Showing posts by: funambulator@live.com
Moby-Dick and the Peculiar Pecuniary System of 19th Century Whaling
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ONE of the many memorable paragraphs of Herman Melville’s classic allegorical work of American fiction, Moby-Dick, is when the narrator/character Ismael speculates on what remuneration he might receive for signing on to the voyage of the whaler Pequod:
❝ I was already aware that in the whaling business they pay no wages; but all hands, including the captain, receive certain shares of the profits called lays, and that these lays were proportioned to the degree of importance pertaining to the respective duties of the ship’s company… I made no doubt that from all I had heard I should be offered at least the 275th lay—that is, the 275th part of the clear net proceeds of the voyage…what they call a rather long lay, yet it was better than nothing ❞.
As Elmo P Hofman elaborated in a 1926 essay, “the whaleman was not paid by day, week or month, nor was he allowed a certain sum of every barrel of oil or for every pound of bone captured” …his earnings came from a “specified fractional share” (a lay) of the net profits of the trip (cited in ‘How Profit Sharing Sent Captain Ahab in Search of Moby Dick, Joseph Thorndike, Forbes, 15-Dec-2015, www.forbes.com). Rather than being wage-earners the entire crew including the skipper were sort of joint shareholders in the commercial venture.
The 1956 film (Gregory Peck as Ahab)The experiences of real-life whaling boats of the era of Melville’s novel offers insights into the synchronic system of divvying up the profits – if we look at the profits of the 1843 whaling voyage of the Abigail of New Bedford⚀, it reveals a 70/30 split of the dividends, 70% to the owners and partners and 30% sub-divided between the captain and crew (Lance E. Davis, Robert E. Gallman, Karen Gleiter, In Pursuit of Leviathan (1997)). This was pretty typical for the period of what has been described as “an oddly denominated profit-sharing scheme” (‘The Whaleman’s Lay’, Ahab Beckons, 04-Feb-2018, www.ahab-beckons.blogspot.com). A captain might score a lay of ⅛th whereas a ‘green’ hand might only net a ¹⁄₃₅₀th lay or worse, so the novice sea-hand Ismael was perhaps over-optimistic about his likely share (in the novel Ismael is offered an exceptionally long lay which after haggling hard he manages to have reduced to a more acceptable lay of ¹⁄₃₀₀th). So, like the unknowables or “known unknowns” of the stock exchange, a crew member of a whaling vessel engaging in this pelagic industrial arena, even if he knows what lay he had scored, still won’t have any idea of how much he’ll earn for his months and months of hard ship work. Everything hinged on the voyage’s profitability.
Then on top of all this there were deductions from a crew member’s lay when he did finally get the money…anything an ordinary whaleman purchased from the ship’s store during the voyage—tobacco, boots, clothes, etc—was subtracted from his lay. The same if he was given an advance to send to his family. A crew member, especially one with a very long lay, could easily end up in debt to the ship’s owners at voyage’s end (‘Life Aboard’, New Bedford Whaling Museum, www.whalingmuseum.org).
New Bedford Whaling Museum𝄪 𝄪 𝄪 𝄪 𝄪 𝄪 𝄪 𝄪 𝄪 𝄪 𝄪 𝄪 𝄪 𝄪 𝄪 𝄪 𝄪 𝄪 𝄪 𝄪 𝄪 𝄪 ⚀ 50 miles south of Boston, from the early 1820s on it supplanted Nantucket as America’s foremost whaling port
Castlecrag After the Griffins, Modernism and the Sydney School
Castlecrag is an affluent suburb on Sydney’s lower North Shore with an abundance of bushy vistas and water views. The other thing Castlecrag has in abundance is architectural heritage, and the foundation of that heritage was laid by Walter Burley Griffin (WBG), the suburb’s American planner, early in the 20th century.
Griffin’s Guy House (Source: Walter Burley Griffin Society) . . .
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WBG’s bold experiments in living The 15 houses that Griffin completed in the northern peninsula suburb (>30 more remained on the drawing board) are low-rise dwellings constructed in concrete, sandstone or brick, mainly locally sourced. Most of the houses are modest dwellings, small and squat, and for the most part the exteriors could be said to be aesthetically challengeda⃞. WBG’s credo was “designing for nature”, his enunciated goal—subordinating the Castlecrag houses to the surrounding landscape thus preserving the natural features—was realised…WBG left a legacy that inspired the projects of later architects in Castlecrag, notwithstanding that much of post-war Castlecrag housing development has not however been sympathetic with the Griffins’ architectural vision (‘Sydney — Castlecrag’, Walter Burley Griffin Society, www.griffinsociety.org).
Glass House (Source: Sydney Living Museums). . . The Glass House Two architects drawn to Castlecrag in the 1950s to create Modernist residential buildings that are both innovative and in synch with the bush environment are Bill Lucas and Peter Muller. Lucas, a WWII veteran, with his wife Ruth, also an architect (cf. Walter and Marion Griffin) designed the “Glass House”…built in 1957 by Bill and his brother Nev and a friend and financed by Bill’s war service loan. The Glass House is like no other dwelling in Castlecrag, open plan in design, all four walls are of glass and thus the house is open to the landscape on all sides. The Lucas House (which was constructed as the Lucas family home and a studio for Bill’s practice) has been lauded for its economical design, providing the bare essentials while maintaining its sustainability…its “featherweight structure float(ing) miraculously about the tree canopy”b⃞ (with rocks and creek below) (‘Revisited: ‘Glass House by Bill and Ruth Lucas’, Peter Longeran, Architecture Australia, 17-Aug-2022, www.architectureau.com). The Glass House has been described as an “excellent seminal example of the shelter-in-nature minimalist composition constructed in Northern Sydney post World War II by architects of the ‘Sydney School’” (’Aus_Modern_House_Lucas_GL’, Docomomo International, 2003, www.docomomoaustralia.com.au).
The radical Glass House was a reaction by the Lucases to WBG’s restrictive covenants and building controls in force in Castlecrag. WGB’s covenant forbid housing construction in materials other than stone, concrete or brick, but the all-glass Lucas House somehow circumvented the stringent building restrictionsc⃞.
Lucas House, 80 The Bulwark Castlecrag, NSW
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Audette House. . . Audette House Muller’s House (built for an American client in 1952) was the 24-year-old rookie architect’s first completed commission. Intended as an American colonial house, however Muller won the client over to something more Antipodean, devising a technique for the walls which became known as “snotted brick” – mortar oozing out the grout lines between the bricks (‘Striking a chord: Peter Muller on Audette House and why architecture is like music’, Architecture and Design, 17-Sep-2014, www.architectureanddesign.com.au. Muller drew on his recent experience studying in the US for his project which bears the strong influence of Frank Lloyd Wright’s iconic ‘Fallingwater’ and Muller’s liking for traditional Japanese motifs in residential architecture.
Audette House 265-267 Edinburgh Rd Castlecrag NSW
Gowing House [Gruzman] (Photo: Max Dupain)
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Sydney School v International School: “Nature-responsive” v purist “white painted walls” Lucas and Muller were part of a loosely-connected group of Australian architects in the mid-20th century labelled the “Sydney School”. The group rejected the prevailing trend in architecture, the International School of Le Corbusier, Gropius and Van Der Rohe (whitewashed masonry, steel framed glass houses) as unsuitable in an Australian context. Sydney School architects, influenced by Frank Lloyd Wright‘s organic (“natural”) principles for designing houses, and WBG’s Castlecrag project which was visually sensitive to the natural bushland, “displayed distinctive choices that were driven by the natural environment and employed simple, ‘minimally processed’, low-cost materials”. ‘Sydney School, the virtuous case of Australian modernism’, Tommaso Picciioli, Domus, 27-Mar-2020, www.domusweb.it. The School was sometimes referred to as the “Nuts and Berries” Style for its preference for rustic materials (stone, brick, timber).
Buhrich House II (Photo: Eric Sierins 2000). . .
Footnote: Modernist Castlecrag Castlecrag architecture is interesting in that it contains examples of both of these rival Modernist styles. In addition to Lucas and Muller, many of the leading local architects of the second half of the 20th century (quite a number of them émigrés from Nazism) including Neville Gruzman, Harry Seidler, Hugh Buhrich and Andre Porebski, contributed to the residential profile of the suburb. The variety of architecture sitting under the umbrella of Modernism can be seen in houses as different as Gruzman‘s ”organic” monolithic Gowing House (8 The Bulwark) (1969) and the two Hugh Buhrich family homes, 315 and 375 Edinburgh Road (No. I constructed 1940s, No. II constructed 1968-72)d⃞. Both Buhrich Houses are in the European Bauhaus style, the later one rated by architect Peter Myers as “the finest modern house in Australia“, and an example of Brutalist domestic architecture (‘Brutalist Architecture in Sydney’, Sydney Morning Herald, 29-Sep-2017, www.smh.com.au). Architect and urban designer Glenn Harper extends the Brutalist tag to include the Lucas Glass House, despite Lucas eschewing the use of one of Brutalist architecture‘s key materials, raw concrete, in his Glass House (”How the ‘Sydney School’ changed postwar Australian architecture”, Davina Jackson, The Conversation, 28-Jun-2019, www.theconversation.com). ╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾
a⃞ with the exceptions of Fishwick House and Grant House
b⃞ the house has been described as being “barely there” (www.archinform.net)
c⃞ one explanation is that the construction being engulfed in dense bush was overlooked by Willoughby Council (Longeran)
d⃞ Buhrich also designed the Duval House at 2 The Tor Walk
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A Linguistic Potpourri of Mondegreens, Mumpsimus and Eggcorns
“Arfur D” Malapropising (Photo: ITV/Scope)
The chances are most folk with a passing interest in words and language have come across the odd Malapropism and Spoonerism in their travels. For these two terms for errors in natural speech (or if you prefer, modes of original linguistic inventiveness) we have the fictional “Mrs Malaprop” and the real life “Reverend Spooner” to thank. Myself, I tend to associate Malapropisms (the accidental substitution of a incorrect word in place of another, usually similar-sounding one) in fiction with Arthur Daley, the small-time, dodgy as-they-get wheeler dealer in TV’s Minder (“From now on the world is your lobster”, the “Arfur” Daley variation on “oyster”) and in real life with former Australian PM Tony Abbott (“the suppository of all wisdom” (should have said “repository”)). Spoonerisms are another type of verbal misstep where the speaker makes a “slip of the tongue”, accidentally transposing the initial consonants of two consecutive words, often with humorous results. One of the most referenced examples is “you have hissed my mystery lecture”, instead of “you have missed my history lecture”.
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Would the latte-sipping, smashed avocado inner city set recognise a Mondegreen, Mumpsimus or Eggcorn when they see one? Probably not, these three linguistic odd fellows are the domain of dedicated language buffs and word nerds. If the ABC conducted a vox-pop in Martin Place “Mondegreen” would likely draw a blank, however the concept itself is a different story…anyone exposed to popular music would have at some point either unknowingly committed a Mondegreen or observed someone else in the act. A Mondegreen is where you mishear or misinterpret a phrase—especially a song lyric but it could also be a line from a poem—with the result that you give it a new and different meaning. I can hear the ranks of the slightly incredulous intoning “I didn’t know there was a word for that!”
Hendrix “excuse me…”
Given the associated factors of diction and high volume noise, Mondegreenisms in modern pop music are legion, one of the most iconic is the misinterpretation by untold number of listeners of Jimi Hendrix’s line, “Excuse me while I kiss the sky” (“Purple Haze”) as “Excuse me while I kiss the guy“. Two more classic confusions warranting honourable mention are The Beatles’ “The girl with kaleidoscope eyes” transformed by an erring ear into “The girl with colitis goes by” (from “Lucy in the Sky with Diamonds”) and Johnny Nash’s “I can see clearly now, the rain has gone”, reinterpreted as “I can see clearly now, Lorraine has gone”. As these examples indicate, where the lyrics come unstuck it’s a fair chance that the culprit is a quasi-hononym.
Coining of Mondegreen: the word (but not the act) originated in 1954 with American writer Sylvia Wright…as a girl listening to her mother readIng a 18th century romantic poem she erroneously heard “Lady Mondegreen” instead of the actual lyric, “layd him on the green”. On being advised of her error Sylvia thought her interpretation “better than the original” and stuck to it, even inserting a character named “Lady Mondegreen” into her published stories.
Incoherent or indecipherable words in a song can be the source of “great storms in a teacup”. The Kingsmen’s 1963 recording of “Louie Louie” (vocalised incomprehensibly by Jack Ely) prompted an avalanche of complaints from outraged parents of teenagers about a supposed litany of obscene and pornographic lyrics in the single. Knee-jerk misinterpretations abounded from the morally-incensed in Middle America. One irate father even wrote to US attorney general Bobby Kennedy moaning about the lyrics’ “moral degradation” leading bizarrely to the FBI investigating the song (the Bureau failed to unearth any such obscenities)! All of which lends credence to the axiom that “people will hear what they want to hear” – which goes to the very heart of Mondegreens※.
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Mumpsimus are a different kettle of aquatic, craniate gill-bearing animals. Practitioners of Mumpsimus stubbornly insist on an incorrect usage…even after being proven wrong” (Fritinancy). Mumpsimustas obstinately cling to an error, bad habit or prejudice, even after the foible is exposed. Examples include the use of “all intensive purposes” in lieu of the correct phrase, “all intents and purposes”; the verbal substitution of “nuclear” with “nucular” (a proclivity of George W Bush)§.
The Eggcorn: slight of hand or sleight of hand?
Another, related form of expression that derives from mishearing and involves reinterpretation is “Eggcorn”. Eggcorns, like Mondegreens revolve around the near-homonym while differing from Mumpsimus in that their use is unconscious and unintentional. It often occurs when people are ignorant of the precise words in stock phrases and substitute what they erroneously believe to be the correct words or expression. Examples are manifold – saying “mute point” instead of “moot point”; “tenderhooks” instead of “tenterhooks”; “pass mustard” instead of “pass muster” etc ad nauseum. An essential feature of the eggcorn is that it must retain some of the original meaning as the speaker understands it (eg, Alzheimer’s disease is rendered into “Old-timer’s disease”). The term itself is an “Eggcorn”, it’s genesis can be traced back to a creative utterance from an anonymous individual who inserted the word “eggcorn” where the similarly sounding “acorn” would conventionally go (Mark Lieberman, 2003).
°° ͡° ͡°° ͡° ͡°° ͡° ͡°° ͡° ͡°° ͡° ͡°° ͡°°° ※ Steven Connor suggests that cognitive dissonance is in train in the creation of Mondegreens – the brain is constantly trying “to make sense of the world by making assumptions to fill in the gaps when it cannot clearly determine what it is hearing” (‘Earslips: Of Mishearings and Mondegreens’, 2009)
§ the word Mumpsimus, a confused misinterpretation of the Latin term “Sumpsimus” (“we have received”), was accidentally coined by an old monk who doggedly persisted in using the invented word. Mumpsimus first appears in the correspondence of famous humanist scholar Erasmus Roterodamus, dating from 1516
420 Years Ago, VOC Makes the World’s First IPO
Stock Exchange 1.0
The world’s first known stock exchange is thought to be a market established in Bruges, Belgium, around 1309. This operation was a family concern conducted in the home of textile merchant Robert Van der Burse (or Van “ter Buerse/Buerze”). This type of early market which primarily deals with the exchange of commodities, ie, various agricultural products—and in its modern connotation, also with gas, oil, coal, etc—acquired the name ‘bourse’ from its founder. A bourse (typically European in location) is “a market organised for the purpose of buying and selling securities, commodities, options and other investments” [‘Bourse’, Investopedia, www.investopedia.com]. Another early bourse was located in Antwerp<a̷>.
𝕍𝕒𝕟 𝕕𝕖𝕣 𝔹𝕦𝕣𝕤𝕖: 𝕥𝕙𝕖 𝕠𝕣𝕚𝕘𝕚𝕟𝕒𝕝 𝕓𝕠𝕦𝕣𝕤𝕖
The Van der Burse exchange was the first organised market, before this landmark development such transaction processes were unorganised and informal – sellers and buyers would meet up one-to-one at specific meeting places such as town squares to conduct their trade <b̷> [‘Creation of the first stock exchange’, www.citeco.fr].
The Dutch, pioneers of capitalism
For the first ‘modern’ securities market we need to look to Belgium’s neighbours, the Dutch. The Amsterdam Stock Exchange is the oldest such market, founded in 1602 with the establishment of the Dutch East India Company (Verenigde Oostindische Compagnie or VOC). Amsterdam was the first bourse to deal in securities <c̷>. The VOC was empowered with quasi-government and monopoly status by the States General of the Netherlands, granted a 21-year charter to conduct all Dutch trade in Asia. In so doing, financial history was made…the VOC was a world first, a public company founded by a state government. Hitherto the Dutch trading environment comprised a number of competing private companies known as voorcompagnieën or “pre-companies”. By the 1602 Charter, the government merged those small, private companies into one “nationalistic Goliath”, VOC, creating a proto-megacorporation.
𝟙𝟞𝟘𝟚 ℂ𝕙𝕒𝕣𝕥𝕖𝕣 𝕕𝕠𝕔Raising capital At VOC’s commencement of business it held an unprecedented initial public offering (IPO). The company’s directors opened up share-holding to all Dutchmen by subscription (while investing 12,000 guilders of their own money up front). The public nature of the share issue was its revolutionary feature, hitherto predecessor companies (like the Oude Compagnie) had raised capital from a small circle of private investors. Some investors balked at the opportunity offered by VOC, wary of tying up their precious savings for such a long period (ten years). Concessions made by the VOC eased these concerns – in a subsequent amendment to the charter, investors were permitted to on-sell their shares to a third party prior to ten years [‘The world’s first IPO’, Lodewijk Petram, The World’s First Stock Exchange’, 15 October 2020, www.worldsfirststockexchange.com].
𝔸𝕞𝕤𝕥𝕖𝕣𝕕𝕒𝕞 𝕊𝕥𝕠𝕔𝕜 𝔼𝕩𝕔𝕙𝕒𝕟𝕘𝕖 𝕒𝕟𝕕 𝕓𝕦𝕝𝕝What would NOT have seemed novel to financial market investors of the day was the ‘office’ for doing business…initially lacking a business premises the VOC—after the fashion of the Bourses’ 14th century Bruges exchange—issued an open invitation for would-be investors to come to the private home of the company co-founder Dirck van Os to do the paperwork and deposit their money. Ultimately, by the time subscriptions closed, some 1,143 individuals <d̷> had invested a total of 3,674,945 guilders in the Verenigde Oostindische Compagnie (including Dirck van Os’ own maid!) [Petram].
ℕ𝔸𝕊𝔻𝔸ℚ (ℙ𝕙𝕠𝕥𝕠: 𝕄𝕒𝕣𝕜𝕖𝕥𝕤𝕎𝕚𝕜𝕚)
Footnote: the VOC’s IPO had profound ramifications, fundamentally altering the nature of investing. Originally intended to facilitate the financing of risky capital-intensive ventures, it “inadvertently created an alternative for investor beyond fixed income investments, marking the beginning of retail investing in equities” [‘World’s First IPO: Dutch East India Co’, Suede Investing, www.suedeinvesting.com].
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<a̷> the most famous bourse today is that of the Paris Stock Exchange
<b̷> including the square in front of the Van der Burse residence
<c̷> printed stocks and bonds, debt and other interests in companies, government and private businesses
<d̷> in addition to the six directors
Sydney’s Long-vanished Iconic Boxing Stadiums
𝔉𝔦𝔤𝔥𝔱 𝔭𝔬𝔰𝔱𝔢𝔯 ~ 𝔭𝔯𝔢𝔰𝔞𝔤𝔦𝔫𝔤 𝔞 𝔰𝔶𝔪𝔟𝔬𝔩𝔦𝔠 𝔭𝔬𝔴𝔢𝔯 𝔰𝔥𝔦𝔣𝔱Any Sydneysiders born in or prior to the 1890s would have been aware of the opening of Sydney Stadium. 1908 was the year this iconic boxing arena on the eastern outskirts of the city’s CBD first saw the light of day…literally saw the light of day as it was originally built as an open air stadium. The brainchild of promoter Hugh D McIntosh who constructed a ‘temporary’ outdoor boxing ring on the site of a former Chinese market garden in Rushcutters Bay to hold the world heavyweight boxing contest featuring Canadian title-holder Tommy Burns and Australian challenger “Boshter Bill” Squires. The fight was however just a warm-up for a legendary pugilistic bout in the same arena four months later between Burns and African-American fighter Jack Johnson. The fight garnered a lot of attention in Australia and internationally as Johnson was the first black boxer to contest (and win) a world title… and the heavyweight title at that!
⚔️ 𝒮𝒸𝓇𝑒𝑒𝓃 𝓈𝒽𝑜𝓉 𝒻𝓇𝑜𝓂 𝒻𝒾𝓁𝓂 𝑜𝒻 𝐵𝓊𝓇𝓃𝓈 𝓋 𝒥𝑜𝒽𝓃𝓈𝑜𝓃 𝒷𝑜𝓊𝓉 (𝒩𝐹𝒮𝒜/𝒜𝒮𝒪 𝑀𝑜𝒷𝒾𝓁𝑒) ⚔️The Australian press of the day predictably invoked the race card in the lead-up to the fight, racist descriptions of Johnson abounded, “coloured pugilist” was one of the few politer characterisations of Johnson (Bush Advocate, 28th December 1908). Burns’s thrashing at the hands of his much bigger black opponent—physically it was a real “David and Goliath” mismatch—prompted a backlash from white supremacists. Writer Jack London (ringside at the fight) put out the call for a “Great White Hope” to restore the white man to his ‘rightful’ place atop the professional boxing tree. The decisiveness of Jack Johnson’s triumph tapped into the prevailing currents of eugenic belief of the day, doing nothing to soothe anxieties about the “moral decay and decline” of the white race.
𝔖𝔶𝔡𝔫𝔢𝔶 𝔖𝔱𝔞𝔡𝔦𝔲𝔪 (𝔓𝔥𝔬𝔱𝔬: 𝔑𝔞𝔱𝔦𝔬𝔫𝔞𝔩 𝔏𝔦𝔟𝔯𝔞𝔯𝔶 𝔬𝔣 𝔄𝔲𝔰𝔱𝔯𝔞𝔩𝔦𝔞)Stadiums Ltd For almost its entire lifespan (from 1915 to its closure) Sydney Stadium was owned by Melbourne entrepreneur and gambling identity John Wren’s Stadiums Ltd…during that epoch the company enticed most of the top Australian professional boxers including Vic Patrick, Fred Henneberry, Dave Sands, Jimmy Carruthers and Tommy Burns (not the Canadian heavyweight champion) as well as renowned international prize-fighters such as Emile Griffith, Freddie Dawson and ‘Fighting’ Harada, to Sydney Stadium (‘The Wild Ones: Sydney Stadium 1908-1970’, Sydney Living Museums, www.sydneylivingmuseums.com).
𝔍𝔬𝔥𝔫𝔫𝔶 ℜ𝔞𝔶 𝔠𝔬𝔫𝔠𝔢𝔯𝔱 𝔞𝔱 𝔱𝔥𝔢 𝔖𝔱𝔞𝔡𝔦𝔲𝔪, 1957 (𝔓𝔥𝔬𝔱𝔬: 𝔉𝔞𝔦𝔯𝔣𝔞𝔵 𝔄𝔯𝔠𝔥𝔦𝔳𝔢𝔰)“The old tin shed” In 1912 the stadium was given a lid, an octagonal shaped roof of corrugated iron, and equiped for a capacity of 12,000 seated patrons. As the decades passed, hosting countless boxing and wrestling matches (in operation several nights a week at one point), it acquired the affectionate sobriquet “the old tin shed”❈. From the 1950s while boxing was still its core entertainment, the Sydney Stadium became a venue for popular music entertainers and television stars (eg, Frank Sinatra, Little Richard, Chuck Berry, Buddy Holly and the Crickets, Walt Disney’s Mouseketeers, and so on⚘. This continued into the Sixties with “The Samurai” star Koichi Ose, and perhaps its pinnacle, the Beatles performing there on their 1964 Australian tour (‘Sydney Stadium’, Milesago – Venues, www.milesago.com; ‘World Heavyweight Boxing Championship Title Fight 1908’, Woollahra Municipal Council), www.woollahra.nsw.gov.au).
𓂀 𝓣𝓱𝓮 “𝓕𝓪𝓫 𝓕𝓸𝓾𝓻” 𝓪𝓽 𝓽𝓱𝓮 𝓸𝓵𝓭 𝓽𝓲𝓷 𝓼𝓱𝓮𝓭 1964 
Leichhardt Stadium in Sydney’s inner west never managed to capture the limelight of Rushcutters Bay but was still very popular in its time, it’s Thursday night boxing events regularly ”packed to capacity” (‘Packing a punch’, James Cockington, 01-Jul-2009, SMH, www.smh.com.au). Leichhardt was Sydney pro boxing’s ‘Medina’ to Sydney Stadiums’ ‘Mecca’, together, this brace of stadiums was the home of professional pugilism in Sydney in the early to middle part of the 20th century. The suburban stadium on Balmain Road, Leichhardt, first opened its doors in 1922. The two Sydney stadiums featured many of the popular active Aboriginal fighters, typically stepping up from the touring boxing tents to try to earn their livelihoods inside their square rings, including Ron Richards, Jack Hassen, George Bracken, the Sands brothers and many more. Other names regularly featuring on Leichhardt Stadium’s draw cards included Jack Carroll, Jimmy Kelso, ‘Kid’ Rooney and Hockey Bennell.
ᗝ 𝒱𝒶𝓊𝒹𝑒𝓋𝒾𝓁𝓁𝑒 + 𝒶 𝒮𝒾𝓃𝑜–𝐼𝓇𝒾𝓈𝒽 𝒹𝓇𝒶𝓌 𝒸𝒶𝓇𝒹? 
‘Blood’ sports and ”show biz” mash-up Like it’s older relative at Rushcutters Bay, Leichhardt Stadium’s “bread-and-butter” remained pro-boxing and wrestling. However, during the Depression, the suburban stadium, perhaps anticipating Lee Gordon, innovated by incorporating the prevailing popular form of stage entertainment…Saturday night featured a program of boxing contests intermixed with “Vaudeville entertainment” acts (‘Leichhardt Stadium. 1922.’, Sydney Morning Herald, 08-Dec-1930 (Trove); Milesago).
𝔖𝔬𝔲𝔯𝔠𝔢: 𝔉𝔞𝔠𝔢𝔟𝔬𝔬𝔨
By the mid to late 1960s Australian professional boxing was in the doldrums and the stadium itself at Rushcutters Bay closed in 1970. Three years later the complex was demolished to make way for the Eastern Suburbs Railway. Leichhardt Stadium’s demise as a boxing venue occurred not long after in 1975.
𝐹o𝓇𝓂𝑒𝓇 𝒷o𝓍𝒾𝓃𝑔 𝓈𝓉𝒶𝓇𝓈 𝒷𝑒𝒾𝓃𝑔 𝒾𝓃𝓉𝓇o𝒹𝓊𝒸𝑒𝒹 o𝓃 𝒮𝓎𝒹𝓃𝑒𝓎 𝒮𝓉𝒶𝒹𝒾𝓊𝓂’𝓈 𝒻𝒾𝓃𝒶𝓁 𝒻𝒾𝑔𝒽𝓉 𝓃𝒾𝑔𝒽𝓉, 𝟫th June 𝟣𝟫𝟩0 (𝒫𝒽o𝓉o: 𝒮𝑀𝐻) 
◥ 𝓦𝓱𝓲𝓽𝓮 𝓒𝓲𝓽𝔂 𝓯𝓾𝓷 𝓹𝓪𝓻𝓴 (𝓢𝓸𝓾𝓻𝓬𝓮: 𝓦𝓸𝓸𝓵𝓵𝓪𝓱𝓻𝓪 𝓜𝓾𝓷. 𝓒𝓸𝓾𝓷𝓬𝓲𝓵)
Footnote: White City’s fleeting existence In 1913 another landmark was erected in Rushcutters Bay, a 9-iron’s distance from Sydney Stadium. The White City Amusement Park, also built on former Chinese market gardens, was a precursor of Sydney’s better known Luna Park. White City offered pleasure-seekers a smorgasbord of lakes, canals, river caves, “pleasure palaces”, “fun factories”, the city’s first roller coaster and it’s pièce de résistance, a gigantic (Pennsylvanian-constructed) carousel. White City lasted less than four years before being burnt to the ground after a lightning strike in 1917 (‘Lost Sydney : White City Amusement Park’, Pocket Oz, www.visitsydneyaustralia.com.au). In the early 1920’s the White City tennis complex was erected on the site.
𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬𓇬
❈ also known as ” the old barn”
⚘ expat American promoter Lee Gordon was the brains behind this move into pop music, bringing out big US bands, singers and duos for concerts at Rushcutters Bay, backed by Australian support acts
Lakewood Park, Ca Housing Development, the West Coast Answer to Levittown
In 2018 I posted up the two blogs linked below on the topic of Levittown, the postwar mass housing construction phenomena in the east of the United States. https://www.7dayadventurer.com/2018/10/11/levittown-the-attainment-of-an-affordable-upwardly-mobile-home-and-lifestyle-for-some-part-i/
https://www.7dayadventurer.com/2018/10/13/levittown-the-attainment-of-an-affordable-socially-upwardly-mobile-home-and-lifestyle-for-some-part-ii/
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In the late 1940s Bill Levitt’s New York company started constructing a series of new housing estates in the Atlantic seaboard states, succeeding in building affordable houses in double-quick time and on a mega-scale. Not long after Levittown showed the way, a triad of developers in California started planning their own gigantic scale home building project in Lakewood, Los Angeles County, to reap the rewards. The three ’amigos’, Ben Weingart, S Mark Taper and Lou Boyar, formed the Lakewood Park Company (LPC) and bought close on 3,500 acres from the Montana Land Co (previously sugar beet and lima bean fields adjacent to the city of Long Beach)¹. With Weingart’s extensive connexions in LA financing circles, the LPC got backing to the tune of $8.8 million from the Prudential Insurance Co, and were cleverly able to exploit a legal anomaly, leveraging a stack of federal finance to pay the large part of the private project’s expenditure [Kevin Starr, Golden Dreams: California in an Age of Abundance, 1950-1963, (2011)].
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A frenetic work schedule
The LPC utilised the same approach to construction as the Levittown developers. Every aspect was coordinated, synchronised like clockwork, the 4,000-strong work force was divided into 30 separate teams each with their own specialised task. Rapidity of construction was achieved by adopting the production efficiency methods learnt during WWII, foundations were laid post-haste (15 minutes to dig the hole by machine and not much more to fill it with concrete). Output was phenomenal, they were building around 40 to 60 new houses a day² (even managing in a single day to reach a record tally 110!).
Selling the American Dream
When Lakewood Park’s subdivision of model homes—complete with a “Tile Pullman lavatory” and a built-in ‘Pulverizer’ garbage disposal unit in the kitchen—was opened up to the public, the sales office was inundated with aspiring home-owners all seeking their piece of the “Father Knows Best’ fantasy lifestyle. One salesman sold 107 of the homes in a single hour [‘A New Kind of City…Lakewood’, Los Angeles Almanac, www.laalmanac.com]. Many were “sold off the plan” at a time before that term was in vogue. The cost for a Lakewood ‘model’ mostly ranged from $7,500 to $9,500. Like Levittown, Lakewood Park particularly appealed to WWII veterans who under the GI Bill were guaranteed advantageous terms, no down payment and 4% interest over 30 years. Lakewood’s population exploded – what was a small unincorporated village in 1950 became a ‘city’ with in excess of 70,000 inhabitants by 1953.
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We’re all white thanks!: ‘Paradise’ homes for the white middle class Again as with Levittown the ugly spectre of racism raised its head in the Fifties Lakewood Park ‘model’ lifestyle. One former sales manager for the LPC explained that his part of his role involved guided homogeneity, dissuading black (and Latino) families from buying into the estate on the grounds that the overwhelmingly white neighbours would object to their presence on the same block. This was part of a wider practice of “steering buyers into racially defined neighbourhoods” which persisted into the 1960s…the developers’ rationale being “that racially mixed communities (they believed) would not retain their resale value” [‘Suburban pioneers’, Lakewood City, www.lakewoodcity.org].
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Developers with “laugh-lines around their pockets” A Senate hearing in 1954 troubled by the development’s ramifications concluded that the bulk of the profits from Lakewood Park‘s land sales and retail development ended up in the pockets of the LPC syndicate…finding that Weingart, Boyar and Taper in fact risked very little of their own money on the venture (about $15,000 altogether) by being able to (legally) rely on the accessible federal financing. Against their meagre personal outlays, newspapers estimated that the triumvirate made nearly a cool $12 million each from the deal (‘Lakewood California History’).
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Footnote: The Lakewood Plan, “Contract City“ Lakewood became an incorporated city in 1954—following a divisive community campaign and an attempt by larger neighbour Long Beach to absorb it—but of a unique kind. Foundation attorney John Todd and the developers opted to contract out the new city’s essential municipal services to LA County (police force, fire brigade, sanitation services, etc), an innovation (Lakewoodisation’) later copied widely in California and in other states (‘A New Kind of City…Lakewood’). The stated reason for going the “minimal city” route was financial efficiencies, but Gary Miller argues that self-advantage was the real purpose, allowing the wealthy to “insulate (their properties) from the burden of supporting public services…(thus) zoning out service-demanding low-income and renting populations”, “fueling white flight from Los Angeles” [quoted in Mike Davis, City of Quartz: Excavating the Future in Los Angeles, 1990]
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¹ the farming enterprise was known as the “Montana Ranch”…ironically, the land Weingart, Boyar and Taper bought included village housing estates which under Montana Land’s restrictive races covenant they as Jews would be barred from living in [‘The Lakewood Plan: Homeownership, Taxes, and Diversity in Postwar Suburbia’, Ryan Reft, Kcet, 16-Jan-2015, www.kcet.org]
² a house completed every 7½ minutes!
³ enticing the retail department giant the May Company as the mall’s flagship store
⁴ which had led to Levittown residents when returning home at night mistaking other houses for theirs’