RUNNING THE GAMUT of Adelaide and
South Australian culture 
from A to Z

 

ADELAIDEAZ connects vertical and horizontal threads of Adelaide and South Australian culture in the context of past, present and future. It explores how a small city, as capital of a state often
mistakenly perceived as a dry, poor and empty backwater, has so many extraordinary, often exceptional, patterns running through the tapestry of its A-to-Z categories. 

 

ADDING ADELAIDEAZ –  plus identities, innovations, incidents, idiosyncracies and issues – to the stories of Adelaide Zeitgeists

READ THESE ARTICLES AND MORE IN THEIR A-TO-Z CONTEXT
of Adelaide/South Australian categories – and their connections 

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Henry Butterfield's high Victorian gothic St Peter's Cathedral gets South Australian look

St Peter’s Cathedral at North Adelaide was the vision of Henry Butterfield, who is credited with starting the high Victorian gothic era of English architecture.  Adelaide’s Anglican bishop Augustus Short selected Butterfield in the 1860s to design St Peter’s but delays in getting Butterfield’s drawings from England meant that Edward John Woods from Wright, Woods and Hamilton had to guide the project. Woods – influenced by the French gothic of Eugene Viollet-le-Duc – changed some of Butterfield’s ideas for design but also the materials. From the foundation stone – out of Glen Ewin quarry – onwards, the cathedral’s look was influenced by local materials such as Tea Tree Gully sandstone, from what is now Anstey Hill Recreation Park, or Glen Osmond stone. Adelaide materials created elements of a distinctive look for the colony’s early buildings. Limestone from quarries along the River Torrens was used for Government House, Adelaide Gaol, old parliament house, Holy Trinity Church and the Catholic bishop’s house on the West Terrace-Grote Street corner. Quarries in the Adelaide parklands provided plentiful clay for red bricks. Bluestone, from Glen Osmond, O’Halloran Hill and Dry Creek, was popular from the 1850s to 1920. The interior of the stone is usually pale grey or beige but is given coloured surfaces by ferric oxide and other minerals in joints and bedding planes. Parliament House, on the corner of North Terrace and King William Street, was built with Kapunda marble and granite from West Island off Fleurieu Peninsula.

C.E. Owen Smyth major influence on landmark public buildings for North Terrace, Adelaide

C.E. Owen Smyth, although not an architect, deeply influenced design, construction and maintenance of South Australia’s public buildings, especially along North Terrace, Adelaide, as their superintendent 1886-1920. North Terrace buildings overseen by Smyth include the Exhibition Building (1887) designed by Withall and Wells. Smyth himself designed the South Australian Museum north wing and an original version of the Art Gallery of South Australia. He oversaw drawings for the South Australian School of Mines and Industries (now Brookman) building, that opened in 1903, exemplifying Smyth’s concern “with designing the finest buildings possible within financial constraints” Smyth supervised Thebarton police barracks on Port Road, and he designed Margaret Graham Nurses Home (built 1910-11) on Frome Road, Adelaide, for the Royal Adelaide Hospital. Smyth had arrived in South Australia in 1876 and joined the civil service as a clerk to Edward J. Woods, architect to the council of education. When Woods became South Australia’s architect-in-chief in 1878, Smyth was his clerk. In 1886, the architect-in-chief’s department was abolished and Smyth made supervisor of public buildings to watch design and construction contracts to private architects. But Owen did all the works himself, calling them extensions or maintenance. With poor economic conditions in South Australia, he kept costs down by using cheaper red brick with more expensive limestone in the dressings. All materials were South Australian: bluestone from Auburn, marble from Angaston and bricks from Hallett’s yard  in Brompton. 

MPs' sexual morality concerns as South Australia's first drive-in cinemas open from 1954

Sexual morality concerned some South Australian parliamentarians in 1954 when debating laws relating to the looming phenomenon of drive-in film theatres. Labor MP for Hindmarsh, Cyril Hutchens, feared that “we shall see females attending in green French bathers, with their hair dyed red, and accessories to match. We should take all possible action to preserve the morals of our young people.” A young Don Dunstan disagreed: “If people are going to resort to motor cars for the purposes of immorality they are not likely to purchase theatre tickets and drive in beside other vehicles to do what they might otherwise do on some lonely country road”. The debaters were anxious that each vehicle at the drive had “capacity for three persons” – that is, room for a chaperone. The Act did provide that anyone who acted offensively could be asked to leave the drive-in. Starting with the 44-year run by the Wallis Blueline at West Beach from 1954, South Australian drive-in theatres, with operators such as the Shandon at Seaton, Elizabeth and Port Pirie, made the features of their cafeteries a big lure. Drive-ins survived black and white television but colour television, the video recorder and indoor multiplex theatres took their toll – along with daylight saving that made start times too late for families.The Blueline closed in 1998, followed by the Valleyline at St Agnes in 2003, leaving the Wallis Mainline Drive-in at Gepps Cross as the only one in the metropolitan area. The Riverland at Barmera survived until 2008 and the Coober Pedy outback theatre was still operatied in 2019 by community volunteers.

Stars, comets, rockets – but no explosives, please – at the Coober Pedy drive-in films survivor

A sky amassed with stars and the occasional comet or rocket –  plus a pre-show warning against the use of explosives ­– are part of the experience at Coober Pedy outback drive-in film theatre – one of the last two in South Australian in 2019. Coober Pedy drive-in, 850 kilometres from Adelaide, is among the world's most remote theatres. It’s been part of the opal mining town since 1965 and, in its early years, hosted eight sessions a week – one of the largest film turnovers in Adelaide – with productions in Greek, Italian and French reflecting the community’s multicultures. The drivein was prone to generate extra off-screen drama when miners, bored with a film, would create mayhem by letting off explosives under the screen. A “No explosives in the drivein” request is now screened before every show. Comets and rockets or missiles being tested from Woomera range flashing across the sky add to the unscheduled aspects of the screening. But the mass of stars against a deeply dark sky create an otherwise great viewing experience. The Coober Pedy drivein has been rediscovered as a valued community outlet. The theatre's monopoly on entertainment in Coober Pedy was lost in 1980 when the town received its first TV coverage. It opened sporadically in the 1980s before closing in 1995. Reopened briefly by a private operator, it returned to the control of community volunteers in 2000. The volunteer committee raised $120,000 to replace the cinema's 35mm film projectors with digital in 2015. Wallis Mainline at Gepps Cross, was the only other South Australian drive-in operating in 2019..

Aboriginal filmmakers supported by South Australian corporation strategy 2015-20

The South Australian Film Corporation’s first Aboriginal Screen Strategy (2015-20) supported Aboriginal and Torres Strait Islander filmmakers. The strategy was designed to grow and support the stories and creative voices of the Aboriginal screen sector and to develop skills and knowledge in filmmaking through production, mentoring and partnerships. The corporation set up Pirrku Kuu (The Story Room) at Adelaide Studios in Glenside as a hub for Aboriginal filmmakers’ work. The strategy was guided by corporation’s Lee-Ann Buckskin and then-chief executive Annabelle Sheehan. The film corporation’s Aboriginal advisory committee members for the strategy were • Erica Glynn (Arrente), director of TV’s Black Comedy, graduate of Australian Film Television and Radio School, whose short film My Bed, Your Bed was an international success and her documentaries include A Walk with Words with Romaine Morton and Ngangkari about traditional healers of the Central Desert region. • Major Sumner, an honoured Ngarrindjeri elder from the Coorong and Lower Lakes in South Australia. • Derik Lynch (Yankunytjatjara), who grew up in small town camp in Alice Springs. starred alongside of Trevor Jamieson in the theatre play Namatjira that toured England and Rotterdam; screen credits include Black Comedy and Deadline Gallipoli. • Natasha Wanganeen (Narungga), with film credits including Rabbit Proof Fence (2002), Black and White (2002), Australian Rules (2002) and, on television, Redfern Now (2013) and ABC’s The Secret River 2013).

 

Major Sumner straddles ancient/modern South Australian Aboriginal, environmental activism

Major Sumner has been active in both the ancient Aboriginal and modern spheres during the 21st Century in South Australia. A Greens party candidate for both the Australian parliament’s senate and the Adelaide Hills seat of Mayo, Sumner has been a world renowned performer and cultural ambassador for the arts, crafts, martial arts and culture of the Ngarrindjeri, traditional Aboriginal people of South Australia’s lower Murray River, western Fleurieu Peninsula and the Coorong. His work spans performance, traditional dance and song, cultural advice, and arts and crafts, such as wood carving, and martial arts techniques using his handcrafted traditional shields, clubs, boomerangs and spears. He also is a strong supporter of innovative art and has featured in many media productions and cultural collaborations. In 2011, Sumner crafted the first Ngarrindjeri bark canoe on Ngarrindjeri/ Boandik country for more than 100 years, reconnecting with traditional canoe-building while using a high-tech cherry picker to get up the tree. In 201, he initiated the inaugural Ringbalin Murrundi Rover Spirit project, reigniting the ceremonial fires along ancient trade routes of the Darling and Murray rivers. Sumner has served as a Ngarrindjeri Regional Authority board member, as board member of Black Dance Australia, Tal Kin Jeri dance group artistic director and on the advisory group for the South Australian Film Corporation’s Aboriginal film strategy. Sumner was involved in bringing ancestral remains from London and Scotland back to Ngarrindjeri country. He is a member of the World Council of Elders. 

Aboriginal filmmakers supported by South Australian corporation strategy 2015-20

The South Australian Film Corporation’s first Aboriginal Screen Strategy (2015-20) supported Aboriginal and Torres Strait Islander filmmakers. The strategy was designed to grow and support the stories and creative voices of the Aboriginal screen sector and to develop skills and knowledge in filmmaking through production, mentoring and partnerships. The corporation set up Pirrku Kuu (The Story Room) at Adelaide Studios in Glenside as a hub for Aboriginal filmmakers’ work. The strategy was guided by corporation’s Lee-Ann Buckskin and then-chief executive Annabelle Sheehan. The film corporation’s Aboriginal advisory committee members for the strategy were • Erica Glynn (Arrente), director of TV’s Black Comedy, graduate of Australian Film Television and Radio School, whose short film My Bed, Your Bed was an international success and her documentaries include A Walk with Words with Romaine Morton and Ngangkari about traditional healers of the Central Desert region. • Major Sumner, an honoured Ngarrindjeri elder from the Coorong and Lower Lakes in South Australia. • Derik Lynch (Yankunytjatjara), who grew up in small town camp in Alice Springs. starred alongside of Trevor Jamieson in the theatre play Namatjira that toured England and Rotterdam; screen credits include Black Comedy and Deadline Gallipoli. • Natasha Wanganeen (Narungga), with film credits including Rabbit Proof Fence (2002), Black and White (2002), Australian Rules (2002) and, on television, Redfern Now (2013) and ABC’s The Secret River 2013).

Four films from Peter Sellars' 2002 Adelaide Festival lead to funding for local productions

The controversial term of American Peter Sellars as director of the 2002 Adelaide Festival had its spinoff benefit for South Australian film making. Sellars commissioned five films to be made for his festival. Four of them, Australian Rules, The tracker, Beneath clouds and Walking on water, won awards. That success prompted the state government to provide the Adelaide Film Festival with a $1m production fund. The festival board selects project to be premiered at the event. The Investment Fund has backed more than 50 projects, including features, documentaries, short films and media. These have won almost 150 awards. Adelaide remains one of the few festivals with an investment fund. In 2011, the Museum of Modern Art in New York hosted a week-long festival of Adelaide Film Festival Investment Fund films. The program included Look both ways, Ten canoes, Samson and Delilah, Stunt love, Boxing Day, Last ride, My year without sex and Mrs. Carey’s concert. Also in 2011, the Australian Broadcasting Corporation TV arts and entertainment and Adelaide Film Festival joined to create the Hive Production Fund that supported The boy castaways by Michael Kantor, I want to dance better at parties by Matthew Bate, and Tender by Lynette Wallworth. Adelaide independent film Girl Asleep took out the $100,000 prize at Western Australia’s 2017 CinefestOZ festival, beating Spin out, The death and life of Otto Bloom and Jasper Jones. Directed by Rosemary Myers, written by Matthew Whittet and produced by Jo Dyer, Girl asleep is a journey into absurdities of the teenage mind.
 

South Australian film creatives get access to Charlie's workspace in the heart of Hollywood

South Australian film producers, directors and writers have the chance to work at Charlie’s on Raleigh Studios in the heart of Hollywood under a two-part offer from the South Australian Film Corporation, Australians in Film and Adelaide Hills’ Bird in Hand Winery in 2019. One aspect of the offer is an eight-week Los Angeles residency at Charlie’s for a South Australian to receive mentoring, networking opportunities and access to Australians in Film’s industry program. The other part is opening access to a workspace at Charlie’s all year round for South Australian creatives. Charlie’s is a hub for business, collaborating and networking for the Australian screen community in Los Angeles. It's where Australians in Film holds its industry education programs. Founded in 2001, Australians in Film is a Los Angeles-based non-profit screen organisation supporting its members to develop careers and education include the Heath Ledger scholarship, Mentor LA, Village Roadshow/Animal Logic Entertainment Internship, Greg Coote Fellowship, Gateway LA and The Writers Room. Australians in Film is based at Charlie’s, a shared workspace at the historic Raleigh Studios. Charlie’s has become an unofficial Australian creative embassy for screen professionals visiting and working in the USA. Named after Charlie Chaplin, Charlie’s is in the heart of Hollywood where Chaplin and Douglas Fairbanks made films and played cards. South Australian Film Corporation has joined Screen Queensland, Create NSW, The Australian Film, Television and Radio School and Film Victoria in funding access to Charlie’s.

Adolf John Schulz gives his brilliance to training teachers from 1909 to 1948 in South Australia

Adolf John Schulz Schulz was deeply hurt by World War I anti-German bigotry in South Australia, including closing Lutheran schools. But he bore it with dignity and continued his long service to training the state's teachers. Born in 1883 at Stepney, Adelaide, to German parents, Schulz attended Flinders Street Lutheran Church School before spending a year with his mother, brother and sister at Harburg, near Hamburg, Germany, where he went to a higher primary school. After attending other Adelaide public schools, Schulz became a monitor and pupil teacher at Rose Park Public School. From 1902, he studied part-time at Adelaide University for a bachelor and master of arts and in 1904 entered the university's teacher training college. He won a scholarship to Zurich University for a PhD. On Schulz's way home from Germany in 1909, South Australia's education director Alfred Williams appointed him, at 25, as superintendent of students at the teacher training college. Academically brilliant, Schulz seemed grave in shunning smoking, drinking, dancing, sport and socialising but many students found him kind. Lecturing in psychology, philosophy, education and languages (he was fluent in seven), he taught education (1910-48), German (1920-51) and educational psychology (1922-48). Schulz led one of the earliest diploma of education courses in Australian universities. He emphasised a psychology of the self and others and intelligent personal morality. Schulz was first president of the South Australian Institute of Educational Research. His books included Morality and Moral Education (1929)

Adelaide Film Festival since 2003 scores world premieres plus strong Australian content

Adelaide Film Festival, over two weeks in October, has been listed by Variety magazine in its Top 50 Unmissable Film Festivals around the world. It has a strong focus on Australian content. The festival, started in 2003 by state premier Mike Rann, has presented the Don Dunstan Award for outstanding contributions to the Australian film industry to Andrew Bovell, Scott Hicks, Judy Davis, Jan Chapman, Rolf de Heer, Dennis O’Rourke and David Gulpillil. In 2017, the festival had the world premiere of South Australian-made zombie film Cargo, starring Martin Freeman with David Gulpilil and Adelaide actor Natasha Wanganeen, set in the South Australian outback. AnotheAustralian premiere  was Aboriginal  director Warwick Thornton’s period western Sweet country, starring indigenous actors with Sam Neill and Bryan Brown. A comedy drama about a family who reunite over the sale of the family home, F*!#ing Adelaide, created by Sophie Hyde and starring Adelaide actor Tilda Cobham-Hervey, had its world premiere, as did After the apology, a documentary about indigenous child removal, by Larissa Behrendt. The 2018 festival presented 17 world premieres and 30 national premieres and a strong lineup of films from Australian emerging directors. Besides featuring Adelaide director Athnony Maras's Hotel Mumbai and Jennifer Kent's The Nightingale, the festival presented Australian premieres of Venice award winners: including the Coen brothers' The Ballad of Buster Scruggs  and Mexican film Roma, by Academy Award-winning director Alfonso Cuaron (Gravity).
 

Fleurieu festival gives short-film makers the chance to express variations on a theme

Budding filmmakers have the chance to showcase their creativity at the Fleurieu Film Festival (2015-19, with the next scheduled for 2021) while celebrating the premium food and wine of the peninsula south of Adelaide in February at a McLaren Vale winery. More than 100 submissions were received from Australia, France, the USA and Russia for the 2018 community festival, with Australian actor Australian actor Erik Thomson who lives on the peninsula, as its patron. A shortlist of 10 films is chosen a particular annual theme. The 2019 theme was: “Climate change – hot topic/kool films”. The City of Onkaparinga and Resilient South were partners with Fleurieu Film Festival on that theme. The 10 films shortlisted for the 2019 festival at S.C. Pannell Winery included one from Aldinga local and director, producer and writer Barry Mitchell. His film Legacy was also submitted to the Elements Film Festival in Vancouver, Canada, and Colorado Environmental Film Festival in Golden, Colorado. Other finalists were Birthplace, directed by Sil Van Der Woerd and Jorik Dozy (Netherlands); Climate Change and The Community, directed by Craig Cooper and Onkaparinga Council’s Studio 20 Youth Centre (South Australia); Harvest, by Brodie Winning (South Australia); Mea Culp, by Tom Parolin (South Australia); Semblance, by Stephanie Jaclyn (South Australia); The Devil’s Bureaucrat, by Gina Cameron (South Australia); Who’s A Fly Bird, by Bianca Tomchin and Mathew Harvey ( NSW); Ursula, by Rick Davies (South Australia); Wind Giants, by Nick Thompson. 

Mario Andreacchio led way from Adelaide to China and other global film co productions

Mario Andreacchio is an Adelaide independent outsider film maker who has blazed new ground in international links from the 1980s and into the 21st Century. Through his Norwood-based AMPCO (Australian Motion Picture Company) Films, he has directed feature films, TV specials, telemovies, children's miniseries and documentaries. After working with investors from Germany, France, the United Kingdom, South Africa, Canada and Japan, Andreacchio threw himself into the first Australian co-production with China: the children’s film The dragon pearl in 2011. Australian actor Sam Neill played a lead role but Andreacchio impressed the Chinese by making a dragon the star of the film. Adapting to the Chinese ways of doing things, Andreacchio has joined other Chinese co productions including romantic comedy Tying the knot and action film Shimalaya. Born to Italian migrants in South Australia’s then-coal mining town of Leigh Creek, Andreacchio studied experimental physics then psychology before switching to film at Flinders University and ending at the Australian Film Television and Radio School. Andreacchio ventured into featured films in the 1980s with Captain Johnno (1988) winning an International Emmy. Another successful children's film, Napoleon, the adventures of a golden retriever pup and parrot friend Birdo Lucci, was a venture with Japanese company Herald Ace. Sally Marshall is not an alien (1999), an Canadian-Australian co-production, had strong reviews and was the second highest grossing Australian film of the year. 

Anthony Maras's major work 'Hotel Mumbai' builds on his previous short film successes

Hotel Mumbai, directed and co-written by Adelaide’s Anthony Maras, was one of the biggest film productions to come out of South Australia, released in 2019 with a world premiere at Toronto International Film Festival. Hotel Mumbai delves into the story of the 2008 Mumbai terrorist attacks. The thriller focuses on the Taj Mahal Palace Hotel. Maras did copious research to produce the film. Hotel Mumbai was mostly shot at Adelaide Studios and partly funded by the Adelaide Film Festival where it had another premiere. English actor Dev Patel, known best for starring in Slumdog Millionaire and Lion, was a lead in Hotel Mumbai along with Adelaide's Tilda Cobham-Hervey. Anthony Maras’s earlier short film The Palace was a multi-award winner. It won best short film at other film festivals and awards ceremonies including the 2012 Beverly Hills Film Festival (also best director), 2011 Sydney Film Festival 2011, Melbourne International Film Festival (best Australian short film), 2012 Flickerfest International Festival of Short Films (best Australian short film), 2011 IF Awards (rising talent), 2012 Shorts Film Festival, 2012 Australian Film Festival and 2011 Adelaide Film Festival (audience award). It won best screenplay in a short film at the 2012 Australian Academy of Cinema and Television Arts (AACTA) awards. This marked Maras’s third AACTA Award, having won best short fiction film for his Spike Up. He was nominated for the same award for his first film Azadi. Maras was an associate producer on Last ride (2009), debut feature of Palme d'Or-winning director Glendyn Ivin and starring Hugo Weaving.  

Director Justin Kurzel, producer George Pank Adelaide film makers scoring world goals

Justin Kurzel (director) and George Pank (film lawyer, producer) are Adelaide products playing different roles in international film-making in the early 21st Century. Kurzel and his musician/composer brother Jed were born in Gawler. After 1990s study at the National Institute of Dramatic Art in Sydney, Kurzel did music videos for rock band The Messhall, founded by his brother. In 2005, Kurzel made his first short film Blue tongue. Six years later, he wrote, directed and released The Snowtown murders about South Australian killings. He won the Australian Academy of Cinema and Television Arts Award best director 2011, the Gold Hugo at the Chicago International Film Festival, Film Critics Circle of Australia award for best directing. In 2015, Kurzel directed a successful adaptation of Shakespeare’s MacBeth, followed by adapting computer game Assassins Creed. George Pank, a Flinders University graduate, shared an Oscar in 2016 as a producer of documentary Amy about singer Amy Winehouse. Pank, who graduated in law, screen studies and politics, had a key role in films like Oscar winner Slumdog Millionaire and The Diving Bell and the Butterfly as legal and business affairs consultant. Although he's worked on the business and legal side, Pank credits Mike Walsh Flinders University associate professor and senior lecturer in screen and media) with giving him film creative knowledge. After producing successful Banksy documentary Exit through the gift shop, Pank brought his skills home for the Australian film All This Mayhem about skateboarding brothers Tas and Ben Pappas.

Bruna Papandrea and Reese Witherspoon partnership peaks with 'Big little lies' Emmys

Bruna Papandrea, who grew up in a housing trust home in Elizabeth, can claim to be one of Adelaide’s greatest Hollywood achiever with her producing role in the Big little lies series that won six Emmy awards in 2017. Papandrea moved to New York City in the 1990s after starting a career in film production. She briefly returned to Australia to produce the 2000 film Better than sex, nominated for the AFI best film award, before going to London in 2001. She served as a production executive at  Mirage Enterprises and returned to New York to work for GreeneStreet independent films as a creative director. She was executive producer of the 2006 romantic comedy Wedding daze before joining another independent Groundswell Productions in Los Angeles in 2006. She produced Smart people (2008), Milk (2008), The Marc Pease experience (2009) and All good things (2010) and zombie comedy Warm bodies (2013), starring Adelaide’s Teresa Palmer. In 2012, Papandrea and actress Reese Witherspoon founded the Pacific Standard company in Beverley Hills, focusing on films made by and about women. Their first projects were Gone girl and Wild (2014), from book rights bought by Papandrea and WitherspoonIn 2016, their partnership but they completed work on HBO's Big little lies. The series’ six Emmy awards was the biggest haul for the team of Australians who wrote, produced and starred in it. Big little lies won best miniseries and Paradrea was on stage with Nicole Kidman to collect her best actress award. In 2015, Papandrea received the Australians in Film International Award.

'Our Don' – Adelaide makes its orchestral multi-media tribute to Don Bradman in 2014

Don Bradman’s musicality and cricket brilliance were highlighted in a major all-Adelaide tribute in 2014. Commisioned by the South Australian government, the multi media Our Don featured Bradman archival video, with Elder Conservatorium graduate Luke Dollman conducting the Adelaide Symphony Orchestra’s music written by another Adelaide University Elder Conservatorium graduate Natalie Williams. The night’s performance included Golijov’s Songs by another distinguished conservatorium graduate Greta Bradman, soprano and granddaughter of the cricket legend. Adelaide film and television actor Gary Sweet, whose first major role in 1984 was as Donald Bradman in the Network Ten miniseries Bodyline, the story of the 1932-33 Test series between England and Australia, narrated the text by biographer Peter Allen. Williams’s music was divided into five movements: The boy from Bowral, Bodyline, The Invincibles, A national hero and His greatest partnership – the 65-year relationship between Bradman and his childhood sweetheart Jessie. Also featured was the song Bradman composed: “Every day is a rainbow day for me”. Some on-field footage and newspaper headlines highlighted his record: 6,996 Test runs at a 99.94 average and a record first-class score of 452 not out. Our Don music composer, Tanunda-born Natalie Williams, has been based extensively in the USA after following her studies at Adelaide and Melbourne universities with further graduate training (international) in composition. She was accepted into the doctoral degree at the Jacobs School of Music, Indiana University in 2006. She has written pieces for Adelaide Symphony and other Australian and international ensembles.

Singer, composer and pianist, Don Bradman's love of music legacy is granddaughter Greta

Don Bradman was a keen musician: a boy soprano in his school choir, a skilled pianist, and he composed music. He recorded several solo piano pieces at Columbia Record Studios during the 1930 tour to England. Later that year, a song written for piano by Don Bradman called “Every day is a rainbow day for me” had its premiere performance at the Grand Opera House in the presence of the touring West Indian team. His granddaughter Greta sang that song at the Bradman centenary dinner in Sydney in 2015. When Greta Bradman was young, she and brother Tom went to her grandparents' Kensington Park house every day after school where she was surrounded by her piano-playing grandfather’s passion for music, especially the soprano voice. They would also listen to his big collection of LPs.Greta studied music at Adelaide University’s Elder Conservatorium when she was also a member of Adelaide Chamber Singers, the winner of consecutive Choir of the World awards.Greta Bradman has won critics choice awards including APRA/AMCOS Performance of the Year (2013) and OzCart awards. Nominated for Helpmann, MusicOz and ARIA awards, she received Australian International Opera Award in 2013-14 allowing her to train with the Wales International Academy of Voice. Richard Bonynge selected Bradman to sing the title role in a performance of Handel’s Rodelinda in 2014. Greta Bradman has recorded for Sony, ABC Classics and independently.

 

Crowning glory of South Australia's music tradition: the Adelaide Symphony Orchestra

Adelaide Symphony Orchestra had been the crowning glory of South Australian music since 1936. The state’s largest performing arts organisation, the orchestra has built a reputation for vitality and versatility and won international acclaim. Besides delivering performances to more than 90,000 each season, the orchestra has increasingly extended its audiences and activities beyond the concert hall. These include the Out of the CBD series and regular broadcasts on ABC Classic FM radio. Adelaide Symphony’s comprehensive Learning Series for schools and families symphony directly reached more than 16,000 children. In 1998 and 2004, the orchestra gained international attention for its role in the first fully Australian production of Richard Wagner’s The Ring in 2004. It was involved in Adelaide Festival’s 2017 staging of Barrie Kosky’s opera Saul and the Australian premiere Brett Dean’s opera Hamlet (2018). Delivering diverse and colourful programming with leading international and Australian musicians, it has enjoyed successful performances with such artists as Ben Folds, Tim Minchin and the Hilltop Hoods. In 2015, the orchestra and Hilltop Hoods reprised their collaboration to record Drinking From The Sun, Walking Under Stars Restrung. Adelaide Symphony Orchestra showcases new music and Australian premieres. It as madeinternational tours, including China, Korea, Singapore and Carnegie Hall in New York, and plays a vital role in the Adelaide Festival  Adelaide Cabaret Festival, OzAsia Festival, WOMADelaide, State Opera of South Australia and Australian Ballet.

Adelaide's Vertical Hold pop band scores 1980s hits from a Greek Unley High School background

Vertical Hold was an Adelaide pop music band, starting from a Greek migrant family background, that had 1980s No.1 hits in South Australia and in the national top 50. Unley High School friends Mick Michalopoulos and Jim Mountzouros formed Gladiator Tortoise in 1972, influenced by the Beatles, Rolling Stones and Pink Floyd. After lead guitarists Kon Karanastasis and then Ulysses Metropolis left the band that became Tortoise for a while, Hillary Frost (cello, keyboards) and Noel Forth (drums) joined what became Vertical Hold in 1981. With local support such as Bazz & Pilko (Barry Ion & Tony Pilkington) giving a demo of their song “Baby let me tell you” airplay on 5AD in 1979, Vertical Hold was in the finals of SAFM Adelaide's Summer Search 1981 bands competition, when they were signed by RCA Records. Their single “My imagination” went to No.1, aided by many local gigs and Channel 7’s Music Express, airplay from 5KA/5AD, and a spot on Molly Meldrum’s Countdown. In 1982, they were poached by the WEA Australia label. “Tears of Emotion” was another hit but radio didn’t like the move from catchy tunes so the debut single from their album did little, although song videos by filmmaker Scott Hicks brought international exposure. WEA ended Vertical Hold’s contract but “Strange Love”, recorded by Mick Michalopoulos at home, was picked by SAFM for its Brewing album and recorded by the group as The Gradiators with Mick’s wife Maria on backing vocals and Chris Moutzouris on congas. Vertical Hold’s final public appearance was at the Greek Glendi Festival 1988.

Adelaide's Angels rock as heavy-metal remake of the 1970s Moonshine Jug and String Band

The Angels, one of Australia’s most brilliant rock bands in the 1970s, began in Adelaide as the Moonshine Jug and String Band, a folk band featuring banjo, violin, harp, jug and tea-chest bass, with John Brewster, his brother Rick, Craig Holden, Bob Petchell and Pete Thorpe. They were joined next year by Belfast-born immigrant Bernard “Doc” Neeson on guitar and lead vocals. They played at university campuses and cafes. Holden left in 1972 and Spencer Tregloan joined on banjo, kazoo, jug, tuba and backing vocals. Their debut extended play, Keep you on the move, made top five in Adelaide. In 1974 came the single “That’s all right with me” and name change to Keystone Angels with a switch to electric instruments and 1950s rock at pubs. Personnel changes and disputes became a blight on the band. Beefing up to hard rock, the Keystone Angels (later the Angels) supported AC/DC's 1975 South Australian tour. Bon Scott and Malcolm Young from AC/DC recommended the Angels to Alberts records. The Angels' first single, “Am I ever gonna see your face again” (1976) was produced by Vanda and Young and written by the Brewsters and Neeson. By 1978, the Angels were Australia's highest-paid band, attracting record crowds. Neeson brought a theatrical edge as the band added punk/new wave to high-energy metal. The Angels’ top-10 albums were No exit  (1979), Dark room (1980), Night attack (1981), Two minute warning  (1984), Howling (1986) and Beyond salvation (1990). They were inducted into ARIA Hall of Fame in 1998 but effectively ended when Neeson left in 2000.

Jimmy Barnes' Adelaide Orange start morphs into wild pub-rock Cold Chisel and 'Khe Sanh'

Cold Chisel became an epic Australian pub-rock music success from its start in Adelaide in 1973 as a heavy-metal cover band called Orange. Singer Jimmy Barnes and drummer Steve Prestwich brought the working class UK immigrant background from the northern suburbs. Barnes’ older brother John Swan was in Cold Chisel in the mid 1970s, providing backing vocals and percussion but was fired after violent incidents. In 1977, when Cold Chisel was moving to Sydney  from Melbourne, Barnes wanted to quit to join Swan in a hard-rocking blues band called Feather. But a farewell performance in Sydney went so well the singer changed his mind and Warner Music Group picked up Cold Chisel. In 1978, Cold Chisel recorded its self-titled debut album. Soon after, the song “Khe Sanh” was released but was deemed too offensive for commercial radio. It was only played regularly on ABC’s Double J but still reached No.41 on the Australian chart. It was No.4 in Adelaide, thanks to local radio support. Cold Chisel became notorious for wild behaviour, particularly from Barnes, but in 1981, the band won all seven major awards at the Countdown/TV Week  music awards. As a protest against a TV magazine being involved in a music awards ceremony, the band refused to accept its awards and, after performing a verse of “My turn to cry”, smashed the set and left the stage. Its album Swingshift debuted at No.1 Australian album, sealing the band’s status as the nation’s biggest-selling act. Barnes launched a solo career in 1984 with nine Australian No. 1 albums and an array of hit singles.

Glenn Shorrock an Elizabeth thread from Twilights, Axiom and the Little River Band

Glenn Shorrock was a founding member of The Twilights, Axiom, Little River Band and its spinoff trio Birtles Shorrock Goble and a solo performer. Shorrock migrated to Adelaide with his family on the Orcades in 1954 when he was 10. Shorrock's first public performance was in 1958 at St Peter's Lutheran hall in Elizabeth when he mimed Elvis Presley’s “All Shook Up”. When the record player stopped, he continued singing and realised he had a good voice. In 1962, Shorrock formed harmony group the Checkmates. As a result of The Beatles’ popularity, the Checkmates and instrumental group The Hurricanes merged as The Twilights, with eight consecutive national hits. When The Twilights disbanded in 1969. Shorrock formed an early Australian supergroup Axiom. It recorded two acclaimed albums and had three top-10 singles but disbanded in the UK in 1971. Shorrock stayed in the UK and recorded his own song “Let's get the band together" in 1971 and a cover of “Rock'n'roll lullaby”. As Andre L'Escargot and His Society Syncopaters, he released “Purple umbrella". He joined the multinational progressive rock band Esperanto and did backing vocals for Cliff Richard. Also in the UK at the time was Australian rock band Mississippi with Beeb Birtles and Graham Goble, both originally from Adelaide where Birtles was in Down the Line that became Zoot. When Birtles reformed Missisippi as the Little River Band, Shorrock joined what became the first Australian band first to achieve major success in the US. Shorrock wrote the hits “Emma”, “Help is on its way” and “Cool change".  

Scottish immigrant Jim Keays a mainstay of Masters Apprentices, shaped by Beatles/blues

The Masters Apprentices started life as an Adelaide surf music instrumental band called The Mustangs in 1964, with Mick Bower on rhythm guitar, Rick Morrison on lead guitar, Brian Vaughton on drums and Gavin Webb on bass guitar. Profoundly influenced by the Beatles in 1964, The Mustangs changed to a beat style and took on a lead singer: Scottish immigrant Jim Keays. They rehearsed in a shed behind a hotel owned by Vaughton’s family. Original manager Graham Longley taped a rehearsal that was released on CD in 2004 as Mustangs to Masters... First Year Apprentices. In 1965, The Mustangs became The Masters Apprentices because “we are apprentices to the masters of the blues – Chuck Berry, Bo Diddley, Jimmy Reed, Elmore James and Robert Johnson." In a heat of Hoadley’s Battle of the Sounds, they finished third behind The Twilights (eventual national winners). The Apprentices shared a gig with pop star Bobby Bright of Melbourne, who recommended them to Astor Records. Their debut single “Undecided”/”Wars or hands of time” climbed the Adelaide charts, thanks to local DJs’ support. “Wars or hands of time” was the first Australian pop song to directly address the Vietnam war. The Masters Apprentices moved to Melbourne in 1967. Keays became a mainstay of the band that had psycjhedelic-rock and wild-bad-boy phases and kept losing personnel. (Lead guitarist Peter Tilbrook from Adelaide band The Bentbeaks joined in 1967.) Their album Choice Cuts received rave reviews in England but the band broke up in 1972.

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