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"If clothes were given to workers in lieu of wages by way of reward for labour, then the clothes should have become the possession of the worker. By possession, I mean that the clothes should have been theirs to keep, to sell, to trade, or to give to family or to others to satisfy customary exchange. But despite official policy, clothes were rarely given as wages, and it was common for clothes to remain the property of the employer. On cattle stations, Aboriginal stockworkers were given clothes suitable for riding and working, but these clothes were on loan rather than clothes to keep." In 1932 Owen Rowe, commented that: One big station firm indulged in the Christian practice of compelling the stockboys, after the mustering of the cattle was finished, which is just a seasonal work, to hand back the clothes, issued them to work in, and then sending them naked into the bush to fend for themselves [:::] The scarcity of clothing among these unfortunates compels them to wear the clothes until they are absolutely filthy or until they fall to pieces on them.30 The assimilation policy was based on the assumption that the barrier to equal rights and citizenship for Aboriginal people was not the fundamental inequality of the law, but the inadequacy of the Aboriginal people themselves. It was assumed that an innate inferiority existed which might, with suitable training and guidance, be gradually overcome. The question of clothing and cash wages was an important part of the new policy. Source: 2007 " When wages were clothes: dressing down Aboriginal workers in Australia's Northern Territory" Julia T. Martinez ro.uow.edu.au/cgi/viewcontent.cgi?article=1786&contex...

The ride in the distance with the sailing boats is W Murphy's Sea on Land which was built in 1884.

George Nichols (1864-1927, sometimes billed as George O. Nicholls) was both an actor and director during the silent years, known chiefly today for his years at Keystone (1913-1915), for having directed several of Chaplin’s earliest films (including A Film Johnnie; Cruel, Cruel Love; His Favorite Pastime and The Star Border) and for playing Mabel Normand’s father in several of her features (Mickey, Suzanna, Molly O, and The Extra Girl). Chaplin’s run-ins with Normand and Nichols in his early months at Keystone nearly resulted in his dismissal. A stage actor since the 1890s, he joined Biograph around the same time as Griffith and Sennett (1908), and was to become Griffith’s assistant for three years. He also directed at Lubin, L-KO, and Griffith’s Majestic (Triangle). By 1916, he was no longer directing, although he continued to act in pictures right up until his death. Source: travsd.wordpress.com/2013/10/03/stars-of-slapstick-7-geor...