Tuesday, July 14, 2020

The battle of Le Hamel – the 93 minutes that changed the world


Just as there is a calm before the storm, a trough before a wave, so
too is there a lull after the storm is over, a serenity of sorts after the
last receding rumble of the major battle has gone, leaving only the
recurring echoes.

Australian commander Sir John Monash

Such is the situation for the Australian forces, in the first days of
May 1918, in France. For, oh, what a battle the Kaiserschlacht had
been, and how well the Australians had done! But it had come at a
huge cost: 12,000 casualties. For the moment the Australians must
lick their wounds, rebuild their forces, and wait while Berlin works
out what to do next. Given that the Germans retain a large reserve of
troops, there is every chance that they will launch once more and the
only questions are when, and where? As ever, the most likely answers
are ‘soon’, and ‘at Amiens or Paris’.
Across the Australian Corps it is really only General Sir John
Monash’s 3rd Division who, restless for more action, continue to
push their line forward.
‘The Third Division had had enough of stationary warfare, and the
troops were athirst for adventure,’ Monash would later recount. ‘They
were tired of raids, which mean a mere incursion into enemy territory,
and a subsequent withdrawal, after doing as much damage as possible.
Accordingly I resolved to embark on a series of minor battles, designed
not merely to capture prisoners and machine guns, but also to hold
onto the ground gained.’4
Typically of Monash-organised excursions, they go well, with four
small battles between 30 April and 7 May yielding several hundred
prisoners who ‘impart a mass of valuable information’,5 numerous
machine guns, and a net mile of gained territory!
‘During the last three days,’ Field Marshal Haig admiringly records
in his diary after the last successful raid, ‘[the Australian 3rd Division]
advanced their front about a mile . . . The ground gained was twice as
much as they had taken at Messines last June, and they had done it
with very small losses; some 15 killed and 80 wounded; and they had
taken nearly 300 prisoners.’6
There is only one problem. The further Monash’s men push the
Germans back to the east, in their positions just north of the Somme,
the more it exposes their right flank to the Germans on the south.
‘I was in possession of much the higher ground,’ Monash would
recount, ‘and was able to look down, almost as upon a map, onto the
enemy in the Hamel basin, yet I was beginning to feel very seriously the
inconvenience of having, square on my flank, such excellent concealed
artillery positions as . . . Hamel Woods.’7
The obvious solution – and Monash attempts to persuade the
Australian Corps Commander, General Sir William Birdwood, to do
it – is to have the Corps attack south of the Somme as well, and take
the village of Hamel and the basin it is positioned in. Alas, it is decided
that for the moment the Australian forces there need more time to
recover from their exertions of the previous six weeks.
At least, while the bulk of Diggers wait for the next move to be
made, they are in a fine part of the world to be so waiting, with none
appreciating it more than the gnarled veterans among them.
Training in Cairo they’d been in the blistering deserts. At Gallipoli
they had been in bloody trenches. For two years on the Western Front
they’d lived like moles in bloody, muddy trenches, stormed at with
shot and shell . . . and now? Now, it is springtime in France! After
their heroic efforts at Villers-Bretonneux and the subsequent German
retreat, things are relatively quiet, as the Australian task is merely to
hold the Western Front defending the key town of Amiens.
It places them in one of the most picturesque parts of France,
a dreamy patchwork of wheat and maize fields, sheep and cattle
paddocks, abandoned small villages with cobblestone streets . . . and
many cellars still stocked with wine.
Yes, life does offer better things, but not for an Australian soldier
it doesn’t. There is even a bit of shooting to be done, to keep them
interested, and therein lies a tale.

American and Australian troops dug in together during the Battle of Hamel. Hamel was fought in the early morning and by a happy arrangement on what was their National Day, United States troops attacked, at battalion strength, for the first time in the British line. Their part in the operation not only made the day memorable for them, but created a great bond between the Americans and Australians. Left to right: five unidentified; Private Jamieson, 42nd Battalion; Lance Corporal Bellamy, 42nd Battalion.



For after the Germans’ failed attempt to take Amiens, the most
forward elements of the German Army have come to a halt at the point
where their offensive force has been equalled by defensive resistance. It
means that rather than holding a well-thought-out, superbly engineered
major system of built-up trenches, the exhausted Germans have simply
dug in the best they can in the chalky soil, wherever they can, as they
work out their next move. They no longer hold their own line with a
combination of concrete pill-boxes, dugouts, rolls of barbed wire and
carefully positioned machine-gun posts that can deliver devastating
fire on any intruder within 400 yards. Instead they occupy a series of
non-continuous trenches, with dangerous gaps between, guarded by
rolls of barbed wire here and there, and machine-gun posts scattered
sporadically rather than bristling from every part.
And there is no effort to strengthen their line! This is, in part,
a measure of the Germans’ exhaustion and diminished resources, and
also because their commander, Erich Ludendorff, has forbidden such
consolidation on the reckoning they must keep the Allies guessing about
whether they intend to advance once more, stay, or retreat.
Hence, what the Australians are up to now – holding the ten miles
of the Western Front that they have just so wonderfully held over
the last six weeks, with three Divisions in the front-line trenches at
any time, and one Division in reserve for two weeks at a time before
rotating. Far and away the most important part of the line they are
holding is that which lies in front of the French town of Amiens,
stretching from the River Somme, to the Roman Road, a cobblestoned
thoroughfare – first built by the Romans nearly two millennia earlier
– which goes east from Villers-Bretonneux to Saint Quentin. From
atop the highest point of the Australian section – Hill 104, just 3000
yards back from the front-lines – you can see the full gloriousness of
the French countryside, the rich mosaic of ancient villages, even more
ancient farmlands boasting clover and wheat fields, and out to the
left the timeless Somme, in a marshy valley winding its majestic way
through the dreamy landscape. Ah, and of course, from here you can
look straight across to German-held territory, including a dangerous
bulge in their line around the village of Hamel and, just behind it, the
hill of Wolfsberg, nearly as high as Hill 104 and covered with German
observers watching them in turn.
They’ll keep.

Men of the 15th Battalion, on the day of the fight at Hamel, worn out and asleep under camouflage which was found covering a German trench mortar in Pear Trench. (AWM E02664)

For now, the tone is set by a few sentences in the diary of one
Australian soldier occupying his trenches in this early part of May.
‘I wonder if I’ll ever see Australia again,’ he writes. ‘This life seems
so unreal at times and one can see no end of the war in sight. The
wood in front of us looks so beautiful in the sunlight and life seems
so good, yet there is death in the . . . shells and whistling bullets.’8
Even though in comparison to what these men have lately known, it
is all quiet on the Western Front, in many ways it is a little too quiet.
So quiet, in fact, if you cock your ear to the wind right now, you
will hear something extraordinary.
For, yes, now, in the area a mile or so back from those front-line
trenches, what is this that the Diggers have dragged out of an abandoned
chateau, put on a ‘shell-torn cart’ and dragged back here to the Diggers’
dugout? Why, it is a grand piano! A huge one. A grand grand piano.
Well, yes, it had been found midst ‘sheets of music . . . strewn all
over the floor, pictures & costly ornaments broken by shell fire, lovely
cushioned chairs broken’, and has taken a bit of a hit, suffering ‘4 shrapnel
holes in the woodwork’.9 But while the chateau itself looked fine from
a distance and was ruined up close . . . this, this is quite the reverse!
For now look.
Up steps a Digger with intent, and with the grand theatricality of
the maestro he maybe once was, his fingers stretching skywards before
gliding downward, he starts to play.
And play, and play, and play! See his fingers flow over the keyboard
with impossible speed. Hear the music float out over the bloody trenches
that serve as ugly slashes through the fields of dandelions, daisies and
daffodils, and watch what happens now.
For as his chords float forth, and the battered piano delivers a
pitch-perfect performance, heads start to bob up in yonder trenches.
The bloke on latrine duty throws down his shovel, and walks on
over. Passing platoons stop their weapons check and gather round.
The bloke hauling the mess-cart stops, and comes on over. Diggers in
dugouts come on out, like moles from a hole after the winter is over,
and springtime has arrived. A crowd of mud-men gathers around the
messy maestro, as still he keeps on playing.
Is it Brahms? Beethoven? Liszt? Mozart? Chopin? One of them
German or Austrian coves, anyway?
Buggered if they know, most of them. But they know the Digger
can play and play extraordinarily well, as the birds sing, and bombs
burst in the distance.
A passing English major is so impressed, he asks will they sell the
piano.
No.
Can the Germans in their trenches over yonder hear it, too?
They hope so. For they, too, must surely say, Play on, young man,
play on. Das ist gute Musik!
Still the Digger does not look up, transported to a place far away,
just as they all are, magically transported to a place where men aren’t
set on killing each other, where you can see your families, and go out
on a Saturday night with your best girl, and the following day have
Sunday roast with Mum and Dad and Auntie Dot. Where you can go
to bed every night, with full confidence that you will see the sunrise.
Oh, play, Digger, play, as these Australians far from home soak up
every note, many of them luxuriating in the finest silk panties beneath
their muddy strides, their luscious drawers purloined from the drawers
of Madame who had left yonder chateau a few days before. One of
them stands there dressed for a joke as a combination of a fine French
gentleman and lady with ‘a tall black hat & white lace parasol’10 that
he has also ‘souvenired’, as the Australians are pleased to call looting.
‘Lor’ isn’t it funny,’ one Digger notes admiringly in his diary of his
brothers-in-arms. ‘They take nothing, not even war, seriously, though
in the trenches Fritz learns what they are made of.’11
And yet while it is one thing to be such brothers-in-arms and feel that
deep bond that comes with fighting for your life and the man beside
you, while he does the same for you . . . it is quite another when your
brothers-in-arms are your actual brothers, flesh of your flesh, blood
of your blood, spirit of your spirit.
The Geddes brothers of the 13th Battalion are a case in point,
and the middle one, Cliff, is right here, right now, soaking up the
music. Originally from Warialda, up Moree way, the brothers Geddes
– 35-year-old Sergeant Aubrey Geddes, 30-year-old Corporal Cliff
Geddes and 24-year-old Sapper Stanley Geddes – had all been bank
clerks before enlisting, and have been in the thick of the heavy fighting
ever since. Aubrey, known as ‘Boo’ to the family, is with B Company
of the 13th Battalion, while Cliff is with D Company of the same, and
Stanley is with Brigadier Pompey Elliott’s 15th Brigade, serving with
the 15th Company Field Engineers.
Like his brothers, Cliff – a distinguished looking fellow, who is neat,
as Diggers go, and careful with his presentation, just as he had been
raised – is dead keen to finish this damn war, and get home as soon as
possible. Like them all, he is proud of Australia’s accomplishments in
these parts, but a little pissed off that so often the Australians seem to be
on their Pat Malone when the heavy lifting is to be done against Fritz.
‘It was a great performance of our Australian lads to drive Fritz out
of this town of Villers Bretonneux,’ Cliff writes in his diary this evening.
‘Lately it seems always a case of the Pommies losing a position, & our
chaps holding Fritz, or having to win back what the Pommies lost.’12
And it is dangerous, make no mistake. A bloke could be killed at any
moment. Oddly, Cliff worries more about his brothers – particularly
Boo even though he is in the same Battalion – than himself, but that is
just the way it is.
‘Haven’t seen Boo since Monday night, trust he’s OK, they are not
getting the shells in the front line we are back here, & if there’s no hop
over, I think he’s pretty right, though one never knows what minute
he’ll be hit at this game.’13

Wounded Australians and Americans on stretchers awaiting the ambulances at the Quarry, near Hamelet, during the battle of Hamel. Note the ambulances being loaded with wounded in the background. E02715

The two key questions that a lot of the Diggers want answered right
now are: firstly, what will the Germans do next?; and secondly, when
will the bloody Yanks dip their bloody oars in?
You see, it seems clear that the Germans are girding their iron loins
for their next attack, which will be a big one, there can be no doubt.
Since Russia pulled out of the war after the Bolsheviks took over late
the previous year, German forces previously on the Eastern Front have
been flooding into France at the rate of 20,000 a week, and as the
Kaiserschlacht showed, Germany is eager to win the war, before the
weight of the Americans, who, in turn, are now flooding into France
at the rate of 60,000 a week, can be felt.
But while the Germans arriving are fighting, the bloody Yanks aren’t
and it is a real problem for those, like the Australians, who are holding
the line.
Typical is the view of the British officer, Captain Hubert Essame of the
8th Division, who had recently fought by the side of the Australians as
they re-took Villers-Bretonneux. His experience has convinced him that
the Australian troops are the best in the war. But great boon that they
are to the exhausted British forces, they will not be remotely enough.
‘A year had now passed since the Americans had entered the war,’
Essame would note, ‘and yet, apart from four good divisions in quiet
sectors on the French front, they had contributed virtually nothing to
the death struggle . . .’


Credit:  Reprinted from Monash’s Masterpiece: The Battle of Le Hamel and the 93 Minutes that Changed the World by Peter FitzSimons.  Hachette Australia, RRP: $35.00.  ISDN: 9780733640087.

The Grifters' Club: Pulitzer winning team set to release explosive Donald Trump expose

'Many of the world's great leaders request to come to Mar-a-Lago in Palm Beach. They like it. I like it. We're comfortable.' - Donald Trump




A bit too comfortable, perhaps.

Since becoming president, Trump has been using his Florida estate, Mar-a-Lago as a winter retreat to entertain everyone from his closest advisers to foreign dignitaries, including prime ministers.

Mar-a-Lago has thrummed with scandal since the earliest days of Trump’s presidency. Long known for its famous and wealthy clientele, the resort's guest list soon started filling with political operatives and power-seekers. Meanwhile, as Trump re-branded Mar-a-Lago "the Winter White House" and began spending weekends there, state business spilled out into full view of the club's members, and vast sums of taxpayer money and political donations began flowing into its coffers, and into the pockets of the president. As Mar-a-Lago is a private club, Trump can be visited, lobbied, flattered and supplicated by members of the public. A variety of hucksters, sycophants and entrepreneurs - all of them emblematic of the Trumpian age of politics - have taken advantage of Mar-a-Lago's open-door policy to advance their own agendas, and to line their pockets.

To know Donald J. Trump it is best to start in his natural habitat: Palm Beach, Florida. It is here he learned the techniques that took him all the way to the White House. He isn't just President here, he is King.

The Grifters' Club is a breakthrough account of the corruption, intrigue, and absurdity that has been on display in the place where the president is at his most relaxed. In these pages, a team of prizewinning Miami Herald journalists reveal the activities and motivations of the strange array of charlatans and tycoons who populate its halls. Some peddle influence, some look to steal government secrets, and some just want to soak up the feeling of unfettered access to the world's most powerful leaders.

This ground-breaking and shocking expose reads like a thriller and is perfect for fans of Fire and Fury, Team of Vipers and Fear.

Sarah Blaskey is an enterprise and local government reporter for the Miami Herald. She holds a Master's degree from Columbia University, where she worked prior to coming to the Herald as a post-Graduate investigative fellow uncovering an illicit trade of shark fins and humans in Central America. Caitlin Ostroff is a data reporter who used data analysis and computer coding to report investigative pieces for the Herald. She is a graduate of the University of Florida and is now with the Wall Street Journal. Nicholas Nehamas is an investigative reporter for the Miami Herald. He was part of a team that won the 2017 Pulitzer Prize for Explanatory Reporting on the Panama Papers. Jay Weaver has covered courts, government and politics for more than 25 years for the Herald. A graduate of UC Berkeley, he was part of a team that won a Pulitzer Prize for Breaking News in 2001. He and Nicholas Nehamas were also 2019 Pulitzer Prize finalists for a series on international gold smuggling.

Published by Hachette Australia in August 2020, Trade Paperback $32.99 EBook, $14.99

Saturday, June 20, 2020

Perfumes for my lady: How perfumes are made

The natural oil of flowers and aromatic plants are the heart of every good perfume, and in the extraction of these essences, petroleum-based chemicals play an important part. 

It is a moot point whether perfumes were first used as a means of overpowering other, and less pleasant, odours or whether they were employed by women in their age-old pastime of alluring men. If the latter, it would seem a supreme example of the male of the species having made a rod for his own back. We may never know the answer to that question, however, for despite extensive research, nothing definite has so far been discovered which provides a clear indication of when, where and by whom perfumes were first made.

The solvents plant at Berre L'Etang Refinery, near Marseille in the south of France,
produces solvents used in the perfume industry.

There is reason for believing that a race of people who lived in the period about 23000 BC used some form of petroleum as one of their principal toilet accessories, but for the first recorded use of perfumes, we have to go to Egypt, where, in an era variously placed at 5.000 to 3.500 BC., cosmetics of several kinds were used as offerings to the deities, as the chief agents for embalming the dead, and for purely aesthetic purposes.

A little later, at Heliopolis-the "City of the Sun', and now one of Cairo's most modem suburbs - the sun worshippers had their headquarters, and thrice daily in the temples there the priests offered perfumes to the Sun God; resins were burned at dawn, myrrh at midday and kaphi, a mixture of several aromatic ingredients of which the precise nature is unknown, at sunset. At the feet of the statue of the Goddess Isis an ox was sacrificed on ceremonial occasions, but the stench of the burning flesh proving obnoxious to priest and layman alike, the carcass was stuffed with aromatic gums and oils, made by the priests themselves, who surrounded the preparation of these perfumes with an aura of mystery thus helping to strengthen their power over a credulous populace.

The ancient Egyptians were the originators of the artificial bath, subsequently so greatly elaborated by the Greeks and the Romans. Nero was very addicted to the use of perfume, and heavy, voluptuous scents played an important part in the life of his Court.

In the days of Lucullus and Cicero, men used perfumes very extensively, but Caesar, on the other hand, would have little to do with men who came scented into his presence, and he is reputed to have said to one highly-perfumed follower, “I would rather you smelled of garlic".



The Persians greatly favoured heavily scented perfumes and added many new ranges to those already in use at the time-notably attar of roses.

In Britain, perfumes were introduced by the Romans, although there is some evidence that the ancient Briton used a primitive type of unguent. It was in the days of the Crusades, however, that perfumes really began to play a part in the social conscience of the country, when the knights, returning from the Holy Land, brought back with them samples of fragrance from the Middle East for their ladies.

By the time Queen Elizabeth I ascended the throne a wide variety of perfumes was in daily use, and the fashion grew steadily until Oliver Cromwell assumed power, when perfumes virtually disappeared. With Charles II restored to the throne, cosmetics and perfumes again came on the scene, and by the 18th century seem to have become something of a menace, for a Bill was introduced into Parliament containing a clause which read: "That all women of whatever age, rank, profession or degree, whether virgins, maids or widows, that shall impose upon, seduce, or betray into matrimony any of His Majesty's subjects by scents, paints, cosmetics, waxes, artificial teeth, false hair, Spanish wool, iron stays, hoops, high heeled shoes, bolstered hips, shall incur the penalty of the law in force against witchcraft and like misdemeanours, and that the marriage, upon conviction, shall stand null and void”. No wonder men termed those 'the good old days'!

In medieval France and Spain, perfumery became exceedingly popular and many exotic uses were discovered. In France, courtiers were the principal users, and in some courts each day of the week had its own distinctive perfume. Fashion made many demands on the ingenuity of the parfumeur, and at one period in France, Italy and England even dictated that gloves must be perfumed. This fashion became so widespread and lasted for such a long time that the art of the scent maker and that of the glove manufacturer became combined.

THE MANUFACTURE OF PERFUMES



Natural perfumes are a product of plant metabolism, and their highest form is found in the scent of fresh flowers, due to the occurrence in the petals of minute traces of essential oils. In the rose and in lavender this is in the free state, but in jasmine and the tuberose it is present in the form of a glucoside. These fragrant constituents are distributed in various parts of a number of plants, such as the blossoms, leaves, fruits, seeds, the bark, the wood and, in certain types of plant, the gums and oleo-resins.

The most popular scents are undoubtedly those made from blends of perfumes extracted from flowers, and this is an industry-or perhaps it should be termed an art—which is predominantly French. This is understandable, for it is a trade peculiarly suitable to the French temperament; moreover, a prerequisite for the extraction of perfume from flowers is flowers, and where better may these be grown in luxuriant abundance than on the Côte d'Azur?

For the past one hundred years at least, Grasse, that pleasant town clinging to the mountainside behind Cannes, has been the centre of the extraction industry. Over a wide area around the town most of the land is given over to floriculture, and from spring to autumn the countryside is a patchwork of colour, varying from the golden hues of the mimosa in the early part of the year, to the creamy-white of jasmine and the darker shades of lavender as summer draws to a close.

It has been estimated that to obtain just one kilogram of perfume, 8oo to 1,000 kilograms of blossoms are required, and altogether something like 1,500 tons of flowers are treated every year in the score or so of factories in Grasse. Every morning, large quantities of freshly-picked blooms are delivered to these factories. My last visit to Grasse coincided with the jasmine season, and in one of the largest factories in the town I saw great mounds of fragrant blossoms being processed.

At one time the perfume was extracted from the flowers by treating them with steam in a tort. This method served very well with the Ludy type of blossom, such as lavender, but For the more delicate flowers a much more elaborate process, known as enfleurage, was used, the blossoms being placed on sheets of less which ad been covered with a thin layer effect. When the fat has become saturated Viu perfume from the flowers, the perfume was extracted from the fat with alcohol which was subsequently removed from the perfume by distillation. This process, or a slightly more modern version of it, is still used, but it is very costly.

HOW PETROLEUM PLAYS ITS PART



In the early years of this century, one of the leading perfumers in Grasse hit upon the idea of using a volatile solvent for the continuous extraction of the perfume from flowers, and employed ethyl ether for this purpose. This was a great improvement, but not the complete answer, and it was not long before the ethyl ether was replaced by a special spirit, known as Essence B, supplied by the Shell Berre Petit Couronne Refinery.

The process is briefly as follows. Large quantities of flowers are placed upon perforated trays in air-tight percolators. The Essence B then circulates through the apertures in the trays, becomes impregnated with the natural perfume, and is then drawn off from the bottom of the percolators and pumped into a still where, under vacuum, the essence is distilled, the perfume remaining at the bottom of the retort. This perfume is a thick, syrupy liquid, known as 'concrete'. This 'concrete' is then treated with alcohol to remove certain impurities, and after distillation, the 'absolute' perfume is obtained. The utmost care is necessary when refining Essence B, as the slightest odour would render it unsuitable for the treatment of the flowers.

In addition to the production of the natural oils and concretes, several of the Grasse factories now produce synthetic perfumes, as the output of natural oils is insufficient to meet the demands of the perfume industry.

Among the synthetic oils manufactured at Grasse are those known as ionones, the basis of the oil of violets. Acetone of extreme purity, produced at the Shell Saint-Gobain chemical plant at Berre L'Etang, near Marseilles, has played a leading part in the large-scale development of ionone synthesis. Tertiary butyl alcohol is used in the manufacture of synthetic musk, and both the natural and the synthetic branches of the industry are now using isopropyl ether and isopropyl alcohol (also supplied from Berre Refinery) as extraction solvents,

THE ART OF THE PERFUMER



As even on the Riviera flowers do not bloom all the year-round, the question may well be asked, what goes on in the Grasse perfumeries during the winter months? The answer is simple enough. When flowers are not available, other parts of the plant are processed. I should make it clear here that the concretes and absolute oils are only part of the ingredients necessary for the making of perfumes. The scents one buys in a shop are very complex blends of many of the basic materials produced in Grasse. It is, for example, necessary to blend several absolute oils and then to add either a little musk or a little ambergris to impart 'body' to the perfume. A trace of civet may also be added, for strangely enough this pungent odour acts as a foil to the blend of wholly delectable floral perfumes, which a woman uses to enhance her charm or a man buys for her as a means of winning her favours - or as a peace offering,

In the brief Riviera winter, then, orris root, oak moss, aromatic barks, gums and violet leaves are processed and are used mostly as fixatives, petroleum again playing an important part, usually in the form of a solvent.

Grasse provides the basic materials for the blender, who brings to his art subtlety, refinement, restraint and innate good taste. The imagination of the true artist can be given free rein, as the composition of a perfume is a creative achievement. The French hold, and with considerable justification, that there is only one place in the world where the artist in perfumes will find his true inspiration and be able to create truly distinctive and elegant perfumes. And that, of course, is Paris.
Perfumes are inclined to be temperamental, and a scent that suits one woman admirably may fail completely with another person. One type of perfume may be ideal for a blonde and another for a brunette, and most women know how to select their perfumes with discretion. Menfolk who are contemplating giving their wives or girlfriends (or both) perfume for Christmas would, therefore, be well advised to take care with their purchases. But having chosen the right one, no gift is more welcome to the majority of women.

K.B.S.

(Reproduced from Shell Magazine. 1955)

Saturday, May 30, 2020

Brymay's Miss Redhead, once a generous 60, now in a slim 45 matchbox.

The original 1947 Miss Redhead with 60 per box.
1971 design with contemporary hairstyle
The 'futureproof' flooded matchbox
design first appeared in 1975,
still with average contents '50'

It’s been more than 70 years since the alluring Miss Redhead first appeared on boxes of Bryant & May (Brymay) matches.

The striking coiffure - pun intended - of the fetching lass has become part of Australian pop culture, like an Andy Warhol/Marilyn Monroe soup tin or an Arnott’s Iced Vo-Vo biscuit.

By 1980, Miss Redhead was a svelte 47.
While the first boxes of Redheads in 1947 proclaimed ‘Av. contents 60’, many of us will remember the label saying ‘50’. But when did the average contents become 47, and why? That’s an interesting tale.

Sometime in the late '70s, a bored but inquisitive primary school student opened a carton of matches and counted every one. To his surprise, he found the boxes contained an average content of 47, not 50 as advertised. In order to avoid accusations of misleading advertising, Brymay changed the packing to 47 and so they have stayed until recently, when Miss Redhead shed a further two matchsticks.

A cheery and trim Miss Readhead
in her new 45 box.
Some might say 47 was a symbolic number for Miss Redhead, given it's her birth year.

Trivia: Stamp collecting is called ‘Philately’, but did you know that collecting match memorabilia is called ‘Phillumeny’?

More on Match collecting and match history 

Wednesday, May 27, 2020

Explore the Sound of Seattle on Spotify

The Beatles fishing from The Edgewater Hotel in Seattle

The Port of Seattle has partnered with famed Seattle radio station KEXP, one of the original champions of Northwest rock, to create a bespoke playlist highlighting Seattle’s rich musical heritage.

With a multitude of unique experiences on offer and a longstanding alternative arts scene, Seattle is an ideal destination for your next cultural adventure and the perfect complement to exploring the great outdoors of Washington State or experiencing the wilds of Alaska on a cruise.

Seattle’s Musical Heritage

Seattle is known as the home of countless artists across multiple genres, including Ray Charles, Jimi Hendrix, Nirvana, Pearl Jam and Macklemore. A musical incubator, the city’s iconic venues make it an excellent destination for live music, though it is perhaps best known for the creation of The Seattle Sound during the Grunge Rock movement. 

Jimi Hendrix
Monuments to two of the city’s most famous sons, Jimi Hendrix and Kurt Cobain, can be found at Greenwood Cemetery and Viretta Park. Recording studios Sub Pop and London Bridge Studios, which produced albums for Nirvana, Mud Honey and Soundgarden and Alice and Chains and Pearl Jam respectively, are still headquartered in Seattle and offer tours.

The Museum of Pop Culture (MoPOP) is an interactive museum about all things music. It boasts exhibitions exploring the city’s musical history, including Nirvana: Taking Punk to the Masses; Hendrix: Wild Blue Angel; a famous guitar gallery and the Interactive Sound Lab.

Historic hotels such as The Edgewater have hosted a plethora of famous musicians including The Beatles on their first tour of the USA, Led Zeppelin, Rod Stewart and Willie Nelson. The city’s historic record stores transport visitors to a different time – check out Silver Platters, Holy Cow Records, Easy Street Records or Jive Time.

Seattle Radio

In addition to developing internationally renowned musicians, the city is home to several pioneering radio stations, including KEXP, which traces its roots to the University of Washington’s student-run station, founded in 1972.

The University station’s heavy focus on local music in the 1980s led to the station playing a significant role in the rise of The Seattle Sound. In the 1990s, the station received support from Microsoft billionaire Paul Allen, becoming KEXP in 2001 and moving into the new state-of-the- art quarters on the Seattle Center campus.

KEXP

KEXP is an independent nonprofit arts organisation still proudly affiliated with the University of Washington, serving music lovers through in-person, broadcast and online programming. KEXP operates one of the most influential listener-supported radio stations in the world, 90.3 KEXP-FM Seattle, with its online and on-air service reaching over 240,000 global listeners each week. KEXP’s YouTube channel is internationally recognised for its unique Live on KEXP performance sessions, which have recently surpassed one billion views. The station hosts community events and produces hundreds of live performances each year, many of which are open to the public at no charge.

Artists championed by KEXP are not typically supported by traditional non-profit arts organisations or commercial media outlets. They are inventive, contemporary musicians creating new work in popular genres that include rock, hip hop, reggae, country, Latin, modern global and more. For a full list of programmes, visit the Schedule section at KEXP.ORG. KEXP DJ and Associate Director of Programming, On-air, Morgan Chosnyk, is available for interviews about Seattle’s music scene, the inspiration for the playlist, and KEXP’s role in championing local artists.

Find the Seattle playlist at https://open.spotify.com/playlist/0PE0CdsLaeDctAiQqVfn5g?si=be_l9dfVQ8mjQJu41JJpTg