Showing posts with label New England culture. Show all posts
Showing posts with label New England culture. Show all posts

Friday, December 18, 2015

New England Australia Film - entry page

Photo: Christopher Horsey, Adam Garcia, Matt Lee and Lee McDonald in Fox Searchlight's Bootmen (and here, here), a New England film released in Australia October 2000.

One of the difficulties we face in not having our own New England Government is that there is no mechanism to promote the film industry in New England.

In saying this, I am not saying that New England can have its own unique film industry. That would be just plain silly at a time when the Australian film industry as a whole is still struggling to establish a viable commercial identity. However, a New England Government could do two things.

First, it could facilitate film making, including the use of New England locations. That way, we get at least a small slice of the pie.

Secondly, it could ensure that New England people at least have some access to visual material set in or about their own area. This is totally lacking at the present time. New Englanders have no idea as to what films have in fact been made in their own backyard.

As a first step in addressing this gap, I am establishing this page as an entry page for posts about New England films.

The Films

1949. Sons of Mathew. This Charles Chauvel film was filmed mainly in South East Queensland but combines the history of two adjacent areas. Entry point to the posts here.

1953. Captain Thunderbolt. The Cecill Holmes film Captain Thunderbolt is about the life of the legendary bushranger. It was shot in and around Armidale and Uralla with a cast including Grant Taylor and Bud Tingwell. Post here.

1957. Smiley. Filmed at Gundy in the Hunter Valley, Smiley is a classic Australian children's film about a mischievous boy living in the small Australian country town of Murrumbilla. Always getting into pranks, Smiley wants a bike. This he finally gets, but with many misadventures along the way. The film's cast includes Ralph Richardson, John McCallum, Chips Rafferty and Bud Tingwell, with Colin Petersen as Smiley.
1957. The Shiralee. Filmed at Gundy in the Hunter Valley and based on the novel by D'Arcy Niland, The Shiralee tells the story of a man and his daughter. When Jim Macauley (Peter Finch) finds his wife with another man, he takes their young daughter (Dana Wilson) and hits the road. With a young child as his responsibility, he finds he can't be quite the fancy-free wanderer that he had been. Nominated for two BAFTA awards, the film has become another Australian classic.

1958. Smiley Gets a Gun. Again filmed at Gundy in the Hunter Valley, sequel to Smiley (1957).

1968. Koya No Toseinin (The Drifting Avenger). Filmed on location at Nundle, this Japanese western starred Ken Takakura, the Clint Eastwood of Japanese film., in search of revenge for his murdered family. The movie was apparently never released in Australia.

2015. Streetsweeper. Set in Newcastle and directed by Neil Mansfield, this film explores the beauty and ugliness of city street streets through the eyes of a "a loner who finds poetry in the ordinary", played by actor and co-writer Marin Mimica. Mimica is the only actor. All others are pedestrians who become unwittingly involved in the streetsweeper's journey.

Thursday, December 10, 2015

Newcastle's Vibrant Cultural Life - entry page


Photo: Central Newcastle viewed from Stockton across the Hunter River.

Newcastle, New England's biggest city with a population of 289,000, lies towards the southern edge of New England, 153k (2 hours) north of Sydney, 394k (4 hours 50 minutes) south of Armidale.

Newcastle is often seen just as an industrial city - Australia's original steel city - and increasingly as simply an outer part of the ever expanding Greater Sydney metro conglomeration.

Newcastle is indeed an industrial city. This is an integral part of its culture, one that distinguishes the city from other parts of New England. But part of Sydney it is not. Newcastle always has been and remains its own very distinct entity.

It is hard for those living in Sydney to see and recognise Newcastle's distinguishing features.

Sydney and Newcastle have little in common in terms of history or culture. The Sydney media carries few Newcastle stories. Few in Sydney think of Newcastle as having a distinct cultural life of its own. Yet the city does, one arguably different from any other part of Australia.

I say this with a degree of frustration because, living in Sydney as I now do as part of the New England diaspora, I find it difficult to keep across Newcastle activities.

To fully understand a place like Newcastle you need to live there, or at least visit regularly. I do not and presently cannot. Still, accepting that I will make errors, I am establishing this page to provide an entry point for future posts about Newcastle cultural life.

Saturday, October 31, 2015

Tamworth Country Music - book your bed now

If you’re heading to the legendary Country Music Festival in Tamworth this January and need to know where to stay, a few hints about places to rest your weary head when the singing’s done each day.

After all, with 2,500 events on offer, you don't want to worry about your base!

Rated among the world’s top 10 festivals, the Tamworth Country Music Festival is the largest in the Southern Hemisphere and attracts people from all over Australia and around the world.

Although most of the hotel accommodation is booked out months in advance, camping, home hosting or staying in a nearby town are still viable options closer to the event.

“The friendly Tamworth community is always ready to welcome more people to join in the Festival fun and what better way than staying in a local’s home, or camping out beneath the starry country sky,” said Tourism Tamworth’s General Manager, Rebel Thomson.

Ms Thomson added that while Tamworth is always fully prepared to handle the influx of visitors each January, Festival-goers are advised to research their accommodation options well in advance.

Over 50,000 festival-goers take in 10 days of fun, music and memories, with many of them returning year after year with the event listed as a “must-do” on their annual calendars.

A comprehensive guide to Festival accommodation is available through Tourism Tamworth phone 02 6767 5300 or on the web at http://www.visittamworth.com/ (follow the links to the accommodation pages). You will need to contact each accommodation service direct to make bookings.

MOTELS/APARTMENTS

Ranging from two and half to five star, Tamworth boasts over 30 motels and apartments, all within easy distance of the Festival venues which are usually the first to be booked out. You may get in on a cancellation, but don’t rely on this option.

Accessibility to festival venues, restaurants, cafes, clubs and shops are the advantages with this choice but there’s nothing too far from anything in Australia’s Country Music Capital.

HOTELS

Many of the hotels in Tamworth also serve as Festival venues so you’ll be right amongst the live music action should you choose to stay in one of the great pubs. At the end of a night-time show, your bed could be as close as one flight of stairs away!

B & B’S/ FARMSTAYS

Always popular is either a bed and breakfast or farm stay.

There are over a dozen B&B choices in the Tamworth Region, ranging from youth hostel style up to luxurious five-star and unique dwellings. Farm stays are the quintessential Aussie experience and hold great appeal for families.

With several located within easy driving distance of Tamworth, you have every opportunity to ensure the kids are entertained from dawn to dusk. The obvious advantages for both are that breakfast is included in the tariff, the comfort level is on a par with home and your hosts are more than happy to share their local knowledge.

HOME HOSTING

As the popularity of the Festival grew and regular accommodation channels were at full capacity, the local Tamworthians opened their homes to visitors and now the Festival relies greatly on the local hospitality to facilitate the Home Hosting accommodation on offer.

Home hosting means you’ll get breakfast, home comforts, country hospitality and local information. There’s also the option of staying in a vacated home.

There are a few home hosting agencies that can help source a home stay, a farm stay, a vacated home or vacated caravan for you. Contact Tourism Tamworth for contact details.

HOME RENTALS

Real estate agents can source fully furnished homes for rental during the festival. These are usually houses vacated by the owners specifically for the duration of the festival.

HOME EXCHANGE

Some Tamworth residents choose to leave town for the duration of the Festival. If you want to swap your house with theirs, then it might pay to run an ad in the Tamworth newspaper, the Northern Daily Leader. Phone (02) 6768 1222 or email: classifieds.ndl@ruralpress.com

CARAVAN PARKS & CAMPGROUNDS

Camping or caravanning is the best pick if you’re booking late or if you’re on a small budget. The caravan parks in town offer the best facilities and always a friendly welcoming smile. A number of other venues open up specifically as temporary campgrounds for the festival, including the Tamworth Showground, the North Tamworth Rugby League Club, West Tamworth Leagues Club, McCarthy Catholic College and St Nicholas Primary School. If you don’t have your own camping gear, some places provide tents with beds, such as West Tamworth Leagues Club.

Outside town, there are other campgrounds available such as Attunga Sports Ground 20kms away); Lake Keepit (50kms away); and Kootingal Camping or Pony Club (20kms away). There are also temporary council campgrounds in: Attunga (20kms); Dungowan (20kms); Kootingal (20kms); Moonbi (25kms); Werris Creek (48kms) and Woolbrook (75kms).

Each caravan park and campground has different rules about bookings during festival time, so make sure you phone ahead and check before you leave home.

NEIGHBOURING TOWNS

If you still can’t find a bed in Tamworth, then you’ll easily find accommodation in one of the neighbouring towns. Phone any of the following numbers in these towns for information:

Gunnedah: (77km from Tamworth) Visitor Information Centre (02) 6740 2230
Uralla: (91km from Tamworth) Visitor Information Centre (02) 6778 4496
Armidale: (112km from Tamworth) Visitor Information Centre (02) 6772 4655
Walcha: (97km from Tamworth) Council Tourism Officer (02) 6774 2460
Barraba: (141km from Tamworth) Visitor Information Centre (02) 6782 1255
Quirindi: ( 60km from Tamworth) Visitor Information Centre (02) 67461096

ESSENTIAL INFORMATION

The Tamworth Country Music Festival runs from January 18 to January 27, 2015. For all enquiries, phone the Tamworth Visitor Information Centre on 02 67675300 or log onto http://www.visittamworth.com/. You will need to contact the accommodation provider direct to make any booking.

Sunday, September 6, 2015

Judith Wright's "For a Pastoral Family" - and "Skins"

This post continues my irregular series on Judith Wright, again inspired by a good post by Neil. I do not have a full copy of this poem, something that I must rectify. Again, I thought that I might usefully add a little context to the discussion.

Before reading this post, I suggest that you read Neil's post first. You might also read a rather interesting piece from the Cordite Poetry Review found by Neil that provides useful biographical material on Judith, as well as a commentary from an external perspective.

A year or so back I brought Judith Wright's autobiographical memoir Half a Life Time (1999). I bought it with anticipation, I read it with a degree of sadness.

We all interpret and reinterpret our own lives in the light of experience and events. Things change. As they do, we change. Here Neil quoted a much later poem, Skins, a poem that I had not see before.

The poem begins:
This pair of skin gloves is sixty-six years old,
mended in places, worn thin across the knuckles.
You can see here how she retains her superb control of English.The poem goes on:
Snakes get rid of their covering all at once.
Even those empty cuticles trouble the passer-by
Note the references to the "empty cuticles". This is critical to the point she wants to make in the poem.
Now she says:

Counting in seven-year rhythms I’ve lost nine skins
though their gradual flaking isn’t so spectacular.

So she is comparing herself to the snake. This lays the basis for her final, tart, jab at those who were critical of her later, more political, writing.
You ask me to read those poems I wrote in my thirties?
They dropped off several incarnations back.
The difficulty for Judith is that you cannot easily disentangle yourself from your own life or family, nor can you stop people interpreting your work through their own current frames.

When I look at her work as a whole, I have not read all of it, I can see a gradual erosion in optimism, a darkening. You can see this simply by comparing Generations of Men (1959), Cry for the Dead (1981) and Half a Life Time (1999).

Part of this came from her growing political activisim. Her focus on the Aborigines and on environmental issues is well documented. Personally I find this later material much harder to read because I cannot disentangle my own views on issues from the writing.

I am not sure exactly when For a Pastoral Family was written, 1979 or 1980, not long before the publication of Cry for the Dead. This is message poetry, but one (as I see it) with an edge of bitterness. One part of the poem says:
Our people who gnawed at the fringe
of the edible leaf of this country
left all the margins of action, a rural security
and left to me
what serves a base for poetry,
a doubtful song that has a dying fall
The language is superb. Read it out loud several times and you will see what I mean.

I will talk about family - caught in the and left to me - in a moment. For the present, you will see what I mean by message poetry. To see a little more, go back to Neil's post and read out loud the words from To My Generation. There is a real passion there, captured in superb English.

To understand Judith, you have to understand her family. I tread cautiously here because in all families there are different views. While I knew many members of her family including her father, I did not know Judith. Her (Judith's) daughter may well have a different perception to me.

As I see it, there were two family members who had a particular influence on Judith.

The first was the matriarch, Charlotte May, who essentially built the family fortune. Judith knew about powerful women. This made her exclusion from the male line of succession doubly difficult.

The second was her father, P A Wright. Everybody called him PA, if not to his face. His sense of committment, his dedication to development and the New England cause was profound. In a comment on his post Neil wrote:

I find it fascinating that Judith Wright followed a line of thinking about such things as the environment and Aboriginal Australia before such things really became “fashionable”. You could say her poetry led her down that path.
One of the points that I have made to Neil in our on-going and enjoyable debates on Australian intellectual life is that certain concerns did not arise out of a vacuum. In Judith's case, she had a father who (among other things) was involved in environmental issues. His concerns may not have been quite those that exist today, but he did fight to create his own national park, the New England National Park, the second(I think) in NSW. I will write this story up a little later.

PA died in 1970. At this point, Judith's exclusion from the land she loved became absolute. Then, towards the end of her life, she had to deal with the loss of the family properties.

First came the loss of Jeogla and the V1V branch (V1V was the brand) of the family. A little later came the loss of of V2V and Wallamumbi itself.

I do not want to comment on the commercial issues involved. Richard Wright with his partner was my first ever consulting client. Both Richard (ViV) and David (V2V) Wright had a passion for good cattle and have played a major role in the development of breeds and of new objective measurement techniques. Both became involved in expansion plans that brought the empires down. Both suffered from the bastardry of the banks.

To Judith with her love of country, this was a disaster. In the words of the ABC Dynasties program talking about brother David Wright:
By December 2000, he had lost it all — his properties, his cattle and his wife to cancer. His sister, the poet Judith Wright, watched in despair and died soon after.
I suppose that I have come a fair distance from talking about Judith's poetry. But (to my mind) you cannot separate her from her family and the broader history of New England.

After thoughts

Re-reading this a little later, I do not think that I have the balance exactly right.

Judith's father died in 1970. This was the second important death in a few years, for her husband Jack McKinney had died in 1966.

I knew that Jack McKinney was older, but had forgotten by how much. He was born in 1891, only two years later than Judith's father (1889). It seems to me that Mr McKinney, her daughter along with her family and the family country formed a core in her life. So she lost her husband, then her father and finally at the end her family country.

Tracing all the influences on a life is always hard. I used the New England National Park example to indicate that her love of the environment did not just appear, but had its roots deep in her past. I think something similar holds with her support for Aboriginal causes.

How do I explain this?

I have a problem here in that her work is so often forced into modern thought structures that can actually impede interpretation. Further, and as I suggested in the post, Judith's own interpretations shifted over time.
I think that we have to look at her writing and especially her poetry across several dimensions.

One is literary. Whether one agrees with her or not on particular issues, the power and passion of her words is tangible, a living thing. So we need to understand and study this.

But this does not make her writing valid as a historical expression. Her poem Bora Ring paints an evocative picture of a vanished race. Yet the people she spoke of were still alive, their traditions were still alive, at the time she wrote.

I cannot continue now. I have to cook tea. I will try to continue as a new post.

Postscript

Browsing, I found that Ramona Koval had done an interesting interview with Judith just before her death that traces some of the effects of time on her thought.

Entry Page for posts about Judith Wright's poetry.

Monday, August 31, 2015

The Poetry of Judith Wright - South of My Days


Photo: Here, in the misty rain, Cooney Creek rises out of its bed and passes behind the old cottage. Gordon Smith. Cooney Creek crosses Waterfall Way, the main road linking Armidale to the coast, just to the east of the city.

In his Friday Australian poetry series, Neil (Ninglun) featured Judith Wright's South of My Days. This is a magnificent poem that, like all good poetry, stands alone independent of context.

While the poem does stand alone, the language and content of the poem are also deeply imbued by the world in which Judith grew up. I know and love this world, so I thought that I might continue my irregular series on the poetry of Judith Wright by placing this poem and its language in a context.

I am not going to repeat the poem in full. If you are interested, I suggest that you read Neil's post first, perhaps printing the poem off. At the end of the post I have added links to some of the other posts I have written on the Wrights
.
The Wrights and the associated Wyndhams are one of the great New England pastoral dynasties whose story encompasses the rise and later fall of New England itself.

The story begins in the Hunter Valley in 183o when George and Margaret Wyndham purchased "Annandale", renaming the property "Dalwood" and building Dalwood House as a home. From there the family spread, acquiring a chain of properties along the eastern edge of the New England Tablelands and then stretching up into Queensland. Judith's own book, Generations of Men, captures the early history of the family.

Wallamumbi, the home property for Judith's branch of the family, lies on Waterfall Way to the east of Armidale just before that road plunges into the rough country of New England's Snowy Mountains. Look north, and the rolling green hills are all Wallamumbi.

The poem begins: "South of my day's circle, part of my blood's country,".

As Neil notes, Judith was then living to the north in Queensland. The spare elegance of these words captures location and love of country. Blood can be read in two ways, both her blood and that of her family. The poem goes on:

rises that tableland, high delicate outline
of bony slopes wincing under the winter,
low trees, blue leaved and olive, outcropping granite -
This is high country. Coastal hugging Australians know the eastern escarpment mainly as a distant blue range seen from a car window. Some venture as far as the national parks along the rim, the Barrington Tops, Oxley Wild Rivers, Dorrigo, New England. Far too few venture further in.

High country means cold. The "black-frost night" is a term Judith uses a little later in the poem. Snow is not uncommon, frost very common. The worst frosts, the black frosts, crisp the ground itself. This can actually crunch under your feet as you walk.

Much of the New England Tablelands is also granite country, especially in the west.

Granite takes many forms. The water-streaked dome of Bald Rock is the largest single granite rock in Australia. It's 750 metres long, 500 metres wide and 200 metres high. Sometimes you have several major boulders together such as Thunderbolt's Rock south of Uralla where Captain Thunderbolt used to watch for the gold coaches. Sometimes the granite forms flattish sheets.


Granite makes for poor soils. Trees are low, smaller, struggling. This can be, as Judith says, "clean, lean, hungry country." Hungry country carries two linked meanings: country that has to be fed if it is to be productive; but it also means country that can suck the spirit, the life, from the settler.


The poem goes on:
clean, lean, hungry country. The creek's leaf-silenced,
willow choked, the slope a medlar and crabapple
branching over and under, blotched with green lichen;
and the old cottage lurches in for shelter.
There is a contrast built into these lines between the Australian "low trees, blue leaved and olive "and the very European willow and crabapple.

The early European settlers planted to remind them of home. With time, these plantings (run wild) became part of the landscape. Here, as in Judith's poem The Hawthorn Hedge, the plantings form a sometimes complicated link between past and present.

The old cottage" lurches in for shelter" continues the theme of "wincing under winter." This continues in the next verse:
O cold the black frost night. The walls draw in to the warmth
and the old roof cracks its joints: the sling kettle
hisses a leak on the fire ...
In the early period, cooking was done over an open fire. There was often a bar over the fire on which hung kettles, pots and pans. To avoid the problem of fire, kitchens were often separated from the main house by a covered walk-way.

In all places, the kitchen became the place to gather for warmth. At home in Armidale, my girl friends used to stand with their backs to the fuel stove, hitching their skirts up to capture the warmth.

The poem now changes direction with the introduction of old Dan with his "seventy years of stories". Now we come to something that is different from the modern metro atomistic society.

Judith grew up in a village world.

Tablelands' society was far more stratified than today. Yet properties then employed far more people, so Judith would have known and listened to the older hands. In my case, I remember old Mr Wallace who did the weekly gardening at our place and used to tell me stories about the clearing of the tall trees on the Dorrigo plateau.

In Judith's case, the stories would have resonated because of her own family past. So when Dan spoke of droving cattle from Charleville to the Hunter - "nineteen one it was, and the drought beginning" -she would have remembered stories from her own family experience.

In all this, Judith captures an idiom that is still familiar to Australians today despite all the changes. describing Thunderbolt: "He went like a luny, him on his big black horse."

The poem finishes. To quote Neil: And that closure: wonderful.
South of my days' circle
I know it dark against the stars, the high lean country
full of dark stories that still go walking in my sleep.
As they do for me too.

Entry Page for Posts about Judith Wright's poetry.

Linked stories:

Tuesday, August 18, 2015

The poetry of Judith Wright - entry page

I have begun an irregular series on the poetry of Judith Wright, talking about her poems, but also using them to illustrate aspects of New England life.

Because the posts are spread over several blogs as well as time, I thought it sensible to establish a single entry page as a way of accessing all the posts as a series.

The Poetry of Judith Wright

30 January 2015, The Poetry of Judith Wright - Bora Ring

14 August 2015, Judith Wright's The Hawthorn Hedge - Regional Australia Writers

1 September 2015, The Poetry of Judith Wright - South of My Days

7 September 2015, Judith Wright's For a Pastoral Family" - and "Skins"

Thursday, May 28, 2015

Judith Wallace's "Memories of a Country Child-hood"

One of the things that has always fascinated me about New England is the variety to be found in the patterns of life over time. This holds even though the period from the first European intrusion is very short in historical terms.

I was reminded of this because I have just been re-reading Judith Wallace's Memories of a Country Childhood. (University of Queensland Press, St Lucia, 1977).

Born in 1932, Judith grew up on Ilparren, a sheep and cattle property not far from Armidale. Her family was part of the Ogilvie family, a family described a little earlier in George Farwell's book Squatter's Castle: The saga of a pastoral dynasty (Lansdowne Press, 1973).

At the time that Judith was born, the New England pastoral dynasties that come to wealth in the nineteenth century - Dangars, Whites, Wrights to name a few - still held sway. This was a world of wealth, of stratification, of manners and customs. There were servants - maids, cooks, nurses, nannies -to help the family.

Still very English is some ways, English visitors sometimes described them as county families, they were also moulded by the Australian environment. Some can best be described as transplanted English, Australians who identified first with the social life of Sydney and the mother country and who lived lives separate from the locals. Others identified with and contributed enormously to New England.

The Second World War marked the beginning of the end of this life style. Domestic help was no longer available, while new economic forces were rising that would lead to drastic restructuring of the rural sector.

Judith's book records the now vanished life style and the changes that were forced on it from external events. The last sentence of the book captures the end:

The new owners (Ilparran had been sold) never homesteaded on Ilparran and the great house, still standing in spite of the sunken foundations, stares with blind eyes over the ravaged garden.

Monday, April 20, 2015

New England Australia - a few inland pubs and clubs


Photo: Uralla Main Street. Stature of the bushranger Captain Thunderbolt at Front

Pubs and clubs offers travellers so much more than food and drink – they give you that unique opportunity to meet the people face to face, and the opportunity to connect with the local community.

If you’re travelling through Big Sky Country in NSW – that’s somewhere between Armidale, Tenterfield and Moree – then consider stopping at a pub or club along the way, even if it’s just for a quick meal and cold drink.

Tamworth

The country music capital has many good pubs and clubs. For live music, try The Pub or the Scully Room at the Southgate Inn. The totally transformed Good Companions Hotel offers patrons several eating areas.

West Tamworth League Club, better known as Wests, offers two award winning dining experiences along with live music on Friday and Saturday nights. It’s a club with plenty of entertainment and promotions, including cash giveaways, free poker and regular raffles happening every week. Banjos Family Restaurant offers casual bistro style dining with open air dining on the verandahs overlooking Scully Park. The menu is modern Australian cuisine and it’s open for lunch and dinner seven days a week. Neros Café is a casual dining venue with light meals, gourmet salads, coffee and cakes and is open seven days to late. Wests is situated on the south western side of Tamworth.

Just one block back from Peel Street in Tamworth’s CBD is Wests Diggers, a club with pool tables, big screens for sports, and live music in a tropical-style courtyard. There are three dining facilities here – Nero’s Café, like the one at Wests, the family- friendly Pedro’s Mexican Cantina, serving tasty Mexican dishes and Smoky’s Bar and Grill, a dinner venue for lovers of country music lovers and great food.

Get more information on Tamworth’s pubs & clubs at http://www.visittamworth.com.au/ or phone (02) 6767 5300.

Armidale

There’s a diverse range of pubs and clubs in Armidale, from those appealing to the university crowd to the family-friendly venues. You’re certain to find something that appeals to your taste.
The Wicklow Hotel is a classic Armidale pub with a kids club and stylish dining area while the New England Hotel, better known as The Newie, is the gathering place for students in this university town. For clubs, try the Armidale Ex-Services Club or the Armidale Bowling Club. At the Ex-Services Club has the Tuscany Brasserie serving delicious meals seven days a week while the Bowling Club offers and extensive bistro menu.

Get more information on Armidale‘s pubs & clubs at http://www.armidaletourism.com.au/ or phone 1800 627 736.

Glen Innes

Among the many pubs and clubs, there are three venues here with a unique country feel that truly reflect the Glen Innes region. The New England Club is a traditional, heritage style club catering for conferences, parties or that casual afternoon drink, with an elegant restaurant, Braemores on the Park.

The Club Hotel, a staple part of the local community since 1906, is popular with locals for lunch, a quiet drink or a night on the town. The Railway Tavern is a traditional style pub with a beer garden, great pizzas, bar meals and TAB facilities, and a relaxed atmosphere catering to the whole family.

Get more information on Glen Innes‘ pubs & clubs at http://www.gleninnestourism.com/ or phone (02) 6730 2400.

Gunnedah

Some 60kms outside of Gunnedah, The Royal Hotel at Tambar Springs is worth dropping into for a drink or a meal in a friendly country pub. It offers bed and breakfast facilities at very reasonable rates.

Get more information on Gunnedah‘s pubs & clubs at http://www.infogunnedah.com.au/ or phone (02) 6740 2230.

Moree

The Post Office Hotel has three separate dining areas and prides itself on quality pub meals. There’s a beer garden and you can get lunch and dinner six days a week.

Get more information on Moree‘s pubs & clubs at http://www.moreetourism.com.au/ or phone (02) 6757 3350.

Inverell

Recently refurbished, the Inverell RSM Club caters for everyone and has just introduced a BBQ on the deck on weekend nights. Diggers Brasserie, with a kid’s room, appeals to families, and the auditorium is an excellent concert venue.

Get more information on Inverell’s pubs & clubs at http://www.inverellonline.com.au/ or phone (02) 6728 8161.

Guyra

Donna’s Bistro at The Guyra Recreation and Bowling Club serves Australian meals Friday night to Sunday night. There’s regular entertainment and bar facilities are open throughout the week.
Get more information on Guyra’s pubs & clubs from http://www.guyra.nsw.gov.au/ or phone (02) 6779 1577.

Narrabri

One of the North West's most historic ‘watering holes’ is the Cuttabri Wine Shanty. Found on the old Cobb And Co route between Wee Waa and Pilliga, this property was issued with Australia's second wine licence, and is thought to be the only wine shanty still operating in Australia today.

Get more information on Narrabri‘s pubs & clubs at http://www.visitnarrabri.com.au/ or phone (02) 6799 6760.

Tenterfield

The Tenterfield Golf Club is more than just a lovely spot for 18 holes. Along with squash courts, a snooker room and entertainment, its restaurant serves up some delicious meals, using the freshest ingredients.

Get more information on Tenterfield‘s pubs & clubs at http://www.tenterfield.com/ or phone (02) 6736 1082.

Warialda

The Warialda Golf and Bowling Club has a casual bistro offering traditional Aussie fare like roast dinners and steaks. Open for dinner Thursday through to Monday. Children are welcome.

Get more information on Warialda‘s pubs & clubs at http://www.gwydircountry.com/ or phone (02) 6729 0046.

Bingara

The Bingara RSL Club is a popular meeting place for the locals, offering casual dining, regular entertainment and bar facilities.

Get more information on Bingara’s pubs & clubs at http://www.gwydircountry.com/ or phone (02) 6724 0066.

Nundle

The Peel Inn is a historic pub with a spacious beer garden, which is a popular lunch venue with day-trippers to the village of Nundle. It offers accommodation and function facilities as well. Sunday lunch is a specialty here, as is Christmas in July.

Get more information on Nundle‘s pubs & clubs at http://www.nundle.info/

Quirindi

In town, one of the favourites with the locals is The Royal Hotel, a relaxing place for a cold drink. In nearby Wallabadah, the Marshall MacMahon Inn, built in 1867, has BBQ facilities, an open fireplace and a small number of rooms.

Get more information on Quirindi‘s pubs & clubs at http://www.lpsc.nsw.gov.au/ and follow the tourism links or phone (02) 6746 1755.

Walcha

The Commercial Hotel, built in the 1860s, is a classic corner pub offering meals in its refurbished restaurant, as well as country style accommodation.

Get more information on Walcha’s pubs & clubs from http://www.walcha.com/ or phone (02) 6774 2460.

Uralla

With a sensational undercover beer garden, The Top Pub in Uralla offers meals, regular entertainment and accommodation. It’s a very child-friendly pub, providing pencils and colouring in sheets to children on arrival.

Get more information on Uralla‘s pubs & clubs at http://www.uralla.com/ or phone (02) 6778 4496.

Tuesday, March 10, 2015

Macleay Valley - The Slim Dusty Centre Project






Photo: Slim Dusty (1927-2003), an iconic figure in the development of Australian music. The biographical material is drawn from the official Slim Dusty site given in the above link.

David Gordon Kirkpatrick was born at Kempsey in the Macleay Valley on 13 June 1927 .

Brought up at a nearby Nulla Nulla Creek dairy farm, he wrote his first song - The Way The Cowboy Dies - in 1937 aged 10. The following year he adopted the stage name Slim Dusty, the name he was to carry all his professional life.

In 1942 the fifteen year old Slim gate-crashed Radio 2KM Kempsey and also made his his first recording at own expense... Song For The Aussies and My Final Song. Also in 1942 he copyrighted his first songs.

Their recent discovery by Australian Archives created national interest. I actually find it quite remarkable that a fifteen year old living in what was then a remote location should have so much foresight, but he was obviously always a very determined boy. For those who are interested, the Australian Archives link includes reproductions of the early material.

In 1945 while still living at Nulla Nulla Creek Slim wrote his first country music classic, When The Rain Tumbles Down In July. This led in 1946 to his first recording contract with the Columbia Graphophone Co. for the Regal Zonophone label. Six titles were recorded, including When The Rain Tumbles Down In July.

From 1948 Slim pursued a part-time show business career with intermittent radio, hall show and tent show appearances. In 1951 he married country singer-songwriter Joy McKean. Daughter Anne Kirkpatrick, herself a well known country musician, was born in 1952 followed by son David in 1958.

From 1954 Slim commenced a full-time show business career, launching the first travelling Slim Dusty Show. Then in 1956 he established in partnership with showman Frankie Foster the Slim Dusty Show as a large tent show on the showground circuit. I remember this from my childhood.

In 1957 Slim recorded the Gordon Parsons written song A Pub With No Beer -- at that time the biggest selling record ever by an Australian. I think most Australians still remember at least some of the opening lines:

It's lonesome away from your kindred and all
By the campfire at night where the wild dingos call
But there's nothin' so lonesome, so dull or so drear
Than to stand in the bar of a pub with no beer

From this point came a string of successes, including the 1980 super hit Duncan.

I love to have a beer with Duncan, I love to have a beer with Dunc
We drink in moderation, and we never, never ever get rolling drunk.
We drink at the Town & Country where the atmosphere is great
I love to have a beer with Duncan ‘cause Duncan’s me mate.

By the time Slim died in 2003 he had achieved true iconic status in Australian popular music. A key reason for this is that he captured the whimsy, the sometimes irreverence, of one stream of the Australian experience.

Now Slim's family and supporters have combined to work towards the establishment of the Slim Dusty Centre in Kempsey to celebrate his life. Those interested can find the details here, including ways to make a tax deductible donation. The Kempsey location is truly fitting, since the Macleay Valley is the place where Slim developed his initial ideas and particular vision.

The Returns to Tamworth from Country Music



Photo: Golden Guitar, Tamworth Country Music Festival

Back in January I carried a short introductory story on the history of country music in Tamworth. My thanks now to Noric Dilanchian for pointing me to a story in the Country Music Bulletin on the return to Tamworth from country music.

January's Tamworth country music festival brought more than $113 million to the local economy.

The figure is from Rebel Thomson, GM of Tourism Tamworth, as part of preliminary results from a visitor survey conducted in conjunction with Festival sponsor Telstra for the second year.

"The objectives of the 2015 survey were to validate the results of the 2006 data and further understand the tourism trends of festival-goers," Rebel told the CMB.

The survey collected data on demographics, spending and travel trends and concluded that visitors enjoy a high level of satisfaction, a high percentage stay in the city for seven days or more, expenditure is very high and visitation to nearby towns is very high.

In other statistics, it was revealed that the festival drew 75,000 visitors, more than 31,000 went through the visitor information centre during the festival, 40 percent came from NSW outside Sydney while 14 percent were from Sydney; 23 percent were from Queensland and 13 percent were from Victoria.

Thirty three percent of respondents were visiting the festival for the first time; of the 67 percent who had been before, 22 percent had been seven times or more and a large portion of these said the event had grown or improved since they last attended.

Eighty six percent said they had "a fantastic" or "average" time, 59 percent were couples, 24 percent travelled with friends 14 percent travelled as a family, 11 percent were singles.

Visitors spent, on average, $1,500 while in Tamworth for the festival... $387 on accommodation, $247 on meals, $246 on travel/petrol, $211 on shopping and retail, $189 on tickets, $138 on alcohol, $95 on souvenirs.

New England films - Streetsweeper

My thanks to ABC Newcastle (July 16 2015) for this story on Streetsweeper.

Ten years ago Newcastle-based filmmaker Neil Mansfield started collecting found notes on the streets of Sydney and his new adopted hometown. Now those "fragments of other people's lives" have been turned into an art house feature film.

Shot on location in four days for less than $20,000, the film explores the beauty and ugliness of city street streets through the eyes of a "a loner who finds poetry in the ordinary", played by actor and co-writer Marin Mimica.

"As the director I don't want to be too prescriptive about who he is, because then I think it might change the way people read the film," says Mr Mansfield, a cinematographer, who has previously directed one feature, Fresh Air, in 1997. "It's a very simple film about one character and his simple journey over three days."

I guess it's what archaeologists do, they go and they try and piece together what a society is like from the fragments that are left behind."

In the film's credits Mr Mansfield thanks "the people of Newcastle for being themselves", as many of the scenes include exchanges between the actor and pedestrians. It was an approach the director was worrying about up until the night before the first day of shooting.

"I actually started to panic and think 'hang on, we're about to make this film with only one actor, and maybe I need to get some other actors to pretend to be pedestrians and set up more conventional encounters'," he said.

The result is a film in which chance encounters with the public enhance and even change the way the story unfolds.

"Part of my philosophy was if you go out on the street, and stand there long enough, something interesting happens," he says. "The timing of some of these pedestrians was absolutely incredible."

"What makes it work for us is, every time we watch it, is that there's this woman walking her dog," he says. "She just walks her dog right into the shot, right at the very end, and they have this kind of how-are-you-going, have-a-nice-day kind of conversation," he says.

Weather gods smile on production.

"We had too many rainbows, it was just stupid," Mr Mansfield said. "We were filming (Marin) walking up this hill in the back streets of Mayfield, and it started pouring with rain, which was good, because we needed a new element, and it suited the part of the story we were in, and someone goes 'are you gonna shoot that rainbow?'"

"And I'm standing there, looking at the director of photography, and we're looking at the actor, and we're looking at the rainbow, and it was a beautiful, amazing, and we're like (in bored exasperated tone) 'oh okay, I suppose so'."

"And the film was like that, things would present themselves, and we'd be like 'okay we'll shoot that'.

Neil Mansfield uses the found notes as props, while the text in the notes becomes the dialogue of unseen characters in Streetsweeper.

"It started about the time when I was making my first movie, in 1999," he says. "Without being too academic about it, I guess it's what archaeologists do, they go and they try and piece together what a society is like from the fragments that are left behind. I like that ephemeral thing that it's an insight into what's going on inside the houses that are around you."

Following a successful screening at the Perth International Film Festival, Neil is about to take the film on tour of Eastern Australia.

You can find the film web site here. The site includes video clips from the film.

You will find the site entry page on New England film here.

Thursday, February 26, 2015

The End of Armidale's Club Hotel



Photo: Gordon Smith, Armidale's Club Hotel has undergone a major refurbishment and is now the White Bull.

My thanks to Gordon Smith's New England photo blog for this story.

All those growing up in Armidale or who went to school or university there will remember the Club Hotel in Marsh Street.

Well, after a complete refurbishment it has now emerged as the White Bull. Gordon wonders, fairly, why White Bull and also why the Bull is red.

I must find out one day.

Tuesday, February 24, 2015

Peter Allen, Armidale and Claire and Eileen Napier - an attack of nostalgia



Photo: This is Your Life. Peter Woolnough Allen, Peter's Aunt Nancy - black glasses, Claire Napier-McCann, Roger Climpson Channel 9. 1977.

I was browsing the ABC New England North West web site when I found a story that really bought my past back in waves of nostalgia.

All those years ago I was friendly with a girl called Eileen Napier, now Kelly. Sometimes I used to visit her house across Dumaresq Street to listen to surfing music.

Through the mists of time I remember Eileen as a very pretty girl. But I was shy and I always felt that her mother did not approve of me as a Protestant. So it was a passing friendship. Yet I clearly remember the house and the lounge room.

Eileen's mum Clare was active in the local musical scene. I remember this, However, I did not remember (perhaps I did not know) the role she played in the early stages of Peter Allen's career.

So far I have written one story on Peter Allen, but I have not written much on his Armidale connection.

According to the ABC story, Eileen Kelly remembers Peter Allen turning up to tap dancing classes in what is now the Folk Museum in Armidale on roller skates. He was full of the energy, which became his trademark on stage.

"Mum would often just take off her tap shoe and throw it at Peter to pull him into line," Eileen recalls laughing.

Photo: Claire Napier-McCanns Childrens Dancing Troupe on Stage in The Cathedral Hall, Rusden Street, 1956.

For 30 years Claire Napier fostered the careers of many young entertainers, but none so famous as Peter Allen, who, she taught tap dancing for more than 8 years.

"In the finish she said in many of her interviews, she couldn't teach him anymore. He'd learnt everything she had to teach him," recalls Eileen.

According to Eileen, Peter Allen was six weeks old when his mother Marion brought him to Armidale where he stayed for almost 15 years, schooling at the local demonstration school, then Armidale High School.

Under the guidance of Claire Napier Peter, along with her other students performed around the region, and he formed a band called "The Skiffle Group" which used to play in a local hotel. The story does not record the name of the hotel, but this would have been the Mann's New England Hotel, the Newie to locals.

The story notes that some of those original band members were coming to Armidale to celebrate Peter's birthday. He would have been 68 years old.

Photo: Peter Allen on guitar at the spotlight parade in Armidale 1956.

Peter's Armidale connection is not well known. Tenterfield has always been in the spotlight because of the song "Tenterfield Saddler" which Peter wrote about his family.

"Peter was very proud of his Woolnough connections, and his father would take him back to see his grandfather and I think during Peter's hard times he looked at his early life and the Tenterfield connection to get a grip on his own identity," Eileen records.

Eileen has seen the musical about Peter twice, loving the performances of Huw Jackman and Todd McKenney, but she regrets there was no part for the character of Clair Napier in either script. Her mother however was among the special guests when Peter featured on channel Nine's "This is your life," in 1977.

Eileen recalls only one trip Peter made back to Armidale, just a few years after he left. He'd been given national exposure on bandstand with Chris Bell, and was soon to embark on an international career, which would see him working with and loving the likes of Judy Garland, Liza Minelli.

Eileen recalls he called in to see her where she was working at a local supermarket. Later she recalls going backstage at a concert on the Gold coast, one of his last in 1992, and he left her with words she will never forget.

"He said to me, and 'don't ever forget Eileen, make every moment count, "she says.

Friday, January 2, 2015

Tamworth and the History of Country Music



Photo: Max Ellis and John Minson, "Mr Hoedown"

In a post I wrote on my personal blog about Australian Idol, I talked about the impact that Tamworth and Tamworth country music had had on the development of Jessica Mauboy.

At 14 Jessica's well-developed skills as a vocalist helped to secure first place in the Road to Tamworth competition, where Jess had the opportunity to meet local country legends: "Part of the prize was to go to the Tamworth Camerata Junior College, the music school. That was so fun. We got to meet Beccy Cole and Kasey Chambers. They just had a talk about how they developed through their music. I was really into that. It gave me confidence and made me love music more.”

The evolution of Tamworth as the national country music centre has played a significant role in developing Australian talent.

Tamworth Camerata (and here) is unique in Australia, and possibly the world, as the only recognised country music school for junior performers where they learn from the best in the business. It is widely acknowledged as a ‘feeder’ for the grown-up version - the CMAA Australian College of Country Music, as many Camerata graduates progress to college and further afield in the pursuit of their careers.

Following up this earlier story, I was pleased to find Max Ellis's site on the history of country music in Australia.

I will write fuller posts on the country music story later. For the moment, I simply wanted to note that Tamworth and country music sit at the intersection of several very different New England themes.

Max himself is the son of Ulrich Ellis, a significant figure in New England's history because of his role as Earle Page's political secretary, his political writing and his role with the New England New State Movement.

When Max began his country music development work, he was working for Tamworth radio station 2TM. Owned by Broadcast Amalgamated Ltd (BAL), 2TM was part of the New England Radio Network and played a key role in the early development of country music.

In doing so, it carried on a another theme in New England's history, the way in which the then locally owned media promoted the New England interest.

BAL itself is a very interesting story, one that I wrote up in part some years ago because my grandfather, David Drummond, was on the board and the board papers themselves form part of the Drummond holdings in the University of New England Archives.

Founded by the Higinbotham's, another of the pioneering New England media families, BAL grew from one radio station into a chain, then sponsored the formation of TV New England and East Coast TV. The board papers show very clearly the nature of the challenges faced in building and running a radio business in Regional Australia as compared to the metros because of the smaller populations involved. The also show the business acumen of Mr Higinbotham in defining solutions to meet those challenges.

Tamworth country music itself is an example of this. The launch of TV New England damaged 2TM's radio audience, leading Max Ellis (Max was then working for BAL) and the station to look for new promotional opportunities. Tamworth country music was one outcome.

This brings me to the final theme, one of great interest to me, the reasons why some communities develop, others do not. Here Tamworth has always been an interesting case study because of the way that community generated a series of new businesses. I explored this in another story on my personal blog, "A Town like Alice: development and creativity at community level."

Saturday, December 23, 2006

Christmas and the New England Diaspora

Every New England family has its own Christmas rituals.

To most young, at least those lucky enough to live in stable middle class families, these seem unchanging. It is only looking back that we can see how quickly things change.

As children brother David and I had a fixed and very satisfying Christmas ritual.

Christmas Eve was open house at our place for mum and dad's friends and their children.

Planning began days in advance. A suitable pine tree branch was obtained, put in an old iron pot and surrounded by packed down dirt. Mum got out the Christmas decorations from the top cupboard of the linen closet to decorate the tree and the house.

On Christmas Eve, sometimes the day before, dad went out to Ryan's Cordials, the Armidale soft drink maker, to get the soft drinks and mixers. Supplies of beer and spirits were obtained. The ice was broken up and put in the laundry tub or, later, eskies.

Mum got out the special punch jug and supporting glasses, pretty glassware only used at this time of the year. She then made her special and famous punch and then the sandwiches, especially cucumber and tomato.

People started arriving about 7pm. The Buzos, the Halpins, the Harrises, the Foxes and so on. We were allowed to help and played with the other kids. Then after people left, we tidied up and finished off the last of the cucumber sandwiches.

Christmas morning David and I woke early to see what Santa had brought us. In our case, Santa filled a pillow case (none of those small stockings!) that was left on the end of our bed. There were lollies, books and loads and loads of small toys. Even today, my own children insist on the pillow case, although this year for the first time they are actually Christmas stockings.

Once or parents woke - usually with a bit of prodding - it was time for present exchange. Then David and I settled down to play and read.

Mid morning it was off to Fah and Gran's.

Mann Street - we always called it Mann Street to distinguish it from Marsh Street, our house - was a children's paradise.

The house was a large one, located on a very large block. Originally built to face the north, the front of the house with its front steps dropping to the garden was in fact the back, the back the front.

Tall pine trees ran along the front and back fences, creating a paradise for children who liked to climb. I still remember the excitement when heavy snow caused branches on the trees at the front (always the better climbing trees) to crash to the street.

Looking at the house from the street the more formal gardens faced the street. There were small single car garages to the left and the right whose rooves could be reached by nearby trees, creating vantage points for kids playing hide and seek; home was always one of the big cement pedestals marking the end of the stairs at the other end of the house.

Facing from the street, gardens ran to the left and right of the house.

On the left, the flatter side, there was a gravel path near the house then a row of shrubs and gardens, a stretch of grass then a hedge. This was the side of the house we could break into as kids because the house was lower to the ground, allowing us to climb up the foundations.

On the left, a lawn sloped down to a gravel path (we loved rolling head over heels down this lawn) and then the garden shed. This provided another vantage point for our games of hide and seek.

At the front (back), the house was high from the ground with a veranda facing the north. There were in fact verandas on the south, east and north of the house. The verandas on the west of the house had been closed in.

On the high veranda at the front there were chairs for people to sit and watch the rest of the garden including especially the tennis court. It was here sometimes that I used to sit with Fah in the morning eating my porridge in the weak morning sun. Proud of his Scottish ancestry, he ate porridge with cream and salt, not sugar. I did the same.

From the veranda there was a short stretch of down sloping land, mainly lawn, to another hedge and then a fence marking the dividing line to the back garden. On the left was the kitchen garden, then the tennis court and a stretch of rough grass where the cow grazed when we were very young. At the back of the tennis court was a small byre for the cow, more rough grass.

Back to Christmas. Upon arrival at Mann Street we exchanged presents with Fah and Gran and my aunts. This was followed by open house for my grandparent's friends and campaign workers. At the time I was born, Fah had already been a local Member of Parliament for twenty five years, so there was a constant stream of people.

Then lunch, usually a chicken from the birds my grandparent's kept, with all the trimmings. The Mackellars, Mr Mackellar managed Fah's property outside Armidale, always came in for Christmas with the family. At lunch we kids always ate separately from the adults in a small sun room off the dining room, separate but still in seeing and hearing distance.

We played in the afternoon while the adults talked. I remember one year a piper came in (Fah was very proud of his Scottish ancestry) and we all gathered on the veranda while the piper strode the lawns below.

Then back home for a rest. In the late afternoon we always went up to the Halpins for a drink. Vee and Bruce had been very long standing friends of Mum and Dad, while brother David and I were close friends with the Halpin twins.

Finally, home for a meal of left overs.

Time passes, things change.

Fah sells the property and the Mackellars move. Our aunts get married. Then Gran is killed in a car accident. My parents think about buying Mann Street but hold off because we cannot get a good enough price for our house. Then Fah marries Aimie, subdivides Mann Street into two falts, retiring from politics soon after. Then Fah dies.

These are big changes. Yet they happen in a time horizon that allows for adjustment. Our Christmas evening Marsh Street opening houses continue. Kay and Margaret bring their children back to Armidale. I form the habit of dropping into Mann Street for a drink with Fah and Aimie. No longer a child, I listen to Fah's stories about his dreams, experiences and achievements.

More time passes, more things change. I join the New England diaspora taking a job in Canberra.

New England has been draining its young for a hundred years.

In the absence of self-government, it lacks the public service positions that would allow people like me to serve local interests, as well the the state branch positions found in other states. We also have few major locally headquartered businesses.

All this means that New England's most ambitious young leave. As a rough order of scale, I suspect that if we take those born in New England plus their immediate children, the number of New Englanders outside New England is as great as those living in New England.

Now there is a new pattern. At Christmas time from Newcastle in the south to Lismore in the north, from Kempsey in the east through Armidale to Moree, thousands of New England's young return home to family for Christmas. Initially they travelled by train and especially the night mail trains, meeting friends on the train, later by car and plane.

In my case I would leave Canberra by car as soon as work finished. If there was time, I would go through Sydney to see Aunt Margaret and Uncle Jim, a new ritual, arriving where possible at Armidale in time for mum and dad's Christmas eve open house. However, sometimes I did not arrive in Armidale until 5am on Christmas morning.

Christmas now was a time for catching up with old friends, including especialy those living elsewhere. We talked, played tennis or sometimes golf, visited the pub. Then it was over for another year.

More time, still more changes. My parents die, then Uncle Ron, destroying part of the old rituals. There is a short gap and then I return to live in Armidale with my own family, recreating the old pattern although we do spend some Christmases in Sydney with my wife's family.

As with David and I, Santa leaves presents in a pillow case on the end of the bed. There is then the excitement as the kids wake up early to see what Santa has brought them. Over breakfast we open presents to each other. Then at either lunch or dinner time it is usually off to Aunt Kay's for the main Christmas meal.

Merinda Place, Kay's home, now plays the role that used to be played by Mann Street as the aunts and often their children gather. There are now far fewer returning expatriats of my generation as their parents retire away from Armidale or die, but it is still all reassuringly familiar.

Still more time passes, still more changes.

Time periods are shortening now. After eight years in Armidale we move to Sydney so that my wife can pursue a new career, but still we mainly return to Armidale for Christmas with Kay and my other aunts. My daughters are older, but there is still all the excitement of going back, of seeing Kay and the other family.

Then one by one my aunts die including Kay. With no immediate family left in Armidale, with no family home, Christmas is now largely spent in Sydney with my wife's family. There is still the excitement especially for Helen and Clare, some things are still the same, but I do miss the old rituals and the people that formed such an important part of my life for so long.

I hope that all this does not sound too morbid. It's just that Christmas itself is a time for looking back, for remembering blessings granted. As we used to say in a Christmas toast, to absent friends.

I hope that you and yours have a very happy Christmas and a great new year.

Sunday, November 26, 2006

Don Dorrigo Show



Photo: Gordon Smith, Pavilion, 2006 Dorrigo Show

Having just updated the rolling list of New England's festivals, shows and events, Gordon's photo of the pavilion at the Dorrigo show caught my eye.

Don Dorrigo, usually shortened to Dorrigo, lies at the edge of the New England escarpment in some of New England's most beautiful country.

When we were children driving from Armidale to stay at Urunga or Sawtell we always stopped at the same cafe in Dorrigo for lunch.

Many years later when I was running for Country Party preselection for Armidale, I spent many days staying near Dorrigo, driving round all the little backroads, going to meetings in little halls, calling in at farms, always being surprised at the visual cameos that appeared around each corner.

Dorrigo remains one of my favourite New England places.