Showing posts by: Wolfgang Childerglas
The hungry i – a Fifties and Sixties SF Institution for Folk Musicians and Ground Breaking New Comedians
The “hungry i?” Sounds like a trendy, up-market boîte on Eat Street, but it is—or rather was—a live music and stand-up comedy venue located in the “hip” North Beach neighbourhood of San Francisco. Its original owner, self-styled beatnik Eric “Big Daddy” Nord, sold it to beret-sporting impresario Enrico Banducci in 1951. Under Banducci’s direction the SF joint set about making a cutting edge name for itself. For much of the next two decades the hungry i nightclub became the spot where many of the big acts in American entertainment got their start and others honed their performing skills to perfection❶.
Bob Patterson, Examiner columnist (writing as Freddy Francisco) on the hungry i circa 1950s: ❝a basement Disneyland, peopled by beatniks, left-over bohemians, on the nod junkies, and other waifs and strays from reality.❞
Hothouse of new comedy: The roll call of names associated with “the eye” (as it was affectionately known), especially of American comedy, is mightily impressive…it was the launchpad for many famous performers including Mort Sahl, Lenny Bruce, Tom Lehrer and Jonathan Winters. Other iconic comics to perform there at the formative stage of their careers include Woody Allen, Phyllis Diller, Richard Pryor, Dick Gregory, Godfrey Cambridge, Bill Cosby, the Smothers Brothers, (Mike) Nichols and (Elaine) May and Joan Rivers❷. The soon-to-be comedy stand-up legends performed against a red brick wall that later became the standard stage backdrop of comedy clubs across America [‘1960s Folk Music at the hungry i and SF Folk Music Club’, Claire Huang, FoundSF, (2019), www.foundsf.org].
Banducci embraced the Fifties non-conformism of the emerging “rebel cafe” culture taking root simultaneously in North Beach and in Greenwich Village, NYC. He welcomed musicians, comedians, writers and painters—“bohemians of every stripe, from North Beach bohos to Berkeley brainiacs”—to the nightspot [Stephen Duncan Riley, ‘The Rebel Cafe: America’s Nightclub Underground and the Public Sphere, 1934–1963’, (Unpublished PhD dissertation, 2014, University of Maryland)]. Uncommonly for a nightclub owner Banducci really looked after his charges, unlike many of his contemporaries who were content to sit back and count the night’s takings – Enrico always ensured that the club’s artists performed in a safe and quiet environment…patron chatter during performances was verboten and (remarkably) drinks were not served while the acts were on [‘The hungry i (1963)’, Barbra Archives, www.barbra-archives.info; ‘The ‘I’ That Stormed Through North Beach, Circa 1950’, Art Peterson, hoodline, 06-Jun-2016, www.hoodline.com].
A way-station for aspiring folk and pop artists: The hungry i provided a similar massive leg-up for music performers still in the basement of their careers. The nightspot provided the springboard for some, propelling them on the path to pop and folk music immortality, or at least to national/international recognition. The Kingston Trio, Barbra Streisand (her first gig headlining), Peter, Paul and Mary et al, all cut their teeth at the famous San Fran venue in their early days. The Kingston Trio recorded its first live album at the club (“…from the “Hungry i” (1958)). Glen Yarbrough and the Limeliters were a regular act, John Phillips (of the Mamas and Papas fame) fronted the eye’s house band (The Journeymen) in the early Sixties. By the early 1960s the hungry i had hit its heyday…in 1967 it moved to Ghirardelli Square (San Francisco’s Marina district), by this time it was mainly being used as a rock music venue❸. By 1970, Banducci deep in debt and with a flawed business model was forced to close down his cherished nightclub.
Enrico’s echo of hungry i: Banducci switched his attention to “Enrico’s”, a restaurant-café at 504 Broadway (SF) he had started in 1959. Enrico’s spot played cool jazz and drew in a mixed crowd and was for a time the place in SF to be seen, everyone from celebrities like FF Coppola, Frank Sinatra and Cary Grant to complete nonentities…Banducci’s lack of business acumen again ultimately proved its downfall with Enrico’s folding in 1988. The name “hungry i” lived on somewhat ignominiously in the form of a strip club at 546 Broadway (today operating as a Karaoke bar).
Endnote: the Purple Onion The hungry i, by most observers’ reckoning, was the apex of live venues presenting the new wave of stand-up comics in the 50s and 60s, but it existed very much in a shared universe. The very same up-and-coming but still unknown talents featuring at the eye also plied their trade at other SF venues, most prominently at the hungry i’s local rival the Purple Onion, a small basement club on Columbus Ave with a similar storied history [‘North Beach History: Careers Sprouted For Almost 6 Decades At The Purple Onion’, Art Peterson, hoodline, 20-Jun-2016, www.hoodline.com].
❶ Banducci liked to describe the hungry i as a theatre rather than a nightclub
❷ a less stellar comedy name frequenting the stage at the hungry i was “Professor” Irwin Corey whose unscripted, abstruse improvisational monologues earned him a dedicated cult following
❸ in 1967 you could catch the early Ike and Tina Turner Experience at the eye
Sokols and Slets: The Czechoslovak Experience of Gymnastics Societies
Sokol motto: ❛a healthy mind in a healthy body❜𖤗
༓ 𖥔 ༓ 𖥔 ༓ 𖥔
The blog preceding this one addressed the German-American phenomena of Turnverein (gymnastics-cum-social-cum-political associations in the US in the 19th and 20th centuries), detailing how the American Turners movement derived its inspiration from the philosophy and gymnastics theory of the Prussian educator Johann Friedrich Jahn. Jahn and the Deutsch Turnenschafts exerted a similar motivational effect on the Czech gymnastics movement’s genesis. Sokol (a Slavic word meaning “falcon”) was founded as a gymnastics, social and fraternal club by two ethnic Germans (Miroslav Tyrš and Jindřich Fügner) in Bohemia in 1862🅰. Sokol’s approach to physical education derived from Tyrš’ PE system placed an emphasis on mass calisthenics.
Just as Turnverein was transplanted into America and took root there, so did Sokol. In 1865 the first American Sokol was formed, just three years after the parent Bohemian organisation started! By 1937 there was nearly 20,000 members of Sokol societies in the US. Back in Europe Sokol became both a catalyst for Czech nationalism and patriotism and an expression of Pan-Slavism with Moravia (Slovakia), Poland, Bulgaria, Russia (including Belorussia and the Ukraine) and the southern Slav (Yugoslav) states all adopting a form of Sokol from the Czech prototype.
Sokol cf. Turnverein: the pursuit of physical fitness through the practice of gymnastics and calisthenics was the raison d’être of both Sokol and the American Turners, both movements were essentially male-focused and geared unequivocally towards the demonstration of masculinity. Underlying the physical educational aims of both were other ideals, a determination to use each’s movement to elevate a sense of group identity…in Sokol’s case, to help forge a sense of Czech nationalism (the practice of gymnastics as a national movement), and for German-Americans, to underpin and preserve the distinctive German-ness and cultural values of the immigrants in an non-German society. The question of politics was a point of departure for the two movements. The Turnverein associations were liberals/socialists by persuasion (at least up until the First World War) and actively supported progressive political causes. Sokol on the other hand in its stated principles was avowedly non-political. This in practice caused internal tensions within Sokol between older Czech members and younger ones, the latter openly advocating for the movement to embrace more direct political participation.
Slet fests: the pinnacle and showcase of the Sokol phenomena was the Slet🅱 festivals, these were mass, open-air extravaganzas for public consumption. Centrepiece of the Slet fest was thousands of athletes in a stadium exhibition of synchronised calisthenics, accompanied by stirring classical music. Complementing this were competitions in gymnastics and other sporting events, gatherings, parades and rallies, celebrations of culture and the arts. The first Slet was held in Prague in 1882, culminating in a mass calisthenics display. By the 1895 All-Sokol Slet Sokol’s growth and expansion was evident with around 5,000 men and boys performing in the stadium. The 1901 Slet was the first to include women as well as international participants from France and the US. The 1926 Slet (in an independent Czechoslovakia) was the first in the massive, purpose-built Strahov Stadium with a spectator capacity of 250,000 and 182,477 participants taking part (‘History of Prague Slets’, SOKOL Museum Library, www.sokolmuseum.org). After the Second World War the new communist regime in Czechoslovakia permitted only one more Slet to be held (1948) before the Slets and Sokol were suppressed, replaced in 1955 by the first Spartakiad, a mass exercises event and propaganda vehicle for the socialist Czechoslovakian regime, purportedly based on the Soviet Spartakiades. The reality was that the Spartakiads were adopted from the earlier Czech slets and it was only possible for the authorities to organise such a complex, large scale, mega-event with the expertise and active involvement of Sokol organisers (Petr Roubal) (‘The first ever Spartakiad mass exercise and how it was influenced by the Sokol movement’, Thomas McEnchroe, Radio Prague International, 23-Jun-2020, http://english.radio.cz). After the eclipse of communism in the Eastern Bloc, the Sokol Slet was revived in the early 1990s, albeit on a much smaller scale than hitherto.
𖤗 mirrors the Turnenfest/American Turners motto
🅰 then part of the Czech lands within the Austro-Hungarian Empire
🅱 in the Czech language meaning “a flock of birds” – to continue Sokol’s ornithological metaphor
Turnverein: The Society of German-American Turners
Turnverein (Pl. “Turnvereine”) from German: turnen (“to practice gymnastics”) + –verein (“club” or “union”)
𖥠 𖥠 𖥠 𖥠 𖥠
The earnest pursuit or physical exercise and a healthy lifestyle isn’t the first thing you think of in regard to fast-foodified, modern America and Americans. But it was the case for many German-Americans in the late 19th and early 20th centuries. These immigrants and sons and daughters of immigrants formed themselves into Turnvereins (German gymnastic/athletic clubs) in the US which, inspired by pioneering early 19th century Prussian physical educationalist and nationalist, JFLC ‘Vater’ Jahn (“the Father of Gymnastics”), promoted physical culture, German cultural traditions, freethinking and liberal politics1⃞.
The members of these Turnvereins, known as “Turners”, played leading roles in sponsoring gymnastics as an American sport and a subject for school, helping to popularise physical exercise and callisthenics as a way of life. Turner gymnastics, the centerpiece of the societies’ activity, comprised distinctive calisthenics routines and apparatus exercises which emphasised masculine strength and agility [‘Milwaukee Turners’, Encyclopedia of Milwaukee, https://emke.uwm.edu]. The Turners’ clubs and associations (Vereininigte Turnvereins Nordamerika) spread out from the Ohio Valley throughout the US. At one point, around 1894, Turnerism reached its zenith with 317 societies and approximately 40,000 members. The Turnvereins performed a multi-functional purpose, aside from the physical activities they fulfilled a social role for recent arrivals from Germany, helping them to integrate into their new home while facilitating the retention of German culture (the societies’ halls (Turnhalles) were havens for social get-togethers). In so doing the Turners fostered a form of group solidarity among German-Americans by preserving their ethnic culture and identity [Annette R. Hofmann, ‘The American Turners: their past and present, Revista Brasileira de Ciências do Esporte’, Volume 37, Issue 2, 2015, Pages 119-127, ISSN 0101-3289,
https://doi.org/10.1016/j.rbce.2014.11.020.]
The Turner societies were politically progressive, supporting the liberal brand of Republicanism in the 1850s and 60s.2⃞. Turners were strong abolitionists, both antebellum and during the Civil War, when many of the members fought for the Union side. Later, the Turnen associations embraced homegrown causes in the US such as the struggle to achieve women’s suffrage and equality3⃞ and workers’ rights under capitalism; in the interwar years the Turnvereins were vocal in their opposition to the rise of fascism and Nazism in Europe [‘The Milwaukee Turners at Turner Hall’, www.milwaukeeturners.org).
By the early 20th century the Turnverein impulse in America was losing its intensity, partly this was generational, the American-born Germans were increasingly less fluent in German and more attuned with the mainstream US culture. The associations were less radical and socialist and more conservative in their outlook and American government WWI hostility to Germany and Germans and Prohibition in the decade-plus after it were factors that further undermined Turner solidarity. The pull of assimilation and an inevitable “Americanisation” process severely weakened the cultural affinity with things Germans within the associations and the number of Turner societies dropped off dramatically from the 1920s on 4⃞ (Hofmann).
Today, the Turnen movement in America—massively diminished in size and influence with the number of active clubs having plummeted to under 50—and shorn both of its political activism and its Teutonic focus, maintains its existence as gymnastics (and other sports) clubs and social associations, while espousing the motto “a sound mind in a sound body” and still advocating the core virtues of physical fitness and exercise.
Endnote: while the gym and physical fitness remains central to the societies’ ethos, the modern American Turner clubs have diversified their repertoire of group activities beyond the exclusive practice of gymnastics. The Riverside Turners (New Jersey) for instance offers a range of activities including darts, shuffleboard, horseshoes, basketball and golf, while the Milwaukee Turners provide members looking for something more challenging with rock and ice climbing walls.
1⃞ unfortunately Jahn’s training regimen which tended towards the militaristic had a downside…it also directly influenced the Nazis and the Hitler Youth movement of the following century [‘A History of Gymnastics, From Ancient Greece to Tokyo 2020’, Meilan Solly, Smithsonian Magazine, 26-July-2021, www.smithsonianmag.com]
2⃞ in the 1850s the Turners found themselves in bitter conflict with the short-lived, nativist “Know-Nothing” party
3⃞ which contrasts starkly with the record of gender exclusion within the Turnen societies themselves…women were firmly ensconced in a subordinate role as the Turnvereins remained male preserves right up to recent times
4⃞ German culture was submerged under “Apple pie Americanism” with German references in the organisation’s names such as Demokratischer Turnerbund shelved…from 1938 the national movement officially and permanently became “American Turners”
The Zoo as Cultural Adversary in Cold War Berlin
In the 1950s and ‘60s Berlin, bisected into eastern and western sections, was ground zero for the Cold War. One surprising arena for the head-to-head competition between the rival political systems/ideologies was the public zoological park. Before 1955 there was just one zoo in the divided city, the historic Zoologischer Garten in West Berlin, immensely popular and well patronised, not just by West Berliners but by citizens from the Eastern sector as well𝟙. In that year the East German Communist state established its own (East) Berlin zoo, called the Tierpark (literally “animal park”), to counter the popularity of the Zoologischer Garten. The rivalry between the two Berlin zoos for hegemony sustaining itself over the next 30-plus years would be a personal as well a political one.
Heinrich Dathe (Photo: Katrin Böhme, Ekkehard Hölxtermann, Wolfgang Viebahn: Heinrich Dathe – Zoologe und Tiergärtner aus Leidenschaft)
Zookeepers at 40 paces! The new zoo in the East has the advantage of a dynamic, forceful director, zoologist (Curt) Heinrich Dathe, who managed to wrangle funds out of a cash-strapped GDR to enhance the zoo’s collections and facilities impressively. Construction of the new polar bear habitat for instance was financed by the Stasi (State secret police). When Heinz-Georg Klös took over as director of the Berlin Zoo in 1957 the competitiveness between the two zoos became deeply personal, with a bitter hatred developing and enduring between Dathe and Klös𝟚. The two directors were constantly engaging in contests of oneupmanship…if one zoo acquired a rhinoceros the other zoo got one, or as Jürgen Lange, director of West Berlin Aquarium, described the two men’s relationship: “if one of them buys a miniature donkey, the other buys a mammoth donkey” (Mohnhaupt). Sometimes Klös would get the upper hand…knowing that it was hard for the GDR to get certain exotic animals and that there was a shortage of raw materials in the East, he built an ape house which Dathe couldn’t muster the resources to reciprocate (Mohnhaupt & Frisch). Notwithstanding this, under Dathe the Tierpark was an instant success, so successful that by 1958 it was attracting 1.7 M visitors, 200,000 more than was going through the turnstiles of Berlin Zoo and Aquarium combined.
Source: etsy.com
Baby Vietnamese elephant, Tierpark (Photo: archiv Freunde des Haupstadt)
Proxy cultural war Dathe modernised the look of his zoo with innovative flair while the Zoologischer Garten remained more of a traditional zoo…in 1963 the Tierpark opened the Alfred-Brehm-Haus, at that time the largest and most modern animal house in the world. Containing a massive 50,000-foot state-of-the-art facility for big cats, the Brehm-Haus boasted the first barless enclosures for lions and tigers. The Tierpark, with the advantage of boundless space (set on 160 hectares), eventually became the largest zoo in Europe𝟛. The GDR loudly trumpeted its modernised zoo, heralding it as a triumph of socialism over capitalism, the zoo which due to a shortage of labour in East Germany was built partly by citizen-volunteers. Meanwhile Klös anxious to keep up with Dathe, was busy adding to the Berlin Zoo’s species collection, making it the most biodiverse zoo in the world. The duelling zoos in Berlin had become showcases for each side in the Cold War conflict (Rotondi). When either zoo notched up some success it was taken as an endorsement of its political system, a symbol of superiority and the validation of its society.
Zoo Berlin (Source: Reddit)
End of the zoo wars This cultural competitiveness between East and West, the preoccupation with demonstrating “who’s got the better zoo?”, purportedly asserted to be an indicator of a superior society and way of life, persisted right up to the collapse of the Eastern Bloc and Wiedervereubugung (German unification) in 1990…it was only in that year that “Professor” Dathe relinquished his iron-grip hold on the Tierpark. With unification came a thaw in the combative climate and a subsequent rapid shift from rivalry to cooperation between the Berlin zoos, symbolised by the appointment in 1991 of a single director in charge of both zoos.
(Elephant Gate, Zoo de Berlin)
Footnote: Zoomania As can be inferred from the above, zoos were and still are a big deal in Germany (in both the bisected and unified eras), a product of the salient fact that the Germans are basically “animal tragics”…it’s said that Berliners love animals more than people (Mohnhaupt), a measure of which is the astounding number of zoos Germany has, in a country smaller than the US state of Montana, they number more than 880!
Image source: design-mkt.com─═─═─═─═─═─═─
𝟙 zoos provided the perfect diversion for Berliners from both sectors during the Cold War, availing them of the opportunity to escape from the city of walls and connect with the world of nature (Rotondi)
𝟚 the relationship deteriorating even to the point of a physical confrontation between the two zookeepers in Berlin Zoo’s elephant enclosure
𝟛 cf. the much smaller, cramped, inner city Zoologischer Garten with little space to expand
Bibliography
J.W. Mohnhaupt, The Zookeepers’ War, (2020)
‘Even Before the Wall, Berlin’s Zoos Were Already Cold War Rivals’, J.W. Mohnhaupt & Shelley Frisch, Time, 12-Nov-2019, www.time.com
‘The Cold War Rivalry Between Berlin’s Two Zoos’, Jessica Pearce Rotondi, History, 08-May-2023, www.history.com
Why So Few African–Americans Play Elite-Level Ice Hockey?
Non-white names and faces in North American ice hockey are conspicuously absent from the sport at the highest level. Just over five percent of players in the North American men’s National Hockey League (NHL)—the world’s premier ice hockey league—are blacks or people of colour. Compare this to basketball or American football, eighty and seventy-five percent respectively, coloured player participation at elite-level⧼a̼⧽. The absence of non-whites in the sport goes further than that. Participation in ice hockey of non-playing staff including management is similarly heavily skewed towards whites. NHL club owners and coaches have been predominantly white, in 102 years of the League only one coach has been black. The lack of diversity is reinforced by the composition of the NHL’s fan base – over seventy-seven percent are white (cf. basketball, forty-five percent), and the white supporters of ice hockey are more conservative and wealthier than non-white fans (“The NFL Says ‘Hockey Is For Everyone’. Black Players Aren’t So Sure”, Terrence Doyle, FiveThirtyEight, Upd 19 October 2020, www.fivethirtyeight.com).
Why have non-whites in American and Canadian ice hockey always been outliers in the sport? The lack of participation by players of colour starts at the beginner’s level with youngsters not taking up the game in great numbers. The prohibitive cost is a real factor. A recent survey indicates that sixty percent of the parents of young players were forking out more than US$5,000 a year on equipment, competition fees and travel. This alone immediately disadvantages many black parents whose family finances are absorbed by the basic necessities of day-to-day living. Another significant allied factor is that blacks lack prior exposure and access to the game of ice hockey…so, unlike say with basketball or ‘gridiron’, there is for them a disconnect, an absence of cultural affiliation with the sport. With the game’s full-on physical impact aspect, playing ice hockey has long been considered the epitome of “white machismoism”. Budding non-white players tend to find this stereotype of an “affluent white culture” unwelcoming and a deterrent to the majority from progressing with the sport (“Why The Ice Is White”, Wes Judd, Pacific Standard, 14 June 2017, psmag.com). Those who do make it to the NHL (only 70-odd black players in the League’s entire history), often report a feeling of isolation and alienation from the rest of their team and the club.
Underlying all of this is the basic explanation for the out-of-kilter status quo – the persistent, overarching LCD spectre of racism. Those black players who take up the sport, starting at the junior level and proceeding to the senior leagues, have consistently found themselves the targets of racial abuse – from white fans, from opposing players, from their own white team-mates, and from their own coaches and support staffs…in recent years coaches from two NHL teams Carolina Hurricanes and Toronto Maple Leafs were sacked for racially vilifying their coloured players⧼b̼⧽.
With the impulse for diversity and inclusion embracing modern sport as a whole today, the NHL has come under increasing pressure from wider North American society to reform its sport. The response from the governing body so far has been at best tokenism, bereft of any substance, the League’s ”Hockey is for everyone” sloganeering is seen as merely hollow rhetoric when there is follow-up efforts from the League’s administrators to make meaningful reforms to rectify the imbalance. The pressure for reform in ice hockey has In fact come from non-white players within the NHL — such as Matt Dumba (left) from the Minnesota Wild who have come out on record, putting the spotlight on the racial discrimination pervading the sport, in so doing trying to drag a reluctant NHL still digging its heels in towards real action to remedy the inequitable situation (Doyle). Willie O’Ree
Footnote: in 1958 Willie O’Ree, was the first black player to break into the NHL, which meant the Canadian winger was also the first non-white major league hockey player to experience the avalanche of racism hurled in his direction from fans and players alike during his two seasons with the top-flight Boston Bruins side before being traded initially to the Montreal Canadiens and then back to the minor leagues. In his post-playing days O’Ree has become a diversity ambassador for ice hockey.
╚ ↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜╝
⧼a̼⧽ this is not to presume that ice hockey is “Robinson Crusoe” in the exclusion of non-whites from specific sports…sports like golf (take out Tiger Woods) and swimming (often contrasted with athletics) have been massively disproportionately lite-on for black and coloured participation at the highest professional levels
⧼b̼⧽ one of the coaches even physically assaulting their black playing staff
The Fab Four (Minus One) Play the Princess and the Old Tin Shed
The Beatles flying from London to Hong Kong1964 was the year the Beatles made their first world tour. The year they transformed from a UK/West German phenomenon to a global sensation. It was, to obviously understate it, a very busy year for the band. Two of the very many international places the Liverpool lads performed at that hyper-hectic year were Hong Kong and Sydney. The venues in both locations played by the Four Moptops—as is the case with many of the venues they played—no longer exist.
The Beatles without drummer Ringo Starr⌧ touched down at Kai Tak Airport in Hong Kong in early June of ‘64 and booked into a suite recently vacated by the President of Indonesia in the President Hotel in Kowloon. The band only stayed in the British crown colony for a couple of days while they played two concerts at the Princess Theatre (130 Nathan Road, Tsim Sha Tsui) on the 9th June…long enough though for Beatle Paul and road manager Neil Aspinall get themselves bespoke tailored suits made up in 24 hours.
Note concert date, incorrectly printed as 10-06-64 (Source. ha.com)The Princess Theatre (above), built in the early Fifties, was better known for screening first-run flicks than teen-hysterics pop concerts. On the bill supporting the Beatles was a New Zealand group, the Māori Hi-Five. Instrumental backing for the headline performers was provided by Sounds Incorporated. The concerts were surprisingly not a sell-out, basically because tickets were priced exorbitantly high, the equivalence of a full week’s wage for the average Hong Kong worker (the best seats fetched HK$75).
The Beatles didn’t find the smallish, old-fashioned venue very vibe conducive and McCartney remarked that the band’s performance at the Princess was pretty flat accordingly. The full complement of Beatles came back to Hong Kong in 1966 on their Far East tour, but only for a stopover on route to the Philippines where the performers and their handlers ran into trouble with a capital T❈❈.
Ownership of the Princess Theatre changed hands in 1970 and the building with theatre seating for 1,722 was demolished in 1973 to make way for a new hotel.
Early boxing bout at the Old Tin Shed (Source: Nat. Lib. of Aust.)Next destination after Hong Kong for the Beatles was Sydney Airport for a three-week tour of Australia and New Zealand. Sydney’s allotment was six concerts over three nights (18–20 June) at Sydney Stadium in Rushcutters Bay, a venue affectionately known as the “Old Tin Shed”, and hitherto the arrival of Beatlemania probably better known as a boxing stadium. At that time the Stadium was the city’s only large-capacity concert venue. Again, as they did in Hong Kong, the Beatles bedded down close to the concert venue, at the Sheraton Hotel, Potts Point.
Supporting the Beatles on that tour were several local (trans-Tasman) artists including Johnny Chester, Johnny Devlin and The Phantoms, along with Sounds Incorporated who had made the trip from Hong Kong with the Beatles.
Jimmy N, all alone at Melbourne Airport, end of the fairytaleBy now Ringo sans tonsils had rejoined the quartet in time for Sydney and Jimmy (or Jimmie) Nichol was unceremoniously cast off and sent home, abruptly closing the door shut on his 15 minutes of fame…it was all downhill in the music caper from there for the Ringo stand-in, less than a year later poor Jimmy was forced to declare himself bankrupt.
Source: ha.comAfter some initial hesitancy from audiences the Sydney Stadium concerts were all massive sell-outs with frenzied young women the most conspicuously vocal of fan attendees. Seeing the band in Sydney seemed comparatively more affordable than in Hong Kong, Tickets started at 15s & 6d, ranging up to £1, 17s & 6d.
Boxing matches and rock ‘n roll concerts at Rushcutters Bay are long a thing of the past. In 1970 the six decades old-stadium on the corner of Nield Avenue and New South Head Road closed and was demolished in 1973 to make way for the construction of the Eastern Suburbs Railway.
Staid NZ says “Yeah, Yeah, Yeah!” (Source: nzherald.co.nz)After Sydney the Beatles headed across the Tasman, taking most of their Australian support acts with them, to shake up the hitherto seemingly hebetudinous youth culture in New Zealand. Just like in Australia, mass turnouts of fans posed the same crowd control problems for Kiwi authorities and level of teen-generated frenzy at the concerts in the four main NZ cities made for deja vu.
๛๛๛๛๛๛๛
⌧ stuck back in a London hospital with tonsil trouble and substituted by previously unknown drummer Jimmy Nichol
❈❈ see earlier blog on this site ‘Beatles Not For Sale: Public Enemy # 1 in the Philippines’, March 2022
Bibliography ‘The Beatles arrive in Hong Kong’, The Beatles Bible, www.beatlesbible.com ‘Beatle Place: Hong Kong, Princess Theatre‘, FAB4tracks, www.fab4tracks.home.blog ‘Meet Jimmy Nicol, the forgotten Beatle, stand-in drummer for Ringo’, Craig Cook, The Advertiser, 11-Jun-2014, www.adelaide now.com.au