Sydney’s Long-vanished Iconic Boxing Stadiums

Posted on by funambulator@live.com
Inter-ethnic relations, Leisure activities, Local history, Memorabilia, Music history, Popular Culture, Sport, Sports history
𝔉𝔦𝔤𝔥𝔱 𝔭𝔬𝔰𝔱𝔢𝔯 ~ 𝔭𝔯𝔢𝔰𝔞𝔤𝔦𝔫𝔤 𝔞 𝔰𝔶𝔪𝔟𝔬𝔩𝔦𝔠 𝔭𝔬𝔴𝔢𝔯 𝔰𝔥𝔦𝔣𝔱

Any 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?
ᗝ 𝔚𝔯𝔢𝔰𝔱𝔩𝔦𝔫𝔤 𝔞𝔱 𝔏𝔢𝔦𝔠𝔥𝔥𝔞𝔯𝔡𝔱 𝔖𝔱𝔞𝔡𝔦𝔲𝔪, 1936 (𝔖𝔬𝔲𝔯𝔠𝔢: 𝔖𝔱𝔞𝔱𝔢 𝔏𝔦𝔟 𝔬𝔣 𝔑𝔖𝔚
ஓ๑ஓ

‘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

ஓ๑ஓ

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

Liverpool’s Most (In)famous Phantom Resident

Posted on by Sloane Snodgrasse
Regional History

There’s nothing like unearthing a hitherto unsuspected and improbable sounding historical connexion to give a boost to a city’s tourist industry. In the case of Liverpool, UK—the city that the Beatles, the Mop-Top “Fab Four”, launched onto centre-stage on the world’s pop culture map—that nexus may not be an altogether welcome one if it connects it to the most reviled political figure of the 20th century.

(Image: www.lonelyplanet.com)

One story that has been quietly doing the rounds of England since the early 1970s is that Adolf Hitler—long before his elevation to German führer and his failed shot at world domination in the 1930s and 40s—visited Liverpool and spent several months in the city during his formative years. The myth of Hitler’s visit has sustained itself over the years and even found favour with some Liverpudlians despite the complete paucity of proof to support any such claim.

Alois Hitler ⇧

What we do know with some certainty
Adolf’s elder half-brother Alois Hitler visits Dublin in the early 1900s where he meets a young Irish woman, Bridget Dowling. They elope to London, marry and move to the Merseyside city in search of work. Alois lives in Liverpool between 1911 and 1914. A son is born in Liverpool (William Patrick Hitler, 1911). The evidence for this primarily comes from the city census of 2011, Alois Hitler is listed on the residential register – although the register records his first name as ‘Anton’. The Hitlers live at 102 Upper Stanhope Street, Toxteth, L8 1UN (a suburb of Liverpool). One degree of separation to AH, definitely, but so far nothing that places the Nazi mass-murderer in person in the city of Liverpool.

(Source: www.dailymail.co.uk)

Adolf gets Merseyside?
It is Hitler’s sister-in-law that draws the dots between Adolf in Upper Austria and the family in Liverpool. In the late Thirties, Bridget Hitler, long-parted from Alois and no longer domiciled in Liverpool, writes her (unpublished) memoirs which recounts a stay by young Aldolf with her family in the Upper Stanhope Street home⌖ (supposedly between November 1912 and April 1913). Bridget’s revelation was the first time anyone had an inkling that Hitler had ever been to Liverpool or England. There was nothing on the public record and no one else has ever corroborated Bridget’s claim [‘Adolf Hitler Liverpool links discussed again in new TV documentary’, Liverpool Echo, 08-May-2003. www.liverpoolecho.co.uk].

Hitler’s alleged Liverpool holiday only comes to light and reaches a wider audience after historian Robert Payne discovers Bridget’s unfinished manuscript in the New York Public Library while researching his own book on Hitler in the early 1970s. The claim gets taken up by Liverpool’s daily papers…in particular editor Mike Unger runs the story hard, in 1979 he edits Bridget’s book and publishes it as The Memoirs of Bridget Hitler [‘Hitler, 23, fled to Liverpool to avoid service in Austrian army’, (JohnThomas Didymus), Digital Journal, 26-Nov-2011, www.digitaljournal.com]

Draft-dodger führer?
In her memoirs Bridget explains Adolf’s reason for coming to Liverpool as an attempt to avoid being conscripted into the Austrian army (unsurprisingly Bridget’s portrayal of her brother-in-law is not a flattering one)◘. Another theory for the unexpected visit is that Hitler, a “wanna-be” artist, is on the rebound—having been rejected from art schools in Austria—and travels to Liverpool as its a city known for its artists and art schools [‘Hitler Living in Liverpool’, The History of Liverpool, www.historyofliverpool.com].

Hitler, Liverpool man-about-town
Lots of wild and occasional wacky tales have been told about Hitler’s time in Liverpool. People come out of the woodwork with anecdotes about supposed Merseyside encounters their great-grandparents had with the future German reichkánzler. The myths abound, Hitler is ‘remembered’ drinking at Peter Kavanagh’s Egerton Street pub and barracking for “his team” Everton at Goodisall Park, or alternately some have depicted him as a ‘Kopite’ (a fan of rival Liverpool FC); he gets banned from the Walker Art Gallery; the Liverpool ice rink at Wavertree keeps a pair of his skating boots on display, etc [‘Did Hitler ever visit Liverpool, and if so, why?’ (Notes and Queries), The Guardian, www.theguardian.com]. As Prof Frank McDonough observes, for many Liverpudlians it seems “the fiction is much more interesting” (‘Hitler Liverpool links’).

(Source: www.irishcentral.com)

Fanciful rather than factual
Though the Liverpool Echo is sympathetic to Frau Hitler’s account, most serious scholars reject the claims about her brother-in-law’s Liverpool sojourn as pure fabrication, flimsily-written and without foundation. Others attribute Bridget’s motives to an opportunist scheme by her and her son to cash in on the Hitler phenomenon (see also Endnote) [‘Brigid and Willy Hitler: The Nazi dictator’s Irish family who tried to make money off his rise to power, (Rachael O’Connor), The Irish Post, 05-Sep-2019, www.irishpost.com]. Refuting Bridget’s tenuous claims that Adolf spend 1912-13 (Hitler’s so-called “lost year”) in Liverpool, Third Reich historian Ian Kershaw places Hitler instead in a Viennese men’s hostel during the same time period [‘Your Story: Adolf Hitler – did he visit Liverpool during 1912-13?’, Legacies – Liverpool, (M W Royden), www.bbc.com].

⇩ Bridget and William

Endnote: Hitler’s scouser nephew
Whether or not Hitler ever made it to Liverpool, we do know that he had significant interactions with his nephew (more precisely half-nephew) in Nazi Germany. William travelled there after Hitler’s acquisition of power hoping (as his mother did before him) to exploit the family name and his connexions to his advantage in the Third Reich. The relationship between führer and scouser nephew however is a tempestuous one. William is unhappy with the cushy job Hitler arranges for him and the latter in turn becomes disaffected with his “loathsome nephew”. In the late 1930s William returns to England where he does an about-face, denouncing uncle Adolf. Next William moves to the US where, accompanied by his mother, he tours the country giving ‘insider’ lectures about his “madman uncle”. When America enters the world war William enlists in the navy and serves in the fight against Nazism. After the war mother and son change tack once again… changing their name to “Stuart-Houston” they turn their back on a life of publicity-seeking and disappear without trace into Long Island (NY) suburbia [‘Hitler’s Irish Nephew’, Dublin City Council, 19-Jun-2020, www.dublincity.ie].⇧ Hitler and his ‘renegade’ enemy nephew

PostScript: The fake Hitler jottings
The “Hitler in Liverpool” saga is a little reminiscent of a later, much more famous deception also purporting to shed new light on Hitler, the Hitler Diaries controversy of the early 1980s. The ‘discovery’ of hitherto unknown diaries of the führer was ultimately exposed as a hoax (perpetrated by a small-time, recidivist “con man” from East Germany)⊠, but only after West Germany’s Stern magazine and Murdoch’s The Sunday Times both got badly burned in their avaricious haste to try to capitalise big-time on the story scoop. The diary forgeries claimed a further victim in Hitler expert Prof Hugh Trevor-Roper whose reputation gets irreparably impaired by him prematurely authenticating the diaries as being the genuine Hitler article before a proper analysis of the documents is carried out.

_____________________________________________
⌖ ironically the Hitler house gets flattened in a German bombing raid during WWII

◘  Bridget takes the credit in her memoirs for suggesting to Hitler that he trim his moustache to the iconic style he is famous for, and for fostering his interest in astrology

◍ the circulation of fake photos showing Adolf Hitler standing in front of well-known Liverpool landmarks are part of the myth-making

⊠ described by handwriting expert Kenneth W Rendell as “bad forgeries but a great hoax”

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)

A 1960s Juvenile Reader: Classic British Comic Strips and ‘Just William’

Posted on by Bonza Rottwheeler
Literary & Linguistics, Media & Communications, Memorabilia, Popular Culture

As a counterweight to the surfeit of 1960s American television that comprised a large slice of my diet of home entertainment, my juvenile literary tastes back then were decidedly more Anglophile. Plunging into the graphic art world of the 1960s comic book I digested everything I came across catering for adrenalin-pumping, red-blooded British boys.

Desperate Dan, ‘The Dandy’

Among these beacons of popular culture were The Beano (which starred Dennis the Menace and Gnasher), The Dandy❈ (featuring Korky the Cat and Desperate Dan), Knockout (Billy Bunter), The Hotspur, The Rover (these two papers were prime examples of the “Boys’ Own Adventure” style of stories) and Eagle with its centrepiece inter-galactic hero ‘Dan Dare, Pilot of the Future’, not to forget Tiger which catered for British schoolboy football mania with the stellar-booted striker ‘Roy of the Rovers’. The individual comics were grouse fun but what I most enjoyed was the comic book annuals of The Beano, etc., where I could indulge myself in reading a whole end-of-year book comprising a cross-section of the comic’s different strips⚀.

At primary school in the sixties the punitive powers-that-be weren’t all that rapt in comic books as reading material…my confiscated copy of ‘Dennis the Menace Bumper Comic’ (before I had a chance to read hardly any of it!) bore witness to that. From what was on offer in the school library, the one children’s book I did take a shine to was Just William, I should say series of books because there 38 (some sources say 39) ‘William’ books in all! All of the books were collections of short stories, with the exception of one in novel form.

Author Richmal Crompton

Just William was the creation of female English author Richmal Crompton (Lamburn). As a child feverishly devouring all the William books I shared with the overwhelming bulk of readers the uncritical assumption that Richmal was a man. How wrong were we all!!! Miss Lamburn was a school mistress (ironically – in an all-girls school!) who contracted polio and spent the rest of her life writing the William series of books as well as 41 adult novels❦.

The character of William (surname: Brown) was apparently based on Richmal’s young nephew Tommy…in the books William is scruffy and untidy in appearance, and given to directness, rebellion and straight talking – which sometimes lands him in strife. He is the leader of his own small gang of school friends who go by the name of “The Outlaws” (comprising his best friend Ginger as well as two other boys, Henry and Douglas). William is 11, an age he stays at, despite the series of books stretching over a period of nearly 50 years! [‘Just William’, Wikipedia entry]

‘William the Dictator’ (1938)

Most of the books follow the ordinary run of events of William and the Outlaws entangling themselves in minor mischiefs, usually involving nothing worse than the ill-conceived idea of painting a terrier blue! But occasionally William strayed into more edgy and outright polemical territory. In the short story ‘William and the Nasties’¤ William’s band emulate Hitler and his fellow National Socialists in order to terrorise a local Jewish sweet-shop owner (featuring in the 1935 collection William the Detective [‘Five Fascinating Facts about Just William’, www.interestingliterature.com].

Just William’s topicality
A good number of the Just William books regularly reflected current events of their day. William the Conqueror (published in 1926) was resonant of European colonial power imperialism leading up to WWI. William The Dictator (1938) reflected the world’s concern with fascism and National Socialism. Similarly, William and the Evacuees (appearing in 1940) was set against the backdrop of WWII. In the post-war period, the superpowers’ preoccupation with the space race inspired new books like William and the Moon Rocket (1954) and William and the Space Animal (1956) [‘Just William’, Wikipedia entry].

Just William book spin-offs
With such popularity that the Just William books attained (12 million sales in the UK alone), they inevitably flowed through to adaptation to other forms – cinema (three films in the 1940s), two television series (one in the mid-1950s and the other in the early 1960s), radio and even theatre. As well, the schoolboy hero spawned a host of Just William merchandise…from jigsaws and board games to cigarette cards, magic painting books and figurines of William [‘Richmal Crompton’s Just William Society’, www.justwilliam.co.uk]

Celebrity fandom: Lennon as William
Some time after the Beatles visited Australasia in 1964 at the height of “Mop-top mania”, I remember hearing that John Lennon had been a fan of the fictional William in his boyhood. Lennon’s devotion to the books prompted him to form his own, real-life version of the Outlaws, moulding his friends Ivy, Nigel and Pete into a Liverpudlian boy foursome. With John of course as leader, the boys engaged in “small acts of defiance and daring” on their local turf [J Edmondson, John Lennon: A Biography (2010)]. The revelation that I had been propelled into the stratospheric company of such a youth icon as Beatle John, only served to magnify my primary school days zeal for all things William Brown!

PostScript: Continental comic book legends
My childhood taste in comics were not exclusively confined to the gold standard of British comics. Like millions of other children I was also captivated by those ancient Gallic tormentors of Roman legionnaires, Asterix and Obelix (Astérix le Gaulois by Goscinny and Uderzo). In equal measure I was in the thrall of Tintin, Hergé’s creation of a globe-roaming Belgian boy-reporter. Each comic album of The Adventures of Tintin was a lesson in political geography embroiling Tintin in high-stakes adventures in a new and exotic land. But as rewarding as the respective adventures of Asterix and Tintin were, in my book nothing quite scaled the same exalted heights of anticipation as did the prospect of dipping into the treasure trove of Just William’s world.

╼╾╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼╾╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼╼╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼╾
❈ The originals The Beano and The Dandy were of course far superior to the highly derivative and latter imitations like The Topper and Beezer and Cor!!
⚀ not to be overshadowed, schoolgirls had their own comics and annuals such as Bunty and School Friend Annual
❦ the most accomplished of which was Leadon Hill. The tone of the adult novels was more pessimistic than the Just William series, dealing with themes of divorce and infidelity [Danuta Keen, ‘Not Just William: Richmal Crompton’s adult fiction republished’, The Guardian, 21-Apr-2017]
¤ the name ‘Nasties’ is the result of William’s mishearing of the word ‘Nazis’