snails, luminescent black and yellow centipedes, koi pond fish feeding frenzies, dragonflies galore, fighting cocks, masterful bird mimics.

  

Art’s everywhere you look. In religious offerings, in signs, sculptures, gardens, temples, carvings, buildings, shop fittings, traditional clothing, masonry, paintings, furniture … absolutely everything.

Construction’s going on everywhere, too. Jackhammers next door, pile-driving down the river gorge, massive refits to old hotels, including one opposite the ‘quiet’ room I booked.

I’m especially drawn to a giant carapace bamboo structure rising from a paddock smack in the middle of Ubud. Workers line up for a 15-minute rev-up from the boss before I wander over, stupidly barefoot on the hot black bitumen path, to reconnoitre proceedings. A tall lean bloke introduces himself as the property owner, says the double-shelled, thatch-roofed design is going to be a yoga studio.

Good bet it might draw a bit of attention, too. It’s been whipped up by bamboo’s wunderkind architect, Pablo Luna  – known for blending Bali’s tri hit karana philosophy of harmony between people, nature and spirituality with environmental, sustainable and biomimicry principles into his work.

It’s a fair matrix. Almost as cross-pollinated as his background:  a Chilean-born architect of Peruvian/Lebanese heritage who studied in New York before taking his work to Indonesia and South-East Asia, Costa Rica, Mexico, India and Chile.

No doubt it will slot right in with Ubud’s wealth of health and wellness practitioners. No shortage of anything in that jungle; from soothing didgeridoo drones through fusion vegan iterations to breatharian starvation rackets, propped by a multitude of souls seeking happiness, self-awareness and more Zen in their lives. For all the healing they provide, I think Lomotil’s somehow got the jump on them.

The real thing about somewhere like Ubud, and the broader Bali, is the island itself and its natural geographical attributes. A mountain bike ride, a handful of temples and waterfalls, maybe some whitewater rafting, a few palms and a rice terrace or two are about the extent of things the punters will investigate outside the insane gridlock of Seminyak and Canggu.

 

Which is a pity. I’ve had a dog-eared topographical map of the island for a while now, a bright green-coloured thing of valleys, mountains, volcanoes, precipitous gorges, rivers, lakes – a surveyor’s paradise, or maybe nightmare. Contained within its cartographic swales and saddles are a trove of ridiculously stunning tracks and defiles, villages, waterfalls, panoramas, rivers, ravines, coastal outlooks, islands to ponder, jungle …

I’ll be happy to keep ticking off place names for next decade or two given half the chance. If the bloody monkeys don’t give me rabies, that is.

Best read with a red … or maybe not

Review: A Mapmaker’s Dream

by James Cowan

Fra Mauro is a 16th century monk on a magnificent journey around the world without leaving the clustered confines of his cell on an island in Venice.
A cartographer devoted to drafting a definitive map of the world, he gathers his knowledge from a steady stream of travellers beating a path to his door.
Pilgrims merchants, explorers, scholars, foreign legates, ambassadors, missionaries, officers – all have heard of his ambition and want to make a contribution.
This, of course, presents Fra Mauro with a brilliantly seductive menagerie of Renaissance curiosities.
His visitors present him with cannibals and shrunken heads, turbaned Orientals, mermaids and hairy-bodied women, Borneo jungle dwellers who treat birdcalls as omens.
Together they discuss the world frequented by the thoughts and presence of Ptolemy, Solomon and Columbus, Babylon, Egypt and Rhodes, jade elixirs, Satan-worshippers, salamanders and one- legged men who wheel along on arms protruding from their chests.
Genghis Khan, Prester John, the Tartars, Crusaders, Persians, Thomas the Apostle in India – exotic characters are freely peppered throughout his cerebral discourses and peregrinations.
The problem Fra Mauro faces, however, the more he is confronted with tales that challenge the physical and philosophical tenets of his already considerable knowledge is to represent not the world’s geography but its thoughts and mysteries.
What he is trying to do is depict in two dimensions, within the margins of his maps, the three dimensions of space – a difficult task in pre-Mercator days .
He wants to incorporate the multi-layered dimensions of humour, thought, experience and philosophy as well.
Author Cowan uses phantasmagorical elements of the Renaissance as metaphor and playground for the discovery of the mind.
The experience is other-worldly. The intent seems to be to disarm the reader’s sensibilities and then usurp his beliefs – just as Golden Age discoveries of that time turned the world on its head.
Cowan has some tips for the reader. He says to treat Fra Mauro’s ruminations as a process of gradual guessing. His dream is to derive meanings from the perfect use of mystery.
And there is something of a rider, too. It is for the reader, says Cowan, to decide if Mauro’s meditations on the discovery of the world strike a sympathetic chord.
In many ways this is not difficult. For instance, a scholar, one of Fra Mauro’s visitors, finds himself inexplicably captivated by the mummified corpse of an ancient Egyptian princess.
Her death repose suggested to him that even in death her life had provided a jolt. “We do not engage in life so easily. It is not something we embrace naturally … in a sense we need to be jolted into it, do we not? he asks Fra  Mauro.
An elderly Jew from Rhodes, perturbed by his homeland’s trials, has lived in self-imposed exile for many years. These twin seeds of defeat – his Jewishness and exile – prompted him to embrace his solitude.
Says Mauro: “He  had discovered in his ruthlessness how to inhabit origin of his own mind … to redeem himself rather than allow another to do so for him.”
Cowan writes of deceptive appearances, of interpretation, of discernment and of searching. His vehicle, the immovable Fra Mauro, is yet another of many symbols.
And while it might seem self-promotion on Cowan’s part, you are left with the feeling he is correct when he says one feels that Fra Mauro has something important to say not just for his time but for always.
A word of advice. One critic suggested A Mapmaker’s Dream should not be read without red wine. Perhaps not, but I suspect a clear head would be far preferable.
This book shakes and bounces. It spins the world like a top and rocks its foundations as it negotiates a bewitching path through history, religion and philosophy.
And you wouldn’t want to miss anything on a ride ride like this.

Postcards from the heartland …

Long-standing joke in my family is that the many French letters my grandmother was sent by her Gallic aunt a century ago were addressed to her at ‘Truganina Loose Bag’.

Pretty cruel, really. She was a darling thing. Widowed at 47 with eight kids, she drew on country girl nous garnered on the rocky windswept plains of Truganina and Tarneit to get through. And did so admirably.

The letters were actually postcards – of rivers, mountains, snowy forests, buildings, bridges, farms – most of them out of old France, the Vosges, the Alsace, more than a century ago, many of them during the Great War. Shots of soldiers at the Pyramids, in the trenches or on the march are peppered through the collection. One shows a road where her great grandmother was stalked by wolves.

Sad story. Granny’s aunt, sister of her dad, came out to Oz in 1873 with their parents, fleeing Strasbourg in the aftermath of the Franco-Prussian war. The aunt was sent home to her grandmother after a couple of years in an orphanage when her mother died of TB months after her arrival. Her brothers were sent up country to friends. Her dad remarried.

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Been scouring through the postcards looking for info that might help inform a neat project going on in what’s officially Tarneit but what we always called Truganina: Granny’s old 1877 bluestone home, burnt out in the 1969 fires that ravaged the area, is being rebuilt.

All by the City of Wyndham. Costing a small bomb but looks quite remarkable. Heritage restoration building works have taken place already to secure the building’s structural integrity and renders are up online showing café plans for its future. All very smart looking and positioned as it is, beside a large park and plenty of homes, it’s already attracting interest from potential operators.

Place is called Remiremont. It was built by William Doherty in 1877, bought and farmed by my great grand-pere Louis Valentine Paul Didier in 1903 and named for his French home, and stayed in the family with his son Paul until 1956.

LV Paul Didier’s sister Jeanne’s postcards were sent regularly and broach harvests, seasons, music and birthdays but assume a more sober tone with the onset of war; the carte postale images changing from bucolic landscapes to ambulance wagons, bombsites, military parades and uniforms, battle scenes, bombings and wounded soldiers.

Jeanne was a single girl, an English and German teacher, living in Epinal, on the Moselle River, in rural France’s Vosges mountains about 20km from Remiremont. The area pops up occasionally in coverage of the Tour de France.

While she was boning up on her linguistics skills with the correspondence, the cards were pored over at Remiremont, Tarneit, by her young nieces; their exotic European allure a captivating, all-but-unreachable destination – as much as Australia was to their author who penned a raft of letters as well. Both towns became bywords for the family’s sense of history.

Tourist guide books don’t give a great deal away about Epinal. Some go as far as to advise against going there. Don’t heed what they say. You might even thank them. If anything, they’re protecting the charm of this provincial capital on the edge of the Vosges Mountains.

Epinal straddles the Moselle River, a little off the tourist beaten track and about 85 km southwest of the Alsace’s famous city Strasbourg. The only reason this scribe ventured anywhere near it was to investigate the home of this long-dead relative who  sent the often poignant postcards to Australia.

The cards, hundreds of them, were a source of mystery and deep fascination. The images of these cards varied greatly. A great many were military, most of the others tourism- oriented – all of them might be considered historical documents. There are soldiers squatting in trenches, exhausted Moroccans returning from the front, helmeted guards with rifles at hand watching over vital railway lines, army vehicles negotiating dangerous mountain paths, memorials to the fallen.

Then there are buildings, idyllic mountain scenes, stone fords, parks, fountains, the Moselle in flood, dour-looking family groups, churches , streetscapes, houses set on hillsides. And virtually all of these in a faraway romantic monochrome haze – one that seems to even soften the harsh image of German prisoners of war being marched through town. In return for all these, great grand-pere sent Australian newspapers back to his sister to use in her job as an English teacher.

The mutual correspondence went on for decades, all of which made Epinal, for this scribbler, a place of great curiosity. Remarkably, visiting the town from getting on to a century’s distance not much had changed. The parks, memorials, bridges, churches, buildings, are largely still in place. The town square has changed little and the Moselle still flows through the heart of town.

What was surprising to learn was the town history. Its foundation dates back to a 10th century monastery built by the Bishop of Metz. The town soon became a political, economic and cultural centre at the crossroads of four nations:  Lorraine, Alsace, Burgundy and Champagne. In the 18th and 19th centuries, it developed a reputation as the world capital of popular print-making, an industry which still flourishes to this day in a working museum-gallery, the Imagerie.

Epinal claims to be the most wooded town in France, with the forest galore, and it is a Mecca for hiking, horse-riding, mountain-biking, camping, sailing and fishing. It boasts numerous festivals – street theatre, comic theatre, music and international piano competitions – plus art houses and museums, flower arrangements everywhere and of course all the charm of its many centuries-old townhouses, churches and provincial architecture.

With any luck, Epinal’s charms will remain intact for some time yet, especially if the guidebooks continue to recommend against visiting.

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