In Memory of Miss Mione by Pamela King

Our beautiful Groenendael*, Sassy, (Weedram Sara’s Star) was expecting her first litter. Like everything Sass did it all went with a minimum of fuss. Throughout her pregnancy, my stepson, Carlo, had told her he wanted a Terveuren**. Now, this was highly unlikely because she had been mated to another Groenendael. Beau. But Carlo persisted giving Sassy instructions.

Finally, the day came. Again, with a minimum of fuss Sass went onto labour popping out four Groenendael pups with no trouble. When the next one was born, as Carlo helped the tiring mother, he questioned the colour of the pup – it wasn’t as black as the others but very dark. 




Was it a Terv just very dark from moisture? As the baby girl dried it became obvious it was fawn. The next five pups were all black.

This was our first pedigree litter to be registered with Dogs NSW. Breeders often use one of two methods for naming puppies. They either give their first litter names beginning with A, the second litter B and so on or they have a theme for the names. We had decided to name our pups after childhood heroes. With our ages spanning more than 35 years, we had a variety of generations to choose from. Names included Cinderella, Topolino (Italian for Mickey Mouse), The Phantom, Zorro etc. The name chosen for our little Terveuren was Hermione Granger.

Hermione Granger is a bit long and so like many pedigree dogs she had a call name, Mione. Later she was often referred to as Mimi (pronounced mymy), Meanie or, my favourite, Miss Mione. She answered to every one of them.

The ever patient Mione and her brother Phanto

She was a serious pup and rarely played with toys but had one soft toy, a lamb she adored. Mione’s biggest brother was The Phantom (Phanto). There was absolutely nothing phantom-like about this big, cuddly, adorable clutz. Without realising what he was doing he would sit on his sister, gobble down her food, and generally dominate attention. To add insult to injury he destroyed her little lamb.

When she was three months old, we took her to visit friends who had about ½ dozen sheep. We put her in the paddock to see if she had any herding instinct. Although Belgian Shepherds were traditionally herding dogs few dogs in the show ring have a natural herding instinct today.

In no time she had them herded into a corner and kept them there. We asked a Belgian Shepherd breeder who also trained herding dogs about this incident. Her response was it was unusual especially at that age to have such a strong herding instinct and she must be a throwback to an old line.

She was different from the other pups. She always seemed to be a wise old soul maybe it had something to do with that old line. But she was a very loving dog with the fastest tongue of all of them and it moved at the same rate and at the same time as her tail as if they were linked.

She was easily offended too. If you were busy just when she wanted attention and you ignored her, she showed her displeasure by ignoring you when you were ready to pat her. She could sulk for hours!

She was never naughty even as a pup, very loving and smart. We will miss our Miss Mione and the smiles she brought to our faces along with those rapid-fire kisses. RIP Mimi.

 *A variety of Belgian Shepherd. Gronendaels are a long hair variety with black hair.
** A variety of Belgian Shepherd. Terveurens are a long hair variety, fawn (sometimes grey) with a black overlay.

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Extract from Angel with Drumsticks by Pamela King - Religious Music Causes an Outcry

At the conclusion of the performance [of the first rock mass] the bands stayed on stage while they waited for Father Sinaldi to join them and lead the discussion on the results of the experiment.

It didn’t go according to plan. Before Father Sinaldi could reach the stage and pick up a microphone, a vocal explosion erupted inside the Oratorium.

A considerable part of the debate was based on the music’s relevance and place in liturgy, that is its place in the actual rites of a Mass.

The debate that was to rage for years—and still does today—started with one student asking, "How can this music become part of the liturgical music?” 

A friend of one of the bands responded, "This is not sacred music. You have to experiment with what spirit the youth of today can approach the liturgy."

Father Sinaldi as moderator, added, "Of course we must not judge the intentions, but the results. If this music is artistic, fine. That’s what counts. On the other hand, the music is defined as religious, but not sacred or liturgical."

This comment by the father was a direct reference to Vatican II stressing the need to ‘admit to divine worship all forms of true art having the needed qualities’.

The comments, questions, points of view and arguments put forward were widely varied. Even the priests themselves were divided.

Some of the young people who spoke appeared better prepared than their older opponents.

One opinion on the negative reviews was that they were a knee-jerk reaction to the over enthusiasm of the young spectators with their thunderous applause and whistles of approval.

There was even a racist, inevitably present at all these events, who snatched the microphone from the hands of Father Sinaldi, to cry out, "We're not in Africa! It is devil's music."

And so the debate continued as priests close to the stage shuddered, a thousand questions on their tongues.

Maestro and priest Father Belli, Director of the Augustinian, tried to explain the basic principles of religious and liturgical music but was drowned out by the many conflicting views.

In reply to the young people claiming they had the right to worship in their own way, he stated, "There is no Mass without liturgy."

"But there are Masses not dedicated to the celebration of the rite," countered Sinaldi.

Belli argued, "It is not true. They were all written for the purpose of the liturgy. Only the concerts are not performed in church for the difficulties of the execution. But Verdi's Requiem, for example, was carried into the church."

Father Sinaldi asked, "Have you finished?"

Father Belli replied, "No, I asked if this music has a liturgical perspective. You answered ‘no’ and I am convinced. Then you say it is only religious. So I say, don’t the words make any music religious or sacred? This music does not invite your reminiscence and meditation, but teases and does not dig into the soul. "

“It is about praising God with happy music and happy thoughts” shouted a young man from the back.

Applause and interjection erupted from various quarters. From the young people who were in favour of the beat Mass, to Father Lopez Calo, commentator of Radio Vatican, who was against the Mass and back across the spectrum to Father Marsili, president of the liturgical San Anselmo, who supported it.

Father Sinaldi declared that he was satisfied that the Mass had been a success and this was evidenced by the participation and enthusiasm of the young.

Prior to the debate, Father Gino Bono had told a newspaper reporter, “I think the work is neither blasphemous nor disrespectful. Moreover, the texts of the songs are literary translations from the Latin Mass of the steps. It's just a form of attracting young people to the Church. Naturally, it is not a true Mass. We must make a distinction between religious music and sacred music. Before arriving to perform this music in the church, we must wait a whole series of consensus. Do not forget that we are in Rome, the centre of the Catholic Church.”

What wasn’t made clear was if the outcome of the consensus was against the experiment, particularly as it was in Rome ‘the centre of the Catholic Church’ that the Vatican would use interference and obstruction as a means to wipe it out.

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