DeMille’s Lost “Egyptian City” Found in the Sand-dunes of Central Coast, CA

Posted on by Bonza Rottwheeler
Archaeology, Cinema, Environmental, Heritage & Conservation, Local history, Memorabilia, Popular Culture

Mention “The Ten Commandments” to cinephiles and almost invariably they’ll think of the 1956 epic with Chuck Heston as the resolute Moses. But that was Cecil B DeMille’s second attempt at filming the Old Testament story, or his (Cold War-inspired) interpretation of it at least. Back when Hollywood was still in it’s adolescence, 1923, DeMille made a silent version of The Ten Commandments, in black and white with some sequences in Technicolor.

(Image: www.bestplaces.com)

The location chosen by DeMille for his first go at shooting the biblical epic was a barren 18-mile stretch of sand some 170 miles north of LA, at Guadalupe on California’s central coast. Today, the Guadalupe-Nipomo Dunes, as they are called, are a protected sea coast and wildlife refuge (eg, for the endangered western snowy plover) and largely unchanged, but for three months in 1923 it was a hive of mega-budget movie-making activity as DeMille transformed the empty dunes into a reconstruction of an ancient Egyptian city. DeMille chose the Guadalupe dunes for the movie set because he thought it might pass for the Egyptian desert (or at least the Sahara Desert) [‘Guadalupe-Nipomo Dunes’, Atlas Obscura, www.altasobscura.com].

𐅉 ‘10 Commandments’ of California in glorious “techni-tint”

Hollywood scale extravaganza
The set was massive scale, destined to become the director’s trademark – 120 foot high by 720 feet wide, erected by 1,500 construction workers, a twelve-story tall “Egyptian city” of plaster, wood and straw. The city’s human population comprised a further 3,500 actors✖and technicians plus 125 cooks to feed the assembled masses. Add to these impressive numbers some 5,000 animals, 300 chariots and 21 plaster sphinxes. Statues of Pharaoh Rameses were eleven metres tall and the facade had a 110-foot high gate enclosure✧ [‘The Ten Commandments, (1923 film)’, Wikipedia, http://en.m.wikipedia.org; Bob Brier, Egyptomania: Our Three Thousand Year Obsession with the Land of the Pharaohs, (2013); www.lostcitydemille.com].

(Source: G-N Dune Center)

A Virtuous Camp DeMille?
DeMille had a huge makeshift tent city erected (nicknamed “Camp DeMille”) to house all of the personnel on the set. Perhaps, in keeping with the overtly religious theme of the film⊡, DeMille laid down strict rules of non-engagement for everyone involved on the production…men and women were billeted separately with no fraternisation allowed, no gambling, no alcohol and no coarse language [‘The Ten Commandments of 1923: The Exodus, Take One’, Patheos, 20-Apr-2012, www.patheos.com]. The alcohol ban adhered to the Prohibition rules in place in America at the time, but subsequent generations of beach-combing visitors to Guadalupe’s dunes have discovered evidence that participants on the movie set found a way round that…the debris of empty bottles of alcohol-laced cough syrup strewn all over the dunes [PJ Grisar, ‘How DeMille made his ‘Ten Commandments’ Jewish again’, Forward, 08-Apr-2020, www.forward.com].

A vanishing “Egyptian metropolis”
After filming of The Ten Commandments on the Central Coast finished in August 1923✥, what DeMille did next astounds. Instead of dismantling and hauling the costly set (the overall budget for the movie was a staggering $1.5M or more) back to Hollywood, DeMille had it bulldozed and buried in the Guadalupe dunes. The film-maker just didn’t want to be bothered with the logistics or expense of an enormous removal task and/or he didn’t want rival Hollywood film-makers or studios to get their hands on the set.

(Photo:www.fws.gov)

Unearthing cinematic artefacts
And there it sat—or shifted around in the constantly swirling winds of the dunes—for sixty years, one of Hollywood’s most expensive-ever film sets. Then in 1983 film-maker Peter Brosnan became intrigued after a chance encounter with the story, got hooked on it and spent the next 30 years searching for the site, finding it and trying (frustratingly) to excavate it. The project is ongoing, and has taken this length of time due to a combination of factors – local “red tape” (jurisdiction of the dunes falls under two separate counties); the site is a bird-life sanctuary with limited, seasonal access; plus there’s the extremely high cost of funding excavations. Over the years, archaeologists, both professional and amateur, have joined the quest to dig up DeMille’s treasure-trove. Buried replicas from DeMille’s Lost City have been unearthed including a 300-pound plaster sphinx which now resides in the Guadalupe-Nipomo Dunes Center [‘There’s a Fake Egyptian City Buried in California’, (Marissa Fessenden), Smithsonian Magazine, 15-Oct-2015, www.smithsonianmag.com]. Brosnan compiled his years of research, including interviews with surviving actors, extras and other crew members, into a documentary film, The Lost City of Cecil B. DeMille, screened in 2016.

▫️▪️▫️▪️▫️▪️▫️▪️▫️▪️▫️▪️▫️▪️▫️▪️▫️▪️▫️▪️▫️▪️▪️▫️▪️▫️▪️▫️▪️▫️▪️▫️▪️▫️▪️

✖DeMille also bused in some 250 Orthodox Jews as extras to give the movie a more authentic Hebrew look
✧ Rameses’ ‘temple’ contained recreations of hieroglyphics copied from the discovery of King Tutankhamen’s tomb in 1922
⊡ certainly in keeping with the sternly moralising tone of DeMille’s film
✥ only part of the film was made on the Guadalupe dunes, the wonky parting of the Red Sea scene was shot at Seal Beach in Orange County, and a modern-day morality tale DeMille tacked on to the film was shot back at the studios

New York’s Seminal Brill Building: 1960s America’s Pop Music Factory

Posted on by Wolfgang Childerglas
Leisure activities, Memorabilia, Music history, Performing arts, Popular Culture, Social History

(Photo: https://nypost.com)

The Brill Building at 1619 Broadway in Midtown New York City, architecturally, has few distinguishing features to set it apart from most any other homogeneous looking commercial medium high-rise building in the “Big Apple” (save for a rather dazzlingly decorative archway entrance). But for a period from the end of the Fifties to the late Sixties it was the fulcrum (if not quite the epicentre) of innovative and groundbreaking Rock and Pop music-making in the USA.

The young professionals are in the Building!
The collaborative and creative energies of the Brill Building produced a conducive environment for young professional songwriters of the period to work with music producers to create highly productively musical outcomes. So there were song-writing teams that emerged around 1960 (often they were couples) – (Carole) King and (Gerry) Goffin, (Barry) Mann and (Cynthia) Weil, (Jeff) Barry and (Ellie) Greenwich – who linked up successfully with young producers like “wonder-kid” Phil Spector※ [‘The Brill Building: Assembly-Line Pop’, (Reebee Garofalo), Encyclopaedia Britannia, www.encyclopaediabritannia.com].

⬆ Kirshner, King & Goffin

But the Brill Building’s genesis as a revolutionary force in 1960s US pop music actually started in a building across the road – at 1650 Broadway. Here in 1958 “pop entrepreneur” Don Kirshner and musician Al Nevins formed Aldon Music✳. Aldon’s reading of the popular music zeitgeist of the day was that rock and roll’s original impact had dissipated and somewhat lost its way. Kirshner’s remedy was “to take its energies and reapply the old-fashioned Tin Pan Alley❁ disciplines to the craft and professionalism of making hits for the youth market” [Inglis, Ian. “‘Some Kind of Wonderful’: The Creative Legacy of the Brill Building.” American Music, vol. 21, no. 2, 2003, pp. 214–235. JSTOR, www.jstor.org/stable/3250565]. Kirshner put together a stable of aspiring young songwriters, including Goffin and King, Mann and Weil, as well as Howard Greenfield and Neil Sedaka.

1619 + 1650 = the Brill Building style
The term “Brill Building” in the musical context doesn’t confine itself exclusively just to that one building…Brill Building as a descriptor for the achievements in NYC pop and rock creativity of the day is an omnibus reference for what was happening at both addresses, 1619 and 1650 Broadway, New York.

The pioneers of the new professionalism that was to become labelled as “Brill Building” were probably the song-writing team of Leiber and Stoller (Jerry Leiber and Mike Stoller) who had earlier written for Elvis Presley, started to write hits for the Drifters from the late 50s that mark the starting-off point for Brill [Garofalo, loc.cit.]. A new wave of songwriters began to etch out pop songs from within the walls of 1650 Broadway and 1619 Broadway (the Brill Building adopted Aldon’s ‘hothouse’ style of songwriting from youthful collaborators with a creative overlap between the two addresses)✥ [Inglis, op.cit.].

Distinguishing features of Brill Building music and music-makers
Kirshner’s writing staff at 1650 Broadway were not only dedicated professionals, they were remarkably youthful…the eighteen songwriters Kirshner had in his employ in 1961 (roughly equally male and female) were aged between 19 and 26, a clear departure from the status quo ante of “middle-age men churning out novelty songs” [ibid.]. This contemporary generation of songwriters, not much older than their target audience, grasped the idiom of teenagers and wrote exclusively for the youth of the 1960s [Garofalo, loc.cit.]♕.

Other composer/lyricist teams to thrive in the environment of the Brill Building included Doc Pomus and Mort Shuman, Tommy Boyce and Bobby Hart (who later worked with Kirshner and the Monkees) and the extraordinarily prolific hit-making duo of Burt Bacharach and Hal David.

The gender equality between songwriters achieved at Brill, brought female pop and rock songwriters like King, Weil and Greenwich to the fore, correlating with the rise of the girl groups of the early 60s… these female writers wrote hits for the Shirelles, the Crystals, the Chiffons, the Ronettes and the like [Inglis, op.cit.]✪.

⬇ The Ronettes: “Big hair” sound!

‘Brill’ place, ‘Brill’ music?
Recollections of the songwriters’ working conditions at the Brill Building doesn’t suggest an ideal environment to inspire the creation of Top 40 hits: writers were assigned their “respective cubby holes” (Carole King), “a tiny cubicle the size of a closet”…”no window or anything” …(an upright) “piano and a chair” …”we’d go in and write songs all day” (Barry Mann, ibid.). The creators of pop and rock worked in an assembly line fashion in something akin to a standard nine-to-five office job [Garofalo, loc.cit.]. Kirshner would play one young writing team off against another to enhance their productivity [Sociology of Rock, Simon Frith (1978)].

The hit factory
And yet despite these strictures it somehow worked! The songwriting team did come up with “teenage drivel” from time to time, but collectively, the youthful penners of contemporary Sixties song generated a steady series of musical hits for a Pop-crazy world! Fusing the urgency of R & B with “the brightness of mainstream pop” melodies, Goffin and King, Greenfield and Sedaka and the other B.B. star writing teams came up with perennial pop classics like “Will you Love me Tomorrow?”, “Calendar Girl”, “Leader of the Pack” and the much revered “You’ve Lost That Lovin’ Feelin'” [ibid.].

A vertical integration of the pop music biz on a micro-scale
The “B.B. factory” was good at matching artists to appropriate material. By 1962 the Brill Building contained 165 separate music businesses. This meant a B.B. musician “could find a publisher and printer, cut a demo, promote the record and cut a deal with radio promoters, all within this one building”, Garofalo, loc.cit.; ‘The Brill Building’, Wikipedia, http://en.m.wikipedia.org; Continuum Encyclopedia of Popular Music of the World Volume 8: Genres: North, (Edited by John Shepherd, David Horn), 2013, www.books.google.com.au]

Time call on the Brill Building
By the mid to late 1960s the B.B. music line was losing its energy. A new creative force was rapidly filling its void – the rise of the singer-songwriter, heralding a new era of artists who wrote their own material. The new wave led by the phenomenal global success of the Beatles (the unsurpassed potency of the Lennon/McCartney songwriting duo) and the guru-like acclaim afforded Bob Dylan, fairly swiftly relegated the Brill Building writers to the edges of pop music relevance [Garofalo, loc.cit.].

 Footnote: A Brill Building ‘sound?’
The Brill Building style of songs drew inspiration from diverse strands of earlier music – R & B (rhythm and blues), Latin, jazz and African-American gospel. The result was often referred to as the “Brill Building sound” but there actually wasn’t a specific or distinctive sound at all. The only similarities between the Brill ‘products’ was in the recurring themes and components in the song lyrics (might be described as “First World problems” seen through the eyes of 60s American youth) [‘The Brill Building pioneered assembly line pop music but left a legacy of hits’, (Troy Lennon), The Daily Telegraph, 13-Sep-2017, www.dailytelegraph.com.au]; Inglis, op.cit.].

〰️〰️〰️〰️〰️〰️〰️〰️〰️〰️〰️〰️〰️〰️

※ Spector was both a collaborator with the Brill songwriters and a customer of their compositions

✳ described by Ian Inglis as “a crucial moment in the development of Brill Building’s pop sensibilities”

❁ Tin Pan Alley was a loose collection of composers, lyricists and music publishers based in NYC who dominated the industry for several decades through the first half of the 20th century (Irving Berlin, Cole Porter, the Gershwins, Sammy Cahn, Hammerstein and Rodgers and many more)

✥ although two of the mainstays of the Brill team, Goffin and King, never actually worked in the Brill Building, producing their entire creative output in the period over at Aldon Music (they did however sell some of their compositions through the Brill Building)

♕ many of the Brill writing alumni went on to be highly successful performers in their own right – top of the totem industry names like Neil Diamond, Gene Pitney, Paul Anka and Paul Simon

✪ another interesting juxtaposition emerging from the Brill Building music factory was the contrast between writer and artist – the songwriters were all white and mostly Jewish, writing largely for emerging black girl groups (Inglis)

Empires Built of Chocolate: The Quaker Dynasties of English Chocolatiers

Posted on by Sloane Snodgrasse
Commerce & Business, Memorabilia, Popular Culture, Regional History, Retailing history, Social History

First World problem – Cadbury’s or Nestlé’s?
For children of the Fifties and Sixties growing up in the West, the preference of chocolate usually came down to a shelf choice between Cadbury and Nestlé. My recollection is that my own juvenile palate tended towards Nestlé, but only partly due to taste…yes I did have an oral appreciation of Nestlé’s slim, pocket-size milk chocolate bars but Nestlé was also great for youthful card collectors. Each bar contained a different colour card that you could paste into your Nestlé Car Club book or Sky Club book or into their “Conquest of Space” series book. A glance at the enduring popularity of Cadbury’s chocolate is confirmation that the British confectioner did not miss my preference for their Swiss rival.

(photo courtesy of www.historyworld.co.uk)

As a child I was very aware that Cadbury’s had a chocolate factory in Tasmania (known as “the factory in the garden”)…the idyllic image of rustic Claremont was imprinted in my head courtesy of innumerable Cadbury TV ads (as a visual treat great scenery plus chocolate is always hard to top!) What I wasn’t aware of as a young chocolate consumer was that that Cadbury’s (nay, almost all of the English pioneering chocolate manufacturing industry!) was a Quaker company. Cadbury’s kicked off from a small shop in Birmingham, England, in 1824, but before Cadbury’s there was Fry’s Chocolates which opened its first shop in Bristol in 1761, and after it Rowntree’s (established 1862, in York✲). All of these chocolatiers were founded by English Quakers and the companies business ethos imbued with the Quaker philosophy.

(photo courtesy of www.historyworld.co.uk)

In business by circumstance and conviction British Quakers in the 19th century not only cornered the chocolate market, they excelled in business in a multiplicity of fields, ranging from banking (Barclays, Lloyds) to biscuit manufacturing (Huntley and Palmers, Carrs) to footwear (Clarks’ Shoes) to match manufacturing (Bryant and May) [‘How did Quakers conquer the British sweet shop?’, (Peter Jackson), BBC News Magazine, 20-Jan-2010, www.bbc.com].

The circumstance that Quakers found themselves in guided their decision to embrace the world of business. As a Christian non-conformist group in a sea of English Anglicanism, adherents of the Quaker faith in the 1800s were subjected to the systematic discrimination befalling religious outsiders – exclusion from the universities (until the 1870s) meant the leading professions of medicine and law was barred to them. Naturally enough, this barrier to the industrious, go-ahead Quaker person, turned them towards business and commerce [ibid.].

The senior Cadbury ⤋


 Kings of the chocolate business ❇
The Quaker philosophy incorporates a commitment to social reform and the pursuit of justice and equality. This ethos informed their business practices, Cadbury’s and other Quaker firms established a reputation for being honest and reliable. This gave them a competitive advantage over their non-Quaker competitors. The perceived ethical nature of Quaker confectionery firms was rewarded with customer loyalty. John Cadbury and his successors were among the first to set a firm (and fair) price – this was a clear departure from the hitherto customary retail practice of point-of-sale price bartering [ibid.]✥.

Cocoa the health drink
Founder Cadbury started off mainly selling cocoa drinks (solid chocolate came later)…this was borne out of 19th century social concerns – a Quaker (by definition teetotal) response to the “perceived misery and deprivation caused by alcohol” in British society (Helen Rowlands, Quaker historian)⍓. The Cadburys marketed cocoa as a cheap available drink, one that was healthy (the process involved boiling thus removing the impurities lurking in the dubious public water supplies of the day)[ibid.]☯.

Democratising cocoa and drinking chocolate Cocoa and drinking chocolate had been around in England since the 1650s but before Cadbury’s came along it had been a luxury beverage for the elite. John Cadbury’s improvements to the product gave it more varieties and made it a more palatable drink, and after the Gladstone government reduced taxes on imported cocoa beans in the mid 1850s, the cost of cocoa became within the reach of the greater majority of Britons. Cadbury’s introduction of unadulterated “cocoa essence” in the 1870s coincided with a government crackdown on the widespread adulteration of food in the UK. The upshot was free ‘plugs’ for the purer Cadbury product and a boost in fortunes for the Quaker business [‘The Story of Cadbury. Early Days – A One Man Business’, www.cadbury.com.au].


Even ‘Lancet’ was lavish in it’s praise of Cadbury’s Cocoa ⤋(photo courtesy of www.historyworld.co.uk)

Worker welfare and satisfaction a priority The Cadbury brothers (Richard and George, sons of the founder) placed an uncommon degree of emphasis on the fitness and health of their workforce (again philosophically driven by their faith). After moving their factory to a greenfields site south of Birmingham to cope with the business’ growth, George built the Bourneville village in the vicinity – this was a model village community for Cadbury’s workers – replete with schools, leisure facilities (including a lido) and parks, canteen, a carillon and its Friends meeting house. Cadbury’s employed doctors and dentists for the benefit of Bourneville employees and was among the first to pioneer pension schemes for their workforce [Jackson, loc.cit.]. The village included attractive “Arts and Crafts” style cottages in picturesque surrounds, but no pubs were permitted on the Bourneville estate⍟.The Bourneville factory ⤊

Chocolate you can eat! Cadbury Dairy Milk Richard and George’s acquisition of a new cocoa press reduced the cocoa butter content, further improving the taste of the Cadbury cocoa drink. The press also helped Cadbury’s make a breakthrough with eating chocolate in the 1890s…learning from the Swiss prototype (Nestlé), it started to create milk chocolate bars to rival those on the Continent. In 1905 Cadbury’s introduced Dairy Milk Chocolate which would go on to become it’s and the UK’s top selling chocolate bar (60% UK market share in 1936). DCM, together with Bourneville Cocoa, have established themselves as Cadbury’s two stand-out, iconic products in the history of the company [‘The Story of Cadbury’, loc.cit.; Deborah Cadbury, The Chocolate Wars: The 150-Year Rivalry Between the World’s Greatest Chocolate Makers, (2010)].

(photo courtesy of www.historyworld.co.uk)

Following success came expansion – in 1918 Cadbury’s opened a new factory in Tasmania (the first outside the UK). In 1910 Cadbury’s finally overtook J.S.Fry & Sons in chocolate and cocoa sales…Fry’s got the block of solid chocolate right before Cadbury’s but the legendary “glass and a half” merchants surged ahead in the end. [ibid.]. So much so that Cadbury’s acquired its biggest domestic rival in 1919 (giving it Fry’s top lines, ‘Chocolate Cream’ and ‘Turkish Delight’). In 1967 Cadbury’s added the Australian chocolate manufacturer MacRobertson (‘Freddo’, ‘Snack’)✴

Family Fry and partners
The Fry chocolate business was another dynastic Anglo-Quaker confectioner. The original Joseph Fry started the company in the mid Georgian period in Britain, taking on a partner, John Vaughan. Upon Fry’s death his widow Anna Fry took over the family business and the firm name changed to Anna Fry & Son. Joseph Storrs Fry succeeded her and partnered with a Dr Hunt. Storrs Fry patented a method of grinding cocoa beans using a Watt steam engine. The company then devolved to his sons, Joseph, Francis and Richard, as joint partners. Under the next generation of Frys (Joseph Storrs Fry II), the business reached its commercial pinnacle before it got absorbed into the vast Cadbury empire [‘J.S.Fry & Sons’, Wikipedia, http://en.m.wikipedia.org].

Shadowing Cadbury’s, the rise of Rowntree’s Rowntree’s, Cadbury’s other domestic rival in the sweets trade, was the creation of Henry Rowntree. Like Cadbury’s Rowntree applied Quaker principles to his business and always insisted on the best quality ingredients [‘Rowntree’s’, Wikipedia, http://en.m.wikipedia.org]. Joseph Rowntree, Henry’s brother, joined as partner in 1869, and being a staunch advocate of social reform, steered some of the firm’s profits towards his Quaker philanthropy. The company’s first big success was with ‘Fruit Pastilles’ and ‘Fruit Gums’ which allowed it to follow Cadbury’s earlier move in purchasing a Van Houten press. This enabled Rowntree’s to produce chocolate sans cocoa butter, so as to compete with Cadbury’s successful ‘Cocoa Essence’ [Robert Fitzgerald, Rowntree and the Marketing Revolution, 1862-1969, (2007)].Rowntree’s, as their rival Cadbury’s did, created a dynasty of chocolatiers, merchants, philanthropists and social reformers – succeeding sons and brothers kept the family name at the helm of the company (Joseph Rowntree Jr, Henry Issac Rowntree, John Stephenson Rowntree).

Rowntree’s later created the consumer favourites ‘Kit Kat’, ‘Aero’ and ‘Smarties’, and went on its own expansion journey, merging with the Halifax “Toffee King” Mackintosh in 1969 (which added ‘Quality Street’ and ‘Rolo’ to its product inventory). Rowntree’s (rebranded Rowntree Mackintosh Confectionery) then acquired Australian chocolate manufacturer Hoadley’s (1972) which gave RMC Hoadley’s ‘Violet Crumble’ bar.

Rowntree’s introduced the ‘Yorkie’ bar in the Seventies which put a serious dent in Cadbury Dairy Milk’s market share and contributed to Rowntree’s reaching fourth spot in the world chocolate manufacturers’ ladder by the Eighties▣. This was Rowntree’s apogee however as it’s underperforming shares saw it fall victim to a successful takeover from the Swiss giant Nestlé in 1988 [‘Rowntree’s’, op.cit.].

Nestlé’s Yorkie and a dubious sales pitch – the “Nestlé Goliath” was clearly tone deaf to the value of being inclusive when they designed this, a chocolate bar which discriminates on the grounds of gender? ⤋

A British institution undone
Cadbury’s, despite its continuing success, in 2010 suffered the same fate as Rowntree – swallowed up by another Goliath of the food business, US’ Kraft Foods (operating now as Mondelēz International). The loss of Cadbury’s, a household name in British manufacturing for 186 years, was highly controversial, causing an outcry in the UK. What was especially galling to many patriotic Brits was that Kraft had to borrow £7bn to seal the acquisition deal, and the banker brokering the financial transaction was itself British – the Royal Bank of Scotland [Deborah Cadbury, op.cit].


FN: Pseudo-Quakers
The runaway commercial success of Quaker food and confectionery companies did inevitably lead to imitation. A US food manufacturer in the 1870s introduced “Quaker Oats” to the cereal market…on the packets and in product advertising are images of a man dressed in Quaker garb, despite the US company having NO connexion with the Religious Society of Friends (Quakers) whatsoever♉. The company states that it chose the “Quaker Man” as its figurehead “because the Quaker faith projected the values of honesty, integrity, purity and strength”, [‘Quaker Oats website’, (FAQ 2009), www.quakeroats.com] (an early example of retail “identity theft’ to try to cash in commercially on the high regard Quaker businessmen were held in).

تتتتتﭢ ت ﭢ تتتتت

PostScript: Third World cocoa beans and the Quaker chocolatiers – an uncomfortable association
In the late 19th century the Cadbury brothers and other British chocolate-makers started exporting a large proportion of their cocoa beans from the islands of São Tomé and Príncipe (Portuguese West Africa)…by the turn of the century this amounted to 55% of Cadbury’s total supply of beans. Although Portugal had abolished slavery in its colonies, the rigid labour contract system which replaced left the African labourers working the plantations in a de facto slave status. This uncomfortable connexion of an ethical Quaker business to neo-slavery prompted one of the managing grandsons, William Cadbury, to commission an investigation of worker conditions in São Tomé and Príncipe in the 1900s. Cadbury eventually found an alternative source of cocoa beans (the Gold Coast) and organised a boycott of the two Portuguese plantations, but not before he had to fend off a spate of newspaper attacks on Cadbury’s alleging that it profited from the labour of slaves [‘William Cadbury, Chocolate, and Slavery in Portuguese West Africa’, (Lindsey Flewelling), 11-May-2016, https://britishandirishhistory.wordpress.com/2016/05/11/william-cadbury-chocolate-and-slavery-in-portuguese-west-africa/].

——————————————————–

(photo courtesy of www.historyworld.co.uk)

✲ the non-Quaker exception to this was Terry’s (established 1767, York, UK), famous for “Terry’s Chocolate Orange” and now owned by Kraft Foods

❇ the Quaker chocolatiers’ success was remarkably out of proportion to their numbers…with Quakers just one in fourteen out of a total UK population of 21M in 1851, they comprised >0.1% of the population [Jackson, loc.cit.]

✥ descendant and family historian Deborah Cadbury states that the Cadbury founder practiced a brand of “Quaker capitalism” that valued hard work and “wealth creation for the benefit of the workers, the local community, and society at large” [Cadbury, op.cit.]

⍓ John Cadbury had a long connexion with the Temperance Society

☯ later with the move into making chocolate bars, what gave the Quaker confectionery businesses an added edge over rival manufacturers was their preparedness to invest in new, state-of-the-art machinery [Jackson, loc.cit.]

⍟ the Cadbury village inspired the American non-Quaker Milton Hershey (a Pennsylvanian Mennonite in fact) to create his own ‘utopian’ village for his chocolate factory workers [Cadbury, op.cit.]

✴ a 1969 merger with soft drink giant Schweppes proved less enduring with the two partners demerging in 2008

▣ behind Mars, Hershey and Cadbury’s

♉ in recent years some brethren of the Quaker movement have objected to the way the company’s advertising depicts Quakers, ‘Quaker Oats Company’, Wikipedia, http://en.m.wikipedia.org]

Cinesound Studios in the 1930s and ‘40s — Striving for a Home-Grown Australian Cinema in the Early Sound Era

Posted on by E Curb Nottus
Cinema, Heritage & Conservation, Leisure activities, Local history, Memorabilia, Performing arts, Popular Culture, Travel

Cinesound is a name that resonates brightly in the history of Australia’s film industry – it harks back to a time when the indigenous industry still had a place of some significance in the pecking order of world cinema. The establishment of Cinesound Studios (in 1931) to make talking motion pictures, evolved out of a group of movie exhibiting companies (including Australasian Films and Union Theatres) which had coalesced into Greater Union Theatres in the Twenties.

In 1925 Australasian Films purchased a roller skating rink at 65 Ebley Street, Bondi Junction, in Sydney’s eastern suburbs. Australasian converted part of the premises into a film studio but maintained the skating rink as an ongoing commercial concern to help finance the studios’ film production (by day a film studio, by night a skating rink) [‘Cinesound: From roller rink to sound stage’, (Waverley Library), www.waverley.nsw.gov.au].

# 1 Studios Bondi Junction ⬇

Greater Union (henceforth GUT) was involved in all forms of the movie business – production, distribution and exhibition. The Bondi Studios made a few silent films in the late 1920s, like The Adorable Outcast and most notably The Term of His Natural Life which cost £60,000 and bombed badly at the box office [‘Cinesound Productions’, Sydney Morning Herald, 06-Aug-1934 (Trove).

Stuart F Doyle, GUT managing director, appointed former film publicist Ken G Hall as general manager of the newly formed Cinesound Productions. Two more Cinesound studio locations were opened, one at nearby Rushcutters Bay and the other at St Kilda (in Melbourne). Over an eight-year period (1932-40), with Hall at the helm as producer-director, Cinesound produced 17 feature films (16 of which were directed by Hall). The first of the sequence, On Our Selection, revolved round the adventures of one of Australian cinema’s most popular characters, Dad Rudd and his family. The film, benefiting from a new sound-recording system invented in Tasmania, was a box office triumph for Cinesound, earning £46,000 in Australia and New Zealand by the end of 1933, providing a tremendous fillip for the fledgling studios [Andrew Pike & Ross Cooper, Australian Film 1900-1977: A Guide to Feature Film Production, (1998)].

Studios # 1 at Bondi Junction※ provided a large interior space for film production, over 20,000 square feet…with more than 100 craftsmen on the staff, the facility was equipped to complete “all stages of production, processing and sound recording, in the preparation of topical, scenic, educational, industrial, and microscopic films” [SMH, 06-Aug-1934, loc.cit.]. Some newspapers of the day erroneously referred to the main studios as being #3 and the location as Waverley (an adjoining suburb of Bondi Junction).

Cinesound and Hall exploited On Our Selection’s popularity with a series of sequels, Grandad Rudd, Dad and Dave Come to Town and Dad Rudd, MP. Of these the ‘Dad and Dave’ entry especially proved a hit, matching the profitability of the original movie.

↗ Ken G Hall (centre) with American actress Helen Twelvetrees during filming of ‘Thoroughbred’ (photo: Mitchell Library)

Sydney’s ‘Little Hollywood’
While Ken G Hall’s cinematic canvas was unmistakably Australian (only one of the Cinesound movies was not set in Australia), his approach to film-making saw Hollywood clearly as the model. With the characteristic “spirit of a showman”✺, Hall wanted to shape Cinesound Studios in the Hollywood mould⊡…to create a “Little Hollywood” with a star system, hyped-up promotion of the studios’ movies, etc. [Waverley Lib, loc.cit.].

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↗ Twelvetrees outside Cinesound Studios

FT and Efftee Studios
Sydney-based Cinesound’s domestic rival in the film-making caper was Melbourne’s Efftee Studios, started by theatrical entrepreneur Frank W Thring (FT) in 1930. Thring produced the first commercially-viable sound feature-length film in Australia, Diggers (1931) in collaboration with Pat Hanna. Efftee, unlike Cinesound though, had to import the optical sound system for its movies from the USA. [‘Efftee Studios’, Wikipedia, http://en.m.wikipedia.org]. Other notable Efftee films of the Thirties include an adaption of CJ Dennis’ The Sentimental Bloke to the screen, and several George Wallace vehicles, His Royal Highness, Harmony Row and A Ticket in Tatts. Thring’s premature death in 1935 put paid to Efftee Studios’ productions.

 

⬆️ Australian cinema’s long tradition of Bushranger flicks beginning with the original 1906 feature film

The outlawing of bushranger films  
A 1930s Cinesound project for a film based on the popular Australian novel, Robbery Under Arms was quashed as it would have transgressed the standing prohibition by the NSW government (in force since 1912), banning movies about bushrangers✪ [‘Bonuses for Films’, Sydney Morning Herald, 20-Oct-1934 (Trove); ‘Bushranger ban’, Wikipedia, http://en.m.wikipedia.org].

Shirley Ann Richards: Cinesound’s contract female star  
In accordance with Ken G Hall’s star-making approach, he fostered the career of actress Shirley Ann Richards, starring her in several of his films (It Isn’t Done, Tall Timbers, Lovers and Luggers and Dad and Dave Come to Town). Richards, Cinesound’s only star under long-term contract, later emigrated to America and had a reasonably high profile Hollywood career (under the name Ann Richards).

The Kellaway brothers and Cinesound  
Alec Kellaway and his more famous brother Cecil were feature players for Hall and Cinesound. Alec was a regular performer, appearing in a raft of the studio’s movies including The Broken Melody, Mr Chedworth Steps Out and several of the Dad Rudd series. South African-born Cecil Kellaway started his acting career on the Australian stage, establishing himself first as a top Australian theatre star before appearing in two Cinesound films where his performances opened studio doors in Hollywood for him…Kellaway subsequently carved out a career as a major character actor in numerous US films.

George Wallace, Aussie “king of comedy”  
In addition to being a prominent actor in Efftee Studios musical-comedies, George Wallace was Ken G Hall’s “go-to” favourite comic performer, starring in two late 1930s Cinesound films directed by Hall – Let George Do It and Gone to the Dogs.With the outbreak of world war Cinesound called a halt on feature film production. During the war years the studios directed all energies into making newsreels, initially covering the war against Japan and beyond that on all aspects of Australiana.

Newsreel rivalry: Cinesound Vs Movietone: the focus on newsreels by Cinesound was not a novel innovation. From its outset Cinesound produced newsreels – short documentary films containing news stories and items of topical interest – in competition with the rival Fox Movietone company. The two newsreels differed in content, Cinesound concentrated on Australian only topics while Movietone covered a mix of international and national news✤.
Newsreels in Australia prior to 1956 occupied a unique place in media and communications. Before the introduction of television, cinema-goers’ exposure to newsreels (part of the “warm-up” for the main feature) were the only images Australians saw of their land – the footage of elections, natural disasters and other such events [Waverley Lib, loc.cit.]. Thus, newsreels like the Cinesound Review, with its distinctive red kangaroo symbol, were an important source of news and current affairs, and were an integral part of the cinema program [‘Cinesound Movietone Australian Newsreels’, (ASO) (Poppy De Souza), www.aso.gov.au]✙. According to Anthony Buckley, the newsreels reflected Ken G Hall’s “pride and spirited nationalism” [Buckley, A, ‘Obituary: Ken G. Hall’, The Independent (London), 17-Feb-1994].

The studios site post-Cinesound
In 1951 Cinesound sold off the Ebley Street building which became a factory manufacturing American soft drink. However, between 1956 and 1973 the building reverted to the world of visual communications, housing various film and television production companies including Ajax Films. Following that, it housed a furniture retailer. Today it is the home of a Spotlight store (fabrics and home interiors) [Waverley Lib, loc.cit.].

Ken G Hall in his autobiography contended that Cinesound Productions never lost money on any feature films. Some did very well – crime drama The Silence of Dean Maitland, for instance, for an outlay of £10,000 returned takings of more than £70,000 in Australia and the UK [Graham Shirley & Brian Adams, Australian Cinema: The First Eighty Years, (1989)]. One Cinesound movie however, strictly-speaking, probably did lose money…Roy Rene’s single venture into celluloid, Strike Me Lucky, in which ‘Mo’s’ humour, robbed of it’s spontaneity in live performance didn’t translate well to the big screen and was reflected in negative critical reviews and at the box office [Film Review: ‘Strike Me Lucky’, Sydney Morning Herald, 19-Nov-1934 (Trove)]. Despite Hall’s faith in the studios’ films, from 1937 there was a decline in box office returns (prompting GUT head Doyle to resign). Another (external) factor affecting Cinesound profitability occurred in 1938 with the passing of the Cinematograph Films Act in the UK…under this legislation Australian films no longer counted as local, their removal from the British quota meant a loss of market for Cinesound and other Australian movie producers [Waverley Lib, loc.cit.].

The war resulted in a temporary halt to Cinesound feature films, however the studios made only one more (postwar) feature film, Smithy, a biopic about pioneering aviator Charles Kingsford Smith in 1946. Another blow to Cinesound’s future prospects at this time was a move by Rank Organisation – the British film giant purchased a controlling interest in Greater Union, preferring to use it to exhibit its own UK films in Australia [‘The first wave of Australian feature film production FROM EARLY PROMISE TO FADING HOPES’, http://afcarchive.screenaustralia.gov.au].

⬆️ ‘Smithy’ star Ron Randell later pursued a career in Hollywood

Stuart Doyle’s contribution  
WWII took all the impetus out of the Australian industry, there was a shortage of performers and crew due to recruitment and conscription. Stock available for film was also in short supply, what there was directed first and foremost to making propaganda and news films in support of the allies’ side. More particular to Cinesound’s challenges, the loss of MD Stuart Doyle before the war was especially telling. Film production is high cost (especially sound which proved massively more expensive) and high risk…Hall’s ability to pursue a good number of projects in the Thirties, depended on Doyle’s willingness to take a risk with Cinesound. When he departed, he was replaced by a “risk-adverse accountant who favoured real estate over film production” [ibid.].

Footnote: Cinesound Talent School  
The Cinesound people eventually established its own talent school for young actors. Run by George Cross and Alec Kellaway (a regular player in Cinesound movies)…offering training in “deportment, enunciation, miming, microphone technique and limbering”✥. By 1940 the school had had over 200 students including Grant Taylor, later a prominent actor in Australian movies and TV dramas [‘Cinesound Talent School, SMH, 02-Feb-1939, (Trove); Cinesound Productions’, Wiki, op.cit.].

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※ In 2002 GUT merged with Village Roadshow, these days Greater Union picture theatres go under the name ‘Event Cinemas’

✺ a trait shared by Greater Union boss Doyle
⊡ the company even closed down production at Bondi for several months in 1935 to let Hall go off to Hollywood to study American film techniques

✪ the state authorities felt that the popularity of the bushranger film genre would exert an ‘unhealthy’ influence on Australians, especially on the young, and make them more resistant to authority

✤ the two newsreel providers merged in 1970, forming the Australian Movie Magazine which folded in 1975

✙ the 1978 film drama Newsfront is a fictionalised account of newsreel makers in Australia between the late Forties and mid Fifties which includes actual newsreel footage from the period

✥ school director Kellaway’s brief was teaching dramatics and mic technique