Love and Laughter on the High Seas HMS PINAFORE by Gilbert and Sullivan Mr
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W.L. Baillieu in the Archives
UMA Bulletin NEWS FROM THE UNIVERSITY OF MELBOURNE ARCHIVES www. lib.unimelb.edu.au/collections/archives No. 24, December 2008 Searching for a Forgotten Life W.L. Baillieu in the Archives opular perception is a strange and At the same time he took over the fickle thing. I recently wrote a stricken stockbroking firm of W.J. Malpas Phistory of Australia’s Collins Class & Co. and built up a stockbroking busi- submarines. I began that project sharing ness with his brothers Edward (Prince), the almost universal belief that these Clive (Joe), Norman and Maurice (Jac), submarines are ‘noisy as a rock concert’ which as E.L. & C. Baillieu has been one — I was rather surprised to find out that of the leading stockbrokers in Melbourne they are, in fact, the second quietest for over 100 years. Throughout his busi- submarines in the world. ness life WL worked closely with five of Since I have begun working on a his brothers and, while he was always biography of W.L. Baillieu I have discov- acknowledged as the leader, their business ered that, while the Baillieu family is well success was very much a joint effort. W.L. Baillieu, 1911. known, for most people WL (as he was W.L. Baillieu played a large part in a universally known) is remembered solely dramatic resurgence of Victorian gold- alliance of companies, of which WL was as a landboomer who paid sixpence in the mining in the 1890s, promoting, man- the unofficial but unquestioned leader. pound on his debts when the land boom aging and raising capital for several of the The group was named for Collins House collapsed in the early 1890s. -
Melbourne Welsh News No. 21 August 2018
Melbourne Welsh News No. 21 www.melbournewelshchoir.com.au August 2018 Melbourne Welsh Male Choir’s We, as a choir get great satisfaction from seeing the progress 2018 Singer of the Year Competition of our Singer of the Year winners and runners-up, so we were A packed house (with extra chairs being required for late delighted to see the great reviews which our 2012 winner, arrivals), at the MLC’s James Tatoulis Auditorium on Lee Abrahmsen received for her role of Marschallin in the Sunday afternoon 12th August enjoyed a wonderful and recent Melbourne Opera production of Der Rosenkavalier extremely varied afternoon of solo and choral singing. by Richard Strauss. Well done Lee. This beautiful auditorium provided a perfect environment Recent Choir concerts for the finalists of the Choir’s 2018 Singer of the Year competition to be heard and evaluated. On a cold and wintry July Friday in Nunawading a group of similarly dressed gentlemen with navy suits and yellow ties This year there was an additional reason to attend this event. descended on two car dealerships and made music! Our MD’s “other Choir” - the Ashton Smith Singers joined us on this very special occasion. The choir performed a mini concert to the audience of customers and staff at the Eastside Mitsubishi dealership The audience was able to hear the differences between and received an enthusiastic reception. After an hour-long a mixed choir and a traditional Welsh male choir in this concert, the choir moved 300 metres down the road to magnificent environment Nunawading Toyota and after appropriate sustenance and lubrication (water only!) supplied by our hosts, we repeated the performance for an enthusiastic audience of clients and staff of the Toyota dealership to a similar ovation. -
“Voice of Ireland”. Today Tommy Is One of Ireland’S Top Entertainers with Over 6.5 Million Youtube Hits and Over 3.5 Million Album Sales Worldwide
TOMMY FLEMING BIOGRAPHY With his powerfully distinctive voice, Tommy Fleming has been described as the “Voice of Ireland”. Today Tommy is one of Ireland’s top entertainers with over 6.5 million YouTube hits and over 3.5 million album sales worldwide. The youngest of six children, Tommy was born in 1971 in Aclare, County Sligo. His natural singing ability was evident at a young age whilst participating in local talent competitions. While still at school, Tommy formed his first rock band, The Face of February, and embarked on gigging in local pubs. After leaving school Tommy joined a quartet, Jarog, gaining a legion of fans. However, despite this success, record companies weren’t exactly knocking on Tommy’s door. Then a chance encounter with renowned producer and composer Phil Coulter changed all that. In July 1993, Phil heard Tommy performing at a charity event in Westport, County Mayo. Within days Tommy was guesting with Phil and his orchestra at the Opera House (Cork), the National Concert Hall (Dublin) and The University Concert Hall (Limerick). Four months later he was playing to huge audiences across the US and Canada, culminating in two shows in the Boston Symphony Hall and the legendary Carnegie Hall in New York. Tommy’s career then took another leap forward when he was invited by Galway traditional group De Danann, to join them as lead vocalist, following in the footsteps of living legends as Mary Black, Maura O’Connell, Dolores Keane and Paul Brady. The collaboration lasted three years and introduced Tommy to a worldwide audience touring Australia, Hong Kong, China and the US. -
Don Burrows Quartet
DON BURROWS QUARTET: SHOWCASE FOR A TALENTED NEWCOMER by Eric Myers _______________________________________________________________ The Don Burrows Quartet with James Morrison The Rothbury Estate, Pokolbin Sydney Morning Herald, April 8, 1980 _______________________________________________________________ t is difficult to imagine a more pleasant afternoon than one spent on the Rothbury Estate, with the sun shining, the wine flowing, and jazz provided I by Don Burrows, George Golla and their colleagues. At this concert, Burrows (clarinet, flute and alto saxophone) and Golla (guitar) gave a roaring display of the swinging, mainstream jazz that is appealing and relaxing for so many people. In their playing, there are few signs of the atonality, chromaticism and dissonance which characterise much contemporary modern jazz, and this perhaps explains their great popularity with middle-of-the-road jazz lovers. Don Burrows (left, flute) and George Golla (guitar): a roaring display of the swinging, mainstream jazz that is appealing and relaxing for so many people…PHOTO COURTESY JAZZ AUSTRALIA Tony Ansell, as always, played the keyboards with high energy and vitality. For many years now, he has been astounding orthodox pianists by playing the keyboard bass with his left hand, while producing brilliant accompaniment and solos on electric piano or synthesiser with his right hand —in effect, playing an instrument with each hand, and enabling either to function independently of the other. I was often surprised to hear the drummer, Stuart Livingston, -
Unsent Love Letters Meditations on Erik Satie
ELENA KATS-CHERNIN unsent love letters meditations on Erik Satie TAMARA-ANNA CISLOWSKA PIANO The sound of dreams on velvet In this age where no-one has any time, diaries are chock-a-block, schedules bursting and calendars stuffed, it could be said that what is missing is the space to miss things, even space. This album is a first step to redressing some of the balance between the time to think that we know we don’t have, and the frenzy of saving the dates, must-dos and urgent deadlines. I would like to suggest we wind back the clock a moment, or throw out the clock. Taking Satie’s life and work as a central theme, the album is a collection of personal ruminations from Elena Kats-Chernin on the great eccentric Erik Satie. You could think of it as a musical memoir from one composer to another. A folding and unfolding of Elena’s thoughts and observations. The 26 pieces outline the concerns, convictions and loves of a man who was sensitive, singular and contradictory. He was also brilliant, unguarded and unconventional, and able to mix the devil-may-care with the stiff-upper-lip. Satie’s life was a fascinating, fervoursome affair; from the first strike of love and then lifelong estrangement with artist and muse Suzanne Valadon, to the unexpected celebrity and conflict of his last ten years. After he died, friends gaining access to his apartment, for the first time in almost three decades, found conditions both perplexing and romantically fastidious in their own way: two grand pianos one atop the other, one chair, one table, seven velvet suits and the love letters – many, many unsent love letters. -
Synesthetic Landscapes in Harold Pinter's Theatre
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1645 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 ii © 2010 GRAÇA CORRÊA All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________ ______________________________ Date Chair of Examining Committee Daniel Gerould ______________ ______________________________ Date Executive Officer Jean Graham-Jones Supervisory Committee ______________________________ Mary Ann Caws ______________________________ Daniel Gerould ______________________________ Jean Graham-Jones THE CITY UNIVERSITY OF NEW YORK iv Abstract Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Adviser: Professor Daniel Gerould In the light of recent interdisciplinary critical approaches to landscape and space , and adopting phenomenological methods of sensory analysis, this dissertation explores interconnected or synesthetic sensory “scapes” in contemporary British playwright Harold Pinter’s theatre. By studying its dramatic landscapes and probing into their multi-sensory manifestations in line with Symbolist theory and aesthetics , I argue that Pinter’s theatre articulates an ecocritical stance and a micropolitical critique. -
British Television's Lost New Wave Moment: Single Drama and Race
British Television’s Lost New Wave Moment: Single Drama and Race Eleni Liarou Abstract: The article argues that the working-class realism of post-WWII British television single drama is neither as English nor as white as is often implied. The surviving audiovisual material and written sources (reviews, publicity material, biographies of television writers and directors) reveal ITV’s dynamic role in offering a range of views and representations of Britain’s black population and their multi-layered relationship with white working-class cultures. By examining this neglected history of postwar British drama, this article argues for more inclusive historiographies of British television and sheds light on the dynamism and diversity of British television culture. Keywords: TV drama; working-class realism; new wave; representations of race and immigration; TV historiography; ITV history Television scholars have typically seen British television’s late- 1950s/early-1960s single drama, and particularly ITV’s Armchair Theatre strand, as a manifestation of the postwar new wave preoccupation with the English regional working class (Laing 1986; Cooke 2003; Rolinson 2011). This article argues that the working- class realism of this drama strand is neither as English nor as white as is often implied. The surviving audiovisual material and written sources – including programme listings, reviews, scripts, publicity material, biographies of television writers and directors – reveal ITV’s dynamic role in offering a range of representations of Britain’s black population and its relationship to white working-class cultures. More Journal of British Cinema and Television 9.4 (2012): 612–627 DOI: 10.3366/jbctv.2012.0108 © Edinburgh University Press www.eupjournals.com/jbctv 612 British Television’s Lost New Wave Moment particularly, the study of ITV’s single drama about black immigration in this period raises important questions which lie at the heart of postwar debates on commercial television’s lack of commitment to its public service remit. -
Melbourne Suburb of Northcote
ON STAGE The Autumn 2012 journal of Vol.13 No.2 ‘By Gosh, it’s pleasant entertainment’ Frank Van Straten, Ian Smith and the CATHS Research Group relive good times at the Plaza Theatre, Northcote. ‘ y Gosh, it’s pleasant entertainment’, equipment. It’s a building that does not give along the way, its management was probably wrote Frank Doherty in The Argus up its secrets easily. more often living a nightmare on Elm Street. Bin January 1952. It was an apt Nevertheless it stands as a reminder The Plaza was the dream of Mr Ludbrook summation of the variety fare offered for 10 of one man’s determination to run an Owen Menck, who owned it to the end. One years at the Plaza Theatre in the northern independent cinema in the face of powerful of his partners in the variety venture later Melbourne suburb of Northcote. opposition, and then boldly break with the described him as ‘a little elderly gentleman The shell of the old theatre still stands on past and turn to live variety shows. It was about to expand his horse breeding interests the west side of bustling High Street, on the a unique and quixotic venture for 1950s and invest in show business’. Mr Menck was corner of Elm Street. It’s a time-worn façade, Melbourne, but it survived for as long as consistent about his twin interests. Twenty but distinctive; the Art Deco tower now a many theatres with better pedigrees and years earlier, when he opened the Plaza as a convenient perch for telecommunication richer backers. -
Discover the Contemporary Quaker
14 April 2017 £1.90 theDISCOVER THE CONTEMPORARYFriend QUAKER WAY the Friend INDEPENDENT QUAKER JOURNALISM SINCE 1843 Contents VOL 175 NO 15 3 Thought for the Week: People and principles Ian Kirk-Smith 4 News 5 Meeting for Sufferings 6 We all have a part to play Hazel Shellens 7 Effective altruism Martin Hartog 8-9 Letters 10-12 People Power: Fighting for Peace Ian Kirk-Smith 13 Reflections on the ‘Red Book’: Easter: the inside story Bernard Coote 14-15 Being a pacifist Graham Spinks and Martin Aitken 16 Friends & Meetings CND badges appearing in ‘People Power: Fighting for Peace’. Photos: Campaign Peace’. Fighting for Power: CND badges appearing in ‘People Nuclear Disarmament. See pages 10-12. for Cover image: Anti-war protest. Photo: Campaign for Nuclear Disarmament. See pages 10-12. The Friend Subscriptions Advertising Editorial UK £84 per year by all payment Advertisement manager: Editor: types including annual direct debit; George Penaluna Ian Kirk-Smith monthly payment by direct debit [email protected] £7; online only £66 per year. Articles, images, correspondence For details of other rates, Tel 01535 630230 should be emailed to contact Penny Dunn on 54a Main Street, Cononley [email protected] 020 7663 1178 or [email protected] Keighley BD20 8LL or sent to the address below. the Friend 173 Euston Road, London NW1 2BJ Tel: 020 7663 1010 www.thefriend.org Editor: Ian Kirk-Smith [email protected] • Sub-editor: George Osgerby [email protected] • Production and office manager: Elinor Smallman [email protected] • Arts -
OBITUARY: JOHN SANGSTER 1928-1995 by Bruce Johnson
OBITUARY: JOHN SANGSTER 1928-1995 by Bruce Johnson _________________________________________________________ ohn Grant Sangster, musician/composer, was born 17 November 1928 in Melbourne, only child of John Sangster and Isabella (née Davidson, then J Pringle by first marriage). He attended Sandringham (1933), then Vermont Primary Schools, and Box Hill High School. Self-taught on trombone then cornet, learning from recordings with friend Sid Bridle, with whom he formed a band. Sangster on cornet: self-taught first on trombone, then cornet… PHOTO COURTESY AUSTRALIAN JAZZ MUSEUM Isabella’s hostility towards John and his jazz activities came to a head on 21 September 1946, when she withdrew permission for him to attend a jazz event; in the ensuing confrontation he killed her with an axe but was acquitted of both murder and manslaughter. In December 1946 he attended the first Australian Jazz Convention (AC) in Melbourne, December 1946, and at the third in 1948 he won an award from Graeme Bell as ‘the most promising player’. He first recorded December 30th, and participated in the traditional jazz scene, including through the community centred on the house of Alan Watson in Rockley Road, South Yarra. 1 He married Shirley Drew 18 November 1949. In 1950 recorded (drums) with Roger, then Graeme Bell, and was invited to join Graeme’s band on drums for their second international tour (26 October 1950 to 15 April 1952). During this tour Sangster recorded his first composition, and encountered Kenny Graham’s Afro-Cubists and Johnny Dankworth, which broadened his stylistic interests. Graeme Bell invited Sangster to join Graeme’s band on drums for their second international tour, October 1950 to April 1952.. -
Festival of Perth Programmes (From 2000 Known As Perth International Arts Festival)
FESTIVAL OF PERTH PROGRAMMES (FROM 2000 KNOWN AS PERTH INTERNATIONAL ARTS FESTIVAL) Date Venue Title & Author Director Producer Principals 1980 1980 Festival of Perth Festival Programme 14 Feb-18 Mar 1980 Various Festival at Bunbury WA Arts Council & City of Bunbury Feb – Mar 1980 Various PBS Festival of Perth Festival of Perth 1980 Spike Milligan, Tim Theatre Brooke-Taylor, Cathy Downes 17 Feb-16 Mar 1980 Churchill Gallery Lee Musgrave Paintings on Perspex 22 Feb-15 Mar 1980 Perth Concert Hall The Festival Club Bank of NSW Various 22 Feb 1980 Supreme Court Opening Concert Captain Colin Harper David Hawkes Compere Various Bands, Denis Gardens Walter Singer 23 Feb 1980 St George’s Cathedral A Celebration Festival of Perth 1980 The Very Reverend Cathedral Choir, David Robarts Address Cathedral Bellringers, Arensky Quartet, Anthony Howes 23 Feb 1980 Perth Concert Hall 20th Century Music Festival of Perth 1980, David Measham WA Symphony ABC Conductor Orchestra, Ashley Arbuckle Violin 23 Feb – 4 Mar 1980 Dolphin Theatre Richard Stilgoe Richard Stilgoe Take Me to Your Lieder 23 Feb-15 Mar 1980 Dolphin Theatre Northern Drift Alfred Bradley Henry Livings, Alan Glasgow 24 Feb 1980 Supreme Court Tops of the Pops for Festival of Perth 1980, Harry Bluck Various groups and Gardens ‘80 R & I Bank, SGIO artists 24 Feb, 2 Mar 1980 Art Gallery of WA The Arensky Piano Trio Festival of Perth 1980, Jack Harrison Clarinet playing Brahms Alcoa of Aust Ltd 25 Feb 1980 Perth Entertainment Ballroom Dance Festival of Perth 1980 Sam Gilkison Various dancing PR10960/1980-1989 -
8247/6 BFF British Food
British Includes information for restaurants, pubs, shops and food service companies on how to take part in Food British Food Fortnight Retail and catering Case studies Index Details of the national promotion 3 A buyers’ guide Retailer case studies 4-5 to quality British food Pub and restaurant case studies 6-7 Welcome to this guide to sourcing and promoting British food in the retail and Catering and food service case studies 8-9 catering sectors. Visitor attraction and tourism In response to the growing commercial opportunities that British food provides, hundreds of retailers and caterers across the country have taken part in the annual national case studies 10-11 promotion – British Food Fortnight – and many of them have increased their sales as a result. Advice on where to source British food 12 This guide provides case studies demonstrating how they did so – how they used British Maximise your media coverage 13 food to maximise sales and attract new customers; how they sourced British food and drink; how they promoted it; what results they achieved and lessons learnt. Invitation to work with schools 14 We hope these examples will inspire you to organise similar promotions in your shops and restaurants this year. “Today’s consumer wants value when they are shopping or eating out and value is no longer just about price. Increasingly people want tasty, fresh, healthy, seasonal, local, regionally- “65% distinct foods with visible – almost two-thirds traceability back to the producer – all distinctive – of British consumers qualities of British food.” Alexia Robinson, are now buying locally Organiser, British Food Fortnight produced food.