Vivien Leigh,  British stage and film actress, interviewed by Binny Lum in Melbourne while touring with the Old Vic Company in 1961.

Published courtesy of Sharon Terry and Geoff Charter.
NFSA Title No: 1108380

Vivien Leigh, interviewed by Binny Lum (1961)

In September 2022, to celebrate the 30th anniversary of Strictly Ballroom (Baz Luhrmann, Australia, 1992), and the NFSA Restores restoration for the anniversary, the National Film and Sound Archive of Australia threw the film a party!

Following the sold-out screening of the film, our audience was thrilled to welcome lead stars Tara Morice and Paul Mercurio on stage for a Q&A, moderated by Public Engagement Manager, Karina Libbey. 

The conversation was fantastic; Tara and Paul were exceptionally friendly and generous in sharing their experience of making the film and entertained us with many enjoyable anecdotes. 

You can listen to the full audio here.

Deep Dive: Strictly Ballroom Q&A with Paul Mercurio and Tara Morice at the NFSA

2012
 
‘The Misogyny Speech’ was a parliamentary speech delivered by Australian Labor Party Prime Minister Julia Gillard on 9 October 2012 in response to opposition leader Tony Abbott accusing her of sexism. 

Over the months leading up to this speech, Gillard had been criticised by segments of the Australian media and some members of the Liberal-National Coalition opposition party with comments about her personal life, gender, appearance, marital status and not having children. 

The speech was widely broadcast via radio and television, drawing on recordings produced by the Department of Parliamentary Services. 

In 2020, readers of The Guardian Australia voted the speech the most unforgettable moment in Australian TV history.

The Misogyny Speech by Julia Gillard

Trackside recording of a AD60 class Garrett locomotive pulling empty passenger cars at Hawkmount Bank, a winding 1 in 44 grade section of line near Awaba north of Sydney, 23 March, 1967.
The AD60 class are described in Wikipedia as a patent articulated four-cylinder, simple, non-condensing, coal-fired superheated, 4-8-4+4-8-4 heavy goods steam locomotive. They were built by Beyer, Peacock and Company  in Manchester, UK for the New South Wales Government Railways. The 4-8-4+4-8-4 Beyer-Garratt patent consists of a boiler carried on a separate frame in the centre of the locomotive and supported by the frames of the two engines, one at each end. The locomotive thus consists of three parts: a water tank, a fixed chassis supporting a boiler and a rear engine unit carrying a coal bunker and water tank. Coupled axle loading of 16 long tons (16.3 t; 17.9 short tons) and able to negotiate 6-chain (120 m) curves. 42 were delivered to NSWGR between 1952 and 1957, along with the equivalent of three extra locomotives in spare parts . The Garrett AD60 were the most powerful engines to operate in Australia.
This recording is part of the James Eric Bird Collection of Steam Trains of NSW. Mr Bird was the first manager of the New South Wales Rail Transport Museum, and recorded numerous trains around NSW in the 1960s. His family would be delighted if his recordings were used and appreciated, so they are downloadable under a Creative Commons licence and we would love to hear of any use or re-use you may find for them.


Steam Trains of NSW -  Beyer-Garrett with empty passenger cars Hawkmount 23/3/67

Whistle of engine 2029. This recording was made on 11 September 1966 leaving Bankstown, NSW and is part of the James Eric Bird Collection of Steam Trains of NSW (NFSA title No. 746019). Mr Bird was the first manager of the New South Wales Rail Transport Museum, and recorded numerous trains around NSW in the 1960s. His family would be delighted if his recordings were used and appreciated, so they are downloadable under a Creative Commons licence and we would love to hear of any use or re-use you may find for them.

Steam Trains of NSW - 3134 Tank engine whistle 11/9/1966

Whistle of engine 3144. This recording was made on 13 March 1966 between Yearinan and Coonabarabran, NSW and is part of the James Eric Bird Collection of Steam Trains of NSW (NFSA title No. 746019). Mr Bird was the first manager of the New South Wales Rail Transport Museum, and recorded numerous trains around NSW in the 1960s. His family would be delighted if his recordings were used and appreciated, so they are downloadable under a Creative Commons licence and we would love to hear of any use or re-use you may find for them.

Steam Trains of NSW - 3144 whistle passing a level crossing 13/3/67

Whistle of engine 3801. This recording was made on 6 November 1966 leaving Fassifern, NSW and is part of the James Eric Bird Collection of Steam Trains of NSW (NFSA title No. 746019). Mr Bird was the first manager of the New South Wales Rail Transport Museum, and recorded numerous trains around NSW in the 1960s. His family would be delighted if his recordings were used and appreciated, so they are downloadable under a Creative Commons licence and we would love to hear of any use or re-use you may find for them.

Steam Trains of NSW - 3801 whistle 6/11/66

Whistle of engine 3801. This recording was made on 6 November 1966 between Fassifern and Toronto, NSW and is part of the James Eric Bird Collection of Steam Trains of NSW (NFSA title No. 746019). Mr Bird was the first manager of the New South Wales Rail Transport Museum, and recorded numerous trains around NSW in the 1960s. His family would be delighted if his recordings were used and appreciated, so they are downloadable under a Creative Commons licence and we would love to hear of any use or re-use you may find for them.

Steam Trains of NSW - 3801 whistle recorded at trackside 6/11/1966

Whistles of engine 3827. This recording was made on 25 March 1966 leaving Central Station, Sydney, NSW and is part of the James Eric Bird Collection of Steam Trains of NSW (NFSA title No. 746019). Mr Bird was the first manager of the New South Wales Rail Transport Museum, and recorded numerous trains around NSW in the 1960s. His family would be delighted if his recordings were used and appreciated, so they are downloadable under a Creative Commons licence and we would love to hear of any use or re-use you may find for them.

Steam Trains of NSW - Engine 3827 whistle 25/3/1966

Whistle of standard goods loco 5112. This recording was made on 10 December1966 at Golbourn, NSW and is part of the James Eric Bird Collection of Steam Trains of NSW (NFSA title No. 746019). Mr Bird was the first manager of the New South Wales Rail Transport Museum, and recorded numerous trains around NSW in the 1960s. His family would be delighted if his recordings were used and appreciated, so they are downloadable under a Creative Commons licence and we would love to hear of any use or re-use you may find for them.

Steam Trains of NSW - Engine 5112 whistle 10/12/1966

The whistle of Mikado 59 class engine 5914 leaving Central Station for Katoomba, preceded by an announcement. This recording was made on 27 March 1966 at central railway Station, Sydney, NSW and is part of the James Eric Bird Collection of Steam Trains of NSW (NFSA title No. 746019). Mr Bird was the first manager of the New South Wales Rail Transport Museum, and recorded numerous trains around NSW in the 1960s. His family would be delighted if his recordings were used and appreciated, so they are downloadable under a Creative Commons licence and we would love to hear of any use or re-use you may find for them.

Steam Trains of NSW - Engine 5914 leaving Central Station, Sydney 27/3/1966

The whistle of a Beyer-Garrett engine pulling a goods train north of Sydney at Hawkmount bank. This recording was made on 25 February south of Newcastle, NSW and is part of the James Eric Bird Collection of Steam Trains of NSW (NFSA title No. 746019). Mr Bird was the first manager of the New South Wales Rail Transport Museum, and recorded numerous trains around NSW in the 1960s. His family would be delighted if his recordings were used and appreciated, so they are downloadable under a Creative Commons licence and we would love to hear of any use or re-use you may find for them.

Steam Trains of NSW - Beyer-Garrett 6041 whistle 25/2/1967

In the 1920s, radio broadcasts were often re-recorded onto disc for purchase by the public, the majority of whom did not own wireless sets. Popular subjects included speeches by famous individuals, performances by radio orchestras, and comedy sketches. One example was ‘3LO: A Radio Fan’s Dream’, a sketch performed by comedian Rupert Hazell parodying the style of his fellow announcers. Hazell’s performance is invaluable in preserving not only the content, but the sound of early radio. NFSA title: 276463

3LO - 'A RADIO FAN'S DREAM', Part 1

Vocalist John James Villiers, with piano accompaniment, performs a song which features imitations of chooks. 'The Hen Convention’ was recorded in 1896 by Thomas Rome and is the earliest known Australian sound recording.  The recording was made on a wax cylinder.

NFSA Title No: 452097

Thomas Rome photo courtesy Arts Centre, Performing Arts Collection, Melbourne, and Rosemary Szente.

Thomas Rome - The Hen Convention (1896)

Countdown Radio Promo

Jessie Street (1889–1970) was a leading Australian feminist campaigning for women’s rights from the 1920s to the 1960s. She was the only female Australian delegate to the founding of the United Nations in San Francisco at the United Nations Conference on International Organisation (UNCIO) in 1945.  
In this recording, we hear a speech made by Street at the first meeting of the Women's International Radio League (WIRL) on 28 May 1945 at the St Francis Hotel, San Francisco.
Listen to clip 2, in which Street describes the work of the Australian Women’s Charter Committee and their preparation for the conference. The committee was arguing for the insertion of the word 'sex' in the clause 'without distinction as to race, sex, language or religion' wherever it occurs in the Charter of the United Nations. They also wanted to enshrine in the charter the principle of equality of status between women and men.
It is unknown if this recording was ever broadcast in Australia; it was most probably associated with an American radio broadcast.

Women’s Status in the United Nations Charter: Jessie Street – Clip 1

Jessie Street (1889–1970) was a leading Australian feminist campaigning for women’s rights from the 1920s to the 1960s. She was the only female Australian delegate to the founding of the United Nations in San Francisco at the United Nations Conference on International Organisation (UNCIO) in 1945.
In this recording, we hear a speech made by Street at the first meeting of the Women's International Radio League (WIRL) on 28 May 1945 at the St Francis Hotel, San Francisco.
Listen to clip 1, in which Abby Morrison Ricker, President of the WIRL, introduces Jessie Street.
It is unknown if this recording was ever broadcast in Australia; it was most probably associated with an American radio broadcast.

Women’s Status in the United Nations Charter: Jessie Street – Clip 2

Nova Peris first speech in Parliament

In this sequence from his 2010 NFSA Oral History with interviewer John Fife, Geoff Kilburn – who worked at GTV9 from 1958 to -1974 in several technical roles including sound recordist and news film editor - recalled how live broadcasts such as football matches were recorded in the early days of television.

NFSA title: 807909. 

Image: Geoff Kilburn at the GTV9 News Exchange. Circa 2005. NFSA title: 810418. Courtesy: Melissa Kilburn. 

Geoff Kilburn Oral History Excerpt

Oral History recording from 2011 (excerpt) by Pan Willis Burden with film armourer, John Bowring. 

NFSA Title No: 1053192

In this excerpt from an oral history recording, John Bowring talks about making the famous knife for the film, Crocodile Dundee (1985). The portrait photo of John Bowring was taken by Tony Mott.

John Bowring  - discusses making the knife for the film, Crocodile Dundee (1985)

A man, identified by British Library records as ‘Maino of Yam’, sings a traditional song entitled Yamaz Sibarud. He sings the song a capella. The recording fades out as the man continues to sing.
NFSA title: 8879
Although there is little information telling us what the song is about, we do know it was recorded by Haddon and team member CS Myers, and that it is sung by a man from Iama (Yam) Island – part of the central island group of the Torres Strait. Significantly, there is no translation for this song, or for many other recordings in the Haddon Collection, making it all the more important that Torres Strait Islander cultural leaders be allowed to re-contextualise and add to the knowledge of the collection.

Haddon - The Recordings of the Cambridge Anthropological Expedition to the Torres Strait (1898)

A popular radio jingle advertising an Australian brand of jelly crystals. The song was recorded in 1938 and broadcast on Sydney radio in the 1940s – up to 100 times a day.
NFSA title: 402848 & 281850
John Dunne, a 2SM presenter and studio manager, is believed to have conducted the 2SM orchestra for the recording of the jingle. Dunne brought in ideas from America for the station and was keen to link advertisers with talent quests. The violin solo towards the end of the tune is performed by prize-winner Betty Elsa Gillas (later Rofe) who had won first prize on Uncle Tom’s Amateur Hour, a talent quest children’s program presented on 2SM by John Dunne. Seven-year-old Joy King won a state-wide competition in New South Wales to sing the 'Aeroplane Jelly Song’.

The tune is undeniably catchy, though its recognition factor was probably helped by the longevity of the advertising campaign and the frequency of the broadcast. A big part of the recording’s appeal is down to Joy’s charming and plaintive delivery of the simple lyrics. And in case you were wondering what aeroplanes have to do with jelly, the lyrics provide the answer: 'The quality’s high as the name will imply’. So now you know!

Joy King - The Aeroplane Jelly song

There is no audible ceremony on Menzies’s arrival in the room, just a short introduction by another speaker. Menzies settles at the microphone and we hear a faint rustle of his papers. In his speech, Menzies exercises his skills as a civic leader to convince the Australian people of why they must go to war. He identifies Australia with other ‘civilised nations’, in particular France and Great Britain.
NFSA title: 188388
The prime minister’s words are statesman-like, his voice thick and low. His English is refined and reminiscent of a time when the British Empire lived on in the voices of the Australian people. Menzies’s language is grandiose: ‘Whatever the inflamed ambitions of the German Führer may be, he will undoubtedly learn, as other great enemies of freedom have learned before, that no empire, no dominion, can be soundly established upon a basis of broken promises or dishonoured agreements.’

Menzies mostly speaks in the third person, as though he plays no personal part in the story but knows all the facts. This technique enhances the sense of objectivity and reliability of the information being given but also creates distance between the audience and the story. To overcome this disadvantage, Menzies occasionally switches to first person, personalising his views to relate to his audience: ‘Your own comments on this dreadful history will need no reinforcement by me.’

Menzies denounces the need for rhetoric but arguably uses it to support the ideal of Australia fighting for her motherland: 'There can be no doubt that where Great Britain stands, there stands the people of the entire British world. Bitter as we all feel at this wanton crime, this is not a moment for rhetoric … I know that in spite of the emotions we are all feeling, you will show that Australia is ready to see it through. May God in his mercy and compassion grant that the world may soon be delivered from this agony.’

Robert Menzies - Declaration of War (1939)

On the Inside is the main title theme from the 1979-1986 Australian soap opera PRISONER. It was released as a 7" single in 1979, with the B-side is 'Love Theme from Prisoner' performed by the William Motzing Orchestra.
Songwriter Allan Caswell’s country sensibility can be heard in this ballad, with minimalist guitar and piano arrangements. Lynne Hamilton delivers an emotional performance that captures the pain and fragility of a woman who feels imprisoned. 
The lyrics describe ‘the outside’ and ‘the inside’, in reference to both the prison setting of the show, and a failed romantic relationship. Full of longing, the verses recall how different life was ‘on the outside’. Roses are used as a symbol of love and freedom. She then laments the end of that happiness with a sense of guilt, of having done something wrong. The chorus then describes ‘the inside’, where life goes on but as a ‘prisoner’, both literally (in the context of the program) and figuratively, as a prisoner of the memories of a broken relationship. 

He used to give me roses
I wish he could again
But that was on the outside
And things were different then

We'd built our world together
With a love so clear and strong
But that was on the outside
Where did i go wrong?

On the inside the sun still shines,
And the rain falls down;
But the sun and rain are prisoners too,
When morning comes around.

It’s hard to imagine that the original plan was to use the 1955 hit American song Unchained Melody as the theme for Prisoner’s closing titles. Chris Gilbey, head of the Sydney office of music publisher ATV-Northern Songs, convinced Grundy Productions that they should use a song from one of their new talents: British born singer and songwriter Allan Caswell.
Caswell was given the script for the pilot episode, and found inspiration in the scene where Mum (played by Mary Ward) clips off a rose in the garden. He wrote the song in 45 minutes, and recorded a demo tape. On the Inside was approved by Grundy, and the record company (RCA) decided they needed an unknown female singer. Another UK born talent, Lynne Hamilton, was chosen to sing the track. 
Lynne Hamilton started her career as a backup singer for The Desperadoes and, as a member of The Caravelles, she toured with mythical bands such as The Who and The Beatles. She moved to Australia in 1971.
In Behind the Bars (Scott Anderson, Barry Campbell, Rob Cope), Hamilton recalled that she cried when she first heard the demo, “not because I’d ever been in a literal prison, but I was going through a divorce and all the grief that goes with that […] there are many kinds of prison, emotional and psychological, that people can find themselves serving time in, either by their own design or someone else’s cruelty”.
The song was released as a single and reached number 1, staying in Australia’s National Top 100 for 52 weeks. Hamilton was recognised as the highest selling artist of 1979 by ARIA. She later also recorded the track In Your Arms for another Australian soap opera, Neighbours. 
On the Inside was released in the UK and other European territories a decade later, and Hamilton promoted the track in shows such as Top of the Pops. 
The song has been covered by many artists, including Ella Hooper in 2011, to coincide with Prisoner’s broadcast on Foxtel’s 111 Hits channel.

On the Inside

On the Inside - Lynne Hamilton (1979)

Recording of And the Band Played Waltzing Matilda by Eric Bogle 
NFSA title no: 197491
'Waltzing Matilda' has inspired numerous other songs. Perhaps the most famous, and most poignant is Eric Bogle’s 'And the Band Played Waltzing Matilda', which he wrote as a newly arrived immigrant to Australia in 1972. It was entered in a songwriting competition at a folk festival that year and was awarded third prize. No-one remembers the songs which took the major prizes. It has since been recorded almost 140 times, by singers from many countries. It was first recorded by Eric on his first LP Now I’m Easy in 1980, after several other people had popularised it in Australia and Britain.

Eric Bogle - And the Band Played Waltzing Matilda (1972)

The Fairlight CMI was the world's first polyphonic digital sampling synthesizer, invented in 1979 by Peter Vogel and Kim Ryrie, based on a dual-6800 microprocessor created by Tony Furse in Sydney. The Fairlight grew to become one of the most widely-used synthesizers in music, being used by musicians from Kate Bush to Brian Eno, and film and television composers such as Peter Best.

Fairlight samples became ubiquitous in 1980s pop music. SARARR (AKA ARR1) is featured in 'Shout' by Tears for Fears (1985).

Fairlight CMI - SARARR (1979-1989)

The Fairlight CMI was the world's first polyphonic digital sampling synthesizer, invented in 1979 by Peter Vogel and Kim Ryrie, based on a dual-6800 microprocessor created by Tony Furse in Sydney. The Fairlight grew to become one of the most widely-used synthesizers in music, being used by musicians from Kate Bush to Brian Eno, and film and television composers such as Peter Best.

Fairlight samples became ubiquitous in 1980s pop music. ORCH5 (AKA ORCH2) is featured in 'Owner of a Lonely Heart' by Yes (1983)

Fairlight CMI - ORCH2(1979-1989)

The Fairlight CMI was the world's first polyphonic digital sampling synthesizer, invented in 1979 by Peter Vogel and Kim Ryrie, based on a dual-6800 microprocessor created by Tony Furse in Sydney. The Fairlight grew to become one of the most widely-used synthesizers in music, being used by musicians from Kate Bush to Brian Eno, and film and television composers such as Peter Best.

Fairlight samples became ubiquitous in 1980s pop music. GLASMASH is featured in  'Babooshka’ by Kate Bush (1980)

Fairlight CMI - GLASMASH (1979 - 1989)

NFSA title: 190905
Performed by Jack Lumsdaine

‘Digger’ was one of a several wartime patriotic songs written and recorded by prolific singer-songwriter Jack Lumsdaine. 

The song was released midway through the Second World War. It recalls the history of the Diggers of Gallipoli having ‘made Australia’s name’, before describing a soldier in a trench at the battlefront in Europe wistfully recalling iconic parts of his homeland back in Australia. 

Popular songs like ‘Digger’ played an important role in motivating Australians and propagandising First and Second World War efforts. ‘Digger’ is also one of a group of songs considered to be from the birth of Australia’s ‘Tin Pan Alley’ [link to https://www.nfsa.gov.au/latest/australias-tin-pan-alley]. It represents the rise of publishing local professional songwriters rather than the work of amateurs, which was the case during the First World War.

John (Jack) Lumsdaine (1895-1948) was one of Australia’s most prominent singers and songwriters of the first half of the 20th century, well known for his topical and patriotic songs. 

He worked for print music publishers Allans Music and J Albert and Sons after his First World War service, touring Australia and New Zealand to promote new works, including his own. He later worked as a composer, arranger and performer on the Tivoli vaudeville circuit, and as radio announcer for 2FC then 2GB. 

He began his recording career in 1926 with Columbia in Sydney, with many of his songs also recorded by notable singers of the period such as Peter Dawson.

Jack Lumsdaine - Digger (1942)

Witch's Tale All Hallow's Eve (1941)

NFSA title: 1491607
Courtesy: FremantleMedia

Jack Grimsley composed this theme music for Sale of the Century.

He wrote a range of incidental music for the show, including: 'Hostess Walk-On', 'Contestant Walk-On', 'Bonus Board Sound Effects', '$50 Fanfare' and 'Thinking Music: Sound Effect Variations'.

Sale of the Century was an Australian game show hosted initially by Tony Barber, produced by Reg Grundy Productions and broadcast on the Nine Network from 1980–2001.

Sale of the Century: Theme Music (1980)

An adventure radio series for children. This American inspired series was based on the exploits of Superman, a superhero whose real identity is Clark Kent, reporter for the newspaper The Daily Planet. 
At least 1040 15-minute episodes were produced and broadcast between 1949 and 1954 (Monday to Thursday at 6:30 pm on 2GB). The NFSA holds selected scripts, as well as an incomplete collection ranging from episode 1 to 1020.
Read more:  http://nfsa.gov.au/blog/2016/03/21/meet-aussie-superman/

Superman, the Australian radio series, Episode 1 (1949)

Our mission is to collect, preserve and share Australia’s vibrant and diverse audiovisual culture as embodied by our evolving collection - reflecting who we were, who we are, and who we want to be. 

The NFSA acknowledges Australia's Aboriginal and Torres Strait Islander peoples as the Traditional Custodians of the land on which we work and live and gives respect to their Elders both past and present.

Legal notices: https://bit.ly/NFSALegalNotices

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