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[Music Link At Bottom ..Read Down]
Executive Producer:
Ethan Lane Jaymes
Director:
Ethan Lane Jaymes
Written By:
Twain Orfan
[Ethan is nervously pacing back and forth on Twain's studio back
lot]
Ethan: We need more ties !
Twain: Shall we start this
Twain: Interview about
Twain: LGBTQ rights ??
Ethan: [rolls his eyes]
Ethan: Not now Twain !!
Ethan: I have a $40 Million
Ethan: Production to do for
Ethan: the Cable Network AMC !
Twain: .......oh ?
Twain: Why do it here ?
Ethan: Your back lot was cheap
Ethan: .. to use ..
Twain: [nods]
Twain: What kind of ties are you .
Ethan: Men's ties !! ...
Twain: Men's ties ??? ...
Ethan: Very important !!
Ethan: The opening scene !!
Ethan: .... to die for !!!
[Eva shows up]
Eva: ... Ethan ? What do you
Eva: .. need me for ?
Twain: [blushes] .. Hi Eva ..
Eva: [looks to Twain ..
Eva: Quickly back to Ethan ...]
Ethan: Thank God you made it !!
Ethan: I need you for part of my
Ethan: Production ..!!
Eva: [nods] .What do I do ?
Ethan: [Looks down at his script]
Ethan: ..At exatly 2 minutes and
21 seconds, you enter with a wooden stick, and you remove a pink bra from a bathroom ..and you walk away ..
Eva: ....but, .. I don't do scenes like that ! I'm not that kind of woman !
Ethan: [Rolls his eyes] Eva !
Ethan: Wake up ! Smell Coffee !
Ethan: You are playing a character !
Eva: [slowly nods]
Ethan: This will expand your career ! ..
Eva: What is my facial expression ?
Ethan: A bit like a Mona Lisa Smile ...
Eva: [nods] ... I'll do it ...
Ethan: Good! We need you!
[Pia shows up on the set]
Pia: ...Ethan ? What do you need me for ?
Ethan: Viagra
Pia: The medication ?
Ethan: [nods]
Pia: Wait ? If a guy looks at me
and they still need Viagra .. ?
Ethan: No. No. Nooooooo.
Ethan: At exactly 1 minute and 56 seconds we show your hand picking up a box of Viagra ...
Pia: Why ?
Ethan: It's only your hand being shown and it pays 20,000.00
Pia: Lindens ?
Ethan: This is AMC .. Dollars !!!
Pia: Hmmm.... I'll do it !!!!
Ethan: [smiles]
[Pengu shows up on stage]
Ethan !!!! .. How can I help ?!!
Ethan : [smiles]
Ethan: I need you for a scene ..
...You carry off a Statue at exactly : 41 seconds into filming. The camera follows you for a moment. You'll need to grow your beard out just a bit.
Pengu: Of course I'll do it !!
Ethan: Thanks Pengu !!
[Ali shows up on stage]
Ali: .. What am I doing here ?
Ethan: I'm doing a shoot for AMC
Ali: [nods]
Ethan: I'd like you to be a part of it ..
Ali: What do I do ?
Ethan: You grab a painting off a wall .... at exactly 58 seconds into the filming
Ali: ...let me see ...
Ali: ....but ? ..I don't look anything like this woman ?
Ethan: [nods] You'll need to gain a little weight for this role ...
Ali: .. I dun'no ?? ...
Ethan: It pays 40,000. 00
Ali: ... Lindens ?
Ethan: This is AMC ! Dollars !!
Ali: Oh .. how long is the shooting?
Ethan: For your scene ?
Ethan: ...hmm? . About 6 hours.
Ali: I'll do it !!
Ethan: [smiles]
Ethan: Thanks Ali !!!
[Zakk shows up on stage]
Zakk: Hey Ethan !
Ethan: Zakk !!
Zakk: What's going on ?
Ethan: How'd you like to carry
a few suits for me ?
Zakk: You mean men's suits ?
Ethan: [nods] It's for an opening shot for an AMC production.
Zakk: Cool !!!
Ethan: The camera is on you at exactly 1 minute and 4 seconds into filming and it rolls with you for a short time ..
Zakk: Do I look 'cool'
Ethan: Yes .. and a bit older ..
We use make up .. you look very debonair .. and you have attitude as you walk by.
Zakk: ...Great !! I love it !!!
Ethan: [smiles]
Twain: ...Ethan ?
Ethan: Yes ? ....
Twain: I think all those fancy Men Ties that you were waiting for have just arrived ... there's a wide assortment to select from.
Ethan: [Ethan's face lights up]
Ethan: Yessssssssssssssss
Ethan: These ties will make or break the entire film !!!!
Ethan: The first 35 seconds ...
Ethan: I have the most creative opening .. it came to me in a dream ... these ties are invaluable !!!! .... I had them in a vision .... I'm so happy now !!!
Twain: Hey, ah, Ethan ......
Ethan: Yes Twain ? ...
Twain: So, um, ....you're using the backlot of my studio .........
Ethan: Yes ..?
Twain: So shouldn't I get a little taste of the cut here .. ?
Ethan: ...of course you are ...
Twain: [smiles] .. So ....what's my cut exactly ? ...
Ethan: ..... 5000.00
Twain: Wow.. 5000.00 Dollars ?!!
Ethan: .. No ... 5000.00 Lindens
Twain: Oh .... [sighs]
Twain: Okay ... I'll do it !
[Twain begins to walk away ...]
Ethan: ... Twain...where are you going ? ....
Twain: I was going to talk to Eva for a while ... why ?
Ethan : [shakes his head 'no']
Ethan: Sorry Twain .. it's in Eva's contract ... no talking with Twain
Twain: Really ? ...Why ?
Ethan: [shrugs]
Twain: Dang !! ...
Ethan: [claps his hands together]
Ethan: [shouts]
Ethan: OKAY PEOPLE ......
Ethan: EVERYONE ..LET'S
GET STARTED ....
[ 2 weeks later .......
end of Production ... ]
Ethan: .. Oh My God !!!
Ethan: This turned out way better than I ever expected !!!!
Ethan: Okay .... now when you watch this .....
Ethan: before you hit the 'play button' ... make the screen
LARGE FORMAT .. LARGE AS YOU CAN ...' ... or it won't be worth watching .... the 'Magic' won't be there .... Once the screen is in LARGE FORMAT ..then hit 'play' and everyone ENJOY the hard labor you each put into this !!!!! ... I'm so proud of each and everyone of you !!!!
[REMEMBER TO WATCH IN LARGE FORMAT FOR BEST VIEWING EXPERIENCE]
C-FDJP, a Hunting P.84 Jet Provost, taxiing in at London, Ontario.
Built in 1963, serial number PAC/W/21624 was operated by the United Kingdom's Royal Air Force as XR679. The two-seat trainer's single Viper 11 turbojet converts kerosene into droves of decibels as it produces up to 2,500 pounds of thrust.
I've taken a shot from this spot before but its so compelling a scene its pretty hard to walk past. This was the last night that the Producer was in this spot before sailing to a new project out in Nigeria so I couldn't resist not going down for her last night.
The North Sea Producer berthed next to Middlesbroughs Riverside stadium on the River Tees.
The unit is 236 metres long and operates at a water depth of 92 metres. The North Sea Producer has a daily production capacity of 76,000 barrels of oil and has a storage capacity of 560,000 barrels.
IMO: 8124058
MMSI: 234148000
Call Sign: MWGF2
Flag: United Kingdom (GB)
AIS Type: Other
Gross Tonnage: 52434
Deadweight: 99800 t
Length × Breadth: 233m × 40m
Year Built: 1984
Status: Active
Read more at www.marinetraffic.com/ais/details/ships/shipid:185647/mms...
©pauldowning2015 All Rights Reserved. This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
WINTER WONDERLAND
Heavy frost turned much of the Prairies into a picture postcard last month. This photo was taken near Deerwood, Man.
Okay, this is like the worst office portrait ever, a colleague took it with a camera. But in all it represents the day's highlight, a project finally launching. I don't know what I do to deserve it, but somehow I always end up being the producer, so a helmet and a signal lamp were in order. So the project went live today, Champaign was served (none for me, thanks) and everyone was happy. Finally some time to prepare for christmas.
Winning Moves UK, the official producer of Monopoly, has announced the upcoming launch of a special Chester edition of the beloved board game. Set to hit stores in October, this new edition promises to captivate fans with its unique theme.
For more information see:
thechesterblog.com/2024/03/22/official-chester-monopoly-b...
#ChesterCulture
Another short video clip of some of the birds I photographed over the years. Assembled in Photodex Pro Show Producer. As always, Flickr kicked up a fuss during uploading, but the birds eventually won, mostly. Sorry about the black leadin to the video...Flickr often works in mysterious ways!
Under the freeway, above the railway tracks, beside the bike path, along the river. North Melbourne, Melbourne, Australia.
Sony FE 28-60mm F4-5.6
48mm; 1/125 sec; f/8; ISO 100
A study funded by the Beef Research Council found that the cattle sector contributes much more to the overall economy than what is obvious from traditional measures related to direct contribution.
Charcoal Producer.
Minolta X-700. Minolta 55mm f/1.7 Lens. Redscaled AGFA Vista Plus changed iso to 100. Developed in Tetenal Colortec C-41 Rapid Negative Kit. Scanned with Epson 4490.
TAKING A TIME OUT
Odiel Sanders and his sons John + Jeremy were harvesting wheat Aug. 13, at Deerwood Man., when they stopped for some face to face communication.
Queen Sabine Mondestin is a actress, model, singer, dancer, writter, producer, and director.
To know more about this sublime multi talented artist visit her website at www.sabinemondestin.com
Former Yugoslavian (Croatian) postcard. 3 K, No. 3845, mailed on 18-7-1963. Harry Belafonte in Carmen Jones (Otto Preminger, 1954).
Singer, actor, composer, author, and producer Harry Belafonte (1927-2023) was one of the most successful African-American artists in history. As the 'King of Calypso', he popularized the Caribbean musical style internationally in the 1950s. His breakthrough album Calypso (1956) is the first million-selling album by a single artist and his hit The Banana Boat Song has become an evergreen. He also starred in several films, most notably in Otto Preminger's hit musical Carmen Jones (1954), Island in the Sun (1957), Odds Against Tomorrow (Robert Wise, 1959), Robert Altman's Kansas City (1996) and Bobby (Emilio Estevez, 2006). Throughout his career, he has been an advocate for humanitarian causes, such as the anti-apartheid movement and USA for Africa.
Harry Belafonte was born Harold George Bellanfanti Jr. at Lying-in Hospital in 1927, in Harlem, New York. He was the son of Melvine (née Love), a housekeeper, and Harold George Bellanfanti Sr., who worked as a chef. His mother was born in Jamaica, the child of a Scottish white mother and a black father. His father also was born in Jamaica, the child of a black mother and Dutch Jewish father of Sephardi origins. From 1932 to 1940, he lived with one of his grandmothers in her native country of Jamaica, where he attended Wolmer's Schools. When he returned to New York City, he attended George Washington High School after which he joined the Navy and served during World War II. In the 1940s, he was working as a janitor's assistant in NYC when a tenant gave him, as a gratuity, two tickets to see the American Negro Theater. He fell in love with the art form and also met Sidney Poitier. The financially struggling pair regularly purchased a single seat to local plays, trading places in between acts, after informing the other about the progression of the play. At the end of the 1940s, he took classes in acting at the Dramatic Workshop of The New School in New York with the influential German director Erwin Piscator alongside Marlon Brando, Tony Curtis, Walter Matthau, Bea Arthur, and Sidney Poitier, while performing with the American Negro Theatre in such plays as 'Days of Our Youth' (1946). In 1954, he would receive a Tony Award for his participation in the Broadway revue 'John Murray Anderson's Almanac'.
Belafonte started his career in music as a club singer in New York to pay for his acting classes. The first time he appeared in front of an audience at the Village Vanguard in New York, he was backed by the Charlie Parker band, which included Charlie Parker himself, Max Roach, and Miles Davis, among others. At first, he was a pop singer, launching his recording career on the Roost label in 1949, but later he developed a keen interest in folk music, learning material through the Library of Congress' American folk songs archives. With guitarist and friend Millard Thomas, Belafonte soon made his debut at the legendary jazz club The Village Vanguard. In 1952, he received a contract with RCA Victor. His first widely released single, which went on to become his 'signature' song with audience participation in virtually all his live performances, was 'Matilda' (1953). His breakthrough album 'Calypso' (1956) became the first LP in the world to sell over 1 million copies within a year. It spent 31 weeks at number 1, 58 weeks in the top ten, and 99 weeks on the U.S. charts. The album introduced American audiences to calypso music, which had originated in Trinidad and Tobago in the early 20th century. Belafonte was dubbed the 'King of Calypso', a title he wore with reservations since he had no claims to any Calypso Monarch titles. One of the songs included in the album is the now famous 'Banana Boat Song' (listed as 'Day O' on the original release), which reached number five on the pop charts. His other smash hit was 'Jump in the Line'. Many of the compositions recorded for Calypso, including 'Banana Boat Song', gave songwriting credit to Irving Burgie. His triumphant success as an entertainer in the arts did not protect Belafonte from racial discrimination, particularly in the South. As a result, he refused to perform in the southern region of the United States from 1954 until 1961.
Belafonte's first film role was in Bright Road (Gerald Mayer, 1953), in which he appeared alongside Dorothy Dandridge. In this low-budget film adapted from the Christopher Award-winning short story 'See How They Run' by Mary Elizabeth Vroman, Dandridge starred as an idealistic first-year elementary school teacher trying to reach out to a problem student. Belafonte played the principal of the school. The two subsequently starred in Otto Preminger's hit musical Carmen Jones (1954). The screenplay by Harry Kleiner was based on the lyrics and book by Oscar Hammerstein II, from the 1943 stage musical of the same name, set to the music of Georges Bizet's 1875 opera 'Carmen'. Ironically, Belafonte's singing in the film was dubbed by an opera singer, as Belafonte's own singing voice was seen as unsuitable for the role. Using his star clout, Belafonte was subsequently able to realise several then-controversial film roles. Island in the Sun (Robert Rossen, 1957) is about race relations and interracial romance set on the fictitious island of Santa Marta. The film was controversial at the time of its release for its hints of an affair between Belafonte's character and the character played by Joan Fontaine. The film also starred James Mason, Dorothy Dandridge, and Joan Collins. In 1959, he starred in and produced the Film Noir Odds Against Tomorrow (Robert Wise, 1959), in which he played a bank robber uncomfortably teamed with a racist partner (Robert Ryan). He also co-starred with Inger Stevens in the Science-Fiction doomsday film The World, the Flesh and the Devil (Ranald MacDougall, 1959). Belafonte was offered the role of Porgy in Porgy and Bess (Otto Preminger, 1959), based on the 1935 opera Porgy and Bess by George Gershwin, DuBose Heyward, and Ira Gershwin. Here he would have once again starred opposite Dorothy Dandridge, but he refused the role because he objected to its racial stereotyping. Sidney Poitier would play the role in the film. Dissatisfied with the film roles available to him, Belafonte returned to music during the 1960s.
While primarily known for calypso, Harry Belafonte has recorded in many different genres, including blues, folk, gospel, show tunes, and American standards. His second-most popular hit, which came immediately after 'The Banana Boat Song', was the comedic tune 'Mama Look at Bubu', also known as 'Mama Look a Boo-Boo' (originally recorded by Lord Melody in 1955), in which he sings humorously about misbehaving and disrespectful children. It reached number eleven on the pop chart. In 1959, he starred in Tonight With Belafonte, a nationally televised special that featured Odetta. Belafonte was the first Jamaican American to win an Emmy, for Revlon Revue: Tonight with Belafonte (1959). Belafonte recorded for RCA Victor from 1953 to 1974. Two live albums, both recorded at Carnegie Hall in 1959 and 1960, enjoyed critical and commercial success. From his 1959 album, 'Hava Nagila' became part of his regular routine and one of his signature songs. He was one of many entertainers recruited by Frank Sinatra to perform at the inaugural gala of President John F. Kennedy in 1961. That same year he released his second calypso album, 'Jump Up Calypso', which went on to become another million-seller. During the 1960s he introduced several artists to American audiences, most notably South African singer Miriam Makeba and Greek singer Nana Mouskouri. His album 'Midnight Special' (1962) included a young harmonica player named Bob Dylan. As The Beatles and other stars from Britain began to dominate the pop charts, Belafonte's commercial success diminished. His 'Belafonte at The Greek Theatre' was his last album to appear in Billboard's Top 40. His last hit single, 'A Strange Song', was released in 1967 and peaked at number 5 on the charts. Belafonte has received Grammy Awards for the albums 'Swing Dat Hammer' (1960) and 'An Evening with Belafonte/Makeba' (1965). The latter album dealt with the political plight of black South Africans under apartheid. In 1967, Belafonte was the first non-classical artist to perform at the prestigious Saratoga Performing Arts Center (SPAC) in Upstate New York, soon to be followed by concerts there by The Doors, The 5th Dimension, The Who, and Janis Joplin. In February 1968, Belafonte guest-hosted The Tonight Show substituting for Johnny Carson. Among his interview guests were Martin Luther King Jr. and Sen. Robert F. Kennedy. During the 1960s, he appeared on TV specials alongside such artists as Julie Andrews, Petula Clark, Lena Horne, and Nana Mouskouri. In 1968, Belafonte appeared on a Petula Clark TV special on NBC. In the middle of a song, Clark smiled and briefly touched Belafonte's arm. The show's sponsor, Plymouth Motors, wanted to cut out the segment, but Clark, who had ownership of the special, told NBC that the performance would be shown intact or not at all. American newspapers published articles reporting the controversy and, when the special aired, it grabbed huge ratings.
In the early 1970s, Belafonte returned to the cinema in two films with Sidney Poitier. The Western Buck and the Preacher (Sidney Poitier, 1972) broke Hollywood Western traditions by casting blacks as central characters and portraying both tension and solidarity between African Americans and Native Americans in the late 19th century. Buck and the Preacher was one of the first films directed by an African American and to be based on a band of African Americans fighting against the White majority. The film was produced by Belafonte Enterprises, Columbia Pictures Corporation, and E & R Productions Corp. Uptown Saturday Night (Sidney Poitier, 1974) is an action-comedy crime film written by Richard Wesley and starring Sidney Poitier, Bill Cosby, and Harry Belafonte. Although the film received mixed reviews, it was a commercial success and was part of the Blaxploitation wave. Later, Cosby and Poitier teamed up again, without Belafonte, for the sequels Let's Do It Again (Sidney Poitier, 1975) and A Piece of the Action (Sidney Poitier, 1977).
Harry Belafonte's recording activity slowed after he left RCA in the mid-1970s. RCA released his fifth and final Calypso album, 'Calypso Carnival' in 1971. From the mid-1970s to the early 1980s, Belafonte spent the greater part of his time touring Japan, Europe, Cuba, and elsewhere. In 1977, he released the album 'Turn the World Around' at Columbia Records. The album, with a strong focus on world music, was never issued in the United States. He subsequently was a guest star on a memorable episode of The Muppet Show (1978), in which he performed his signature song 'Day-O' on television for the first time. However, the episode is best known for Belafonte's rendition of the spiritual song 'Turn the World Around', from the album of the same name, which he performed with specially made Muppets that resembled African tribal masks. Belafonte reprised the song at John Henson's memorial in 1990. In 1984, Belafonte produced and scored the musical film Beat Street (Stan Lathan, 1984). Set in the South Bronx, the film follows the lives of a pair of brothers and their group of friends, all of whom are devoted to various elements of early hip hop culture. The cast included Rae Dawn Chong and Guy Davis. Together with Arthur Baker, Belafonte produced the gold-certified soundtrack of the same name. Beat Street's impact was felt internationally as well as throughout the United States. In Germany, for example, films as Beat Street are credited with introducing the hip-hop movement to the country.
In 1985, Belafonte was one of the organisers behind the Grammy Award-winning song 'We Are the World', a multi-artist effort to raise funds for Africa, and performed in the Live Aid concert that same year. Belafonte's involvement in 'USA for Africa' resulted in renewed interest in his music, culminating in a record deal with EMI. He subsequently released his first album of original material in over a decade, 'Paradise in Gazankulu', (1988). The album contains ten protest songs against the South African former Apartheid policy and is his last studio album. As UNICEF Goodwill Ambassador, Belafonte attended in 1988 a symposium in Harare, Zimbabwe, to focus attention on child survival and development in Southern African countries. As part of the symposium, he performed a concert for UNICEF. A Kodak video crew filmed the concert, which was released as a 60-minute concert video titled Global Carnival. Also in 1988, Tim Burton used 'The Banana Boat Song' and 'Jump in the Line' in his film Beetlejuice (Tim Burton, 1988). Belafonte appeared with John Travolta in the film drama White Man's Burden (1995), about racism in an alternative America where black and white Americans have reversed cultural roles. The film was written and directed by Desmond Nakano. The film revolves around Louis Pinnock (Travolta), a white factory worker, who kidnaps Thaddeus Thomas (Belafonte), a black factory owner for firing him over a perceived slight. The film gained a negative reception from the critics and was not a box office success. For Robert Altman's jazz age drama Kansas City (1996), he won the New York Film Critics Circle Award for Best Supporting Actor. Kansas City, which stars Jennifer Jason Leigh and Miranda Richardson, is also notable for its musical score being integrated into the film, with modern-day musicians recreating the Kansas City jazz of 1930s. For instance, Craig Handy played the role of Coleman Hawkins, Geri Allen played Mary Lou Williams, and James Carter played Ben Webster.
Following a lengthy recording hiatus, 'An Evening with Harry Belafonte and Friends' (1997), a soundtrack and video of a televised concert, were released by Island Records. 'The Long Road to Freedom: An Anthology of Black Music', a huge multi-artist project recorded by RCA during the 1960s and 1970s, was finally released by the label in 2001. Belafonte went on the Today Show to promote the album on 11 September 2001 and was interviewed by Katie Couric just minutes before the first plane hit the World Trade Center. The album was nominated for the 2002 Grammy Awards for Best Boxed Recording Package, for Best Album Notes, and for Best Historical Album. On television, Harry Belafonte starred as an Associate Justice of the Supreme Court of the United States in the TV drama Swing Vote (David Anspaugh, 1999) with Andy Garcia. In 2006, Belafonte appeared in the film Bobby, Emilio Estevez's ensemble drama about the assassination of Robert F. Kennedy. Belafonte played Nelson, a friend of an employee of the Ambassador Hotel (Anthony Hopkins). Belafonte received the Kennedy Center Honors in 1989. He was awarded the National Medal of Arts in 1994 and he won a Grammy Lifetime Achievement Award in 2000. He performed sold-out concerts globally through the 1950s to the 2000s. Owing to illness, he was forced to cancel a reunion tour with Nana Mouskouri planned for the spring and summer of 2003 following a tour in Europe. His last concert was a benefit concert for the Atlanta Opera on 25 October 2003. In a 2007 interview, he stated that he had since retired from performing.
In 2017 Harry Belafonte released 'When Colors Come Together', an anthology of his music for Sony Legends produced by his son David Belafonte. David wrote a remake of 'Island In The Sun', arranged by longtime Belafonte musical director Richard Cummings featuring Harry Belafonte's grandchildren Sarafina and Amadeus and a children's choir. Always outspoken in his beliefs, Belafonte achieved widespread attention for his political views in 2002 when he began making a series of negative comments about President George W. Bush and the Iraq War. Belafonte created controversy in October 2002 when he made disparaging remarks about Secretary of State Colin Powell. Far from being upset, Powell reportedly took the remarks good-humoured, refusing to inflame the situation any further. Belafonte's other controversial political statements on U.S. foreign policy have included opposing the U.S. embargo on Cuba, praising Soviet peace initiatives, attacking the U.S. invasion of Grenada, praising the Abraham Lincoln Brigade, honouring Ethel and Julius Rosenberg and praising Fidel Castro. On a Martin Luther King Day speech at Duke University in 2006, Belafonte compared the American government to the 9/11 terrorists.
Belafonte and his first wife Marguerite Byrd were married from 1948 to 1957. They have two daughters: Adrienne and Shari, who also worked as an actress. In 1957, Belafonte married his second wife Julie Robinson, a former dancer with the Katherine Dunham Company who was of Jewish descent. They had two children, David and Gina. David, the only son of Harry Belafonte, is a former model and actor and is an Emmy-winning and Grammy-nominated music producer and the executive director of the family-held company Belafonte Enterprises Inc. As a music producer, David has been involved in most of Belafonte's albums and tours and productions. After 47 years of marriage, Belafonte and Robinson got a divorce. In April 2008, Harry Belafonte married photographer Pamela Frank. Recently, Belafonte returned to the cinema in Spike Lee's biographical crime film BlacKkKlansman (2018) as an elderly civil rights pioneer. Set in 1970s Colorado Springs, the plot follows the first African-American detective in the city's police department as he sets out to infiltrate and expose the local chapter of the Ku Klux Klan. BlacKkKlansman premiered at the 2018 Cannes Film Festival, where it won the Grand Prix. Belafonte appears in the film recounting the lynching of Jesse Washington, a black teenage farmhand who was lynched in the county seat of Waco, Texas, on 15 May 1916, in what became a well-known example of racially motivated lynching. In 2019, the film won an Oscar for Best Adapted Screenplay. It was written by Charlie Wachtel, David Rabinowitz, Kevin Willmott and Spike Lee.
Harry Belafonte died in New York on 25 April 2023, due to congestive heart failure. He was 96.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Пара интервью с вокалистом Felt.
• их главный хит Primitive Painters спродюсировал Робин Гатри из Cocteau Twins, и на бэк-вокале с его подачи там спела Elizabeth Fraser;
• сингл Primitive Painters попал на вершину UK Independent Singles Chart, чего не удалось достичь ни The Smiths, ни Cocteau Twins;
• когда песня взлетела в топы МакГи из Creation и Cherry Red решили снять видео на этот сингл, но МакГи (был на мели) не заплатил ребятам (Cherry и Creation изначально договаривали разделить расходы пополам), поэтому они смогли снять только полклипа (!), из-за этого Lawrence собирался уничтожить видео, к счастью копия была не только у него (группа как раз перешла из Cherry на Creation);
• Робин очень любил эту группу и старался им помочь по мере сил, но для сведения альбома они заставили их вокалиста (по имени Lawrence Hayward) подписать бумажку, что он никаким образом не будет вмешиваться в сведение записи, потому что были наслышаны о его характере, он очень страдал что не может повлиять;
• видео сняли спустя пару лет после выхода альбома, в доме Фила Кинга (в будущем басиста Lush и The Jesus and Mary Chain) в Hammersmith, он тогда играл в Felt; штатным басистом Felt был Marco Thomas, так что Phil King даже не отмечен ни на одной их пластинке, хотя и снялся в их самом популярном видео;
• Martin Duffy сыграл на клавишах на этой пластинке, когда ему было всего 18 (а пришёл он в группу вообще в 16 лет), после распада Felt он примкнет к Primal Scream (на днях скончался /RIP);
Felt discography
1982.01 — Crumbling the Antiseptic Beauty (Cherry Red)
1984.02 — The Splendour of Fear (Cherry Red)
1984.10 — The Strange Idols Pattern and Other Short Stories (Cherry Red)
1985.09 — Ignite the Seven Cannons (Cherry Red) - Primitive Painters отсюда
1986.06 — Let the Snakes Crinkle Their Heads to Death (Creation)
1986.09 — Forever Breathes the Lonely Word (Creation)
1987.06 — Poem of the River (Creation)
1988.05 — The Pictorial Jackson Review (Creation)
1988.07 — Train Above the City (Creation)
1989.11 — Me and a Monkey on the Moon (Creation)
compilation
1987.09 — Gold Mine Trash [Cherry Red]
1990.04 — Bubblegum Perfume [Creation]
1992.04 — Absolute Classic Masterpieces [Cherry Red]
1993.10 — Absolute Classic Masterpieces Vol. II [Creation]
1993.10 — Felt Box [Cherry Red]
2003.05 — Stains on a Decade [Cherry Red]
singles
1979 — Index
1981 — Something Sends Me to Sleep
1982 — My Face Is on Fire / Trails of Colour Dissolve
1983 — Penelope Tree
1984 — Mexican Bandits / The World Is as Soft as Lace
1984 — Sunlight Bathed the Golden Glow
1985 — Primitive Painters
1986 — Ballad of the Band
1986 — Rain of Crystal Spires
1987 — The Final Resting of the Ark
1988 — Space Blues
• Уникальный саунд Felt — заслуга гитариста Maurice Deebank (Lawrence его друг детства) и он покинет группу сразу после альбома «Ignite the Seven Cannons», 1985, он говорил в другом интервью, что на первых альбомах учил всех играть на инструментах, там все самоучки кроме него (и даже после его ухода, они играли так как он их научил), Maurice признавал что Lawrence великий поэт, но они разошлись т.к. парни перестали слушать его советы по поводу саунда, плюс им вскружил голову успех Primitive Painters — Джон Пил и все остальные там подпрыгивали от радости когда её включали и они реально остановились в полушаге от глобальной популярности, но эта же песня стала их последним большим хитом;
Phil King играл в группах:
The Servants (1986)
Felt (1986-1987)
Apple Boutique (1987)
Hangman's Beautiful Daughters (1987)
Biff Bang Pow! (1988-1989)
See See Rider (1989-1992)
Lush (1992-1997, 2015-2016)
The Jesus & Mary Chain (1997-1998, 2017-)
(удивительно конечно, что я посмотрел живьём и Lush и JAMC хотя даже и не мечтал о таком!)
Felt одна из самых недооценённых британских групп, как и McCarthy.
...
An interview with Lawrence: “‘Primitive Painters’ was this great big statement, Felt were going to be massive.”
— Michael Bonner @ Uncut, 24.07.2015
www.uncut.co.uk/features/an-interview-with-lawrence-primi...
— Where were Felt just prior to Ignite the Seven Cannons?
— Honestly there’s so much. I don’t want to blab on and on. Originally I wanted to continue with John Leckie after The Strange Idols Pattern. He didn’t want to do it. I was writing these trademark pop songs at the time, short 3-minute things. Leckie said, “They’re all the same, they just seem to start and then stop, there’s no beginning.” Things like that. He was reluctant to get involved. But I said, “These are just a few rough demos that you’re listening to, the songs are nothing like that really. They’re quite expansive, there’s a lot going on.” But he wouldn’t give it a chance. So he passed on it anyway. We were trying to get Tom Verlaine as well.
— Did you approach Verlaine?
— We did, yeah. He said – oh God, his quote was classic – he said he didn’t want to get involved himself because he felt the guitars were playing all the way through the songs. That’s the gist of it. They would start and continue, like a long solo. The songs, they weren’t arranged. Like most would start and then continue all the way through the song. That’s a lot to do with me, because Maurice [Deebank] is such a great guitarist that I encouraged him to play from beginning to end, especially on my songs. That’s something Tom Verlaine picked up on. It was a good criticism, I suppose, in a way, if you were trying to write conventional songs. But we weren’t. At the beginning of this chat my point would be that these people didn’t give us a chance to see what could happen in the studio with this.
— How did Robin Guthrie become involved?
— Cocteau Twins had approached us to play with them live because we were Robin’s favourite band. We didn’t know them, they got in touch with us, and Robin said they were doing a small UK tour – well, for them it was a massive tour. It was 5 days on the trot I think, or 6 days. They took us with them in their mini bus and they paid for everything. They were very kind to us, and we became great friends on this tour. So, I thought, “Maybe I’ll ask Robin because he seems to know what he’s doing in the studio.” He wasn’t known as a producer then, he’d only produced Cocteau Twins. Now he’s known as more of a producer. I wanted to work with a musician. Robin liked us a lot, and he agreed to do it as long as I wasn’t at the mixing. I had to sign a contract to say that I wasn’t allowed to be at the mixing, because he thought my presence was too overpowering. There could only be one person mixing the record, and that would be him.
— Is that just how he works or was that about you personally?
— That was about me personally, absolutely. Because I was in control of every asset of the band. I had a comment on everything, even a shoelace, for example. I was in to everything, and I was completely obsessed. I think he thought, if he was going to produce, he’d want to produce it his way. He’d probably heard stories of me in the studio before anyway.
— What sort of stories?
— I don’t know, the usual. You always hear stories about people in the studio that are kind blown up out of all proportion. I don’t know what he could have heard, there are so many. He’d probably heard that it’s very hard to work with me. I signed this piece of paper anyway. There was a production contract and there was an extra contract for me to sign saying that I wouldn’t be there at the mixing. I can’t go into the whole thing, we’d need a whole book. But, what happened was, as we were recording the album, I was more and more reluctant to go along with this. I wasn’t sure that I shouldn’t be there. It got to the point where we had 11 days to record and five or six days to mix. We did it in Palladium studios in Edinburgh. Robin knew the engineer, the guy who owned it. Jon Turner I think his name was.
— Do you remember when this was?
— Let’s remember the weather… I reckon it was spring. It was coldish but there wasn’t any snow or rain. I’d say spring we did it. Definitely spring, yeah. Loads of Eighties bands went to Palladium, especially Scottish bands. Paul Haig and people.
— What was it like?
— It was residential which is the first time I’ve done that, and I didn’t like that at all, being away from my own surroundings, and sharing a room, we were all sharing a room. Like a dormitory it was.
— Who did you share with?
— I had my own room. I think that was part of it. I had to have my own room. I think we threw someone else in together, three of them together, so that I could have my own room. I think that was my one diva moment. It was awful for me, it was in the middle of nowhere. About a 45 minute bus ride into Edinburgh. It was awful, in a country lane, there was like a tiny little village down the lane. I got attacked by a dog, had to go to hospital. Like a wolf it was. It attacked me one day.
— Why did it attack you?
— I don’t know, just saw I was scared. It didn’t attack anybody else. I was on my own. Had to go to hospital. I hated it. And also I hated the food, and the whole day was geared up to “Is he going to eat or not tonight?” It’s all like that.
— What kind of food did they serve, if you don’t mind me asking?
— I can’t remember. But I didn’t eat anything. I didn’t like any meals, it was always a big deal. His wife was cooking the meals for us, of course, and you tend to be polite in those situations, but I couldn’t eat the food. Robin, he thought it was wonderful that all this was going on, and he’d make a big show of it to the wife, “He’s not eating it again, he doesn’t like your food.” All this kind of stuff. He’s quite the joker, Robin is. Everything’s based around a joke and japes with him. He sort of revelled in my idiosyncrasies.
— I want to talk more about Robin in a minute. But this is Duffy’s first record. How did he come into the picture?
— He joined late ‘84, straight from school. When we did Ignite… he was probably 16.
— How did you find him?
— I put an advert in Virgin for a guitarist. This was during one of the periods where Maurice left. This guy who worked there came up to me and said, “Look, you’re in Felt aren’t you? I know this great keyboard player.” That was Martin. I rang him and it was as simple as that. That was it really. Very lucky. I was thinking about a keyboard player anyway, because Maurice is so hard to replace. I got Martin in, we worked on all songs that were on Ignite the Seven Cannons – apart from “Primitive Painters” and Maurice’s solo song. In between then and starting the album, Maurice rejoined. He’d always leave, then he’d rejoin. Me and Gary [Ainge] would carry on on our own for a few months, and then we’d come to a low point, go round to Maurice’s house and beg him. We’d stay up all night with him and plead with him to come back. He took a lot of persuading, he wasn’t bothered about being in a group at all. So anyway, the next time we got Maurice back, Martin was with us. One of the reasons Maurice was quite happy to come back was the fact that we had a keyboard player. He thought it would be better for the arrangements.
— This was Maurice’s final record, though?
— Every record he came in and left really. That’s why he’s never in a lot of interviews, because he’d left straight after recording. But what happened this time was he’d got married to a girlfriend, and what should have been his honeymoon was spent recording Ignite the Seven Cannons. When we delivered him back to his flat in Birmingham, he got out the van and said “I’m finished now, yeah that’s it, I’m finished.” I knew he meant it that time. He left soon as we’d finished recording.
— When did you start writing “Primitive Painters”?
— When Maurice rejoined, he bought the music for “Primitive Painters”. It wasn’t like a fully formed song, it was like a cyclical riff. We arranged it together, and I put the verses in so it was a joint collaboration. But he wrote all the music to that and he brought his instrumental track, “Elegance of an Only Dream”. I wanted there to be lots of Maurice songs on that record. But he wasn’t interested, or he just found it too hard to work on his own, I think. When we wrote the songs together, we would sit opposite each other, parallel to each other, in my bedroom or flats that we subsequently got, and we’d just sit there and work on them. I’d play the chord sequence while he’d work out his guitar parts. I think he liked the camaraderie of that better than sitting on his own in a cold room trying to come up with songs, which I didn’t have a problem with. The poet in the garret was made for me. I was quite happy to be on my own composing and writing the words and writing the music, just waiting for fame. I was very prolific, but Maurice wasn’t. He wrote I think one on the first album, “I Worship The Sun”, and he wrote a song called “Spanish House” on the third album, and “Primitive Painters” and the “Elegance…” song. I was quite happy for him to present a whole album worth of stuff. We were partners and it didn’t matter who wrote what bits. We were songwriters’ together, joint songwriters. And of course, he came up with the best song, “Primitive Painters”.
— Where did the lyrics come in, do you have books of lyrics?
— I was sitting in my kitchen in Moseley doing it. The lyrics, I don’t know how they come about. That would’ve been the last song on Ignite the Seven Cannons, because I had all the others written. So that would’ve been the last lyric I wrote. I can’t say there was any special moment that made me come up with it.
— Can you explain the song?
— “Dragons blow fire, angels fly, Spirits wither in the air/It’s just me I can’t deny I’m neither here, there nor anywhere”. It’s about wanting to be in a select group. “Primitive painters are ships floating on an empty sea, gathering in galleries”. Imagine groups of really cool kids hanging out in galleries, not pubs. That was my sort of conception.
— Was that you?
— Yeah, that’s me. I’d always find myself in a gallery on my own, y’know.
— Can you talk us through how you worked on the song in the studio?
— We’d work them up in a practise room. There was no improvising going on, so we knew exactly what we were doing. Then we set up like a band in the studio. They were layered afterwards. They were very simple, very traditional big group concepts, just like everyone did. You’d set up live and you’d get the bass and the drums and the keyboards down, and the rhythm guitar, and you’d layer it from there, adding lead guitar and vocals afterwards. It’s quite boring, that aspect of it. But it was done really quickly because we didn’t have enough time to ponder, so we just did them all live.
— What was Robin like in the studio as a producer?
— While I was there, he was capturing it all with the engineer. He didn’t make any arrangement suggestions because it was all set in stone before we got there. I was very pedantic like that. But he put effects to tape, which is something you don’t do.
— Could you explain what you mean?
— You should record everything dry, and then you decide what effects to put on afterwards so you have the choice. That’s why that album sounds so impenetrable and dense because all the effects went down, so by the time of the mixing there was nothing to change. I suppose that was the way he recorded the Cocteau Twins. It was a massive mistake, and I’m sure he would never do that now. Over the years I’ve collected some of the master tapes and on the reissues that are coming out, I’ve tried to extract the Cocteau Twins from my record. You can’t really hear Maurice’s guitar leads. Okay, skip forward to the end of the mixing when I finally got my tape. I was horrified, I would never have made a record like that. I was like beside myself with anguish. The thing was in those days, you couldn’t remix an album. But Robin quite rightly said “Primitive Painters” has to be the single. He went on and on about it, and he went to Cherry Red and he told them, he persuaded everyone. I didn’t think it was a single, I thought it was too long. I went with him to a studio in London and we remixed it together. And that’s why that’s the best song, ‘cause I was there in that mixing. I went with him to Barry Blue’s studio in Camden. Remember that guy Barry Blue? He had some hits in the ‘70’s? He was like a teenybopper. His studio in Camden was by the Roundhouse. We spent an afternoon there and we remixed “Primitive Painters”. I think we should’ve done an EP with Robin; that would’ve been the best outcome. It would’ve been a different story. But, anyway, we were lumbered with a whole album. And it was 11 tracks as well. That’s something I could never get my head around because I like everything symmetrical. That hurt me a bit, straight away, before I’d even listened to it.
— How did Liz Fraser come to be on the record?
— Liz came with Robin to work on her own lyrics and songs and that, so she’d be upstairs in the bedroom, in their room, working on her lyrics. She had a bed full of books that she was poring though, reading and writing. Anyway, when we’d recorded “Primitive Painters” and we listened back, Robin said “I’ve got a good idea.” He ran upstairs and he said to Liz, “I want you to sing this song.” He just played her the end section. I wrote the lyrics out for her on a piece of paper, she went in, listened to it once on headphones, and then just improvised around it. It was as real as that. It was a remarkable moment. When you listen back to something like that, we knew we’d got it.
— It was on the cusp between the 7-inch culture of the late ‘70’s and the 12-inch culture of the Eighties.
— Yeah, I wanted it to be a stand alone release like Wild Swans’ “Revolutionary Spirit” and Joy Division’s “Atmosphere” which were 12-inches. “Atmosphere” was on 7-inch, but that was that French label so it didn’t count. Songs that were too big to hold on 7-inch, they were big. Cherry Red wanted to do a 7-inch edit of “Primitive Painters”, but I wouldn’t let them.
— Talking of Cherry Red, what was your relationship like with them at that point?
— Michael Alway was the A&R guy who signed us to Cherry Red. He formed a new label with Geoff Travis and they went to Warners and they started Blanco Y Negro. He always promised that he’d take us with him. He took most of the Cherry Red rock stuff, and he left us behind, because Warners just wouldn’t entertain the idea of having Felt. So we were on a label that we didn’t want to be on. But we all made friends and we had two albums left to deliver so we did Strange Idols Pattern, and then Ignite the Seven Cannons. I’d been speaking to Alan McGee at this point so I knew we were going to Creation after this last album. There was no animosity there, we were all friends and I’ve never fallen out with them, we’d been friends for years and it was just business.
— You made a video with Phil King a couple of years later. How did that come about?
— We were on Creation when we did it. What happened was, I don’t know why but it was mooted that we should do a video for “Primitive Painters”. It got half made. Cherry Red and Creation were meant to pay for it together, pay half each. Cherry Red came up with their half because they initiated the project, and McGee didn’t pay his half. So we did half a video with Phil’s friend Danny. What you see on YouTube is half a video. We were meant to do another half and join it together, have stuff superimposed over the top, have extra scenes. But all you can see really is me and Phil in Phil’s house in Hammersmith, just standing around. It’s ridiculous. I was so embarrassed when it leaked out. So we put it to bed, and it lay there until somebody scooped it up and put it on YouTube or leaked it on a VHS probably first, it was probably a leaked VHS first.
— Yeah, it’s got that slight tracking wobble you get every now and again on VHS…
— I should’ve been more attentive and got hold of it and cut it up or something. I was very meticulous about ‘there’s no extra tracks’ and things like that, no demos or extra tracks hanging around. But with this for some reason it went wrong. I can’t remember why it was resurrected I’d say about a year and a half later. Maybe together McGee and Cherry Red were going to do something.
— Where do you think now the song fits into your body of work? Is it a song you still feel proud of?
— Oh yeah, oh wow. It was great that we went back – at that time you never went back and revisited anything – and we spent an extra afternoon getting it right and perfecting it. It was this great big statement, Felt were going to be massive. I was prone to short pop songs. My thing was, I’m going to break in to the mainstream by doing a short pop song. I was totally off the mark. We nearly had a hit single with a six-minute track that was not a traditional pop song, let’s put it that way. I reckon that if it would’ve been in the ’90s, it would’ve been a Top 10 song – because the independent movement was ready to promote songs like that. In 1985, there was no apparatus for a song like that, to take it to the mainstream. Even The Smiths would only get to 23, and the Cocteaus would only get to 38. I’m really proud of the song, I’m really proud that Maurice got his moment. I’m proud of the fact the Cocteaus are on it. I suppose it was the high point of the first days of Felt wasn’t it?
...
Trash ascetic. The minimally-monikered Lawrence - driving force behind Felt, Denim, and now Go-Kart Mozart - lives like a monk but dreams of pop stardom, drawing inspiration from the 'middle-of-the-road underground'
• The Guardian, 8 Jul 2005
www.theguardian.com/music/2005/jul/08/1
When the cult pop star Lawrence was 12, he saw a film of Gary Glitter disposing of his old life as Paul Gadd by putting all of his possessions on to a boat on the river Thames and floating them downstream. "I said to myself, 'I'm going to do that one day,'" says Lawrence, who began the process by disposing of his surname. "I'm going to put one life away in a box and start a new one."
Although he hasn't quite reached Glitter's levels of fame or infamy, Lawrence has succeeded in reinventing himself several times. For most of the 1980s, he was the sensitive leader of the influential indie band Felt. Then he re-emerged in the 1990s with Denim, whose wry wit and celebration of 1970s pop culture proved too far ahead of its time for commercial success. Now he is back with Go-Kart Mozart, and a roster of perfectly formed pop songs that he hopes will be recorded by some of the biggest stars of the day. He's setting his sights on Charlotte Church, but whether she will add Um Bongo (about the Rwanda genocide), and Transgressions (about a trend for spraying Lynx body lotion on to your tongue for a cheap high) to her repertoire remains to be seen.
"I got a letter from a fan the other day who said that I was the only true talent left, now that Stephen Duffy is writing for Robbie Williams," says Lawrence, who lives in near poverty in a featureless flat in Victoria. "But I'd love to write for Robbie Williams! I think I write hit singles anyway; it's just taken me a long time to master them because I'm a slow learner. I couldn't tie my own shoelaces until I was 12."
Lawrence manages the unlikely feat of existing as both pop star and monkish hermit. He eats as little as possible because he believes that creativity comes from being hungry - if pushed, he will admit to pigging out on the occasional sausage roll from a stall on Victoria station - yet he is in love with glamour. He likes the Norwegian singer Annie because "she's a gorgeous girl and I'm into beauty. I could never listen to that big fat oaf from Pop Idol [Michelle McManus] because she's over-indulged herself. My whole thing is about not doing things, about being as thin and as minimal as possible. Ideally I'd like to wear brown robes, eat a bowl of rice a day, and go into a trance as I stare at beautiful album covers."
Then there are the records. In the corridor of the tiny flat Lawrence has a shelving unit with his French pop and 1970s glam albums. He's heavily into what he calls the underground middle-of-the-road scene. He has two copies of his favourite ones in mint condition "just in case", and visitors are only allowed to touch them once they have donned special protective gloves. "I don't want fingerprints on the laminated covers," he explains. Asked about his prized albums, he presents the solo debut by the 1960s/70s Israeli pop star Abi and 1973's Aquashow by obscure glam rocker Elliot Murphy.
Lawrence plays an emotional version of David Bowie's Life on Mars by British choral group the King's Singers and follows it with 1973's Dee Doo Dah by the actress and singer Jane Birkin. "And get ready for this," he says, unsheathing a poster of Michel Polnareff depicting the flamboyant French star proudly displaying his bottom. The poster was banned in 1972 and Polnareff was fined 10 francs for every copy printed. "I go mad on Polnareff. In the 1970s, he moved to the penthouse suite of a hotel in Los Angeles and as far as I know he's still there."
His only other significant possession is a book collection, shelved under a durable polythene dust cover and containing true-life accounts by heroin addicts, a few cult novels like Hunger by Knut Hamsun and Ask the Dust by John Fante, and an entire set of the Skinhead novels; the violent pulp books written by Richard Allen in the early 1970s. "I would say that real accounts by junkies are my favourites, and I'm not into fiction. I have everything by Jack Kerouac but his novels are about real life anyway."
Lawrence does dream of riches, despite currently living as an ascetic. "I love prison cells - if I had the money I would definitely build one of those cement beds that extend from a wall - but I'd really love a circular penthouse flat in Mayfair," he says. "I have a jewel case full of hits ready for ransacking, but I'm also in the market for a rich wife. She can be late 20s to early 30s and if her dad's in Who's Who, that's a bonus."
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‘I’d rather be a tramp than reform my old bands’: Lawrence on life as British music’s greatest also-ran
• The Guardian, 27 Jul 2022
www.theguardian.com/music/2022/jul/27/lawrence-interview-...
His fans range from Charlie Brooker to Jarvis Cocker, yet the auteur behind Felt, Denim and Mozart Estate never found fame. He explains why it was all Princess Diana’s fault
The most uncompromising figure in British pop has an urgent question: “Do you need the loo?” This is Lawrence (no surnames, please), the mastermind responsible for the coruscating beauty of Felt, the knowing glam-rock of Denim and the bargain-bin ear-worms of Go-Kart Mozart, now renamed Mozart Estate. As we walk to his high-rise council flat in east London, I promise him that my bladder is empty. “Are you sure?” he persists in his Midlands lilt. “Do you want to try going in the cafe?” No one is allowed near his toilet. “A workman was round the other day, and he used it without asking. Oh God, it was ’orrible!”
Lawrence is wearing his trademark baseball cap with its blue plastic visor and a vintage-style blue Adidas jumper. His skin is pale and papery, his eyes small but vivid. He is 60 now and has been dreaming of pop stardom since he was a child. “I used to sit in the bath and pretend I was being interviewed: ‘So what’s it like to have your third No 1 on the trot?’”
Only one of his songs has ever charted: Denim’s It Fell Off the Back of a Lorry, straight in at No 79 in 1996. Summer Smash, a BBC Radio 1 single of the week, might have made good on its lyrics (“I think I’m gonna come / Straight in at No 1”) if its release in September 1997 had not been scrapped following a certain Parisian car crash. As Lawrence shows me around his ramshackle flat, which he has been decorating for the past 12 years or so, I spot a grotesquely bad portrait of Diana, Princess of Wales stowed in one corner. “My story is pinned to hers forever,” he says glumly.
We perch on wooden stools in the cluttered, dimly lit living room. Around us are piles of books and vinyl, assorted knick-knacks (feather duster, magnifying glass) and a mustard-coloured Togo chair – a rare extravagance – still in its plastic wrapping. The white blinds are pulled down; a leak has stained them urine-yellow like a child’s mattress. “I don’t think anyone’s had as much bad luck as me,” he says. “It just goes from one disaster to another.”
And yet Lawrence of Belgravia, the 2011 documentary about him which is now being released on Blu-ray, remains stubbornly inspiring. It’s the story of a born maverick who refuses either to abandon his dreams of success or lower his standards to make them a reality. “You see so many musicians reforming their old bands,” he says. “I can’t do that. You’ve got to move forward.” He knows what it’s like to be disappointed by your idols – “I couldn’t get over it in the 1980s when Lou Reed had a mullet” – and is determined never to sully his own legacy, no matter how much cash he is offered. “I’d rather be a tramp than reform Felt or play my old songs,” he says.
He has put his lack of money where his mouth is. “There came a point where I learned to live on nothing. I’d have two pence in my pocket, and I’d find a bench on the King’s Road hoping someone would sit next to me so I could ask for a cigarette. No one ever did because I looked so rough.”
Lawrence of Belgravia alludes to addiction issues and legal woes: we glimpse bottles of methadone and piles of court letters. At the start of the film, he is evicted from his previous flat. But it is still a fond and hopeful study of someone for whom fame – as symbolised by limousines, helicopters and Kate Moss – has never lost its allure. “It’s such a shame it hasn’t happened to me,” he says. “I’d love to try fame on for size, see what it’s like.” How close has he come? “There was a period in the 1990s when I could get a taxi. That was as good as it got. There’s a fame ladder and I’m near the bottom. I always have been, and I accept that.”
The documentary has helped a bit. “It’s a proper film, and that took me up a couple of rungs,” he says. “It legitimised me.” He has rarely wanted for respect: he counts Jarvis Cocker and Belle & Sebastian’s Stuart Murdoch among his fans; Charlie Brooker chose Denim’s The New Potatoes, with its Pinky & Perky vocals, as one of his Desert Island Discs. He has also started being recognised in the street – “which shows you’re getting somewhere”. But he has a little grumble: “The people who come up to me are all listening to my stuff on Spotify. I tell them: ‘Buy a bloody record!’ Some of them haven’t got a turntable, so I say, ‘Put it on the wall.’”
His hard-luck story began when Felt failed to win favour with the DJ John Peel. “If you were an indie band in the 1980s, you couldn’t make it without Peel’s support,” he says. When Lawrence formed Denim in the early 1990s, he seemed ideally placed to ride the incipient Britpop wave. “Except I made one super error,” he points out. “I thought live music was over, so we didn’t play live at first.’” He believed it would add mystique if fans couldn’t see Denim in the flesh. “I wanted to be a cartoon band. But it turned out to be the beginning of the live boom. Indie suddenly went mainstream. I didn’t spot that coming.”
If the hard-gigging likes of Blur stole a march on Lawrence, it was another Damon Albarn outfit that pipped him to the post with the “cartoon band” idea. “I couldn’t believe it when Gorillaz happened,” he splutters. “I was like, ‘That’s what I wanted to do!’”
Soon after the Summer Smash debacle, Denim were dropped by EMI. “We had to go down to making records for nothing, getting favours from friends.” Go-Kart Mozart was intended as a stop-gap but the songs, many of them musically upbeat and lyrically harsh (When You’re Depressed, Relative Poverty, We’re Selfish and Lazy and Greedy), have kept on coming for more than two decades. The name-change to Mozart Estate reflects, says Lawrence, “the tougher times we live in”.
Even he was taken aback while checking the lyric sheet for the new Mozart Estate album Pop-Up, Ker-Ching and the Possibilities of Modern Shopping, which is to be released in January. “Every song has something ’orrible,” he says. One track features the line, “London is a dustbin full of human trash.” Another is called I Wanna Murder You. “I’m never going to get any PRS money for that,” he says. “Still, it’s very catchy. Breaks into a lovely chorus.”
It’s all too much for some people. When the first Go-Kart Mozart album came out, he received a call from Alan McGee, his Creation boss from the Felt days. “Alan said, ‘What’s this song Sailor Boy, then? Jean Genet going down on you? I don’t get it, Lawrence. I don’t get what the fuck you’re doing!’” He looks pleased as punch.
Paul Kelly, the director of Lawrence of Belgravia, thinks the singer is in a healthier and more optimistic state now than during the making of the film. Production took eight years, largely because Lawrence kept disappearing for months on end. “First I’d be frustrated, then I’d worry,” says Kelly. “When he finally turned up, he’d act as though nothing had happened. He has that disarming personality so you always forgive him. I think he had a fear that when we were finished, there’d be nothing else. He didn’t want to let the film go.”
These days, Lawrence has fingers in umpteen pies (Felt reissues, a limited-edition folder of collectible bits-and-pieces and a 10-inch EP, all ahead of the new album). He is bubbling with ideas: he wants to write a play for the Royal Court, collaborate with Charli XCX, be directed by Andrea Arnold. “Do you know her?” he asks hopefully. “I want to be in one of her films and write a song for it.”
His greatest enthusiasm is reserved for the larger-than-life-sized pink marble bust which the sculptor Corin Johnson is making of him: “He came up to me at a gig and said, ‘I’d like to do a statue of you.’” A month’s worth of sittings later – including one spent with straws in his nostrils while his head was encased in plaster of Paris – and it’s almost ready. Nick Cave, one of Lawrence’s heroes, has been working in the same yard on a ceramics project about the devil. “He keeps saying, ‘When are you going to bloody finish that?’”
Even on Lawrence’s rinky-dink, old-school mobile phone, which is no bigger than a Matchbox car, the pictures of the bust look imposing. A hood is yanked up over his baseball cap, sunglasses are clamped to his face, his expression is surly and defiant: it’s a literal monument to his artistic purity. “This should push me a few rungs up the fame ladder,” he says, marvelling at his marble doppelganger. I think he’s in love.
...
📼 Felt - Primitive Painters [feat Elizabeth Fraser] (1985)
Producer: Robin Guthrie (Cocteau Twins)
video 1987 - Lawrence Hayward & Phil King (in Phil’s house in Hammersmith)
This is me in my porn producing days back in the 70s. Yeah, that's right, that's a girl in assless chaps behind me. My life used to be AWESOME.
Get Carter is a 1971 British gangster film, written and directed by Mike Hodges in his directorial debut and starring Michael Caine, Ian Hendry, John Osborne, Britt Ekland and Bryan Mosley. Based on Ted Lewis's 1970 novel Jack's Return Home, the film follows the eponymous Jack Carter (Caine), a London gangster who returns to his hometown in North East England to learn about his brother's supposedly accidental death. Suspecting foul play, and with vengeance on his mind, he investigates and interrogates, regaining a feel for the city and its hardened-criminal element.
Producer Michael Klinger optioned Lewis's novel shortly after its publication and made a deal with the ailing Metro-Goldwyn-Mayer (MGM) to finance and release the film, making Get Carter the last project to be approved by the studio's Borehamwood division before its closure. The production went from novel to finished film in ten months, with principal photography taking place from July to September 1970 in and around Newcastle upon Tyne, Gateshead and County Durham. Hodges, Klinger and Caine intended to create a more realistic portrayal of violence and criminal behaviour than had previously been seen in British films: Caine, who also served as an uncredited co-producer, incorporated aspects of criminal acquaintances into his characterisation of Carter, while Hodges conducted research into the criminal underworld of Newcastle (in particular the one-armed bandit murder). Cinematographer Wolfgang Suschitzky worked with Hodges to give scenes a naturalistic feel, drawing heavily on their backgrounds in documentary films.
Turning a respectable profit upon its initial UK release, Get Carter initially attracted mixed reviews. Critics begrudgingly appreciated the film's technical achievements and Caine's performance while criticizing the complex plot, violence and amorality, in particular Carter's apparent lack of remorse for his actions. American critics were generally more enthusiastic, but the film languished on the drive-in circuit, while MGM focused its resources on producing Hit Man, a blaxploitation-themed remake of the film.
Get Carter eventually garnered a cult following, and further endorsements from directors such as Quentin Tarantino and Guy Ritchie led to the film being critically re-evaluated, with its depiction of class structure and life in 1970s Britain and Roy Budd's minimalist jazz score receiving considerable praise. In 1999, Get Carter was ranked 16th on the BFI Top 100 British films of the 20th century; five years later, a survey of British film critics in Total Film magazine chose it as the greatest British film of all time. A poorly received second remake under the same title was released in 2000, with Sylvester Stallone portraying Jack Carter and Caine in a supporting role.
Sir Michael Caine CBE (born Maurice Joseph Micklewhite; 14 March 1933) is an English retired actor. Known for his distinctive Cockney accent, he has appeared in more than 160 films over a career spanning eight decades and is considered a British film icon. He has received numerous awards including two Academy Awards, a BAFTA Award, three Golden Globe Awards, and a Screen Actors Guild Award. As of 2017, the films in which Caine has appeared have grossed over $7.8 billion worldwide. Caine is one of only five male actors to be nominated for an Academy Award for acting in five different decades. In 2000, he received a BAFTA Fellowship and was knighted by Queen Elizabeth II.
Often playing a Cockney, Caine made his breakthrough in the 1960s with starring roles in British films such as Zulu (1964), The Ipcress File (1965), The Italian Job (1969), and Battle of Britain (1969). During this time he established a distinctive visual style wearing thick horn-rimmed glasses combined with sharp suits and a laconic vocal delivery; he was recognised as a style icon of the 1960s. He solidified his stardom with roles in Get Carter (1971), The Last Valley (1971), The Man Who Would Be King (1975), The Eagle Has Landed (1976), and A Bridge Too Far (1977).
Caine received two Academy Awards for Best Supporting Actor for his roles as Elliot in Woody Allen's comedy Hannah and Her Sisters (1986), and as Dr. Wilbur Larch in Lasse Hallström's drama The Cider House Rules (1999). His other Oscar-nominated films include Alfie (1966), Sleuth (1972), Educating Rita (1983), and The Quiet American (2002). Other notable performances include in the films California Suite (1978), Dressed to Kill (1980), Mona Lisa (1986), Little Voice (1998), Quills (2000), Children of Men (2006), Harry Brown (2009), and Youth (2015).
Caine is also known for his performance as Ebenezer Scrooge in The Muppet Christmas Carol (1992), and for his comedic roles in Dirty Rotten Scoundrels (1988), Miss Congeniality (2000), Austin Powers in Goldmember (2002), and Secondhand Lions (2003). Caine portrayed Alfred Pennyworth in Christopher Nolan's Batman trilogy (2005–2012). He has also had roles in five other Nolan films: The Prestige (2006), Inception (2010), Interstellar (2014), Dunkirk (2017), and Tenet (2020). He announced his retirement from acting in October 2023, with his final film being The Great Escaper, which came out in the same month.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Waiting for the producer to arrive & the musicians to lay down some beats at Blue Light Studio in Vancouver. bit.ly/PBMusicFB
Henny Porten, a German actress and film producer of the silent era, and Germany's first major film star
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Printed on Cotman Water Colour Paper postcard size Fine / exposed for 30 min
Sensitizer: VanDyke Brown print solution / The photosensitizer was made into a viscous emulsion (allows the sensitizer to be uniformly dispersed) by adding professional white or clear medium and applied to watercolor paper with a brush. The viscosity made it easier to apply with a brush and enabled uniform application. After drying, the solidified brush marks can be flattened by lightly sanding with sandpaper (brush marks are left in this print).
Since the photosensitizer processed in this way stays layered on surface of the paper, rather than in the fibers of the paper, not only paper but also glass and ceramics can be used as the base material (substrate).
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Printed on Cotman Water Colour Paper postcard size Fine / exposed for 30 min
Sensitizer: VanDyke Brown print solution
Fixing agent: Citric acid solution & sodium thiosulfate solution
Toning: none
Enlarger: Lucky Attache-35 (EL-Nikkor 1:2.8 f=50mm)
Film carrier: 35mm carrier
Negative film: 35mm (135) film (Fuji Acros 100) transferred from a digital image (taken from an antique collotype postcard) with a film recorder (Polaroid Digital Palette HR 6000)
Light source: High power (50w) UV LED unit (SMD=surface mounted LED modules)
New group was created. If you like, please join.
The Ravenswood Mining Landscape and Chinese Settlement Area is situated south of Elphinstone Creek and to the west of School Street and Kerr Street, in the town of Ravenswood, about 85km south of Townsville and 65km east of Charters Towers. The Ravenswood goldfield was the fifth largest producer of gold in Queensland during the late 19th and early 20th centuries. Its main mining periods, prior to modern open cut operations (1987 onwards), were: alluvial gold and shallow reef mining (1868 - 1872); attempts to extract gold from sulphide ores below the water table (1872 - 1898); the New Ravenswood Company era (1899 - 1917); and small scale mining and re-treatment of old mullock heaps and tailings dumps (1919 - 1960s). In 2016 the Ravenswood Mining Landscape and Chinese Settlement Area contains surface structures from eight mines: the Grand Junction, Little Grand Junction, Sunset No. 1 and Sunset No. 2, Deep, General Grant, Duke of Edinburgh, and Grant and Sunset Extended mines, as well as the mill associated with the Deep mine, and the Mabel Mill tailings treatment plant (most structures dating from the New Ravenswood Company era). It also includes remnants of two treatment plants (Partridge and Ralston’s Mill, and Judge’s Mill) from the 1930s; and the Chinese settlement area (1870s to the early 20th century, covering the first three mining periods at Ravenswood).
The place contains important surviving evidence of: ore extraction (from underground shafts) and metallurgical extraction (separation of gold from the ore) conducted on and near the Ravenswood goldfield’s most productive reefs during the boom period of the town’s prosperity (1900 - 1908); later attempts to re-treat the mullock heaps and tailings dumps from these mines; and Ravenswood’s early Chinese community, which made an important contribution to the viability of the isolated settlement and was located along Deighton Street and Elphinstone Creek. The Ravenswood Mining Landscape and Chinese Settlement Area also has the potential to reveal evidence of early alluvial and shallow reef mining, as well as domestic living arrangements on the Ravenswood goldfield. It is an evocative reminder of the precarious and short-lived nature of North Queensland’s mining booms, and has a special association with Archibald Lawrence Wilson, who established the New Ravenswood Company and improved both ore and metallurgical extraction processes on the goldfield.
Settlement and mining in North Queensland:
European settlement of the Kennedy Land District in North Queensland commenced with the founding of Bowen in 1861, and the spread of pastoralists through the hinterland. Pastoral stations were established up the valley of the Burdekin River, including ‘Ravenswood’ and ‘Merri Merriwa’. Townsville and Cardwell were both established north of Bowen in 1864.
However, mining, not pastoralism, proved to be the main catalyst for European settlement of North Queensland. In 1865 the founders of Townsville offered a reward for the discovery of a payable goldfield, and gold rushes occurred in the region from 1866. Mining employed 19.8% of the North Queensland population in 1868, and 50% by 1876, before dropping to 15% in 1911. Although gold mining attracted people to North Queensland, alluvial finds of gold usually led to temporary townships, whereas underground reef mining held the promise of more stable and permanent settlements.
Alluvial gold and shallow reef mining (1868 - 1872):
Alluvial gold was discovered south of the later site of Ravenswood, in tributaries of Connolly Creek on Merri Merriwa Station, north of the Burdekin River, in late 1868. Prospectors soon established ‘Middle Camp’ (later Donnybrook) on Tucker’s Creek, and ‘Lower Camp’ on Trieste Creek, with about 700 miners on the field by early 1869. Further north, in April 1869, the goldfield’s richest alluvial discoveries were made in three dry creek beds close to the site of Ravenswood: Nolan’s, Jessop’s, and Buchanan’s gullies. Despite these finds, many miners soon left for the rush to the Gilbert River (over 300km west of Townsville).
The parent reefs of the alluvial gold found in April were located about the same time as the exodus to the Gilbert – the General Grant being discovered first, followed by the Sunset. Both were visible above ground level, and both reefs would play an important part in the future prosperity of Ravenswood. In the next 40 years, nearly £3 million of gold would come from the reefs ‘in the little triangle between Buchanan’s Gully, just east of Macrossan Street, Jessop’s Gully, southwest of the town, and Elphinstone Creek’.
Other reefs were soon found north of Elphinstone Creek, and in Nolan’s Gully; and meanwhile, reefs had been discovered at Middle Camp. However, a lack of water meant that miners did not establish ‘Upper Camp’ (later Ravenswood) near the General Grant and Sunset reefs until October 1869, after a storm temporarily resolved the water issue. By this time, most miners had returned from the Gilbert. The three camps on the goldfield had a population of 600 by January 1870, most in Upper Camp. Work was slowed by a lack of water, until rains in February 1870 enabled panning and sluicing, the results of which confirmed that Ravenswood was the first significant reef mining goldfield in the northern half of Australia.
However, the miners needed to crush the quartz ore to extract gold. The first machinery for this purpose, WO Hodkinson’s five stamp crushing battery, the Lady Marion (or Lady Marian) Mill, was operational at Burnt Point (south of Upper Camp) from the 18th of April 1870. The first month’s crushing results caused ‘an even greater “rush” than that … caused by the discovery of the alluvial gold’. A second battery was operational in Upper Camp in August 1870, when the goldfield’s population was about 1200.
Official recognition of the goldfield and settlement soon followed. Government Geologist Richard Daintree visited Upper Camp in August 1870, and the Ravenswood goldfield (about 300 square miles) was proclaimed on the 3rd of November 1870. By this time, the goldfield had a population of about 2000, and Upper Camp had 10 ‘public houses’, with six public houses in Middle Camp.
The Government Surveyor, John von Stieglitz, arrived in November 1870, but was too late to impose a regular grid pattern on the settlement. Instead he formalised the existing plan, which was centred on the crossing of Elphinstone Creek by the main road (Macrossan Street), with tracks radiating out to the various diggings. Most commercial buildings were located along Macrossan Street. The resulting juxtaposition of mining, habitation and commerce gave the town its distinctive character.
The town was proclaimed on the 19th of May 1871, with an area of one square mile (259ha). This was later expanded to four square miles (1036ha) on the 13th of July 1883. Although gold had been discovered on Merri Merriwa Station, the name Ravenswood, after the run located further southeast, downstream on the Burdekin River, was preferred.
In 1871 the population of the goldfield was 900, with over half being in Upper Camp/Ravenswood, and by the end of 1871 there were five machines in Ravenswood. Hodgkinson’s mill had been moved into town, to a site just north of Elphinstone Creek, and was renamed the Mabel Mill. In 1871 the town had 30 licensed hotels, although these were referred to as ‘shanties’ and did not offer accommodation.
By this time Ravenswood also had a Chinese population, due to an influx of Chinese miners who had been forcefully evicted from the Western Creek diggings near Gilberton in mid-1871. At least three of the hotels of 1871 had Chinese licensees. The first Chinese had arrived in North Queensland in 1867, during the rush to the Cape River, and there were 200 Chinese looking for alluvial gold at Ravenswood in 1871. In January 1872 it was estimated that there were about 1500 Chinese present on the Ravenswood goldfield, and a matching number of Europeans. As the Chinese focussed on alluvial gold, and also provided other services, they were tolerated at Ravenswood, because the Europeans were now focusing on reef mining. The quartz reefs were originally worked at shallow depths by means of a windlass (hand-wound rope and bucket), or a horse-powered whip or whim (using poles, ropes and pulleys) raising the ore from shallow shafts.
Extracting gold from sulphide ores (1872 - 1898):
Despite its promising start, in 1872 the Ravenswood goldfield entered a ‘period of depression’, as its most important mines reached the water table at about 70ft (21m) deep – starting with the Sunset in 1871, followed by the General Grant, Black Jack, and Melaneur in 1872. Although the oxidised quartz (‘red stone’ or ‘brown stone’ quartz) close to the surface yielded its gold to traditional methods of mechanical crushing, below the water table the gold was in fine particles, which was not easily recovered by mechanical means. It was also mixed with sulphide ores; mainly iron sulphide (pyrite, or ‘mundic’ ore) but also sulphides containing lead, copper, zinc, arsenic, and antimony, which interfered with chemical treatments such as amalgamation (amalgamating the gold with mercury; then heating the resulting amalgam in a retort to vaporise the mercury) and chlorination (exposing roasted, concentrated ore to chlorine gas, and then precipitating gold out of the chloride solution). A process that worked on the ore from one reef might not work for an adjacent reef, due to a varying distribution of different types of sulphides. In addition, even if a process worked on a small scale, it could be uneconomical on a larger scale, given the price of transporting fuel to Ravenswood for smelting, or transporting concentrates for smelting elsewhere.
Once the mundic had been struck, ‘mining was "worse than dull" as the field grappled with the realisation that to break below the waterline, the days of the individual miner were over and the time of companies was looming’. The 1870s was a decade of major gold discoveries in Queensland, and miners keen on quick profits had plenty of new goldfields from which to choose. Many miners joined the rushes to Charters Towers (1872) and the Palmer River (1873). Charters Towers soon overtook Ravenswood as the most important inland town in north Queensland; and the Hodgkinson rush (southwest of Port Douglas) in 1876 also drew away miners.
However, Ravenswood grew during the 1870s and 1880s, despite the goldfield’s ‘refractory’ ores, and ‘mundic problem’. The goldfield had a population of 950 in 1877 (with 50 Chinese), rising to 1100 in 1880 (including 250 Chinese), and 2000 in 1883 (including 300 Chinese; with 190 working the alluvial, and 10 quartz miners).
The 1877 Pugh’s Almanac listed one Chinese hotelkeeper (out of seven hotelkeepers) in Ravenswood, and one Chinese storekeeper. The Chinese, as well as working alluvial claims and operating hotels and stores, were employed as wage labour in some mines; worked as roasters and chlorinators at the Mabel Mill; and operated 24 licensed gardens on the Ravenswood goldfield in 1883. Chinese gardens were vital in providing fresh vegetables to North Queensland’s goldfield populations.
For 19th Century diasporic Chinese communities such as Ravenswood’s, the establishment of specific cultural settlement areas, or ‘Chinatowns’, that ‘provided a range of sacred and secular services, including temples, stores, and accommodation’, was an important aspect of community building. Deighton Street, west of Macrossan Street, was the centre of Chinese life in Ravenswood. There were two eating houses close to Macrossan Street’s bridge across Elphinstone Creek, in the 1870s; and market gardens were located between Deighton Street and Elphinstone Creek, as well as north of Elphinstone Creek, interspersed amongst several crushing machine operations. There was also a temple south of Deighton Street. Temples were not just places of religious worship; rather, they were an integral part of a Chinese village. ‘They were places to meet, to check one's horoscope before embarking on a new venture and places where ancestors were venerated’. As well as being a place where the community could worship at any time, major gatherings were held at temples on festival days, with feasts and processions. The Ravenswood temple appears on an 1874 survey plan, making it the earliest known Chinese temple in Queensland. The nearby pig roasting oven is also a rare example of its type, and demonstrates the usual spatial arrangement of temple and oven, for community feasts.
Ravenswood continued to develop during the 1880s. By 1885, the Ravenswood goldfield had an estimated population of 2294 Europeans and 227 Chinese, with 1490 Europeans and 148 Chinese located in Ravenswood itself. Ravenswood at this time had four Chinese storekeepers, and two Chinese produce merchants, but all six hotel licensees were European. The Ravenswood National School, which began in late 1873, had an average attendance of 110 students in 1878, and reached its peak enrolment of 390 by 1889.
The 1880s were also a period of experimentation in metallurgical (gold extraction) technology. In 1883, the only method for dealing with sulphide ores was stamper mills and rotary buddles (which used water and gravity to separate and concentrate the crushed ores), but later Ravenswood ‘was the first place where the chlorination process and Wilfley tables, developed in 1896, to shake the ore and separate out different sized particles, and were used in Queensland, and probably the first place where the cyanide process (dissolving fine gold in a cyanide solution, and later precipitating the gold out of the solution) for extracting gold was used in Australia’. Other techniques attempted included fine grinding (using ball mills), roasting (burning off the sulphides), and smelting (prohibitively expensive, as it required high temperatures and thus a lot of fuel). By 1888 a new company at One Mile Creek, formed by Duncan and Peter Macintyre, had adapted an abandoned Cassell’s patent plant (a version of the chlorination process which was applied and failed in Ravenswood in 1886), to work on a ‘secret process’ (cyaniding).
Ravenswood mining continued to be viable, although only a (fluctuating) percentage of the gold was being recovered from the ore. In the mid-1880s there was even a temporary increase in the goldfield’s production, due to good returns from the Sandy Creek mines on the John Bull reef. For the next eight years, the principal producers of the district were the General Grant, Sunset, New England, Wild Irish Girl, Melaneur, and John Bull reefs, plus the silver lodes of the One Mile (at Totley).
Ravenswood’s economy survived the 1880s due to the development of silver mines at Totley, a township established about 2km north of Ravenswood. The silver mines opened circa 1879 - 1880, and Richard King floated the Ravenswood Silver Mining Company Ltd in 1882 – the year of Ravenswood’s lowest gold production between 1878 and 1898. Silver prices were high during the 1880s, and the Totley mines encouraged the Queensland Government to approve a branch railway line (off the Northern Railway between Townsville and Charters Towers) to Ravenswood in 1882, completed in 1884. The railway meant that some gold ores could be crushed, concentrated and sent for treatment at the Aldershot works just north of Maryborough or overseas to Swansea, in Wales. However, all silver mining had stopped by 1891, due to falling silver prices and over-expenditure on treatment plants.
Gold mining at Ravenswood continued during the 1880s and 1890s. Hugh Hawthorne Barton, who had operated Brothers Mill on Elphinstone Creek from the late 1870s, took over the General Grant, Sunset, and Black Jack mines, and the Mabel Mill (and later the Melaneur and Duke of Edinburgh mines), and floated the Ravenswood Gold Mining Company in 1887, with £100,000 in capital. From 1884 to 1896 Barton’s group was the largest and most successful operation in Ravenswood, its profitability assisted by the railway, economies of scale, and flexibility in ore-treatment methods. Barton utilised roasting, chlorination (by 1889), and smelting, and employed Chinese workers at the Mabel Mill. Along with their market gardens along Elphinstone Creek, Chinese employment at the Mabel Mill also influenced the location of the Chinese settlement area in Ravenswood. Meanwhile, the landscape was being altered by mining. The need for timber for boilers and for timbering-up mine shafts led to the loss of native trees in the locality, and goats also helped shape the landscape by eating regrowth.
By the mid-1890s, Barton was in debt to the Queensland National Bank, and his properties were seized in 1896, with the General Grant, Black Jack, and Mabel Mill being let on tribute (where a party of miners worked a mine, while giving the mine owner a percentage of any results) in 1897. The tributers refused to employ Barton’s experienced Chinese workers at the Mabel Mill, leading to disastrous attempts at chlorination. However, the goldfield’s production was boosted in the late 1890s when work resumed on the Donnybrook reefs for the first time in 20 years, and the Hillsborough (Eight Mile) reefs were taken up.
The New Ravenswood Company era (1899 - 1917):
Ravenswood’s boom period of gold production (1900 - 1908, with 1905 the year of highest production) is reflected in the town’s surviving mining infrastructure and commercial and public buildings. This boom occurred due to the efforts of Archibald Laurence Wilson (1852 - 1935). After gaining a diploma in mining engineering in Edinburgh, and working in New Zealand and on the Palmer River, Wilson arrived in Ravenswood in 1878. He was publican of the Silver King Hotel in Totley in the 1880s. As manager of the John Bull mine at Sandy Creek in the mid-1890s, he raised capital in London and installed a cyanide plant.
Wilson later travelled to London in 1898, where he floated both the Donnybrook Blocks Mining Syndicate and the New Ravenswood Company in 1899. Wilson was the General Manager of both companies, under their London directorates. Until 1917, the New Ravenswood Company was the largest mining operation on the Ravenswood goldfield. Registered with a capital of £50,000, the company purchased the General Grant, Sunset, Black Jack, Melaneur, and Shelmalier mines, and the Mabel Mill, from the Queensland National Bank (and later obtained the Saratoga, Duke of Edinburgh and London North mines), and initiated a new era in ore and metallurgical extraction. Using British capital, Wilson introduced modern machinery to work the mines, and effectively reshaped Ravenswood’s landscape. Wilson was known as ‘the uncrowned king of Ravenswood’. He was also Chairman of the Ravenswood Shire Council for some years, and was later on the Dalrymple Shire Council, until he resigned from poor health in 1934.
From 1900, both the Sunset and General Grant (also known as the Grant) mines were redeveloped by Wilson. These became the key earners for the New Ravenswood Company; by 1903 the two mines employed about 205 men, and were ‘the “backbone” of the town’.
The Sunset reef, which runs roughly northwest-southeast through the Ravenswood Mining Landscape, was the largest producer on the goldfield (almost a quarter of the total). It produced 14,722oz of gold from 1870 - 1894, and by 1900 it was worked from an underlie (an inclined shaft, following the dip of a reef) branching off from a vertical shaft 130ft (40m) deep. It was stated at this time that the reef had ‘much the same history as the General Grant, the two being generally worked together’. By 1903 the New Ravenswood Company had extended the underlie shaft right up to the surface, where a headframe was constructed to haul ore directly up the slope. The Sunset’s yield of ‘free gold’ (pure gold not combined with other minerals), which could be extracted at the Mabel Mill, peaked in 1904, then fell slowly. In 1905 an average of 170 men were employed at the mine. In 1908 the reef was being worked by the main underlie shaft, 900ft (274m) deep (Sunset No. 1); and a vertical shaft, 556ft (169m) deep (Sunset No. 2). As the Sunset reef was worked in conjunction with the General Grant and the Duke of Edinburgh reefs in the New Ravenswood Company era, its exact total production of gold is hard to calculate; but from 1876 to 1912 the reef probably produced about 177,000oz of gold; and probably most of the 22, 000oz that the company extracted from 1912 - 1917.
The General Grant, one of the most productive reefs on the goldfield, running roughly north-south just east of the Sunset reef, was worked almost continuously to the late 1880s, and periodically thereafter. By 1895 returns had diminished, due to the small size of the reef and its highly refractory ore. In 1900, the General Grant had a vertical shaft to 110ft (34m), and then an underlie of 610ft (186m), the bottom of the latter being 450ft (137m) below the level of the shaft mouth; but operations were ‘almost completely suspended’ as the New Ravenswood Company concentrated on the Sunset reef. To 1900 the General Grant had produced 23, 651oz of gold; and after crushing of ore from the mine resumed at the beginning of 1903, it was treated with ore from the Sunset. On average, 40 men were employed on the mine in 1905. In 1908 the powerhouse for both the Sunset and the General Grant mines was situated on the General Grant lease, with three Cornish boilers. By 1912 the General Grant had produced about 36,000oz of gold.
To the east of the General Grant was the Duke of Edinburgh reef, running roughly northwest-southeast. This was one of the early reefs discovered on the goldfield; and in 1872 it was identified by Warden TR Hackett as one of the 28 principal reefs. It was worked in several episodes prior to the 1890s, and was re-opened in 1891, producing 1286oz of gold during 1891 - 1895. In 1908 the mine was taken over by the New Ravenswood Company, and was reorganised as an underlie shaft with haulage machinery from the Golden Hill mine, being worked in conjunction with the General Grant until 1917.
Along with his modernisation of the goldfield’s best mines, Wilson also abandoned chlorination at the Mabel Mill, increased the mill’s crushing capacity to 30 stamps (by 1904), and introduced the first Wilfley tables to Queensland. Crushing resumed in January 1900. Wilson improved metallurgical extraction by ‘postponing amalgamation of the free gold till the great bulk of the sulphides had been removed by concentration’. The ore was crushed in stampers without using mercury. Then, using the Wilfley tables, the heavier Galena (lead sulphide ore) and free gold was separated from the lighter sulphides. The free gold and galena was then ground in Berdan pans with mercury, while the remaining sulphides (containing iron, zinc and copper) were dispatched to the Aldershot works (near Maryborough) for smelting. In 1902 - 1903, a raff wheel, 14.5m in diameter, was built at the Mabel Mill to lift tailings (post-treatment residue) up to a flume, which carried them over to the south side of Elphinstone Creek, where they could be treated with cyanide. The cyanide works (of which remnants still remain south of Elphinstone Creek) was erected circa 1904. A 21m long girder bridge was constructed across the creek to carry steam water pipes and electric cable from the Mabel Mill to the new works, which eventually comprised two Krupp ball mills and 12 Wilfley’s tables.
Due to the New Ravenswood Company’s efforts, the goldfield’s production increased between 1899 and 1905. Gold recovery increased from 18, 016oz in 1899 to 24, 832oz in 1900 and to 42, 465oz in 1905. The New Ravenswood Company paid impressive 50% dividends to its shareholders in 1901, 1902, and 1904; and 75% in 1903.
The productivity of Ravenswood’s mines during the New Ravenswood Company era was also reflected in the goldfield’s population, which rose from 3420 in 1901 to its peak of 4707 in 1903. The 1903 population included 215 Chinese, 89 of these being alluvial miners. In 1905 two Chinese were listed as ‘storekeepers and grocers’.
The population increase led to a building boom in the first decade of the 20th Century. Hundreds of new houses, the town’s first two brick hotels – the Imperial hotel (1901) and the Railway Hotel (1902) – as well as brick shops such as Thorp’s Building (1903), and the brick Ravenswood Ambulance Station (1904) were constructed in this period; the use of brick being spurred by the threat of fire. The New Ravenswood Company also rebuilt the mining landscape in and around the town, with expansion of the Mabel Mill, and new headframes and winders, magazines, boilers, and brick smokestacks erected beside all the principal shafts.
However, not all Wilson’s ventures in this period were successful. In 1902 he floated Deep Mines Ltd, with a capital of £100, 000, to sink a shaft east of the New Ravenswood Company’s leases. This mine (also within the Ravenswood Mining Landscape) was an ambitious attempt to reach a presumed intersection of the General Grant and Sunset reefs at depth. Using the capital raised, Wilson built a model mine and mill. The shaft was started in late 1902-early 1903, and construction work on the buildings and machinery was completed later in 1903. The mine reached 512m, the deepest on the goldfield, with extensive crosscutting and driving, but only about 240oz of gold was recovered. No ore was crushed at all in 1908. By 1910 a new shaft was being sunk ‘near the western boundary’; but the mine was abandoned in 1911, and never worked again. Wilson’s London investors lost at least £65,000.
The Deep’s mill, built nearby and operational by 1906, was a smaller version of the Mabel Mill, with gravity stamps, Wilfley tables, and a cyanide plant. Its site, adjacent to the mine, ran counter to the normal practice of siting mills near water courses. With the failure of the Deep mine, it milled ore from other mines until about 1917.
Another mine, the Grand Junction, was located north of the New Ravenswood Company’s most productive mines, in the Ravenswood Mining Landscape. The Grand Junction Consolidated Gold Mining Company was formed in 1900, and a shaft was sunk in 1901 (probably the No. 1 shaft on the Grand Junction Lease No. 520). In 1902 another exploration ‘deep shaft’ (No. 2) was sunk at the southwest boundary of the Grand Junction Lease No.503. The Grand Junction mine was another failed attempt to locate a presumed junction of the General Grant and Sunset reefs at depth; by 1908 it was owned by the New Ravenswood Company. Total production was about 425oz of gold.
Slightly more successful was the Grant and Sunset Extended mine, at the southern end of the Ravenswood Mining landscape. This was a deep shaft sunk by the Grant and Sunset Extended Gold Mining Company, a Charters Towers-owned company with Wilson as its local director. During the 19th Century, small mines had been operated in the Rob Roy reef, to the southeast. The Grant and Sunset Extended was floated in 1902, the intent being to locate the General Grant and Sunset reefs south of Buck Reef. The plant and buildings of the Yellow Jack mine, southeast of Ravenswood, were re-erected on the site. The shaft was down 70ft (21m) in 1902 and 930ft (283m) by 1908, with 50 men employed at the mine by the later date. The mine closed by 1910, but was worked on tribute until 1917, with about 15,000oz of gold obtained over 1904 - 1918.
The boom period at Ravenswood did not last. As well as losing money on the Deep and Grand Junction mines, the New Ravenswood Company faced the closure of the Aldershot works in 1906, and declining yields from 1908 to 1912. Although Wilson experimented with flotation (agitating crushed ore in oil and water, and extracting fine gold particles on the surface of air bubbles) and cyanide processes at the Mabel Mill, it was too late to save his company. The Shelmalier had closed by 1904, the Black Jack in 1909, and the Melaneur in 1910. By that year, the General Grant, Sunset, Duke of Edinburgh, and London North (obtained 1910) were the New Ravenswood Company’s only producing mines.
Few new buildings were constructed in Ravenswood after 1905. The hospital closed in 1908. That year the goldfield’s population consisted of 4141 Europeans (including 2625 women and children) and 181 Chinese (including 94 alluvial miners). This dropped to 2581, including 92 Chinese, by 1914.
Increased costs and industrial disputes in the 1910s hastened the end of the New Ravenswood Company era. During a miner’s strike between December 1912 and July 1913, over lay-offs, the fresh vegetables and business loans provided by Ravenswood’s Chinese community helped keep the town going. Although the miners won, it was a hollow victory, as the company could only afford to re-employ a few of the men. World War I (1914 - 1918) then increased labour and material costs for the New Ravenswood Company. The London North mine closed in 1915, and on the 24th of March 1917 the New Ravenswood Company ceased operations; ending large-scale mining in Ravenswood for the next 70 years.
By 1917, the Ravenswood goldfield had produced over 850, 000oz of gold (nearly a quarter coming from the Sunset mine), and 1, 000, 000oz of silver; making it the fifth largest gold producer in Queensland, after Charters Towers, Mount Morgan, Gympie, and the Palmer Goldfield. Ravenswood was also the second largest producer of reef gold in north Queensland, after Charters Towers.
Small scale mining and re-treatment (1919 - 1960s):
After 1917 the Ravenswood goldfield entered a period of hibernation, with intermittent small-scale attempts at mining. In 1919, Ravenswood Gold Mines Ltd took over some of Wilson’s leases and renovated the Deep mine’s mill, but obtained poor returns. Ravenswood Gold Mines also worked the Duke of Edinburgh from 1919 to 1930, with good returns reported in 1924. The General Grant and Sunset were also worked on a small scale from 1919 - 1921, while the Mabel Mill continued to provide crushing services for the limited local mining.
Consequently, Ravenswood’s population declined and the town shrank physically. In 1921 the town’s population fell below 1000, and by 1923 there were 530 people left, including 8 Chinese. During the 1920s, prior to the closure of the railway branch line to Ravenswood in 1930, hundreds of the town’s timber buildings were dismantled and railed away. By 1927, only the two brick hotels remained operating as hotels. The Ravenswood Shire was abolished in 1929, and by 1934 only 357 people remained in the town.
Despite this decline, some gold was still being extracted. There was a small increase in gold production between 1923 and 1927, and due to the gold price rise of the 1930s, some mines were re-worked and efforts were also made to treat the old mullock heaps (waste rock from mining) and tailings dumps with improved cyanide processes. Between 1931 and 1942, 12, 253oz of gold was obtained from the goldfield, the peak year being 1940.
A number of companies were active in Ravenswood in the 1930s-early 1940s. In 1933, the North Queensland Gold Mining Development Company took up leases along Buck Reef and reopened the Golden Hill mine, and the following year their operations were taken over by Gold Mines of Australia Ltd. The 1870s Eureka mine (near the Imperial Hotel) was revived by James Judge in 1934. In 1935 the Ravenswood Concentrates Syndicate began re-treating the Grant mullock heaps in the remaining stampers at the Mabel Mill, and dewatering the Sunset No. 2 shaft; while the Sunset Extended Gold Mining Company, with James Judge as manager, dewatered the Grant and Sunset Extended shafts (which connected to the Sunset, General Grant and Duke of Edinburgh shafts), and re-timbered the Grant and Sunset Extended, General Grant, and Sunset underlie (No. 1) shafts. The London North mine was reopened by R J Hedlefs in 1937, and Basque miners were working the Sunset No. 2 shaft at this time.
The Little Grand Junction mine, located at the intersection of Siggers Street and School Street, on the old Grand Junction Lease No. 520, was operated from 1937 - 1942 by local miners Henry John Bowrey and John Thomas Blackmore. Five men were employed at the mine in 1940. The shaft had apparently been sunk previously by the Grand Junction Consolidated Gold Mining Company; and Bowrey and Party reconditioned it and extended the existing workings.
In 1938, Archibald and Heuir set up a mill on the bank of One Mile Creek to treat mullock dumps, and the Ravenswood Gold Mining Syndicate (formed 1937, with James Judge as manager) began treating the mullock dumps of the Sunset mine in late 1938. The same syndicate also dewatered and reopened part of the Grant and Sunset Extended; and the Grand Junction mine was reopened by Judge circa 1939 - 1942.
The Ravenswood Gold Mining Syndicate’s (Judge’s) mill initially consisted of 10 head of stamps obtained from the Mother Lode Mill at Mount Wright (northwest of Ravenswood), powered by a diesel engine. The ore was crushed by the stamper battery, concentrated with Wilfley tables, and then either treated with cyanide or sent to the Chillagoe smelters. Initial success with some rich ore led to enlargement of the mill to 30 stamps in 1939 - 40. A Stirling boiler and a 250hp engine were also obtained from the Burdekin meatworks (Sellheim), and a rock breaker, elevator, and conveyor were installed. However, the upgraded mill proved to be overpowered and required a lot of timber fuel; the brick foundations used for the machinery were not strong enough; and the best ore from the Sunset had already been treated, so the mill closed early in 1942 and the plant was moved to Cloncurry.
Also in 1938, Maxwell Partridge and William Ralston installed a new plant south of Elphinstone Creek, to the immediate west of the Mabel Mill’s old cyanide works, to re-treat the old tailings with cyanide. A ball mill, filter, and other plant were purchased from the Golden Mile, Cracow in 1939, while later that year a suction gas engine and flotation machine were also installed. This operation closed circa 1942, and the coloured sands on the site today are residues from the flotation process: the yellow sand is from the floatation of iron pyrites; the grey sands are copper tailings; and the black material is zinc tailings.
There was limited activity on the goldfield in the late 1940s to early 1960s. The Empire Gold Mining Syndicate treated mullock dumps from The Irish Girl, London, and Sunset mines from 1946 to 1949, as well as some of the dumps from the Grand Junction (1947). The Duke of Edinburgh mine was briefly reopened by Cuevas and Wilson in 1947, and the Cornish boilers on the site (one with the maker’s mark ‘John Danks & Son Pty Ltd makers Melbourne) may relate to this (unsuccessful) operation. Percy Kean reopened the Great Extended mine at Totley in 1947, and later purchased Partridge’s mill in 1951 to use it as a flotation plant to treat the silver-lead ore from Totley, adding a diesel engine, stonebreaker, Wilfley tables, and classifier. The Totley mines closed in 1954, although the Great Extended mine was briefly sub-leased by Silver Horizons No Liability, in 1964. Partridge’s mill was closed circa 1965.
Other attempts were made in the early 1950s to rework old sites. A Townsville syndicate led by Leslie Cook and George Blackmore reopened the Grand Junction mine in 1951, but it soon closed. James Judge also recommenced gold mining at Donnybrook, but closed in 1954; while 900 tons of tailings from the Deep mine’s mill site were taken for re-treatment at Heuir’s cyanide plant in the early 1950s.
A new industry:
In the 1960 and 1970s, Ravenswood’s population shrank to its nadir of about 70 people. At the same time, there was a growing nostalgic interest in old towns in Australia. In 1968 the landscape of Ravenswood was described in romantic terms: ‘Mute testimonials are the numerous mullock heaps which dot the countryside; the rusty remains of steam engines; stampers which were used to crush stone; and collapsed cyanide vats… Derelict poppet-heads…stand above deep, abandoned shafts. Colossal columns of chimney stacks rise majestically from the entanglement of rubber vines and Chinese apple trees.’ Some locals realised that preserving the town’s surviving historic buildings and structures was necessary to attract tourists and create a new local industry.
From this time onwards the town’s mining heritage was seen as an asset. The National Trust of Queensland met with locals in 1974, and a conservation plan for the town was published in 1975. Later, the town sites of Totley and Ravenswood were both entered into the National Trust of Queensland Register. Comments from an International Council on Monuments and Sites (ICOMOS) trip to northern Australia in 1978 included ‘Ravenswood…is one of the most evocative (gold towns of Australia) and this must be preserved. A policy of “all that is necessary but as little as possible” must be strongly pursued’. The increased population of North Queensland, longer paid holidays, improved roads, and the rise of car ownership after World War II, all increased visitation to Ravenswood, as did the completion of a road past Ravenswood to the Burdekin Dam, in the 1980s. As a result, the town and its mining landscape have been represented in brochures, art, and photography. In particular, the landmark qualities of the tall brick chimneys are a distinctive feature in representations of Ravenswood.
Modern operations:
However, gold mining recommenced at Ravenswood in the 1980s, due to a rise in the gold price and the efficiencies gained from open cut mining and modern cyanide metallurgical extraction processes. From 1983 - 1986 the Northern Queensland Gold Company Ltd conducted agglomeration heap-leaching (spraying a sodium cyanide solution on previously mined material heaped on a plastic membrane), in the process removing a landmark tailings dump at King’s mine in Totley, and mullock heaps from the Grant and Sunset mines. In 1987 Carpentaria Gold commenced open cut mining of the Buck reef (the Buck Reef West pit) near the old Grant and Sunset mines on the south side of the town. Later, pits were dug further east along the reef. Some underground mining was also undertaken from the Buck Reef West pit until 1993, which broke into the old workings of the General Grant, Sunset, and Duke of Edinburgh mines. The old headframe at the Grant and Sunset Extended was demolished in 1988, and replaced with a new steel headframe, which was used until 1993 and then removed. The Melaneur-Shelmalier-Black Jack-Overlander reef complex, on the north side of the town, was mined as an open cut 1990 - 1991, before being backfilled as a golf course. The Nolan’s Gully open cut commenced in 1993.
Although modern mining revived the economy of the town, it did not replicate the building boom of the early 20th century.
The heritage significance of Ravenswood’s surviving mining infrastructure was recognised in a 1996 Queensland Mining Heritage Places Study by Jane Lennon & Associates and Howard Pearce; and a 2000 Conservation Management Plan by Peter Bell. In 2006, the population of Ravenswood, the oldest surviving inland town in north Queensland, was 191.
By the mid-2010s the population of Ravenswood stood at 255 people.
Source: Queensland Heritage Register & Australian Bureau of Statistics.
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The Ravenswood Mining Landscape and Chinese Settlement Area is situated south of Elphinstone Creek and to the west of School Street and Kerr Street, in the town of Ravenswood, about 85km south of Townsville and 65km east of Charters Towers. The Ravenswood goldfield was the fifth largest producer of gold in Queensland during the late 19th and early 20th centuries. Its main mining periods, prior to modern open cut operations (1987 onwards), were: alluvial gold and shallow reef mining (1868 - 1872); attempts to extract gold from sulphide ores below the water table (1872 - 1898); the New Ravenswood Company era (1899 - 1917); and small scale mining and re-treatment of old mullock heaps and tailings dumps (1919 - 1960s). In 2016 the Ravenswood Mining Landscape and Chinese Settlement Area contains surface structures from eight mines: the Grand Junction, Little Grand Junction, Sunset No. 1 and Sunset No. 2, Deep, General Grant, Duke of Edinburgh, and Grant and Sunset Extended mines, as well as the mill associated with the Deep mine, and the Mabel Mill tailings treatment plant (most structures dating from the New Ravenswood Company era). It also includes remnants of two treatment plants (Partridge and Ralston’s Mill, and Judge’s Mill) from the 1930s; and the Chinese settlement area (1870s to the early 20th century, covering the first three mining periods at Ravenswood).
The place contains important surviving evidence of: ore extraction (from underground shafts) and metallurgical extraction (separation of gold from the ore) conducted on and near the Ravenswood goldfield’s most productive reefs during the boom period of the town’s prosperity (1900 - 1908); later attempts to re-treat the mullock heaps and tailings dumps from these mines; and Ravenswood’s early Chinese community, which made an important contribution to the viability of the isolated settlement and was located along Deighton Street and Elphinstone Creek. The Ravenswood Mining Landscape and Chinese Settlement Area also has the potential to reveal evidence of early alluvial and shallow reef mining, as well as domestic living arrangements on the Ravenswood goldfield. It is an evocative reminder of the precarious and short-lived nature of North Queensland’s mining booms, and has a special association with Archibald Lawrence Wilson, who established the New Ravenswood Company and improved both ore and metallurgical extraction processes on the goldfield.
Settlement and mining in North Queensland:
European settlement of the Kennedy Land District in North Queensland commenced with the founding of Bowen in 1861, and the spread of pastoralists through the hinterland. Pastoral stations were established up the valley of the Burdekin River, including ‘Ravenswood’ and ‘Merri Merriwa’. Townsville and Cardwell were both established north of Bowen in 1864.
However, mining, not pastoralism, proved to be the main catalyst for European settlement of North Queensland. In 1865 the founders of Townsville offered a reward for the discovery of a payable goldfield, and gold rushes occurred in the region from 1866. Mining employed 19.8% of the North Queensland population in 1868, and 50% by 1876, before dropping to 15% in 1911. Although gold mining attracted people to North Queensland, alluvial finds of gold usually led to temporary townships, whereas underground reef mining held the promise of more stable and permanent settlements.
Alluvial gold and shallow reef mining (1868 - 1872):
Alluvial gold was discovered south of the later site of Ravenswood, in tributaries of Connolly Creek on Merri Merriwa Station, north of the Burdekin River, in late 1868. Prospectors soon established ‘Middle Camp’ (later Donnybrook) on Tucker’s Creek, and ‘Lower Camp’ on Trieste Creek, with about 700 miners on the field by early 1869. Further north, in April 1869, the goldfield’s richest alluvial discoveries were made in three dry creek beds close to the site of Ravenswood: Nolan’s, Jessop’s, and Buchanan’s gullies. Despite these finds, many miners soon left for the rush to the Gilbert River (over 300km west of Townsville).
The parent reefs of the alluvial gold found in April were located about the same time as the exodus to the Gilbert – the General Grant being discovered first, followed by the Sunset. Both were visible above ground level, and both reefs would play an important part in the future prosperity of Ravenswood. In the next 40 years, nearly £3 million of gold would come from the reefs ‘in the little triangle between Buchanan’s Gully, just east of Macrossan Street, Jessop’s Gully, southwest of the town, and Elphinstone Creek’.
Other reefs were soon found north of Elphinstone Creek, and in Nolan’s Gully; and meanwhile, reefs had been discovered at Middle Camp. However, a lack of water meant that miners did not establish ‘Upper Camp’ (later Ravenswood) near the General Grant and Sunset reefs until October 1869, after a storm temporarily resolved the water issue. By this time, most miners had returned from the Gilbert. The three camps on the goldfield had a population of 600 by January 1870, most in Upper Camp. Work was slowed by a lack of water, until rains in February 1870 enabled panning and sluicing, the results of which confirmed that Ravenswood was the first significant reef mining goldfield in the northern half of Australia.
However, the miners needed to crush the quartz ore to extract gold. The first machinery for this purpose, WO Hodkinson’s five stamp crushing battery, the Lady Marion (or Lady Marian) Mill, was operational at Burnt Point (south of Upper Camp) from the 18th of April 1870. The first month’s crushing results caused ‘an even greater “rush” than that … caused by the discovery of the alluvial gold’. A second battery was operational in Upper Camp in August 1870, when the goldfield’s population was about 1200.
Official recognition of the goldfield and settlement soon followed. Government Geologist Richard Daintree visited Upper Camp in August 1870, and the Ravenswood goldfield (about 300 square miles) was proclaimed on the 3rd of November 1870. By this time, the goldfield had a population of about 2000, and Upper Camp had 10 ‘public houses’, with six public houses in Middle Camp.
The Government Surveyor, John von Stieglitz, arrived in November 1870, but was too late to impose a regular grid pattern on the settlement. Instead he formalised the existing plan, which was centred on the crossing of Elphinstone Creek by the main road (Macrossan Street), with tracks radiating out to the various diggings. Most commercial buildings were located along Macrossan Street. The resulting juxtaposition of mining, habitation and commerce gave the town its distinctive character.
The town was proclaimed on the 19th of May 1871, with an area of one square mile (259ha). This was later expanded to four square miles (1036ha) on the 13th of July 1883. Although gold had been discovered on Merri Merriwa Station, the name Ravenswood, after the run located further southeast, downstream on the Burdekin River, was preferred.
In 1871 the population of the goldfield was 900, with over half being in Upper Camp/Ravenswood, and by the end of 1871 there were five machines in Ravenswood. Hodgkinson’s mill had been moved into town, to a site just north of Elphinstone Creek, and was renamed the Mabel Mill. In 1871 the town had 30 licensed hotels, although these were referred to as ‘shanties’ and did not offer accommodation.
By this time Ravenswood also had a Chinese population, due to an influx of Chinese miners who had been forcefully evicted from the Western Creek diggings near Gilberton in mid-1871. At least three of the hotels of 1871 had Chinese licensees. The first Chinese had arrived in North Queensland in 1867, during the rush to the Cape River, and there were 200 Chinese looking for alluvial gold at Ravenswood in 1871. In January 1872 it was estimated that there were about 1500 Chinese present on the Ravenswood goldfield, and a matching number of Europeans. As the Chinese focussed on alluvial gold, and also provided other services, they were tolerated at Ravenswood, because the Europeans were now focusing on reef mining. The quartz reefs were originally worked at shallow depths by means of a windlass (hand-wound rope and bucket), or a horse-powered whip or whim (using poles, ropes and pulleys) raising the ore from shallow shafts.
Extracting gold from sulphide ores (1872 - 1898):
Despite its promising start, in 1872 the Ravenswood goldfield entered a ‘period of depression’, as its most important mines reached the water table at about 70ft (21m) deep – starting with the Sunset in 1871, followed by the General Grant, Black Jack, and Melaneur in 1872. Although the oxidised quartz (‘red stone’ or ‘brown stone’ quartz) close to the surface yielded its gold to traditional methods of mechanical crushing, below the water table the gold was in fine particles, which was not easily recovered by mechanical means. It was also mixed with sulphide ores; mainly iron sulphide (pyrite, or ‘mundic’ ore) but also sulphides containing lead, copper, zinc, arsenic, and antimony, which interfered with chemical treatments such as amalgamation (amalgamating the gold with mercury; then heating the resulting amalgam in a retort to vaporise the mercury) and chlorination (exposing roasted, concentrated ore to chlorine gas, and then precipitating gold out of the chloride solution). A process that worked on the ore from one reef might not work for an adjacent reef, due to a varying distribution of different types of sulphides. In addition, even if a process worked on a small scale, it could be uneconomical on a larger scale, given the price of transporting fuel to Ravenswood for smelting, or transporting concentrates for smelting elsewhere.
Once the mundic had been struck, ‘mining was "worse than dull" as the field grappled with the realisation that to break below the waterline, the days of the individual miner were over and the time of companies was looming’. The 1870s was a decade of major gold discoveries in Queensland, and miners keen on quick profits had plenty of new goldfields from which to choose. Many miners joined the rushes to Charters Towers (1872) and the Palmer River (1873). Charters Towers soon overtook Ravenswood as the most important inland town in north Queensland; and the Hodgkinson rush (southwest of Port Douglas) in 1876 also drew away miners.
However, Ravenswood grew during the 1870s and 1880s, despite the goldfield’s ‘refractory’ ores, and ‘mundic problem’. The goldfield had a population of 950 in 1877 (with 50 Chinese), rising to 1100 in 1880 (including 250 Chinese), and 2000 in 1883 (including 300 Chinese; with 190 working the alluvial, and 10 quartz miners).
The 1877 Pugh’s Almanac listed one Chinese hotelkeeper (out of seven hotelkeepers) in Ravenswood, and one Chinese storekeeper. The Chinese, as well as working alluvial claims and operating hotels and stores, were employed as wage labour in some mines; worked as roasters and chlorinators at the Mabel Mill; and operated 24 licensed gardens on the Ravenswood goldfield in 1883. Chinese gardens were vital in providing fresh vegetables to North Queensland’s goldfield populations.
For 19th Century diasporic Chinese communities such as Ravenswood’s, the establishment of specific cultural settlement areas, or ‘Chinatowns’, that ‘provided a range of sacred and secular services, including temples, stores, and accommodation’, was an important aspect of community building. Deighton Street, west of Macrossan Street, was the centre of Chinese life in Ravenswood. There were two eating houses close to Macrossan Street’s bridge across Elphinstone Creek, in the 1870s; and market gardens were located between Deighton Street and Elphinstone Creek, as well as north of Elphinstone Creek, interspersed amongst several crushing machine operations. There was also a temple south of Deighton Street. Temples were not just places of religious worship; rather, they were an integral part of a Chinese village. ‘They were places to meet, to check one's horoscope before embarking on a new venture and places where ancestors were venerated’. As well as being a place where the community could worship at any time, major gatherings were held at temples on festival days, with feasts and processions. The Ravenswood temple appears on an 1874 survey plan, making it the earliest known Chinese temple in Queensland. The nearby pig roasting oven is also a rare example of its type, and demonstrates the usual spatial arrangement of temple and oven, for community feasts.
Ravenswood continued to develop during the 1880s. By 1885, the Ravenswood goldfield had an estimated population of 2294 Europeans and 227 Chinese, with 1490 Europeans and 148 Chinese located in Ravenswood itself. Ravenswood at this time had four Chinese storekeepers, and two Chinese produce merchants, but all six hotel licensees were European. The Ravenswood National School, which began in late 1873, had an average attendance of 110 students in 1878, and reached its peak enrolment of 390 by 1889.
The 1880s were also a period of experimentation in metallurgical (gold extraction) technology. In 1883, the only method for dealing with sulphide ores was stamper mills and rotary buddles (which used water and gravity to separate and concentrate the crushed ores), but later Ravenswood ‘was the first place where the chlorination process and Wilfley tables, developed in 1896, to shake the ore and separate out different sized particles, and were used in Queensland, and probably the first place where the cyanide process (dissolving fine gold in a cyanide solution, and later precipitating the gold out of the solution) for extracting gold was used in Australia’. Other techniques attempted included fine grinding (using ball mills), roasting (burning off the sulphides), and smelting (prohibitively expensive, as it required high temperatures and thus a lot of fuel). By 1888 a new company at One Mile Creek, formed by Duncan and Peter Macintyre, had adapted an abandoned Cassell’s patent plant (a version of the chlorination process which was applied and failed in Ravenswood in 1886), to work on a ‘secret process’ (cyaniding).
Ravenswood mining continued to be viable, although only a (fluctuating) percentage of the gold was being recovered from the ore. In the mid-1880s there was even a temporary increase in the goldfield’s production, due to good returns from the Sandy Creek mines on the John Bull reef. For the next eight years, the principal producers of the district were the General Grant, Sunset, New England, Wild Irish Girl, Melaneur, and John Bull reefs, plus the silver lodes of the One Mile (at Totley).
Ravenswood’s economy survived the 1880s due to the development of silver mines at Totley, a township established about 2km north of Ravenswood. The silver mines opened circa 1879 - 1880, and Richard King floated the Ravenswood Silver Mining Company Ltd in 1882 – the year of Ravenswood’s lowest gold production between 1878 and 1898. Silver prices were high during the 1880s, and the Totley mines encouraged the Queensland Government to approve a branch railway line (off the Northern Railway between Townsville and Charters Towers) to Ravenswood in 1882, completed in 1884. The railway meant that some gold ores could be crushed, concentrated and sent for treatment at the Aldershot works just north of Maryborough or overseas to Swansea, in Wales. However, all silver mining had stopped by 1891, due to falling silver prices and over-expenditure on treatment plants.
Gold mining at Ravenswood continued during the 1880s and 1890s. Hugh Hawthorne Barton, who had operated Brothers Mill on Elphinstone Creek from the late 1870s, took over the General Grant, Sunset, and Black Jack mines, and the Mabel Mill (and later the Melaneur and Duke of Edinburgh mines), and floated the Ravenswood Gold Mining Company in 1887, with £100,000 in capital. From 1884 to 1896 Barton’s group was the largest and most successful operation in Ravenswood, its profitability assisted by the railway, economies of scale, and flexibility in ore-treatment methods. Barton utilised roasting, chlorination (by 1889), and smelting, and employed Chinese workers at the Mabel Mill. Along with their market gardens along Elphinstone Creek, Chinese employment at the Mabel Mill also influenced the location of the Chinese settlement area in Ravenswood. Meanwhile, the landscape was being altered by mining. The need for timber for boilers and for timbering-up mine shafts led to the loss of native trees in the locality, and goats also helped shape the landscape by eating regrowth.
By the mid-1890s, Barton was in debt to the Queensland National Bank, and his properties were seized in 1896, with the General Grant, Black Jack, and Mabel Mill being let on tribute (where a party of miners worked a mine, while giving the mine owner a percentage of any results) in 1897. The tributers refused to employ Barton’s experienced Chinese workers at the Mabel Mill, leading to disastrous attempts at chlorination. However, the goldfield’s production was boosted in the late 1890s when work resumed on the Donnybrook reefs for the first time in 20 years, and the Hillsborough (Eight Mile) reefs were taken up.
The New Ravenswood Company era (1899 - 1917):
Ravenswood’s boom period of gold production (1900 - 1908, with 1905 the year of highest production) is reflected in the town’s surviving mining infrastructure and commercial and public buildings. This boom occurred due to the efforts of Archibald Laurence Wilson (1852 - 1935). After gaining a diploma in mining engineering in Edinburgh, and working in New Zealand and on the Palmer River, Wilson arrived in Ravenswood in 1878. He was publican of the Silver King Hotel in Totley in the 1880s. As manager of the John Bull mine at Sandy Creek in the mid-1890s, he raised capital in London and installed a cyanide plant.
Wilson later travelled to London in 1898, where he floated both the Donnybrook Blocks Mining Syndicate and the New Ravenswood Company in 1899. Wilson was the General Manager of both companies, under their London directorates. Until 1917, the New Ravenswood Company was the largest mining operation on the Ravenswood goldfield. Registered with a capital of £50,000, the company purchased the General Grant, Sunset, Black Jack, Melaneur, and Shelmalier mines, and the Mabel Mill, from the Queensland National Bank (and later obtained the Saratoga, Duke of Edinburgh and London North mines), and initiated a new era in ore and metallurgical extraction. Using British capital, Wilson introduced modern machinery to work the mines, and effectively reshaped Ravenswood’s landscape. Wilson was known as ‘the uncrowned king of Ravenswood’. He was also Chairman of the Ravenswood Shire Council for some years, and was later on the Dalrymple Shire Council, until he resigned from poor health in 1934.
From 1900, both the Sunset and General Grant (also known as the Grant) mines were redeveloped by Wilson. These became the key earners for the New Ravenswood Company; by 1903 the two mines employed about 205 men, and were ‘the “backbone” of the town’.
The Sunset reef, which runs roughly northwest-southeast through the Ravenswood Mining Landscape, was the largest producer on the goldfield (almost a quarter of the total). It produced 14,722oz of gold from 1870 - 1894, and by 1900 it was worked from an underlie (an inclined shaft, following the dip of a reef) branching off from a vertical shaft 130ft (40m) deep. It was stated at this time that the reef had ‘much the same history as the General Grant, the two being generally worked together’. By 1903 the New Ravenswood Company had extended the underlie shaft right up to the surface, where a headframe was constructed to haul ore directly up the slope. The Sunset’s yield of ‘free gold’ (pure gold not combined with other minerals), which could be extracted at the Mabel Mill, peaked in 1904, then fell slowly. In 1905 an average of 170 men were employed at the mine. In 1908 the reef was being worked by the main underlie shaft, 900ft (274m) deep (Sunset No. 1); and a vertical shaft, 556ft (169m) deep (Sunset No. 2). As the Sunset reef was worked in conjunction with the General Grant and the Duke of Edinburgh reefs in the New Ravenswood Company era, its exact total production of gold is hard to calculate; but from 1876 to 1912 the reef probably produced about 177,000oz of gold; and probably most of the 22, 000oz that the company extracted from 1912 - 1917.
The General Grant, one of the most productive reefs on the goldfield, running roughly north-south just east of the Sunset reef, was worked almost continuously to the late 1880s, and periodically thereafter. By 1895 returns had diminished, due to the small size of the reef and its highly refractory ore. In 1900, the General Grant had a vertical shaft to 110ft (34m), and then an underlie of 610ft (186m), the bottom of the latter being 450ft (137m) below the level of the shaft mouth; but operations were ‘almost completely suspended’ as the New Ravenswood Company concentrated on the Sunset reef. To 1900 the General Grant had produced 23, 651oz of gold; and after crushing of ore from the mine resumed at the beginning of 1903, it was treated with ore from the Sunset. On average, 40 men were employed on the mine in 1905. In 1908 the powerhouse for both the Sunset and the General Grant mines was situated on the General Grant lease, with three Cornish boilers. By 1912 the General Grant had produced about 36,000oz of gold.
To the east of the General Grant was the Duke of Edinburgh reef, running roughly northwest-southeast. This was one of the early reefs discovered on the goldfield; and in 1872 it was identified by Warden TR Hackett as one of the 28 principal reefs. It was worked in several episodes prior to the 1890s, and was re-opened in 1891, producing 1286oz of gold during 1891 - 1895. In 1908 the mine was taken over by the New Ravenswood Company, and was reorganised as an underlie shaft with haulage machinery from the Golden Hill mine, being worked in conjunction with the General Grant until 1917.
Along with his modernisation of the goldfield’s best mines, Wilson also abandoned chlorination at the Mabel Mill, increased the mill’s crushing capacity to 30 stamps (by 1904), and introduced the first Wilfley tables to Queensland. Crushing resumed in January 1900. Wilson improved metallurgical extraction by ‘postponing amalgamation of the free gold till the great bulk of the sulphides had been removed by concentration’. The ore was crushed in stampers without using mercury. Then, using the Wilfley tables, the heavier Galena (lead sulphide ore) and free gold was separated from the lighter sulphides. The free gold and galena was then ground in Berdan pans with mercury, while the remaining sulphides (containing iron, zinc and copper) were dispatched to the Aldershot works (near Maryborough) for smelting. In 1902 - 1903, a raff wheel, 14.5m in diameter, was built at the Mabel Mill to lift tailings (post-treatment residue) up to a flume, which carried them over to the south side of Elphinstone Creek, where they could be treated with cyanide. The cyanide works (of which remnants still remain south of Elphinstone Creek) was erected circa 1904. A 21m long girder bridge was constructed across the creek to carry steam water pipes and electric cable from the Mabel Mill to the new works, which eventually comprised two Krupp ball mills and 12 Wilfley’s tables.
Due to the New Ravenswood Company’s efforts, the goldfield’s production increased between 1899 and 1905. Gold recovery increased from 18, 016oz in 1899 to 24, 832oz in 1900 and to 42, 465oz in 1905. The New Ravenswood Company paid impressive 50% dividends to its shareholders in 1901, 1902, and 1904; and 75% in 1903.
The productivity of Ravenswood’s mines during the New Ravenswood Company era was also reflected in the goldfield’s population, which rose from 3420 in 1901 to its peak of 4707 in 1903. The 1903 population included 215 Chinese, 89 of these being alluvial miners. In 1905 two Chinese were listed as ‘storekeepers and grocers’.
The population increase led to a building boom in the first decade of the 20th Century. Hundreds of new houses, the town’s first two brick hotels – the Imperial hotel (1901) and the Railway Hotel (1902) – as well as brick shops such as Thorp’s Building (1903), and the brick Ravenswood Ambulance Station (1904) were constructed in this period; the use of brick being spurred by the threat of fire. The New Ravenswood Company also rebuilt the mining landscape in and around the town, with expansion of the Mabel Mill, and new headframes and winders, magazines, boilers, and brick smokestacks erected beside all the principal shafts.
However, not all Wilson’s ventures in this period were successful. In 1902 he floated Deep Mines Ltd, with a capital of £100, 000, to sink a shaft east of the New Ravenswood Company’s leases. This mine (also within the Ravenswood Mining Landscape) was an ambitious attempt to reach a presumed intersection of the General Grant and Sunset reefs at depth. Using the capital raised, Wilson built a model mine and mill. The shaft was started in late 1902-early 1903, and construction work on the buildings and machinery was completed later in 1903. The mine reached 512m, the deepest on the goldfield, with extensive crosscutting and driving, but only about 240oz of gold was recovered. No ore was crushed at all in 1908. By 1910 a new shaft was being sunk ‘near the western boundary’; but the mine was abandoned in 1911, and never worked again. Wilson’s London investors lost at least £65,000.
The Deep’s mill, built nearby and operational by 1906, was a smaller version of the Mabel Mill, with gravity stamps, Wilfley tables, and a cyanide plant. Its site, adjacent to the mine, ran counter to the normal practice of siting mills near water courses. With the failure of the Deep mine, it milled ore from other mines until about 1917.
Another mine, the Grand Junction, was located north of the New Ravenswood Company’s most productive mines, in the Ravenswood Mining Landscape. The Grand Junction Consolidated Gold Mining Company was formed in 1900, and a shaft was sunk in 1901 (probably the No. 1 shaft on the Grand Junction Lease No. 520). In 1902 another exploration ‘deep shaft’ (No. 2) was sunk at the southwest boundary of the Grand Junction Lease No.503. The Grand Junction mine was another failed attempt to locate a presumed junction of the General Grant and Sunset reefs at depth; by 1908 it was owned by the New Ravenswood Company. Total production was about 425oz of gold.
Slightly more successful was the Grant and Sunset Extended mine, at the southern end of the Ravenswood Mining landscape. This was a deep shaft sunk by the Grant and Sunset Extended Gold Mining Company, a Charters Towers-owned company with Wilson as its local director. During the 19th Century, small mines had been operated in the Rob Roy reef, to the southeast. The Grant and Sunset Extended was floated in 1902, the intent being to locate the General Grant and Sunset reefs south of Buck Reef. The plant and buildings of the Yellow Jack mine, southeast of Ravenswood, were re-erected on the site. The shaft was down 70ft (21m) in 1902 and 930ft (283m) by 1908, with 50 men employed at the mine by the later date. The mine closed by 1910, but was worked on tribute until 1917, with about 15,000oz of gold obtained over 1904 - 1918.
The boom period at Ravenswood did not last. As well as losing money on the Deep and Grand Junction mines, the New Ravenswood Company faced the closure of the Aldershot works in 1906, and declining yields from 1908 to 1912. Although Wilson experimented with flotation (agitating crushed ore in oil and water, and extracting fine gold particles on the surface of air bubbles) and cyanide processes at the Mabel Mill, it was too late to save his company. The Shelmalier had closed by 1904, the Black Jack in 1909, and the Melaneur in 1910. By that year, the General Grant, Sunset, Duke of Edinburgh, and London North (obtained 1910) were the New Ravenswood Company’s only producing mines.
Few new buildings were constructed in Ravenswood after 1905. The hospital closed in 1908. That year the goldfield’s population consisted of 4141 Europeans (including 2625 women and children) and 181 Chinese (including 94 alluvial miners). This dropped to 2581, including 92 Chinese, by 1914.
Increased costs and industrial disputes in the 1910s hastened the end of the New Ravenswood Company era. During a miner’s strike between December 1912 and July 1913, over lay-offs, the fresh vegetables and business loans provided by Ravenswood’s Chinese community helped keep the town going. Although the miners won, it was a hollow victory, as the company could only afford to re-employ a few of the men. World War I (1914 - 1918) then increased labour and material costs for the New Ravenswood Company. The London North mine closed in 1915, and on the 24th of March 1917 the New Ravenswood Company ceased operations; ending large-scale mining in Ravenswood for the next 70 years.
By 1917, the Ravenswood goldfield had produced over 850, 000oz of gold (nearly a quarter coming from the Sunset mine), and 1, 000, 000oz of silver; making it the fifth largest gold producer in Queensland, after Charters Towers, Mount Morgan, Gympie, and the Palmer Goldfield. Ravenswood was also the second largest producer of reef gold in north Queensland, after Charters Towers.
Small scale mining and re-treatment (1919 - 1960s):
After 1917 the Ravenswood goldfield entered a period of hibernation, with intermittent small-scale attempts at mining. In 1919, Ravenswood Gold Mines Ltd took over some of Wilson’s leases and renovated the Deep mine’s mill, but obtained poor returns. Ravenswood Gold Mines also worked the Duke of Edinburgh from 1919 to 1930, with good returns reported in 1924. The General Grant and Sunset were also worked on a small scale from 1919 - 1921, while the Mabel Mill continued to provide crushing services for the limited local mining.
Consequently, Ravenswood’s population declined and the town shrank physically. In 1921 the town’s population fell below 1000, and by 1923 there were 530 people left, including 8 Chinese. During the 1920s, prior to the closure of the railway branch line to Ravenswood in 1930, hundreds of the town’s timber buildings were dismantled and railed away. By 1927, only the two brick hotels remained operating as hotels. The Ravenswood Shire was abolished in 1929, and by 1934 only 357 people remained in the town.
Despite this decline, some gold was still being extracted. There was a small increase in gold production between 1923 and 1927, and due to the gold price rise of the 1930s, some mines were re-worked and efforts were also made to treat the old mullock heaps (waste rock from mining) and tailings dumps with improved cyanide processes. Between 1931 and 1942, 12, 253oz of gold was obtained from the goldfield, the peak year being 1940.
A number of companies were active in Ravenswood in the 1930s-early 1940s. In 1933, the North Queensland Gold Mining Development Company took up leases along Buck Reef and reopened the Golden Hill mine, and the following year their operations were taken over by Gold Mines of Australia Ltd. The 1870s Eureka mine (near the Imperial Hotel) was revived by James Judge in 1934. In 1935 the Ravenswood Concentrates Syndicate began re-treating the Grant mullock heaps in the remaining stampers at the Mabel Mill, and dewatering the Sunset No. 2 shaft; while the Sunset Extended Gold Mining Company, with James Judge as manager, dewatered the Grant and Sunset Extended shafts (which connected to the Sunset, General Grant and Duke of Edinburgh shafts), and re-timbered the Grant and Sunset Extended, General Grant, and Sunset underlie (No. 1) shafts. The London North mine was reopened by R J Hedlefs in 1937, and Basque miners were working the Sunset No. 2 shaft at this time.
The Little Grand Junction mine, located at the intersection of Siggers Street and School Street, on the old Grand Junction Lease No. 520, was operated from 1937 - 1942 by local miners Henry John Bowrey and John Thomas Blackmore. Five men were employed at the mine in 1940. The shaft had apparently been sunk previously by the Grand Junction Consolidated Gold Mining Company; and Bowrey and Party reconditioned it and extended the existing workings.
In 1938, Archibald and Heuir set up a mill on the bank of One Mile Creek to treat mullock dumps, and the Ravenswood Gold Mining Syndicate (formed 1937, with James Judge as manager) began treating the mullock dumps of the Sunset mine in late 1938. The same syndicate also dewatered and reopened part of the Grant and Sunset Extended; and the Grand Junction mine was reopened by Judge circa 1939 - 1942.
The Ravenswood Gold Mining Syndicate’s (Judge’s) mill initially consisted of 10 head of stamps obtained from the Mother Lode Mill at Mount Wright (northwest of Ravenswood), powered by a diesel engine. The ore was crushed by the stamper battery, concentrated with Wilfley tables, and then either treated with cyanide or sent to the Chillagoe smelters. Initial success with some rich ore led to enlargement of the mill to 30 stamps in 1939 - 40. A Stirling boiler and a 250hp engine were also obtained from the Burdekin meatworks (Sellheim), and a rock breaker, elevator, and conveyor were installed. However, the upgraded mill proved to be overpowered and required a lot of timber fuel; the brick foundations used for the machinery were not strong enough; and the best ore from the Sunset had already been treated, so the mill closed early in 1942 and the plant was moved to Cloncurry.
Also in 1938, Maxwell Partridge and William Ralston installed a new plant south of Elphinstone Creek, to the immediate west of the Mabel Mill’s old cyanide works, to re-treat the old tailings with cyanide. A ball mill, filter, and other plant were purchased from the Golden Mile, Cracow in 1939, while later that year a suction gas engine and flotation machine were also installed. This operation closed circa 1942, and the coloured sands on the site today are residues from the flotation process: the yellow sand is from the floatation of iron pyrites; the grey sands are copper tailings; and the black material is zinc tailings.
There was limited activity on the goldfield in the late 1940s to early 1960s. The Empire Gold Mining Syndicate treated mullock dumps from The Irish Girl, London, and Sunset mines from 1946 to 1949, as well as some of the dumps from the Grand Junction (1947). The Duke of Edinburgh mine was briefly reopened by Cuevas and Wilson in 1947, and the Cornish boilers on the site (one with the maker’s mark ‘John Danks & Son Pty Ltd makers Melbourne) may relate to this (unsuccessful) operation. Percy Kean reopened the Great Extended mine at Totley in 1947, and later purchased Partridge’s mill in 1951 to use it as a flotation plant to treat the silver-lead ore from Totley, adding a diesel engine, stonebreaker, Wilfley tables, and classifier. The Totley mines closed in 1954, although the Great Extended mine was briefly sub-leased by Silver Horizons No Liability, in 1964. Partridge’s mill was closed circa 1965.
Other attempts were made in the early 1950s to rework old sites. A Townsville syndicate led by Leslie Cook and George Blackmore reopened the Grand Junction mine in 1951, but it soon closed. James Judge also recommenced gold mining at Donnybrook, but closed in 1954; while 900 tons of tailings from the Deep mine’s mill site were taken for re-treatment at Heuir’s cyanide plant in the early 1950s.
A new industry:
In the 1960 and 1970s, Ravenswood’s population shrank to its nadir of about 70 people. At the same time, there was a growing nostalgic interest in old towns in Australia. In 1968 the landscape of Ravenswood was described in romantic terms: ‘Mute testimonials are the numerous mullock heaps which dot the countryside; the rusty remains of steam engines; stampers which were used to crush stone; and collapsed cyanide vats… Derelict poppet-heads…stand above deep, abandoned shafts. Colossal columns of chimney stacks rise majestically from the entanglement of rubber vines and Chinese apple trees.’ Some locals realised that preserving the town’s surviving historic buildings and structures was necessary to attract tourists and create a new local industry.
From this time onwards the town’s mining heritage was seen as an asset. The National Trust of Queensland met with locals in 1974, and a conservation plan for the town was published in 1975. Later, the town sites of Totley and Ravenswood were both entered into the National Trust of Queensland Register. Comments from an International Council on Monuments and Sites (ICOMOS) trip to northern Australia in 1978 included ‘Ravenswood…is one of the most evocative (gold towns of Australia) and this must be preserved. A policy of “all that is necessary but as little as possible” must be strongly pursued’. The increased population of North Queensland, longer paid holidays, improved roads, and the rise of car ownership after World War II, all increased visitation to Ravenswood, as did the completion of a road past Ravenswood to the Burdekin Dam, in the 1980s. As a result, the town and its mining landscape have been represented in brochures, art, and photography. In particular, the landmark qualities of the tall brick chimneys are a distinctive feature in representations of Ravenswood.
Modern operations:
However, gold mining recommenced at Ravenswood in the 1980s, due to a rise in the gold price and the efficiencies gained from open cut mining and modern cyanide metallurgical extraction processes. From 1983 - 1986 the Northern Queensland Gold Company Ltd conducted agglomeration heap-leaching (spraying a sodium cyanide solution on previously mined material heaped on a plastic membrane), in the process removing a landmark tailings dump at King’s mine in Totley, and mullock heaps from the Grant and Sunset mines. In 1987 Carpentaria Gold commenced open cut mining of the Buck reef (the Buck Reef West pit) near the old Grant and Sunset mines on the south side of the town. Later, pits were dug further east along the reef. Some underground mining was also undertaken from the Buck Reef West pit until 1993, which broke into the old workings of the General Grant, Sunset, and Duke of Edinburgh mines. The old headframe at the Grant and Sunset Extended was demolished in 1988, and replaced with a new steel headframe, which was used until 1993 and then removed. The Melaneur-Shelmalier-Black Jack-Overlander reef complex, on the north side of the town, was mined as an open cut 1990 - 1991, before being backfilled as a golf course. The Nolan’s Gully open cut commenced in 1993.
Although modern mining revived the economy of the town, it did not replicate the building boom of the early 20th century.
The heritage significance of Ravenswood’s surviving mining infrastructure was recognised in a 1996 Queensland Mining Heritage Places Study by Jane Lennon & Associates and Howard Pearce; and a 2000 Conservation Management Plan by Peter Bell. In 2006, the population of Ravenswood, the oldest surviving inland town in north Queensland, was 191.
By the mid-2010s the population of Ravenswood stood at 255 people.
Source: Queensland Heritage Register & Australian Bureau of Statistics.
Dutch postcard by Boomerang Studycards, Amsterdam, no. P08-03, 2003. Keanu Reeves in The Matrix Reloaded (Lana Wachowski, Lilly Wachowski, 2003).
Keanu Reeves (1964) is a Canadian actor, producer, director and musician. Though Reeves often faced criticism for his deadpan delivery and perceived limited range as an actor, he nonetheless took on roles in a variety of genres, doing everything from introspective art-house fare to action-packed thrillers. His films include My Own Private Idaho (1991), the European drama Little Buddha (1993), Speed (1994), The Matrix (1999) and John Wick (2014).
Keanu Charles Reeves was born in 1964, in Beirut, Lebanon. His first name means ‘cool breeze over the mountains’ in Hawaiian. His father, Samuel Nowlin Reeves Jr., was a geologist of Chinese-Hawaiian heritage, and his mother, Patricia Bond (née Taylor), was a British showgirl and later a costume designer for rock stars such as Alice Cooper. Reeves's mother was working in Beirut when she met his father. Upon his parents’ split in 1966, Keanu moved with his mother and younger sister Kim Reeves to Sydney, to New York and then to Toronto. As a child, he lived with various stepfathers, including stage and film director Paul Aaron. Keanu developed an ardour for hockey, though he would eventually turn to acting. At 15, he played Mercutio in a stage production of 'Romeo and Juliet' at the Leah Posluns Theatre. Reeves dropped out of high school when he was 17. His film debut was the Canadian feature One Step Away (Robert Fortier, 1985). After a part in the teen movie Youngblood (Peter Markle, 1986), starring Rob Lowe, he obtained a green card through stepfather Paul Aaron and moved to Los Angeles. After a few minor roles, he gained attention for his performance in the dark drama River's Edge (Tim Hunter, 1986), which depicted how a murder affected a group of adolescents. Reeves landed a supporting role in the Oscar-nominated period drama Dangerous Liaisons (Stephen Frears, 1988), starring Glenn Close and John Malkovich. Reeves joined the casts of Ron Howard's comedy Parenthood (1989), and Lawrence Kasdan's I Love You to Death (1990). Unexpectedly successful was the wacky comedy Bill & Ted's Excellent Adventure (Stephen Herek, 1989) which followed two high school students (Reeves and Alex Winter) and their time-travelling high jinks. The success lead to a TV series and a sequel, Bill & Ted's Bogus Journey (Pete Hewitt, 1991). From then on, audiences often confused Reeves's real-life persona with that of his doofy on-screen counterpart.
In the following years, Keanu Reeves tried to shake the Ted stigma. He developed an eclectic film roster that included high-budget action films like the surf thriller Point Break (Kathryn Bigelow, 1991) for which he won MTV's ‘Most Desirable Male’ award in 1992, but also lower-budget art-house films. My Own Private Idaho (1991), directed by Gus Van Sant and co-starring River Phoenix, chronicled the lives of two young hustlers living on the streets. In Francis Ford Coppola’s adaptation of Bram Stoker’s Dracula (1992), Reeves embodied the calm resolute lawyer Jonathan Harker who stumbles into the lair of Gary Oldman’s Count Dracula. In Europe, he played prince Siddharta who becomes the Buddha in Bernardo Bertolucci’s Italian-French-British drama Little Buddha (1993). His career reached a new high when he starred opposite Sandra Bullock in the hit action film Speed (Jan de Bont, 1994). It was followed by the romantic drama A Walk in the Clouds (Alfonso Arau, 1995) and the supernatural thriller Devil’s Advocate (Taylor Hackford, 1997), co-starring Al Pacino and Charlize Theron. At the close of the decade, Reeves starred in a Sci-Fi film that would become a genre game changer, The Matrix (Lana Wachowski, Lilly Wachowski, 1999). Reeves played the prophetic figure Neo, slated to lead humanity to freedom from an all-consuming simulated world. Known for its innovative fight sequences, avant-garde special effects and gorgeous fashion, The Matrix was an international hit. Two sequels, The Matrix Reloaded (Lana Wachowski, Lilly Wachowski, 1999) and The Matrix Revolutions (Lana Wachowski, Lilly Wachowski, 1999) followed and The Matrix Reloaded was even a bigger financial blockbuster than its predecessor.
Now a major, bonafide box office star, Keanu Reeves continued to work in different genres and both in big-budget as in small independent films. He played an abusive man in the supernatural thriller The Gift (Sam Raimi, 2000), starring Cate Blanchett, a smitten doctor in the romantic comedy Something’s Gotta Give (Nancy Meyers, 2003) opposite Diane Keaton, and a Brit demon hunter in the American-German occult detective film Constantine (Francis Lawrence, 2005). His appearance in the animated Science Fiction thriller A Scanner Darkly (Richard Linklater, 2006), based on the novel by Philip K. Dick, received favourable reviews, and The Lake House (Alejandro Agresti, 2006), his romantic outing with Sandra Bullock, was a success at the box office. Reeves returned to Sci-Fi as alien Klaatu in The Day the Earth Stood Still (Scott Derrickson, 2008), the remake of the 1951 classic. Then he played a supporting part in Rebecca Miller's The Private Life of Pippa Lee (2009), which starred Robin Wright and premiered at the 59th Berlin International Film Festival. Reeves co-founded a production company, Company Films. The company helped produce Henry's Crime (Malcolm Venville, 2010), in which Reeves also starred. The actor made his directorial debut with the Chinese-American Martial arts film Man of Tai Chi (2013), partly inspired by the life of Reeves' friend, stuntman Tiger Chen. Martial arts–based themes continued in Reeves's next feature, 47 Ronin (Carl Rinsch, 2013), about a real-life group of masterless samurai in 18th-century Japan who avenged the death of their lord. Variety magazine listed 47 Ronin as one of "Hollywood's biggest box office bombs of 2013". Reeves returned as a retired hitman in the Neo-Noir action thriller John Wick (Chad Stahelski, David Leitch, 2014). The film opened to positive reviews and performed well at the box office. A sequel, titled John Wick: Chapter Two, is currently in production and is scheduled to be released in 2017. This year, he could be seen in the psychological horror film The Neon Demon (Nicolas Winding Refn, 2016) and the romantic horror-thriller Bad Batch (Ana Lily Amirpour, 2016).
Reeves’ artistic aspirations are not limited to film. In the early 1990s, he co-founded the grunge band Dogstar, which released two albums. He later played bass for a band called Becky. Reeves is also a longtime motorcycle enthusiast. After asking designer Gard Hollinger to create a custom-built bike for him, the two went into business together with the formation of Arch Motorcycle Company LLC in 2011. Reported to be one of the more generous actors in Hollywood, Reeves helped care for his sister during her lengthy battle with leukaemia, and has supported such organisations as Stand Up To Cancer and PETA. In January 2000, Reeves's girlfriend, Jennifer Syme, gave birth eight months into her pregnancy to Ava Archer Syme-Reeves, who was stillborn. The strain put on their relationship by their grief resulted in Reeves and Syme's breakup several weeks later. In 2001, Syme died after a car accident.
Sources: Biography.com, Wikipedia, and IMDb.
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Italian postcard by Casa Editrice Ballerini & Fratini, no. 16. Photo: United Artists. Alla Nazimova in Salome (Charles Bryant, 1923). Collection: Marlene Pilaete.
Alla Nazimova (1879–1945) was a grand, highly flamboyant star of the American silent cinema. The Russian-born film and theatre actress, screenwriter, and film producer was widely known as just Nazimova. On Broadway, she was noted for her work in the classic plays of Ibsen, Chekhov, and Turgenev. Her efforts at silent film production were less successful, but a few sound-film performances survive as a record of her art.
Alla Nazimova (Russian: Алла Назимовa) was born Marem-Ides Leventon (Russian name Adelaida Yakovlevna Leventon) in Yalta, Crimea, Russian Empire, in 1879. She was the youngest of three children of Jewish parents Yakov Abramovich Leventon, a pharmacist, and Sofia (Sara) Lvovna Horowitz, who moved to Yalta in 1870 from Kishinev. At age 17 Alla Leventon abandoned her training as a violinist and went to Moscow to work in theatre with V.I. Nemirovich-Danchenko. In 1892, she joined Constantin Stanislavski's Moscow Art Theatre using the name of Alla Nazimova for the first time. Her stage name was a combination of Alla (a diminutive of Adelaida) and the surname of Nadezhda Nazimova, the heroine of the Russian novel Children of the Streets. Nazimova's theatre career blossomed early. In 1899 she married Sergei Golovin, a fellow actor, but they soon separated. Gary Brumburgh at IMDb: “She grew discontented with Stanislavsky and later performed in repertory. She met the legendary Pavel Orlenev, a close friend of Anton Chekhov and Maxim Gorky, and entered into both a personal and professional relationship with him.” By 1903 she was a major star in Moscow and Saint Petersburg. She toured Europe, including London and Berlin, with Orlenev. They immigrated to the United States in 1905. She was signed up by the American producer Henry Miller. Although she spoke not a word of English, she so impressed the Shubert brothers that they hired her on the condition she learns English in six months. In 1906 she made her Broadway debut in the title role of Hedda Gabler to critical and popular success. She also played other Ibsen characters: Nora in A Doll’s House, Hedwig in The Wild Duck, and Hilda in The Master Builder. She quickly became extremely popular and remained a major Broadway star for years. From 1912 to 1925 Nazimova maintained a ‘fake marriage’ with British actor and director Charles Bryant, who often was her co-star. In order to bolster this arrangement with Bryant, Nazimova kept her marriage to Golovin secret. Due to her notoriety in a 35-minute 1915 pacifist play entitled War Brides, Nazimova made her silent film debut in the film version, War Brides (Herbert Brenon, 1916), which was produced by independent producer Lewis J. Selznick. She made $100,000 touring in War Brides and an additional $60,000 for the film version. The film's lost status makes it now a sought-after title. In 1917, she negotiated a contract with Metro Pictures, a precursor to MGM, that included a weekly salary of $13,000. She moved from New York to Hollywood, where she made a number of highly successful films for Metro, including a part as a reformed prostitute in Revelation (George D. Baker, 1918), that earned her a considerable amount of money. Nazimova soon felt confident enough in her abilities to begin producing and writing films in which she also starred. Examples are Eye for Eye (Albert Capellani, 1918), The Brat (Herbert Blache, 1919) and Madame Peacock (Ray C. Smallwood, 1920).
Alla Nazimova starred in Camille (Ray C. Smallwood, 1921) as the courtesan Marguerite opposite Rudolph Valentino as her idealistic young lover Armand. Camille is based on the play adaptation La Dame aux Camélias (The Lady of the Camellias) by Alexandre Dumas, fils. The film was set in 1920s Paris, whereas the original version took place in Paris in the 1840s. It had lavish Art Deco sets and Rudolph Valentino later married the art director, Natacha Rambova. Jennifer Horne at The Women Film Pioneers Project: “Working under contract with Metro Pictures Corporation between late 1917 and April 1921, her company, Nazimova Productions, produced nine largely profitable, feature-length films and brought along the writing talent of writer-producer June Mathis. Details regarding the supervisory roles Nazimova played in the production of many of her films remain confusing since not all of Nazimova’s contributions are reflected in the official credits on films.” In her film adaptations A Doll's House (Charles Bryant, 1922), based on Henrik Ibsen, and Salomé (Charles Bryant, 1923), based on Oscar Wilde's play, Nazimova developed her own film making techniques, which were considered daring at the time. Despite the film being only a little over an hour in length and having no real action to speak of, Salomé cost over $350,000 to make. All the sets were constructed indoors to be able to have complete control over the lighting. The film was shot completely in black and white, matching the illustrations done by Aubrey Beardsley in the printed edition of Wilde's play. The costumes, designed by Natacha Rambova, used material only from Maison Lewis of Paris, such as the real silver lamé loincloths worn by the guards. Both A Doll's House and Salomé were critical and commercial failures. Gary Brumburgh: “The monetary losses she suffered as producer were astronomical. The Hays Code, which led to severe censorship in pictures, also led to her downfall, as did her outmoded acting style.” By 1925 Nazimova could no longer afford to invest in more films; and financial backers withdrew their support. Left with few options, she gave up on the film industry. She became an American citizen in 1927.
In 1928, Alla Nazimova returned to the Broadway stage as Madame Ranevsky in Eva Le Gallienne’s production of Anton Chekhov’s The Cherry Orchard. Acclaimed were also her starring roles as Natalya Petrovna in Rouben Mamoulian's 1930 production of Turgenev's A Month in the Country, Christine in Eugene O’Neill’s Mourning Becomes Electra (1931), O-Lan in Pearl Buck’s The Good Earth (1932), and as Mrs. Alving in Ibsen's Ghosts (1935). In the early 1940s, she played character roles in a few more films. She played Robert Taylor's mother who is in a concentration camp in Nazi Germany in Escape (Mervyn Le Roy, 1940) and Tyrone Power's mother in Blood and Sand (Rouben Mamoulian, 1941). Her final film was Since You Went Away (John Cromwell, 1944), an epic about the American home front during World War II. Nazimova openly conducted relationships with women, and there were outlandish parties at her mansion on Sunset Boulevard, in Hollywood, California, known as ‘The Garden of Alla’. She is credited with having originated the phrase ‘sewing circle’ as a discreet code for lesbian or bisexual actresses. Nazimova helped start the careers of both of Rudolph Valentino's wives, Jean Acker and Natacha Rambova. Although she was involved in a lesbian affair with Acker, it is debated if Nazimova and Rambova had a sexual affair. Nazimova was impressed by Rambova's skills as an art director, and Rambova designed the innovative sets for Nazimova's film productions of Camille and Salomé. Of those Nazimova is confirmed to have been involved with romantically, the list includes actress Eva Le Gallienne, director Dorothy Arzner, writer Mercedes de Acosta, and Oscar Wilde's niece, Dolly Wilde. Nazimova lived with Glesca Marshall from 1929 until her death. In 1945 Nazimova died of coronary thrombosis in a hospital in Los Angeles. She was 66.
Sources: Jennifer Horne (Women Film Pioneers Project), Gary Brumburgh (IMDb), Sandra Brennan (AllMovie), Encyclopaedia Britannica, Wikipedia, and IMDb.
On 31 January 2022, there will be a special Salome post by La Collectionneuse at European Film Star Postcards.
French postcard by Edycard, no. 29. Photo: Tom Cruise in Top Gun (Tony Scott, 1986).
American actor and producer Tom Cruise (1962) became with his charismatic smile the most successful member of Hollywood's Brat Pack, the golden boys and girls of the 1980s. Top Gun (1986) made him an action star, but with his roles in The Color of Money (1986), Rain Man (1988) and Born on the Fourth of July (1989) he proved himself to be an all-round star and excellent actor. During the 1990s, he continued to combine action blockbusters like Mission Impossibe (1996) with highly acclaimed dramas like A Few Good Men (1992), Eyes Wide Shut (1999) and Magnolia (1999). He received more praise for his roles in Minority Report (2000) and Collateral (2002) and was for years one of the highest paid actors in the world. Although he continued to score major box office hits with the Mission Impossible franchise, his later work was overshadwowed by his outspoken attitude about Scientology which alienated him from many of his viewers.
Tom Cruise was born Thomas Cruise Mapother IV in 1962 in Syracuse, NY. He is the only son of Mary Lee (Pfeiffer), a special education teacher, and Thomas Cruise Mapother III, an electrical engineer. He has three sisters: Marian, Lee Anne De Vette and Cass. In 1974, when Cruise was 12, his parents divorced. Young Tom spent his boyhood always on the move, and by the time he was 14 he had attended 15 different schools in the U.S. and Canada. He finally settled in Glen Ridge, New Jersey, with his mother and her new husband. Deeply religious, he enrolled in a Franciscan seminary with the ambition to join the priesthood. He dropped out after one year. At high-school, he was a wrestler until he was sidelined by a knee injury. Soon taking up acting, he found that the activity served a dual purpose: performing satiated his need for attention, while the memorisation aspect of acting helped him come to grips with his dyslexia. Moving to New York in 1980, he studied drama at the prestigious Neighborhood Playhouse, in conjunction with the Actors Studio, New School University, New York. He signed with CAA (Creative Artists Agency) and began acting in films. His film debut was a small part in Endless Love (Franco Zeffirelli, 1981), starring Brooke Shields. It was followed by a major supporting role as a crazed military academy student in Taps (Harold Becker, 1981), starring George C. Scott and Timothy Hutton. In 1983, Cruise was part of the ensemble cast of The Outsiders (Francis Ford Coppola, 1983). The Hollywood press corps began touting Cruise as one of the 'Brat Pack', a group of twenty-something actors who seemed on the verge of taking over the movie industry in the early 1980s. Cruise's first big hit was the coming-of-age comedy Risky Business (Paul Brickman, 1983), in which he entered film-trivia infamy with the scene wherein he celebrates his parents' absence by dancing around the living room in his underwear. From the outset, he exhibited an undeniable box office appeal to both male and female audiences. Cruise played the male lead in the dark fantasy Legend (Ridley Scott, 1985) and the action film Top Gun (Tony Scott, 1986) with Kelly McGillis and Val Kilmer. Top Gun (1986) established Cruise as an action star. However, he refused to be pigeonholed, and followed it up with a solid characterszation of a fledgling pool shark in The Color of Money (Martin Scorsese, 1986), for which co-star Paul Newman earned an Academy Award. In 1988, he played the brother of an autistic savant played by Dustin Hoffman in the drama Rain Man (Barry Levinson, 1988). However, Cruise had not yet totally convinced critics he was more than a pretty face while he also starred in Cocktail (Roger Donaldson, 1988), which earned him a nomination for the Razzie Award for Worst Actor. His chance came when he played paraplegic Vietnam vet Ron Kovic in Born on the Fourth of July (Oliver Stone, 1989). For his role, he won a Golden Globe Award and received a nomination for the Academy Award for Best Actor.
In 1990 Tom Cruise renounced his devout Catholic beliefs and embraced The Church Of Scientology claiming that Scientology teachings had cured him of the dyslexia that had plagued him all of his life. He was introduced to Scientology by his ex-wife Mimi Rogers. Though Cruise's bankability faltered a bit with the expensive disappointment Far and Away (Ron Howard, 1990) with his-then wife Nicole Kidman, A Few Good Men (Rob Reiner, 1992) brought him back into the game. By 1994, the star was undercutting his own leading man image with the role of the slick, dastardly vampire Lestat in the long-delayed film adaptation of the Anne Rice novel Interview with the Vampire (Neil Jordan, 1994), opposite Brad Pitt and Antonio Banderas. Although the author was vehemently opposed to Cruise's casting, Rice famously reversed her decision upon seeing the actor's performance, and publicly praised Cruise's portrayal. In 1996, Cruise scored financial success with the reboot of Mission: Impossible (Brian De Palma, 1996), but it was with his multilayered performance in Jerry Maguire (Cameron Crowe, 1996), that Cruise proved once again why he is considered a major Hollywood player. For Jerry Maguire, he won another Golden Globe and received his second Oscar nomination. According to IMDb, Cruise is the first actor in history to star in five consecutive films that grossed $100 million in the United States: A Few Good Men (1992), the thriller The Firm (Sydney Pollack, 1993), Interview with the Vampire: The Vampire Chronicles (1994), Mission: Impossible (1996) and Jerry Maguire (1996). 1999 saw Cruise reunited onscreen with Kidman in a project of a very different sort, Eyes Wide Shut (Stanley Kubrick, 1990). Hal Erickson at AllMovie: "The film, which was the director's last, had been the subject of controversy, rumour, and speculation since it began filming. It opened to curious critics and audiences alike across the nation, and was met with a violently mixed response. However, it allowed Cruise to once again take part in film history, further solidifying his position as one of Hollywood's most well-placed movers and shakers. Cruise's enviable position was again solidified later in 1999, when he earned a third Golden Globe and a nomination for the Academy Award for Best Supporting Actor for his role as a loathsome 'sexual prowess' guru in Magnolia (Paul Thomas Anderson, 1999)."
In 2000, Tom Cruise scored again when he returned as international agent Ethan Hunt in Mission: Impossible II (John Woo, 2000), which proved to be one of the summer blockbusters. Like its predecessor, it was the highest-grossing film of the year, and had a mixed critical reception. He then reteamed with Jerry Maguire director Cameron Crowe for a remake of the Spanish film Abre los Ojos/Open Your Eyes (Alejandro Amenábar, 1997) titled Vanilla Sky (Cameron Crowe, 2001) with Cameron Diaz and Penelope Cruz. Though Vanilla Sky's sometimes surreal trappings found the film receiving a mixed reception at the box office, the same could not be said for the following year's massively successful Sci-Fi chase film Minority Report (Steven Spielberg, 2001), or of the historical epic The Last Samurai (Edward Zwick, 2003). For his next film, Cruise picked a role unlike any he'd ever played; starring as a sociopathic hitman in the psychological thriller Collateral (Michael Mann, 2004). He received major praise for his departure from the good-guy characters he'd built his career on, and for doing so convincingly. He teamed up with Spielberg again for the second time in three years with an epic adaptation of the H.G. Wells alien invasion story War of the Worlds (Steven Spielberg, 2005). The summer blockbuster was in some ways overshadowed, however, by a cloud of negative publicity. It began, when Cruise became suddenly vocal about his beliefs in Scientology, the religion created by science fiction author L. Ron Hubbard. Cruise publicly denounced actress Brooke Shields for taking medication to combat her postpartum depression, going so far as to call the psychological science a "Nazi science" in an Entertainment Weekly interview. In 2005, he was interviewed by Matt Lauer for The Today Show during which time he appeared to be distractingly argumentative in his insistence that psychiatry is a "pseudoscience," and in a Der Spiegel interview, he was quoted as saying that Scientology has the only successful drug rehabilitation program in the world. This behaviour caused a stirring of public opinion about Cruise, as did his relationship with 27-year-old actress Katie Holmes. The two announced their engagement in the spring of 2005, and Cruise's enthousiasm for his new romantic interest created more curiosity about his mental stability. He appeared on The Oprah Winfrey Show, where he jumped up and down on the couch, professing his love for the newly-Scientologist Holmes. The actor's new public image alienated many of his viewers. As he geared up for the spring release of Mission: Impossible III (J.J. Abrams, 2006), his ability to sell a film based almost purely on his own likability was in question for the first time in 20 years. Despite this, the film was more positively received by critics than the previous films in the series, and grossed nearly $400 million at the box office. Cruise moved on to making headlines on the business front, when he and corporate partner Paula Wagner in 2006 officially "took over" the United Artists studio, which was all but completely defunct. One of the first films to be produced by the new United Artists was the tense political thriller Lions for Lambs (Robert Redford, 2007), with Redford, Cruise and Meryl Streep. The film took an earnest and unflinching look at the politics behind the Iraq war but was a commercial disappointment. This was followed by the World War II thriller Valkyrie (Bryan Singer, 2008) with kenneth Branagh and Carice van Houten.
Tom Cruise would find a solid footing as the 2010s progressed, with blockbusters like Mission: Impossible - Ghost Protocol (Brad Bird, 2011) and Mission: Impossible - Rogue Nation (Christopher McQuarrie, 2015). He is known for doing many of his own stunts in these films, even exceptionally dangerous ones. The Mission Impossible franchise earned a total of 3 billion dollars worldwide. Cruise reteamed with Cameron Diaz in the action-comedy Knight and Day (James Mangold, 2010). He starred as Jack Reacher in the film adaptation of British author Lee Child's 2005 novel One Shot (Christopher McQuarrie, 2012). He also starred in big budget fantasy projects like Oblivion (Joseph Kosinski, 2013) and Edge of Tomorrow (Doug Liman, 2014). Tom Cruised was married three times. His first wife was actress Mimi Rogers, with whom he was married from 1987 till their divorce in 1990. His second marriage with Nicole Kidman from 1990 till 2001. They adopted two children Isabella Jane Cruise (1992) and Connor Antony Cruise (1995). he lived together with Vanilla Sky (2001) co-star Penélope Cruz from 2001 - 2004. His 2006 marriage to Katie Holmes ended in a divorce in 2012. They have one daughter, Surie Cruise (2006). Recently, Cruise returned on the screen as Ethan Hunt in the sixth installment of the Mission Impossible series, Mission: Impossible – Fallout (Christopher McQuarrie, 2018). In 2020, he will also return as Pete "Maverick" Mitchell in Top Gun: Maverick (Joseph Kosinski, 2020), in which Val Kilmer will also reprise his role from the first film.
Sources: Hal Erickson (AllMovie), Wikipedia and IMDb.
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