A Hard Day In Melbourne Town

Today has been a hard day for all Melbournians after a difficult week, with the discovery of Jill Meagher's body and then the arrest of someone in relation to her death in the wee small hours this morning.

Jill Meagher

Social media, local radio and TV has been full of the events and everyone's reactions, grief and shock.  To be killed just 200 metres from your door, in your neighbourhood, in an inner city suburb of Melbourne that everyone knows so well, makes the danger very immediate and very personal.  Yes, we know this was a random attack and more unusual than usual, but it still strikes at your heart.

In terms of the vilification of the man arrested, that's just disappointing. From a position of humanity not to mention legality.


Here's a bit of a different angle.  When my brother was killed he was riding a bike and was knocked down by a P Plate drunk driver who was  pimply and 18 years old. He was convicted and got 8 years in prison.  Before all those outcomes, amidst her grief, my mum called the mother of the arrested guy a few days after the incident. She wanted to give support to the mother who's son was now being jailed and going to court.  She put herself in the place of that person and empathised with her. What would it be like knowing a child of yours had killed someone? What would it be like to be the 18 year old? Drunk, driving, feeling invincible and then, spalt.  You've killed a 7 year old boy on a bike.

I learnt about empathy from my mother at that time. I learnt that no matter what has happened, there are contexts and circumstances for everyone that deserve respectful behaviour and treatment.   Everyone was heartbroken. It just came down to that.

Today, vilifying the accused does not help Jill, her family, the court case or the family of the accused.  I fully believe that if found guilty he should pay for his crime. I'm not defending him in any way. Everyone is answerable for their actions. However, I will leave judgements to others and the comments to the judge. I'm not defending him, I simply think we shouldn't stoop to that kind of behaviour.

On another note, it is a relief that we're shocked by this. It does not happen so often in our lovely city that people accept and ignore a sudden death like this.  One time a friend from Los Angeles was staying  with me and there was a shooting in the city which was looped and looped on the news. He was puzzled as to why it was even covered at all, given no-one died. Yes, I take the point from Catherine Deveny that we should the small things more often than we do. Of which there are many.

I think apologies are also due to the chap listed in the phone book with the same initial as the accused who has received abusive phone calls all day today.   Oops.  Years ago our family phone number was only one digit different to that of Maritza and Mathew Wales of the "Society Murders".   The spitting hatred of callers was cut short and turned to sheer embarrassment when they were told they had the wrong number...

All of our thoughts are with Jill's family and friends and her colleagues at the ABC.  Despite the last week, this is still a wonderful city. For Jill's memory and for her family, let's all be gentle with eachother.

The Interment Adventures of Ned and Dick

Who would think that Richard III and Ned Kelly might have something in common?

Well, they've both had their remains dug up and (almost) identified. In turn, the questions arise regards where their respective final resting places should be.  I've been following this issue with Ned Kelly, and now it seems it could be Richard III's turn.

Grave of Red Kelly, Neds Father

 Even in these early hours after the release of some detail about the possible bones of Richard III, the physical evidence may be seem to support a positive ID.  But you can't say the spine shape or the hole in the head proves identity. That's madness.  Possible scoliosis with one shoulder heavier, stronger and perhaps higher than the other might have everything to do with shooting 10 arrows per minute or wielding heavy weapons on a regular basis. And how much of that stuff did a King in battle really do?  Don't ask me, I have no idea, but I'm sure there is a lot to consider.  

No I'm not suggesting the skeleton is an archer or any other person. I'm just saying it might not be as cut and dry as it seems. That's why the DNA analysis will be the confirming factor.

The skeleton that turned out to be Ned Kellys also had physical markings consistent with those sustained by Ned through his lifetime and the showdown at Glenrowan.  Again, any nineteenth century convict bushman might have similar markings of a hard life. It was only mitochondrial DNA that identified the famous bushrangers remains beyond doubt. The comparison sample was taken from 4 generations on (Leigh Oliver is Ned's sisters great grandson).    In the case of Richard III the comparison sample goes back 17 generations  and they were also fortunate to find a maternal mitochondrial descendant (Michael Ibsen, descended from Richard III's sister, Anne of York). 

Regarding the final interrment of the bones, the Kelly descendants wishes were paramount. There were literally hundreds of relations; some had to be found and then there was a big reunion to discuss the issues.

For Richard, going back 500 years, that's a lot of  research and a lot of relatives to consult.  For a Plantagenet King from 500 years ago, I'm sure others decide.  At the moment it seems to be more a national and historiographic issue than a family one.  One assumes that Richard III would have had a funeral, albeit a modest one when they buried him at Greyfriars. Is there a need for another? Would not a simple interment be appropriate?

The good news about Kelly is that no more will his bones be amusements for museum visitors. It's interesting that the court had to pass a law to deem it so.  Surely no museum in its right mind would display Neds remains in that context these days? Perhaps I'm utterly naive.

On such issues it's interesting that the Australian footage of Kellys dig allows the bones to be seen, photographed etc in situ, but that was not the case with the UK footage of Richard III,  despite us being used to it on Time Team every night at 6pm.  I'm not sure what prompted that censorship. There would be nothing gory about the bones and it strikes me that there are so many on public view at the British Museums (for instance)  that one comes across haphazardly already.  Perhaps it's different at the in-the-ground stage or simply was a cautionary measure.   Maybe his being such a famous figure makes the difference. I'm not sure. 

Screen of Kings at York Minster. Richard III is 4th from R.

But I digress.  I hope that Richard or whoever has been find, comes to rest in a suitable spot. If it is indeed Richard the following have been suggested:

* Leicester Cathedral - as he wished it (some say)

* York Minster - as he also seemed to wish it (others say)

* Westminster Abbey - to join his wife

* Fotheringay Cathedral - to join his parents.

Regardless of the outcome there are a few more mysteries to solve; discussions to be had.  As you can imagine, the plethora of suggestions, assumptions have already begun. There's even been the suggestion of a full royal State Funeral at Westminster Abbey.  As I've already said, he would have been given a funeral at the time of the burial in the friary. You don't inter a body in such a prominent spot without doing so and Mr Buckley the project archeologist has said:  "Richard III was buried in the parish in good faith and there's no reason why he should be moved".  Hmm. That won't stop them.

While it is just beginning for Richard III I'm very happy that  most of poor Ned is being buried at last.  May his skull join the rest of him in the future.

Further Reading:

ABC on Neds Burial
The Spectator on Richards Burial
Other Kings Who did not Rest In Peace
Greyfriars Skeleton Revealed 

Can You Imagine It? They Found the Last Plantagenet!

Richard III

I have said already a couple of times that archeologists do not call press conferences for no reason, when they're not sure. I'm sure they're not sure most of the time.

So when the Richard III Dig folks from the University of Leicester Archeology Dpt called a press conference, everyone jumped up (or rather, jumped on.. line) and listened.

Via a live webcast from the BBC,  the panel explained the digging area on the old site of the Greyfriars Church, where it was rumoured King Richard III had been buried.  The site has been researched and found under a car park in Leicester.

Tacky but clever  info panels at the RIII Museum York. 

From there they explained the finds, and then talked through some compelling clues regarding the full male skeleton they've discovered. A head injury. An arrow in the spine. An extreme case of scoliosis.  A raised shoulder, but no hunch. A burial position within the church in a prime position by the quire.

Tests are yet to be done, but this is  quite possibly Richard III, killed at the Battle of Bosworth Field (22/08/1485). The battle was won of course by little known Henry Tudor who was crowned as Henry VII.  And so the Tudor dynasty commenced...

If this this is the skeleton of Richard III that would be tremendously exciting. It would give history some answers to his physicality and answer the long debate regarding the hunch and other physical characteristics, mostly now doubted to be true.

There are lots of them....

What it will not give light to are the details of his life, his thoughts, deliberations, character or deeds. It won't solve the ever overhanging shadow regarding the disappearance of the Princes in the Tower.

If this is not Richard III, who is it?
Who is the woman buried close by?

It may have happened hundreds of years ago, but there is still so much more to discover.  Tonight many historians are punching the air.  We hope indeed that they have found Richard III and have proven Shakespeare to be a great entertainer and writer embellishing the truth, but not the historian which some mistake him for.

Cue the song and the sketch:


                   Jim Howick as Richard III

                                                                  
                                                                                   With Mat Baynton as Shakespeare


The context in which this puts the "tudor propaganda" will be interesting.  There are lots of "ifs" here but had Richard had extreme scoliosis, then it could be a win/win situation.  Richard III could be no hunchback but nor did More and Shakespeare simply make it all up. We'll see....


Further Reading:

Background

Big click here for report from University of Leicester Archeology Search For Richard
Big click here for update from "Current Archeology"
Big click here for more detail on the dig and evidence via the BBC


For commentary and thoughts:

Big click here for Greg Jenners excitement and sensible perspective.

Autumn Leaves and Architecture of the 'Hood

Earlier in the year I rummaged in the drawer, found my camera, purchased a new battery for it, resurrected it from the dust and went out into a beautiful May autumn day and familiarised myself with it all over again.  Here are some shots around and about my local Seddon streets from then, in autumn.

Decoratieve Fretwork on the Federation Cottages

In the area the houses are a mix of Victorian, Federation/Edwardian and more modern. Many of the houses were built as workers cottages between 1885 - 1910 and have been renovated and/or restored in the last fifteen years.  They're very pretty boxes all in a row taking on the look of a set of little dolls houses.  The fretwork or lacework trim in the earlier periods was cast iron and later, wooden, as seen here.  Although some of the houses are brick, the majority are timber.

An Old Edwardian Dame

As yet un-restored and in "original condition". The lacework is wrought iron, not the reproduction aluminium stuff.  Note the block weatherboard, which I believe to be an imitation of stone. It's all wood. The blocks are on strips that slide into each other, locking together in rows. These days they reproduce them to look the same but as block pieces nailed on board. The edge of the blocks is 3-5mm and they're a *%$^$#@ pain to sand and paint. You have to get all around and in between the blocks. Also note the speckled chimney matching the cable and chimney pots (unusual in Aus.)

REALLY WEIRD!

 OK, here is a really perculiar renovation that stopped me in my tracks. It's a double fronted, block weatherboard Victorian house. Lovely lace work, and the've gone to great pains to paint the details in contrast; i.e. highlighting small detailed trim above the lacework and below the roofline in Indian Red. Very typical of the area. But they've re-located the main entrance from the front to the side, filling the space with bock weatherboard.  It looks really odd. That's all I'm sayin'.

Stone Chimneys

There are a mix of european and native trees in the surrounding streets. In fact the natives took over the roads and pulled up the pavement and many have been replaced.  The European trees have struggled through the summer, dropping leaves in the drought. Now that true autumn has come there is a wonderful  vista of gold and red.  Unlike in their native climes, the European trees do not lie dormant in winter. It does not get cold enough. So they grow all year.

Meeting The Bell Boys

Hand Bells

On a sunny August afternoon, filled with anticipation, I wandered into the Whitechapel Bell Foundry, finally visiting after years of wanting to.  It has been one of those things in the back of my mind. "Go to the Whitechapel Foundry".

Walking into the workshop is a step back in time to the world of pre-mechinisaiton. 
A return to the world of the blacksmiths, ironworks, and master craftsmanship where things were hand made, individually item by item. In this case, the making and repair of bells. The foundry was established in 1570, however bell making in the area goes back further still to 1420.  Their history is worth reading here. Now, they're one of only two bell foundries remaining within the UK.

On the "tour" I simply wandered through the foundry from one worker to the next.  They each paused at their work and told me me what they did, the context of their task within the whole process of a particular job and just had a general chat.  It was on a very personal and individual level and the love and enthusiasm these men have for their job and the foundry is inspiring. Everyone does everything. It's not a factory line where people only do one thing.

The introductory DVD (aimed at kids and well explained) had covered the "how to make a bell 101" at the beginning, so on meeting everyone the conversations could go deeper and I was tuned in to the environment. It's a good introduction to set the scene, given not many people will have been in a foundry before.

The first thing I should say is that they're very busy. There are thousands of bells around the UK still in use, needing repairing and adjusting, and then there is the commission of new bells; the jubilee bells and olympic bell (cast in holland as a bigger factory area was required) are just two they've done of late.    I get the feeling this year has been particularly hectic.

Casting

The Whitechapel Bell foundries most famous bell is of course Big Ben, then the runner up to that the  Liberty bell in the USA.   What they are lesser known for is the sets of handbells, and tower bells, other commissions and quiet day to day work that has kept people employed there for hundreds of years.




The moulds for the bells are still made the good old medieval way, from clay, cow dung and horse hair, mixed to make "moulding loam". The moulding and casting process is quickly explained here, but go to the foundry and see it all there, is my recommendation.

Carillon in the Rain

The lovely Scotsman there told me that he never signs his work, but when they made the Olympic bell he did sign it underneath because he wanted to say he was in the olympics! I thought it was a shame the bells aren't signed.  "So historians will never know who made all but one of your bells. Your oeuvre will be a single bell. Sign your work!" He paused and said quietly "Never thought of that".


Tower bells, hand bells, small bells, enormous bells, carillons, full sets, sub sets, casts, rigging, pulleys, timber frames and stands litter the workshop. One worker (sorry, I didn't get names..!)  who showed me the handbells he was working on said he recognised them when they came in. He'd made them. They were in for repair where the leather attaches. Not the bell itself he hastily added. That (naturally) needed no repair. It was fine and will last for centuries.

Tuning a Bell by Laser

Here, a bell is being tuned by honing annular rings on the inside.  5 notes are tuned within the bell to produce the desired strike note, its tone and quality as well as pitch. Within the bell each note can be individually struck by demonstration but in its ringing lifetime, once in the bell tower, unseen and rarely handled, it's the strikenote that will sound.

Despite the fancy electronic tuning equipment, I asked "So ultimately, at the end of the day, what do you tune to?" Given the longevity of the craft, the answer was predictable and instant. "At the end of he day I tune manually. It has to sound right to the ear" And it did.

Back in the day, tuning was done by chipping off the edge of the bell rather than honing. I'm told you can flatten a little bit but there's not too much scope for error. It needs to be accurate.

Set of Tower Bells from Ecclesfield

To the left you can see the chipping on the edge of the bell from tuning hundreds of years ago. This set of bells from High Wycombe date from 1633.


It was a privallage to listen to these men speak so passionatley  about their bells, their work, the echoes of their work through the centuries - quite literally- and the pure pleasure and pride they take. News items are updated on their website and you can read about a number of their activities and events, including making the Jubilee Bells, 150th anniversary of Big Ben and the "All the Bells" project for the olympics, here. Time for some noise? An interactive from The Guardian.  Talking to the workers at the foundry, one is also a piano tuner, another a maker of bagpipes. I came away with the feeling that these men are both blacksmiths and musical engineers.



Bells have long rung in births, deaths, marriages, war, celebration, worship, liberty, and simple art of  telling the time for centuries. Bells are the voice of a community to call them together or express warning,  joy or sorrow.  May the whitechapel bell boys ring on.

The Bell Boys

Un Ballo Maschero

I went for a Sunday jaunt around the NGV yesterday.  I DO want to see Napoleon, Revolution to Empire, but not amongst the weekend crowds, and for that matter not amongst the weekday school groups. (Hmm. I'd better pick my time carefully)

The jewel of yesterday was coming across a film installation in the European art gallery, James Fairfax room.

Un Ballo Maschero (A Masked ball) is a lively film interpretation of the assassination in 1792 of King Gustav III of Sweden, the event which inspired the Verdi opera of same name and indeed the film The Cook, The Thief, His Wife and her Lover.

Un Ballo Maschero is a contemporary dance piece, it's an assassination, its a social and political commentary with a homoerotic subsection (my interpretation). It's beautiful, elegant, theatrical and dramatic. The costumes are in the classic styles of 18th Cent. evening dress, however, the costume fabrics are vibrant and patterned with bright orange and reds, contrasted with greens and blues. The amazing colours struck me as quite African.

In fact the artist, Yinka Shonibare is British-Nigerian so that made sense. Read an interview with him on the work and the Crossing Overs project here.

The choreography combined contemporary dance with traditional courtly dance lines and movements of the time, balancing the contemporary and the historical referencing. At times I was reminded of the mood and choreography of  The Knights Tale. But this is more subtle.

If you're at the National Gallery of Victoria let me encourage you to go beyond the blockbuster experience, explore the gallery further and seek out Un Ballo Maschero.   I would suggest this viewing is a lovely contextual finish to your visit if seeing  Napoleon, Revolution to Empire.  

In the meantime we all welcome Tony Ellwood back to the NGV, taking up his position of Director this week.

Instrumentation and Arranging for the Radio and Dance Orchestra by Norman Ellis

I found this wonderful volume in a bookshop yesterday whilst going for walk on a glorious Saturday wintery morning.

Norman Ellis was a musician who arranged for and worked with the prime swing musicians of New York in the 1930's including Benny Goodman, Billi Holiday and Bunny Benigan.  His "Instrumentation and Arranging for the Radio and Dance Orchestra" was released in 1936. It has many fascinatng passages and by way of example here is an extract from the introduction.  As you read  remember that this music was already spreading world wide.  Artists from Harlem were already touring Europe and Australia and World War II with the GIs (over paid, over sexed and over here) was all about to happen...

 Today popular dance music embodies two distinct styles of writing: the smooth "Sweet" style which bears the influence of pure romantic classical music; not of the polyphonic school, and the "hot" or "swing" style which is a refinement of the cacophonic forms previously used in "Dixieland" renditions and is quasi-polyphonic in character due to the partical obsrvance of the laws of harmony and counterpoint.  I might add that "Jam" sessions, a revivial of the "Dixieland" style, have become popular but, like any other fad, I believe that they are apt to be merely transitory.

 The arranger now holds a very important place in the dance music field.  In many cases it is the arranger who sets the style of a band, the orchestra leader merely carrying out the arrangers ideas.  To fit the wide and varied demands upon his services, the arranger must be a musician equipped with a thorough knowledge of harmony and must be trained in the classical forms of music.  The competitive standards reached today have made it necessary for the arranger to explore his mind in search of new ideas and effects as did the old masters.  The resulting efforts have most certainly taxed the musicinaship of all dance instrumentalists.


The dance musician has reached a high level in execution and when compared to the serious mucisian he stands in a very favourable light.  An interesting point, I might add here, is the strange way in which the serious musician attacks a popular number; he is obsessed with the idea that to produce a jazz effect every rule of music has to be broken, whereas this is not the situation at all.  Moreover a "so-called good musician" is many times found to be lacking in creative ability (a requirement absolutely necessary for a dance musician for "ad lib" purposes) and in the ability to produce a sweet legato tone required for the performance of solo work in a sweet dance arrangement.  Also, many of the serious musicians are not of a sufficiently flexible mind to execute the more intricate dance rhythms which are by all means theoretically correct and not at all difficult to perform.  It s a known fact that a Trombonist from the dance field had to be called upon to execute a passage in the high regsiter of the Trombone at a performance of a leading symphony orchestra due to the inability of the symphony Trombonists to execute this particualr type of work, an American creation of jazz.  I do wish to state, however, that full respect must be given to the serious musicians for their fine executrion and interpreation of the master works.

 While jazz was incubating, it is true that dance musicians were mostly all, with rare exception, illiterate and untrained and the writers themselves were lacking in the elementary knowledge of melody writing and composition, not to mention the higher forms of writing.  It is principally for this reason that many people today still fail to recognise the unquestionable merits of modern dance muisc now developed to a degree easily compared in many instances with some of the master works, a statment which no doubt will recieve wide criticism from many.  Allow me to state at this point that my musical background as a pianist and an arranger has been crowded with the study of all the master works under many famous teachers and it is therefore without termerity that I venture to make this statement.

 A truly wonderful service has been rendered by jazz to music generally. The range of many wind instruments has been extended.  Also, the creation of many types of mutes for the Brass has enabled the instrumentalists to produce many tone color effects of beauty and has made possible the blending of Brass instruments with Violins and Woodwind, heretofore not accomplished successfully.  A smooth legato style has also been developed on the Trombone.

 The requirements and responsibilities of future arrangers will be increased more and more due to the rapid advancement being made in the dance music profession and the demands upon the arranger will be very similar as those in previous years of the trained composer. There is no limit to the fine developmnet of American popular dance music and its subsequent influence on the newer forms of classic music.

Norman Ellis, 1936