Dead ringer is an idiom in English. It means "an exact duplicate" or "100% duplicate", and derives from 19th-century horse-racing slang for a horse presented "under a false name and pedigree"; "ringer" was a late nineteenth-century term for a duplicate, usually with implications of dishonesty, and "dead" in this case means "precise", as in "dead centre".[1]
The term is sometimes implausibly said to derive, like "saved by the bell", from a custom of providing a cord in coffins for someone who has been buried alive to ring a bell to call for help.[1]
Casual Dining In Surry Hills
To us Modern Australian means mixing European kitchen technique, mediterranean hospitality, with the types of bold flavours you might expect from Pan-Asian cuisine, all served it in a typically casual aussie, family-dining setting.
We are located in a heritage townhouse just off Taylor Square at the axis of Paddington, Darlinghurst and Surry Hills. The restaurant features comfortable counter-top dining, a garden terrace and an intimate dining room, also available for private hire.
Our popular boozy brunch runs every Saturday & Sunday morning, with last seatings at 3pm. Every week for one day, we focus entirely on local produce in vegetarian and vegan dishes on our Meat Free Monday
Among the most ambitious works of Australian swimming pool art must be Wendy Sharpe’s eight mural-sized paintings at the Cook & Philip Aquatic Centre in College Street, Sydney, that celebrate the life of swim champion and movie star Annette Kellermann (1886-1975). Known as “Australia’s mermaid”, Kellermann was one of our earliest international celebrities, with her prowess in the water being readily attributed to the free, healthy, athletic nature of her homeland. Sharpe portrays the highlights of Kellermann’s career in a series of colourful narrative paintings, although she doesn’t include the notorious pose from A Daughter of the Gods (1916), in which Kellermann became the first actress to appear nude in a Hollywood movie.
Most Australian images of swimming pools and ponds are saturated with casual joie de vivre, but there are some notable exceptions. Nigel Thomson, a habitual iconoclast, saw swimming pools as symbols of decadence and complacency. In one of his pictures a happy couple recline in the water, but the woman is holding a saw behind the man’s head. In a 1979-80 self-portrait he portrays himself underwater, with a shark peering over his shoulder. In Feeding Time(1980-81) a girl sits in a wheelchair at the bottom of a swimming pool, while a shark circles.
In the deep end: The swimming pool in Australian art
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Google propagandizing users in Australia (note I get the same first result in the US without the Google spam).
