Mr Anthony Howes, an award winning director and theatre educationist, has kindly shared his sentiments with us regarding the passing of Edgar Melcalfe, which gives one the opportunity to dwell further on the theatre scene in Perth, from when the Repertory Club evolved into a professional company with the building of the Playhouse Theatre, and the tremendous role Mr Metcalfe played.

Mr Howes is the Artistic Director Emeritus, of The Midnite Theatre Company, and now heads the St George’s Cathedral Drama Unit, which is responsible for productions within St George’s and in other venues. Prior to that he was the Director of Drama and Media at Christ Church Grammar School, after extensive experience in radio, television, theatre and music and had taught English and Drama at Brighton Grammar School in Melbourne and at Guildford Grammar School in Perth.

Edgar Metcalfe AM CitWA (1933 – 2012)

‘Pass the parcel.
That’s sometimes all you can do.
Take it, feel it and pass it on.
Not for me, not for you, but for someone, somewhere,
One day.
Pass it on, boys.
That’s the game I wanted you to learn.
Pass it on.’

So says Hector, the teacher, at the close of Alan Bennett’s play ‘The History Boys’. These are the lines Edgar Metcalfe delivered as that character on stage in his beloved Playhouse in October, 2009. As I think of Edgar and his passing, some 24 hours ago as I write these words, those lines bring into vivid relief, that this is just what Edgar has done for us and for our Theatre. From the time he arrived in Perth to take up the artistic directorship of the National Theatre at the Playhouse, until barely six months ago in a minor role at The State Theatre Centre, he has shown us just what ‘good theatre practice’ must be, if it is to resonate with creativity and substance in our community. For those of us who have been directed or acted alongside or, have directed Edgar – he has always taught us so much about the craft that is theatre. And he has done this by first befriending us, then guiding us, and finally, letting us step ‘out from under’. In a totally selfless way; he ‘passed the parcel’. That is why the arts’ editor of ‘The West Australian’, Stephen Bevis is able to speak of Edgar as a ‘Theatre great’. And theatre historian and actor Ivan King can say, “He was a driving force who steered WA Theatre to a professional standing’; and actress and director Jenny McNae can state, “His loss is going to leave such a hole in our lives”.

Edgar Metcalfe

Edgar was born in England in 1933. His Father died before he was born and Mother when he was one. His aunt and Uncle adopted him and his early years were spent on their Lancashire farm. When he was ten the family moved to Blackpool and at eleven he wrote his first play for performance in the local parish church. His professional theatre life was consolidated in the British repertory system, and it was with this grounding behind him, he arrived, at the age of 29, in 1963, to begin his long association with West Australian and Australian, theatre. His work here included artistic directorship of both the Playhouse and the Hole In The Wall theatres, associate directorship of the Melbourne Theatre Company, and directing tasks for various other companies, and a feature film. His acting career in Australia was equally varied, and included the holocaust victim in Elizabeth Backhouse’s “Rosie Fishman” which had its world premiere in St George’s Cathedral, and Jacob in Ibsen’s Ghost at the Playhouse. As an author, Edgar has six plays, three novels, and a Collection of Short stories to his credit.

Yesterday, as I walked down Pier Street, I noticed the wreckers had begun to pull down the Playhouse Theatre; there was a gaping hole near the dock doors and the fly floor was open to the sky. It occurred to me then that the passing of Edgar and the demolition of the Theatre with which he was so intimately associated, was speaking, yes, of the fragility of life, and yet, at the same time, that the legacy of Edgar, and the building he loved, is ongoing – seen, heard and felt both today and tomorrow in the creativity, expertise and inspiration that he lead us to, in abundance. Thank you Edgar for what you have given to your art, your city and state; and to those individuals who, however inadequately by comparison, strive to reflect, in the Theatre you loved.

Anthony Howes.
As published in The Messenger Magazine – October issue, with kind permission.

Related story:

• Tribute to Edgar Metcalfe (1933–2012)

Prominent Perth theatre actor, director and author, Edgar Metcalfe AM has died after a short fight with liver cancer, five days short of his 79th birthday.

Edgar had been directing, producing and treading the boards of various Perth theatres for many years. He came from England in 1963 to be artistic director of the National Theatre of Western Australia at the Perth Playhouse Theatre, having already gained twelve years experience in the English repertory system. He came to Australia because he ‘thought the climate would be better for his asthma’. Edgar brought with him three actors from the UK – Judy Wilson, James Beattie and Frederic Lees. He covered the Playhouse’s loss making shows and Shakespeare with more popular and profitable productions, including the occasional musical and English style pantomime, using pop-stars, smoke bombs, auditorium chases, and clowns, with himself as the dame. These productions incorporated song and dance, comedy in its many forms from buffoonery, slapstick, cross-dressing, high-camp antics, topical references, audience participation, in-jokes, double-entendre and mild sexual innuendo. The comedy entertained the children whilst the sly innuendo amused the parents.

What was intended to be a two-year stay became three stints over more than two decades (1963-67 then 1970-72 and 1982-84) during which he directed or acted in more than 100 productions. Among his directing highlights was the 1971 Australian premiere of “Cabaret”, which starred Nancye Hayes and John Ewing and filled the 700-seat Playhouse every night for four weeks. After his first four and a half years in Perth, he took up a post as Associate Director with the Melbourne Theatre Company for two years (during which time he won the Melbourne Critic’s Award for his productions of “The Devils” and “What the Butler Saw”). During his absence from Perth, the National Theatre Company’s fortunes declined, hence his welcome return in 1970.

Edgar Metcalf (1933 – 2012)

WA TV History
Prominent Perth theatre actor, director and author, Edgar Metcalfe AM has died after a short fight with liver cancer, five days shy of his 79th birthday.

Edgar also frequently worked for the Effie Crump Theatre in Northbridge. A tiny auditorium formed in 1990 out of a disused room upstairs in North Perth’s Old Brisbane Hotel. A theatre created by Elizabeth Caiacob, who like Edgar did her training as an actress in the UK (Effie was Elizabeth’s maternal grandmother). In 2001, Edgar was joined by his old UK and Playhouse colleague James Beattie at the theatre, where Rosemary Barr also appeared in the nostalgic play, “The Kingfisher” by William Douglas Home.

Edgar also had five of his own full length plays produced in Perth with considerable success, and had two novels ‘Homing Pigeon’ (a perceptive story about a woman widowed at 50) and ‘A Guy called Alice’ (which is an account of the gay and transvestite lifestyle told with a mixture of bravado and pathos, humour and tragedy, which was set in Perth, WA). This novel was based on his play “Alleycat Alice and Friends”. Both books were published by Access Press.

Access Press is a prestigious publishing house with a historic connection to former ABC announcer and one time theatre critic John Harper-Nelson and journalist Helen Weller. Publications under the imprint of Artlook Books originally sprung out of the arts related activities of the Cultural Development Council of WA, which was presided over by a small committee chaired by John Harper-Nelson and included the ABC’s Tony Evans, Kirwan Ward of the Daily News, Nick Hasluck a barrister and writer, John McIlwraith an author and journalist, Collin O’Brien a theatre critic and lecturer, Tom Gibbons an art critic, writer and lecturer at UWA and Dr. D’arcy Ryan a lecturer in Anthropology at UWA.

As an actor, Metcalfe has played Shakespeare’s most evil villain Iago in “Othello”, the ruthlessly ambitious Scottish lord Macbeth in Shakespeare’s “The Tragedy of Macbeth”, Puck a fairy in Shakespeare’s play “A Midsummer Night’s Dream”, Prospero the protagonist in Shakespeare’s “The Tempest”, Caliban an antagonist in “The Tempest” and the physically challenged Roman Emperor Claudius. He also had leading roles in “Private Lives” a comedy of manners by Noël Coward, the archetypal man-in-a-dress comedy “Charley’s Aunt”, “The Caine Mutiny Court Martial” by Herman Wouk and appeared with Max Kay, Rosemary Barr and Jenny McNae in Agelink Reminiscence Theatre’s production of “Quartet”. In the musical theatre he played Fagin in “Oliver Twist” and Daddy Warbucks in “Annie”.

Edgar also made appearances in a number of film and television productions between 1974 and 2007, and was subsequently, the Artistic Director at the Hole-in-the-Wall Theatre in Leederville.




Former ABC producer/director Carol Brands has kindly provided the following background to Edgar Metcalf’s valued broadcasting contributions in WA…

My first contact with Edgar was through the University Dramatic Society when I first became involved in theatre. Edgar was always a supporter of UDS and directed many shows for us as students. He made a point of working with aspiring actors to help them develop their skills. At the time he was also Director of the Hole in the Wall Theatre and helped many young people with their careers in theatre through giving them opportunities to work at the Hole in positions from box office to stage manager to walk on roles. Many of us learnt our craft by working with and watching Edgar.

Later, as a Producer/Director at the ABC, I was privileged to work with Edgar on many children’s radio and TV programmes. During the heyday of production in Perth he appeared regularly in Let’s Join In and Storytime, two of the most popular radio programmes produced here in the West. He also worked with Kerris Myers, Penny Crittall, James Moore, Roger Penny and other producers on a wide variety of radio and TV programmes including For the Juniors, The MultiColoured Lunchbag, Here in the West, Let’s Have Music, Sing and Play and Living Library.

In the late 70’s he featured in a Perth produced TV drama called The House, written by ABC staffer Paul Keogh and Directed by Bruce Crowle.

Edgar was a very versatile actor. He was a great narrator, having a wonderful storytelling voice but he was also a consummate character actor who could be a a big bad wolf or a little pig or an English lord with equal believability! This made him a very sought after performer. Over the years he was a regular performer not just in Education programmes but also in radio drama productions as well. His ability to create a character by voice alone was a special talent which meant he appeared in many, many different roles in radio plays over the years. His great vocal versatility meant he was also able to create many wonderful book readings working with Tony Evans.

Edgar was an absolute professional who took his work seriously no matter what the role. He was easy to work with and always happy to offer that something extra. Many of us who were new to radio and TV production owe him a huge debt of gratitude for what we learnt working with him. His service to theatre and broadcasting over the years was extraordinary and his influence was a great gift. He will be sorely missed.

Carol Brands




Edgar Metcalfe was named WA Citizen of the Year in 1976 for services to the performing arts. 





In 1978, Edgar was awarded the A.M. (Member of the Order of Australia) in the Queens Birthday List for his services to the performing arts.

Edgar directed four national tours in Australia: “Doctor in Love” and “Night Mother” with Jill Perryman and June Salter at the Perth Playhouse in 1984, then nationally in 1985; and “The Nerd” and “Corpse” with the late Gordon Chater.

He will probably be best remembered by many for his performance as Salieri in Peter Shaffer’s “Amadeus” in 1984, and for playing panto dames. Whilst listeners to the ABC’s Radio National will remember his reading of William Makepeace Thackeray’s satirical work “The Rose and the Ring” in 2006.

In 2007 and 2008, Edgar starred in “Two Old Queens” (which was written and directed by John Senzuk), where he played Her Majesty the Queen Mother. It’s the story of an unlikely friendship that lasted half a century, between the Queen Mother and the legendary English actor-playwright, Sir Noel Coward. During the play, the Queen Mother has an encounter with the ghost of Coward. Over a martini or three, they relive a half-century of magical memories and musical moments, as well as revealing jealously guarded secrets and long-held grudges. After breaking box office records at The Blue Room in 2007, the production toured Adelaide, Melbourne and Sydney. Edgar’s performance was nominated for a 2008 Equity Award as Best Actor and won an Horatio Award (The Sunday Mail Adelaide 2007) for Best Character Study.

In 2010, The Graduate Dramatic Society (GRADS) presented the World Premiere performance of: “With Friends Like These” at the Dolphin Theatre, University of Western Australia. It was a comedy written and directed by Edgar Metcalfe. Edgar had previously directed “The Importance of Being Ernest” and “The Merchant of Venice” for GRADS, one of WA’s oldest amateur theatre groups.

After being one of the driving forces behind Australian theatre for nearly half a century, Edgar decided to retire to England in 2010, but was troubled by asthma and disillusionment with how things had changed. He returned to Perth and made a comeback in the world premiere of WA playwright John Aitken’s “The Enchanters”, at the Heath Ledger Theatre in May 2011. Edgar played two roles, with quick changes, as he dodged back and forth between Queen Elizabeth the First and Second Carpenter. It tells the dramatic story behind the building of William Shakespeare’s signature Globe Theatre in 1599.

Next Edgar appeared in another world premier, this time it was David Williamson’s “When Dad Married Fury”, which examines the political and religious divides of contemporary Australia. Its basically a black comedy about a rich old man who upsets his greedy sons by marrying a much younger woman. The premier was performed at the opening of the Metcalfe Playhouse in July 2011, where Edgar was honoured with the renovated IMAX cinema in Lake Street, Northbridge, being converted into a live theatre venue, and named after him, and the defunct Playhouse Theatre at Pier Street in Perth.

Edgar’s last professional appearance was on April Fools Day 2012, with a minor role in Tom Stoppard’s “Arcadia”, presented by Black Swan State Theatre Company at the State Theatre Centre of WA. The play, written in 1993, concerns the relationship between past and present and between order and disorder and the certainty of knowledge. It is a classic British love story set in 1809 and spans 180 years, with eccentric characters, a mystery and scandal weaving through the centuries.

His enormous contribution to Perth theatre will be remembered with great affection and gratitude.





Edgar Metcalfe has donated his body to science.

A Tribute to Alan Bateman (1936-2012)

Many who knew Alan Bateman, the creator of the long-running drama series “Home and Away”, will be saddened to learn that he passed away peacefully in the early hours of Saturday morning, 18th August 2012, after a battle with cancer.

Alan will be remembered for his program making and executive roles with all Australian television networks (ABC, Seven, Nine and TEN).

Christened William Alan Bateman, but going by the name Alan to prevent confusion with his father William Glyde Bateman, he was educated at Applecross Primary and Kent Street High Schools, before beginning an apprenticeship as an electrical installer with Brear and Doonan Pty Ltd.

Alan’s ancestry traces back to the Fremantle pioneer and merchant, John Bateman (1789-1855), who emigrated to Western Australia on the Medina in 1830, and whose sons John (1824-1909) and Walter (1826-1882) took over the family business on their father’s death, which became J. & W. Bateman Limited in 1857. The company was largely involved with shipping in the nineteenth century, but expanded to other fields of trading in the twentieth century.

Walter sold his share to his brother in 1872, and when John retired in 1890, he sold the business to his son John Wesley Bateman (1852-1907), whose descendants became prominent shareholders in the firm, that became a public company in 1957, and was taken over by Chew Corporation in 1986. John Wesley Bateman was the great grandfather of Alan Bateman.

Though Alan was not a sporting person, his grandfather William Augustus ‘Bill’ Bateman (1866–1935) was an Australian sportsman who played first-class cricket for Western Australia and Australian rules football in the Western Australian Football Association (WAFA), and was inducted as one of the initial members of the West Australian Football Hall of Fame.

The Perth suburb of Bateman was named after the Bateman family who established their home ‘Grasmere’ at Bull’s Creek. Built as a holiday retreat in 1886, it was also a farm, that provided fruit and vegetables to the colony. Some of the streets were named after ships owned by J. and W. Bateman Ltd. The first subdivision in Bateman occurred in the early 1960s and the suburb was fully developed in the 1970s.

Meanwhile, Alan’s television career began in Perth with TVW Channel Seven, back in 1959 where he was at first a contracted electrician who worked on installing the studios, who later became a technician and by 1962 the senior technician on the Perth Commonwealth and Empire Games at Perry Lakes stadium (oddly, the Perry Lakes grandstand was demolished on the very day Alan passed away).

Alan met a pretty children’s presenter Judy Lee at Seven, and they soon struck up a close friendship before Judy moved to the ABC in Perth, where she appeared on ABW Channel 2 and helped with radio programs, including panels and women’s morning sessions.

Alan and Judy married in 1963 and travelled to London where Alan joined Southampton Southern TV. On their return to Perth, Alan joined Judy at the ABC, by which time Judy was a reporter on the “AM” and “PM” radio current affairs shows.

Alan and Judy have two daughters, and now Phillippa the eldest, is a film producer and Anna is a television producer.

Alan joined the ABC as a technician at the same time as Steve Lumsdaine, TVW’s original lighting man. Alan soon became a floor manager, then producer and so began his rapid rise through the ranks. Meanwhile Steve went on to be an engineer.

The TVW connection proved fruitful for Alan at the ABC, firstly working in 1973 with former Seven senior journalist Bruce Buchanan, who ultimately became an eminent ABC current affairs producer, and then in 1976 rekindled contacts with Rolf Harris, Harry Butler and Vince Serventy, who along with Judy, were Children’s Channel Seven alumni.

Since then, Alan Bateman has been a prolific producer for the Seven Network, Nine Network and the ABC.

ABC Producer

•   
• ABC In The Public Interest (1973) – (Producers: Alan Bateman, Bruce Buchanan) ABC… Dramatisations of various Royal Commission enquiries.
•   
• Peach’s Australia – Flinders Ranges (1976) – (executive producer) ABC… Presented by Bill Peach.
•   
• Peach’s Australia – Darling River (1976) – (executive producer) ABC… Presented by Bill Peach.
•   
• In The Wild (1976-79) – (writer/director/co-producer) ABC… Series of wildlife documentaries, presented by Harry Butler with Rolf Harris and Vince Serventy.
•   
• Journey Into Thailand (1982) – (co-producer) ABC… Series presented by Keith Adams.
•   
• Journey into India (1986) – (co-producer) ABC… Series presented by Keith Adams.

Seven Executive Producer

•   
• Nancy Wake (1987) (TV) – (executive producer) 7 Network… aka True Colors (USA: video box title)
•   
• Melba (1987) TV mini-series – (executive producer) 7 Network
•   
• Barracuda (1988) (TV) – (producer) 7 Network… aka The Rocks (USA)
•   
• The Fremantle Conspiracy (1988) (TV) – (executive producer) 7 Network
•   
• Home and Away (1988-1990) TV series – (creator/executive producer) 7 Network
•   
• The Power, The Passion (1989) (TV) – (creator/writer) 7 Network
•   
• The Rainbow Warrior Conspiracy (1989) (TV) – (executive producer) 7 Network
•   
• Alan also played an important role for the Seven Network’s broadcast of the Atlanta Olympics in 1996.
•   
• All Saints (1998) (TV) – (commissioned) 7 Network

Nine Executive Producer

•   
• Point of No Return (1989) TV episode – (executive producer)
•   
• The Flying Doctors (1989) – (executive producer 1 episode)
•   
• Family and Friends (1990) TV series – (executive producer) 9 Network
•   
• Ring of Scorpio (1990) (TV) – (executive producer) 9 Network
•   
• Elly and Jools (1990) (TV) – (executive producer) 9 Network

After Nine, Alan went on to a stint as deputy managing director at Network Ten.

He ran his own consultancy specialising in sports events, before returning to Seven in the mid 90’s as Managing Director and Head of Production, before leaving network television in 1999 to work in other executive fields.

Script writer Bevan Lee credits Alan for kick starting his stalled career when he asked him to rewrite the pilot script of “Home and Away” in 1987 and later commissioned him to create “All Saints” in 1998.

“He was a force of nature in the business, although he left it many years ago to pursue other career options. One huge way he contributed to “Home and Away” is less well known than the fact that it was his original idea. Six weeks in to its time on air, the Network programmers decided to cancel it due to low ratings. Alan got in there and fought like a terrier to get a four week stay of execution. In those weeks the ratings took an upward path and the rest is history.”

Seven Network CEO Tim Worner said in a statement:

“In an industry built on legends, Alan Bateman was a trailblazer. Home And Away, conceived, developed and executive produced by Alan during its critical early seasons, will ensure his history and that of the iconic series are for ever linked.

“Alan was a true television craftsman who always stuck up for program makers, sometimes against all odds, and he often had a lot of fun doing it.”

Seven chairman Kerry Stokes also paid tribute by saying that:

“Alan Bateman spent a number of years as a senior executive for the Seven Network.

“During his time he was responsible for commissioning All Saints and oversaw the production of the Atlanta Olympics.

“He was dedicated to Australian content and programs that reflected the Australian identity. He made a real contribution to the Seven Network and Australian television.”

An ABC spokeswoman pointed out that Alan Bateman was a major contributor to some iconic ABC programming including Peach’s Australia.

“Alan’s work, particularly in documentary and factual formats, paved the way to the quality programming we see today.”

The Bateman legacy is sure to continue as his eldest daughters are making a name for themselves in the industry.

Phillippa Bateman is a writer, screen-writer and feature film producer – who was the executive producer of the 2006 movie “Jindabyne”, starring Laura Linney and Gabriel Byrne.

Television has always been the world for Anna Bateman. Her father arranged work experience on “60 Minutes” when she was just 15, and after she left school, worked on the program for free – until she got a paid gig working for Mike Willesee – that was in 1983 – and Anna has worked in TV ever since. Anna, like her mother, joined the ABC, where she became an executive producer responsible for such projects as The Pet Show, Saving Andrew Mallard, Young Performers Awards 2008 and Can We Help, before moving to Melbourne with her son, to take the reins of Aunty’s national Sunday Arts show, hosted by Michael Veitch. Anna is presently the series producer of TEN’s “Can of Worms”, with Andrew Denton’s production company Zapruder’s other films.

Anna’s son Azzam had also decided to pursue a career in film and television, and is currently working as a PA and runner on the ABC’s “Gruen Nation”, which is also made by Andrew Denton’s production company.

Alan Bateman married his second wife Clara in the late 70’s and they have three children – Eliza, William and Selena.

Clara was very much the great love of Alan’s life and an enormous support to him throughout his personal life and professional career.

Eliza and William are both lawyers, whilst Selena is presently studying law at university.

Alan’s first wife Judy, remarried and is now Judy Fasher, and is heavily involved in printing and supporting Equestrian sport in Australia. Judy is married to a doctor and they have two sons,.

Meanwhile, Judy has used her communications skills to help the Australian equestrian team during the Sydney Olympics, and worked with the Royal Australian Navy to deal with issues involved with deployment to the middle east, preparing division heads to face a contentious senate committee and dealing at peak levels with the issue of drugs in sport, in her advisory role to sports administrators in both NSW and national levels. Judy also works as a volunteer with the Sydney International Equestrian Centre (SIEC), and in the process serves all equestrian sports, from kids jumping ponies to our top Gold Medallists. In 2010, Judy was honoured for her extraordinary service to equestrian sport when she was presented with a Distinguished Long Service Award by the NSW Sports Federation.

The Bateman clan has demonstrated continuously to be high achievers from the era of sailing ships to the present, with the latest generation providing much for any modern day patriarch to be highly proud of.

We wish to thank the contributors to this story: Bill McKenzie, Anna Bateman, Jean Shelton (nee Bateman), Judy Fasher, Gordon McColl, Richard Ashton, Steve Lumsdane, Derrick Wright, Voja Milasich, Ian Stimson and Colin Gorey.

Perth science-teacher-turned-history-author and founder of the Light and Sound Discovery Centre, Richard Rennie, tells the early story of how Perth’s radio station 6WF became the ABC’s first broadcasting outlet in Western Australia. Richard’s talk, which has been presented at a number of venues, is now a video that can be viewed online, and embedded within this article.

Much of his presentation is based on the scrapbook kept by the esteemed radio pioneer and 6WF founding engineer, Wally Coxon.

These talks coincide with the 80th anniversary of the Australian Broadcasting Corporation, and the Wireless Hill Centenary Celebrations.

Richard’s presentation featured antique receivers from The Vintage Wireless and Gramophone Club, to illustrate the equipment available during the pioneering era of radio in WA. The talk reported on here, was given on Wednesday 18th July, 2012 at the monthly meeting of the Australian Museum of Moving Pictures and Television (AMMPT). The same presentation was made at a variety of venues, as part of Richard’s role as an educator, particularly using his skills to inspire young people and young teachers alike.

From 6WF Wesfarmers to the ABC (1924-1932)

WA TV History
Perth science-teacher-turned-history-author and founder of the Light and Sound Discovery Centre, Richard Rennie, tells the story of how Perth’s radio station 6WF became the ABC’s first broadcasting outlet in Western Australia. Much of this is based on the scrapbook kept by the esteemed radio pioneer and 6WF founding engineer, Wally Coxon.

This article expands on the subject, placing events in historical perspective with other happenings of the time, and extends the story to the present.

In 1924, Westralian Farmers Co-operative Limited (Wesfarmers) began operating radio station 6WF from the top floor of the company’s Wellington Street building. The floor was divided into two studios, the smaller used for news broadcasting, the larger for music and entertainment. The studios were fitted with the latest equipment for the era, with the wall cavities filled with sawdust for soundproofing. The transmitter mast had two massive radio towers, each weighing 3.5 tons located on top of the building. 6WF was initially a long-wave station with 5 kilowatts of power on 1250 metres, 240 kHz, until the Australian Broadcasting Company took over five years later and it left long-wave and moved to 690 kHz on the medium-wave band on September 2, 1929. The first manager and chief engineer of 6WF was Wally Coxon, where the station facilities were manufactured and erected by Amalgamated Wireless (Australasia) Limited. It was installed at a cost of approximately £12,000 and had a broadcasting capacity of 600 miles.

The long-wave band was selected as it covered a larger area than a transmitter on the medium-wave band. This is because ground-wave propagation suffers less attenuation due to limited ground conductivity at lower frequencies. To gain extra coverage for 6WF programs, Wally Coxon also broadcast on the short-wave band, as these radio frequencies can reach vast distances by being refracted back to the earth by the ionosphere (a phenomenon known as “skywave propagation”). Important factors when 6WF was targeting the widely dispersed farming community.

The station was officially opened on June 4, 1924, by the Labor Premier of WA, Mr. Philip Collier. “To celebrate the occasion, the company invited a large number of guests to the ceremony. Prior to the actual opening ceremony, the guests, who numbered several hundred, inspected the plant…” The Premier declared the station open from the studio on an upper floor, where the speech and subsequent concert was transmitted.

Other events happening in 1924:

•   
• Ford Motor Company manufactured its 10 millionth Model T automobile,
•   
• famed newspaper cartoonist Paul Rigby was born, as was the former US president Jimmy Carter, singer Doris Day and actor Marlin Brando,
•   
• compulsory voting at Australian federal elections was introduced,
•   
• The First ever Winter Olympic games were held in Chamonix, and The Summer Olympics were held in Paris, France,
•   
• J. Edgar Hoover was appointed Director of the Bureau of Investigation (BOI) that was later changed to Federal Bureau of Investigation (FBI),
•   
• Ira Gershwin, George Gershwin and Irvine Berlin continued to dominate the music industry and George Gershwin’s “Rhapsody In Blue” premiered at Carnegie Hall (New York City),
•   
• Ziegfeld Follies opened on Broadway,
•   
• Malcolm Campbell set the world automobile speed record at 146.16 MPH,
•   
• The IBM corporation was founded,
•   
• Edwin Hubble announced the existence of distant galaxies,
•   
• British egyptologist Howard Carter found the sarcophagus of Tutankhamun,
•   
• Vladimir Lenin died and Joseph Stalin began his bid for leadership of the USSR, whilst Lenin’s body was placed in the Mausoleum in Moscow’s Red Square.

Silent movies still prevailed, though the 1920’s (Roaring Twenties), Jazz and Ragtime music gramophone recordings and Broadway musicals were a feature. The 1920s was regarded as an exuberant, freewheeling and boisterous era of prosperity, fast cars, jazz and speakeasies in the US (where the flapper redefined modern womanhood). The Art Deco design style began in Paris and then flourished internationally. Finally the Wall Street Crash of 1929 ended the era, as the Great Depression set in worldwide, bringing years of gloom and hardship.

The Father of Radio in Western Australia

Wally Coxon was described as “The Father of Radio in Western Australia”, acquiring the first Experimental Broadcast License in Western Australia (XYK, later known as 6AG), after becoming interested in wireless experiments as far back as 1907. He gained his Proficiency in Radio with the UK based North Eastern School of Wireless and continued there for some time as an instructor. The school was founded in 1911 to train Radio Officers for the Merchant Marine, then affectionally known as ‘Sparks’. Radio Officers on ships not only operated the radio equipment, but also repaired and maintained it, so this was an excellent grounding for a pioneer in the new industry.

It was in mid-1910 that the PMG Department issued the experimental stations with 2 letter call signs prefixed by “X” for experimental. Wally Coxon was allocated the call sign XYK.

Two years later, the government’s morse code Applecross Wireless Station, POP (later VIP), commenced operations in 1912.

In mid 1914 the experimental station call-signs were altered with a number to identify the State. Wally Coxon’s call sign then became 6AG. The experimental licence later became the Amateur Station Licence, with the licence holders now referred to as HAM operators. By 1927, the prefixes VH to VK were being used by the HAM operators, so Wally Coxon’s call sign then became VK6AG.

Wally Coxon used his amateur transmitter to conduct experiments on shortwave. At the 1918 Perth Royal Show, he staged a public demonstration of radio broadcasting with a transmitter in one pavilion and a receiver in another. His amateur wireless station also broadcast regular musical transmissions.

Prior to 1923, the radio manufacturing industry in Australia, led by (Sir) Earnest Fisk of AWA, lobbied the Commonwealth government for the introduction of radio broadcasting for the public consumption. The first concept involved sealed sets where stations were licensed to broadcast and the receivers were set to receive only one station.

In 1923, a small group of likeminded people formed the Subiaco Radio Society, which grew in influence until World War II (1939-1945) intervened, to then resume activities once peace was restored. Members included Wally Coxon (VK6AG), Bill Phipps (VK6WP) and Harry Simmons (VK6KX), who all became chief engineers of radio stations in WA.

Before the establishment of Radio station 6WF in 1924, the amateur community was permitted to broadcast news and music using their call sign 6BN, registered to A.E. Stevens, for the Subiaco Radio Society. Once regular broadcasting commenced, amateurs were no longer permitted to continue this practice, although some did so for several years. When Wally Coxon lived in Bulwer Street, Highgate, he would broadcast live concerts from the living room in his home.

The Opening of 6WF

6WF started as an offshoot of an agricultural firm as the farmers needed to be kept aware of the markets, especially the wheat trading prices.

Westralian Farmers Co-operative Limited (Wesfarmers) began operating radio station 6WF on 1,250 metres in the long-wave band from the top floor of the company’s 569 Wellington Street building, on Wednesday 4 June 1924. The transmitter mast on the roof had two massive radio towers, each weighing 3.5 tons.

To celebrate the opening, there were more people attending the ceremonies at the Westralian Farmers site than there were receivers in the hands of listeners, which numbered 200 of the company’s Mulgaphones. In fact there were so many guests in attendance that the opening was conducted over two nights.

The Wesfarmers building had four floors, with the broadcasting studios on the top floor and transmitting mast on the roof. The third floor was the company’s social hall, where the guests assembled to hear the broadcast through loudspeakers, which conveyed the events taking place on the floor above. The activities were spread over three levels, from audience, performers and transmitting mast.

Wesfarmer’s aim was not so much to entertain, as disseminate timely farming information as far across the state as the signal could reach. The tyranny of distance, poor roads and infrequent news and mail put many of our primary producers at a disadvantage, and sometimes at the prey of unscrupulous buyers who aimed to acquire their produce at a lower than market value.

Those who were interested in becoming listeners of 6WF gained access by paying a subscriber fee of four guineas under the sealed set system. This was an annual fee of £4/4/- plus 10/- to the Postmaster-General’s Department, which was the supervising authority. Each receiver that was sold was set to receive only one station, not that there were anymore locally, though on good nights the Sydney and Melbourne stations did reach over here.

For the first three months of 6WF’s operations only 300 licences were taken out, but after the Royal Show of 1924, there was an increase.

871 licences had been issued by 6 months, and after 10 months and many complaints, the sealed set system was abandoned with a considerable increase in licences resulting with open sets now into use.

6WF Programming

Early 6WF programming was left to the discretion of Wally Coxon, who used a criteria based on what he perceived as quality, with better concerts, more interesting programs and service all the time. Outside broadcasts were a feature of 6WF with the first political speech broadcast from the Queen’s Hall, in William Street, Perth, on Friday, March 13, 1925, the first theatre broadcast was a vaudeville programme from the Luxor Theatre in Beaufort Street, Perth, on Wednesday, March 18 1925, and a harness racing event from the W.A. Trotting Association track on the perimeter of the Western Australian Cricket Association Ground on Saturday. April 11, 1925, followed by the play “Peg of My Heart” from His Majesty’s Theatre, Perth, on Wednesday, May 27, 1925. Other such broadcasts came from the government gardens and Boans department store.

In July 1925, Wally Coxon re-broadcast the programs from 6WF’s long-wave transmission over his own amateur station 6AG, simulcasting from his suburban home. The purpose of the short-wave relay was to increase the coverage to the more distant areas of Australia’s largest state.

Even with all this effort, it took a while before radio gained great popularity in Western Australia. There was the high cost of receivers and license fees to contend with, and a form of amusement that people were not familiar with at first. It was a learning exercise for both the station and the audience. It took longer for radio to be habit forming in WA, than it took television 35 years later to become addictive. By then people were used to the intrusion in the home, and in fact welcomed it. Back in 1924, WA did not have the scope of talent that existed in Sydney and Melbourne. The technology was still primitive, with performers working to one microphone in the studio. Then there was no air-conditioning in the studio. When live artists were not available, music was provided by a self-playing piano (known as a pianola) which was programmed by a roll of paper perforated with holes that represented the notes. This instrument was at the peak of its popularity in 1924, when 6WF opened. There was also a windup gramophone in the studio, with no electric pickup, so a microphone had to be placed next to its horn.

The equipment that generated the original Time Signal was located in the apparatus room. This was operated direct from the Perth Observatory.

To provide accurate time, a Transit telescope was set up at the observatory in 1898. In 1902, an ingenious contraption was assembled to fire a small six-pound cannon to signal one o’clock to the city. From 1924, the same contacts that operated the time gun at the observatory also operated a relay in the 6WF apparatus room, which sounded a gong. The Time Signal was at first broadcast each day at 1pm and 8pm Western Standard Time. The Town Hall chimes were also broadcast at various times during the day. Following the Observatory time signal, meteorological information and the weather report was given. This procedure was repeated during the evening.

The announcer read a special News service in the afternoon, by courtesy of ‘The West Australian’ with an evening News service provided by courtesy of the ‘Daily News.’

In September 1926, Wally Coxon relayed the British Broadcasting Company’s 2LO London, via Philips Laboratories in Holland, on short-wave for retransmission on 6WF for local listeners (the British Broadcasting Company was replaced by the British Broadcasting Corporation in 1927). 2LO originally started on 11 May 1922 as Marconi’s second British radio station. Philips transmitted experimental shortwave broadcasts to the Dutch East Indies, which became regular from May 30, 1927.

Expectations at first varied so much that it was impossible to please everyone, particularly the newspaper critics who found fault in almost everything. Tastes also varied along highbrow and lowbrow lines. There evolved a notion that radio should set a precedent for the community and educate rather than provide what people may prefer. Cultured British english was determined to be how we all should speak, and in particular radio announcers, who were to set the example. It was a time when a significant number of the public were of English origins, or next generation, with Britain still considered the mother country.

By 1927, there were eight A-class radio stations and twelve B-class stations in Australia, but only one station in WA, being 6WF. They were located in the heavily populated areas which had the most listeners and revenue from licence fees, in the case of the A-class stations -and- maximum advertising revenue for the B-class stations.

Also in 1927, Amalgamated Wireless (Australasia) Ltd (later AWA Ltd) conducted a series of shortwave transmissions to Britain. These regular broadcasts were heralded by a kookaburra’s laugh – a practice that’s still used by Radio Australia today. Radio Australia was formally incorporated as part of the ABC in 1939.

The financial loss kept mounting for Wesfarmers

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• 6WF loss of £3,108 for 1924-25
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• 6WF loss of £4,491 for 1925-26
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• 6WF loss of £3,431 for 1926-27

Meanwhile, there was listener dissatisfaction with the local radio programs and coverage.

Whilst seeking a solution, the Commonwealth government considered that the Australian rural population was too scattered for the American free enterprise system to be viable here, with their programming based on popularity and a business model based on advertising. The more ears listening, the more attractive it was to clients and resulting revenue flow. This was in contrast to the British notion of the BBC as a cultural institution that informed, educated and entertained, in the service of the public. Though the logistics were different here, as Britain had a large population in a small country, whereas Australia was the opposite. Meanwhile, the American system and management was more diversified in the US, than the monopoly BBC was in the UK.

The Royal Commission on Wireless (1927)

In an attempt to solve this predicament, the government set up a Royal Commission in January 1927 to investigate:

a – Wireless broadcasting within the Commonwealth in all its aspects, making recommendations as to any alterations deemed desirable in the policy and practices at present in force; and
b - The development and utilisation of wireless services for public requirements within the Commonwealth.

The government was committed to establishing broadcasting services that would be available to the whole population and hoped that the larger capital-city (Class A stations) would subsidise the smaller country-town stations. Unfortunately, the larger stations refused to agree to this Government scheme.

A compromise solution was then implemented by the government, which nationalised the Class A stations as their licences expired, with the facilities purchased by the government and the technical services handled by the Post Office. The programming was then contracted out to private enterprise, and funded by a compulsory license fee.

The National Broadcasting Service

In mid-1928, the Commonwealth government established the National Broadcasting Service. As licenses for the Class A stations came up for renewal they were cancelled and reissued to the National Broadcasting Service – with their transmitters and studio equipment being purchased by the Government.

Following the demise of silent movies from 1928, for which professional musicians had provided a musical accompaniment, they found work by forming The Perth Symphony Orchestra, under the direction of Harold Newton, which then performed in Queens Hall and in the Town Hall. Many of these concerts were broadcast by 6WF.

The Australian Broadcasting Company

The Commonwealth government bought 6WF for £7,000 on 6th December, 1928, with the successful program tender going to an entertainment consortium that called itself the Australian Broadcasting Company. The company won a three year programming contract till 30 June 1932. Union Theatres, Fullers’ Theatres and Alberts Music Publishers were the partners in this new company.

In WA, Union Theatres operating the Grand Theatre and the Prince of Wales in Murray Street, and the Ambassadors and the Pavilion in Hay Street, until the company was liquidated during the Great Depression, and its main assets purchased by Greater Union Theatres. Fullers’ Theatres had established a vaudeville empire on both sides of the Tasman, and also moved into musical comedy. But with the advent of sound movies, vaudeville took a hit and cinema equipment was installed in most Fullers’ theatres. J. Albert & Son was involved in music retail and struck deals with American and British music publishers, purchasing the copyright for songwriters such as Irving Berlin and George Gershwin. In 1926, J. Albert & Son co-founded the Australasian Performing Right Association (APRA). Over the next 50 years the J. Albert & Son empire gradually acquired interests in commercial radio stations, in what later became the Macquarie Radio Network. Later still the company became a shareholder in ATN Channel Seven in Sydney.

The Union Theatres connection proved useful as 6WF broadcast recitals from the Ambassadors Theatre with Les Waldron at the Wurlitzer organ, and Bert Howell’s Ambassadors orchestra accompanying tenor Harry Rose and soprano Lulu Potter, and many other artists, including Paul Day and Nellie Seastream. This was during the period that the Ambassadors was owned by Union Theatres, until the company experienced liquidity problems and the cinema joined the General Theatres Group in 1932. The theatre was then taken over by Hoyts, later in the decade.

The method of paying the Australian Broadcasting Company for its service consisted of giving them 12/- of the metropolitan zone licence fee, which had been reduced to 24/- in 1928. The government kept 9/- for technical services and administration, with the remaining 3/- forming a patent royalty fee for Amalgamated Wireless (Australasia) Ltd.

Though WA had only one station, the government had set up a two-tiered licensing system for broadcasting stations. Class A radio stations were funded by listeners’ licence fees collected by the Government, and were allowed minimal program sponsorship. Class B licence holders were the original commercial stations, which received no revenue from government, but could sell airtime to advertisers. Licences were granted for five year periods.

The first Class B (commercial) station on air in Australia was 2BE in Sydney on November 1924, but closed in 1929 due to financial problems. The oldest surviving Class B station is 2UE, which went on air on Australia Day 1925.

The Australian Broadcasting Company (1929-1932) period coincided with The Great Depression, a severe worldwide economic downturn, which started in 1930 and continued until the industrial effort for World War II lifted the economy out of the doldrums. This was a big factor in making the government’s concept seem like a failure in the short term. It was also hard to please all the people all the time, as witnessed by continuing criticism in the newspapers. The public wanted cheaper sets, which meant moving 6WF onto the medium-wave band so that listeners could purchase more affordable sets from the eastern states. This happened on September 1st, 1929, when 6WF moved to 435 metres (690 kHz) on the same broadcast band used by stations on the east coast, though this caused difficulties for listeners who wished to tune into alternate programs from Sydney and Melbourne, as 6WF tended to drown them out.

Added to this there was interference from the powerful Applecross morse telegraphy radio station VIP on 500khz, the maritime distress and emergency frequency.

The AM broadcasting band at that time was 300 metres (1000 kHz) to 500 metres (599 kHz), but station tuning posed a problem with the early receivers, for the Tuned Radio Frequency (TRF) receivers of the 1920s suffered from poor selectivity, low sensitivity, with a tendency towards instability and oscillation.

Due to the limited number of available channels in Australia on the medium-wave band, the same frequencies were re-allocated to different broadcasters, provided they transmitted several hundred miles apart. But on nights of good propagation, distant stations appeared superimposed onto local ones. This was even more a problem for crystal set owners where the station selectivity was even worse. As a consequence, the coverage for WA listeners suffered until all could afford the more superior Superheterodyne receivers, that came in during the 1930s.

In 1930, the 6WF operation moved from the Wesfarmers building to the first floor of the English, Scottish and Australian Bank (E.S. & A.) building at the corner of Hay and Milligan Street, Perth. Under WA manager Basil Kirke’s direction, 6WF extended its programs and introduce new features. The value of this was shown by the rapid increase in licences, so that after three years, the company had increased the licences from 3,900 to 12,500.

Yet criticism still appeared in the newspapers, with much of it directed at 6WF’s move to the medium-wave band in 1929. Even though Basil Kirke was a great innovator, the public still complained about the programs, whilst the Australian Broadcasting Company was running at a loss. At this time there were only twelve Class B commercial radio broadcasting licences issued, with none yet operating in WA.

The 1930s saw the beginning of radio drama with stage plays and books adapted into radio plays. Also original plays and serials were written for the medium, with the strength of this activity taking place in Sydney and Melbourne.

All programs went to air live in the early days. It was not until 1935 that disc recorders started being installed in ABC studios. It was the only means for recording program material until the arrival of tape in the 1950s. Drama was one of the most demanding forms of live performance with complex sound effects and mood music added. Many plays were specially adapted for radio, including the classics, for all 36 of Shakespeare’s plays were produced and broadcast from 1936 to 1938.

Perth was connected by a telephone line to Adelaide in 1930 (and subsequently the rest of the eastern states) and the first overseas calls from Australia became possible with the introduction of a radio telephone service to England, also in 1930, and through there to Europe and America. A similar service opened to New Zealand in the same year. The landline quality to Sydney was poor, as the program was carried long distances over the Nullarbor and beyond. Only speech could be sent, as the line quality was not suitable for carrying music.

Also in 1930, Perth’s second radio station was launched on 19th March when Musgrove’s Limited opened their commercial station 6ML.

Then the flowing year, 6PR began broadcasting from the Applecross Wireless Station site. 6PR was then owned by Nicholson’s Limited, with studios located on the second floor of their music shop at 86 Barrack Street, Perth. 6KG Kalgoorlie also commenced broadcasting in 1931.

The retail traders had been highly critical of 6WF for how they perceived the poor signal reception impacted adversely on the sale of receivers. Now two key music and radio appliance stores were in the broadcasting business too, as Class B commercial stations.

Some interesting dynamics existed at this time as the Class B stations were privately owned commercial broadcasters, which derived their revenue from advertising, and thus made them a direct competitor with newspapers. There was also concern over the radio stations reading the news direct from the newspapers. A gentleman’s agreement was reached which enabled news to be read from the papers, but with some restrictions. West Australian Newspapers first entered into the broadcasting business with radio station 6IX, which it half owned with the Perth music store Musgroves, trading as W.A. Broadcasters Limited. The station opened on 27th November 1933.

As an alternate source of radio programs, the British expatriates could tune in to the BBC Empire Service from 1932, which was broadcast from the English town of Daventry, located 77 miles (124 km) north-northwest of London. The radio announcement of “Daventry calling” made the town well-known across the world. The discovery and development of shortwave technology during the 1920s and 1930s permitted radio stations throughout the world to transmit their programs over long distances, even worldwide, for the first time. Once audiences discovered this international source of content on the shortwave bands of many consumer radio receivers, a number of magazines and listener clubs arose as a result.

Very much appreciate the contributions of Richard Rennie, Nettie Errington, David Carlisle, Richard Ashton, David Hawkes, Murray Jennings, John Barnett, Trevor Kelly, Gary Matthews and Ken Brand.

This story is in three parts…

• The 6WF Story – Part 1 of 3
• The 6WF Story – Part 2 of 3
• The 6WF Story – Part 3 of 3

Related stories…

• ABW Channel 2 – 50th Anniversary
• Background to the ABC leaving its former Perth studio site.
• Six Years since last broadcast from former ABC Studios
• ABW Channel 2 – 50th Anniversary Reunion
• ABC TV Perth Celebrates 50 Years of Television
• ABW2 50 Years Reunion
• Tribute to the former ABC Radio and TV Studios in Perth, Western Australia (1960-2005)
• ABC Presenters reminisce about the 1960s, 70’s and 80s
• Demolition of ABW Channel 2 Studios in Perth WA
• ABC TV Perth OB activities
• First Australia to UK Satellite Hook-up in 1966
• Pioneering Satellite TV Program Exchange

The Australian Broadcasting Commission

The Australian Broadcasting Company was disappointed with the revenue derived from licences and decided not to seek a renewal of the contract for the provision of programs over the National Service. The Government prepared legislation for an Australian version of the British Broadcasting Corporation. On 17 May 1932, the necessary legislation was enacted and on 1 July 1932 the Australian Broadcasting Company’s twelve stations were taken over by the Australian Broadcasting Commission. The 6WF transmitter was relocated to Wanneroo (now called Hamersley) in 1933. At that time, the commercial sector had 43 stations.

In 1932, the PMG Department procured the Wanneroo property on the northern edge of the state capital, Perth, for the new ABC transmitter site. At the end of the year, the eight year old medium-wave 6WF mast was relocated from the top of the Wesfarmers building in Wellington Street, Perth, with the old transmitter retired and a new 5 kW transmitter installed at Wanneroo.

According to Alan Thomas in “Broadcast and Be Damned: The ABC’s First Two Decades”, Melbourne University Press, 1980, p. 39.

The best the Government of the day could offer the ABC by way of guidance was informal advice to emulate the BBC. ‘Walk in the footsteps of the BBC and fall in behind Britain’ was the advice given to the Commission’s first chairman, Charles Lloyd Jones, by the Prime Minister, Joseph Lyons, in 1932.

The impact of quality Music

Music was the only area of programming in which the ABC was given a firm direction. ‘The Commission’, it was stated in Section 24 of the Act, ‘shall endeavour to establish and utilise… groups of musicians for the rendition of orchestral, choral and band music of high quality’.

As part of its charter, the ABC established broadcast orchestras in each state with WA concerts performed initially in His Majesty’s Theatre and then later in the Capitol Theatre and Winthrop Hall. Many musical broadcasts were performed live, which necessitated studio bands and orchestras. Small studio orchestras which numbered 20 permanent players in Sydney and 15 in Melbourne were inherited by the Australian Broadcasting Commission from its predecessor the Australian Broadcasting Company. In Western Australia, the ABC formed the Western Studio Orchestra, which consisted of fifteen players.

There were also other bands and musical groups formed by the ABC and outside influences. Orchestras in WA included the Commercial Travellers’ Orchestra, the Metropolitan Symphony Orchestra and the Perth Symphony Orchestra. Bands included the Fremantle City Band, Fremantle Naval Band, North Perth Citizens’ Band (Conductor Charles Court), Perth City Band, R.S.L. Band and the Western Military Band. Choirs included the ABC Wireless Chorus, Bel Canto Choristers, Commercial Travellers’ Concert Party, Festival Choir, Ladies’ Odeon Society, Maylands Orpheus Society, Metropolitan Gleemen, North Perth Choir, St. Patrick’s Boys’ Choir, Subiaco Choral Society and the University Choral Society.

In October 1933, the ABC began assembling a band of 45 players from all the States to form a military band. Then in 1934, the Australian Broadcasting Commission’s National Military Band, conducted by Captain H. E. Adkins, a famous English bandmaster, arrived In Perth after a tour of Australian capital cities. A series of eight Perth concerts were then given at His Majesty’s Theatre. On the bands arrival by train in Perth, it was welcomed by a large crowd. The band members were resplendent in striking scarlet jackets faced with gold, red caps and red-striped trousers. Accompanying the bandsmen were the general manager for the ABC (Major Walter Tasman Conder), the conductor of the band, and the manager of 6WF (Mr. Basil Everald Wharton Kirke). Among the crowd on the platform were Dr. J. S. Battye, the president of the Perth Symphony Orchestra (Professor A. D. Ross), and the Secretary for Railways (Mr. J. F. Tomlinson).

Major W. T. Conder went on to explain that the ABC planned to erect new studios on the east side of Mill Street, Perth. Major Conder spent a strenuous day attending to the most pressing of the matters which necessitated his visit to this State, saw the National Military Band commence its initial concert at His Majesty Theatre, and, at 9 pm, 11 hours after his arrival, boarded the Great Western express to return to Sydney.

There existed conflicting musical visions between the ABC’s second General Manager, Major W.T. Conder (who got the job in April 1933 after the first manager, Harold Williams, died), and the second Chairman, W. J. Cleary (who on 3rd July 1934 succeeded (Sir) Charles Lloyd Jones). Their dispute can be characterised as ‘giving the public what they want’ (Conder) or ‘giving them what they need’ (Cleary) resulted, in Conder’s dismissal. This was unfortunate, as Conder experienced great success with Melbourne’s 3LO, due to his genius for organisation, his vision, and enthusiasm for all things affecting radio. Coming from the highly successful theatrical entrepreneurial firm, J. C. Williamson Ltd, he was a superb showman who believed that programs should be aimed at the masses. He did not believe in too many talk sessions, but rather wanted more sporting and entertainment – “everything on the air but hot air”. Condor was also an intelligent man who earlier was a master at a school and taught French, history and mathematics. The commission dismissed Conder and news of his ‘resignation’ came as a complete surprise to the public.

His adversary, Chairman Cleary was a cultivated man who loved classical music and intellectual pursuits. He possessed a large library, taught himself French, German and Latin and was widely read. He wanted the ABC to educate as well as entertain and promoted talk, commentary sessions and radio plays. Cleary acted as general manager until he had groomed (Sir) Charles Moses to take over the position. Some of Cleary’s notions conflicted with Australia’s WWII Prime Minister John Curtin, who was critical of the ABC’s high brow content, wanting more entertainment for the troops.

A radio programming parallel between this and the Vietnam War period is where our young men were being conscripted and sent overseas to a conflict (which was unpopular back home and unlike the earlier wars, their contribution was not appreciated, or rewarded on their return) whilst the ABC became a repository for young academics and war protesters who found their niche as spoken word producers on the ABC’s Radio Two (now Radio National), or 6WN on the dial. The protest movement was strong at the time, and it was not uncommon for them to produce marathon durations on related topics. One very much deemed of high importance was their objection to nuclear power, with one special taking up most of an evening to broadcast.

This was heavy going, as each point was substantiated by the views of other academics and scientists, to bring the importance of the subject thoroughly home. No matter how relevant or important the matter was, it proved to be an ordeal to listen to, particularly after the programmers scheduled this epic for at least three repeats, over the following months.

As valid as the message was, it was not spiritually uplifting or joyous listening. Not the sort of respite one would want to escape the rigours of war, during a period of rest and relaxation, as the preferred entertainment of the era was somewhat different. Nevertheless, the ABC was determined to educate the listener, even though the ratings book often only registered an asterisk, indicating that the audience was too low to measure.

Fortunately, 6WF was a less sombre outlet at that time, with the WA presenters providing themed evenings of Yesterday’s Hits, Country and Western music, Folk and Beyond and Jazz. In contrast, the Perth generated content made 6WF the highest rating ABC radio station in the nation, compared to the other metropolitan ABC stations and the nationally sourced and more serious 6WN.

Throughout the 1930s, the vast majority of ABC educational broadcasts, both for school and adult audiences, consisted of broadcasting instructions, in the form of lecturing to the listeners, which reinforced the ‘give them what they need’ rather than ‘what they want’ dogma, where the recipient was not the one determining what they needed.

The ABC slavishly following the BBC, caused it to sacrifice popularity in its attempt to push its cultural doctrine on the public, until it provided an alternate outlet with a less serious approach in 1938 with 6WN. Even then it was more stuffy than the commercial stations. The ABC could have been a totally different beast if Conder had not been dismissed. The proposed new ABC studios in Mill Street did not eventuate, and it would take another twenty six years before the Adelaide Terrace studios became the home of the ABC in WA, after much lobbying by Basil Kirke.

In 1934, Professor Bernard Heinze was appointed part-time musical adviser to the ABC. In 1936, on Heinze’s recommendation, the ABC began establishing a wider variety of studio orchestras in all States.

In 1936, the ABC introduced Celebrity Subscription Concerts, and engaged many artists and conductors from overseas. The Western Studio Orchestra then called itself the Perth Concert Orchestra, and added players for the larger concerts to then become the ABC (Perth) Symphony Orchestra. By 1937, the letters “ABC” had been dropped from the title and the orchestra once again became known as the Perth Symphony Orchestra.

Dance music was also an important part of ABC programming in the 1930s and the bands that performed live in the studios delivered the best of contemporary music, except jazz which was frowned upon. Bandleader Jim Davidson set up his own ABC Dance Band, playing music popularised in America by bands such as Glenn Miller, Artie Shaw and Tommy Dorsey. By 1938, the band was a major recording act, that did national tours with guest artists such as Tex Morton and Bob Dyer.

The better standard of music not only enlighten the listeners to the many music genres, but also fostered an appreciation among those who had never heard such before the advent of radio, particularly the non theatre going public. This greatly added to the popularity of radio.

The ABC’s second radio station in Perth, 6WN opened on October 12, 1938. The transmission mast was sited on top of the GPO in Forrest Place, where it would stay as a landmark until removed during the second world war as a potential hazard. Work also commenced on the installation of two additional broadcast transmitters at Wanneroo, one medium-wave and one shortwave. After one year, the medium-wave 6WN transmitter was transferred from the GPO building to Wanneroo, and a new shortwave transmitter VLW was installed for coverage of outback areas in Western Australia. The local ABC manager was then Conrad Charlton.

By 1939, 6WF was designated as part of the ABC network transmitting the Australian National Program and as such carried the ‘highbrow’ component, whilst 6WN and its associated network of stations was the alternate or ‘lowbrow’ content (these roles were to swap in later years).

The 1940 Walt Disney animated film “Fantasia”, had a big influence on audiences, particularly ABC radio listeners, as it introduced many to a music form they were not familiar with. Disney animators set pictures to Western classical music as Leopold Stokowski conducted the Philadelphia Orchestra to expose people to such popular classics as: Toccata and Fugue in D Minor by Johann Sebastian Bach, Nutcracker Suite by Pyotr Ilyich Tchaikovsky, The Sorcerer’s Apprentice by Paul Dukas, The Rite of Spring by Igor Stravinsky, The Pastoral Symphony by Ludwig van Beethoven, Dance of the Hours from the opera La Gioconda by Amilcare Ponchielli, Night on Bald Mountain by Modest Mussorgsky, and Ave Maria by Franz Schubert. Additional pieces were incorporated in 1941, including Ride of the Valkyries by Richard Wagner, The Swan of Tuonela by Jean Sibelius, Invitation to the Dance by Carl Maria von Weber and Flight of the Bumblebee by Nikolai Rimsky-Korsakov.

The nature of ABC Vs Commercial Broadcasting

By the early 1940s, there were about 130 commercial stations and a roughly equivalent number of ABC stations spread throughout Australia. The ABC had national commitments including news, education, parliamentary broadcasting and culture, whilst the commercial stations were much more community-orientated in nature, responding to the local scene from which they garnered advertising.

ABC Education Department

There was, then, no provision in the Australian Broadcasting Commission Act (1932) which specifically required or empowered the ABC to produce and broadcast educational programs. Meanwhile, the ABC had to contend with the populist programs coming from the competition provided by the commercial radio stations, so without the monopoly that the BBC enjoyed, it was deemed that if enlightenment was to be achieved, then it had to come through entertainment.

According to the First Annual Report of the ABC, Year Ended 30th June, 1933, p. 18, children were ‘among the keenest and most appreciative of wireless audiences’. This was observed with the afternoon children’s programs on most radio stations during the 1920s, where they exploited the capacity of radio to stimulate the imagination of its young listeners:

“In many ways these children’s programs were the most innovative of the early forms of broadcasting. Broadcasters took on names (and personas) like Miss Kookaburra, Miss Mary Gumleaf and Billy Bunny and endeavoured to create a fantasy radio world for their audiences. The emphasis on spontaneity, on the unrehearsed, on the relaxed and the friendly, and the invitation to young listeners to enter this imaginary world, exploited wireless broadcasting as a new medium more fully than did other early programmes.”

An axiom of broadcasting is that, “You can’t please all of the people all of the time, but one can attempt to please most of the people most of the time.” In reality, the ABC at best often pleased some of the people some of the time, but as revenue was coming first from the licence fees, and later from the government, the ABC had the luxury to experiment more than the commercial sector, as their revenue stream was not derived from garnering big audiences for clients advertising. Thus, there was a fundamental inconsistency between the ABC’s ‘duty’ to contribute to the educational development of the community and its goal to attract mass audiences.

The Australian Broadcasting Company had made a serious attempt at ongoing educational broadcasts in 1929, when they began a daily ‘Education Hour’ for schools in Victoria and New South Wales. But as The Australian Broadcasting Company Year Book 1930, p. 43, pointed out:

“In every country when broadcasting first established itself, the conservative element in educational circles looked upon the suggestion of using wireless as an accessory to their activities as nothing short of heresy… Even yet there is not a full realization of the advantages of wireless in education in this country, but at no late date it is hoped that the broadcasting services will be as freely used in the schools here as in some of the overseas countries.”

However the 1931 experimental broadcasts in Victoria did succeed in overcoming the opposition of teachers, and they represented the foundation of school broadcasting in Australia. So when the Australian Broadcasting Commission took over the Company’s operations in 1932, it inherited an embryonic system of educational broadcasting.

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• 1933 ABC launches national school broadcasting service in Victoria, NSW, Queensland. and South Australia.
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• 1935 ABC school broadcasts have been extended to all mainland States.
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• 1937 ABC establishes Federal Department of School Broadcasts under Rudolph Bronner, who believed that ‘the school broadcast is designed to supplement, not supplant, the schoolroom lesson’.
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• By 1953, over 80 per cent of Australian schools, State and private, utilised the ABC schools broadcasts as part of their weekly curriculum. Loud speakers were installed in each classroom, to facilitate this, and school public address announcements, which soon seemed to become more prevalent than the school broadcasts.

In 1942, “Kindergarten of the Air” began on ABC Radio in Perth, after the fear of air-raids on Fremantle and Perth led the State government to close its kindergartens that year. The WA State manager of the ABC, Conrad Charlton was persuaded to let Catherine King and her colleagues try a daily kindergarten program which was inaugurated on 19 February. It was later broadcast nationally and became one of the ABC’s most popular shows. The first presenter was Margaret Graham, with Jean McKinley as the pianist.

With her piano accompanist, Margaret Graham produced Dance and Sing, a book of the songs and music used in the program.

The ABC already ran a successful women’s session presented by Catherine King who was interested in the establishment of kindergartens in Perth. (She was the daughter of prominent Australian academic and essayist Sir Walter Murdoch, the Professor Murdoch after whom that University is named. Her husband Alec King was a member of the ABC Education Broadcasting Committee.) Catherine King was later joined by Erica Underwood on the session. Margaret Graham also gave short talks on the ABC’s women’s session, providing advice about young children’s behaviour and learning problems, and on the clothing, games and books that were appropriate for them.

In 1943, the war-time Australian Prime Minister John Curtin expressed concern about the ABC content directed at the troops. He thought there was too much talking and serious music. He wanted the ABC to make an effort to supply material that the armed forces wished to hear. It was a time when crooners such as Bing Crosby (1903-1977), Frank Sinatra (1915-1998), Perry Como (1912-2001) and others entertained with this popular vocal style. Voices that ABC senior taste determinators resisted being heard on the national stations.

The ABC complied with the Prime Ministers wishes and from the 1st sept 1946, 6WF concentrated on light content, whilst 6WN concentrated on the serious, which included current affairs, and features. Light music, as the ABC defined it, covered a range from the not-quite-classical to vaudeville, from comedy acts to community singing. Then to torpedo the ABC gaining increased popularity, the Commonwealth government decided that the ABC should broadcast selected parliamentary sessions live from 1946, despite the disruption this caused to regular programming.

In December 1945, the rural affairs program “The Country Hour” premiered, providing a service to the farmers which Wesfarmer and 6WF humbly pioneered back in 1924. Though by now the program was broadcast on 6WN and the regional network. It concluded with a serial called The Lawsons which was replaced in 1949 by the serial Blue Hills (which ran until September 1976). The Lawsons and Blue Hills were written by Gwen Meredith, about the lives of families in a typical Australian country town called Tanimbla. “Blue Hills” itself was the residence of the town’s doctor.

In 1951, Dorothy Hollingsworth (known as ‘Miss Fleming’) was the creator and presenter of ABC Radio series “Let’s Join In” from 1951–1989. Dorothy is an Alumnae of Methodist Ladies’ College, Perth.

The ABC gains a News Department

Though the ABC was not directed to conduct a news service, according to Section 22, of the Australian Broadcasting Commission Act (1932), it could collect ‘news and information relating to current events in any part of the world’. Initially, the news was collected from the daily newspapers.

From 1932 to 1936, ABC stations in each State provided news bulletins by having the duty announcer read local and foreign news items straight from the newspapers. In 1934, the ABC hired its first journalist and the first Federal News Editor was appointed in 1936 to control a national news service which was relayed to all States except Western Australia. Meanwhile in WA, Dick Collins would cut up the Daily News and paste up a compilation of stories for the announcers to read in Perth.

Once the ABC started collecting and writing their own radio news stories, the spoken word for the bulletins was written for the ear in short, crisp sentences, rather than the eye, as in the case of newspaper stories.

While the ABC imposed the rule of anonymity on its newsreaders, the BBC was not as strict, for it wasn’t until the second world war, when the ABC took six news bulletins per day from the BBC (in addition to the ABC generated bulletins) that the ABC following the BBC practice of allowing the newsreaders to give their names at the top of each bulletin. Then the BBC bulletins were cut down when John Curtin took over as Prime Minister. He insisted that the ABC give emphasis to the war in the Pacific, over that in Europe.

During the Second World War, the government imposed censorship on the media, even weather reports were not broadcast due to the restrictions. At the end of June 1940, the Department of Information (headed by Sir Keith Murdoch, the father of Rupert Murdoch) took control of the ABC’s 7.00pm nightly national news. On 18th July that year, Murdoch obtained authorisation to compel all news media to publish Government statements as and when necessary, however, after listeners expressed their preference for independent news presented by the Commission, control of the news was returned to the ABC in September 1940.

It was during the war, that the ABC recruited a greater proportion of women to replace men, who had joined the armed forces. It was during this period that Phyllis Hope-Robertson became the first woman to read State bulletins in Perth.

The Commonwealth government compelled the commercial radio stations to broadcast national news bulletins three times a day at 7.45am, 12.30pm and 7.00pm, and carry the ABC bulletins until the end of the war. Early in 1945, the government removed the obligation on commercial stations to relay certain ABC bulletins. However, many stations went on taking them, particularly in the rural areas, having now to acknowledge the ABC as source of the service. 6PM was the last commercial station in Perth to give up taking the ABC News, in 1964.

The ABC News Department was formally inaugurated on 1 June 1947, with the story gathering much assisted by the teleprinter, and later the Telex, as the ABC became a big and far flung organisation, with bureaus in many countries.

The news staff numbers were now such that the ABC could finally break away from using the newspapers as a source, and in the process gain independence. A true alternate supply of news, which would no longer be stale waiting for the presses. Labor at the time was keen on an alternate source, considering the media monopolies which had formed in the commercial media, were not always supportive of their policies. (The later situation which developed in the UK, surrounding the demise of the News of the World newspaper, and the influence of one news baron is a case in point, which substantiates these early concerns, where government policy was unduly influenced by one unelected person.)

Perth would take the Australian and overseas component direct from Sydney and then follow with a State bulletin, until it was decided to read it all from Perth. This required that the world and interstate news be continuously fed to Perth by the teleprinter, complemented by locally generated stories. The duty subeditor (valued staff such as Arthur Steinhauser) was on the look out for new stories to freshen up each bulletin, so that the next wasn’t a carbon copy of the last. The edited stories would then be jumbo typed onto scripts for the newsreader, to increase legibility, though it was common practice to hand the reader the top copy from the Telex machine, when reading the early morning bulletins. The news typists also took stories over the phone, typing items from correspondents who were scattered throughout the state, whilst listening to headphones as the stories were dictated. Eventually, it was decided to incorporate sound actuality with people interviewed on the spot, or have reporters convey a story in their own voice. Telephone interviews and reports were also to be included.

The teleprinter evolved from the telegraph, but instead of using Morse, Baudot code was more suited. Its a character set predating ASCII, which is more familiar to computer enthusiasts. With the communication rate of symbols being known as the baud rate. The symbols allowed the telegraph transmission of the Roman alphabet, punctuation and control signals. This code was then enhanced, prompted by the development of a typewriter-like keyboard with the Carriage Return and Line Feed codes introduced. Further developments added other codes such as the BEL (bell) and WRU (Who aRe yoU) to the 5-bit teletypewriter codes, before the debut of 7-bit ASCII in 1963. Ringing the bells conveyed the urgency of the message, the more bells the more important.

The Telex network is a switched network of teleprinters, which was introduced to Australia on a manual basis in 1954 and converted to automatic in 1966. News services such as Associated Press, the Weather Service, Reuters, and United Press (later UPI) were early adopters of the technology.

The half-hour morning current affairs program AM began in 1967 and its evening counter-part PM began two years later. Western Australia had its own version of the AM program, until centralisation demanded that we take the Sydney generated version. David Moore was the regular presenter from Perth, with Pat Harding taking over in latter years.

The impact of Cricket

One factor which did attract praise to the station was the opportunity to report on cricket.

Cricket is one of the most popular sports in Australia, at international, domestic and local levels. It is the dream of every aspiring young cricketer in Australia to one day play against, and beat, England, so there was a keen interest in the game by young and old. There was no such thing as ball-by-ball coverage before the introduction of wireless, as cricket fans only had newspaper accounts as a guide to play, so the opportunity to hear a cricket commentary proved extremely popular, and a great incentive for radio stations to satisfy the listeners. It was a service which evolved as commentators developed techniques to describe the play and technology enabled it to happen.

In 1930, on the eastern side of the continent, the Australian Broadcasting Company and Class B commercial stations 2UW Sydney, 3DB Melbourne, 4BH Brisbane and 5AD Adelaide collaborated to provide coverage of the cricket test match series in England.

Meanwhile, 6WF broadcast live short-wave descriptions live from England before the synthetic cricket broadcast began in 1934. These were received from the BBC experimental short-wave station 5SW, that conducted test broadcasts to the Empire.

First Cricket from WACA
Arrangements have been made, it is learned, to broadcast from station 6WF a description of the match as it is being played each afternoon so that listeners in the country and those unable to at tend may follow the progress of the game from start to finish. It.has not yet been decided who will describe the match, out it is more than likely that it will be a player of international reputation.
The Daily News Thursday 11 March 1926

Interstate match
Arrangements have been made by 6WF to describe the cricket matches to be held on the WACA grounds from Februarv 25 to 28. between Victoria and W.A. In all probability these descriptions will be given by Mr. S.B. Gravenall.
The Daily News (Perth, WA) Monday 13 February 1928

International Cricket
To-morrow, Friday and Saturday descriptions of the cricket match between England and Western Australia will be broad cast by 6WF and each evening a resume of the day’s play will be given.
The West Australian (Perth, WA) Wednesday 30 October 1929

Cricket from England
Note: Test cricket scores will be broadcast at the following times during the day: 1.30 a.m., 7.31 a.m., 8 a.m., 12.41 p.m., 7.30 p.m., 9.2 p.m., 9.45 p.m., 10.30 p.m., 11.5 p.m. Providing atmospheric conditions are suitable, 6WF will re-broadcast from 5SW Chelmsford, England, an eye-witness’s description of the first Test match at 1.30 a.m. tomorrow;
The Daily News (Perth, WA) Tuesday 17 June 1930

Researched by Richard Rennie

It was an exciting time for followers of the sport, as it was the era of Don Bradman, who was regarded as the greatest cricket player of all time.

Sir Donald Bradman (1908-2001) was an Australian cricket player who is credited with raising the spirit of our nation, that had suffered under the economic depression. His first Ashes series was in 1928-1929 and by the time of the Bodyline series he was without peer as a batsman. The infamous Bodyline series came to life on ABC Radio between 1932 and 1933 with five Test matches in Australia, where England won The Ashes by four games to one, following the highly controversial bowling tactics used by the England team under the captaincy of Douglas Jardine.

Though BBC Radio began covering live cricket broadcasts from 1927, with ball-by-ball commentary, getting a cricket commentary from England was fraught with problems as the first submarine communications cables only carried telegraphy traffic. The technology of the time did not allow for in-line repeater amplifiers in the cable to facilitate voice. Cost-efficient telephone cable telecommunications did not arrive until the 1940s. Short wave reception was subject to fading and distortion caused by the warbling, whistling and hissing artefacts of the long distance transmission. The solution the ABC devised was to fake it.

From 1934, synthetic cricket broadcasts were presented by the ABC, where commentators in Sydney recreated the game as it was being played in England.

Alan McGilvray recalls in his autobiography, “The Game is Not the Same,”

(Eric) Sholl had been despatched to send cables according to an elaborate code. Outside our studio, a team of five or six decoders would put the cables into readable form from which the commentators would operate. The cables covered everything we would need to paint a word picture … Sholl would tell us about the weather, the crowd, even the traffic getting to the ground. Any time the field changed, he would fire a new cable and each over send a cable with a complete run down on every ball.

A collection of recordings of loud cheers, polite applause, crowd annoyance reaction and so on were used as applicable by a sound effects man. The sound of the bat striking the ball was generated by a pencil in the hands of the commentator tapping on a round piece of wood on the desk, the harder the stroke seemed on the cable, the more resounding the tap of the pencil!

Eric Sholl was the ABC State Manager for WA when announcer staff were selected for ABW Channel 2 in Perth.

Synthetic Cricket Commentary

“Before radio, cricket enthusiasts had to rely on newspaper reports for scorecards of the day’s game. There was no such thing as a ball-by-ball coverage. Radio developed an ingenious system, used from 1934, where commentators in Sydney recreated the game as it was being played in England – synthetic cricket. Detailed analysis of a match was sent via teleprinter from the ground to a studio in Sydney and as soon as one minute later, these descriptions would be broadcast by the commentary team, complete with the sound of a wooden pencil striking the desk and sound effects of a crowd. Synthetic descriptions proved to be incredibly popular.”

This was the world of synthetic broadcasts, before shortwave radio stabilised to become a wonder of communication technology.

These fake broadcasts proved to be incredibly popular.

Alan McGilvray gave his first regular shortwave broadcasts of cricket from the UK in 1938, even though the quality was poor and subject to frequent breaks.

In 1948 the BBC provided full ball-by-ball coverage for Australia, as the submarine cable technology was now up to the task of amplifying the voice signal over the vast distance. People no longer needed to suffer the much inferior short-wave reception. This was most welcome as the Australian team became famous for being the first Test match side to play an entire tour of England without losing a match. This feat earned them the nickname of “The Invincibles”, to be regarded as one of the greatest cricket teams of all time.

Efforts to increase the profile of Wireless

In 1934, a Radio & Electrical Exhibition was held at Government House Ballroom, from where every Saturday night, mostly “old Time” music was broadcast by 6WF.

There have been a number of publications dealing with broadcasting in WA. One prominent one was ‘The Broadcaster’, which was published by West Australian Newspapers from April 7th, 1934 until January 15th, 1955, when it was incorporated in the Weekend Mail newspaper as a lift-out.

Very much appreciate the contributions of Richard Rennie, Nettie Errington, David Carlisle, Richard Ashton, David Hawkes, Murray Jennings, John Barnett, Trevor Kelly, Gary Matthews and Ken Brand.

This story is in three parts…

• The 6WF Story – Part 1 of 3
• The 6WF Story – Part 2 of 3
• The 6WF Story – Part 3 of 3

Related stories…

• ABW Channel 2 – 50th Anniversary
• Background to the ABC leaving its former Perth studio site.
• Six Years since last broadcast from former ABC Studios
• ABW Channel 2 – 50th Anniversary Reunion
• ABC TV Perth Celebrates 50 Years of Television
• ABW2 50 Years Reunion
• Tribute to the former ABC Radio and TV Studios in Perth, Western Australia (1960-2005)
• ABC Presenters reminisce about the 1960s, 70’s and 80s
• Demolition of ABW Channel 2 Studios in Perth WA
• ABC TV Perth OB activities
• First Australia to UK Satellite Hook-up in 1966
• Pioneering Satellite TV Program Exchange

The ABC seeks better accommodation

The ABC studios and 6WF moved again in 1937 to The Returned Soldiers’ Institute, also known as the Stirling Institute on St George’s Terrace, behind the Department of Agriculture and located in what was once the State’s only botanical gardens, Stirling Gardens, west of the Government House Ballroom and north of the Supreme Court buildings. The building was erected 21 years earlier and became the headquarters of the WA Branch of the Returned Sailors and Soldiers Imperial League of Australia (RSL) in 1918.

The RSL moved to the original ANZAC House at 28 St George’s Terrace in 1934. The ABC then leased the institute building from the State Government and renamed it Broadcast House, though as early as 1938, the Perth City Council had its eyes on the site for a new Town Hall. After the ABC had moved to its new studios in Adelaide Terrace, construction on Council House began on the Stirling Gardens site in 1961. Rather than build a new town hall on the site, the Perth Concert Hall was built to the east of Government House Gardens, and opened in 1973.

The late radio veteran Stan Gervas reminisced on how primitive the Broadcast House facilities were in a retrospect on 6WF in 2004:

“…if you had to go to the toilet during your broadcast you had to go out in the rain with an umbrella on.”

According to actor Rick Hearder, there was a big tree growing in the drama studio that extending through the roof, to the outside world.

A wishing fountain was located in the gardens outside, with the associated pool sprinkled with pennies. It was a time when many derelicts frequented the gardens, fossicking for empty cool drink bottles to return for the deposit, or checking out the rubbish bins for food scraps… and maybe pilfer from the wishing fountain? Some could be found sleeping in the bushes or begging for a handout. Drinking fountains could be found in the park and underground toilets on the corner of Barrack and St George’s Terrace. There were also the outside toilets associated with the ABC. So the homeless had a variety of free services, though obviously not a change of clothing or a hot shower. As sad as their plight may have been, and the drab fashions of the era, they certainly added some colour to the surroundings… for they seemed to be an eccentric lot with uncontrollable hair and attire direct out of a Charles Dickens novel.

In contrast, on the other side of the ABC was located the Government House Ballroom, a venue more often attended by the upper crust, sitting next to the Governor’s residence, which also accommodated the Queen on her 1954 tour.

In 1938 a chance audition in Perth gave John Juan (1901-1979) entry to the world of radio as an announcer on 6WF. His friendly on-air manner endeared him to thousands of Western Australians who warmed to his sentimental signature tunes, “There’ll be a Silver Lining”, “We’ll Meet Again” and “Up with the Curtain”. Listeners liked his breezy presentation, robust humour and endless variety of jokes. His most popular programs were ‘The Breakfast Session’, ‘The Hospital Hour’ and ‘I’ll Pay That One’. In accordance with Commonwealth regulations, he retired in 1966, but there was such a public outcry that, within a month the ABC reinstated him in a part-time capacity. For services to radio, he was appointed M.B.E. in 1969. John finally retired in 1974, after passing the breakfast session to David Hawkes. Though his presentation delivery remained the same to the end, his manual dexterity was not always as good. On one occasion, his panel operator was wondering where a mechanical groaning noise was coming from as John was speaking. On standing to look into the studio, the operator observed that instead of slipping the record as it spun on the felt of the turntable, in preparation for a quick start, John had grasped the entire turntable, and the sound being emitted was it internally hemorrhaging as the electric motor strained whilst being restrained, hence the audible objections it made.

The ABC has been associated with a number of publications starting in 1939 with the ABC Weekly, a magazine which included programming information and articles about film, music and some of the talks heard on the radio. It was published from December 2nd, 1939 to October 28th, 1959. (Later, information on radio programming was included in the TV News Times, or TV Times, as it became. In 1961, it was again included in a weekly Radio Program Guide, expanded to become the ABC Radio Guide. Today, the ABC produces the popular 24 Hours magazine and radio program guide.)

It was not unusual for ABC announcers to have a theatrical background or an English public school education. They were people with a good speaking voice, good diction and excelled with difficult pronunciations. One being, Harry Graham who later became the drama producer before Tony Turner took on this role. Not only was he an early 6WF announcer but also a prominent actor and entertainer. His wife was a soprano, who performed under her maiden name Dorothy Manning. She also presented the 6WF Women’s Session as Mrs Dorothy Graham.

The ABC followed the British direction set by John Reith, the BBC’s first Director-General, who imposed his dress code on BBC radio announcers, ordering them to wear evening dress to match the attire of BBC performing artists, regardless of the listening audience not being able to see them.

A situation developed during the war years in 1942, that caused the ABC to have a change of heart and not compel announcers and artists to wear evening dress unless they were appearing before an audience, after it was found that men of military age who wore dinner suits were handed white feathers on their way to the studios.

The ABC wanted announcers to sound professional, with an educated and cultured voice, though they did tolerate a broader local accent in sporting commentators and in announcers in regional stations. While the ABC imposed the rule of anonymity, commercial announcers were encouraged to become ‘personalities’.

To the average person, the commercial announcers appeared more friendly, not as stern or stuffy as the ABC variety, though in reality, the ABC announcers were often the opposite in person. They needed to be well educated, knowledgeable and articulate to hold the position, yet these qualities were often combined with a quick wit and a mischievous sense of humour. This in an atmosphere of camaraderie which often led to pranks and no end of high jinks when off-air. For example: Roger Cook described the mischievous nature of Peter Harrison in his book, “More Dangerous Ground: The inside story of Britain’s Best Known Investigative Journalist”.

“Peter’s favourite targets were young announcers fresh out of training. Waiting until they had gone on air, he would ignore the red ‘On Air’ light outside the soundproofed studio and wander in, putting a reassuring finger to his lips to imply he was there purely in a monitoring capacity. The nervous reader would plough on, glancing up at Peter from time to time.

The next thing the victim would see was the stations most senior newscaster dropping his twills and underpants and lowering his buttocks down onto the grey metal wastepaper basket. He would stare fixedly at the now panic-stricken newsreader who would stutter, lose his place and generally wish for his mother to come and take him away.

Peter would then up the ante, and start to strain and grimace, producing barely-audible grunts. Nothing that the listener would ever hear, but loud enough for those in the studio to pick up.

The end result was usually near-hysteria and a newsreading performance that left the listener confused and often concerned for the health of the young broadcaster. The broadcaster, having gratefully handed over to the continuity announcer, would watch, slack-jawed, as Harrison pulled up his pants, did himself up and strode out of the room as if nothing had happened. Sometimes his victims would try to persuade themselves that nothing had happened, particularly when Peter greeted them later and nonchalantly gave them some small piece of advice about their performance.”

Imprint: Book Guild Ltd
Country of Publication: United Kingdom
ISBN: 9781846241093
Publication Date: April 2007

In 1960, the ABC moved from Broadcast House, to much improved facilities, on the former site of Rose Hill House, at 191 Adelaide Terrace in Perth.

Licence fees for radio and TV were finally dropped in the seventies, with earlier it being legislated under amendments to the Broadcasting Act in 1948, for ABC funding to be derived from Federal Government appropriation, as announced during each Federal Budget.

In March 1978, Susannah Carr became the first female TV newsreader for the ABC in Perth and the second only by a day for the ABC nationally, after starting with the ABC as a radio announcer in 1974.

The Dix Report was published in June 1981, which provided a thorough analysis of the ABC’s operations and culture, among many other issues that it touch on was that of the spoken word, on which the inquiry received a number of submissions.

“Many listeners and viewers feel concern not only about bad language, but about sloppy language, bad grammar and faulty pronunciation. People clearly have a high expectation of the ABC in this regard, and feel that it should provide a model for correct and pleasing speech. Even so, community standards and expectations have changed. Virtually no-one expects all the speakers on the electronic media to sound like ‘Oxford professors’ from pre 1939 England, and we agree that such an expression would be unrealistic and out of place in a nation increasingly proud of its identity.”

The Australian Broadcasting Corporation Act 1983 changed the name of the organisation from the “Australian Broadcasting Commission” to the “Australian Broadcasting Corporation” effective 1 July 1983.

Prior to a major restructuring of ABC Radio in the 1980s, it was the tradition to use rigorously selected professional announcers with a trained voice, whose dulcet tones permeated the airwaves and corridors of the ABC for many decades, until it was deemed that a more Australian voice was the way to go, people then with a journalistic bent came into favour.

Many of the much loved announcing voices were:

Steve Altham, Steve Amos, Jim Bale, Liam Bartlett, Ian Beatty, Simon Beaumont, Danielle Benda, Megan Broad, Susan Browning, Nick Bruining, Susan Bryant, Karen Buck, Ted Bull, Arthur Burridge, Eoin Cameron, Ruth Cameron, Susannah Carr, Tony Clough, Ann Conti, Roger Cook, David Cussons, Kit Denton, Mario D’Orazio, Bev East, Grey Easterbrook, Jenny Edwards, David Ellery, Chris Fenton, Lew Firman, James Fisher, Doug Foley, Gerry Gannon, Jim Gill, Roy Glenister, Michael Godby, Dorothy Graham, Harry Graham, Ralph Gray, Don Gresham, Des Guilfoyle, David Guy, Clive Hale, Ian Halket, Pat Harding, John Harper-Nelson, Sandra Harris, Peter Harrison, Ian Hasleby, David Hawkes, Geoff Hiscock, Jodi Hoffmann, Peter Holland, Phyllis Hope-Robertson, Christian Horgan, Kevin Hume, Ted Keen, Sarah Knight, Len Jackson, Verity James, Jeff Jeffery, Murray Jennings, Tony Jennings, Robyn Johnston, John Juan, Margaret Macoboy, Ashley Malone, George Manning, John Marshall, Greg Marston, Marshall Martin, Betty May, John May, Arch McKurdy, Ramsay McLean, Geraldine Mellet, David Moore, Ron Morey, Naomi Morison, Bob Murray, Peter Newman, John Nicholls, Lucky Oceans, Michael Palmer, Greg Pearce, Kate Raston, Earl Reeve, Jim Shaw, Kate Sieper, Charles Southwood, Libby Stone, Ron Tate, Wayne Taylor, Geoff Walker, Diana Ward, Neil Watson, Harold Wells, Jennifer West, Ian Wynne and many more over the years.

Other key radio broadcasters from Sports, Rural, Talks and Education included:

Pat Alexander, Tony Badgery-Parker, John Barnett, John Bell, Beverley-Anne Brown, Michael Brock, Ian Brayshaw, Stanley Brown, Bill Bunbury, Liz Byrski, Phillip Clarke, John Cleary, John Colwill, Dennis Cometti, James Condon, Michael Cosby, Penny Crittall, Bruce Crowl, Tony Evans, Airini Fisher, Jim Fitzmaurice, Dorothy Fleming, Jane Flemming, Wally Foreman, Kitty Gillies, Keith Gollan, Margaret Graham, Irene Greenwood, Ivo Greville, Owen Grieve, George Grljusich, Ron Halcombe, Bush Hammersley, Chris Holden, Tony Howes, Daphne James, Trevor Jenkins, Dr Roberta Jull, Robin Juniper, Peter Kennedy, Graham Maybury, Mike McCann, Bill McCutcheon, Romola McSwain, Tom Murrell, Catherine King, John McNamara, Fred Mead, Glenn Mitchell, Drew Morphett, Ted Patterson, Gladys Pendred, John Penlington, Alan Richardson, Sally Rowe, Michael Schultz, Max Simmonds, Doug Spencer, Rory Sutton, John Treffry, Paul Thompson, Alexander Turner, Robyn Turner, Erica Underwood, Gillian Waite, Diana Warnock, Caroline Watt, Grant Woodhams, Charles Woolley and more over the years.

Many technical and operational staff supported the broadcasters in various ways. Firstly, there were the installation staff who were continually upgrading facilities, then the maintenance staff who kept everything running. These personnel were originally PMG technical services staff, who later became part of the ABC. A split eventuated where greater specialisation took place, with many being dedicated to strictly operations functions, though the Master Control staff retained a close technical and operational connection.

Here is a list of the identified technical and operational personnel who serviced ABC radio in Perth over the many decades:

Karl Akers, Heather Allen, Eric Anderson, Ed Aroozoo, Bill Atkinson, Jody Atkinson, Paul Baerenklau, Leah Baker, Craig Balmer, Reg Bartlett, Bill Bates, Russell Bell, Roy Bennett, Ric Birch, Mick Blackett, Wally Blundell, Eric Bolding, Ken Brand, Harry Brown, Graham Boyd, Edo Brands, Wally Burke, Peter Burnett, Peter Camilleri, Dave Carlisle, Ray Carlisle, David Chesson, Arthur Chick, Jack Christianson, Jack Clare, Mike Collins, Steve Collins, George Crafter, Cyril Crofts, Ric Curtin, Roy Caruth, Ian Church, Frank Davis, Alan Dawson, Kim Duncan, Frank Eddy, Jon Farcas, Brian Gannaway, Drew Gaynor, Peter Gibson, Eric Gregory, Harry Gout, Max Grainger, Alex Grimm, Rupert Harrison, Mac Henshaw, Ken Hapgood, John Hewitt, Eric Hill, Norm Hird, Tim Hoad, Don Hope, Roi Hubermann, Howard Iffla, Nenad Jakovcevic, Reg Johns, Bruce Jones, Steve Kamp, George Karko, Trevor Kelly, Geoff Law, Toni Leahy, David LeMay, Ted Leppard, Kim LeSouef, Milton Lewis, Roland Lockhart, Ian Manning, Graham Marshall, Gary Matthews, Jim McCreschem, Noel McGowan, Ken McKay, Dusty Miller, Ralph Montague, John Morcombe, Lindsay Muggridge, Steve Napier, Jerry Newton, James O’Shea, Ron Page, Ron Panton, Joe Pauly, Mark Pemberton, Tony Popole, Robin Reed, Tom Reed, Clive Reutens, Eric Robjohns, Peter Rogers, Martin Roth, Norbert Roth, John Ryan, Noel McGowan, Julio Santarelli, Phil Sargeson, Peter Self, Tony Schlicta, George Scott, Laurie Smith, Brett Smyth, Mark Stafford, Sid Stafford, Ray Stevenson, Ray Sterling, Larry Taya , Ron Taylor, Shane Thompson, Marianna Travaglini, Theo Ut, John Van der Mosel, Sam Wainwright, Mike Warner, Bob Weggelaar, Don Weir, Bill Wheldon, Chris White, Noel Wright, John Woodley, Alf Wood, Frank Wreford, Owen Wyatt, George York and Jack Zelling.

So many other important people also contributed to the output of 6WF and ABC Radio in Western Australia, from the extensive news team, orchestras, musicians, singers, actors, writers, production staff, clerical support, supply, despatch, training, canteen, administration and security, not only in Perth, but in the various regional centres. 6WF grew from a small operation which felt like a family, to hundreds of staff servicing programs to many radio and television transmitters in this State.

Much has changes structurally within the organisation too…

ABC Radio was restructured significantly in 1985 – Radio One (6WF) became the Metropolitan (ABC Local) network, while Radio 2 (6WN) became known as Radio National and Radio 3 the title of the regional and shortwave network became the Country Local ABC (call-signs, however, were not standardised until 1990).

With the change of fashion, from when station call-signs were identified on the radio dial, the more universal frequency reference was adopted, so 6WF was renamed 720 ABC Perth, to represent the station broadcasting on 720 kHz on the AM band.

Not only were long held ABC traditions changing, but also technology and work practices as the digital age approached. The once very stable workforce underwent many changes following numerous budget cuts, reorganisations and redundancies.

Most of the old brigade have left the fold for retirement or other pursuits, and with sadness we note the passing of many stalwarts of the ABC, who will be fondly remembered for the friendships that were made and the wonderful camaraderie that existed. All a thing of the past, like the ABC tea lady.

By 2005, so much had changed with a reduced work force, spread between different buildings at the former Adelaide Terrace site in Perth, which were showing signs of age and needed much maintenance. There was a need for a smaller and more cost effective site, designed to suit a multitasking workforce with TV, Radio and News integrated within the one building, using the latest digital technology. The proceeds from the sale of the Adelaide Terrace property helped subsidise the digital installation at the new ABC site in Fielder Street, East Perth.

An audience observation dating back to the DIX Report of 1980:

“(The ABC) …often seems to be in a ‘no-win’ situation. If it obtains high rating figures for its programs, it can be subject to criticism from the commercial sector or the ‘educated elite’. If it obtains consistently low ratings, it is accused of wasting taxpayers’ money on programs almost nobody wants.”

Now Eoin Cameron regularly receives top ratings for the most popular breakfast radio show in Perth, Western Australia. Broadcasting from the station previously known as 6WF on the 720 ABC Perth breakfast show.

Once thought of in a derogatory fashion as ‘Aunty’, for being staid and old worldly, the ABC has now become a trend setter, blazing a trail and being a forerunner in the use of new concepts from the use of labour saving technology to the internet age and social networking. The ABC is no longer restricted to old media and offers a real alternate should the commercial arena experience financial hardship, as younger generations turn their backs on newspapers, and free-to-air comes under greater competition.

ABC Radio outlets now include Triple J, Classic FM, Radio Australia, Radio National, News Radio, Local Metropolitan and regional stations, Digital Radio with ABC Country, Dig Music (alternate for the over 25s), Jazz, Grandstand (sport), and with temporary “pop-up” stations for special events, then there’s the option to listen online.

In the past, there have been calls to axe the ABC and strip the budget. Some of these calls have caught the ear of previous governments, who then punished the ABC severely.

The UK predicament

http://www.guardian.co.uk/commentisfree/2012/apr/26/murdoch-cameron-shameful-tale

Allegedly, the BBC “suffered a 16% cut, …partly as a result of Rupert Murdoch lobbying”. Could the same thing happen here?

The Guardian article is worth reading as it gives a blue print for what can take place here when too much power gets into the hands of one person.

The evolving Australian situation

http://www.abc.net.au/unleashed/4086900.html

The challenge is much broader than Murdoch, of course. We’re going to be losing many, many journalists, and that means fewer competitors at the micro level. For example, there will be one film critic across Fairfax. And presumably one environment reporter, etc, etc. That gives enormous power to the few now covering special topics, in one way. In another way, though, it weakens their power, because if the boss puts the kybosh on a story, there’s no risk it will be broken elsewhere.

And with Fairfax, a creature of Gina or at best an online-only tabloid site, the ABC comes under enormous threat. What would an Abbott government do to funding? Think John Howard in 1996. Remember Murdoch lobbied hard in Britain to cut funding to the BBC. Without a well-resourced, strong ABC, there is no scrutiny. Just one agenda setter.

Hopefully an ABC crippled by the political clout of an elite lobby group will never happen, though there is evidence to say that this agenda is on the cards. The public will be left with few news alternatives if firstly, newspapers die out; secondly, the remaining media ends up in less hands; and finally, they succeed and the ABC is sent to oblivion. A popular ABC on-air and online, that takes readers eye balls away from newspapers, as their circulation and advertising dwindles, is unlikely to hold the newspaper proprietor’s affections. Now Murdoch is splitting his empire in two, separating print from film and television. He also wants to put more of his eggs into the Foxtel basket, so it will be interesting to see if a similar strategy is used here, as was proving a success, with a series of compliant governments in the UK, until the phone bugging incidents burst the bubble.

Its up to the voters to keep the government cognisant of the ABC’s virtues and importance to a healthy democracy, as the private ownership of media is further concentrated into fewer hands. Particularly should they successfully bully governments, with the potential to modify policies which may favour an elite few, rather than be in the best interests of the majority.

Very much appreciate the contributions of Richard Rennie, Nettie Errington, David Carlisle, Richard Ashton, David Hawkes, Murray Jennings, John Barnett, Trevor Kelly, Gary Matthews and Ken Brand.

This story is in three parts…

• The 6WF Story – Part 1 of 3
• The 6WF Story – Part 2 of 3
• The 6WF Story – Part 3 of 3

Related stories…

• ABW Channel 2 – 50th Anniversary
• Background to the ABC leaving its former Perth studio site.
• Six Years since last broadcast from former ABC Studios
• ABW Channel 2 – 50th Anniversary Reunion
• ABC TV Perth Celebrates 50 Years of Television
• ABW2 50 Years Reunion
• Tribute to the former ABC Radio and TV Studios in Perth, Western Australia (1960-2005)
• ABC Presenters reminisce about the 1960s, 70’s and 80s
• Demolition of ABW Channel 2 Studios in Perth WA
• ABC TV Perth OB activities
• First Australia to UK Satellite Hook-up in 1966
• Pioneering Satellite TV Program Exchange

Published on behalf of the Australian Museum of Motion Picture and Television (AMMPT).

Next Wednesday July 18th is the AMMPT member’s meeting night at the RSL hall in Bentley. As previously promoted at http://watvhistory.com/2012/05/classics-of-the-silver-screen/ the main event for the evening will be a presentation by Education/Exhibition officer, Richard Rennie on the history of local ABC radio station, 6WF, or 720AM as it is now known, This will be followed by the usual refreshments then screening of a couple of interesting short films from the Museum’s 16mm library.

Visitors with an interest in the local radio history are also invited to attend.

To enable AMMPT to properly host these visitors, would all members please wear their membership badges to the event. Holders will be available for those who do not have one.

This Sunday at the usual AMMPT monthly fund raising film show at the Cygnet Cinema in Como, the National Committee member and legendary theatre organist John Fuhrmann will provide pre-show and interval entertainment on AMMPT’s own organ installed at the cinema.

North West Frontier

North West Frontier - Plot Synopsis

In northwestern India soon after the turn of the 20th Century, Moslem rebels seek to kill a six-year-old Hindu prince to end his family line. Captain Scott (Kenneth More) of the British Army is ordered to get the prince out of the region safely. Adventure ensues as Scott sneaks the child away, through Moslem-held territory, by train. Also on board are the boy’s feisty American governess Catherine Wyatt (Lauren Bacall); a suspicious half-caste called Van Leyden (Herbert Lom); Bridie, a stereotypical British gent (Wilfred Hyde-White); the arms dealer Peters (Eugene Dickers), as well as Lady Windham, (Ursula Jeans).

This film was also known as “Flame Over India”.

ADMISSION PRICES:

May 18, 2008
AMMPT Members	$ 5.00
Seniors Card Holders	$ 8.00
Public	$10.00

AMMPT Membership and Seniors Card must be shown.

For further information phone the Cygnet on 9367 1663 or Email: ammpt@iinet.net.au

All profits from the screenings used to further the Association’s objectives. Preserving the heritage of Australia’s Moving Image industries.

Please dont forget – Saturday August 4th for the visit to the hugely successful RAAFA museum in Bullcreek. As the venue is specially being opened for the AMMPT tour, it is essential those intending to go along please indicate to Daryl Binning on 9310 3377 by Thursday August 2nd.

The presentation at AMMPT’s regular September members event will be by Screenwest, which is currently trying to assist the museum in finding storage facilities.

Please encourage others to join AMMPT as there is an increasing amount of work to be done, in particular relating to the many significant professional television related items recently received into our collection.

AMMPT Western Region President, Ross McDonald.

Further reading:

• AMMPT preserving our broadcasting heritage
• AMMPT Appeal for Storage Space
  
• Finding a new home for TV stations and memorabilia
• Notion of a 7-2-9-10 Club
• New Age Museums can dramatically boost tourism

Going by overseas trends, particularly in the United States, newspaper profitability has been on the decline and it was only a matter of time before the impact was felt in Australia. Now much of Australia’s media industry is struggling to adjust to a weak advertising market and a shift of consumers to digital products.

Despite this, the world’s richest woman Gina Rinehart is buying into Fairfax Media, where she is now the biggest shareholder with an 18.7 per cent stake and has demanded up to three board seats. Fairfax publishes the Sydney Morning Herald and the Melbourne Age.

Four Corners investigates Gina Rinehart’s rise to power, looking at the business deals that have made her billions, her disputes with close family and her plans to have her voice heard across Australia.

Fairfax Media’s chairman Roger Corbett, who has only a 0.004 per cent shareholding, announced that the Fairfax board would not be able to give Mrs Rinehart a board seat, citing disagreements over editorial independence.

Meanwhile, Kerry Stokes’ Seven West Media is Australia’s largest diversified media business, formed by the sale of Seven Media Group to West Australian Newspapers Holdings Limited (WAN), in a convoluted arrangement. It has a leading presence in broadcast television, radio, newspaper publishing, magazine publishing and online. Mr Stokes Australian Capital Equity (ACE), is Seven West Media’s largest shareholder with a 33 per cent stake.

Interestingly, Fairfax owned the Seven stations in both Sydney (ATN-7) and Melbourne (HSV-7) for a time, but were sold to Qintex Limited, then owned by businessman Christopher Skase, after which he send the Seven Network bankrupt, being re-listed as a public company on the stock exchange in 1993, to then have Mr Stokes gain control.

Kerry Stokes is an astute businessman, often taking over companies without the need to pay a premium. His present empire is well diversified, with his personal risk well spread between mining, earthmoving equipment and both old and new media. Seven Groups Holdings Limited (formerly Seven Network Limited) owns 29.57 percent of Seven West Media Limited.

Meanwhile, News Limited, the Australian arm of Rupert Murdoch’s global media empire News Corporation, has made a $1.97 billion, or $3.50 per share, offer to buy all of Consolidated Media Holdings (CMH), where the two largest shareholders are James Packer’s Consolidated Press Holdings, which has just over 50 per cent, and Seven Group, which has 24 per cent.

Consolidated Media’s two most important assets are its 25 per cent stake in Foxtel and its 50 per cent stake in Fox Sports Australia.

This could be the end of an era for the Packer family’s interests in Australian media investments, though James Packer has a token stake in the Ten Network. If News Limited is successful, it will own 50 per cent of Foxtel (which recently merged with Austar) and 100 per cent of Fox Sports Australia. Meanwhile, Seven Group has asked the Australian Competition and Consumer Commission to review whether it can buy Consolidated Media Holdings, to thwart News Limited’s offer.

News Limited was created in South Australia in 1923 and has nearly three-quarters of daily metropolitan newspaper circulation in Australia. It publishes a nationally distributed newspaper and metropolitan newspapers in Sydney, Melbourne, Brisbane, Adelaide, Perth (Sunday Times), Hobart and Darwin and groups of suburban newspapers. Its interests also span magazine publishing, Internet, Pay TV, National Rugby League, market research, DVD and film distribution, and film and television production trading assets. News Limited’s initial American acquisitions have subsequently been undertaken through News Corporation. News Corporation was originally incorporated in South Australia in 1979, but then re-incorporated in the United States in 2004. Rupert Murdoch became a naturalised US citizen in 1985.

Four Corners reports that for more than five years Rupert Murdoch and his most trusted executives told the world that a rogue reporter and a rogue private detective were responsible for hacking phones for the News of the World. Reporter Sarah Ferguson investigates that claim and reveals the links between Murdoch’s newspapers and the British criminal world going back two decades.

On another front, the News Corporation board has approved a plan to split into two companies. One to contain the struggling newspaper and book publishing businesses and the other to comprise the faster-growing entertainment operations of broadcasting and film.

The entire newspaper industry is struggling. Advertisers are now flocking to the Internet in search of cheaper advertising space, and newspaper subscriptions continue to fall, while online newspaper subscriptions and advertising have not made up for the decline. Australia is currently dominated by the Free To Air broadcasters, and cross-media ownership rules have kept News Limited at the margins, though the bid for CMH will strengthen Murdoch’s Pay TV position in Australia.

Nowadays, how many people read a complete newspaper – from cover to cover?

Probably only the proofreading staff, if in fact that always happens.

Not everything published will interest everyone.

The youth don’t seem to have much time for newspapers, they’re too busy with their games machines, social networking, smart-phones and computers, TXT messaging and on-line chatting with friends, rather than bother buying an old world form of publication, that has no Google search and does not suit their needs. Something that deposits ink on the fingers and is so much more cumbersome than a tablet, and with no interactivity.

It was a different world when the printed word on paper ruled…

In the days of Paul Rigby cartoons, the back page of the Daily News was a high priority, even if it was just to locate where the little urchin was hiding with his dog. No matter what the topic, Rigby’s lampooning of it was a must see.

WA’s first TV News Editor, Darcy Farrell, recalls the era: Rigby and Doug Watt, who was features editor of the Daily News or editor of the Western Mail, both appeared a few times on our Viewpoint program. You’ll remember it was a mini version of Meet the Press and featured other journos such as Andy Olney and Dan O’Sullivan. Bill Meacham and I did a half hour ‘Rigby in London’ program while we were enroute to covering Alan Bond’s first challenge for the America’s Cup. We had Rigby doing limp falls outside Buck Palace and other London landmarks. Rigby did other bits and pieces for TVW over the years including the cartoon “How the West was Won” in B and T which was a spoof on Ch Nine’s Big Chief Channel Nine. Also in that photo is Brian Menagh whose daughter is the long-serving court reporter for ABC Radio and TV. When that photo was taken I think Brian (Curls) was pic editor of the Daily News. Former General Manager of TVW and Managing Director of NEW-10 in Perth, Bill McKenzie also recalls that: The picture of Paul, Jim and others is pre Channel 7, Paul was in the syndicate that raced a horse called LAMP POST around 1964, 5 or 6. I`ve got a vague recollection Riggers did something connected to In Perth Tonight.

What still holds our attention in a newspaper?

These days, a check of what mischief Modesty Blaise is up to, is a requirement for ardent followers, even if it is conveyed in a few frames of a serialised comic each day.

Others religiously read the obituaries to verify that they are not there.

Some people are overwhelmingly interested in politics, most likely the politicians themselves, for they like to dominate what is being said, regardless of whether they have anything decent to say, or people are enthused about their message.

At least the media can have a crack at keeping the legislators honest, for they depend on “a week being a long time in politics”, as their promises often have a short life, only long enough to get them over the voting line.

What takes place on the sports field often seems more real that what takes place in the parliament, with all the point scoring and grandstanding, rather than the efficient dealing of important business. How many boat people/illegal immigrants/refugees are going to drown before they agree on a workable solution? Its possible that Christmas Island may sink through overcrowding, global weather change and rising sea levels, before the politicians sort it out.

Many people follow sport in the media, even if they’re only spectators rather than participants. Though sometimes the reporting is about athletes taking drugs and footballers feigning assault, to gain an umpires advantage.

The headlines are dominated by crime, disasters and tragedy. Reading what unfortunate things happen to others may only gender real concern when it impacts on ourselves, family and friends. Though obviously we’ll all worry about the current spate of violent home invasions, endless police chases of stolen cars driven dangerously (particularly if its our car), the possibility of a drug lab exploding next door or the neighbour’s party being gatecrashed by a horde of teenage hoodlums intent on taking out every letterbox in the street, the local shop being ram raided again (in someone else’s car) or becoming shark fodder on our next visit to the beach.

A matter of public trust and confidence

Another aspect to consider is the communities confidence in the News reporting profession.

The paparazzi hounding the late Princess Diana’s vehicle, and allegedly played a big role in the accident which took her life, has not endeared many to the freelance media in pursuit. The Reader’s Digest has recently published the results of their survey into who Australian’s trust most. Journalist were ranked 32, ahead of sex workers at 36.

http://www.readersdigest.com.au/australias-most-trusted-professions-2012

An improvement on the previous year where sex workers came in at 39, ahead of the journalists.

http://www.readersdigest.com.au/australias-most-trusted-professions-2011

There will be many factors at play here. One being that the caring professions got the top marks.

Are readers getting what they want?

One can also sense that what people really believe and what we’re pushed to think, are not always one and the same. For example, how many people get frustrated by the conversation pushing political correctness? Or the arguments going back and forth about Australians forgoing our traditions to appease newcomers to our shores? Then there’s the occasional bleeding heart expressing more sympathy for the perpetrators getting a heavy sentence, rather than the victims of crime? One can tell by the proliferation of emails reacting against these notions, that there’s an angry voice in the wilderness.

Now that we have the Internet, and with it social networking, YouTube, Twitter, and an increasing array of means for self expression on a grand scale, the younger generation relate to these new innovations, because they have come from likeminded younger people finding a popular niche, which did not exist before.

People can now have a voice without it being filtered by a reporter, editor, producer or other form of opinion controller or decision maker. With cheaper technology, they now can afford the means to produce their own content, no matter how elementary or short. For this reason, some of the expressions now getting out tend to be outrageous. Which makes one ask if it really was apathy that often allowed the vocal minority to get more airtime than the conveyors of common sense?

It would seem that the traditional media prefer the more sensational uttering, and then turn most points into sound bites, where there’s no guarantee the message will not be misconstrued.

Is the audience being underestimated?

Its often said that the media caters for the lowest common denominator, being rating driven. But then the highest rating show on television is lucky if it reaches as much as ten percent of the population. A hit show is considered such if it only reaches five percent. That’s including everyone from children to the aged.

Obviously the public is doing a lot of other things than watch television, and the ratings are based on a relatively small sample of the population, whereas web analytics provide a thorough breakdown of who is reading what and for how long. A television viewer may be asleep in the chair, whilst the web user is busy clicking back and forth. Conventional media is definitely under threat, now that alternatives are beginning to surface, and we’re only seeing the tip of the iceberg, as its a trend that’s gaining momentum, and will change the status quo.

Rupert Murdoch has been exploring all avenues to forestal the inevitable. He first came up with the iPad version of a multimedia newspaper and magazine called ‘The Daily’. Now he is separating his high profit electronic and film media from his fading printed media.

The media has many complexions, depending on which part of its anatomy is exposed.

Its not unheard of for content consumers to seek a distraction from the mundane in various forms of titillation, which brings back memories of the ‘Kings Cross Whisper’ and the ‘Truth’ as conveyers of the scandalous and scurrilous, rather than upholding standards of propriety. If the public have a need, then there’ll be one arm of the media busy fulfilling it.

It would also seem that some journals do not let the truth get in the way of a good story when we hear celebrities say things like, “They should call it No Idea rather than New Idea”, as Naomi Watts was heard to comment on one apparent revelation.

It has taken a while for the reality to sink in, but it is now blatantly obvious that if paying eyeballs don’t buy the daily printed page, the printers ink will dry up.

Journalists lament that, “We’re not going to understand what’s lost until it’s gone”. Yet it seems people are not valuing it enough at present to make a purchase, preferring to seek their information elsewhere, with an emphasis on it being free.

To illustrate the range on online news sources available, we have prepared a News Portal web page for this purpose. Though it needs to be emphasised that a few are now implementing a pay-wall in an attempt to extricate funds from web browsing content seekers. The question is: Will users be motivated to pay, or just click on the next available free source?

Portal to Australian and International online News sources.

News Ltd’s national broadsheet, The Australian, started charging for premium content online, and now the most widely-read daily paper in Australia, The Herald Sun, is doing the same…

What will they be paying for if they do subscribe? More advertisements, as with the once commercial free Pay TV? For the higher the circulation, the more attractive it is to advertisers.

So what do newspapers offer that is essential, and can be found nowhere else?

They can offer a lot to read, if there are sufficient ads to warrant the thickness of the publication. The journalists are continuously on the lookout for reportable happenings, and monitoring a variety of source that give them leads. There are some things we would not be privy to, unless a reporter had poked their nose into it. The larger the newsroom, the greater the scope.

There was a time when the radio stations read their news from the newspaper. In the early years, the commercial TV newsrooms subscribed to a telex feed of stories sourced by the big newspapers. Other references were the ABC radio News bulletins, police radio, tip offs and following police cars, fire brigades and ambulances. Then there’s the endless supply of Press Releases from anyone announcing something important or wanting publicity. Innovative reporters also created News, as in the case of former Fleet Street journalist Len Cotton, who set up a bookies stand in St George’s Terrace to offer odds on the 1964 Lord Mayoral campaign. The intent was to liven up the race between Sir Harry Howard and Charles Veryard. Veryard started off as an unknown, but the astute Len kept juggling the odds for each evening TV bulletin, until they were neck and neck. Veryard then went on to win the election and remained the incumbent till 1967, when Tom the Cheap took over. Sir Thomas Wardle was the owner of the grocery store chain known as Tom the Cheap Supermarket.

Its all very well journalists being inventive to add vigour to a story, but there also needs to be some standards, else the profession will not be held in the highest regard. Its therefore important that the reporting be accurate, and not misquote people or misrepresent events. Its one thing to originate a story, and another to just comment on it. If we pay for a person’s comments, then its expected that we hold them in high esteem and trust the message they convey. The governments pays a fortune to advisors, yet do we consider the decisions they make to be of great excellence? Going by that same Reader’s Digest poll, politicians are poorly regarded, with top honours going to the caring professions. As Jodie Speers reported in Seven News on Wednesday 27th June, 2012.

Reader’s Digest Most Trusted survey is out for 2012

WA TV History
The July 2012 Reader’s Digest edition of the journal has published the results of their Most Trusted Professions survey.

The web, radio and TV can do what newspapers can’t.

With the advances in web page technology and increased bandwidth, an online user can take advantage of a great multimedia richness, since broadband and the faster data speeds. The web can also take advantage of immediacy, with pages updated as News happens. There’s often a video to explain events for those wanting something more graphic than photos and text. Radio and television can also provide immediacy, though the web has the advantage of content on demand. Radio can respond rapidly to events owing to the cheaper signal technology having logistic and economic savings, compared to television… though the technology is shrinking in both size and cost. Response times will improve with greater public participation… with reports from people on the spot. Its important though that the interpretation of events be conveyed by a person trained in objectivity and dedicated to providing a true, fair, balanced and accurate account.

Enabling the public to have a voice.

Remember how people could once have their say in Forrest Place, on the Esplanade, or in the Opinion Column of the newspaper. Orators will have to tread water in future, if they intend using the Esplanade as a venue, with Perth’s new riverfront development. How wonderfully entertaining to hear Sir Robert Menzies’ comeback at hecklers. One involved his talking-up the virtues of the F-111 fighter bomber, that was tipped to cost a fortune, one heckler who appeared to have had a few beers too many shouted, “But its not off the drawing board yet!”, to which Menzies immediately replied, “My dear fellow, you are are not off the drawing board yourself!”. Talkback-radio provides some opportunities, but one can still be shouted down by the host, if your views are not compatible.

Today, the politicians use the mass media of newspapers and TV as a tool, whilst the plebs have gained a voice through the Internet. Not only that, but the common folk are saying things that would be seriously frowned upon in the old media, unless cleverly delivered as satire. Much like Rigby’s cartoons of yesteryear.

From early 2007, Pat Condell, an Irish-born English writer, political commentator, comedian, atheist, internet personality and a strong proponent of free speech began posting short controversial monologues to a number of video sharing websites, including YouTube. Though his rantings are extremely popular, others consider him to be a bigot, insulting, degenerating and racist. A YouTube spokesman said, “YouTube has clear policies that prohibit inappropriate content on the site, such as pornography, gratuitous violence or hate speech… If users repeatedly break these rules we disable their accounts.” Attempts were made to censor him, but the majority were overwhelmingly in favour of his ongoing presence.

Here is an example of his politically incorrect commentary:

Human rights travesty

A new low for the United Nations.

Pat Condell has consequently received numerous death threats from the real extremists.

Now anyone can use this border free platform to sound off, where the viral gets more views than most television shows. Though some YouTube content is better suited to “Funniest Home Videos” rather than serious reporting.

Its really a matter of who you trust most to supply valued information.

After the News satirist Jon Stewart joined the US Comedy Central’s ‘The Daily Show’ it steadily gained popularity and critical acclaim, resulting in his sixteen Emmies and being nominated for news and journalism awards. As the host of an entertainment and comedy show, Stewart is consider by many youth in America to be a more reliable source of News that Murdoch’s Fox News Channel.

News is but one of many services coming via the Internet, and up until now it seemed to be a free lunch. Though in reality, one has to pay the Internet Service Provider. We pay a subscription to them, yet they don’t generate the content. Now the commercial news media expect some compensation for their effort.

The ABC might seem free, yet it is being funded from the public purse, with those who pay tax providing the revenue source. This is something that Murdoch has attacked at regular intervals. Obviously concerned that institutions such as the ABC and BBC are white-anting his future wealth generating capabilities. It seems one can never be too rich.

The ABC and BBC will become more important as alternate sources, with the increasing control of media falling into less, but more powerful hands, as the British have recently learnt with the fracas over News of the World, and the number of allegedly improper influences and practices, bordering on the criminal.

Meanwhile, there is a plethora of alternate information sources, not necessarily associated with paid journalists. Some may be more accurately identified as misinformation, as any screw-ball can start up a blog and convey what ever they think, regardless of it being anchored in facts.

Fortunately, there are also a lot of learned people posting online, whether that be researchers, scholars, scientists, academics or experienced people in the know. Often these sources are more reliable, informed and accurate than the media reporting on them. But then there are scam artists masquerading as qualified people, causing us to question the legitimacy of matters found online.

Accuracy of reporting.

How often have we read a news article on a topic we are intimate with, to find it conveys a degree of nonsense. I recall working in a support role in the ABC Radio newsroom one morning in Perth, during the 1980s, to find that a report had been submitted regarding an accident at the Gloucester Park harness racing track the night before. Fortunately, the morning newsreader George Manning was astute in these matters and had been present at the venue to witness first hand the incident. He was gobsmacked to find the written story was fraught with serious errors, and corrected it before the first bulletin.

The ABC had a pride in triple checking details before broadcast, a tradition no doubt adopted from its sister organisation, the BBC. Yet these reporting misdemeanours creep in. Like the time the ABC reported the Queen Mother had died, almost a decade before her real passing in 2002, aged 101. Not that the ABC was alone in doing this, as many other news outlets fell into the same trap.

Those journalists who have excelled in their field are due the accolades. Some are highly proficient in research and have been energetic in making a difference. Coming up with life changing revelations, resulting in freedom for innocents who have been unjustly jailed, revealing corruption in high places and championing worthy causes. People like Walkley Award winning Estelle Blackburn OAM, whose relentless efforts led to the longest-standing convictions ever to be overturned in Australia when John Button was exonerated in 2002 and Darryl Beamish was exonerated in 2005.

On the flip side of the coin there are those who have allowed discrepancies to become part of a story by an apparent lack of diligence. If we are going to keep a record of events that take place, then we need to make sure it is accurate, otherwise future generations will accept misinformation as the truth. We’ll have some very spurious history books if that were to become the norm.

The same goes for political reporting. Rather than dwell on the controversy, which is often a beat-up, the journalist needs to concentrate on the real issues, and not be blinded by the often empty rhetoric. If the voting public is to make an informed decision, then all the extraneous noise needs to be filtered out. Its the reporters duty to cut to the bone and eradicate all extraneous blubber from the meat of the subject.

Between 1906 and 1914, shortly after founding the world’s first journalism school at the University of Missouri, an American journalist and educator Walter Williams wrote a code of ethics known as The Journalist’s Creed. Interestingly, many newspapers objected to the school, saying that reporters should follow the traditional apprentice route for training. The Creed is now posted in bronze at the National Press Club in Washington, DC and at the School of Journalism. The essence of the Creed is that journalism should serve humanity.

The Journalist’s Creed begins with:

I believe in the profession of journalism. I believe that the public journal is a public trust; that all connected with it are, to the full measure of their responsibility, trustees for the public; that acceptance of a lesser service than the public service is betrayal of this trust.

Its core principles are of clarity, accuracy, fairness, truth, independence and, above all, public service.

But what has been told through the voices of professional print and broadcast journalists, and witnessed by the world, is now being suppressed by dictatorial governments. Yet they are finding it difficult to block the transmission of images from mobile phone cameras, e-mails, and social networking sites. In this digital age of citizen reporting, the world is watching all of the time, everywhere.

For journalism to survive it will need to be two-way and collaborative in the world of new media. A conversation among those who know and those who want to know, and as the Reader’s Digest poll indicates, the public views the core values of journalism differently than journalists do.

Michael R. Fancher, a lifetime professional journalist, and recently a fellow at the Reynolds Journalism Institute at the University of Missouri School of Journalism, believes that journalists need to see the public not as an audience but as a community, of which journalism is a vital part. They need to see the Internet not just as a new medium for communication, but as a new way of networking among people, with journalism at the hub.

He believes that journalists can’t regain the public trust without better understanding and respecting those differences.

More on these notions can be found at: http://www.nieman.harvard.edu/reportsitem.aspx?id=101895

Related stories:

• From Papers to PCs: the story of the media in Western Australia
• The information and entertainment world is in a state of flux
• Media convergence – The evolution of content form and delivery
• What is the future of Australian Television?
• Can Free-to-air stations stay relevant as technology and audience needs change?
• Ongoing Media Challenges
• How and why there is piracy of popular content
• Local program needs Vs Central Control
• Reports on ABC Programs and Staff
• The plight of ABC produced programs and staff
• Six Years since last broadcast from former ABC Studios
• The end of Local TV… or is it?
• Background to the ABC leaving its former Perth studio site
• The Evolution of Television News and Presentation
• Chronicling History with the TV News Camera
• World changing technology…
• Chiefs, Indians and allegiances
• Future site for Seven and a flash back in time for Michael Edgley

Apollo 11 Lunar Module pilot Buzz Aldrin visited Carnarvon, Western Australia from June 22nd to 23rd, 2012 for a two-day program called “To the Moon and Back Festival” where he officially opened the Carnarvon Space and Technology Museum.

Dr Buzz Aldrin was handed the key to the town by Carnarvon shire president Karl Brandenburg and met many members of the community and visitors. He answered questions from school children, with about 500 students turning up to meet him. Tourism Minister Kim Hames said Dr Aldrin’s visit was an honour for the town and museum.

Buzz in Carnarvon

WA TV History
This video is an amalgamation of News footage shot by Perth’s television stations: Seven, Nine and TEN. With Natalia Cooper reporting for Seven, Peter Kapsanis for Nine and Nick Way for Channel TEN.

Carnarvon is a coastal town situated approximately 900 kilometres north of Perth, Western Australia. It lies at the mouth of the Gascoyne River on the Indian Ocean and survives on agriculture, fishing, mining and tourism.

The Carnarvon Space and Technology Museum celebrates the little known history of the role Carnarvon played in the manned space program and in the Australian communications industry. It is intended that a full range of Mercury, Gemini, and Apollo equipment will be ultimately on display, after the transfer of Muchea/Coastal-Sentry memorabilia, that is no longer featured as part of Melville’s ‘Wireless Hill Museum’.

The museum’s Chairman Phil Youd, who came up with the idea to invite Dr Aldrin to the region, says the museum is a celebration of the role Carnarvon played in the space program.

“We are calling this phase one and phase one basically is we are in a very small building but we figure we have to start somewhere and this is to get the ball rolling.

“We have got displays, we have pieces of equipment, we have video, we have interpretive panels telling the whole story of Carnarvon’s role in the space race,” he said.

Phil will be remembered by TVW staff as an audio operator with the station between 1979 and 2009. He now operates the Carnarvon radio station Hot Hits 99.7 which broadcasts from Carnarvon with a reach covering the Gascoyne region of Western Australia (Phil is the owner at Hits Radio Pty Ltd).

Carnarvon Space and Technology Museum

WA TV History
The Carnarvon Space Festival on Friday 22nd and Saturday 23rd of June, 2012, recognises the role played by the Carnarvon Tracking Station staff in the first mission to the moon, with more than 20 former staff members traveling to WA from around Australia.

Project Mercury was the first human spaceflight program of the United States. It ran from 1959 through 1963 with two goals: putting a human in orbit around the Earth, and doing it before the Soviet Union, as part of the early space race. The Russians jumped the gun when on 12 April 1961, Yuri Gagarin became the first man to travel into space, launching to orbit aboard the Vostok 3KA-3 (Vostok 1). Gagarin orbited the Earth once in 108 minutes and returned unharmed. Then on May 5, 1961, American NASA astronaut Alan Shepard Jr. became the second person, and the first American, to travel into space, but did not orbit Earth. He flew 116 miles high, then he came back down. The flight lasted about 15½ minutes, and was a success. Later in Apollo 14, Shepard became the fifth person to walk on the Moon. He also hit two golf balls on the lunar surface. Gus Grissom was the second astronaut to fly in Project Mercury. The third person was John Glenn, who in 1962 became the first American to orbit Earth aboard his space capsule Friendship 7. The second American to fully orbit Earth was Scott Carpenter. Wally Schirra was next, and Gordon Cooper flew on the last Mercury mission. He spent 34 hours circling Earth. The seventh astronaut selected, Donald K. “Deke” Slayton, was grounded because of a previously undiscovered heart condition, but later flew as a crew-member of the Apollo Soyuz Test Project.

The Muchea Tracking Station played an important role between 1960 and 1964, supporting the Mercury space missions, which paved the way for Project Gemini, the second human spaceflight program of NASA. These were conducted between 1965 and 1966, with ten manned flights occurring in spacecraft that held two crewmen. The NASA Carnarvon Tracking Station was built in 1963 for the Gemini program, and replaced the Muchea Tracking Station, using some of the equipment from Project Mercury.

Project Apollo covered the period 1967 to 1972, culminating in Apollo 11 landing a man on the Moon. Five subsequent Apollo missions also landed astronauts on the Moon, the last in December 1972. In these six spaceflights, 12 men walked on the Moon. Apollo was successful despite two major setbacks: the 1967 Apollo 1 cabin fire that killed the entire crew, during a pre-launch test, and an in-flight failure on the 1970 Apollo 13, which forced the crew to use the Lunar Module as a “lifeboat” when the command spacecraft’s propulsion and life support functions failed. Despite limited power, loss of cabin heat, shortage of potable water, and issues with the carbon dioxide removal system, the crew returned safely to Earth.

In May 1973, the NASA and OTC facilities were involved in the launch of Skylab, the first US Earth-orbiting space laboratory, which orbited the Earth till 1979. On re-entry, the heaviest fragments of Skylab’s debris fell into the Indian Ocean, though a large amount of debris fell in a swath from the coastal town of Esperance to the Nullarbor Plain, beyond the community of Balladonia to Rawlinna, a railway siding on the Trans-Australian Railway. One of the pieces was a large cylindrical oxygen tank that burst on striking the ground, breaking into two fragments which bounced in different directions. The largest fragment, the main body of the tank, found its way into the special Skylab collection of the Esperance Museum. The smaller fragment, the end cap of the oxygen tank, remained undiscovered until the early 1990’s when it was found by a stockman.

In a coincidence, the Miss Universe pageant was held a few days later, on 20 July 1979 in the Perth Entertainment Centre and a large piece of Skylab debris was displayed on the stage.

The Carnarvon Space and Technology Museum focusses on two parts. The Carnarvon Tracking Station and the OTC Satellite Earth Station, for which each station played separate roles in the early space industry.

The Carnarvon Tracking Station was located 10 kilometres south from Carnarvon. The station was built to support NASA’s Gemini, Apollo and Skylab programs. It was commissioned in 1964 and operated for 11 years, where it was the last station to communicate with the space capsules leaving the earth orbit, and the last to make contact before splashdown in the Pacific Ocean. At the height of the operation it had a staff of 220 people.

The Overseas Telecommunications Commission (OTC) Satellite Earth Station (now the Museum site) is situated at the northern end of Brown’s Range, a sandy ridge of 15-30m elevation about 6 kilometres from the centre of Carnarvon, and 4 kilometres north of the NASA Tracking Station. The OTC Satellite Earth Station was opened in 1966, to support the NASA Tracking Station with land cables connecting the two stations together. The station initially started with the 12.8 metre wide Casshorn antenna as part of the global satellite communications system. The Casshorn antenna has interacting parabolic and hyperbolic reflectors in a characteristic ‘sugar scoop’ form. It was the first earth station built in Australia by OTC, but closed in 1987 in favour of a new earth station at Ceduna.

On 21 July 1969, the day of the Apollo 11 moon landing, the Casshorn antenna relayed Neil Armstrong’s first steps on the Moon from NASA’s Honey Suckle Creek Tracking Station to Perth’s TV audience via Moree earth station – the first live telecast into Western Australia. Later in 1969, the larger 29.6 metre wide steerable antenna was built to facilitate better communication between the NASA Tracking Station and the USA.

Colin Mackellar of honeysucklecreek.net explains the television signal path which enabled Perth to see the moon landing. A solution devised by ABC engineers in Perth.

TV from the Moon was relayed from Honeysuckle Creek and Parkes, via Sydney to the Moree Earth Station. From there it was transmitted to the Pacific Intelsat III satelllite. Any Earth Station which could see the satellite (i.e. anything in the highlighted area) could receive the TV intended for Jamesburg and then Houston.

The full story can be found at: “How the Moonwalk was seen live in Western Australia”

Colin also explains why Carnarvon was chosen as a tracking station…

1. partly to be away from big cities with the Radio Frequency Interference (RFI),
2. but mainly to be in a spot which would see an Apollo spacecraft on its first and second orbits (and maybe one or two more, depending on the launch azimuth from Kennedy Space Center).

Carnarvon had a crucial role in checking all was OK with the spacecraft before the 3rd stage engine was re-lit for Trans Lunar Injection. This took place either over Central Australia (in which case Carnarvon, or an ARIA aircraft gave the go signal) or over the Pacific (in which case one of the tracking ships or ARIA would do it) depending on where the Moon was for a particular mission.

Carnarvon was also sited where it was for the earlier Gemini missions, since they used a similar launch azimuth (i.e. since Cape Canavaral is north of the equator, the missions were launched a little south of east – and Gemini and Apollo used a different launch azimuth from the Mercury missions, for which Muchea Tracking Station was perfectly located…)

If the launch had been delayed, the launch azimuth would have been adjusted to account for the Moon moving in its orbit…

Once the NASA Carnarvon station was operational, the poor comms to the USA was a bit of a problem. In the early days, it was all via PMG landline. See http://honeysucklecreek.net/other_stations/carnarvon/Hamelin_Pool_GT1.html

After that problem, a tropospheric scatter system was set up to link to Geraldton, but building the OTC station was the real solution!

Perth was still largely isolated from the rest of the country and the world in the 1960s. Though a morse code Perth to Adelaide telegraph line opened in 1877, Western Australia and South Australia used different varieties of morse code. Messages had to be transcribed onto paper by an operator of one State, then handed over a table to the operator of the other State, to be then retransmitted across the border. This was not resolved until Federation in 1901.

The first morse code radio transmitter in Western Australia began service on 30th September 1912. This was for communications purposes, and it was another 12 years before wireless was used for public entertainment broadcasts, with the launch of 6WF on Wednesday 4 June 1924. Perth did not get a telephone trunk line to the eastern states until 1930.

A brief international satellite hook-up between the UK and WA occurred in 1966, more by accident that design when a satellite failed to go into geostationary orbit.

The 1969 broadcast of the Moon landing by satellite, was the first significant live telecast from outside the State until a terrestrial link was established over the Nullarbor, when the East-West microwave broadband system was introduced in 1970, which greatly improved interstate telecommunications and provided a terrestrial television capability, yet a sealed road between WA and SA was not completed until 1976.

Darcy Farrell was not only a pioneer of television News in Western Australia, being the inaugural News Editor at TVW Channel 7, but also had to cope with technology of yesteryear to bring the world into Perth homes from 1959.

WA helped put a Man on the Moon

WA TV History
Perth Western Australia’s first television News Editor Darcy Farrell explains the role our State played in putting a man on the moon.

Before STW opened in 1965, TVW was the only commercial TV station in Perth, when many big news stories broke. None bigger than Apollo 11, in which the astronauts Neil Armstrong and Buzz Aldrin became the first ever to land on the Moon on July 20, 1969, whilst the command module pilot Michael Collins stayed aloft, orbiting the Moon.

Television was unique in being able to convey the immediacy of this mission, as viewers were able to witness for the first time events taking place live, involving humans on another celestial body. A feat unrepeated since the last Apollo mission.

Related stories:

• First Australia to UK Satellite Hook-up in 1966
• Pioneering Satellite TV Program Exchange
• A cross nation telecommunications link was established before a sealed road
• WA History: from Telegram to TV – Part 1 of 5
• WA History: from Telegram to TV – Part 2 of 5
• WA History: from Telegram to TV – Part 3 of 5
• WA History: from Telegram to TV – Part 4 of 5
• WA History: from Telegram to TV – Part 5 of 5
• AMMPT preserving our broadcasting heritage
• AMMPT Appeal for Storage Space
• Finding a new home for TV stations and memorabilia
• New Age Museums can dramatically boost tourism
• Wireless Hill Future – Part 1 of 6
• Wireless Hill Future – Part 2 of 6
• Wireless Hill Future – Part 3 of 6
• Wireless Hill Future – Part 4 of 6
• Wireless Hill Future – Part 5 of 6
• Wireless Hill Future – Part 6 of 6

Related links:

• Muchea Tracking Station: 1960–1964
• Carnarvon Tracking Station: 1963–1975
• Carnarvon OTC Satellite Earth Station
• Honeysuckle Creek Tracking Station
• Parkes Radio Telescope
• Other tracking stations
• Carnarvon Space and Technology Museum
  

An opportunity exists to relive the days of Dirty Dick’s bawdy Elizabethan restaurants, established in Perth by Frank Baden-Powell and Coralie Condon in Cambridge Street, Wembley, back in May 1970.

Dirty Dick’s Theatre Restaurant

WA TV History

It was bawdy, raucous, medieval mayhem and it took Perth by storm.

An old english feast and a live stage show rolled up in one.

Created more than 40 years ago by Perth stage and television pioneers Coralie Condon and Frank Baden Powell, Dirty Dick’s was a theatre restaurant that served up as much bawdy humour as it did roast beef and ale.

It opened in Cambridge Street Wembley and became an instant hit with its kings, queens, court jesters, buxom wenches and rollicking good fun. Ian Thornton and David Grew were young fellas back then, working as Dirty Dick’s minstrels.

Dirty Dick’s closed its doors in Perth and moved to Sydney almost 20 years ago. But now, event promoter Tom Tapping is bringing it back home to WA, convinced local fans still want more. Dirty Dick’s returns as a touring show. But if there’s a hearty apetite, Dirty Dick’s could come home for good.

The origin of this popular chain of restaurants came about through Frank and Coralie visiting Britain.

Whilst in London, Frank experienced The Gore Hotel’s Elizabethan Room, where he found people in modern dress sitting at a long dining table attended by Elizabethan serving wenches and a man in costume playing a lute.

Meanwhile, Coralie and Audrey Long visited other venues on a separate trip, which included a look at Dirty Dick’s pub in Bishopsgate Street, London. only a stone’s throw from Liverpool Street Station and Petticoat Lane

The site dates back to 1745, though the pub was rebuilt from ground level in 1870, with the wine vaults remaining as part of the original building.

The pub was once known as The Old Jerusalem, of which there were a number by that name spread around the country, to later become the Old Port Wine Shop, before acquiring its more colourful name.

By the end of the 19th century, its owner, a public house company called William Barker’s (D.D) Ltd, was producing commemorative booklets and promotional material to advertise the pub.

The Australian connotation of Dirty Dick is different from the historical character, who ended up living in squalor.

The original Dirty Dick was Nathaniel (Dick) Bentley, an 18th-century merchant who owned a hardware shop and warehouse on Leadenhall Street in London, which was bequeathed to him. His father had amassed a considerable fortune as a Wine and Spirit merchant and on his death, left the whole of his property to his son Nathaniel, who was also known as Richard or Dick.

Nathaniel had been quite a dandy in his youth, appearing in public in the most fashionable attire with his hair arranged by a court perruquier. For by the end of the 18th century, Periwigs (the particular long, curly wigs) had became popular, first in the French courts and then throughout Europe. This created great demand for French master wigmakers, and white powdered wigs with long ringlets, became the order of the day. But tragedy struck on the eve of Nathanie’s wedding, when his bride-to-be died.

So distraught was Nathaniel that he locked up the room in which he had prepared the wedding feast, never to enter it again. A broken man, he neither washed or changed his clothes. When his cats died, he just left them. It is thought that Charles Dickens used this tale as the inspiration for the character Miss Haversham, in his novel, Great Expectations (1861), who was humiliated and heartbroken, when she was left at the altar. Havisham had all the clocks stopped at the exact point in which she had learned of her betrayal. From that day on, she remained by herself in her decaying mansion, never removing her wedding dress and leaving the wedding cake uneaten on the table.

Nathaniel Bentley was to live the rest of his life surrounded by dirt and decay. His house and warehouse shop became so filthy that he became a celebrity for the wrong reasons. Any letter addressed to “The Dirty Warehouse, London” would be delivered to him. Nathaniel stopped trading in 1804 and died in 1809. The warehouse was later demolished.

The landlord of the Old Port Wine Shop in Bishopsgate Street, London, bought the contents lock, stock and dead cats. He put them on display at his pub and renamed it ‘Dirty Dick’s’.

In the mid 1980s it was decided that a clean up was in order and the dirty artefacts were cleared away.

This is the Dirty Dick’s pub, that Coralie and Audrey visited. It left an indelible impression on Coralie, not so much for its history, but due to its quirky name.

Back in Perth, Frank was taken by the notion of conducting Elizabethan dinners and discussed the concept with Coralie. He suggested Cheshire Cheese as a name for the proposed restaurant, whilst Coralie submitted Dirty Dick’s, which was then quickly agreed to with the theme being bawdy banquets.

Coralie has a long history with the Gilbert and Sullivan Society and mounted cheeky revues during her Repertory days.

Between 1951 and 1955 she produced six revue shows called ‘On The Beam’ at the Repertory Club.

The scripts were written and the music composed by Coralie, as she had done for her full scale stage musical “The Good Oil”. Her flair for musical comedy was also put to good profit in preparing scripts, music and lyrics for the Old Time Music Hall, another joint venture with Frank Baden-Powell.

Dirty Dick’s is a similar form of theatre restaurant entertainment, but this time with an Elizabethan theme.

The popularity of the venue was such that it spread nation‐wide, with premises in Sydney, Melbourne, Adelaide, Brisbane, and Auckland in New Zealand, whilst also touring regional centres, before extending the operation to Los Angeles in the United States.

In 1988, the Gilbert and Sullivan performers Jeremey and Gaylor Murray joined the company, with Jeremey also filling the role of General Manager until the Perth venue closed, though the show continued touring through 1997.

On retiring from her Dirty Dick’s activities, Coralie gave all her resources to her Sydney accountant Simon Mumby, who was with the Sydney Dirty Dick’s operation, and continues the operation to this day with Sydney actor and director Mal Carmont and a team of enthusiastic performers, with Coralie’s music and scripts still part of the repartee. As was always the case, the show will continue to evolve as new material is included.

Not only does the Sydney operation continue to this day, they also present shows regularly in Newcastle, the Central Coast and Canberra.

Touring Shows travel to regional Australia on a seasonal basis, and they are presently touring WA.