All posts by AMMP

Happy Birthday Tim Ferguson

Happy Birthday Tim Ferguson

 

Writer Elle Russell profiles Tim Ferguson, born 16th November and the Doug Anthony All Stars.

Pilfering money from punter’s wallets. Running off with babies in prams and then accusing the bewildered mothers of bad parenting. Setting public rubbish bins on fire. Leading a crowd on a shop lifting tour through David Jones.
No, it’s not a rap sheet; it’s the Doug Anthony All Stars Canberra busking repertoire circa 1985.

While the description of the All Stars street performances read like a witness statement, these shambolic and subversive shows thrilled and terrified Canberra shoppers. It is precisely why on Saturday mornings, they had crowds of up to 150 people waiting for them to start busking at Petrie Plaza in Canberra’s Civic.

The Doug Anthony All Stars aka DAAS, clearly made an impression, as they are probably the only buskers in Australia, if not the planet, to have a plaque commemorating their antics. In 2003, the plaque featuring an image of the trio with the words ‘The Doug Anthony All Stars were born and died here” was installed where they used to busk at the intersection of City Walk and Petrie Plaza.

DAAS on YouTube

Richard Fidler, Tim Ferguson and Robert Piper started off doing comedic acoustic covers in the early 1980s but morphed into more of a darker performance group once Paul McDermott replaced Piper who had left to forge a career in the diplomatic corps.

After some success at the Adelaide Fringe Festival in 1986, DAAS relocated to Victoria but found the Melbourne public more difficult to engage in their frivolity. The group jetted off to the Edinburgh Comedy Festival via Covent Garden and literally set the place on fire. DAAS famously incited a riot at the Bear Pit theatre and word spread about the Australian comedy rock stars who knew no fear.

DAAS Dead and Alive

Prior to returning to Melbourne, the DAAS had been phenomenally successful in the UK but in 1988, had to work hard for a crowd on Bourke and Swanston streets.

While Canberra audiences were savvy to the anarchic stylings of the comedy trio the rest of the country only caught up in 1989 once the ABC started showing the Big Gig on Tuesday nights.

Teenagers across Australia, many of who were listening to the Violent Femmes, The Dead Kennedys and Nick Cave, instantly embraced the DAAS with their entirely inappropriate but much beloved songs such as I Fuck Dogs and I Wanna Spill the Blood of a Hippy.

The irreverent All Stars were internationally successful comedians who gave fans their biggest shock when they announced that they would quit after a farewell tour in 1994.

The group reunited for a once off charity special in 2003 and again in 2008 and 2013 for DVD releases of their performances on The Big Gig and DAAS Kapital respectively.

While Richard now an ABC radio presenter, Paul stayed on our screens with shows such as Good News Week and Tim with Don’t Forget Your Toothbrush and Funky Squad. Tim also teaches comedy. In 2010, Tim revealed that he’d been diagnosed with Multiple Sclerosis prior to the group’s split.

In 2014 the All Stars reunited for a 30th anniversary tour starting at Canberra’s Comedy Festival with Paul Livingston, better known as his alter ego of Flacco, instead of Fidler on guitar.

DAAS Wikimedia Commons

Now in their second year of world tours since reforming, AAMP spoke with Tim Ferguson about the Doug Anthony All Stars and their busking history.

What was a Doug Anthony All Stars busking performance like in Canberra?

“Busking in Petrie Plaza was always great fun. We’d have big revivals and marches, spontaneous protests, laying hands on people and exorcising their demons. I did a psychic act which I’m sure would be illegal in the Bourke Street Mall these days. I’d use my psychic powers to solve people’s problems. We’d reenact the burning of Joan of Arc. We’d put Paul in garbage bins and set fire to whatever was in them. We did this regularly.

One of the reasons why the Doug Anthony All Stars were so in your face and jumping up and down was because we built our act on the street where you need to do that to get attention.”

How did you manage to get away with that on the streets of Canberra?

“Canberra was the cocaine/heroin capital of Australia. There was also a punk scene in Canberra. The punks in Melbourne and Sydney revered the Canberra punks. They were tough. There were weekly brawls, fights and riots. All that stuff happened in the nation’s capital. We had several battles with the cops. Singing one more song, talking over them. It was a time when risk was possible. I guess that the cops thought, ‘At least they’ve gathered together. We can watch them all here.”

Do you think that you were able to get away with it because it was the eighties? Do you think it would work now?

“If you put someone in a bin and set fire to whatever else is in it, you’ll get a crowd. I love it when people talk about the eighties like it was some golden time. It was a time of the same old oppression. Australia had just lurched out of the Fraser era. It was the same old thing. There were laws. People were backwards. Joh Bjelke-Petersen was a serious contender for the prime ministership. This country has not changed at all. What’s happened is that comedians are just interested in different things. They’re not so interested in shocking for the hell of it. They’re talking about different issues but their performance style is not based upon making people feel in fear of, you know, their lives. In fear of being robbed. We’d take people’s money from their wallets and they’d come up and say, ‘Can I have my money back?’ And we’d say, ‘What money? There was no money in there.’ We were terrible.”

Did you actually keep the money?

“Hell yeah! It’s because they didn’t put any money in the guitar case.”

I take it you never got a busking licence.

“We didn’t have a busking licence. We just busked. Would you give a licence to the Doug Anthony All Stars? Oh, what’s that song? It’s about dogs. Lovely.

There wasn’t a permit system that we recognised. Nobody ever, oh, a couple of times cops would say ‘Oh you can’t do that.’ But they never asked for a licence.
We didn’t know you needed one. People coped with us.

We busked in the Bourke Street Mall outside Myer or David Jones or both. Sometimes the crowds would get so big, the trams would be dinging away. Ding, ding, ding, ding, ding. We were like, ‘We’re mid-song, pal.’ It was chaos. We would have been moved on if we were busking now.”

What were the Melbourne crowds like when you were busking?

“Melbourne crowds were a bit standoffish. They didn’t quite know what to think of us at all because we didn’t mention the football in any of our humour. They weren’t quite sure what it was all about. In fact, Melbourne proved to be the coldest crowds we ever busked for. Because Melbourne, Queensland aside, is the heart of conservative Australia. So the antics that we were up to didn’t so much shock them as unnerve them. They’d laugh, but it was very hard to get them to come a bit closer so we wouldn’t have to sing so loud. Once they’ve got alcohol in their systems they’re fine but Melbournians in a public place tend to be quite standoffish. “

Apart from Canberra, where is the best place that you have ever busked?

“Covent Garden is hallowed ground for busking. It’s a beautiful plaza with no traffic sound so your voice can be heard. And people turn up to watch buskers. It’s the best place on earth to busk and you get lots of money from Italian tourists. “

What did you think of having a plaque dedicated to you?

“Great! It came completely out of the blue. We never thought that what we were doing was particularly important. The All Stars came from very different backgrounds. Paul was an artist, I was a gun enthusiast. Richard was a madman. He was out of control. I was just an anxious young man from the country, doing what country boys do. Paul was the most fucked up Catholic in Australia. The only thing that we agreed upon was that everything has to go. Society has to change. We had to change. We started doing comedy by saying ‘Everything you believe is wrong and here’s why.”

What made you decide to get the band back together?

DAAS Doug Anthony Allstars“When we launched the DAAS Kapital DVD in 2013, the tickets were sold out in 24 hours. “(In fact the launch had to be moved from RMIT’s Capitol Theatre to the Melbourne Town Hall to accommodate the demand)
“We thought, we have to go on tour! For some reason, no one else was doing anything like it. People had said, ‘Oh you’re pushing boundaries.’
We thought we’d opened the door. But we closed up shop and The Wiggles took over. Australia returned to its natural conservatism.

We were all about inciting crowds to do things that they would never otherwise have thought of doing. We nearly got thrown out of the Edinburgh Festival because we were getting crowds to come and dance around a bonfire outside of the theatre we were performing at. People were dancing and the next thing we knew, people were screwing in the shadows just beyond the light of the flames. Of course once the Festival heard about this, the Police were called and said something about inciting public orgies. But the public loved us.

It doesn’t take much to get people to do things that they weren’t planning on doing. Nobody says, ‘I’m going to see the Doug Anthony All Stars. I’m going to dance naked ‘round a fire, burn my credit cards and have sex with strangers.’ It’s not what people say.

People seem to want that frisson of anarchy and we provide it. Sure, I do it in a wheelchair but that’s only because I can. But we all have matches.”

Once you returned to Melbourne in 1988, you continued to busk? Why’s that?

“It’s a great place to rehearse. If we had new songs, doing them on the street was a good way to see if they made people laugh and if they could grab people’s attention. If they did, they’d stay in the show. If not, we’d rework it and come back and try again. So it’s a free audience, a free rehearsal space and you get paid for rehearsing. It works beautifully.

I encourage all of the comedians that I teach to get on the street, stop people and practice their routines.“

Have any of them taken this advice?

“None of them have done this. Because they’re all panty waste nitwits. But the one who decides to do it will end up running the field. It’s on the street where you find real people who would love nothing more than two minutes of comedy for a dollar. If I stopped you and said ‘Excuse me madam, I’m working on a comedy routine. If I tell you my jokes for two minutes and you think it’s funny, will you give me a dollar?’

If I seem ok and I’m there with a girl who is holding a hat, you’re in a public place and then I start, ‘Light bulbs…What’s that about?”

My primary advice to all aspiring performers is to do it on the streets.
You have a ready audience and if your material works on the streets where people are free to just turn around and walk away, if it engages their attention and makes them laugh or smile or even better, makes them think that you’re worth a gold coin, then it’s done its job. It’s the best training ground because if you’re no good, you won’t get a crowd. Or you’ll get a crowd and they’ll walk away very quickly. And if it’s stand up comedy, for god’s sake, shout! What do I care if the trams are noisy? You stand on a box. Put a little sign out saying ‘Stand up comedian. Come closer’ and away you go. “

What can we expect from the current shows?

“It’s even more awful than it was before. I’ve got nothing to lose except for a Star Wars toy collection. It’s been great to work with both Pauls again. We’ve all got different skills. I’m still good looking with a fancy Colonial accent from growing up in Singapore. Our characters have changed. We could always pick on Richard. We can’t pick on Paul Livingston. He’s on painkillers. That and my wheelchair adds a layer of nervousness and uncertainty. Paul McDermott is much more panicked and nervous. He’s got two guys either side of him who are off their faces, but not on the drugs that he’s had any experience with. We may be toothless old lions but we have guns.“

Tour information: the Cheeky Monkey  – DAAS Live Tour Dates

 

Tim Ferguson’s advice for aspiring performers

Image-1

  1. Wear pants – “I’ve tried it the other way and people just get distracted.”
  2. Go busking – It’s a resource that is there all of the time. Other people queue for an open mic gig because everybody else is doing it. The only way to get ahead of the crowd is to break from the crowd.
  3. Don’t wear polyester in a garbage bin full of flames.
    “We’d put Paul McDermott into a rubbish bin filled with paper and promptly set it on fire. One time, he wore polyester…”
  4. Sell merchandise “Working in show business is all about the money. It’s about having a career and a livelihood. We may have had vague political agendas but we were wholly in it for the money. In my screen writing class, the first thing I put on the board is a dollar sign. I point to it and say, ‘If you want that, shut up and listen to me.”
  5. Don’t hang out with comedians. “Comedians are the most depressed and jealous people on the planet. If you’re good, they want to kill you, or they want to sleep with you, which is why they’re telling you that your act is great. Go busking instead.”

 

 

Australian Guitar Stories

Australian Guitar Stories

 

The Saints donated a guitar to The Powerhouse Museum in Sydney. Private collectors pay a large amount of money for any instrument which has survived the 1960’s-1970’s. The great Australian guitar obsession probably began with Jimi Hendrix, seen here on the cover of a rare copy of Go-Set, ‘The Teen & Twenties Newspaper’ for music-mad Australians that inspired a whole generation of garage bands in the Sixties to go down to Brash’s music store with a fistful of cash. Since 1968 not much has changed.

 

Australian guitar obsession began with Hendrix.
Australian guitar obsession began with Hendrix.

Rowland S. Howard

 

The most famous Rowland S. Howard guitar is stored in the climate-controlled interior of Hamer Hall, Melbourne. Senior curator Carolyn Laffan and her team have many guitars in their care, including Rowland’s white Fender Jaguar.

His lifelong friend and collaborator Genevieve McGuckin (below, holding the Rowland S. Howard Lane sign at its St. Kilda launch), told the media –

“It followed him around his whole life. It was pawned a few times but it always managed to get back to him. I redeemed it a few times myself and so did others. It’s a hard life, being a musician.”

And “yes, that is his blood on the back”, she confirms. 

 

Rowland S. Howard Lane (Jessica Adams)
Rowland S. Howard Lane (Jessica Adams)

GUITAR STORIES – SCOTT ELLIS

 

Not every Australian guitarist becomes world famous, but in the local ‘who’s who’ of players  every bass (and its owner) still tells a story. Writer Scott Ellis remembers his Ibanez, here:

The first guitar I ever picked up was a bass.

It was 1980 and as usual, a mate and I were hiding in his room listening to The Jam or The Clash, blowing B&H Extra Mild cigarettes out of the window and discussing the deep issues of the day – like why Strontium Dog was cooler than Judge Dredd.

Then he picked up one of the ever-present guitars that his house always seemed to have (both his parents were art teachers) and started to play.

It was a three chord riff, nothing complex, but it needed, I was assured, something more.

So a bass was found, I was given about a minute of instruction (left hand here, hit that string there) and we were to my amazement, playing music. And like the first time I heard Joe Strummer play, I was hooked.

The next week I was looking to buy and there were two second-hand bass guitars I could afford, a Gibson Thunderbird and an Ibanez Roadstar. The Gibson had flatwound strings – I didn’t know what they were, but I knew they felt weird – so I bought the Ibanez and went home.

By now my mate had turned those three chords into four songs, lyrics were written, almost all about skateboarding and we convinced a guy we vaguely knew to play drums. When the song count hit ten – still almost all about skateboarding – we organised a gig with ourselves on the bill and played. And in one form or another, with the same bass, I haven’t stopped.

I’ve played parties, pubs, festivals, clubs, more gigs than I can remember and some I’ll never forget.

That bass has been dropped, thrown, caressed, thrashed. It’s been played with fingers, plectrums, coins, drumsticks, mikestands, bottles, fists, whatever worked to get a decent sound.

Scott Ellis Guitar

 

It’s been scarred, patched, covered in stickers, scraped clean then covered up again, graffitied, etched, rewired, retuned, retired (briefly, for a Rickenbacker interloper), rediscovered and never let go.

I was never that good – those first three chords are still my favourites – but my bass has become, after more than 30 years, an extension of my arms.

I can find any note without thinking, know which control to grab at what time and where to turn it to make whatever sound I want.

I know exactly how far it reaches if I need to butt someone off stage, how much weight I need to put into the swing to get all the strings to buzz when you belt it against an amp… and I know when I’m playing it, it doesn’t matter that I’m really just some guy who lucked onto stage; those moments are gold.

Even when I’m not playing it, just opening the case reminds me who I was, who I am and how I got from one place to the other. I haven’t played the bass for a while now; there’s an acoustic six-string that gets more attention, but it was the first guitar I ever owned and I’ll never sell it.

One day one of my kids might want to have a play. Or maybe I will.
And I’ll know where to find it.

Scott Ellis is an entertainment journalist for Fairfax Media who somehow, much to his amazement, managed to get two listings in The Who’s Who Of Australian Rock’N’Roll for playing in punk bands almost nobody has ever heard of. It still makes him laugh.

NUKES AND AUSTRALIAN MUSIC

 

NUKES AND AUSTRALIAN MUSIC

Australian music and politics have been intertwined since Vietnam and its aftermath. Khe Sanh is sometimes called the alternative Australian national anthem. Only Nineteen, by Redgum, continued the tradition set by Don Walker and Cold Chisel, in the Eighties.

THE OILS IN THE EIGHTIES

The early-mid 1980s saw the rise of People for Nuclear Disarmament in Australia. Midnight Oil played strong songs that sold the anti-nuclear message and toured the country widely, educating a generation about nukes. This laminate, from the collection of Marshall Cullen, dates from that time. Hobart was a focus for the anti-nuke protests of the mid 1980’s after the controversial visit of the U.S.S. Enterprise – Peter Garrett was there.

Midnight Oil laminate: Marshall Cullen.
Midnight Oil laminate: Marshall Cullen.

 

STOP THE DROP, 1983

 

 

 

U.S. FORCES GIVE THE NOD

U.S. Forces lyrics which the crowd sing word-for-word in the Stop The Drop clip can be found at Midnight Oil’s official website . The song was written by Jim Moginie and Peter Garrett.

The anthem U.S. Forces name checks Shakespeare (‘dogs of war ‘) as well as the Wall Street TV-speak of the early Eighties (‘market movements call the shots.’)  You can see the crowd mouthing the lines “People too scared to go to prison” at Stop The Drop which was also a reflection of the times. This T-Shirt, below, is in The Powerhouse Museum collection in Sydney.

 

Stop The Drop Concert 1983 Powerhouse Museum T Shirt

Stop The Drop Concert 1983 Powerhouse Museum T Shirt

 

STOP THE DROP CONCERT POSTER - Arts Centre Melbourne
STOP THE DROP CONCERT POSTER – Arts Centre Melbourne

 

INXS, GOANNA AND  REDGUM

The Stop the Drop concert held at Melbourne’s Myer Music Bowl on Sunday 13 February 1983 was attended by the T-shirt donor you see responsible for the Powerhouse Museum archive donation on this page – Kevin Fewster  – who also happened to be one of the organisers.

The 1983 concert was attended by 8000 people. In 1984 Peter Garrett was to run for the Australian Senate in NSW for the Nuclear Disarmament Party but was not elected.

Also at this concert, members of Goanna, Midnight Oil and Redgum recorded an impromptu song to protest the proposed damming of Tasmania’s Franklin River. Released as ‘Let The Franklin Flow’ by Gordon Franklin and the Wilderness Ensemble, it reached number 15 on the charts in May that year.

 
10 9 8

 

PLUTONIUM WIFE

The line “Superboy takes a plutonium wife” might just be one of the most mis-heard in Australian music, but ‘sing me songs of no denying’ is something most Australian music fans would automatically attribute to the band. The album was huge in the early 1980’s and together with Red Sails In The Sunset (which shows Sydney after the bomb) politicised part of a generation.

 THE RANGER URANIUM MINE

Between 1979 and 1984, the majority of what is now Kakadu National Park was created, surrounding but not including the Ranger uranium mine.  The two themes for the 1980 Hiroshima Day march and rally in Sydney, sponsored by the Movement Against Uranium Mining (MAUM), were: “Keep uranium in the ground” and “No to nuclear war.” Later that year, the Sydney city council officially proclaimed Sydney nuclear-free.

The Nobel-prize winning Australian novelist Patrick White led one such march, and was photographed  with Tom Uren, pictured with dark glasses, bag and stick. This is his novel The Eye of the Storm.

 

Patrick White

 

RUBBERY FIGURES, RONALD REAGAN AND MIDNIGHT OIL

By 1982, there were 350,000 Australians at anti-nuclear rallies, focussed on halting Australia’s uranium exports, removing foreign bases from Australian land and creating a nuclear-free Pacific. The visits of U.S. nuclear warships – as far as Hobart – was also a major early Eighties issue and Midnight Oil sang the soundtrack.

The comedy puppet series Rubbery Figures (ABC-TV 1984-1990) satirised U.S. President Ronald Reagan in the same period. To put Midnight Oil’s anti-nuclear albums 10, 9, 8 and Red Sails in context, it’s also important to remember that in 1984, shortly after both records (still vinyl) were released, President Reagan joked in a soundcheck on National Public Radio,  ‘My fellow Americans, I’m pleased to tell you today that I’ve signed legislation that will outlaw Russia forever. We begin bombing in five minutes.’

Rubbery Figures – Ronald Regan re Anzac Day


THE BOMB AND THE EIGHTIES

Writing in Meanjin, Simon Castles remembers, ‘In 1984 the Doomsday Clock kept by the Bulletin of the Atomic Scientists was moved to three minutes to midnight, its most dire position since the invention of the hydrogen bomb. Midnight Oil released Red Sails in the Sunset the same year, an album whose cover shows Sydney after a nuclear strike.’

‘In the eighties there was a stack of pop songs about the bomb. To name just a handful of tracks on a list that ran long, as if to a mushroom cloud on the horizon: ‘Breathing’ by Kate Bush (1980), ‘1999’ by Prince (1982), ‘Seconds’ by U2 (1983), ‘99 Luftballons’ by Nena (1983), ‘Walking in Your Footsteps’ by The Police (1983), ‘Two Minute Warning’ by Depeche Mode (1983), ‘Forever Young’ by Alphaville and then Laura Branigan (1984–85), ‘Two Tribes’ by Frankie Goes to Hollywood (1984), ‘Russians’ by Sting (1985), ‘Guns in the Sky’ by INXS (1987) and ‘Everyday is like Sunday’ by Morrissey (1988).’

You can read more in Meanjin online

RED SAILS ART

Red Sails in the Sunset was a title more associated with Bing Crosby and Fats Domino in the Eighties – until Midnight Oil took it over with the help of a Japanese artist who was years ahead of his time. American blogger Sam Wade, writes at The Vinyl Odyssey:

“Japanese artist, Tsunehisa Kimura, created the post-apocalyptic vision of Sydney Harbor – no water only craters from nuclear bombs and a giant fireball near the bridge. It’s one of the coolest photomontages I’ve seen and it stuck with me even more because I have family in Australia. But remember, this record came out in 1984, six years before Photoshop 1.0 would ever hit the streets. In this digital age, it’s easy to forget that this type of art was much more painstaking and analog to create.”

The Vinyl Odyssey: Red Sails In The Sunset – Midnight Oil

 

RED SAILS IN THE SUNSET BING CROSBY
RED SAILS IN THE SUNSET BING CROSBY

 

RED SAILS IN THE SUNSET FATS DOMINO
RED SAILS IN THE SUNSET FATS DOMINO

 

MIDNIGHT OIL RED SAILS TAPE
MIDNIGHT OIL RED SAILS TAPE at WWW.EBAY.COM

 

NO DAMS

Dr Sarah Engledow, Historian and Curator at the National Portrait Gallery of Australia, wrote in Portrait magazine.

“In 1983, in an international climate of increased public involvement in protest, the Australian local news was dominated by environmental demonstrations on two fronts. The first was the Tasmanian NO DAMS campaign, making highly professional and effective use of photographs by Peter Dombrovskis,a wilderness photographer mentored by Olegas Truchanas. The second was the anti-nuclear movement. In February 1983 Midnight Oil helped organise the Stop the Drop concert in Melbourne, and headlined the event. That year, Tom Uren and Peter Garrett marched together at the head of an anti-nuclear protest. In 1984, when Tom Uren and Patrick White walked side by side at the front of an Australians for Nuclear Disarmament march and Peter Garrett stood unsuccessfully for the Senate on behalf of the Nuclear Disarmament Party, Midnight Oil released the album Red Sails in the Sunset, featuring sinisterly surreal cover artwork by Tsunehisa Kimura of the Sydney Harbour Bridge spanning an expanse of cratered red dirt, a bomb-like ball glowing lava-hot beside the Opera House. The following year, the Oils’ EP Species Deceases came with album notes on the theme of Hiroshima forty years on. Including the great track ‘Hercules’, Species Deceases was an exasperated exhortation to action: ‘Come to your senses and care/16 million I can’t hear you at all’, Garrett cried.”

 

 

 

 

 

 

 

 

 

 

 

 

Palace Theatre Melbourne Secrets

Palace Theatre Melbourne Secrets

The Palace Theatre on Bourke Street, Melbourne – slated for demolition –  has had many names. It also has secrets. A  tunnel linking it to the Princess Theatre next door. The starting point for Peter Finch, who went onto Hollywood fame with Audrey Hepburn, Elizabeth Taylor and Glenda Jackson. A special role in Chrissy Amphlett’s life. A rumoured Eureka Stockade hiding place. Melbourne’s centenary opera season. It is a theatre like no other.  

The theatre has Nick Cave posters backstage and floorboards walked by the young Peter Finch. The tiles, smashed during the first stage of demolition inside the theatre, are Art Nouveau (below).

 

Historic tiles from The Palace Theatre
Historic tiles –  Palace Theatre Melbourne Secrets, now in a rubbish tip.

These are  1916 – built Louis 16th style decorations to the galleries, and tiles from the 1912 – built art nouveau dado from the Bourke Street staircase. They have been rescued and saved.

The Palace in a plastic bag.
The Palace in a plastic bag.

The Palace Theatre backs onto the end of Amphlett Lane, at the top of Little Bourke Street, near Spring Street. Chrissy Amphlett played at The Palace Theatre on Bourke Street with Divinyls on Friday 2nd June 1995 with Joan Jett and the Blackhearts. Map: MIXFM

Amphlett Lane flanks The Palace Theatre.
Amphlett Lane flanks The Palace Theatre.

AMPHLETT LANE Shelley Blake Jessica Adams Jenny Valentish

Life as The Metro
The mirrored ball from The Palace Theatre’s time as the re-named Metro has been saved and stored along with the spotlight. Ian ‘Molly’ Meldrum was an occasional DJ at The Metro. This is his iconic cowboy hat, stored the new Melbourne Music Vault. The hat is a museum piece – but The Metro/The Palace is slated for destruction, so it can be turned into a hotel.

The Palace mirror ball and spotlight
The Palace mirror ball and spotlight

Ian Meldrum hat via Twitter and Australian Music Vault.
Ian Meldrum hat via Twitter and Australian Music Vault.

TWO STAGE DOORS

This is the Princess Theatre from Little Bourke Street. The Palace Theatre is linked to her sister theatre by a small alleyway and two hidden stage doors, coming off Amphlett Lane. Destroying The Palace destroys the historic connection. If you walk up Amphlett Lane today you will find the tiny alleyway on your left, and the two doors, steps away from each other.

Amphlett Lane adjoins The Princess Theatre

THE PALACE THEATRE AND THE EUREKA STOCKADE

The site of The Palace Theatre today housed the National Hotel in the early days of Victorian gold rush. Writing in her book, A City Lost and Found (Penguin), Robyn Annear notes, ‘By the end of 1854, the National Hotel was under the management of Tom Mooney, proudly Irish and of nationalist persuasion. The cartoon below shows The Palace Theatre when it was the National Theatre. Tom Mooney is centre-stage with glasses and sideburns. 

Thomas Mooney Cartoon

Legend tells us that Mooney harboured the injured rebel leader, Peter Lalor, in an attic room at the National ‘for months’ after the clash at the Eureka stockade in December 1954.’ If this story is true, then perhaps it involves the secret tunnel to The Princess Theatre next door, described by an usherette who worked at The Palace during the 1940’s.

THE SECRET TUNNEL FROM THE PALACE TO THE PRINCESS 

This account appears in On The Home Front, by Professor Kate Darian-Smith, from the University of Melbourne. An usherette named Ngaere Macgregor worked at The Palace when it was known as the St. James, and remembers:

Auditorium - Ceiling

‘I was working at St. James Theatre (in Bourke Street) and there was another girl there – a stuck-up little devil. We got together and decided we’d have a ball, just usherettes, and we had a competition for the best-dressed at this ball. Well, Sheila her name was, she went to no end of trouble, and money, to get this glorious dress. And I had no money – Mum took it all! – so I devised this thing in my head and I found this material at Norman’s – a very cheap place, but it was nice white pique. I wanted to have sparkly things, but you just couldn’t get them.

But I had a secret. At the back of St. James, at the back of the stage, I was snooping around one day and I came across one of those big, big old security doors. So I strained at it, and poked and pushed and it creaked open into a long stone corridor. It was all vaulted – ooh, cold and dark – it was like the sewers of Paris! And I found myself in the Princess Theatre around the corner. I wandered right through this labyrinth thing – and you know the Princess is haunted! I don’t know how I had the nerve! I found myself in the wardobe room and you’ve got no idea how spooky that was, with all these costumes hanging up in the semi-gloom and swords in corners and suits of armour and all these marvellous costumes! But then I came across this beautiful black velvet crinoline and around the hem there were all these stones. ‘My God, that will do for the dress!’ But I couldn’t take the whole thing, so the next day I went back with scissors and I cut the bottom right off. I unpicked them all and took them to a dressmaker and Voila! I won ,I won, and the other girl looked awful! Not really, she had on a beautiful royal blue georgette and I thought she’d win.’

THE PALACE IN 1934 AND MELBOURNE’S CENTENARY

The Palace Theatre played a very special part in the history of Melbourne in 1934 when it was chosen to host what was hoped would become the start of an Australian Opera House – some forty years before Sydney Opera House.

MelbourneCentenary1934

Sir Benjamin Fuller’s Royal Opera Company in Melbourne, which launched for the 1934 centenary of the city, can still be seen in the decor of The Palace Theatre today.  Or at least – you can see it in this plasterwork, ripped from the building’s amazing interior and saved.

The Palace plasterwork
The Palace plasterwork

The Palace Theatre was renamed The Apollo for the centenary of Melbourne and Sir Benjamin Fuller gave it ‘the biggest neon light in Australia’ and presented two of Australia’s greatest singers, the soprano Florence Austral and the bass Horace Stevens.

The beautiful Palace
The beautiful Palace

The Lord Mayor of Melbourne (Sir Harold Gengoult Smith) welcomed the opera season to a huge fanfare in 1934.

According to Sir Benjamin Fuller the costumes were from The Met in New York. His aim was to establish The Royal Grand Opera Company in Australia, in Melbourne. Thus, The Palace Theatre (then known as The Apollo) would have preceded The Sydney Opera House by forty years. Fuller’s biggest attraction was Florence Austral, below.

Florence-Austral-685w

FLORENCE AUSTRAL – THE PALACE SUPERSTAR

Dame Nellie Melba called her, “One of the wonder voices of the world”. Florence Austral, born in Melbourne, was a world-class Soprano who sang with the New York Philarmonic at Carnegie Hall in the 1920’s and went on to became an opera star in London. This is one of her preserved jackets.

Florence Austral blouse australiandressregisterorg

During her 1934 season in AIDA  Florence was suffering with M.S. (Multiple Sclerosis) in an uncanny parallel with Chrissy Amphlett, who was to take the  Palace stage sixty years after her. Florence is one of the famous faces immortalised in the Personalities of Opera mural in the dining room of the Melbourne Myer emporium.

Florence Austral Myer

This costume (below) is from the AIDA production at The Palace, from the Arts Centre Melbourne archive.  Florence’s  jacket is preserved at The Dress Register

tremelbourne com au

It's not over yet!

PETER FINCH AND THE PALACE THEATRE

The young Peter Finch (who later went on to star in films with Audrey Hepburn, Elizabeth Taylor, Faye Dunaway and Glenda Jackson) got his start at The Palace Theatre in 1935 when it was known as The Apollo. Finch later won an Oscar for his work in Hollywood.

Audrey Hepburn Peter Finch

Peter Finch Faye Dunaway

Peter Finch Elizabeth Taylor

If walls could talk at The Palace Theatre,  they would describe everything from Peter Finch’s performance in the 1935 season of So This Is Hollywood to Kylie’s season at the venue. Kylie and Grace Angelou (whose armlet in the 1934 production of AIDA is shown here) both have their costumes preserved at The Arts Centre, Melbourne, so why were  parts of the stunning Art Nouveau tiles and Picton Hopkins plasterwork from the same theatre, being sacrificed? But – it’s not over yet.

 

Armlet worn by Grace Angelou at The Palace Theatre (Arts Centre Melbourne).
Armlet worn by Grace Angelou at The Palace Theatre (Arts Centre Melbourne).

 

Salvaging fittings from The Palace Theatre.
Salvaging fittings from The Palace Theatre.

 

Save The Palace rally, November 2014.
Save The Palace rally, November 2014.

 

This is from the Save The Palace Facebook page:

“A sad day today for the the Save The Palace crew. Together with Melbourne Heritage Action, National Trust of Australia (Victoria) and Australian Music Museum Project, we trudged down to an isolated industrial yard where a single skip sat, protected from the elements by a mish-mash of tarps hurriedly thrown over to protect its contents from the elements.”

Tiles saved from the skip.

“The skip was emptied and we started our heart-wrenching foraging for items of significance. Crushed Baroque plasterwork, smashed 100 year old Art Nouveau tiles (pictured above), classical Grecian cameos ripped from balconies made our job all the harder. It took hours to retrieve salvageable items with our small team and as each layer of plaster was turned over, that had been ripped inconsiderately by uncaring construction workers our unease started to fade.”

“There was so much more we had been expecting to find that just wasn’t there. This renewed our hope. Regardless, there is ultimately still a 100 year old theatre standing there. What was taken can be restored. The cultural history can never be ripped out and it is what we will continue to fight for. “

The Palace when it was named The Apollo.
The Palace when it was named The Apollo.

It’s Not Over Yet

You can help rescue this historic Melbourne theatre before it’s too late.  It has had many names. The Apollo. The Metro. The song remains the same, though – and despite its part-destruction – the beat goes on. It’s not too late to Save The Palace!

Hair at The Metro (Palace Theatre) Bourke St Melbourne.
Hair at The Metro (Palace Theatre) Bourke St Melbourne.

 

Little Pattie and Chrissy Amphlett

 

Little Pattie and Chrissy Amphlett

 Jenny Valentish talks exclusively to ARIA Hall of Fame inductee – Patricia Amphlett, Chrissy’s cousin.

In the glamorous surrounds of Sydney’s QT hotel, Patricia Amphlett settles into a houndstooth armchair to summarise her life’s greatest hits into my dictaphone. Then she leaps up to mount a sofa and watch the Palestinians’ protest march pass by on Market Street.

“Wonderful,” she says, beckoning me over for a good view out of the window. Beneath us, the parade furls around onto George Street, bookended by police on horseback.

“They had so many women leading the march last week,” she says in approval; then patiently explains to a curious tourist what the purpose is of holding such a protest in Australia. Patricia has a way of speaking that’s both measured in pace and passionate in language, quite similar to her cousin Chrissy.

We first met when the campaign began for a Chrissy Amphlett laneway. Patricia toured potential laneways with Jessica Adams and Chrissy’s husband Charley Drayton and I. She enlightened us on what obstacles we may run into through the approval process, in the way that only someone who has recently been awarded a lifetime membership of the Labor Party can.

Pictured: the last stage of a search for a laneway for Chrissy begins with Jenny Valentish, Charley Drayton and Patricia’s husband, Lawrie Thompson

Last stage of a search for a laneway for Chrissy begins with Patricia's husband, Lawrie Thompson
Search for a laneway for Chrissy, by Patricia’s husband, Lawrie Thompson and Jenny Valentish and Charley Drayton

 

Last stage of a search for a laneway for Chrissy begins with Jenny Valentish, Charley Drayton
Last stage of a search for a laneway for Chrissy begins with Jenny Valentish and Charley Drayton

 

And now we’re here to reminisce on some key points in her career, and talk about what wonderful memorabilia she has stashed away at home that she can contribute to the digital Australian Music Museum – such as a photograph of the ‘It’s Time’ T-shirt she wore during the Gough Whitlam campaign, or the high-heeled Charles Jourdan sneakers that she’d worn on stage during the late-’60s.

It’s Time

Let’s go back to that first decade of Little Pattie’s career. Unusually for an era in which cover versions were king, her earliest material with EMI – ‘He’s My Blonde Headed Stompie Wompie Real Gone Surfer Boy’ and ‘Stompin at Maroubra’ – was written specifically for the fourteen-year-old, capitalising on her cute blonde bangs and surfie wardrobe. But I wonder if she was actually as acquainted with a surfboard as the Beach Boys were – i.e., with the exception of Dennis Wilson, not at all.

Pattie - Gravitation - Let the Music Start - Album Cover
Pattie – Gravitation – Let the Music Start – Album Cover

“I did attempt to ride a surfboard or two, but when you’re fourteen and you live near the beach, the two main reasons for going to the beach were boys and getting a sun tan,” she admits. “I don’t think I was successful in either of those wishes. As much as we lay there and giggled in our tiny triangle bikinis, the only time the boys came with us was when they were hungry. They’d rock up and say, ‘Any youse girls going to the shops?’”

These days a teenage act signed to a major record company might expect to be groomed and marketed within an inch of their lives, but Patricia remembers having to be much more of a self-starter than that.

“The executives and producers at EMI were fantastic towards me,” she acknowledges first. “Money wasn’t an issue and they protected me; I know that recording companies aren’t as supportive these days and the cost is carried by the performers and musicians. But there was no team as such. When I think of Chrissy, she had quite an entourage around her on occasions. I’m not sure I would have liked that.

“I think we were all genuine pioneers of the pop industry, thrown in at the deep end,” she says of her peers, such as Lynne Randell, Noeleen Batley, Marcie Jones and Betty McQuade. “We learned our craft as we went along. I had singing lessons and piano lessons, but that was all my training.”

While the moniker Little Pattie suggests an artist of inconsequential importance, she has disproved this time and time again by aligning herself with causes. In 1972 she spearheaded Gough Whitlam’s ‘It’s Time’ campaign (and is still a board member of the Whitlam Institute – part of the University of Western Sydney).

“My family would sit around and talk about politics, though it’s still considered fairly impolite to do so in public” she laughs. “My parents were Labor people and for what I thought were very good reasons. In 1972 it felt like the pendulum had swung and Labor could win the election. Gough Whitlam was charismatic and a man of integrity. People who had some overseas experiences, perhaps in Europe or America, felt that Australia was in the doldrums and culturally very starchy. It was time for a change.”

Jingle writers at an advertising company were employed to write the famous ‘It’s Time’ track, with some 50 household names filmed for the commercial. “We were sick of Australia going backwards,” Patricia says of the sentiment that united them.

In 1976, Little Pattie went off to Vietnam to entertain the troops – and she still counts them as her faithful fans – and friends – appearing at a Vietnam Veteran’s Day concert in Brisbane recently on August 18th.

“They’re my heroes really,” she says. “I think they’re under-recognised and misunderstood, because that particular war we had to learn quite a bit from in terms of how to treat soldiers when they come home. These days you’re offered counselling and treated very differently. The public felt as though we’d ‘lost’ the Vietnam War, which was an incredibly unpopular war anyway, and so our troops didn’t come back as heroes. But the government sent them there.”

Patricia carried on this tradition by playing to troops in Iraq in both 2005 and 2006. Not many recording artists could say they’ve stayed in one of Saddam Hussein’s old palaces, but then not many artists stay the distance when it comes to their beliefs.

“Going to Vietnam changed me as a person in a positive way, because until I was seventeen, I was spoon fed,” she says. “None of us had to do much deep thinking about things and we accept everything around us. Going to a war zone and seeing such horrible things, and seeing soldiers just a little younger than I, wondering why they’re there, it shaped the way I am today, to a great degree.”

In 1986, Patricia married Lawrie Thompson, then the drummer with the Channel Nine orchestra and band. They met when she appeared on daytime television. “People would say, ‘Oh, you both married drummers,’” she laughs, referring to Chrissy’s husband (and former Divinyls drummer) Charley Drayton. “And Chrissy would say, ‘Yes, but mine’s black.’ She was outrageous.”

YouTube Video: Chrissy Inducts Little Pattie – ‘Aria Hall Of Fame’ 2009

While it’s little known, Patricia and Lawrie were leading a double life in Quorrobolong on the edge of the Hunter Valley. They both completed a class in animal husbandry at tech (Patricia topped the class) and then bred Murray grey cattle, learning how to farm as they went along. After ten years they gave up the farm when Lawrie got an enviable gig drumming in Sydney six nights a week. “We never quite became hardened farmers – we had to ear tag them, of course, but on the tags we put the names of jazz musicians and rock musicians instead of farmers.”

It was about bloody time, when Patricia Amphlett was inducted into the ARIA Hall of Fame in 2006 – by none other than Chrissy Amphlett. “She was a lot sicker than she said she was,” Patricia says sadly. “She was so brave and beautiful to do that.”

In her speech, Chrissy says of Pattie, “She was my hero when Mum would gather us around to watch Bandstand. Tricia was a super star in the ’60s, which was a tough call. She was determined to survive and succeed, and she’s done just that.”

Chrissy shared with the audience Patricia’s work with Vietnam veteran amputees: “She’d take a delegation of them to Vietnam and they’d sit in front of the Vietcong amputees and try and forgive each other. She’d sit at the end of the table, and two former enemies were brought together by Little Pattie – this 4’10” woman in her high heels and battle gear, sitting weeping alongside these burly men, also weeping.”

The icing on the cake was a “lovely letter” from Gough Whitlam, offering his congratulations.

Patricia continues to be a high achiever, managing to fit in performing, music teaching (Nikki Webster is a past student) being president of the MEAA, board member of the National Film and Sound Archive; a trustee of the Jessie Street Trust and a patron of Forces Entertainment.

At exactly ten years Chrissy’s senior, Patricia says she gave the Divinyls singer advice when she asked for it, “but she didn’t need it really. I didn’t realise I was a pioneer in my era, but she was the best pioneer, because she made it de rigeur for women to front a band and be equal, if not superior, to men. Before she came along… no matter how many hit records I had, I never topped a bill, because it was a bloke’s business. It’s quite amazing that female performers are as supportive of our male colleagues as we are.”

The idea of a laneway in Chrissy’s honour is one that Patricia feels strongly about. “I thought: of course! Why not? It’s a given. Most of my family is from Melbourne so I was aware of all the lanes named after famous people. I will be eternally grateful to all the people involved in this wonderful campaign and I think we’ll all cry when it happens,” she says. “Chrissy would get off on it big time. So often, I say, ‘Why isn’t she here?’ She’d love the I Touch Myself project and she’d love the laneway. She’d probably say to me, ‘That’s my lane!’ and be childlike with her love for it. She’d walk up and down it, probably incognito, sussing out who was walking along her lane and who was looking at her name.”

I Touch Myself Project
I Touch Myself Project

 

  Images: Copyright Individuals and AMMP

The Chrissy Amphlett Dogs

 

The Chrissy Amphlett Dogs

Chrissy Amphlett loved dogs and bred them. At Amphlett Lane in Melbourne, a black Pekingese called Holiday (named after Billie Holiday) is now watching over her  mistress. Chrissy Amphlett and her dogs were immortalised in stages and have since become a social media hit. These are just a few of the many photographs, below.

The award-winnng Tasmanian artist Peter Gouldthorpe was commissioned to create the mural. Since then, fans and Melbourne visitors have flocked to the portrait of Holiday, Saki, Tuppence and Dobro to take photographs on Instagram and Twitter.  You can read more about Chrissy’s dogs in her autobiography, Pleasure and Pain. This great portrait of Chrissy Amphlett is by Reg Ryan, from social media. 

 

Photograph of Chrissy Amphlett and her dogs by Reg Ryan.
Photograph of Chrissy Amphlett and her dogs by Reg Ryan.

 FAN PHOTOGRAPHS

 

The Chrissy Amphlett dogs, school uniform and Divinyls amplifier make a popular backdrop for fan photographs on Instagram and Twitter. Famous visitors to the Amphlett Lane include Blondie drummer Clem Burke and Paul Kelly.

 

Instagram portrait by Disco Business.
Instagram portrait by Disco Business.

@guitargirl448 Twitter ALANA CHRIS JOOLOO AT AMPHLETT LANE MIX FM MAP LANE PETER DOGS

Chrissy Amphlett and her dogs required an award-winning animal portrait painter. Peter Gouldthorpe’s dog murals also adorn Hobart.

Holiday, Saki, Tuppence and Dobro

Holiday stands on an amplifier bearing the name of Amphlett’s legendary band Divinyls, joined by Saki, Tuppence and Dobro her dalmatian. It is a mural that has been created from photographs lent by her husband Charley Drayton, drummer with Cold Chisel. You can see the mural being developed by Peter Gouldthorpe in stages, here. The hidden fire hose unit, bottom, became a Divinyls amplifier in his  hands.

 

Holiday – Always by Chrissy’s Side

Holiday went everywhere with Chrissy and Charley, appropriately enough on holiday to Puerto Rico once, where the airline also let Chrissy put the Pekingese on the seat next to her, flying over. Later on in Chrissy’s life Holiday became her loyal companion during her breast cancer and MS: Chrissy told fans ‘My little dog Holiday lies on the end of the bed when I am not feeling great and doesn’t leave my side.’

Amphlett Lane also features a plaque donated by the City of Melbourne and a lane way screen mural by Melbourne artist Damien Arena.

 

Unwrapping Plaque

 

Peter Gouldthorpe and His Street Art

Artist Peter Gouldthorpe’s work includes the 1994 Picture Book of the Year, First Light. He has illustrated books by Paul Jennings, John Marsden, Colin Thiele, C.J. Dennis and Ethel Turner. He’s one of the heavy lifters of Australian illustration, painting and street art.

Chrissy Amphlett and her dogs sit on a Divinyls amp.
Chrissy Amphlett and her dogs sit on a Divinyls amp.
Dogs by Peter Gouldthorpe in Hobart, Tasmania.
Dogs by Peter Gouldthorpe in Hobart, Tasmania.

Mural process photographs by Peter Gouldthorpe, with special thanks.

Midnight Oil Exhibition

Midnight Oil Exhibition

Midnight Oil went on the road in 2015 in the form of a travelling exhibition visiting Sydney, Newcastle, Melbourne, Canberra, Riverina, Southern Queensland, and Wollongong. Ross Heathcote, Curator & Public Programs Coordinator, Manly Art Gallery and Museum, spoke to AMMP about one of the most successful mobile museums Australia has ever seen. The Midnight Oil exhibition showed everything from the famous Sydney 2000 Olympics ‘Sorry’ suits – to long-forgotten posters.

Courtesy: Newcastle Museum - Midnight Oil exhibition
Courtesy: Newcastle Museum – Midnight Oil exhibition. The Making of Midnight Oil!

The exhibition of Midnight Oil’s was a huge success at the Sydney exhibition hosted by the Manly Art Gallery and Museum – what were the final numbers?

Yes, a huge success in many ways, not only big numbers (18,000 in Manly over a short few weeks, and even more at Newcastle), but really rich visitation with great experiences and some genuine interactivity.

There were thousands of Oils fans visiting of course, but also visitors who had never heard of the Oils. At Manly there was much interstate and overseas visitation. We were thrilled. We hosted several special events include a world premiere screening of the full ‘The Making of 10,9,8,7,6,5,4,3,2,1’ documentary by Robert Hambling, and some great Q&A evenings which featured Rob Hirst and Jim Moginie from the Oils.

Making of Midnight Oil - Touring in 2015

How was your Newcastle season?

We have just pulled down the The Making of Midnight Oil exhibition in Newcastle. It looked great in the old train sheds (now Newcastle Museum). Our exhibition is based around stages and risers…real ones, with the real Midnight Oil roadcases converted into showcases. Along with the graphics, a hundred or so gig posters, original lyric scrawls and many brilliant audio-visuals, the band’s instruments and other artefacts, the exhibition had a truly authentic and unique rock’n’roll look.

Newcastle was a perfect host venue for the show. The town has a fine pub rock tradition that is maintained there. One of the highlights at Newcastle was an evening event focussing on songwriting: the panel consisted of Rob Hirst, Dave Faulkner (Hoodoo Gurus) and Dave Mason (The Reels). Apart from the fascinating, revealing and iconoclastic discussion, each of them also played or sang. I’ve never seen a happier museum audience.

Did you and the other exhibition organisers Rob Hirst, Virigina Buckingham and Wendy Osmond make any major changes to the Newcastle exhibition?

We worked closely with Newcastle museum staff to adapt the show to their space and add some local content. How could we go to Newcastle and not refer to the earthquake gig and the legendary Redhead Beach gig?

 Each venue on the tour is different, so Wendy and I will assess each space. Rob will inevitably tell us a ‘war story’ about the Oils and every town that the show will travel to, so we will try to include local references and stories.

In talking to host museums and galleries, I have encountered people who have their own Midnight Oil story to tell, as well. In the exhibition there is a facility to leave your Oils story on a fan wall.

Making of Midnight Oil - Touring in 2015

What’s your favourite part of the exhibition after all this time?

That’s really hard to answer. The icons in the show include the Sorry Suits worn at the Sydney Olympics closing ceremony gig, and the giant Exxon Oil spill protest banner that the band played in front of, at their guerrilla protest gig in new York City. These are great things but I also love Ray Argall’s beautiful film piece which has wonderful concert and crowd footage from the mid 1980’s. The the ’10-1’ doco is brilliant. I love the band’s gear as well – Jim’s Gretsch, Martin’s Strat, Giffo’s Bass and Peter’s skyscaper one-piece mic stand. The gig posters are also great: they are a magnificent collection that tell us about a rich  social history of accessible world class live music, lost venues, lost bands, and of course the amazing career of the Oils.

There are a couple of soundbites including an unreleased Midnight Oil track, and a recording of Jim, Rob and Bear as teenagers in their trio Schwampy Moose. Jim offered that piece saying that ‘people need to know what we sounded like when we were shit’. I’m proud of the text in the exhibition where I had the pleasure of collaborating with the band’s biographer Mark Dodshon. The hand-scrawled lyric sheets are revealing and compelling; a rare insight into the process of the band’s three main songwriters. The hitherto unseen footage of the band playing at Tanelorn in 1981 is awesome….I could go on!

What about the piece which Rob Hirst described as follows:
“The piece de resistance is a replication in a box which has sticky carpet, three screens when you walk in and a curtain you pull behind you. It has footage of the band playing at the Tanelorn Festival in 1981 and there’s two sets of headphones you can choose from – one is loud, the other is really loud – and you can stick to the carpet. There’s elbows that come out from the side of the box so that you can be elbowed in the ribs. What I was trying to do was replicate what it was like coming to see Midnight Oil back then at the Mawson Hotel, the 16 Footers or the Ambassador or whatever.”

This was Rob’s pet project! He wanted a space in the exhibition where visitors could get the feel of an early Oils gig. He suggested a bizarre kind-of ‘bush shower’ to begin- steamy, smelly, loud…as if you were at the Royal Antler Hotel in 1978. I talked him out of that, and we compromised on a portaloo. That wasn’t going to work either. Wendy Osmond (3D designer) suggested we make a big roadcase that you can walk into. It was put together by some helpers including Grant Pudig (a former tour manager for the Oils). Rob had some old pub carpet, but it just wasn’t nasty enough, so we regularly spill a middy of Toohey’s Old and some cigarette butts into the floor to give that special Sydney pub smell.

It’s cramped and heated, and you’re surrounded by three screens featuring crowd scenes from the Hordern and the Oils at Tanelorn playing Cold Cold Change. Rob’s dogged persistence made this ‘Antler Room’  happen, but we have reserved the right to tease him about and it, so it is known as Rob’s Folly. I need to add that without Rob Hirst and his remarkable energy and penchant for collecting, MoMO would never have been born.

Other efforts toward making exhibitions about rock bands have not had the privileged position of having band members at hand, supportive and involved, and yet hands-off when it comes to telling the true stories and avoiding ‘vanity pieces’. Rob, Jim, Peter, Martin, Giffo, Bear and Bones have all been really helpful and generous along with the Oils’ management. The fact that they are as fearless in telling their story as they were as a musical force has given the exhibition project particular grunt.

Making of Midnight Oil - Touring in 2015

I once would have thought of Midnight Oil as a very serious band, with their songs and stance on indigenous issues, homeless youth and the environment (many of us might have been introduced to some of these issues through their songs). These chaps turn out to be relaxed, funny, creative, witty, self-deprecating, super-literate (Rob corrected some of my text panel grammar and he’s meant to be a rock drummer!) and very easy to work with.

Given your hands-on experience with the Oils’ exhibition lately, your ideas about an Australian Music Museum – particularly the venue, format, funding, space and viability would be very interesting to a lot of people.

The interest has been enormous. It’s not just about the Oils, there is broader interest in some recent times when Australian music (rock in particular) was a massive part of our identity. The Midnight Oil story included the politics and issues that band traversed, which gave the show an added dimension. However, the great thing about exhibiting the stories of popular music is how that resonates within our memories, generates intergenerational conversations and cross-cultural conversations (and this is all beautifully documented in our visitors’ writings in MoMO).

I imagine an Australian Music museum having some of the authenticity of MoMO; a place that can feel like a pub in Adelaide, or the Sydney Stadium or Cloudlands or the Countdown set or The Palais at any given opportunity. To do this you need great designers like Wendy Osmond and Virginia Buckingham, the involvement of audience,  and willing and brave contributors like Rob.

I’d like to see the music museum go beyond one space. Perhaps a ‘mothership venue’ with pop-ups around the country. There must be capacity for performance and recording in this space and it must be alive (therefore acoustics and accessibility are important). The key space needs much flexibility. It should be built by roadies as much as by museum makers. A smart government would take on the support of such a venue. We had some good corporate support from Sony Music, perhaps it’s time the music industry to get behind the physical museum project.The benefits are great.

Legendary Australian Venues

 

Save The Palace rally, November 2014.
Save The Palace rally, November 2014. One of several legendary Australian venues

Legendary Australian Venues

The campaigns around Australia, saving Australian music venues from demolition are part of an ongoing mission to preserve ‘living museum spaces’ which once gone – are gone forever. The Palace Theatre on Bourke Street, Melbourne (above) attracted over 30,000 people to its Save the Palace Facebook page. All ages and generations turned up to chalk protests about the destruction of the venue. In its place, developers plan a high-rise hotel.
Through petitions, crowdfunded legal battles, rallies and more, Australians are pushing back against the demolition of music venues in favour of high-rise inner-city apartments where once stood a ‘local’ with its own local bands. Pictured below – Australia music fans at The Esplanade (The Espy) in St. Kilda in the summer of 2016.

The Espy (Jessica Adams)
The Espy (Jessica Adams)

IMG_1313

 

Relaunching the Espy

The Espy, or Esplanade Hotel, St. Kilda, is an Australian institution, and in Melbourne – which many argue is the musical capital of the nation – it has become a symbol of everything musicians and music fans want to save. From the ceiling down. Locals celebrated the return of this sprawling venue, ripe for recreation. Heritage issues in Australia go beyond the bricks-and-mortar historic value of a venue, many argue. We’re talking about memories. Cultural and social living history. The Espy has been a Melbourne institution for generations.

 

The Espy Ballroom Ceiling
The Espy Ballroom Ceiling – saving Australian music venues, one chandelier at a time.

 

Andrew Street and Sarah Taylor on Venue Destruction

“The march toward transforming all of our nation’s cities into a Jenga-block landscape of apartment buildings has a lot of unexpected costs. They change airflow of our streets and recirculate car exhausts. They put massive localised strain onto sewerage systems. And they destroy rock’n’roll.”
Andrew Street, The Sydney Morning Herald.

Andrew Street is just one of many writers, academics, historians and music lovers around the country who have argued for the priceless investment in people and music – as opposed to the pricey (and polluting) cost of ‘Jenga’ development. Sarah Taylor is another.

SARAH TAYLOR

In the 1990s, Sydney was entering a well-documented decennium horribilis. By the late 1990s even the unofficial home-town booster band, The Whitlams, was singing (sadly) about their hometown more than in it. Speaking on radio in 1997, lead singer Tim Freedman commented that Melbourne had ‘a bigger sense of community, in pubs and being part of a crowd’, while inner-city Sydney had been ‘scattered to the wind’ … In addition, a variety of contemporary accounts point to a negative feeling in Sydney live music in the 1990s, depicting the city as a tough place to get a gig or find a friend…”

 

The Corkman Hotel Melbourne

The Corkman pub in Carlton, Melbourne became a symbol of the battle between developers and music fans when it was turned into asbestos dust after an illegal and shameful wrecking operation.

A long-standing home for Irish music in Victoria, The Corkman was also the occasional home of Ned Kelly’s judge and the local legal community – and a classic example of a piece of Melbourne history which has been trashed for apartments.

It is hoped, as the banners around the site proclaim, that The Corkman will rise again. The pink netting over the emergency fences erected to protect the asbestos-riddled, illegally-demolished pub remains – while in Victoria, a legal battle is set to be fought that will hopefully start a serious approach to the preservation of Australian history – and the conservation of the musician and music-lover’s natural habitat; the Great Australian Pub.

The Corkman will Rise Again.
The Corkman will Rise Again.

The Corkman Brick by bloody brick 24-10-2016 at 5.45 PM #2


Saved! The Landsdowne Hotel, Sydney

After years of uncertainty, The Lansdowne Hotel – home to generations of Sydney University students and their favourite bands – is coming back. (Images: Pinterest, Twitter, Rock Brat, ABC).

The Preatures plaque. Part of the #KeepSydneyOpen campaign on Twitter.
The Preatures plaque. Part of the #KeepSydneyOpen campaign on Twitter.
The Dubrovniks poster from Rock Brat.
The Dubrovniks poster from Rock Brat.
The Landsdowne Hotel (ABC)
The Landsdowne Hotel (ABC)
Photographs at Pinterest chosen by Narelle Kempton.
Photographs at Pinterest chosen by Narelle Kempton.

 

 

Resurrecting The Lansdowne in Sydney

The Lansdowne is an Australian hotel worth preserving and resurrecting. Steve Pavlovic, a Sydney promoter who would book Nirvana for an Australian tour –  before Nevermind  hit the charts – famously began his career as manager at The Lansdowne, on Sydney’s Broadway

The Living End, Mudhoney, Hard-Ons, Died Pretty, Go-Betweens and You Am I all played the art deco Lansdowne,  built in the 1920s, designed by prominent local architect Sidney Warden. Its state heritage listing describes it as a “prominent landmark”. Other pubs around Australia have not been so lucky and have met the bulldozers, ending memories – and sometimes, musicians’ careers.

The State Heritage listed Lansdowne had a history – like the ill-fated Corkman and Palace – of being much more than a music venue.  At times it was an occasional haunt of the Sydney Push, a group of young left-wing intellectuals that began congregating in the 1940s.

Without The Lansdowne – there would have been no Half A Cow. Swirl played at an open mic night at the Lansdowne Hotel, and attracted the attention of Nic Dalton, founder of  Half a Cow label (who was mixing all the bands that night). They were part of the “new breed” of Sydney bands that came in the wake of the success of Ratcat and The Hummingbirds.

You Am I and The Landsdowne


Why did Australia have such a healthy music industry as recently as the early 1990’s? Partly because musicians and their fans could afford to rent shared houses within stumbling distance of great pubs, with empty stages.

New Zealand-born Andy Kent (You Am I) was one of them.  A short walk away in Sheppard Street, Chippendale, was Tim Rogers. They spoke about the area to Triple J.

Tim Rogers –   It was pretty fortuitous that you (Andy) just lived up the road, actually. Talking about the soundtrack to a house, Mudhoney were a massive band for us when I was in that Sheppard Street.
Andy: And Bleach was huge.
Tim: That was a big one, my brother Jaimie loved it – he used to live there, and he’d either wanna be Andy’s best mate or suddenly have a turn like us Rogers boys are known to do… it happened all the time.
Andy: I remember he chucked everyone out once! I lived up the road, about 300 metres just on the left, and there was the Lansdowne, the Phoenician… all these great venues that had music happening. Everyone was living around here then; Annandale was far out in those days. You’d go to a pub here and they’d be people you know; you’d go to the Lansdowne or the Phoenician and there’d be people you know.

You Am I released their first EP Snake Tide at the Lansdowne Hotel on 3rd June 1991.  

The Palace Theatre – It’s Not Over Yet

The Palace Theatre, Melbourne, is still boarded up, ready for demolition, years after the first protests to save her, began.  Kate Ceberano is among many performers to have headlined at the venue, who has spoken out about the loss of heritage architecture. Patricia Amphlett, whose cousin Chrissy has a lane named after her, ending at the stage doors of The Palace, has also made a public statement. What’s next? Who knows. But as the campaigners behind Save the Palace say “It’s not over yet!”

“What a tragedy to have to lose such an iconic building with memories that can never be replaced.
It’s too easy to demolish and simply put something up in its place, but you can never replace the investment that has been made in that space. Every note, every ounce of sweat produced on that stage all forgotten…. “like tears in the rain”!  I’d like to think that Melbourne is a city that knows why it invests in its arts and culture…. Why stop at its heritage architecture, especially a building steeped in so much history?”


Kate Ceberano

Kate Ceberano Kensal-Road

 

Every great city of the world has great theatres. Like the Lyceum Theatre in London, The Palace has been an opera house, and a venue for rock bands – including Divinyls, featuring my cousin Chrissy Amphlett – and some great theatre. Like the Lyceum in London, The Palace has also gone through many incarnations. Unlike the Lyceum, sadly, it is not a listed building. As a member of the ARIA Hall of Fame together with Chrissy, I would like to note the number of other ARIA inductees who have performed at The Palace. Perhaps most importantly, The Palace has always been there for the people of Melbourne and the people of Australia as an icon spanning the generations. For the sake of generations past, present and future we should preserve it for music, art and theatre – which it has housed since 1912.

Patricia Amphlett OAM:
National President of Media Entertainment and Arts Alliance and former Vice President of Actors’ Equity. Member of the ARIA Hall of Fame.

Patricia Amphlett

SONGS – The Real Thing

Classic Songs – The Real Thing

Before Countdown in Australia, there was Go-Set magazine in the 1960s, where Australian music, fashion and media exploded and would later evolve into Countdown culture – and eventually The Voice. The Real Thing in various incarnations  has survived from the 70s to today, throughout. Bill Armstrong was running his legendary Melbourne studios where Meldrum and Morris created their hippy anthem. This YouTube clip, below, tells Armstrong’s side of the story.

The Real Thing at Armstrong Studios Melbourne
The Real Thing at Armstrong Studios Melbourne

THE AUSTRALIAN HIPPY ANTHEM
The song be associated with Ian ‘Molly’ Meldrum who developed his taste in music during the hippy psychedelic era in Melbourne, while working at Go-Set. It was composed by Johnny Young, later known for hosting Young Talent Time. 

Are you a hippy, Go-Set asked? The Real Thing is a hippy classic.
Are you a hippy, Go-Set asked? The Real Thing is a hippy classic.

RUSSELL MORRIS AND IAN MELDRUM
This is Ian (below)  and the earliest video we have of him, talking about the Australian music industry at an airport – his virtual home, in the early 1970’s.

This clip from the ABC-TV series GTK reveals Ian discussing Daddy Cool and The Mixtures in 1971 – when he worked as a manager, record producer and a Go-Set columnist writing what the interviewer calls a ‘stirring’ column.

‘Even my best friends, including myself, are rubbished in that column,’ Ian says. In this clip he also talks about his work on the Australian hit, The Real Thing, by Russell Morris: ’When I got back from London in 1968 I was ready to tackle something like Russell Morris and the Real Thing. I don’t think Russell and I were a good artist-manager team. We argued a lot. But I think that we both benefitted from it.’

GTK – Molly Meldrum on the Australian pop scene (1971)

THE SONG THAT EMI HATED

Russell Morris, speaking to Carol Duncan in a fascinating interview at ABC Radio Newcastle, recalls:

“I remember when we first started in Melbourne, Ian Meldrum said to me, “We’ll go and see Stan Rofe at 3AW.” Stan Rofe was a big star to me, he was on air and I’d heard him on the radio station and I said, “Well how are we going to do that?” and he said, “We’ll just go up to the radio station!”

“So we went up to the radio station and walked in and Stan came down and had a cup of tea with us. Ian said, “We’ve got this, what do you think?” and Stan said, ‘Love it, I’ll play it.’ And that’s what it was like.”

“I tell you what is ironic, The Real Thing was turned down as well. EMI hated it, they thought it was the biggest load of rubbish they’d ever heard.”

And on Molly: “He’s still my best mate but we’d had a couple of professional disagreements. He saw me as Australia’s Davey Jones from The Monkees or some such thing and I wanted to go in a different direction completely as a singer/songwriter so we differed on the way we were going and the record company was pressuring for another single, but I really would have loved to be with a  band like Chain.

“But your fate is your fate. Whatever happens, those doors open and close for a reason and maybe if I’d started it earlier then it wouldn’t have worked.”

“I was happy doing The Real Thing, I quite liked psychedelia. I didn’t like pop a lot but I remember Ian (Molly Meldrum) had done a number of songs with me and we’d done ‘Only A Matter of Time‘ which I absolutely loathe, it was on the back of The Real Thing, and a couple of pop songs and I said to Ian, ‘This is rubbish, we’re not going in the direction I want to go,’

I said, ‘I’m not John Farnham, I’m not Ronnie Burns and I’m not Normie Rowe. I want to do something that they wouldn’t even contemplate thinking about doing. I want to go in that direction. Let’s go psychedelia, let’s go into something more band oriented than a pop single…Ian, to his credit, agreed and said, ‘You’re right, they’re not different enough.”

Read more hereRussell Morris – even better than the real thing

Later on, the arrival of colour television was  Countdown’s ticket to huge ratings. Russell Morris had five Australian Top 10 singles during the late 1960s and early 1970s and is in the ARIA Hall of Fame.

See the YouTube footage – Russell Morris – The Real Thing – (includes a short interview from Hit Scene 1969).

 

Buy The Very Best of Russell Morris on iTunes.

TEN FACTS ABOUT THE REAL THING

  1. Midnight Oil, Kylie Minogue and Third Eye have all covered the song.
  2. The song satirises the 1967 Cola-Cola advertisement song claiming the drink is The Real Thing, as part of the ongoing corporate competition with Pepsi Cola.
  3. As with The Beach Boys’ Pet Sounds and The Beatles’ Strawberry Fields Forever, the song is built from composite parts. The musicians involved came from The Groop and The Zoot.
  4. Maureen Elkner provides the falsetto. She would later have a feminist hit with Rack Off Normie, written by Bob Hudson as an answering call to his own hit, The Newcastle Song.
  5. The heavily processed vocals include what sounds like Ian Meldrum ‘delivering a buyer-beware message to potential trippers.’
  6. The song’s climax contains a recording of the Hitler Youth choir singing their anthem, Horst Wessel Lied, before the sound of an atomic bomb blast.
  7. It was recorded at Armstrong’s Studios in South Melbourne in 1968.
  8. The sequel to The Real Thing is ‘Part Three: Into Paper Walls.
  9. The song was originally earmarked for The Flies.
  10. Johnny Young (real name John De Jong) wrote the song after sharing a flat in London with Barry Gibb from The Bee Gees. He went on to present and produce Young Talent Time which launched the career of Danni Minogue.

For more information, see Tomorrow Is Today: Australia in the Psychedelic Era, Edited by Iain McIntyre. Purchase at Amazon.

The original jingle The Real Thing was recorded for radio by The Fortunes in the USA in 1969.

 

MIDNIGHT OIL COVER THE REAL THING

Filmed by BSharpProductions and uploaded to YouTube. This gig took place on September 8th 2007 when Midnight Oil played at the Backroom in Byron Bay. Peter Garrett dedicates the song to “all the Australian musicians, writers and poets.”

The Real Thing – Midnight Oil live at the Backroom Byron Bay

 

Buy The Real Thing by Midnight Oil at their website.

THE REAL THING IN JULY 2014

This is the most powerful modern incarnation of the song yet (at least since Kylie’s own version) from the Voice YouTube channel in July 2014. Here Kylie, the judges and the top sixteen contestants take Johnny Young’s composition and give it electrifying ensemble cast treatment.  Will the song be back in a new incarnation beyond 2020? The Real Thing is  one of the few Australian songs which has been revived from the Seventies through to the 21st century. Watch this space.

 

See more on YouTube from The Voice

Classic Countdown! Music Map

 

CLASSIC COUNTDOWN! MUSIC MAP

 

The Countdown Map
The Countdown Map

An interactive Australian music map, inspired by the old Classic Countdown map, is an ongoing story at AMMP where we add new map pins every month.

NEW SOUTH WALES

Aunty Jack – Wollongong. The entire town. The Aunty Jack album ‘Aunty Jack Sings Wollongong’ features a young Norman Gunston with his Gunstonettes singing ‘Wollongong the Brave.’ Aunty Jack was at the inauguration of colour television in Australia on 1 March 1975. The special beat ABC’s commercial rivals by beginning 3 minutes early, at 11:57 pm 28 March 1975 in black and white and then wiping to colour at midnight.

 

YouTube Farewell Aunty Jack (song)

 

SYDNEY

The Marble Bar at The Hilton Hotel on George Street, Sydney is where Cold Chisel were photographed for their album Breakfast at Sweethearts. Sweethearts in Kings Cross no longer exists but a brass plaque in the pavement marks its location.

Cold Chisel made Sydney their own.
Cold Chisel made Sydney their own.

THE EASYBEATS/AC/DC FAMILY HOME

This before/after shot (Twitter, Pinterest) shows the Young family at 4 Burleigh Street, Burwood.

 

4 Burleigh Street, Burwood (Twitter).
4 Burleigh Street, Burwood (Twitter).

 

THE CIVIC HOTEL, PITT STREET 
Mental as Anything featuring Greedy Smith (below, in a portrait by Paul Worstead) made The Civic Hotel on Pitt Street in the centre of Sydney their own. The old Phantom Records shop was steps away.

The Paul Worstead portrait of Greedy Smith, Mental as Anything.
The Paul Worstead portrait of Greedy Smith, Mental as Anything.

THE HOODOO GURUS
The Hoodoo Gurus are a Sydney band not identified with any one venue, but as Le Hoodoo Gurus, they played The Mosman Hotel, Mosman.

Hoodoo Gurus poster from the brilliant website 1980schild.blogspot.com.au
Hoodoo Gurus poster from the brilliant website 1980schild.blogspot.com.au
MELBOURNE
Skyhooks poster 1970s
Skyhooks poster 1970s

SKYHOOKS
Skyhooks created songs about whole suburbs in Melbourne. Carlton and Balwyn are just two of those namechecked.

HUNTERS AND COLLECTORS
Westgate after the song by Mark Seymour – but also Ormond College, University of Melbourne where John Archer, Doug Falconer and Mark Seymour first met on the way to forming Hunters and Collectors.

ST. KILDA
From St Kilda to Kings Cross by Paul Kelly and the Coloured Girls  is just part of the St. Kilda story. So many bands are associated with the area and still play there – like Cold Chisel’s Don Walker – that it has a permanent pin on the Countdown Map.

Time Out

Festival Hall needs no introduction, thanks to Sherbet, Daddy Cool and unknown third support act AC/DC.

ACDC support Sherbet
THE COUNTDOWN STUDIOS, RIPPONLEA
This is where Classic Countdown was filmed and there is a fascinating story on the closure of the old ABC-TV Dream Factory here. Devoted fans including The Countdown Sisters used to make the pilgrimage. Follow them here. (Images: ABC Archives, Twitter, Instagram).

classic coutndown dsisters utndwon club

Ian Meldrum filming Countdown. ABC Archives.
Ian Meldrum filming Countdown. ABC Archives.

NORTHERN TERRITORY

Arnhem Land – Yothu Yindi
Aboriginal members of Yothu Yindi came from Yolngu homelands near Yirrkala on the Gove Peninsula in Northern Territory’s Arnhem Land.

ACT

D.A.A.S. – Canberra
You could use up a lot of pins on Google Maps just trying to follow all the busking spots where the Doug Anthony Allstars put their guitar cases down. D.A.A.S. began performing as buskers on the streets of Canberra in 1984, while they were attending university.

NEW! Chrissy Amphlett Street
Melbourne has Amphlett Lane. Canberra now has Amphlett Street. Divinyls fans, start your engines. (Photograph: Twitter @AmphlettLane)

Amphlett Street Canberra named after Chrissy Amphlett.
Amphlett Street Canberra named after Chrissy Amphlett.
SOUTH AUSTRALIA

AC/DC – Largs Pier hotel, Adelaide
During the 70s and 80s Largs hosted Jimmy Barnes with Cold Chisel, AC/DC, The Little River Band and The Angels. Bon Scott, who later became the lead singer of AC/DC, met his wife at the Largs Pier Hotel after a gig in 1971.

WESTERN AUSTRALIA

Dave Warner From The Suburbs – The Victoria Hotel, Perth
Watch ‘Half Time at the Football’ on YouTube – Dave Warner – “Half-time at the Football” (1981)

Backstage Passes - Greg Phillips
Backstage Passes – Greg Phillips

INXS – Davidson High School, Perth. Imagine this. After recess, Andrew Farriss convincing his fellow Davidson High School classmate, Michael Hutchence, to join his band, Doctor Dolphin.The rest is history. If not actually a band called Doctor Dolphin.

TASMANIA

The Innocents with singer Charlie Tauber put Hobart on the Countdown map when they appeared on the show. Sooner or Later is a power pop classic.

QUEENSLAND

The Saints – Corinda High School.
Author and journalist Clinton Walker:  “I first became aware of the Saints in 1974, while living in Brisbane. I had transferred to a new school, Corinda High. There, in art class, I met a gaggle of antisocial young long hairs that revolved around an embryonic band called the Saints. Perhaps the strongest common bond I had initially with the guys in art was that we all hated hippies. I fell in with them, and it wasn’t long before I fell in the Saints’ thrall too.”
Read more: Raven Records – The Saints – Wild About You 1976-1978

 

RAM Magazine anniversary editions, photographed by owner Michael Witheford
RAM Magazine anniversary editions, photographed by owner Michael Witheford

 

The Go Between Bridge – The Go Betweens
The Go Between Bridge, formerly known as the Hale Street Link, is a toll bridge for vehicles, pedestrians and cyclists over the Brisbane River in inner-city Brisbane, Queensland, Australia.

Countdown GPO Box Melbourne
Countdown GPO Box Melbourne

 

THE COUNTDOWN MAP ON TWITTER
Follow @ammptv on Twitter and send us your map suggestions.

Classic Countdown! From Twitter @ABCTV
Classic Countdown! From Twitter @ABCTV