Notion of a 7-2-9-10 Club

The 729 Club was once patronised by members of the Sydney radio, television and advertising industry. It was located in the Sydney suburb of St Leonards during what most would call the ‘pioneering’ days of the Australian television industry.

The club was starting up at the same time television was being introduced to Western Australia in 1959.

The Foundation Members include key people in the industry at that time.

The 205 Foundation Members represented every branch of the industry. There were film cameramen and editors, television technicians, news readers and writers, television producers, program directors, suppliers of film and equipment, entertainers, executives, studio hands, advertising agents and independent film producers.

The committee was composed of people from the ABN-2, ATN-7, TCN-9, advertising and the entertainment field.

One committee member was ex-ABC Script Assistant Beverley Gledhill, who transferred to ATN-7, but on accepting a position as a TV program director in Perth, had to resign from the 729. This was also the case with ATN-7 cameraman Gordon McColl, who became the senior cameraman at TVW-7 for the opening night.

TVW sales personnel frequented the 729 including Brian Treasure and Stan Fildes, who started up the Melbourne Office and who along with Bill Glance, Des O’Dwyer and Greg Byrne, pioneered television sales in Perth.

Stan Fildes provided the following anecdotes relating to the 729 Club in Sydney.

I recall meeting an agency guy at the Club in the 70’s at about 11am for a cup of coffee; (we could well have been trying to recover from ‘drinks’ the night before!) He was running a bit late, so I decided to put a few coins on one of the Club’s ‘pokies’. Being a sociable kind of guy, I struck-up a conversation with a young lady playing the machine next to me. I asked her how she was going she said :”not too good today—I’m down about 350 dollars”. (And this was 11 in the morning in the seventies!)

The other story also has to do with the pokies: My boss and good friend Brian Treasure, always gave a high priority when visiting Sydney to socialise at the 729 Club (read ‘socialise’ to mean play the pokies for lengthy periods at a time!) Moreover Brian, in that confident and enthusiastic way of his, was convinced he knew how to beat the machines and ipso facto, would clean-up the major prize to take back to Perth. Well, It was all in the careful manipulation of the machine’s handle—he tried to convince me, (despite my efforts to warn him otherwise): We had the super-quick pull; the very-slow pull: the ‘5-jerk pull’ and all kinds of other variations (somewhat reminiscent of covert adolescent conversations at boarding school)—but despite some small rewards along the track, the Big One somehow evaded BST. (I also recall that at the end of an unfruitful night seeking the major prize, Brian would speculate that had I got him to the Club a “bit earlier” (or later) he may have ‘cleaned-up’.

Anyway, the 729 Club was a great place to get together with people in the business in rather more friendly—and exciting—times.

Derrick Wright also reminds us that we had a 729 chapter in Perth from about 1965 till around 1980, which used to meet on the first floor balcony at His Majesty’s, or as it was then named Her Majesty’s.

Its now an appropriate time to think about the social aspects of the industry as a number of reunions have taken place in recent years. An activity all participant find enjoyable, catching up with old friends and colleagues to relive previous glories.

Then there was a number of small groups assembling at hotels, homes and coffee shops on regular occasions.

Earlier, STW-9 held their 30th Anniversary at the Knight Klub in 1985.

In 2005, STW-9 personalities past and present helped the station celebrate 40 years.

In 2008, NEW-10 commemorated their 20th anniversary.

Jo-Ann Ledger points out that they too had some good parties at 10!

“In the early days all my party planning was done in conjunction with my special adviser John Barnett, we were in the transportables and all parties had to be outside… Bill (McKenzie) had asked for a moral boosting event…..I spent a lot of time talking to John about the day and we kept on changing the dates (as I remember it became an item on the weather – all we have to do is plan a party here at 10 and it rains…we were going to go in to the rain making business)…eventually it went ahead without rain as I remember…..and then there was the Xmas Party – I erected the marquee over the storm drain, and the heavens opened!!”

Bill McKenzie (inaugural Managing Director of NEW-10) offered the following thoughts…

“I joined the 729 Club in Sydney early in 1963 ….very happy memories. It was in Falcon Street, near Military Road, Mosman. Very well appointed, lot’s of poker machines, excellent dining room (roast lamb and apple pie for 6 shillings ) Club had lot’s of money and lot`s of functions ….all subsidised by the pokies.”

“If the concept proceeds in Perth, then I guess you’ve got two options, access to ABW’s old premises and coffee with the odd meeting or you go the full monty with licenced premises, food and a couple of staff. Potential membership is in the hundreds and it should generate substantial income together with an annual membership fee. Would take some organising but there should be enough expertise in the ranks. Whichever option depends, I guess on the interest shown. Maybe a notice in The West reunion (Monday?) to try and get an indication. Would be wonderful if you can get enough support.”

In the early days of television in Perth, there was much after hours socialising by TVW and ABC staff, which extended to sporting matches and balls. Friendships were formed and this mingling was extended to regular parties and nightlife venues such as the Coffee Pot in Wellington Street, Frank Baden Powell’s Hole in the Wall Club on the corner of Stirling and Newcastle Street and the Montmartre in William Street, to mention a few.

Other popular Perth night spots frequented by the fraternity included the Quitapena opposite the Mint in Hay Street, Shiralee in Howard Street, where Peter Harries hosted folk singing nights, and Melpomene opposite the ABC in Adelaide Terrace. They were also key spots where prospective talent appeared, of which a number made regular appearance on shows such as Club 7 Teen.

The Quitapena was often frequented by Alan Bond, before he made it big in real estate. Popular performers included the Twiliters and Maggie Hammond. An early social contact between Seven and the ABC was Derrick Wright, who also frequented the Quitapena. The basement across the road from the ABC in the former Casablanca Restaurant building, housed the Melpomene night club. The Melpomene was run by an American writer, poet and actor named Bob Nelson, who appears briefly on “In Perth Tonight”. He was great working a live audience but unfortunately froze when confronted with a television camera, hence his TV career was short lived. A great character and raconteur who allegedly lost his club to a suspicious fire ten days after refusing to pay an extraordinary insurance fee. He was also said be an adventurer who flew arms into Cuba for Fidel Castro and the severe scaring to his stomach being the result of bomb inflicted injuries.

It was a time when the opening hours for Pubs were heavily restricted, creating a small but lucrative black market in illegal alcohol, leading to the proliferation of such outlets known as “sly grog shops”. The Hole in the Wall Club was frequented by many musicians, actors and folk from the broadcasting and advertising fraternities. It was generally an elite and orderly crowd of late nighters who enjoyed the jazz and good company. Order was maintained by restricting access. The entry was a locked door and people were vetted before entry. The Hole in the Wall introduced a membership fee and those accepted were provided a key decorated with a clover leaf. It then became known as being a key club.

In theory, a Bring Your Own (BYO) Liquor Permit enabled meals to be prepared and provided to patrons for consumption on the premises, where there were adequate ablution facilities provided. It was intended for reputable restaurants, though in the case of the Montmartre, this consisted of toasted ham and cheese sandwiches, and the Hole in the Wall it was potato chips.

Telecom Cable Reels were used as tables and a cushion on a milk crate as a seat. Each table was furnished with a candle protruding from a bottle. The lighting was dim within the smoke filled environment as music permeated the air from either a record player, solo musician or band. The serious drinkers congregated around the bar whilst groups mingled at the tables. There was no end of colourful characters to entertain with stories, jokes or poetry.

A corkage fee was charged by both the Hole in the Wall and the Montmartre, with the unconsumed bottles identified by the owner’s name. Once a customer became well known and trusted, drinks were maintained at a fee for those whose bottle had run dry, subject to the kindness of the bartender and the friendships that had developed.

Through a connection with Gordon McColl and Derrick Wright, many television staff frequented the Montmartre, and after closing hours the Hole in the Wall, which soon fostered the theatre in the round concept in Perth, offering many opportunities to local thespians.

Frank Baden-Powell then joined Coralie Condon in establishing a series of theatre restaurants, starting with the Old Time Music Hall in 1967, which opened first in Fremantle, and the following year at the Civic Theatre Restaurant (which later became Diamond Lil’s and then the Island Trader) and in 1970 they opened Dirty Dick’s Elizabethan Rooms, which spread nation wide, with premises in Sydney, Melbourne, Adelaide, Brisbane, Canberra and several regional centres. At one time there was even a Dirty Dick’s in Los Angeles. The theatre group also toured extensively throughout the country with a selection of about fifteen shows. Peter Harries and Max Kay also opened theatre restaurants. These venues added much sparkle to Perth’s family night life before the Burswood complex opened.

Meanwhile, and much earlier than this, the TVW social club was instigated by John O’Callohan (John later established the ABC Training Department in Perth). The club organised social excursions, dances and the TVW Ball.

Peter Harries kindly provided the following anecdote lifted from the TV Times which deals with ABC-TV’s Ian Beatty.

Peter Harries also relates a story when the STW-9 social club was formed, which happened to coincide with him trying out for compere at the Nanking Chinese restaurant in Belmont. Unfortunately, the manager Charles Wong did not watch television, so needed Peter to convince him that he could garner a laugh out the audience. Peter was in luck as the next day a couple of the girls on staff at Channel 9 came into the Production Office.

“We’re starting a Social Club and want suggestions for our first party. We want to have it soon.”

“You’re in luck”, said Peter as he detailed the venue, attractions and modest costs.

The committee decided that it was a good idea and so, on Peter’s first night at the Nanking, most of the audience comprised some fifty or sixty of his fellow workers.

June Holmes provided this 1965 glimpse of the very early STW-9 Social Club days with their ten-pin bowling team, which competed against others at the then Rosemount Ten-Bowling club in Walcott Street, Mt Lawley.

Staff from other stations also received invitations to attend the ABC Ball, where the National broadcaster had an active social club. In later years, the ABC Canteen gained a liquor license. This was an unusual situation as the ABC was located on Commonwealth property, and like the airport, was not subject to State laws. Though the social club, wished to be seen as doing the right thing, so applied and was granted a license.

It was not uncommon for functions to be conducted in the large television studios of the various stations, often celebrations after a job well done.

The ABC building in Adelaide Terrace was particularly well suited for all manner of people activities. An excellent venue was the ABC’s Basil Kirke Studio, which along with the radio building, studios and administration block is now heritage listed.

The Basil Kirke was not only excellent for conducting the ABC Ball, but all manner of things from being the home to the Western Australian Symphony Orchestra, to the Tally Room during elections.

The neighbouring variety studio 621, at the former ABC building, was also an excellent spot for some impromptu mingling.

Studio 621 was used mainly for variety shows involving everything from serious music to rock band recordings.

The studio also served as an excellent banquette area for revellers during functions such as the ABC Ball. Then there was the well appointed ABC canteen where more revelry took place, its a wonder any work was done with official functions and the many ABC Social Club parties.

It is fortunate that the site of all this frivolity will be preserved and restored under a heritage listing. Though the former ABC-TV site has gone to be replaced with luxury apartments.

The former 6WF studio in the old building is also being preserved.

The former ABC crew still regularly mingle at every opportunity. So between the various stations, both radio and television, there is still the spirit to congregate with former colleagues, who are now old friends. This then poses the notion that a 7-2-9-10 Club, which also embraces the entertainers and allied fields, could possibly be a goer if we can find a suitable venue. The heritage listed former ABC immediately comes to mind?

ABC colour photos kindly provided by David Carlisle

NEW-10 memorabilia kindly provided by Glenn Day, STW-9 photos courtesy of June Holmes and Peter Harries, other memorabilia kindly provided by Brian Williams, Derrick Wright, Bret Treasure, Daryl Binning and George Chapman. Also wish to thank Stan Fildes, Derrick Wright, Jo-Ann Ledger, Bill McKenzie, Peter Harries, June Holmes, Gordon McColl and Pixie Hale for their much valued input. The notion came to mind from Kevin Campbell reminiscing.

The ABC was considered an alternate source of programming, and as such, more stimulating and thought provoking. This did not necessarily mean popular with mainstream audiences. It was argued that the ABC must remain relevant so that the taxpayers received value for money, but does this result in compromises rather than excellence?

It can be asserted that attracting a larger audience is making it more relevant, but if that audience is less distinguishable from the commercial viewing crowd, then there is an increased likelihood that mimicking the commercials will result in a dilution of the so called stimulating and thought provoking alternate fare. The problem is that what stimulates an intellectual can often put to sleep the majority.

There are the occasional shows that can fulfil the viewing needs of both. Programs that are cleverly written that both entertain and invigorate the grey matter. Quality British shows had a history of doing this, which the ABC tried to emulate. The BBC and ABC pioneered the current affairs revolution, which once became popular with the mainstream, was soon adopted by the commercial stations. Satire was another area the British excelled at, that the ABC ventured into, often with very quirky results such as the Aunty Jack Show, Max Gillies and many more. Producing a fresh batch of young stars such as Andrew Denton. The commercials soon leeched talent from the ABC, but did not always foster that talent in the same manner. It was more about profit making than taking risks and squandering resources on experimentation.

The commercials now lavish larger budgets on shows such as Master Chef. Who would have thought that a cooking program could become a rating juggernaut? The multiple camera use, computer graphics, staging and lighting of modern shows is a world apart from a simple three camera studio or outside broadcast effort of the early black and white era. Kerry Packer started a revolution when he stole the cricket from the ABC and invigorated it with high tech graphics and energetic presentation. In this case, it was Nine who were the trend setters, much to the horror of the then staid cricket establishment. There was a time when the WAFL would not permit live broadcasts of the football, or for that matter even a replay, but how things have changed to where selling television rights is a very significant part of the AFL’s finances.

The ABC was an early television trend setter, lavishing big budgets that used the symphony orchestras to entertain in grand popular music shows presented by Lorrae Desmond (1962 Gold Logie Award for Most Popular Personality on Australian Television for The Lorrae Desmond Show), Jeff Phillips (Sounds Like Us in 1970) and the like, as they offered quality big band variety extravaganzas and pioneered Australian television drama before Crawfords Australia entered this field with a range of police dramas, sitcoms, mini-series, telemovies and children’s drama.

The ABC was also renowned as a training venue for program makers and technicians. Its internal training section tutored people in valued skills, which led to the commercials tempting graduates to leave to service their needs. This was a drain on ABC finances for the benefit of the commercials, which eventually led to the ABC abandoning its large scale in-house training for more specific short courses aimed at management and program makers. The heavy duty training then became the provence of institutions such as Technical and Further Education (TAFE), Universities, and performing arts academies.

This soon extended to program production as former ABC staff-elected director, journalist and broadcaster Quentin Dempster enlightened us in a Sydney Morning Herald article titled: Deliberate dismantling of our diminished ABC continues

He points out historically that…

“When the Hawke and Keating governments slashed ABC funding, the management and board began a regime of co-productions in drama. By the mid-1990s, the ABC no longer produced any drama in-house.”

“The co-production model then moved to other genres, pursued by heavy lobby pressure on government from the commercial television production sector. The in-house natural history unit was soon gone, followed by documentary.”

“The outsourcing of ABC television production to the commercial sector now covers all drama, documentary, natural history, most feature programming and, increasingly, studio-based light entertainment.”

“Many programs, particularly drama, are commissioned with external co-funders on the basis of their commercial ”bankability”, that is, their prospects for profitable on-sale to pay TV and other commercial operators and spinoffs after a showing on the ABC.”

In our article titled: The plight of ABC produced programs and staff  we investigated a number of issues facing the ABC and made reference to the Senate inquiry into job and program cuts. The Senate has now tabled the report dated October 2011.

Here is a link to the related PDF file: Senate Report on the Inquiry into recent ABC programming decisions

The Senate report urges the ABC to maintain internal TV production in all the regions or risk weakening its independence. It also recommends the federal government and the ABC develop a way to ensure the ABC is getting value for money when working with independent producers.

Kim Dalton, the ABC’s director of television, argued that it is cheaper to make shows externally than in-house using the ABC’s own resources. But the Community and Public Sector Union disagreed, calling for a full audit to determine the truth. Journalist Quentin Dempster joined others, including the minority Greens, wanting an independent audit of the ABC’s programming finances, so that the real cost of internal vs external production can be established. But the Senate did not adopt this call, nor did they agree to a reversal of the recent redundancy round which saw 100 jobs lost, in particular in Brisbane, Adelaide, Perth and Hobart.

The inquiry also rejected the Union’s call for a fixed commissioning model along the lines of the BBC’s model, which ensures quotas for internal and external production. But the report did come down on the side of ABC staff, urging ABC management and the federal government to halt the loss of programs and staff in the smaller States.

The inquiry received 335 submissions with a further 68 form letters from interested parties, including independent producers, ABC unions and staff. The Senate committee had only two weeks to produce its report after a one-day public hearing was held in Canberra on 26 September.

Recommendation 1

The committee recommends that the ABC ensure that it maintains an effective capacity to internally produce quality programming across the regions in addition to news, sport and current affairs. The committee notes that the increasing use of external producers has the capacity to diminish the ABC’s independence and skill base.

The committee calls on the ABC and the Minister for Broadband, Communications and the Digital Economy to identify and implement processes which ensure value for money, transparency and skill retention. In the context of the need to maintain the ABC’s skills base, the committee calls on ABC management to immediately reassess the implications of any employment decision on its capacity to deliver quality programming across the network.

Recommendation 2

The committee recommends that ABC management sets out in detail where it sees its future as a broadcaster and a content producer, and particularly with reference to the ABC Charter responsibilities of balancing programs of wide appeal and specialist interest as well as how ABC programming reflects the cultural and regional diversity of the Australian community.

Recommendation 3

The committee recommends that ABC management release a draft television production strategy for staff, community and private sector consultation, prior to its finalisation.

Recommendation 4

The committee recommends that the ABC consult with stakeholders prior to making significant changes to either internal creative and production structures or state-based activities.

Recommendation 5

The committee draws the attention of ABC management to the ABC Charter obligations to ‘encourage and promote arts, including musical, dramatic and other performing arts’ and calls on ABC management to urgently publish a strategy outlining how it can meet this obligation given the planned disbanding of the ABC arts unit.

Recommendation 6

The committee recommends that wherever appropriate the ABC include free archival use clauses in all future co-production contracts.

Recommendation 7

The committee recommends that the ABC publish annual targets of regional content on ABC television against which it reports in order to meet its Charter obligation to ‘reflect the cultural diversity of the Australian community’ and to promote ongoing internal program production in the Brisbane, Adelaide, Perth and Hobart (BAPH) states and regional Australia.

Recommendation 8

The committee recommends that the ABC actively manage its production facility infrastructure, particularly in the Brisbane, Adelaide, Perth and Hobart (BAPH) states, so that it is utilised as effectively as possible.

Recommendation 9

The committee recommends that the government take into account the findings of the Convergence Review about the structure of the media market and investment in Australian content by all broadcasters when considering the ABC’s funding needs in the forthcoming triennial funding round.

Recommendation 10

The committee recommends that as part of the triennial funding round, the government consider the ABC’s capacity to maintain a critical mass of staff, skills, infrastructure and production in regional areas.

Meanwhile, the ABC Annual Report 2010/11, has been tabled in parliament and is now available on-line and in printed form.

Here is a link to the related PDF file: ABC Annual Report 2010/11

The following contains some extracts, notes and comments related to the Annual Report.

The report reveals that the ABC’s redundancy costs more than doubled, rising to $7.311 million last year. In 2010 the ABC’s redundancy bill was just $3.161 million. Meanwhile, wages and salaries increased to $325.900 million in 2010/11, an increase from $304.451 million the year before.

The increased redundancy bill is a result of the TV production review which led to many ABC staff taking voluntary redundancy.

Management salaries increased too, with ABC managing director Mark Scott earning $758,059 last financial year, an increase of $111,809 on 2010.

In total, six ABC executive officers will receive around $2.8 million this year.

Last year, the six were paid approximately $2.5 million.

During the year, the Corporation had 145 (132 in 2010) other employees who received gross payments in excess of $150,000.

The ABC paid bonuses to 161 executives totalling $749,666 an average of $4,656 per executive. It paid bonuses to 121 non-executive employees totalling $298,387 an average of $2,466 per employee.

Also during 2010/11, the ABC spent $1,945,845 on consultancies.

The ABC Annual Report 2010/11 revealed that the ABC’s redundancy bill had more than doubled last year, therefore expecting less staff to be on the payroll this year. Yet at the same time more staff were being employed as others were being shed. Last year, the ABC full-time employees increased from 4,557 to 4,599.

Full-time employees

“Full-time equivalent” positions account for all employees, including those who work part-time or have other flexible working arrangements.

Distribution of employees

The ABC employs staff across five broad categories, each of which performs an important function in the Professional ABC’s operations.

Interestingly, there’s almost as many chiefs (325) as indians (350) when it comes to keeping the technological wheels greased and in motion, and twice as many administrative staff (741).

New South Wales and ACT employs more than half of the total staff, with Victoria and Queensland employing another quarter.

South Australia, Western Australia, Tasmania and the Northern Territory only employ 19.9% of the total staff between them.

Sydney thus seems to be the epicentre of most activity, which corresponds to the distribution of population throughout Australia.

Australian Population Distribution

Western Australia has only 5.7% of the ABC workforce and negligible TV production, yet Perth and Adelaide audiences support ABC1 more than any other state, according to the below OzTAM survey in mid 2011.

As at 30 June 2011, the Corporation had contributed $509,600 ( $611,200 in 2010) towards the operational costs of Freeview, which comprises all the channels from Australia’s free-to-view broadcasters, including the ABC, SBS, Seven Network, Nine Network, Network Ten, PRIME7, WIN Television and Southern Cross Television.

Our story Can Free-to-air stations stay relevant as technology and audience needs change? deals with the changes in free-to-air television, as opposed to Pay TV. Freeview is intended to bring all of the free-to-air (FTA) broadcasters on to a consistent marketing platform to compete against subscription television, in particular Foxtel.

Ongoing Media Challenges explains the impact of digital television in an environment of ongoing change in the industry.

In our story What is the future of Australian Television? we take a look in the crystal ball to see where the television industry is heading.

The Corporation paid user fees to MediaHub in 2011 totalling $4,312,188 ($807,515 in 2010). The Corporation also contributed a further $2,687,893 ($16,593,538 in 2010) in capital contributions. In return, The Corporation received $278,306 ($107,568 in 2010) in service fees from MediaHub as payment for ABC employees who have been seconded to MediaHub.

MediaHub is a joint venture between the Australian Broadcasting Corporation and the WIN Corporation which is designed to further centralise operations for both organisations with the intent of cutting costs.

MediaHub Australia is a multi-million dollar state-of-the-art facility in Ingleburn in Sydney’s South West. It is now the central location for broadcasting both WIN and ABC television content throughout Australia.

MediaHub was covered in some detail in our story titled: The Evolution of Television News and Presentation

The ABC’s MediaWatch on 1 November 2010, had a shot at MediaHub’s teething problems as told here: MediaHubble toil and trouble

More than half of ABC1’s top 20 programs in 2010/11 were Australian productions.

Gruen Nation was ABC1’s highest rating program in 2010/11, with a five-city metropolitan series average of 1.6 million viewers. Gruen Nation was repeated on ABC2, achieving a five-city average of 221,000 viewers. The series recorded 106,000 plays via ABC iview.

Online audience

ABC Online reached an average 3.5 million users each month in 2010/11 (up 7% on 2009/10).

ABC Online provides audiences with a range of ABC content and services, including program sites, the catch-up television service iview, live radio streaming, podcasts, news, opinion and analysis, blogs, ABC Kids, ABC Shop Online as well as links to the ABC’s presence on social media platforms.

The ABC TV specific online traffic reached an average of 1.2 million users each month in 2010/11, up from 1.1 million in 2009/10. Interestingly, there is a high interest from overseas users, as there was an average of 14 million domestic and international visitors each month to ABC Online, an increase of 40% from 2009/10.

Please note that “Reach” measures the total number of people who have visited a website over a month, whilst “Visitors” measures the number of unique browsers (not individual people) which have accessed ABC websites, not to be mistaken for “Visits” which measure the number of sessions on those sites. For example, each month, ABC news and current affairs websites reached an average 1.84 million users and averaged 7.9 million visitors and 19.4 million visits. ABC Online websites overall reached an average 3.5 million users and averaged 34 million visits. Its very easy to be confused by the jargon, so reader please beware.

Regardless of the statistics, the ABC website is attracting a significant and growing audience which is complementing their broadcasting activities, by encouraging greater audience participation. This appeals to younger audiences and is thus capable is creating a culture where up and coming generations will consider the ABC is ‘cool’ and progressive rather than the old ‘Aunty’ notion. Particularly if this is reinforced by the type of programs being broadcast. Because the ABC has so many outlets, it can now cater for all manner of tastes. The intellectuals can listen to Radio National, the music connoisseurs to Classic FM, youth to Triple J, and so forth from radio through to television.

Not only is the Internet providing program information and participation, but it is also enabling people though iview to catch up on programs they have missed.

ABC iview

In 2010/11, ABC’s internet television service iview recorded 740,000 monthly visitors in 2010/11, an increase of 84% from 403,000 in 2009/10.

ABC iview has moved beyond the personal computer, and is now available on leading internet connected television, set-top boxes and the Apple iPad, giving audiences more choice than ever in when, where and how they consume ABC television content.

Social media

Social media is now a key part of the ABC’s strategy for promoting new television programs as well as allowing audiences to participate online, allowing the ABC to develop active communities and engage in new conversations with audiences.

Programs such as Q&A, Spicks and Specks and Angry Boys saw audiences sign up in record numbers to join the conversation on social media platforms such as Facebook and Twitter.

On 22 July 2010, the ABC launched the free-to-air ABC News 24, with contributions from ABC correspondents based in 13 international bureaux. The ABC claim it is the most watched news channel in Australia. Though Sky News Australia, the Pay TV 24 hour cable and satellite news channel also claims to be Australia’s leader in 24-hour news, being available in 2.5 million homes on Foxtel, Austar, Optus Television and Neighbourhood Cable subscription platforms.

Sky News Channel’s parent company Australian News Channel Pty Ltd is owned by British Sky Broadcasting, Seven Media Group and Nine Entertainment Co., each with a 33% stake in the company respectively.

Meanwhile, Seven News claim to be the most-watched news program as the number one rating news-service around the nation in every capital city in Australia.

Though when one considers in-depth coverage, a half hour commercial news bulletin is rather short when advertisements, promotions, sport and weather are subtracted.

The ABC’s MediaWatch on 3 October 2011, had a shot at ABC News 24, or as they termed it ABC Snooze24.

It seems they were running the BBC’s coverage of the speech to the UN General Assembly by Palestinian President Mahmoud Abbas, who was there with the Palestinian delegation to make waves and push for a vote on statehood. In the midst of his address, the ABC chopped in to play numerous promos and then go to The World This Week, with Tony Eastley, where the first story mentioned that this event was to happen. So rather than hear news happening live, we were given old news pointing to the event.

Just to make matters worse, Sky News covered the event live.

A not uncommon thing on ABC News 24 as witnessed when Prime Minister Kevin Rudd was deposed or the Christchurch earthquake.

An ABC transcript and video of this story can be found at: ABC Snooze24

Intrigued by the finances relating to ABC News 24, freelance journalist Margaret Simons, an author and convenor of journalism at Swinburne University of Technology lodged a freedom of information request to determine how much the service costs. Her reports can be found at the community funded blog site YouCommNews titled: The Final Outcome- ABCNews24

Margaret’s story has also been accepted for publication by Crikey.com.au

The ABC always seems to have been a political hot potato, being funded by the public purse but then being pressurised through budget cuts to be more palatable to the political party in power. They are in a no-win-situation where each party thinks they are biased against them, particularly when the ABC asks the embarrassing questions that need to be answered.

The ABC sometimes shoots itself in the foot, like the time the second radio network (now Radio National) caused a furore in federal parliament when they made a big feature out of pedophilia some three decades ago, by interviewing such sexual deviates and making their habits a focus of the evening. That set the big guns blazing, putting the ABC under the microscope ever since, and severe retribution in the form of budget cuts. Not that this stops the rebels, as occurred as a result of an ABC innovation to retrain typists and make them Broadcast Officers (production assistants, producers and presenters) once email and terminal based word-processing replaced the typed memo.

The initiative involved creating the Australian Women’s Broadcasting Co-operative where the female staff were not only given tutoring in program making skills but a show on Radio National to practice these skills. What started out with the best of intentions was soon taken over by the feminist element. It was a time of great protest following Germaine Greers publication of the Female Eunuch in 1970, which then spawned the feminist movement. From 1975 and for twenty years, the Co-operative had a big impact for women within the ABC. This eventually led to a greater awareness and equal opportunity.

The opportunities offered by the Co-operative not only led to liberation in the workforce, but was a regular theme of the workshop’s weekly radio program The Coming Out Show, which become more adventurous by the week. Sex discrimination issues and equal opportunity were championed by this group, prompting internal reforms within the ABC, which helped change the voices of ABC Radio and opened doors for many women broadcasters and journalists. But a fair go for women in the workforce was not their only agenda, for soon the discussion moved onto sexual matters, dealing with all manner of female issues from contraceptive to abortion. Much of this was very enlightening, though some arguments were highly controversial for the time. When most of these issues were exhausted, they then ventured onto the sex act and dwelt with various techniques, sexual persuasions and toys. Much of this was very titillating at first, but then seemed to deteriorate as the rebel element started pushing the boundaries more and more. It was remarkable that the language and content did not result in a further furore in federal parliament if anyone bothered to listen. The saviour was probably the fact that the show did not register on Radio National’s ratings, and maybe non-followers just turned off rather than complain?

Now days explicit language and the discussion of alternate lifestyles is less likely to shock… but the ABC has surely pushed the envelope over the decades in more ways than one.

The current issue within the ABC is now the threat to internal television production.

So if all production is outsources one day, there will no longer be any scope for the rebels and any program experimentation for that matter?

We sadly report the passing of David Dallimore, an English gentleman who emigrated to Australia and is fondly remembered by radio listeners for his twenty years of broadcasting and entertaining at the microphone of 6IX in Perth and regional stations 6WB, 6MD and 6BY.

David worked in the manufacturing and maintenance aspects of the British aeronautical industry, before his wife’s parent sponsored him out to Australia, not long after the second world war. It was a time when the limited aircraft work opportunities were going to Australian returned servicemen, so David worked as an inspector for Chamberlain Tractors until a friend suggested he audition for radio.

David had a wonderful voice for radio and was soon engaged by 6IX when located at Lyric House, the Musgroves building in Murray Street, where on a hot night he would open the windows, which enabled listeners to hear the city trams pass by.

There was not the proliferation of radio stations we have today, and it was common for David to receive music requests from listeners in other states, when the station propagation was enhanced by the atmospheric conditions at night.

Often David was caught running two programs simultaneously, one for the regionals and another for 6IX in Perth, until the regionals could join the metropolitan program. His youngest son Peter recalls as a child changing records for his father in one studio, whist David was busy talking on-air in the other.

At first, 6IX was half owned by WA Newspapers and half by the music store Musgroves, until the station became wholly owned by The West in 1963. 6IX then moved to Mounts Bay Road, until TVW bought the station in 1970, followed by a move out to Tuart Hill in 1971. By this time David was working in the traffic department, when the 6IX and TVW scheduling efforts were combined in the same section.

David eventually joined the Supply Department with Ken Kemp, before retiring from the company in 1984.

TVW Enterprises and 6IX changed hands in 1982, resulting in much upheaval as the culture changed with many long term TVW executives leaving shortly after. 6IX was sold in 1987 and everything changed, including the call sign to 6GL, being branded on-air as The Eagle 1080 AM, until sold again to regional operator Radio West, who re-instated the original 6IX call-sign.

David was fortunate to broadcast during the golden age of radio, before television made its impact, for David to then conclude his radio career employed by Perth’s first television station.

Many former colleagues were unanimous in saying that David was a gentleman, including Don Rock, Ken Kemp, Coralie Condon, Richard Ashton, Murray Jennings, Hilary Everard and Kerry Ryding.

DALLIMORE (David): 2/3/1919 – 13/10/2011

Loving husband of Ethel, father of Richard, Roy and Peter, grampie to Toni, Mark, Glen, Louise, Fiona and Christopher. Great grampie to Cherish, Destiny, Saoise, Erin, Nicholas, Reilly and Ryan. You left us peacefully and with lots of memories. You affected many lives, many you didn’t know from your broadcast days. We loved you for what you were and you’ll be missed. Bye Bye Dad

Published in: The West Australian
Wednesday, 19 October 2011
DALLIMORE (David):
Sincere condolences to Peter and family on the loss of your father, grandfather and great grandfather. David’s wisdom and friendship will be greatly missed. Sam and Dominic Cuscuna and tenants of Maylands Park Shopping Centre.

Published in: The West Australian
Tuesday, 18 October 2011
Dallimore (David ): Management and Staff at Mining and Hydraulic Supplies offer our sincere condolences to Peter and all the family on the sad loss of their father, grandfather and great grandfather.

Published in: The West Australian
Tuesday, 18 October 2011
DALLIMORE (David):
Fondest memories of David, a true friend and gentleman, who will be greatly missed. -Maude.

Published in: The West Australian
Monday, 17 October 2011
DALLIMORE (David):
People Who Care Inc were pleased to be able to help David with his gardening and transport to medical appointments. Everyone who had any dealings with David remember him with great fondness and affection. Our condolences to all his family and friends.
Steve Johnston, Transport Coordinator, People Who Care Inc.

Published in: The West Australian
Saturday, 15 October 2011
DALLIMORE (David):
(David DeClifford ): David brought the civilized touch of the English gentleman to Australia. Father, Grandfather and Great Grandfather, we will all miss you Grampy.
Mark, Julie, Erin and Nicholas Dallimore.

David De Clifford Dallimore Born on 2 March 1919 Passed away on 13 October 2011 Late of Maylands Aged 92 Years
Service Details Funeral service will be held at St Luke’S Anglican Church, Cnr Rowlands Street And George Street, Maylands, on Thursday, 20 October 2011 commencing at 10:00 am.
Christian Funerals Phone: (08) 9370 5315

Tribute to Maestro Peter Piccini (1936-2011)

The renowned Peter Piccini, Perth’s internationally acclaimed virtuoso of the piano accordion, pianist, composer, arranger, conductor, and master of music, passed away on Tuesday October 11th, 2011, at Murdoch Community Hospice, which is part of St John of God Hospital, and situated within the hospital’s grounds in the Perth suburb of Murdoch, Western Australia.

Peter was born in Sydney on June 4th 1936, the son of Pietro Piccinino (known as Peter Piccini Senior), from whom he acquired his skills with the accordion, for his father was himself an acclaimed musician. Piccini Senior emigrated from Italy to Australia in 1922 and started his musical career touring Queensland’s cane fields, entertaining workers, before moving to the cities of Sydney and Melbourne to perform on the Tivoli circuit, playing his accordion in a vaudeville act, and providing musical accompaniment for silent movies in Melbourne, then in 1934 he appeared in the sound movie “Strike Me Lucky” with Roy Rene. Piccini Senior also featured as a soloist with the Isidor Goodman Orchestra and appeared on all radio stations with Jim Davidson’s famous dance band and made many recordings with Regal Zonophone and Columbia Records. He also performed for the 2FC Jack Davey radio Quiz shows in Sydney.

Meanwhile, Peter Piccini Junior made his first solo appearance as an accordionist at a school concert when he was only seven years old and although he showed promise on this occasion he did not begin studying seriously until he reached the age of fourteen.

Peter Junior started broadcasting for national and commercial radio stations at the age of fifteen and appeared in many state performances. He subsequently went to Europe and England in 1955 to broadcast for the BBC, made several television appearances there and performed at the famous club Pigalle as accompanist for the French singer Line Renuld. During this time Peter also toured Italy with the famous Claudio Villa, one of Italy’s most respected and loved popular singers, appearing together on television, radio, stage productions and on recordings.

During the early 1950s Piccini Senior moved to Perth, Western Australia with his son Peter Junior, both involved with a music shop specialising in piano accordions in Perth’s Forrest Place and Peter Junior was heard regularly on Perth radio with his father conducting piano accordion lessons.

TVW veteran Richard Ashton remembers Peter Piccini during the good times on the Peninsular in South Perth, as 16-17 year olds back in 1952, enjoying bonfire nights, parties and going dancing with mutual friend Jim Dyer, which gave him a break from music. His father used to say that he wanted Peter to meet ordinary young men, rather than be cloistered away concentrating on music studies all the time. A popular dance venue was the Kings Park Tennis Club where Jack and Jill Harrison entertained. Jack later joined Peter on his Clarion Record for Martin Clarke in 1974, titled Nostalgia Accordion. Other members of the band included Ray Walker on lead guitar and Bill Tattersall on drums, who both played with TVW’s “In Perth Tonight” orchestra. Many will remember Jack Harrison as the lead clarinettist with the WA Symphony Orchestra.

When television was introduced to Perth in 1959, Peter became an often seen performer on Spotlight, as Coralie Condon fondly recalls.

Later in 1963 Peter Junior returned to Europe with his wife for a long stint performing with leading orchestras throughout the continent, returning again to Australia in 1965.

On his return to Australia, Peter was appointed to the position of musical director for Channel Nine in Perth.

The Channel Niners Club went to air live five days a week featuring Ron Blaskett, Gerry Gee, Peter Harries, Peter Piccini, Veronica Overton, Alan Graham, Bon McGuire and guest artists such as Pixie Hale.

The Jeff Newman Show went to air every week with interstate stars and overseas acts. There were also many outdoor live TV shows.

Peter also began broadcasting for the ABC.

In 1968, he toured the Far East and Vietnam with an all Australian concert party, entertaining the Australian and American forces as part of the official government Australian Forces Overseas Fund. A large crowd of troops were entertained by singers Kelly Green and Michelle Edwards, entertainers Ron Blaskett and puppet Gerry Gee, teenage singers John and Shirley Ried, comedian Peter Harries and musicians John Hunter, Guy Bart and Peter Pichini. Peter Harries compered the show.

This was followed in 1972 by further tours of Europe and the USA. He was then back in Australia in 1976, at which point Peter became very busy recording with his orchestra.

Peter has thus performed in many prestigious venues, not only overseas but of also in Australia and particularly in Perth where he has been very much in demand as a leading arranger and conductor.

His recording career stretches back to 1958, with numerous covers and originals being released over the years on various labels, including Cetra and Clarion Records. The list of artists with whom Peter has worked is endless and just to name a few includes Frank Ifield, Graham Kennedy, Samantha Sang, Johnny Young, John Farnham, Denis Walter, Matt Monro, Bettie Curtis, Debra Byrne, Normie Rowe, Col Joy, Barry Crocker, Max Bygraves, The Deltones, The Drifters, Ricky May and the BBC Variety Orchestra.

In 2001 he released a CD “Cool Change”, with his Jazz trio. His sheet music for many of his compositions has been made available online as well as a number of accordion CD’s.

In 2002 Peter was added to the Australian Accordion Teachers Association (AATA) Roll Of Honour in appreciation of his contribution to the accordion in Australia.

Peter and his father also worked together on numerous compositions through the years.

In 2003, Peter released “Sounds Italian” accompanied by the La Tenda International Orchestra and vocalist Penny Walter, in which Peter played tunes written by his father. Peter Piccini Senior (1900-1989) composed the music and words, and Peter Piccini Junior arranged the music and performed.

Solitude – Peter Piccini

Peter Piccini
Peter Piccini playing Solitude on the piano accordion.

Chatanooga Choo Choo

AccordionJo
Peter Piccini – Chatanooga Choo Choo

Maestro Peter Piccini

Former STW Channel 9 Program Manager June Holmes sadly reports that the last time she saw Peter was in October last year and although he had not been well, he was happy. Coralie Condon knew Peter from the earliest days, including the first variety show on Perth television, and regarded him not only as an excellent musician but also a lovely guy. A sentiment echoed by Audrey Long (Barnaby) who emphasised that he was always a true gentleman.

Many thanks to Peter Harries for his tribute and STW photos, Terry Spence, June Holmes, Coralie Condon, Audrey Long and Richard Ashton for help and information, and the Peter Piccini web site for many of the other photos and biography.

Peter Harries tribute to Peter Piccini

To Whomsoever It May Concern
14 October 2012

I have a habit of telling those who become close to me of the respect, liking or love (sometimes all three!) that I bear towards them and so it is that I am glad to have written the following some years ago, soon after Peter was first afflicted. It is important to note that The Maestro was privy to my recollection at that time as I furnished him a copy. Too often, the things which should be expressed are left unsaid or un-recorded until it is too late and then only learned through an obituary…

I first met Peter Piccini the Second in 1954. He was helping his Father Peter Senior, tending customers in their Forrest Place music shop. Young Peter showed me the Hohner Chromatic Harmonica that I was seeking and then his Dad told me that the price was four pounds nine shillings and sixpence. That was about half my week’s wages working as a ledger-keeper in The National Bank in Waroona. As I was wavering, Peter Senior knocked five shillings off the price to seal the sale.

The next time that we met was on a cold Tuesday night in June 1966. Mervyn (now the well known artist Ian) de Souza, (with whom I had regularly performed folk-singing during the previous twelve months), had told me that he had a new job at The Nanking Chinese restaurant at 7 Belmont Avenue Belmont and that the manager Charles Wong was looking for a compere to replace Lenny Gluvers and host the entertainment. At eight-thirty that evening, the only people present were Mervyn, Charles, some staff and at the table nearest the bar, a sole truck-driving-type diner dressed in overalls sat consuming a large plate of steaming meat, vegetables and noodles.

On a small bandstand were three musicians. Peter Piccini playing piano, Alex MacMillan on bass and John Heddy the drummer. An attractive dark-haired, good-looking, young woman was singing. Her name was Robyn Withell. Mervyn introduced me to the Chinese boss. ‘What do you do?’ asked Wong. ‘I sing; play the accordion, guitar and drums and tell jokes! I’m on Channel 9 every day!’ ‘I don’t watch television!’ Wong stated, ‘but Mervyn tells me that you are funny. Come next Sunday night. You any good, we talk. Otherwise you get chicken chow-mein!’

I have always been lucky and the next day a couple of the girls on staff at Channel 9 came into the Production Office. ‘We’re starting a Social Club and want suggestions for our first party. We want to have it soon.’ ‘You’re in luck!’ I said, ‘There’s a new Chinese place in Belmont with a good band and a floor-show.’ The cost on Sunday evening through to Thursday was $1.50 for a 3-course meal with no corkage or cover-charge. It was only $2.50 on Friday and Saturday! No wonder they eventually went broke! The committee decided that it was a good idea and so, on my first night, most of the audience comprised some fifty or sixty of my fellow workers.

My previous experience in Cabaret was confined to regular three monthly visits to Chequers Chinese Theatre Restaurant in Sydney during the years 1956-58, where Joe ‘Chequers’ Martin was the resident singing Compere. I had never attempted ‘stand-up’ comedy, so decided to write out my jokes and paste them onto the pages of the Sunday Times. Perched on a stool, I pretended that they were actually articles in the paper. The first offering was: ‘Did you read this today? It says that two peanuts were walking along the street. One was assaulted!’ Strangely enough, it worked and I followed it with a series of well received jokes. The finale was a story about a German Officer and a young Parisian girl and concluded: ‘…then that lovely little French girl looked up from the bed and said: “Monsieur Lieutenant, een about three weeks time, you might have a rash. You can call it measles if you want to, but you don’t have to!’

I then turned to my Hohner electric piano, purchased from Jimmy Beeson at Wyper- Howards music store, downstairs in central Hay Street. Confidently, (as I had sung it on every occasion after its performance landed me my position on television one year earlier) I launched into The Original Talking Blues, in those days a slightly risqué American ‘folk song’.

After a few more calypso/folk tunes, it was time to introduce ‘…that young man with fifteen flying fingers on each hand, Mr. Peter Piccini!’ The crowd loved the sparkling, vibrant presentation of his signature Around The World medley, followed by the almost unbelievable dexterity required for the great Latin/American standard Tico-Tico.

The next act was a strip-tease act, that wasn’t really! Alida, a statuesque blonde Dutch girl went through the actions in a most professional manner, but brought the performance to its conclusion while still wearing a sequinned bikini! As pre-arranged, I gave the artists their ‘pay’ then stepped back onto the stage to sing The Lady Is A Tramp, after inviting the audience to dance.

After the show, Charles Wong came up to me and said, ‘You make them laugh! I don’t know why they laugh, but they think that you are funny! You come next Friday, Saturday night. How much you charge me?’ After I asked for fifteen dollars, he said, ‘I give you nine dollars a night!’ That was only a dollar less than I was getting each day as a ‘Television Star’, so I willingly accepted. On the Saturday night, I came up with the ingratiating plan to pay a visit to every table in the house, to collect birthday; anniversary; visitations etc., calls. These were used in my opening act, with appropriate jokes for those being acknowledged.

At the end of the following Saturday night, Wong said to me, ‘You come every night!’ and I replied, ‘I can’t do that! I run a folk-show at The Shiralee in Howard Street on Thursdays and I’ve got to have one night off!’ ‘O.K. You get someone else for those nights!’ I rang Johnny Fryer, who earlier that year had supplied me with some recordings of comedians, that he had picked up in Sydney. He agreed on Thursdays and my good mate Jeff Newman embarked upon his career as a compere on Monday nights. I was to be there, five nights a week for the next two and a half years. It was where I really learned my trade!

A couple of weeks later, Ron Blaskett arrived from Melbourne to be part of the Channel Niner’s Club. I took him to The Nanking (to which I had already appended Chinese Theatre Restaurant. It’s a matter of history that he started working there week nights with his ventriloquial doll Gerry Gee. Peter Piccini was co-opted to perform as a resident cast member each week day on the kids’ show. Peter eventually became a fixture on most live productions at Channel 9 for the next three years. Not only had his superb talent endeared him to all, but among entertainers, he was a rarity. Invariably cheerfully disposed towards not only those in whose company he found himself from time to time, but also accepting of locality and conditions; a trait which would prove a real asset in April 1968 when The Nanking/Channel Niner’s Club crew went to South Vietnam to entertain Australian and American troops. Our nightly appearances at the cabaret-restaurant were flogged unmercifully on-camera during ‘The Channel Niners Club’ each afternoon and in no time it was necessary to book for most nights of the week.

1966 was a real ‘Hollywood’ romp. A memorable afternoon, was when dressed in full Roman costume we returned to the studios from a prolonged Bacchanalian lunch/feast at Romano’s Night Club. A filmed introduction showed local trotting-man Charlie Rificci (the stand-in for Piccini) driving Veronica Overton and me in a mock-up (thanks Chaz Broughton) chariot through the bush near the station. The opening camera-shot in-studio was Peter Piccini holding the reins, with the lovely Veronica Overton and me standing, while Chaz rocked the shafts to simulate movement. The primitive kinescope (thanks Denzil Howson old friend) recorded that after the chariot stopped, the sound effect of a horse trotting continued unabated! The only time that I ever ‘went up’ on camera was when a slightly hysterical Maestro could not remember his lines (again!) and I (almost as uncontrolled) had to prompt him through a sketch, while the front of his helmet slowly slipped down over his eyes.

Another outstanding event was the Channel Niner’s Club day at the South Perth Zoo, with 7,500 children in attendance to collect their Club Cards. My wrist still aches in thinking of the number that I signed! A photograph in my museum (thanks to a young Michael Goodall from the Film Room) shows The Maestro and me with our accordions (his, a 120 bass, mine a 24 bass!) and Alan Graham (the station newsreader – imagine that today!) pretending to play the trombone.

Christmas 1966 saw the production of a Denzil Howson epic, The Golden Hind (or The Golden Behind as Peter and Jamie, my naughty sons termed it). I was Sir Francis Drake, with the Lady Veronica, Sir Ronald, Lloyd Lawson as the Spaniard Don Pedro and Jeff Newman (still a television ‘star’) as his off-sider Valdez. Alan Graham and Pixie Hale as a couple of singing (or were they miming) sailors. Of course The Maestro was Seaman Piccini. I forget who made a guest appearance dressed as a gorilla! It was probably our mutual mate Denzil !

For nearly three years we were Pirates, Cowboys and Indians, Chinese, Japanese, Astronauts, Music Hall Vaudevillians etc., always appropriately accompanied by Piccini on piano or accordion and on some occasions I banged away on my red-sparkle John Grey Autocrat drums. I still have them and last year young Pete (my son) replaced all the ‘skins’ that he ‘went through’ while first learning to be the highly skilled percussionist that he is today. Guy Bart was not very complimentary regarding my ability when he first joined Piccini at The Nanking and said ‘I hope that you are a better compere than you are a drummer!’ I replied: ‘I hope that you are better with your sticks than you are with your lips!’ referring to both his accent and his sarcasm. However, we became very good friends and remain so to this day.

The management of Channel 9 (probably through the association of Norm Manners, who was also a publicity officer in the Citizens’ Military Forces) promoted the first Western Australian Concert Party to perform in South Vietnam under the auspices of the Australian Forces Overseas Fund. The troupe comprised of Ron Blaskett as producer/manager; the very attractive girl singers Kelly Green and Michelle Edwards; pop artists The Sameday Twins; Piccini with John Hunter on bass and drummer Guy Bart. I was the compere. The Original Talking Blues and The German Officer both got a really good working-out and were very well received, especially by the Yanks. By then the musical accompaniment had been honed to a particularly fine edge! The Maestro (as by then he had become known on television) never missed a cue and I can hear Under The Bridges of Paris being played softly in my memory as I write.

I remember one morning at about 7 o’clock in Phan Rang Bay. I was indulging in my normal habit of relieving my stomach of the residue of my nightly imbibing of excessive amounts of the product of mixing grain, malt and hops! Peter asked me was I ‘sick’ in a solicitous manner. I answered his kind enquiry by saying that it was just a habit into which I had fallen during my ‘lost days’ living in Pinjarra; a time without hope of ever achieving my ambition of professionally entertaining. Peter Piccini went off around the world once again, but when he returned to Perth to live permanently, we resumed our friendship over many a good lunch. He was always accompanied by his lovely wife Fina.

At the beginning of 1981 my long time friend Rod Christian, musical director and bass/vocalist for 9 years at The Knight Klub was moving into a new career as a qualified music master, so I approached Peter to take his place at that very successful cabaret/night club/theatre restaurant established by me in 1972. The logistics of the place were in the capable hands of Gavin Worth, but I can truly claim that the success of the establishment was due to my experience working for other similar proprietors during the past six years. I reckoned that I knew where they made their mistakes and avoided the pitfalls. By using only locally based artists, I could keep the cost down without risking loss. Promoting myself and The Klub on Channel 9 programs such as I’ve Got A Secret, Junior Spotlight and as a judge on the senior Spotlight didn’t do us a lot of harm either! Within a month we were profitable and a continued successfully for 16 years.

The Maestro joined us for the start of a new way of presenting our ‘good knight out’. The talented Graham Flintoff, (followed by Doug Wilkinson) was on bass and Guy Bart was the drummer for all of The Maestro’s tenure. It was a great trio and Kelly Green and I headed The Golden Nugget Theatre Restaurant Show. For the next six years, it was almost ‘back to the Channel Niner’s Club’ with a once a year show-change based variously around Country and Western; Gamblers; Italians; French; Spanish-Mexicans; Chinese; Knights and Ladies; Music Hall; Father Christmas etc. All of these shows featured Maestro ‘Piccolini’ displaying his wonderful talent with the piano accordion to the delight of the audiences. He always accepted in good part the little jokes that I constantly used about him. At the same time, I am sure that nobody was in any doubt as to the high level of respect that I always held for Peter. 1985 was a very special year to me, as my son Jamie became the 4th member of the band and featured in the floor-show with a ‘Shadows’ medley played on guitar.

In 1983-84, once a week I went to the home of Fina and Peter in Como, to try to make some sense out of the four year’s piano tuition, enforced with an eighteen-inch round-ruler that Sister Cecelia of St. Joseph’s Convent kept up her sleeve! Despite the realisation that not many of the world’s great pianists were in danger from my dedicated attention to practise and theory, I thoroughly enjoyed ‘picking’ The Maestro’s brains in such matters as C Sharp Minor Sevenths with a diminished fifth or so!

Whilst never having ‘lived in each others’ pockets’, Peter Piccini and I have maintained a true friendship for more than forty years. I cannot recall one instance where we disagreed and it was a profound shock to me (and so many others) when he suffered the indisposition which currently afflicts his normal enjoyment of life. I pray that The Great Architect of The Universe will intercede on his behalf, so that he might continue to provide pleasure (through his GOD-given talent) to all of those who have been privileged to call him acquaintance or friend throughout his giving life. Maestro Piccini I salute you!

It is little more than twelve months since I picked up my friend Peter Piccini to attend the funeral of our Channel Niners Club companion Veronica Overton and now our group will meet for his farewell . The loss of each loved one reminds me of the often misquoted Meditation 17 by John Donne …Any man’s death diminishes me because I am involved in mankind; and therefore never send to know for whom the bell tolls; it tolls for thee…

Love, laughter and longevity,

Peter Harries

Published in: The West Australian
Thursday, 13 October 2011
PICCINI (Peter):
Passed away peacefully on 11-10-2011. Loving husband of Fina, beloved brother of Mary (Sydney). Loving son of Peter Snr (dec). I remember your smile, the things you would say, I treasure the hours we spent everyday. The laughs we had, the music you played, the love you gave, the way you cared. You left a place no-one can fill, I miss you Peter and always will. Life goes on, we know it’s true, but not the same without you. Your wonderful music will go on forever. Rest in peace my love, Fina.

Published in: The West Australian
Thursday, 13 October 2011
PICCINI (Peter):
Farewell to a great musician, dearest friend and brother-in-law of Jean. Fondest Uncle of Chris, Stephen and Jeanette. Great-uncle of Sally and Lisa. Just as you were Pete, you will always be, a beautiful part of our memory. Thank you Fina for bringing Peter into our lives.

Published in: The West Australian
Thursday, 13 October 2011
PICCINI (Peter):
Uncle Pete, I will miss our computer sessions and music which you taught me so much. Love Chris.

Published in: The West Australian
Thursday, 13 October 2011
PICCINI (Peter):
Fond brother-in-law of Eva. Will miss you Peter, love to Fina RIP

Published in: The West Australian
Thursday, 13 October 2011
PICCINI (Peter):
In loving memory of our dear brother-in-law Peter. A heart of gold stopped beating,
Two smiling eyes at rest. God broke our hearts to prove he only takes the best.

We will always love you Pete. Just keep plugging on those keys. Love Lucy, Peter and families.

Published in: The West Australian
Thursday, 13 October 2011
PICCINI (Peter):
Deepest sympathy to sister Fina. Many happy memories we hold in our hearts of a brave, kind and gentle man. Peter will be forever missed.
Cosi Figliomeni and family.

Published in: The West Australian
Thursday, 13 October 2011
PICCINI (Peter Eugene):
A friend of a lifetime, always supportive, a prodigious talent internationally admired. Sincere sympathy to Fina, Mary and families.
Play on, maestro Colin Nichol

Published in: The West Australian
Thursday, 13 October 2011
PICCINI (Peter):
Farewell to The Maestro our joyful, smiling friend. We treasure the memories of our long association with him and pray for his beautiful wife Fina, that she may somehow sustain her great strength in the face of this tragic loss.
Patricia, Peter, Pete, Jamie and all the Family Harries

Published in: The West Australian
Thursday, 13 October 2011
PICCINI (Peter):
Remembering our great mate The Maestro and the wonderful years spent together on Channel 9, The Nanking, in Vietnam and at The Knight Klub.
Deepest regret and love to Fina.
Peter Harries, Kelly Green and all of The K Klub Krew.
“For The Good Times”

Published in: The West Australian
Thursday, 13 October 2011
PICCINI (Peter):
Arrivederci my long time friend of 61 years, what memories we shared. You have done the accordion world proud mate, your music and compositions through recordings will go on forever.
Heaven will be the richer by your presence. Deepest sympathy to Mary, Fina and family. In loving memory of a wonderful friend. David and Shirley.

Published in: The West Australian
Friday, 14 October 2011
PICCINI (Peter):
Our dearest friend, we will always cherish the good times we shared together. Rest in peace. Our loving thoughts are with you Fina. Kelly and Dennis.

Published in: The West Australian
Friday, 14 October 2011
PICCINI (Peter): Peter, thank you for teaching me the accordian. You were an inspiration to me and I will miss you very much. You have done so much for the accordian and you are highly respected. Sincere sympathy to Fina and all family. Mario and Rose Messineo.

Published in: The West Australian
Friday, 14 October 2011
PICCINI (Peter):
Deepest sympathy to Fina and the Piccini family on the tragic loss of Peter. The Maestro of entertainment. We were blessed when Peter became part of the Figliomeni family.
A gentleman always, gone to play in Heaven. RIP. Frank, Eileen Figliomeni and family.

Published in: The West Australian
Friday, 14 October 2011
PICCINI (Peter ):
A greatly respected and hugely admired friend for 60 years, who will be long remembered for his superlative musicianship and wonderful soft personality. We extend feelings of deep sympathy to Fina and the extended family.
Colin and Gail Lovelady

Published in: The West Australian
Friday, 14 October 2011
PICCINI (Peter):
Farewell to a great musician and longtime family friend of Vittorio (dec), Sylvia, Marina, Joseph and Franco.
Our sincere condolences to Fina, a loving and supportive wife.
Peter’s wonderful music and memories will live on.

Published in: The West Australian
Friday, 14 October 2011
PICCINI (Peter): Farewell to a fine gentleman and great musician. Your music lives on. Deepest sympathy to Fina and respective families.
Roy and Frances Multari

Published in: The West Australian
Friday, 14 October 2011
PICCINI (Peter):
Our deepest sympathy to Fina on your sad loss. To Peter, a great musician and our mate, rest in peace. Bruno, Sarina, Sammy, Teresa Pizzata and Nunzio Mondia.

Published in: The West Australian
Friday, 14 October 2011
PICCINI (Peter):
Great memories of good times with you in our early days. Your superb musicianship will be missed. Deepest sympathy to Fina. Terry Walsh and Vin Holmes, Rhythm Spinners.

Published in: The West Australian
Friday, 14 October 2011
PICCINI (Peter):
Many precious years of love, friendship and music we shared with our dearest and much loved friend Pete. Our sympathy and love to Fina and her family and Mary. John, Jenny, Ron, Karin and families.
Forever in our hearts Till we meet again

Published in: The West Australian
Saturday, 15 October 2011
PICCINI (Peter):
The song has ended but the melodies, the music and the memories will last forever. Condolences to Fina and the respective families.
Gary Carvolth and family

Published in: The West Australian
Saturday, 15 October 2011
Piccini (Peter ):
You began as my teacher and ended up a friend. Your generosity with time and sharing musical secrets will always be appreciated.
Rest in peace.
Condolences to Fina.
Frank with Juana, Inge and Margaret.

Published in: The West Australian
Saturday, 15 October 2011
PICCINI (Peter):
Deepest sympathy to Fina and her family. We will remember one of the greatest musicians the world has produced.
May he rest in peace. Len, Betty and Marry.

Published in: The West Australian
Saturday, 15 October 2011
PICCINI (Peter):
Deepest sympathy to cousin Fina and families on the tragic loss of Peter. A master of music has gone to Heaven.
Till we meet again, love Joe and Marlene.

Published in: The West Australian
Saturday, 15 October 2011
PICCINI (Peter):
Deepest sympathy to cousin Fina for the loss of a kind and gentle man. Dom and Mary Esposito and family.

Published in: The West Australian
Saturday, 15 October 2011
PICCINI (Peter):
A great world class musician but above all a true and dear friend. Our love and sincere sympathy to Fina and family. Maria and Robert Gesmundo and family.

Published in: The West Australian
Saturday, 15 October 2011
PICCINI (Peter):
Deepest sympathy to Fina and family on the sad loss of Peter. You were one of the greatest accordianists Australia has ever produced. You inspired many, many players through your time. Your accomplishment will be remembered for many, many years. Lou and Val Frisina.

Published in: The West Australian
Saturday, 15 October 2011
PICCINI (Peter):
Farewell to a gentle and smiling lifetime friend. Our sincere condolences to Fina, a caring a supportive wife. Armando and Diana Scarfo and family.

Published in: The West Australian
Saturday, 15 October 2011
PICCINI (Peter):
Peter, you went away so quickly, we just can’t believe it. Thankyou for your delightful friendship and your beautiful music which will live on. It was a privilege to know you. Our heartfelt condolences to Fina and the Piccini family. Eileen and Alan

Published in: The West Australian
Saturday, 15 October 2011
PICCINI (Peter):
Heartfelt sympathy to dear Fina. I will treasure the memory of my piano accordion lessons with Peter always. He was so patient, warm and had the best sense of humour. I looked forward to my weekly visits, both for the wonderful tuition I was so fortunate to have had and for the warm greeting from you both. Much love, Fina at this sad time. David and Julie.

Published in: The West Australian
Saturday, 15 October 2011
PICCINI (Peter):
Dearest Peter, you charmed the world with your music. I will always treasure the loving friendship we had.
My deepest sympathy to Fina and family.
Love Coralie Condon

Wireless Hill Future – Part 1 of 6

In 2012, the former Applecross Wireless Station, now known as Wireless Hill Park, will celebrate its 100th anniversary with community plans well underway to mark this historic occasion. The wireless station was decommissioned in 1967 with a Telecommunications Museum established on the site in 1979, as an important reminder of the early days of radio in Western Australia and as a site protected by the State’s heritage laws and recognised for its significant contribution to telecommunication links between Australia and the rest of the world.

Sadly it seems that much of the museum collection will soon be without a home as the City of Melville moves away from commemorating our telecommunications and broadcasting heritage to concentrating on the indigenous history, the wildflowers, the birdlife and the history of the buildings and site. This follows research commissioned by Melville into community needs between 1995 and 2005 by researcher Shirley Barnes and Associates (Shirley served many years with state and local government on issues related to recreation and sport throughout WA).

[CITY OF MEVILLE RESPONSE - no decision has been made with regards to the collection until the Significance Assessment is completed by Cathy Day, Heritage Consultant. The Significance Assessment will outline recommendations for the future collection. The future of the building will remain as a Wireless Hill Museum which will still house a collection of significant telecommunications objects. The new display (of the site history of the former wireless station) will be more flexible, thus allowing for potential changing telecommunication displays and of other TEMPORARY site histories to be told at various times eg., flora & fauna unique to Wireless Hill, and the Indigenous History of the site., as recommended in the site Interpretation Plan (completed 2011)].

Wireless Hill Park is a 40 hectare, A Class Reserve located in the suburb of Ardross. It is bound by Canning Highway to the north and Davey Street to the south, McCallum Crescent to the east and Barnard Street to the west. It contains bush land for the purpose of public open space and recreation and is predominately surrounded by residential development.

The Applecross Wireless Station was built in 1912 by the German Company Telefunken and used before, during and after World Wars I and II to communicate with ships and the Antarctic bases. It was also the first transmission site for radio station 6PR and fulfilled a number of other wireless related matters. The Station was officially decommissioned in 1967 and vested in the City of Melville in August 1969 and named Wireless Hill Park in February of 1971.

The Telecommunications Museum officially opened on October 14, 1979.

Wireless Hill is considered to be of national significance to Australia and is listed on the Register of the National Estate and the State Register of Heritage Places. Until recently, The Wireless Hill Telecommunications Museum was situated at Wireless Hill, in the former Engine Room of the old Applecross Wireless Station.

The former Applecross Wireless Station is now owned by the City of Melville (operated by Museums and Local History Services).

The City of Melville considers that the collection spoke mainly to a highly specialised audience, people only interested in the equipment and its use. Something that the Melville ratepayers paid less attention to. Compounded by the fact that the museum has remained closed in recent years and only available for inspection by appointment.

The display included a number a large items, such as TVW’s first videotape machine and the former 6WN Perth and 6DL Dalwallinu transmitter, which lack portability and made the exhibit static in nature, hence it was difficult to rotate items to keep the exhibit fresh and interesting.

In order to ensure repeat audiences The City of Melville’s consulted report ‘The Interpretation Plan for Wireless Hill’ recommends that a display be interchangeable and easy to move out when special educational events are mounted. The Wireless station story will remain the main theme of the museum, which now will also tell of the indigenous population, wildlife and wildflowers. Other than the original buildings, only two authentic relics remain of the site’s pioneering period. An insulator fragment and a wooden coil former. It will require an audio/visual presentation to recreate the atmosphere now lost.

A selection of photos is the only thing that remains which accurately depicts what european activities took place on the site. Many of these are shown in our story that can be found at: WA History: from Telegram to TV – Part 1 of 5

Wireless Hill Future – in six parts

• 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

Wireless Hill Future – Part 2 of 6

In September 1911 the land for the Applecross wireless station site was purchased by the federal Government, and construction of the wireless station commenced.

Once commissioned, the facility provided important all-weather radio communications with the outside world. The wireless station was the Western Australian component of a network of five main radio communication stations across Australia that participated in international, national, state-wide and regional radio communications and broadcasting. It is important to note that of the original wireless stations across Australia, only the Applecross wireless station still remains in its original form.

The station was used continuously between 1912 and 1967 as the main coastal radio communication centre for the State. In 1926 it became a feeder station for international radiograms and from 1943 it was used as an alternative station for international short-wave radio messages. It also played a significant part in the First World War and the Second World War, providing vital military communications.

People who played a role in transfering ownership of the Applecross Wireless Station from the federal government to the state included the premier of Western Australia Sir David Brand (1912 – 1979) who was WA Premier from 2 April 1959 till 3 March 1971, and the prime minister Harold Holt (1908 – 1967) who was Prime Minister from 26 January 1966 till 17 December 1967.

After it was decommissioned in 1967, the site was first transferred from federal to state government ownership, before the land was vested in the City of Melville in August 1969, for the purposes of developing it as an urban bushland reserve. It was named Wireless Hill Park in February 1971.

Since this time, various concepts have been put forward for the development of Wireless Hill Park, but the consensus of local residents and the Council has been to retain it as a natural bushland reserve and to promote the site’s rich cultural heritage.

The Harold Holt federal government sold the Applecross Wireless Station land to the state government for $300,000 who then sold it to Melville for three annual moieties of $50,000 (total of $150,000 no interest).

The late Jack Sullivan was a very keen early proponent for establishing a museum at Wireless Hill and had the ear of at least one Councillor of the day. Jack was the first curator of the museum and got the ball rolling with a report he wrote with substantial input from Tom Berg of the West Australian V.H.F. Group.

The mayor at the time was Jack Howson OBE JP (from 1973 to 1989) the City’s longest serving Mayor, and as a councillor for eight years before that (1965 to 1973). On his death at age 92, he was one of only four people to be bestowed the honour of freeman of the city, in recognition of his contribution.

Mr Howson was well known for getting things done at a critical stage in the development of the City. He had considerable experience with shows, such as the annual Perth Royal Show, organised by the Royal Agricultural Society of Western Australia.

Mr Howson was a member of the 1956 Melbourne Olympic Games and 1962 Perth Commonwealth and Empire Games organising committees, and was team general manager for the 1976 Montreal Olympics.

He also held the position of president of Swimming Australia from 1970 to 1973 and was nominated as a life member in 1975.

Mr Howson was instrumental in leading the council to approve planning for the original Garden City shopping centre, and attracting the significant investment from Alcoa to build their corporate offices in Booragoon.

It was under such leadership that the Wireless Hill Telecommunication Museum came about, meanwhile, others at the workforce made it happen, such as the highly regarded Eric Smith, who did a lot of the physical construction work for the museum.

The West Australian V.H.F. Group (Inc.) assisted the Melville City Council in securing the site vacated by the Overseas Telecommunications Commission for use as a public park. One of the ideas advanced by the Group was the establishment of a Telecommunications Museum.

Advice was given in 1977 to the Council on the themes that might form the basis of the museum displays.

The V.H.F. Group was instrumental, through its members, in acquiring considerable amounts of equipment to be used in the displays. These were professionally set up by the Council.

[CITY OF MEVILLE RESPONSE - The Museum was opened in 1979, and all VHF equipment amassed was quickly vested into the ownership of the City of Melville at that time, although without any firm long term museum policies or strategies in place to manage an ever increasing collection of objects, many being duplicates and spare parts, superfluous to the museums needs and capabilities. A museum collection policy that clearly outlined what should and should not be accepted was not adopted until many years later, and such is the situation today that the museum is quite simply overflowing with objects that have never had the opportunity to be put on display because there is no room for them.]

Contributors to the museum included:

• Wireless Institute of Australia (WA)
• The West Australian Repeater Group Inc.
• Vintage Wireless & Gramophone Club Of W.A. Inc.
• The West Australian V.H.F. Group (Inc.)
• The Morsecodians Fraternity of WA Inc.
• TVW Channel Seven
• STW Channel 9
• Australian Broadcasting Corporation
• Department of Civil Aviation
• Royal Flying Doctor Service (RFDS)
• and private donators

The Wireless Hill Telecommunication Museum possessed a unique and wonderful array of heritage equipment which tracked technological advances from the earliest days to more recent times. As a picture is the equivalent to a thousand words, then so was the collection to a person wishing to learn more about how things were done. A excellent way to visually express how far we have come over the last 100 years.

The telephone had an incredible impact on communication in Australia, though constrained by the wires which connected the callers, compared to wireless technology, it made voice contact so much easier for both business and families, without the need for complicated equipment or special knowledge. The myriad of wires caused much visual pollution until the PMG relocated them underground.

Before the automatic telephone exchange, all switching was conducted manually by an operator. Small towns typically had the switchboard installed in the operator’s home so that she could answer calls on a 24 hour basis. Each jack either served an individual subscriber or represented a trunk line, which was a circuit that connected to another telephone switchboard. Each jack was also associated with a lamp for identification purposes. When a call is received, a jack lamp lit up on the back panel and the operator responded by placing the appropriate cord into the jack and operating a key to speak to the caller. On establishing the desired destination, a connection would then be made allowing both parties to speak to each other. Public manual exchanges disappeared during the last half of the 20th century, leaving a few private branch exchanges (PBX) working in offices and hotels as manual branch exchanges.

Later, with the advent of multi-frequency operator dialling, the operator would plug into a tandem trunk line and dial the area code and operator code for the information operator in the distant city. If the customer knew the number, and the point was direct dial-able, the operator could dial the call. If the distant city did not have dial-able numbers, the operator would dial the code for the inward operator, and ask her to ring the number. Multi-frequency signaling (MF) is an outdated technique where the operators used signals to indicate various stages in the connection process.

The Superintendent of Telegraphs in Western Australia, J. C. Fleming, reported to the State Parliament on 5 April 1882:

“When first introduced in the form of a wooden hand-telephone, the instrument could not be used with any beneficial result. It was more a pretty scientific toy, which exercised the imagination almost as much as the ear. It is now, however, and has been for some time, a reliable and practical instrument especially when from the hands of Manufacturers of Reputation …its success is unparalleled”.

By 1901, when the six Australian States decided to federate, there were 32,767 telephones in use. This grew to 100,000 telephones in use by 1911.

In 1907, the first inter-capital telephone trunk line was opened between Sydney and Mel bourne. It was followed by a line between Melbourne and Adelaide in 1914. Sydney and Brisbane were linked in 1923, and Perth and Adelaide in 1930.

In 1930, the first overseas calls from Australia became possible with the introduction of a radio telephone service to England, and through there to Europe and America. A similar service opened to New Zealand in the same year.

In 1953, the number of telephones in use in Australia passed the one million mark.

It was fortunate that the Wireless Hill Telecommunications Museum enabled the younger generations the opportunity to view facilities that have long since disappeared.

Wireless Hill Future – in six parts

• 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

Wireless Hill Future – Part 3 of 6

Before the advent of television, radio reigned supreme. Rather than have scenes depicted visually, the listener had to imagine the activity being enacted. This enabled the mind to conjure up wonderful imagery which was masterfully assisted by the high quality of drama presentation, with actors voices, mood music and incredible sound effects.

For youngsters wishing to follow their favourite serial in bed, without disturbing their sleeping family, it was popular to employ the simple crystal set and headphones to listen discretely whilst cuddled up in bed. This was technology an enthused child could make, as there were very few components, though it did require an aerial and an earth. An insulated wire out the bedroom window to a tree or the garage and a wire attached to the nearest water pipe sufficed for this purpose.

It was also the earliest wireless receiving technology for those who could not afford a receiver with an amplifier and horn or loudspeaker.

The Wireless Hill Telecommunication Museum had a wonderful array of vintage radio receivers on display and memorabilia from the broadcasting stations all exhibitted in a colourful environment with samples of the music playing from the different eras.

The first wireless transmitters were only capable of broadcasting Morse code, not voice, so radio receivers could be very simple, and tone quality didn’t matter. Then in the 1920s, radio for public consumption was introduced with speech and music broadcasts.

Radio amateurs were the first broadcasters in Australia. Then in the 1920s, the commercial broadcasts began, using voice and music, which gradually became popular as more of the general public acquired receiving sets. At first the broadcasts were limited to the amplitude modulated (AM) frequencies, which meant tuners could be very simple.

Beginning mid-1910 the PMG Department issued the experimental stations with 2 letter call signs prefixed by “X” for experimental, with no distinction between states, or between private and commercial operators. For example, XAA was J.Y. Nelson the Senior Electrical Engineer of the Sydney PMG Department and also the Sydney radio inspector.

When the government wireless stations at Sydney (NSW) and Applecross (WA) commenced operations in 1912 they were initially allocated call-signs POS, for Post Office Sydney, and POP for Post Office Perth,

Then the same year, many British Commonwealth countries adopted the callsign prefix letter V in commemoration of the death of Queen Victoria (22 January 1901). Thus as a result of the international wireless convention, the PO was changed to a VI, hence POS became VIS (Sydney) and POP became VIP (Perth). The government established 22 coastal stations all with VI prefixes.

In mid 1914 the call-signs were altered with a number to identify the state, then 2 letters.

In 1912, Australia was allocated the call-sign prefix group VH to VK, but these prefixes were not assigned to radio amateurs until 1927.

The Amateur radio fraternity (also called ham radio) engage in the non-commercial exchange of messages, wireless experimentation, training, and emergency communication as a recreational activity, though many of this community also carry their interest over into industry, and have been important pioneers in this field. Wally Coxon (VK6AG) became chief engineer and manager of 6WF, Willy Phipps (VK6WP) became the chief engineer of Whitford’s Broadcasting Network and Harry Simmons (VK6KX) became the chief engineer of West Australian Broadcasters. As 6ML and 6IX broadcast out of the same building, Harry Simmons was the chief engineer of both. Wally Coxon later became the station manager and supervising engineer of 6AM in Northam.

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 broadcast, although some continued to do so for several years. Willy Phipps used to broadcast a weekly program he called ‘6WP, The Happiness Station’ before becoming the chief engineer of the Whitford’s Broadcasting Network. He also owned a shop at 434 Albany Highway, Victoria Park. It was initially radio and electrical, but later embraced the sale of early television receivers, and was popular as a shop window vantage point during TVW’s test transmissions and opening in 1959.

The legendary Wally Coxon (VK6AG), was the most influential radio engineer at the dawn of broadcasting in Western Australia. He became chief engineer and manager of 6WF, Perth’s first radio station, building the transmitter and designing, assembling and testing the early Mulgaphone wireless receivers which first enabled the public state wide to enjoy this new means of entertainment. Wally later became the station manager and supervising engineer of 6AM in Northam.

A typical early three stage tuned radio frequency receiver includes a radio frequency stage, a detector stage and an audio stage. They tended to be more difficult to operate than the more costly and sophisticated Superheterodyne receiver, which converts a received signal to a fixed intermediate frequency, that can then be more conveniently processed than the original radio carrier frequency. By the mid-1930s, commercial production of tuned radio frequency receivers was largely replaced by superheterodyne receivers and virtually all modern radio and television receivers now use the superheterodyne principle.

Vendors at the 1934 Radio and Electrical Exhibition included Boans, Nicholson’s, Thompson’s Limited (Beall Radio), Radio Corporation Pty Ltd (Astor), British General Electric Co Ltd (Sylvania Valves, Osram, Magnet and Genalex), MJ Bateman (STC Radio), Wyper Howard Ltd (Radiolla) and the Broadcaster magazine.

Amalgamated Wireless Australasia Limited (AWA) was Australia’s largest and most prominent electronics organisation undertaking development, manufacture and distribution of radio, telecommunications, television and audio equipment throughout most of the 20th century. They also build and operated transmitters that were employed at the Applecross Wireless Station.

An excellent range of radio receivers were displayed at the Wireless Hill Telecommunications Museum, from the basic crystal set to the first simple triode valve sets, which required headphones for listening. Eventually more powerful receivers were built using a primitive horn, then the loudspeaker was introduced enabling groups to listen simultaneously.

Radio Corporation of Australia Ltd (not to be confused with Radio Corporation of America RCA) was formed in 1926 when three small component manufacturers combined. They commenced to manufacture Astor brand radios the same year. They soon merged with Louis Cohen Wireless Pty Ltd and became Radio Corporation Pty Ltd. The Astor Mickey Mouse series of radios were the most famous radios made by Astor and became one of the biggest selling radios in Australia, with a factory in Victoria. Astor was progressive by offering radios in varying colours compared to other companies that offered the standard wood stains. There was a conflict with Walt Disney for naming one of their radios the Mickey Mouse, and were forced by legal action to stop using the Mickey Mouse logo. In 1939 they became Electronic Industries Ltd when they merged with Eclipse Radio Pty Ltd. By 1940 the factory in Victoria occupied about 8000 square meters and employed 1200. Electronic Industries Ltd was taken over by the giant Philips company in the late 1960s.

Pye Electronics equipment in Australia was also manufactured by Radio Corp between 1950 and 1954 after an association formed during the war between Pye Ltd. of Cambridge, UK and Electronic Industries Ltd. in Australia.

Art deco was not only an architectural influence which began in Paris in the 1920s, but also became fashionable with radio cabinet design and flourished throughout the 1930s, and into the World War II era.

Bakelite was an early form of brittle plastic, typically dark brown though later to come in many colours. It was made from formaldehyde and phenol, and became popular for electrical equipment and in particular the smaller mantle radios, which most homes could afford.

With the advent of television in the mid and late 1950s, the need to employ the imagination to visualise events was soon replaced by actual vision and sound. Drama, variety programs and quiz shows seemed so much more interesting when one could see things happening, though there were some disappointments with the occasional lack lustre TV productions, which appeared very ordinary compared to listener expectations after their rampant imagination had been let loose with radio, or the small screen black and white image was not as brilliant as the CinemaScope and Technicolor epics, which the movie industry used to counter the competition that television provided.

Wireless Hill Future – in six parts

• 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

Wireless Hill Future – Part 4 of 6

From 1912, the Applecross Wireless Station provided important all-weather radio communications with the outside world. The wireless station was the Western Australian component of a network of five main radio communication stations across Australia that participated in international, national, state-wide and regional radio communications and broadcasting. It is important to note that of the original wireless stations across Australia, only the Applecross wireless station still remains in its original form.

The sinking of the Titanic in 1912 showed the usefulness of the new technology when the ship sent distress signals over the air. It didn’t prevent the deaths of 1,517 passengers unfortunately.

The primary mode of communication was morse telegraphy and primary frequency used at Applecross was 500khz.

On display at the museum was an AWA automatic distress transmitter and receiver, which apart from working as a normal transmitter and receiver at sea, could also be used in an emergency to send out an automatically generated distress call, avoiding the need for an operator to remain on board. It generated a fixed morse code message giving the ships call sign and an emergency signal. This could either be appended with a user defined message created using an adjustable character set, to give the ships position, or an alternate “all clear” message to inform that assistance is no longer required.

The RFDS began as the dream of the Rev John Flynn, a minister with the Presbyterian Church. He witnessed the daily struggle of pioneers living in remote areas where just two doctors provided the only medical care for an area of almost 2 million square kilometres. The RFDS was founded on 15 May 1928 with the opening of the Australian Inland Mission Aerial Medical Service (which changed its name to the Flying Doctor Service in 1942 and the Royal Flying Doctor Service in 1955).

In the 1950s, the RFDS was acknowledged by the former Prime Minister Sir Robert Menzies as, “perhaps the single greatest contribution to the effective settlement of the far distant country that we have witnessed in our time.”

The Zephyr 300 AM transmitter was used at the Royal Flying Doctor Service (RFDS) bases throughout Australia between 1964 and 1973.

Base operator’s consoles were installed at each base and gave the operators full control of the transmitting and receiving equipment.

Pye Electronic played a big role in two-way radio developments, which had a big impact in post-war Australia. Working with the Bush Fire Brigades and Rural Ambulance Services, Pye enabled the otherwise separated public safety organisations to work together in an emergency.

Pye Electronic also provided VHF communication for the Royal Tour of 1954 and the 1956 Olympic Games in Melbourne. In 1967 Philips took control of the Pye Group of companies world wide, however the Pye mobile radio companies continued independently for some time. In Australia, Pye Proprietary Ltd was in competition with Philips mobile radio. In 1970 the two competing Pye and Philips mobile radio businesses were amalgamated into one Philips company.

Pye also played an important role equipping early Australian television stations. Virtually all TVW Channel 7’s equipment was provided by Pye for the stations opening on Friday 16th October, 1959. They also supplied some of the equipment for ABW Channel 2 (opening on Saturday 7th May, 1960) and STW Channel 9 (opening on Saturday 12th June 1965).

Wireless Hill Future – in six parts

• 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

Wireless Hill Future – Part 5 of 6

In the 1950s and 1960s some of the equipment looked like the old fashioned science fiction contraptions from a mad scientists laboratory, reminiscent of the sets found in the 1930s and 1940s black and white cinema matinee serials. It was bulky and populated with many vacuum tubes, which often glowed and flickered in the dark. Technicians and operators had to wear a white shirt with tie, dark trousers and black shoes at TVW back then, and a dust coat on many occasions. Otherwise the uniform was white overalls with a red embroidered TVW7 emblazoned across the chest.

The electronic studio cameras were also bulky and heavy. They required time to warm up to where the massive image orthicon tube would be at an operational temperature and remain stable for the rest of the day. Each day they needed to be aligned against a test chart to insure there was no geometric distortion and that the settings were at an optimum so that the pictures of all studio cameras matched each other.

Just being told how big and complex these machines were is not enough to fully appreciate how different things were back then. Only a museum can offer the present generation the opportunity to stand next to this equipment and share the experience.

Equipment which cost an absolute fortune in those days, and was gear that could be cantankerous with a personality of its own. Operators and technicians gained a feel for this quirkiness and knew how to nurse the machinery through each day.

Great strides were made during this era as early computers began to mature too, even if they be considered primitive by todays standard.

The worlds first commercial time-sharing computer was developed in 1963, and the only surviving example was on display at the Wireless Hill Telecommunications Museum.

It was also a decade in which the first man stepped on the moon.

TVW donated a range of TV and radio equipment to the museum from the earliest 6ML and 6IX facilities to Seven’s first videotape machine that was put into service in 1962, prior to Perth Commonwealth and Empire Games of the same year. Two of these black and white low band machines were initially purchased, with many more RCA and Ampex machines to follow over the years as the technology was refined. The vintage machine on display was responsible for recording the major shows Seven produced during the first decade of television in WA and replayed on Seven the episodes of every popular program recorded locally or interstate. Such shows as Graham Kennedy’s “In Melbourne Tonight”, Brian Henderson’s “Bandstand”, Johnny O’Keefe’s “Sing Sing Sing”, Bobby Limb’s “Sound of Music”, Bob Dyer’s “Pick a Box”, and much more. This machine is a real rarity which provided reliable service over many years during the pioneering era of television in Western Australia. Only one other is known to exist in the World, and that is in the United States.

TVW’s First Videotape Machine – RCA TRT-IB

WA TV History The original TVW videotape department staff included Tim Ball, Ernie Taylor, Colin Gorie, Geoff Mortlock and Ken McKay. Shortly after, Peter Hobson, Kevin Reeves, Peter Croft and John Cleary joined the team. Eventually, most of TVW’s technical staff became proficient in operating these machines, and particularly the newer transistorised machines when the videotape and telecine areas were combined in one operations area with Kevin Campbell appointed Operations Supervisor, before rising in the ranks to become the Managing Director of TVW. There were also a number of women who performed this role to release the men for maintenance work.

The museum was also given one of Channel Seven’s first studio cameras, which they opened the station with in 1959. This is a Pye Mk4 monochrome 3 inch Image Orthicon camera, which was not put on display, remaining hidden in a side room along with a vast quantity of predominantly vintage radio studio equipment and a Pye Mk 5 monochrome 4.5 inch Image Orthicon camera donated courtesy of STW Channel 9.

Also on display is the former 6WN Perth and 6DL Dalwallinu transmitter which serviced Western Australians for many years.

An extremely rare PDP-6 (Programmed Data Processor-6) computer, developed by Digital Equipment Corporation (DEC) in 1963, was on display at the museum. Possibly the only PDP-6 left in the world, since Stanford and MIT in the United States scrapped theirs in the 1980s. DEC’s PDP-6 was the worlds first commercial time-sharing system, though only twenty three PDP-6’s were sold worldwide.

A remarkable array of very rare equipment was donated to this museum, and it would be fair to say that the loss of this collection would mean that it could never be replaced.

The collection is now undergoing a major significance assessment in readiness for the Centenary Celebrations in September 2012. The collection is being assessed by a local heritage consultant, in an information gathering exercise to identify and document the history and relevance of key items in the collection.

Wireless Hill Future – in six parts

• 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

Wireless Hill Future – Part 6 of 6

The City of Melville commissioned a survey into community needs between 1995 and 2005 and has evidence that visitors to Wireless Hill Park go mainly for recreational purposes. Sight seeing, exercise, picnics, playground, wildflowers and birdlife.

Our conversations with people passionate about the subject indicates there is a belief in the wider community that a Telecommunications and Broadcasting Museum should exist in this State. A better publicised venue that stays open and is convenient to all Western Australians. Not to be seen as a dusty collection, but a living museum with a hands on component to educate school children and media students. A venue of many purposes which caters for public entertainment as well as conservationists wishing to restore and care for the collection. A venue that commemorates the many people in the industries which made it all happen, be that inventors, pioneers, technicians, engineers, operators, performers, personalities and the many support personnel.

Most people give rare items to a museum because they want to see them preserved for future generations. They consider that a museum is the best home for their valued and prized possessions. Its important that a Telecommunications and Broadcasting Museum be constituted with this sentiment in mind, so that people can confidently donate artefacts knowing they will be cared for in perpetuity, because they are bound to do so. For an association cannot be incorporated under the Associations Incorporation Act 1987 (WA) by a name that is likely to mislead the public as to the object or purpose of the association.

As with any museum, it is of upmost importance that one holds legal title to an object before it can be disposed of. There needs to be a very valid reason for shedding artefacts, such as duplicated items where some are lacking integrity and relevance. If legal title is not held, for example a deed of gift signing the object over to the organisation, this becomes a more difficult process. Museums must comply by their Statute, Articles and Memorandum or Trust Deed to ensure they are entitled to deaccession and dispose of material. Advice on these matters is provided by consulting a solicitor or a legal advisor such as the Arts Law Centre of Australia.

[CITY OF MEVILLE RESPONSE - All items must have documented provenance, and if the item is considered to be de-accessioned, it is immediately offered to the original donor first. The City of Melville is fully aware of the legal process required to undergo a de-accessioning program and will follow our documented de-accessioning policy. The City of Melville followed an extensive visioning process for the Wireless Hill site which included local community and key stakeholders. The future theme/s of the collection will be determined from the outcome of the Significance Assessment. Objects will not be destroyed… deaccessioning simply means removing them from the collection, usually to be offered back to the original donor, or onto an another appropriate museum collection but ONLY with consultation with the donor.]

[Editors note: My understanding from talking to the heritage consultant is that they are having a difficult task identifying and locating a number of the private donors.}

The City of Melville estimates that the cost to relocate existing objects offsite will be $20,000. This stage was scheduled for between September 2011 and February 2012, to ensure the museum exhibition space can be ready for the centenary celebrations.

The plans have been published on the web. Links to the official reports can be found at the end of this article. It needs a careful reading to glean the vital points regarding the collection, such as the current telecommunications theme no longer reflects the community aspirations for the site.

Work to be conducted on the site includes:

The Museum and the Capital Radio Station buildings will be restored and the present white paint stripped back to its original red brick finish.

The former Operators House is at risk of damage if the present white paint is stripped back, so it is recommended that the house be repainted to tone-in with the other two buildings.

Restoration work will also take place on the concrete base of the 120 metres high guyed aerial mast.

The three concrete anchor blocks; located north, southeast and southwest, each approximately 4.6 m high, were built to hold the mast guy wires and will be retained with the structure conserved as much as possible to reflect the original finishes and layout.

Two viewing platforms were installed on the north and southwestern anchor blocks.

The City of Melville had reservations about this story…

” …have some concerns with what has been produced in this story, including some statements which are not factually correct, and assumptions about what has supposedly been predetermined by the City Of Melville.

Additionally, the photos that have been taken inside the museum of the objects cannot be reproduced without permission from Museums & Local History, and others images and cut & pastes from various reports would need to be credited accurately (again, notation to state that you have permission to reproduce them).”

The City of Melville has responded to clarify a number of issues and these passages are now clearly marked in the text. The author recommends readers to study the official documents listed below so that they may reach their own conclusions.

This article is published under the previsions of the Australian Copyright Act 1968 (as amended) notion of ‘fair dealing’ where the use is for and to assist:

• 40. Fair dealing for purpose of research or study
• 41. Fair dealing for purpose of criticism or review
• 42. Fair dealing for purpose of reporting news

This story is based on information contained in official City of Melville documents placed in the public domain and which can be located at…

Wireless Hill Concept and Museum Plan July 2011

Wireless Hill Vision 2020 (31st March 2011)

Wireless Hill Reserve Management Plan August 2008

Shirley Barnes Reports on Wireless Hill – 1995 & 2005

Additional Reports

In 1997, the then Heritage Minister Graham Kierath said the State Government has moved to protect the heritage value of Wireless Hill Park, an important reminder of the early days of radio in Western Australia.

“It is highly valued by the local community and by organisations such as the Institution of Engineers who have recognised the site for its significant contribution to telecommunication links between Australia and the rest of the world.

“Wireless Hill deserves the protection of the State’s heritage laws.”

Heritage Council of WA assessment of Wireless Hill Park

Wireless Hill Future – in six parts

• 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