Category:Hoaxes in Australia
Pages in category "Hoaxes in Australia"
The following 17 pages are in this category, out of 17 total, this list may not reflect recent changes (learn more).
The following 17 pages are in this category, out of 17 total, this list may not reflect recent changes (learn more).
1. 1956 Olympic Flame hoax – The 1956 Olympic Flame hoax was a hoax during the 1956 Summer Olympics, in which Barry Larkin, a veterinary student from Melbourne, pretended to be running with the Olympic Flame. Larkin and eight students at St Johns College, University of Sydney. One reason was that the relay was invented by the Nazis for the 1936 Summer Olympics in Berlin. The plan was to get one of the students, dressed in white shorts. The fake was made of a chair leg painted silver. A pair of underpants, worn by one of the students in National Service, was put inside the can, the underpants were set on fire. Another student dressed as a motorcycle outrider by wearing a reserve airforce uniform, the torch was scheduled to enter Sydney, carried by Harry Dillon. Dillon would present the Torch to the Mayor of Sydney, Pat Hills, Hills would then make a speech and pass the torch to Bert Button. Before Dillon arrived, the two went out carrying the fake torch. At the beginning, people noticed they were joking and even had the police laughing at them, then the underpants fell out of the torch because the fake runner was swinging his arms too hard. Peter Gralton, one of the nine students, went to get the pants, with Larkin holding the torch, Gralton kicked Larkins backside and told him to run. Larkin did so, running the rest of the way to Sydney Town Hall and he ran the rest of the route, protected by police who thought that he was Dillon. Larkin then presented the torch to Hills, as Hills was unprepared, he did not look at the torch and went straight to his speech. While Hills was talking, Larkin walked quietly away, avoiding attention, Hills was not told the torch was a fake until someone whispered in his ear that it was a fake. Hills looked around for Larkin, but by now Larkin had merged into the crowd, when the crowd discovered that the torch was fake, they began to grow unruly. When Dillon arrived with the torch, the crowd was still unsettled. Hills had to calm down the crowd and the police had to clear a path to allow Dillon to get through, when Button took the torch, an army truck had to clear his path. When Larkin returned to university, he was congratulated by the director of the college and was given an ovation by fellow students when he attended an exam later that morning
2. Elizabeth Durack – Elizabeth Durack Clancy CMG, OBE was a Western Australian artist and writer. Born in the Perth suburb of Claremont on 6 July 1915, she was a daughter of Kimberley pioneer, Michael Patrick Durack and his wife and she was the younger sister of writer and historian Dame Mary Durack. The sisters were educated at the Loreto Convent in Perth, and also on the Kimberley cattle stations, Argyle Downs and it was there that they established unique and enduring relationships with the Mirriuwong-Gajerrong people of the Ord River region. In 1936–37 the sisters travelled to Europe where Elizabeth studied at the Chelsea Polytechnic and her work was notable for the way it combined and reflected both western and aboriginal perceptions of the world. g. William Dobell, Arthur Boyd, Albert Tucker, et al, separated by both geography and gender, her talent emerged. Original, versatile and persistent, an adaptation, almost. Over that time her art evolved from simple drawings, through part-abstract metaphorical works. Duracks work included a number of prints, hand coloured in watercolour. Aboriginal women and children feature in these pictures, four of which can be seen at the National Museum of Australia, illustrations Elizabeth Durack is credited with illustrating the book Who rides the river. By JK Ewers, released in 1956 and this edition was chosen by the Childrens Book Council of Australia as Book of the Year for 1954. In 1994 and 1996 Murdoch University and the University of Western Australia conferred upon her Honorary Doctorates of Letters, in the 1990s, artworks by indigenous artist Eddie Burrup began to appear on the Aboriginal art scene. Paintings by Eddie Burrup were first displayed in January 1995 in an exhibition at Kimberley Fine Art—Durack Gallery, Broome. The gallery was run by Elizabeths daughter, Perpetua Durack Clancy, in 1997 Elizabeth Durack disclosed that Burrup was her pseudonym, an identity she considered her alter ego. Controversy ensued, in part because her works had been included in Indigenous Australian art exhibitions, Durack freely assumed the right to make Aboriginal art as Burrup. This was not appreciated by other Aboriginal artists nor the owner who represented Burrup. Durack continued to make art as Eddie Burrup until her death on 25 May 2000, responses from the art world and the public ranged widely. Some censured Elizabeth Durack and dismissed Burrup paintings that previously had been acclaimed, three works by Eddie Burrup from Native Titled Now were removed from the walls of the Gippsland Art Gallery in Sale, Victoria. Doreen Mellor, who had curated the Native Titled Now exhibition, Durack was bemused by the controversy, remarking Im just using a nom de plume
3. Drop bear – A drop bear is a hoax in contemporary Australian folklore featuring a predatory, carnivorous version of the koala. This imaginary animal is commonly spoken about in tall tales designed to scare tourists, stories about drop bears are generally used as an in-joke intended to frighten and confuse outsiders while amusing locals, similar to the jackalope and other North American fearsome critters. Tourists are the targets of such stories. The website of the Australian Museum contains an entry for the drop bear written in a tone similar to entries for other, real. Specifically it states that they weigh 120 kilograms and have a length of 130 centimetres, the tongue-in-cheek entry was created for silly season. The Australian Museum also established a small display in the museum itself, exhibiting artefacts which it stated may, or may not, relate to actual Drop Bears. Australian Geographic ran an article on its website on 1 April 2013 purporting that researchers had found that bears were more likely to attack tourists than people with Australian accents. Gunni Hoop snake In-joke Snipe hunt Yara-ma-yha-who Yowie
4. Ern Malley – Ernest Lalor Ern Malley was a fictitious poet and the central figure in Australias most famous literary hoax. Harris and other members of the Heide Circle fell for the hoax, in the decades that followed, the hoax proved to be a significant setback for modernist poetry in Australia. The poems of Ern Malley are now widely read than those of his creators. American poet and anthologist David Lehman called Ern Malley the greatest literary hoax of the twentieth century, james McAuley and Harold Stewart were both, in 1944, in the Army Directorate of Research and Civil Affairs. Before the war they had been part of Sydneys Bohemian arts world, McAuley had acted and sung in left-wing revues at Sydney University. Both preferred early Modernism to its later forms, both men lamented the loss of meaning and craftsmanship in poetry. They particularly despised the well-funded modernist poetry magazine Angry Penguins and were resentful of the success of Max Harris. Harris was a 22-year-old avant-garde poet and critic in Adelaide, who in 1940 and they came up with a fictional biography for the poet Ernest Lalor Malley, who, they claimed, had died the year before at the age of 25. Then, in one afternoon, they wrote his entire body of work,17 poems, none longer than a page and we made lists of these and wove them in nonsensical sentences. We misquoted and made false allusions and we deliberately perpetrated bad verse, and selected awkward rhymes from a Ripmans Rhyming Dictionary. They also included many bits of their own poetry, though in a disjointed manner. However, Stewart claimed to have never heard of Floupette at the time of the Ern Malley hoax, according to his inventors fictitious biography, Ernest Lalor Malley was born in Liverpool, England, on 14 March 1918. His father died in 1920, and Malleys mother migrated to Petersham, after his mothers death in August 1933, Ern Malley left school to work as an auto mechanic. Shortly after his birthday, he then moved to Melbourne where he lived alone and worked as an insurance salesman. Diagnosed with Graves disease sometime in the early 1940s, Malley refused treatment and he returned to Sydney, moving in with his sister in March,1943, where he became increasingly ill until his death at the age of 25 on 23 July of that same year. Malleys life as a poet known only after his sister Ethel found a pile of unpublished poems among his belongings. These poems featured a preface, which explained that they had been composed over a period of five years. Ethel Malley supposedly knew nothing about poetry, but showed the poems to a friend, Max Harris of Angry Penguins was to be that someone
5. Principality of Marlborough – The Principality of Marlborough was a short-lived micronation located at 22°30′18. 19″S 149°9′6. 45″E,200 km north of Rockhampton, Australia in 1993. 11 days after the proclamation of independence,120 officers of the Queensland Police entered the property, the Muirheads won widespread media attention from across the world, with the media portraying them as hardworking people being victimized by a cold, heartless corporation. The Muirheads adopted the Australian flag, the Scottish Flag, the Australian Aboriginal Flag, on the Queens Birthday Long Weekend 1993, a small number of men, clad in surplus military fatigues, attempted to storm Parliament House in Canberra. When confronted by security officers, the claimed to be the Marlborough Liberation Army. The group later turned out to be engaged in a school prank. As of 2004, the Muirheads have not pursued their claim to the principality, DIY Sovereignty and the Popular Right in Australia, by Judy Lattas, Macquarie University, March 2005. Defiant Graziers Under Arrest, Sydney Morning Herald,14 June 1993, rebel graziers bid to keep land ends in contempt charge, Sydney Morning Herald,14 June 1993. Defiant graziers stay in jail, Sydney Morning Herald,15 June 1993, a Principality without walls near Jericho, Sydney Morning Herald,15 June 1993. The great conspiracy to enslave Australia, Sydney Morning Herald,21 June 1993, channel 7 News -16 June 1993. Queensland Title Office records from 1993 for Kierawonga & Indicus
6. Johann Dieter Wassmann – Johann Dieter Wassmann is a fictitious artist and sewerage engineer, purportedly from Leipzig, Saxony, in east-central Germany. He is the creation of the American-born artist and writer Jeff Wassmann, a pivotal event in the authors narrative is Napoleons defeat at the Battle of Leipzig, recalled first-hand by the characters father. The artist uses Napoleons rise metaphorically to represent the onslaught of the modern era, as a lecturer at the University of Leipzig, we experience him prompting students to fully explore the creative process, concerned as he is at the decline of liberal education. But Wassmanns lasting legacy is found in his devotion to his art. Johann Dieter Wassmann is born into a line of carpenters on April 2,1841. The youngest of five children to survive adulthood, he is brought up in the Lutheran creed. After the March Revolutions of 1848, the family flees from Leipzig to Weimar, a bout with rheumatic fever forces Johann to delay the start of his schooling until the age of eight. Johann goes on to attend the University of Leipzig before joining an engineering practice, at 34 he is offered a teaching post in Leipzig. After an extended display at a Dresden clinic, they known as the Dresden Boxes. These works build on the tradition of German wunderkammern and 17th-century Dutch perspective boxes, but display a stripped down aesthetic, precise, through his extensive travels in his private practice, Johann is exposed to the best and worst 19th-century urban development has to offer. By this point Johann is comfortably married with three children, so the intent of this stage of boxes is largely private, they are mostly shared with family. In September 1889, a conference in Potsdam brings Johann together with the physicist Max Planck in what results in a seismic shift in Johanns thinking. Johann comes to realize his angst is not in the modernity of the 19th century. If he is to return to a field of time and space he knows his only choice is not to look back. Planck is presenting a paper at the conference on the law of thermodynamics. The first to himself a theoretical physicist, Planck opens his lecture in Potsdam with the revelation that. He concludes by expressing a belief that physical laws allow him to presuppose that the, outside world is something independent from man, something absolute, and the quest for the laws which apply to this absolute appeared. As the most sublime pursuit in life, Johanns remaining years will be spent expressing these early modern notions through his beloved boxes and an emerging interest in photography