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List of chief governors of Ireland | Under the House of Stuart | Under the House of Stuart
George Monck, 1st Duke of Albemarle: June 1660
James Butler, 1st Duke of Ormonde: 21 February 1662
Thomas Butler, 6th Earl of Ossory (Lord Deputy): 7 February 1668
John Robartes, 2nd Baron Robartes: 3 May 1669
John Berkeley, 1st Baron Berkeley of Stratton: 4 February 1670
Arthur Capell, 1st Earl of Essex: 21 May 1672
James Butler, 1st Duke of Ormonde: 24 May 1677
Richard Butler, 1st Earl of Arran: 13 April 1682
James Butler, 1st Duke of Ormonde: 19 August 1684
Lords Justices: 24 February 1685
Henry Hyde, 2nd Earl of Clarendon: 1 October 1685
Richard Talbot, 1st Earl of Tyrconnell (Lord Deputy): 8 January 1687
King James II himself in Ireland: 12 March 1689 – 4 July 1690
King William III himself in Ireland: 14 June 1690
Lords Justices: 5 September 1690
Henry Sydney, 1st Viscount Sydney: 18 March 1692
Lords Justices: 13 June 1693
Henry Capell, 1st Baron Capell (Lord Deputy): 9 May 1695
Lords Justices: 16 May 1696
Laurence Hyde, 1st Earl of Rochester: 28 December 1700
James Butler, 2nd Duke of Ormonde: 19 February 1703
Thomas Herbert, 8th Earl of Pembroke: 30 April 1707
Thomas Wharton, 1st Earl of Wharton: 4 December 1708
James Butler, 2nd Duke of Ormonde: 26 October 1710
Charles Talbot, 1st Duke of Shrewsbury: 22 September 1713 |
List of chief governors of Ireland | Under the House of Hannover | Under the House of Hannover
Charles Spencer, 3rd Earl of Sunderland: 21 September 1714
Lords Justices: 6 September 1715
Charles Townshend, 2nd Viscount Townshend: 13 February 1717
Charles Paulet, 2nd Duke of Bolton: 27 April 1717
Charles Fitzroy, 2nd Duke of Grafton: 18 June 1720
John Carteret, Baron Carteret: 6 May 1724
Lionel Sackville, 1st Duke of Dorset: 23 June 1730
William Cavendish, 3rd Duke of Devonshire: 9 April 1737
Philip Stanhope, 4th Earl of Chesterfield: 8 January 1745
William Stanhope, 1st Earl of Harrington: 15 November 1746
Lionel Sackville, 1st Duke of Dorset: 15 December 1750
William Cavendish, 4th Duke of Devonshire: 2 April 1755
John Russell, 4th Duke of Bedford: 3 January 1757
George Montagu-Dunk, 2nd Earl of Halifax: 3 April 1761
Hugh Percy, 2nd Earl of Northumberland: 27 April 1763
Thomas Thynne, 3rd Viscount Weymouth: 5 June 1765
Francis Seymour-Conway, 1st Earl of Hertford: 7 August 1765
George Hervey, 2nd Earl of Bristol: 16 October 1766 (did not assume office)
George Townshend, 4th Viscount Townshend: 19 August 1767
Simon Harcourt, 1st Earl Harcourt: 29 October 1772
John Hobart, 2nd Earl of Buckinghamshire: 7 December 1776
Frederick Howard, 5th Earl of Carlisle: 29 November 1780
William Cavendish-Bentinck, 3rd Duke of Portland: 8 April 1782
George Nugent-Temple-Grenville, 3rd Earl Temple: 15 August 1782
Robert Henley, 2nd Earl of Northington: 3 May 1783
Charles Manners, 4th Duke of Rutland: 12 February 1784
George Nugent-Temple-Grenville, 1st Marquess of Buckingham: 27 October 1787
John Fane, 10th Earl of Westmorland: 24 October 1789
William Wentworth-FitzWilliam, 2nd Earl FitzWilliam: 13 December 1794
John Pratt, 2nd Earl Camden: 13 March 1795
Charles Cornwallis, 1st Marquess Cornwallis: 14 June 1798 |
List of chief governors of Ireland | United Kingdom of Great Britain and Ireland | United Kingdom of Great Britain and Ireland |
List of chief governors of Ireland | Under the House of Hannover | Under the House of Hannover
Philip Yorke, 3rd Earl of Hardwicke: 27 April 1801
Edward Clive, 1st Earl of Powis: 21 November 1805 (did not serve)
John Russell, 6th Duke of Bedford: 12 March 1806
Charles Lennox, 4th Duke of Richmond: 11 April 1807
Charles Whitworth, 1st Viscount Whitworth: 23 June 1813
Charles Chetwynd-Talbot, 2nd Earl Talbot: 3 October 1817
Richard Wellesley, 1st Marquess Wellesley: 8 December 1821
Henry Paget, 1st Marquess of Anglesey: 27 February 1828
Hugh Percy, 3rd Duke of Northumberland: 22 January 1829
Henry Paget, 1st Marquess of Anglesey: 4 December 1830
Richard Wellesley, 1st Marquess Wellesley: 12 September 1833
Thomas Hamilton, 9th Earl of Haddington: 1 January 1835
Constantine Phipps, 2nd Earl of Mulgrave: 29 April 1835
Hugh Fortescue, Viscount Ebrington: 13 March 1839
Thomas de Grey, 2nd Earl de Grey: 11 September 1841
William à Court, 1st Baron Heytesbury: 17 July 1844
John Ponsonby, 4th Earl of Bessborough: 8 July 1846
George Villiers, 4th Earl of Clarendon: 22 May 1847
Archibald Montgomerie, 13th Earl of Eglinton: 1 March 1852
Edward Eliot, 3rd Earl of St Germans: 5 January 1853
George Howard, 7th Earl of Carlisle: 7 March 1855
Archibald Montgomerie, 13th Earl of Eglinton: 8 March 1858
George Howard, 7th Earl of Carlisle: 24 June 1859
John Wodehouse, 3rd Baron Wodehouse: 1 November 1864
James Hamilton 2nd Marquess of Abercorn: 13 July 1866
John Spencer, 5th Earl Spencer: 18 December 1868
James Hamilton, 1st Duke of Abercorn: 2 March 1874
John Spencer-Churchill, 7th Duke of Marlborough: 11 December 1876
Francis Cowper, 7th Earl Cowper: 4 May 1880
John Spencer, 5th Earl Spencer: 4 May 1882
Henry Herbert, 4th Earl of Carnarvon: 27 June 1885
John Hamilton-Gordon, 7th Earl of Aberdeen: 8 February 1886
Charles Vane-Tempest-Stewart, 6th Marquess of Londonderry: 3 August 1886
Lawrence Dundas, 3rd Earl of Zetland: 30 July 1889
Robert Offley Ashburton Milnes, 2nd Baron Houghton: 18 August 1892
George Cadogan, 5th Earl Cadogan: 29 June 1895 |
List of chief governors of Ireland | Under the House of Saxe-Coburg and Gotha (later Windsor) | Under the House of Saxe-Coburg and Gotha (later Windsor)
William Ward, 2nd Earl of Dudley: 11 August 1902
John Hamilton-Gordon, 7th Earl of Aberdeen: 11 December 1905
Ivor Guest, 2nd Baron Wimborne: 17 February 1915
John French, 1st Viscount French: 9 May 1918
Edmund FitzAlan-Howard, 1st Viscount FitzAlan of Derwent: 27 April 1921 |
List of chief governors of Ireland | See also | See also
Lord Deputy of Ireland
Lord Justices (Ireland) |
List of chief governors of Ireland | References | References
*01
*List of Lords Lieutenant
Category:Lists of political office-holders in Ireland
Category:Lists of political office-holders in the United Kingdom
List of Lords Lieutenant |
List of chief governors of Ireland | Table of Content | Short description, Medieval, Under the House of Anjou, Under the House of Plantagenet, Under the Houses of York and Lancaster, Under the House of Tudor, Lords Deputy, Under the House of Tudor, Under the House of Stuart, During the Interregnum, Under the House of Stuart, Under the House of Hannover, United Kingdom of Great Britain and Ireland, Under the House of Hannover, Under the House of Saxe-Coburg and Gotha (later Windsor), See also, References |
Sydney Conservatorium of Music | Short description | The Sydney Conservatorium of Music (SCM) — formerly the New South Wales State Conservatorium of Music, and known by the moniker "The Con" — is the music school of the University of Sydney. It is one of the oldest and most prestigious music schools in Australia, founded in 1915 by Belgian conductor and violinist Henri Verbrugghen.
The heritage-listed main building of the Conservatorium — the Greenway Building — is located within the Royal Botanic Gardens on Macquarie Street on the eastern fringe of the Sydney central business district. It also has teaching at the main campus of the University in Camperdown/Darlington, at the Seymour Centre and eventually the Footbridge Theatre.
The Greenway Building is also home to the community-based Conservatorium Open Academy and the Conservatorium High School. In addition to its secondary, undergraduate, post-graduate and community education teaching and learning functions, the Conservatorium undertakes research in various fields of music. The Building was added to the New South Wales State Heritage Register on 14 January 2011. |
Sydney Conservatorium of Music | History | History
The land originally belonged to the Aboriginal people, called the "Eora", who lived around Sydney coast. They lived off the land by relying on its natural resources including the rich plants, birds, animals and marine life surrounding the Harbour within what is now the City of Sydney local government area the traditional owners are the Cadigal and Wangal bands of the "Eora". There is no written record of the name of their language spoken and currently, there are debates as to whether these people spoke a separate language or a dialect of the Dharug language.
Governor Arthur Phillip arrived in 1788 with a pre-fabricated building which was assembled as his Government House, now partially on the current site of the Museum of Sydney and partially under Bridge Street. In its varied additions and permutations, it survived as the Sydney residence of the Governor until completion of the new Government House.
Governor Lachlan Macquarie took control of the colony in 1810 using that building as his Sydney residence. On 18 March 1816, he reported that he had postponed any changes to convert Sydney Government House into adequate accommodation. He noted the poor condition of the building saying that "All the Offices, exclusive of being in a decayed and rotten State, are ill Constructed in regard to Plan and on Much too Small a Scale; they now exhibit a Most ruinous Mean, Shabby Appearance. No private Gentleman in the Colony is so Very ill Accommodated with Offices as I am at this Moment, Not having Sufficient Room to lodge a Very Small Establishment of Servants; the Stables; if possible, are still worse than the other Offices, it having been of late frequently Necessary to prop them up with Timber Posts to prevent it falling, or being blown down by the Winds." He noted that he wished to erect a new Government House and Offices in the Domain as soon as the Barracks was complete at the expense of the Police Fund.HRA, 1, 9, p 70-71
The then Secretary for the Colonies, Henry Bathurst, 3rd Earl Bathurst, soon responded, writing on 30 January 1817 that he needed to see a plan and estimate of costs before he could approve the erection.HRA, 1,9, p 205 In 1817, Macquarie resumed the sites of a bakehouse and mill on the proposed site. On 4 July 1817, he instructed a former convict, Francis Greenway, to prepare plans of offices and stables. Work commenced on the stables on 9 August 1817.BT 27 p 6499 Macquarie replied to Bathurst on 12 December that he was disappointed with the lack of approval, but claimed that no construction had commenced due to heavy rains.HRA, 1, 9. p718-719 Macquarie laid the foundation stone for the stables on 16 December 1817.HRA 1, 10, p813
Though Francis Greenway was the designer, it was not solely his work. In December 1819, Greenway noted that Macquarie saw the elevation before work began, but that his wife Elizabeth Macquarie gave him details of the number of rooms needed so that he could make a suitable plan. By 1819, according to Greenway, the stables were virtually planned though the barn in the range had become a stable. It then held 30 horses plus the stallions in the octagonal Towers. He estimated the cost of the stables to be .Ritchie, 1971, vol 2, p 130, 132-133 In a letter to the Australian of 28 April 1825, he identified Thornbury Castle as his model. A relative of Macquarie's wife, Archibald Campbell, had been a pioneer of the Gothic architectural style in the late 18th century when he erected Inveraray Castle and it may have had a greater influence on the design by Greenway.Kerr and Broadbent, 1980, 941 Yet on 7 February 1821, Major Druitt reported that Governor Macquarie had not liked the ornamentation of the towers and the rich Cornish around the battlements.BT 27 p 6306-6307
It was not until 24 March 1819 that Macquarie informed the Colonial Office that he had commenced building the stables, in contravention of a firm order from Bathurst. "I had so long Suffered such very great Inconvenience from the want of a Secure Stables for my Horses and decent sleeping places for my Servants, that I had been under the Necessity of building a regular Suite of Offices of this Description in a Situation Contiguous to and sufficiently Convenient for the present Old Government House, and also in one that will equally suit any New Government House that my Successors may he hereafter Authorised to Erect. These Stables are built on a Commodious tho" not expensive Plan, and I expect they will be Completed in about three Months hence.'HRA, 1,10, p97 Horses were prized possessions and very valuable. They needed to be protected from the weather and made secure from thieves. Early in 1819 Lt John Watts was sent from England with plans and estimates, but these do not appear to have serviced.BT 19, p2966-2969
On 26 September 1819, Commissioner John Thomas Bigge arrived in the colony to report the effectiveness of transportation to NSW as a publishment for criminals. He was soon examining Macquarie's program of public works and his policy of fostering former criminals to fill positions of authority. Bigge objected to the construction of the stables in October 1819 but noted that the work was so far advanced that to halt it would be a waste.BT 19, p 2966-2969
An 1820 plan held at the Mitchell Library is not a construction plan, but seem to show it in its finished state. It depicted the towers as accommodation for servants, plus a dairy next to one of the coach houses and accommodation for a dairy maid, cowman and lodge keeper.ML VI/PUB/GOVS/1 120, 1820
Architect Henry Kitchen was highly critical of the stables in evidence to Bigge on 29 January 1821 saying it was extravagant whilst not providing the accommodation needed. He described it as an "incorrect attempt in the style of the castellated Gothic" with an area 174 feet by 130 feet housing 28 horses, [plus coach houses cow house and servant's quarters.Ritchie 1971, vol 2, p 141 The stables were complete in February 1821.
Greenway is better known for his Georgian designs but he also created a number of buildings in the Gothic model. Of these, Forts Philip and Macquarie, Dawes Point Battery and the Parramatta Road Toll-gate have all been demolished. Only the Government House Stables survives of his Gothic buildings.Kerr and Broadbent, 1980, p 40
After Macquarie's return to Britain in 1821, the Stables had mixed uses. On 25 May 1825, Governor Thomas Brisbane suggested to Earl Bathurst that the 'Gothic Building on the pleasantest side of the Scite of the Domain, which was intended for a Government Stables, is utterly useless at present from the great disproportion of the Establishment of the Government, may be advantageously improved into a Government residence.'HRA, 1, 11, p 617 On 30 June 1825, Earl Bathurst permitted Governor Ralph Darling to erect a new Government House or to convert the Stables into one though the estimates of costs would have to be sent to Britain for approval.HRA, 1, 12, p 9 Late in 1825, Brisbane had loaned the stables to the Australian Agricultural Company to temporarily house its livestock after it arrived.
There are a number of artists' views of the stables. This derived from its position overlooking the harbour as part of a vista of Sydney. It also acknowledged the stables as a piece of Gothic architecture, both romantic and picturesque. Even more to the point, it highlighted its role as a "folly" in a managed landscape.
The stables remained under utilised. Governor Richard Bourke sought approval in February 1832 to erect a new Government House near the stables by selling some of the Domain to raise funds.HRA, 1, 16, p539-540 He also suggested that rooms in the stables could accommodate some of the Government House servants.HRA 1, 16, p 786
At an inquiry into the building of the new Government House in 1836, Colonel George Barney originally suggested converting the stables into offices but later changed his mind to recommend demolition. Construction of the new Government House from 1837 finally ensured that another building overshadowed the stables. After the erection of the New Government House, the stables were used to accommodate staff and horses.
Panoramic views form the top of the Garden Palace Exhibition building taken in 1881 by Charles Bayliss are the only known views of the internal courtyard and layout of the stables.Casey and Lowe Vol. 1. 2002. pp 83–84 Additions were made to the north side in the late 1870s or early 1880s.Casey and Lowe, Vol. 1 pp 85–86
By about 1910, the building's role as a horse stables and staff accommodation was ending due to the increasing use of motor cars. In 1912 the government declared the building would become a museum whilst the Minister for Public Instruction suggested it as an Academy of Fine Arts but the proposal turned into a specialist Conservatorium of Music.
From 1913 to 1915, work to convert it into a conservatorium to the design of R. Seymour Wells from the Government Architect's Office was undertaken, including the construction of a roof over the courtyard and the construction of a large auditorium. A new entrance of a cantilevered concrete awning was created and the former one removed. The windows and doors were altered considerably, though the castellated stuccoed exterior remained.Karskens, 1989, pp. 128-130. The conservatorium auditorium was officially opened on 6 April 1915.Karskens, 1989 p144Henri Verbrugghen was appointed as director on 20 May 1915 and teaching began on 6 March 1916.Casel and Lowe Vol 1, 2002, p 96 The site was formerly dedicated with an area of 3 roods 20 perches for a conservatorium of music on 22 December 1916 but was revoked on 2 November 1917 for an enlarged area of 3 roods 31 perches.NSWGG, 2 Nov 1917, 0 5994 The Conservatorium High School commenced in 1919.Casey and Lowe, Vol2, 2002, p 98
After consideration of various proposals to increase accommodation, the Carr Labor government decided to rebuild on the site in 1995. The enlarged building designed by NSW Government Architect Chris Johnson and the private partnership of Daryl Jackson, Robin Dyke and Robert Tanner was completed in 2001. Construction proceeded in tandem with a major archaeological investigation of the site of the extensions. Deep excavation around the original core of the building allowed the needs of accommodation be met while preserving views to the site. Technological solutions such as separating the building shell from the surrounding sandstone and resting much of the extensions on rubber pads allowed the special acoustic needs of the Conservatorium to be met despite its proximity to the Cahill Expressway and the underground railway line. The work won an Australian Award for Urban Design Excellence in 2002.http://www.music,usyd.edu.au/friends/visit.shtml |
Sydney Conservatorium of Music | Origins of the conservatorium | Origins of the conservatorium
In 1915 the NSW Government under William Holman allocated £22,000 to the redevelopment of the stables into a music school. The NSW State Conservatorium of Music opened on 6 March 1916 under the directorship of the Belgian conductor and violinist Henri Verbrugghen, who was the only salaried staff member. The institution's stated aims were "providing tuition of a standard at least equal to that of the leading European Conservatoriums" and to "protect amateurs against the frequent waste of time and money arising from unsystematic tuition". The reference to European standards and the appointment of a European director was not uncontroversial at the time, but criticism soon subsided. By all accounts, Verbrugghen was hugely energetic: Joseph Post, later himself to be director, described him as "a regular dynamo, and the sort of man of whom you had to take notice the moment he entered the room". Enrolments in the first year were healthy with 320 "single-study" students and a small contingent of full-time students, the first diploma graduations occurring four years later. A specialist high school, the Conservatorium High School was established in 1918, establishing a model for music education across the secondary, tertiary, and community sectors which has survived to this day.
Verbrugghen's impact was incisive but briefer than had been hoped. When he put a request to the NSW Government that he be paid separate salaries for his artistic work as conductor of the orchestra (by then the NSW State Orchestra) and educational work as director of the conservatorium, the government withdrew its subsidies for both the orchestra and the string quartet that Verbrugghen had installed. He resigned in 1921 after taking the Conservatorium Orchestra to Melbourne and to New Zealand.
The conservatorium was home to Australia's first full-time orchestra, composed of both professional musicians and conservatorium students. The orchestra remained Sydney's main orchestra for much of the 1920s, accompanying many artists brought to Australia by producer J. C. Williamson, including the violinist Jascha Heifetz, who donated money to the Conservatorium library for orchestral parts. However, during the later part of the stewardship of Verbrugghen's successor, W. Arundel Orchard (director 1923–34), there were tensions with another emerging professional body, the ABC Symphony Orchestra, later to become the Sydney Symphony Orchestra, driven by the young, ambitious and energetic Bernard Heinze, Director-General of Music for the federal government's new Australian Broadcasting Commission.
thumb|left|Conservatorium of Music during Macquarie Night Lights from 23 November to 25 December 2006
In 1935, under Edgar Bainton (director 1934–48), the Conservatorium Opera School was founded, later performing works such as Verdi's Falstaff and Otello, Wagner's Die Meistersinger von Nürnberg and Die Walküre, and Debussy's Pelléas et Mélisande, among others. Under Sir Eugene Goossens (Director 1948–55), opera at the conservatorium made a major contribution to what researcher Roger Covell has described as " the most seminal years in the history of locally produced opera...". Although the most prominent musician to have held the post of director, Goossens' tenure was not without controversy. |
Sydney Conservatorium of Music | Expansion and reforms | Expansion and reforms
thumb|Verbrugghen Hall, named after the first director of the Conservatorium
Under the direction of Rex Hobcroft (1972–82), the Conservatorium adopted the modern educational profile recognised today. Hobcroft's vision of a "Music University" was realised, in which specialised musical disciplines including both classical and jazz performance, music education, composition and musicology enriched each other.
In 1990, as part of the Dawkins Reforms, the Conservatorium amalgamated with the University of Sydney, and was renamed the Sydney Conservatorium of Music.
A 1994 review of the Sydney Conservatorium by the University of Sydney resulted in a recommendation that "negotiations with the NSW State Government about permanent suitable accommodation for the Conservatorium be pursued as a matter of urgency."
As in 1916, a wide range of sites were considered, many of them controversial. In May 1997, 180 years after Governor Macquarie laid the foundation stone for the Greenway Building, State Premier Bob Carr announced a major upgrade of the Conservatorium, with the ultimate goal of creating a music education facility equal to or better than any in the world. A team was assembled to work to that brief, resulting in a complex collaboration between various government departments (notably the Department of Education and Training and the Department of Public Works and Services), the Government Architect, US-based acoustic consultants Kirkegaard Associates, Daryl Jackson Robin Dyke Architects, the key users represented by the Principal and Dean of the Sydney Conservatorium of Music, and the Principal of the Conservatorium High School, the Royal Botanic Gardens and Domain Trust and many others. |
Sydney Conservatorium of Music | Heritage listing | Heritage listing
As at 15 July 2009, the Conservatorium of Music is of State Heritage significance because the former Government House Stables is a notable example of Old Colonial Gothick architecture. It is a rare surviving example of the work of noted ex-convict architect Francis Greenway in the Old Colonial Gothick style. Greenway was instrumental in Macquarie accomplishing Macquarie's aim to transforming the fledgling colony into an orderly, well-mannered society and environment. It is the only example of a gothic building designed by Greenway still standing. The cost and apparent extravagance was one of the reasons Macquarie was recalled to Britain.
The Conservatorium building also has strong associations with Macquarie's wife, Elizabeth, an influential figure in moulding the colony into a more ordered and stylish place under her husband and with the assistance of Greenway.
Since the building was converted for use as a Conservatorium in 1916, it has been the core music education institution in NSW and has strong associations with numerous important musicians.
Sydney Conservatorium of Music was listed on the New South Wales State Heritage Register on 14 January 2011 having satisfied the following criteria:
The place is important in demonstrating the course, or pattern, of cultural or natural history in New South Wales.
The Conservatorium of Music is of historic significance at a State level because when it was designed and built the building was a key element in Governor Lachlan Macquarie's grand vision to make Sydney into an attractive, well designed city. The design was a result of Macquarie's ideas with input from his wife Elizabeth and was executed by ex convict architect Frances Greenway. Greenway had a key role in implementing landmark elements of Macquarie's designs for churches and public buildings. The Stables was the first stage of Macquarie's plan for a New Government House and although this was not built, the Stables influenced the new Government House that was eventually built. After the building's conversion to the Conservatorium of Music it has been the principal music education institution in the State from 1916 onwards and continues to fulfil its role in the building originally modified for this purpose.
The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history.
The Conservatorium of Music is of State heritage significance through its association with Governor Lachlan Macquarie who commissioned the work, his wife Elizabeth who strongly influenced the design and ex convict architect Francis Greenway who designed the building. On 30 March 1816 Greenway was appointed as the colony's first "Civil Architect", the forerunning position to the Government Architect. In its role as the principal music education institution in NSW for many years it has strong and significant association with noted musicians and administrators such as Henry Verbrugghen and Eugene Goossens who were Directors of the Conservatorium.
The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.
The Conservatorium building is of aesthetic significance at a State level as it is a notable exemplar of the Old Colonial Gothick Picturesque style of architecture in Australia. In addition it is the only surviving example of this style of architecture designed by Francis Greenway. Its strong symmetry, battlemented parapet walls, squat towers, pointed arch and square headed openings, label moulded over windows make the building an aesthetically distinctive example of Old Colonial Gothick Picturesque style.
The substantial size of the building for a stable, the use of the picturesque style and its location on the edge of the Governor's Domain demonstrate the ambition of Governor Macquarie in creating order and style in the town of Sydney. Once complete and lacking its accompanying new Government House, it was a landmark "folly" in a managed landscape inspiring young artists and adding a touch of romance to a colony seen by British eyes as devoid of legend and antiquity.
The Conservatorium of Music continues to feature as a prominent landmark in the townscape and the Royal Botanic Gardens. It features as a focal point at the entry leading to Government House.
The place has a strong or special association with a particular community or cultural group in New South Wales for social, cultural or spiritual reasons.
The Conservatorium of Music is of State heritage significance for its association with generations of noted Australian musicians. It was and continues to be a focus for musical activity attracting visiting performers to perform in the auditorium
The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales.
The Conservatorium is of State heritage significance as its potential archaeological resource has not been exhausted despite extensive investigation. The results of archaeological investigations to date have revealed much about the early history and activity of the colony and many artefacts uncovered are displayed and interpreted in the new building.
The place possesses uncommon, rare or endangered aspects of the cultural or natural history of New South Wales.
Being the only surviving example of Francis Greenways design in the Old Colonial Gothic Picturesque style makes the Conservatorium of Music an rarity. It also appears to be the only extant stable block in the Sydney CBD which survives from the Macquarie period.
The place is important in demonstrating the principal characteristics of a class of cultural or natural places/environments in New South Wales.
The Conservatorium is of State heritage significance as a fine example of Old Colonial Gothic Picturesque and demonstrates the principal elements of this style in its strong symmetry, battlemented parapet walls, squat towers, pointed arch and square headed openings, label moulded over windows. |
Sydney Conservatorium of Music | Greenway Building | Greenway Building
The Conservatorium of Music is a large building designed in the Early Colonial Gothic Picturesque style. Located on the western edge of the Royal Botanic Gardens, the building was originally designed to be the stables for the new Government House that Governor Macquarie hoped for but did not succeed in building. The stables were designed by Francis Greenway who was appointed as civil architect on 30 March 1816. Greenway may have taken some of his Gothic inspiration from his time working with John Nash in England, or from direction from Elizabeth Macquarie, who was well versed in architecture. Elizabeth's cousin too had been an English pioneer of the Gothic Revival design and his work influenced her husband Governor Macquarie in his attempts to give the young colony some order and style.
The stables were designed as a castellated fort. As part of Macquarie's scheme was to transform Sydney into an attractive city, the stables were intended as part of a picturesque landscape suitable for a gentleman's residence that Macquarie envisaged around the Government House he wished to build. The construction is of masonry with a sandstone base below rendered walls. Squat towers mark the corners of the complex and divide the main elevation to mark the main entries to the building. The external walls are parapeted with battlements. The parapets to the towers have stylised machicolations below the cornice.
Entries are through wide pointed arch openings on the north and south sides. Ground floor windows are pairs of three pane casement sashes below a topflight. Label moulds frame the top of the ground floor window openings. The first floor has smaller single sash windows, most directly below the cornice mouldings. Small single sash windows are in the towers. Some windows, probably the original and reconstructed windows have sandstone reveals and margins. Others have rendered reveals and margins. Some original sandstone reveals survive, primarily on the east side. The main entries to the former stables have pointed arch openings.
The two storey ranges of rooms were arranged around a central courtyard. A few weals on the courtyard side of these ranges survive notably on the south side where they are left unrendered. The central courtyard was infilled and roofed over in 1913-1915 to house an auditorium as part of the conversion for the Sydney Conservatorium of Music. The new infill is a largely independent structure from the stables with rendered masonry walls supporting a hipped roof with ventilation gables at the east and west ends and topped by copper clad lanterns. Copper gutters are used with copper rainwater heads marked with the date 1914. Internally the building retains the general plan of the original with an outer ring of rooms around a corridor. The Verbruggen Hall is at the centre of the plan.
Basement level additions in 2001 provide a landscaped court on the east and north sides of the building. A new entry structure to the south of the former stables building connects the original stables to the basement additions.
Archaeological evidence of the roadway that led from First Government House to the stables has been conserved in the 2001 entry structure to the south of the original building. A water storage cistern dating from the 1790s remains in situ and the foundations of a mill and bakery owned by John Palmer remain under the floor of the Verbrugghen Hall. A collection of artefacts unearthed during the restoration works is housed in the conservatorium. The collection and in situ archaeology constitute part of this listing. |
Sydney Conservatorium of Music | History | History
Originally commissioned in 1815 as the stables for the proposed Government House, the oldest conservatorium building was designed by the convict architect Francis Greenway. Listed on the New South Wales State Heritage Register in the Gothic Picturesque architectural style with turrets, the building was described as a "palace for horses" and is a portrayal of the romantic vision of Governor Macquarie and the British architectural trends of the time. It is the only example of a gothic building designed by Greenway still standing. The cost and apparent extravagance was one of the reasons Macquarie was recalled to Britain. The stables, located close to picturesque Sydney Harbour, reflect the building techniques and the range of materials and skills employed during the early settlement era.
At the time of its listing on the State Heritage Register, the building was given the following statement of significance: |
Sydney Conservatorium of Music | Condition | Condition
Although converted into a Conservatorium, a good deal of original fabric remains in a fair to good condition. Archaeological investigations that accompanied recent additions were extensive and included deep excavation around the building. Although subject to alteration to fit it out as a Conservatorium, a good deal of the original fabric remains extant and it is still perfectly legible as an Old Colonial Gothic building. Internally some of the original surfaces remain visible, though most have been covered to fit it out as a Conservatorium. |
Sydney Conservatorium of Music | Modifications and dates | Modifications and dates
Cantilevered awning added to the west side 1913-1915, removed 2001
Openings reconstructed 2001
Conservatorium extended with basement rooms and new entry on south side 2001
Upper floor openings in larger bays between towers added 2001
Verbrugghen Hall refitted 2001
West entry converted to window 2001
Extensive deep excavation around the Conservatorium for extensions and archaeological excavation 1998 - 2001 removed most of the archaeological evidence from the immediate surrounds of the site. |
Sydney Conservatorium of Music | Centenary commissions | Centenary commissions
To mark the centenary of the Conservatorium in 2015, it commissioned 101 new works, the spread designed to represent those who have shaped music over the past 100 years. The first work in the series was John Corigliano's Mr Tambourine Man, based on the poetry of Bob Dylan, which was presented on 11 September 2009.Limelight, August 2009, p. 9 |
Sydney Conservatorium of Music | Leadership | Leadership
The past directors, principals and deans were:History of the Con
NameTitleTerm startTerm endTime in officeNotes Henri Verbrugghen Director 1916 1921 W. Arundel Orchard 1923 1934 Edgar Bainton 1934 1948 Sir Eugene Goossens 1948 1955 Sir Bernard Heinze 1957 1966 Joseph Post 1966 1971 Rex Hobcroft 1972 1982 John Painter 1982 1985 John Hopkins 1986 1991 Ronald Smart Principal 1992 1994 Ros Pesman Acting Principal 1994 1995 Sharman Pretty Principal and Dean 1995 2003 Professor Kim Walker Dean & Principal 2004 2011 Karl Kramer 2012 2015 Professor Anna Reid Head of School and Dean 2015 incumbent |
Sydney Conservatorium of Music | Students' Association | Students' Association
Both undergraduate and postgraduate students at the Conservatorium are represented politically and academically by the Conservatorium Students' Association. Founded in 1919 as the Conservatorium Students' Union, it oversees the majority of student culture for the school, and organises the annual Con Ball.
The Association manages the Common Room and two turrets (one for their office and the other for storage) at the back of the Greenway Building. Merchandise for the Conservatorium is also sold by the Association.
Elections for the Association occur annually in October, with the terms of the elected starting on 1 December. The current president is Alexander Poirier, the Vice-President is Cianna Walker, the Secretary is Theresa Xiao, and the Treasurer is Jacques Lombard. |
Sydney Conservatorium of Music | Notable alumni | Notable alumni
Essie Ackland, contralto
Richard Bonynge, conductor
Alexander Briger, conductor
Tony Buck, member of band The Necks
Jorja Chalmers, saxophone and keyboards
Romola Costantino, pianoADB:Alexander Sverjensky
Carl Crossin, conductor, director of the Elder Conservatorium
Iva Davies, frontman of band Icehouse
Tania Davis, member of band Bond
George Ellis, conductor, composer and orchestrator
Bryan Fairfax, conductor
Richard Farrell, piano
Rhondda Gillespie, piano
Julian Hamilton, band member of The Presets, The Dissociatives and Silverchair
David Hansen, countertenor
Michael Kieran Harvey, piano
Erin Holland, Miss World Australia 2013
Dulcie Holland, piano and composition
Bryce Jacobs, film composer and guitarist
Carmel Kaine, violin
Constantine Koukias, composition
Geoffrey Lancaster, fortepiano
Indra Lesmana, Indonesian Jazz musician
Cho-Liang Lin, violin
Jade MacRae, voice
Anthony Maydwell, harp
Richard Meale, composition
Nicholas Milton, conductor
Sam Moran, former member of The Wiggles
James Morrison, trumpeter
Kim Moyes, band member of The Presets, The Dissociatives and Silverchair
Muriel O'Malley, contralto and musical theatre actress
Margaret Packham Hargrave, poet, writer
Geoffrey Parsons, piano
Geoffrey Payne, trumpet
Deborah Riedel, voice
Kathryn Selby, piano
Larry Sitsky, composition and piano
Rai Thistlethwayte, lead singer of Thirsty Merc
Katia Tiutiunnik, composer
Richard Tognetti, violin
Esme Tombleson (1917–2010), Member of Parliament in New Zealand, and multiple sclerosis advocate
Timmy Trumpet, DJ and producer
Nathan Waks, cellist
Christopher Willcock, composer of liturgical music
Gerard Willems, piano
Kim Williams, composition, clarinet
Malcolm Williamson, composition and piano
Jamie Lee Wilson, singer-songwriter
Rowan Witt, theatre and film actor
Roger Woodward, piano, composition
Simone Young, conductor |
Sydney Conservatorium of Music | Notable teachers | Notable teachers
Ole Bøhn, violin
Winifred Burston, piano
Edwin Carr, composition
George De Cairos Rego (1858-1946) piano
Ross Edwards, composition
George Ellis, conducting
Richard Goldner, viola
Isador Goodman, piano
Vladimir Gorbach, classical guitar
Matthew Hindson, composition
Kevin Hunt, jazz piano, composition
Liza Lim, composition
William Motzing, jazz
Neal Peres Da Costa, historical performance
Robert Pikler, violin and viola
Goetz Richter, violin
Daniel Rojas, composition
Nancy Salas, piano and harpsichord
Kathryn Selby, chamber music
Natalia Sheludiakova, piano
Lois Simpson, cello
Howie Smith, jazz
Paul Stanhope, composition
Alexa Still, flute
Alexander Sverjensky, piano
Ernest Truman
Carl Vine, composition
Mark Walton, woodwind, performance
Gordon Watson, piano
Fred Werner (active 1909-1915)
Wanda Wiłkomirska, violin
Gerard Willems, piano
Daniel Yeadon, chamber music and historical performance |
Sydney Conservatorium of Music | See also | See also
Australian non-residential architectural styles
University of Sydney |
Sydney Conservatorium of Music | References | References |
Sydney Conservatorium of Music | Citations | Citations |
Sydney Conservatorium of Music | Sources | Sources
Attribution
|
Sydney Conservatorium of Music | External links | External links
Sydney Conservatorium of Music
Daryl Jackson Robin Dyke
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Category:Education in Sydney
Music
Category:Music schools in Australia
Category:Educational institutions established in 1916
Category:New South Wales State Heritage Register sites located in the Sydney central business district
Category:Gothic Revival architecture in Sydney
Category:Government buildings in Sydney
Category:Francis Greenway buildings
Category:Stables
Category:Articles incorporating text from the New South Wales State Heritage Register
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Sydney Conservatorium of Music | Table of Content | Short description, History, Origins of the conservatorium, Expansion and reforms, Heritage listing, Greenway Building, History, Condition, Modifications and dates, Centenary commissions, Leadership, Students' Association, Notable alumni, Notable teachers, See also, References, Citations, Sources, External links |
Faust (band) | short description | Faust (, English: "fist") are a German rock band from Hamburg. Formed in 1971 by producer and former music journalist Uwe Nettelbeck, the group was originally composed of Werner "Zappi" Diermaier (b.1949), Hans Joachim Irmler (b.1950), Arnulf Meifert, Jean-Hervé Péron (b.1949), Rudolf Sosna (1946 – 1996) and Gunther Wüsthoff, working with engineer Kurt Graupner. Their work was oriented around dissonance, improvisation, and experimental electronic approaches, and would influence subsequent ambient and industrial music. They are considered a central act of West Germany's 1970s krautrock movement. |
Faust (band) | History | History |
Faust (band) | 1971–1975 | 1971–1975
Faust formed in 1971 in the rural setting of Wümme. They secured a recording contract with Polydor and soon began recording their debut, Faust, which sold poorly but received critical acclaim for its innovative approach and established a devoted fan base. Meifert was sacked shortly afterwards because, as Péron wrote in 2004, "he discussed things, because he had flat buttocks and an absolutely beautiful girlfriend, because he practised every day, because he always kept his room neat and woke up every morning to first wet a cloth he'd put in front of his room to keep the dirt out, because he played such a hard 4/4th that we had to travel into the tongue, ready to drop, ding dong is handsome top."
In 1972 the band recorded its second, slightly more accessible album So Far. Faust became one of the premier bands in the international appreciation of the genre that would eventually be known as krautrock.
Faust became one of the first acts to sign to Richard Branson's Virgin Records, who embarked on a marketing campaign somewhat daring for its time, aimed at introducing Faust to British record-buyers. The Faust Tapes was a cut-and-paste album, which spliced together a large number of bits and pieces from their extensive collection of private recordings not originally intended for release. Virgin issued it at the then price of a single, 48 pence. The Faust Tapes reportedly sold over 100,000 copies but its low price tag rendered it ineligible for a chart placing.
After collaborating with Tony Conrad on the album Outside the Dream Syndicate, Faust recorded Faust IV at Virgin's studios in England. The band broke up in 1975 after Virgin rejected its fifth album (some of the recordings later appeared on the Munich and Elsewhere album), but reissues of their recordings and various additional material through Chris Cutler's Recommended Records maintained a level of interest.
thumb|left|Faust performing in Manchester in 2007.
Faust experimented with the presentation of their early records. Their first album was originally released on clear vinyl, in a clear sleeve with an X-ray of a human fist silkscreened on the outer sleeve. Their second album, So Far, made extensive use of the color black, though inside the sleeve were sheets with a different illustration for each song. The Faust Tapes had a visually unsettling op art cover design by Bridget Riley, while that for Faust IV consisted of a series of blank music staves. |
Faust (band) | 1975–present: breakup, "disappearance" and reunion | 1975–present: breakup, "disappearance" and reunion
right|thumb|Jean-Hervé Péron performing in France, 2007.
After Faust's breakup, the group's whereabouts were unknown; the Recommended Records catalogues talked about the group's "disappearance". The official Web site lists three concerts during the 1980s, and the Patchwork album, a compilation of outtakes, feature three snippets that were recorded in the 1980s, but apart from that, the group's activities between 1975 and 1990 remain shrouded in mystery.
In 1990 and 1992, members Irmler, Diermaier and Péron reunited for performances. In 1994, Faust toured the United States for the first time, with Péron and Diermaier assisted by Steven Wray Lobdell and with members of Sonic Youth as an opening act. Irmler did not participate in the 1994 US tour, but took a more active role after that, producing the groups' records and releasing them on his Klangbad label. He also compiled and edited the Patchwork remix album in 2002. Sosna's chronic alcoholism ended a brief reunion with Faust "after four or five exhausting days", and he died on 10 November 1996.Péron statement, The Wümme Years box set booklet Gunter Wüsthoff has not taken part in any of the reunions. They have continued to perform in various combinations and with various additional musicians ever since, with Diermaier always behind the drum kit.
In 1996, Diermaier and Péron met Olivier Manchion and Amaury Cambuzat from French group Ulan Bator. They performed for the first time together as "Collectif Met(z)" in November 1996 (this quartet became the basis of a later Faust line-up and this concert was part of a 2005 release). A few days after, Faust performed at the Garage in London and at the Transmusicales de Rennes, featuring Chris Cutler. After two studio albums, Péron left the group in June 1997. From mid-1997 to 2004, Faust toured as Zappi W. Diermaier, Hans Joachim Irmler, Steven Wray Lobdell, Lars Paukstat and Michael Stoll, releasing many more studio and live albums.
left|thumb|Werner "Zappi" Diermaier performing in France, 2007.
Diermaier and "art-errorist" Péron reunited in 2005, when Zappi proposed that they start a "new" Faust together with Olivier Manchion and Amaury Cambuzat from Ulan Bator. Faust now exists in two completely different incarnations, both active and each reflecting different aspects of the original group. Uwe Nettelbeck died on 17 January 2007.
Diermaier/Péron's new Faust made their debut at the 2005 Art-Errorist Avant Garde festival in Schiphorst, Germany, where they also presented a new release entitled Collectif Met(z), a collection including concerts from 1996 and 2005 and unreleased solo songs. They also recorded Trial and Error, released on DVD in 2007 by the Fuenfundvierzig Label. This incarnation of the group has been extremely active, releasing several CD-Rs and DVD-Rs and touring extensively, including a very successful autumn 2005 UK tour, released in 2007 as ... In Autumn by Dirter. This release also features ex Henry Cow saxophonist/flautist Geoff Leigh, vocalist Lucianne Lassalle, poet Zoë Skoulding and the members of the Welsh group Ectogram. The trio of Diermaier, Péron and Cambuzat performed at a Rock in Opposition festival in France in April 2007. This trio lineup also recorded a new album entitled Disconnected which was mixed by Steven Stapleton and Colin Potter of Nurse with Wound. It was released to tie in with the 2007 Schiphorst Avant Garde festival in July 2007. C'est com... com... compliqué, the second album from these sessions was released in February 2009 on the Bureau B label. Krautrock: The Rebirth of Germany (2009), BBC documentary on Krautrock, featured interview segments with Péron and Diermaier. In 2011, in collaboration with the British artists Geraldine Swayne and James Johnston, the duo recorded a new Faust studio album, Something Dirty.
right|thumb|Amaury Cambuzat performing in France, 2007.
In 2010, Faust with members Hans Joachim Irmler, Steven Wray Lobdell, Lars Paukstat, Michael Stoll and Jan Fride released a new studio album, Faust Is Last, which happened to be the last studio album by Irmler's Faust. After the release of the two compilations Momentaufnahme 1 and Momentaufnahme 2, Jean-Hervé Péron declared the band disbanded, which Diermaier later denied. Having been absent from the band for 49 years, core member Gunther Wüsthoff reunited with Werner "Zappi" Diermaier to play on the new 2022 Faust album, Daumenbruch. Members of Einsturzende Neubauten and Monobeat Original, another musical project of Diermaier, also play on the album.
In September 2024, Faust released a new six track album titled Blickwinkel, once again created by the reunited efforts of Diermaier and Wüsthoff, working with a selection of musical friends. |
Faust (band) | Collaborations | Collaborations
During the Wümme years, Diermaier, Péron and Wüsthoff played on Slapp Happy's first two albums, Sort Of (1972) and Acnalbasac Noom (1973) which were also produced by Uwe Nettelbeck. Slapp Happy's Peter Blegvad had played with Faust in Wümme and subsequently toured with them in the UK. That tour also featured Uli Trepte, who had performed with Guru Guru and Neu!.
In contrast with Slapp Happy's song-based music, in 1972 Diermaier, Péron and Sosna also collaborated with the violinist Tony Conrad on Outside the Dream Syndicate; the record was released in 1973 at a low price in the UK and was, at the time, one of the few available examples of drone-based minimalism. A live recording from a 1995 concert, entitled Outside the Dream Syndicate Alive featuring Tony Conrad, Zappi Diermaier & Jean-Hervé Péron of Faust and Jim O'Rourke was released in Autumn 2005.
Faust collaborated with New Jersey avant-garde hip-hop crew Dälek for the album Derbe Respect, Alder in 2004.
Jean-Hervé Péron collaborated with THEME and Zsolt Sores on a MLP called 'Poison Is (Not) The Word' released on the Lumberton Trading Company label in 2012, and in 2013 Faust recorded 'Live at Clouds Hill' with Omar Rodríguez-López.
Faust performed with Slapp Happy again in November 2016 at the Week-End festival in Cologne, Germany. The two groups also played together in February 2017 at Cafe Oto in London.
In December 2017, Faust recorded a one-off collaboration with erotic-electronic artist Natalie Sharp, aka Lone Taxidermist, as part of the BBC Radio 3 programme Late Junctions "Late Junction Sessions" series.
Discography
Studio albums
YearAlbumCertifications1971Faust1972Faust So Far1973The Faust TapesBPI: Silver1973Faust IV1994Rien1997You Know FaUSt1997Faust Wakes Nosferatu1999Ravvivando2009C'est Com...Com...Complique2010Faust Is Last(as "Hans Joachim Irmler's Faust")2011Something Dirty2014J US t2017Fresh Air2022Daumenbruch2022Punkt. (Unreleased 5th album)2024Blickwinkel
Collaborations
Outside the Dream Syndicate (1973) – collaboration with Tony Conrad
Derbe Respect, Alder (2004) – collaboration with Dälek
Outside the Dream Syndicate Alive (2005) – 1995 live collaboration with Tony Conrad
Disconnected (2007) – collaboration album with Nurse with Wound
Fini! (2008) - Jean-Hervé Péron collaboration with Andrew Liles and Ragna Skinner
Poison Is (Not) the Word (2012) – Jean-Hervé Péron collaboration with THEME and Zsolt Sores
...Live at Clouds Hill (Vinylbox #3) (2013) – collaboration with Omar Rodríguez-López
Festival Milhões de Festa (2017) - residency and live concert with GNOD
This Is the Right Path (2022) - Feat. Keiji Haino
Singles
"So Far" (1972) (re-issue in 2010)
"Chemical Imbalance" (1990)
"Überschall 1996" (1996) – split single with Stereolab and Foetus
"Trafics" (1997) – split single with La Kuizine
"Wir Brauchen Dich" (2001)
Compilations
Munich and Elsewhere (1986)
The Last LP: Faust Party No. 3, 1971–1972 (1988)
71 Minutes of Faust (1988) – compilation of material from the above two
Faust/Faust So Far (2000)
The Wümme Years: 1970–1973 (2000)
BBC Sessions + (2001)
Faust 1971–1974 (2021) – 8xCD or 7xLP box set (includes unreleased album Punkt)
Momentaufnahme 1 (2023)
Momentaufnahme 2 (2023)
Momentaufnahme 3 (2024)
Momentaufnahme 4 (2024)
Live albums, and other releases
Faust 5 (1975) – never officially released, it exists only in the form of a Virgin Records promotional cassette
Faust Concerts, Volume 1: Live in Hamburg, 1990 (1994)
Faust Concerts, Volume 2: Live in London, 1992 (1994)
BBC Sessions/Kisses for Pythagoras LP Lmt. Ed. (1996)
Untitled (1996) – compilation of live and studio material
Edinburgh 1997 [live] (1997)
Land of Ukko & Rauni [live] (2000)
Freispiel (2002) – remixes of Ravviviando
Patchwork 1971–2002 (2002) – compilation of remixed and unreleased material
Abzu (2003) – 4 CDs box with interviews and unreleased, live, solo and remixed tracks
Collectif Met(z) (2005) – 3 CDs box + video CD
Silver Monk Time (2006) – tribute album to The Monks by various artists; Faust contribute one track
Live in Krakow 2006 (2007)
... In Autumn (2007) – 3 CDs box + 1 DVD, recorded 2005
Od Serca Do Duszy [live] (2007) – 2xCD
Kleine Welt [live] (2008) – Hans Joachim Irmler's Faust, recorded 2006
Schiphorst 2008 [live] (2009) – recorded at the Schiphorst Festival
Clouds Hill Hamburg Studio Sessions 2009 (2009) – CDR of rehearsals, recorded February 2009
Live in Oslo (2009) – CDR
WFMU Fest in Brooklyn [live] (2010) – recorded 1 October 2009
Radical Mix (2012) – CDR, remix
Krystal "Belle" Boyd (with Kommissar Hjuler & Mama Baer) (2020)
Films
Impressions (2006) – DVD
Trial and Error (2007) – DVD, recorded 2005
Faust: Nobody Knows If It Ever Happened (2007) – DVD on Ankst (live at The Garage, London, 1996)
Klangbad: Avant-garde in the Meadows (2010) – DVD on Play Loud! Productions, Hans Joachim Irmler's Faust Faust: Live at Klangbad Festival (2010) – DVD on Play Loud! Productions, Hans Joachim Irmler's Faust'''
Faust: Where Roads Cross (2013) – DVD on 6ème Droite
Romantic Warriors IV: Krautrock (2019)
Further readingFaust: Stretch Out Time 1970–1975. Andy Wilson. Mute / The Faust-Pages, 2006. .Krautrocksampler. Julian Cope. Head Heritage 1997
The Wumme Years: 1970–1973 – accompanying booklet 2000
References
External links
The Faust Pages
jean-hervé péron
zappi diermaier
hans-joachim irmler
Video Report on OC-TV.net
Gunther Wüsthoff
"Interview: Krautrock legends Faust", The Guardian'', 18 October 2021
Category:German experimental musical groups
Category:Krautrock musical groups
Category:Musical groups established in 1971
Category:Virgin Records artists
Category:German experimental rock groups
Category:Sound collage artists
Category:Noise rock groups
Category:German progressive rock groups |
Faust (band) | Table of Content | short description, History, 1971–1975, 1975–present: breakup, "disappearance" and reunion, Collaborations |
Flesh | Short description |
Flesh is any aggregation of soft tissues of an organism. Various multicellular organisms have soft tissues that may be called "flesh". In mammals, including humans, flesh encompasses muscles, fats and other loose connective tissues, but sometimes excluding non-muscular organs (liver, lung, spleen, kidney) and typically discarded parts (hard tendon, brain tissue, intestines, etc.). More generally, it may be considered the portions of the body that are soft and delicate. In a culinary context, consumable animal flesh is called meat, while processed visceral tissues are known as offal.
In particular animal groups such as vertebrates, molluscs and arthropods, the flesh is distinguished from tougher body structures such as bone, shell and scute, respectively. In plants, the "flesh" is the juicy, edible structures such as the mesocarp of fruits and melons as well as soft tubers, rhizomes and taproots, as opposed to tougher structures like nuts and stems. In fungi, flesh refers to trama, the soft, inner portion of a mushroom, or fruit body.
A more restrictive usage may be found in some contexts, such as the visual arts, where flesh may refer only to visibly exposed human skin, as opposed to parts of the body covered by clothing and hair. Flesh as a descriptor for colour usually refers to the non-melanated pale or pinkish skin colour of white humans, however, it can also be used to refer to the colour of any human skin.
In Christian religious circles, the flesh is a metaphor associated with carnality. |
Flesh | Gallery | Gallery |
Flesh | References | References
Category:Tissues (biology)
Category:Vertebrate anatomy
Category:History of art |
Flesh | Table of Content | Short description, Gallery, References |
List of Indian composers | Short description | List of Indian composers, arranged in alphabetical order: |
List of Indian composers | Film composers | Film composers
Abhimann Roy
Aby Tom Cyriac
Ajay–Atul
Alphons Joseph
Amaal Mallik
Amit Trivedi
Anand–Milind
Anil Biswas
Anirudh Ravichander
Ankit Tiwari
Ananda Shankar
Anu Malik
Anupam Roy
A. R. Rahman
Arjun Janya
Asif Panjwani
Adhyan Dhara
Bappi Lahiri
Bennet Veetraag
Berny Ignatius
Pandit Bhajan Sopori
Bhupen Hazarika
Bijibal
Bombay Ravi
Chitragupta Shrivastava
C. Ramchandra
D. Imman
Daboo Malik
Damodar Raao
Datta Naik
Debojyoti Mishra
Deva
Devi Sri Prasad
Freddie Mercury
G. Devarajan
G. V. Prakash Kumar
Gangai Amaran
Gopi Sunder
Gurukiran
Gulzar
Hamsalekha
Harris Jayaraj
Himesh Reshammiya
Honey Singh
Hridaynath Mangeshkar
Ilaiyaraaja
Ismail Darbar
Jaidev
Jatin–Lalit
Jim Ankan Deka
Jeet Ganguly
Johnson
Karthik
Karthik Raja
Karthikeya Murthy
Kamal Heer
Kartik Seshadri
K. Raghavan
Louis Banks
Madan Mohan
Manoj George
Mani Sharma
Meet Bros
Mickey J Meyer
Mithoon
M. G. Radhakrishnan
M. Jayachandran
M. M. Keeravani
M.S Baburaj
Laxmikant–Pyarelal
L. Subramaniam
Kalyanji-Anandji
Naushad Ali
Nadeem-Shravan
Nitin Dubey
Nitesh Tiwari
Nityanand Haldipur
Oni-Adil
O. P. Nayyar
Ouseppachan
Pankaj Kumar Mullick
Parichay (singer)
Pawandeep Rajan
Pritam Chakraborty
Raam Laxman
Ram Sampath
Raghu Kumar
Rahul Dev Burman
Ravi Basrur
Rahul Raj
Raichand Boral
Pandit Ravi Shankar
Ravindra Jain
Raveendran
Remo Fernandes
Roop Kumar Rathod
Rohan-Rohan
Raju Singh
Sachin Dev Burman
Sajid–Wajid
Sachin–Jigar
Salil Chowdhury
Salim–Sulaiman
Sandeep Khurana
Sandeep Chowta
Sashank Navaladi
Santhosh Narayanan
Shankar–Ehsaan–Loy
Shantanu Moitra
Sharreth
Shashwat Sachdev
Shankar–Jaikishan
Shaan Rahman
Srinivas Khale
Shubha Mudgal
Sneha Khanwalkar
Sohail Sen
S.P.Balasubrahmanyam
S.P.Venkatesh
Sudhir Phadke
Sushin Shyam
Tanishk Bagchi
Tapas Relia
Thaman Sai
Vidyasagar
Vijay Antony
Vishal Bhardwaj
Vishal–Shekhar
Vishal Mishra
Vishvesh Parmar
Viswanathan–Ramamoorthy
Yuvan Shankar Raja
Zakir Hussain
Zubeen Garg
Vikram Montrose |
List of Indian composers | Carnatic composers | Carnatic composers
Annamacharya
Chembai Vaidyanatha Bhagavatar
Ilayaraja
Irayimman Thampi
L. Subramaniam
Lalgudi Jayaraman
M Balamuralikrishna
Muthuswami Dikshitar
Purandara Dasa
Subbaraya Shastri
Swathi Thirunal
Syama Shastri
Thyagaraja
Periasamy Thooran
Jayadeva
VVS Murari |
List of Indian composers | Western Classical/Art music Composers (of Indian descent) | Western Classical/Art music Composers (of Indian descent)
Clarence Barlow
Ilayaraja
L. Subramaniam
Sandeep Bhagwati
Reena Esmail
Vijay Iyer
Shirish Korde
Rudresh Mahanthappa
Naresh Sohal
Param Vir
*
Category:Lists of composers by nationality
Composers
Composers |
List of Indian composers | Table of Content | Short description, Film composers, Carnatic composers, Western Classical/Art music Composers (of Indian descent) |
CJ | Use dmy dates | CJ or similar may refer to: |
CJ | Businesses | Businesses
CJ Affiliate, an online advertising company
CJ Group (also known as Cheil Jedang), a South Korean conglomerate
CJ CheilJedang, South Korean food and beverage company within the CJ Group
BA CityFlyer (IATA airline designator)
China Northern Airlines (IATA airline designator) |
CJ | In fiction | In fiction
Carl Johnson (Grand Theft Auto), a fictional character in Grand Theft Auto: San Andreas |
CJ | In law | In law
Chief Justice, an honorific title for the presiding member of a Supreme Court
Criminal justice |
CJ | People | People
For people named C.J., see C. J. (given name) |
CJ | Publications | Publications
The Classical Journal (Journal of the Classical Association of the Middle West and South)
The Courier-Journal, a newspaper in Louisville, Kentucky, United States |
CJ | In science and technology | In science and technology
Cangjie input method, a system by which Chinese characters may be entered into a computer using a standard keyboard
Centijoule, an SI unit of energy equal to 10−2 J
Cobra Jet, a performance engine designation of the Ford FE engine
Jeep CJ (Civilian Jeep) series, a military-based off-road vehicle
Cessna CitationJet, a line of business jets by Cessna Aircraft Company |
CJ | Other uses | Other uses
Congregation of Jesus or Congregatio Jesu, a Catholic congregation
Cluj County, on the vehicle registration plates of Romania
ChinaJoy |
CJ | See also | See also
Creutzfeldt–Jakob disease
Cangjie (disambiguation) |
CJ | Table of Content | Use dmy dates, Businesses, In fiction, In law, People, Publications, In science and technology, Other uses, See also |
Downtown Eastside | Short description | The Downtown Eastside (DTES) is a neighbourhood in Vancouver, British Columbia, Canada. One of the city's oldest neighbourhoods, the DTES is the site of a complex set of social issues, including disproportionately high levels of drug use, homelessness, poverty, crime, mental illness and sex work. It is also known for its strong community resilience, history of social activism, and artistic contributions.
Around the beginning of the 20th century, the DTES was Vancouver's political, cultural and retail centre. Over several decades, the city centre gradually shifted westwards, and the DTES became a poor neighbourhood, although relatively stable. In the 1980s, the area began a rapid decline due to several factors, including an influx of hard drugs, policies that pushed sex work and drug-related activity out of nearby areas, and the cessation of federal funding for social housing. By 1997, an epidemic of HIV infection and drug overdoses in the DTES led to the declaration of a public health emergency. As of 2018, critical issues include opioid overdoses, especially those involving the drug fentanyl; decrepit and squalid housing; a shortage of low-cost rental housing; and mental illness, which often co-occurs with addiction.
The population of the DTES is estimated to be around 7,000 people. Compared to the city, the DTES has a higher proportion of males and adults who live alone. It also has significantly more Indigenous Canadians, disproportionately affected by the neighbourhood's social problems. The neighbourhood has a history of attracting individuals with mental health and addiction issues, many of whom are drawn to its drug market and low-barrier services. Residents experience Canada's highest rate of death from encounters with police, and there is mutual mistrust between police and many homeless residents.
Since Vancouver's real-estate boom began in the early 21st century, the area has been increasingly experiencing gentrification. Some see gentrification as a force for revitalization, while others believe it has led to higher displacement and homelessness. Numerous efforts have been made to improve the DTES at an estimated cost of over $1.4 billion as of 2009. Services in the greater DTES area are estimated to cost $360 million per year. Commentators from across the political spectrum have said that little progress has been made in resolving the issues of the neighbourhood as a whole, although there are individual success stories. Proposals for addressing the issues of the area include increasing investment in social housing, increasing capacity for treating people with addictions and mental illness, making services more evenly distributed across the city and region instead of concentrated in the DTES, and improving coordination of services. However, little agreement exists between the municipal, provincial and federal governments regarding long-term plans for the area. |
Downtown Eastside | Geography | Geography
thumb|right|alt=refer to adjacent text|The DTES and its surrounding neighbourhoods
thumb|Downtown Eastside and Woodward's site from Harbour Centre in 2007
The term "Downtown Eastside" is most often used to refer to an area 10 to 50 blocks in size, a few blocks east of the city's Downtown central business district. The neighbourhood is centred around the intersection of Main Street and Hastings Street, where residents have gathered for over a hundred years to connect. This intersection is also the home of the Carnegie Community Centre. The area around Hastings and Main is where the neighbourhood's social issues are most visible, described in the Vancouver Sun in 2006 as "four blocks of hell."
Some indications of the borders of the DTES, which shift and are poorly defined, are as follows:
A 2016 analysis of crime in the DTES by The Georgia Straight focused on an area that consisted of a six-block length of Hastings and Cordova Streets, between Cambie Street and Jackson Avenue.
The City of Vancouver describes a "Community-based Development Area", where places important to low-income residents are concentrated. This area includes Hastings Street from Abbott Street to Heatley Avenue, and the blocks surrounding Oppenheimer Park.
By some definitions, the DTES extends along Main Street to beyond Terminal Avenue, and the DTES also includes a strip of land adjacent to Vancouver's port.
For some community planning and statistical purposes, the City of Vancouver uses the term "Downtown Eastside" to refer to a much larger area with considerable social and economic diversity, including Chinatown, Gastown, Strathcona, the Victory Square area, and the light industrial area to the north. This area, referred to in this article as the greater DTES area, is bordered by Richards Street to the west, Clark Drive to the east, Waterfront Road and Water Street to the north and various streets to the south including Malkin Avenue and Prior Street. The greater DTES area includes some popular tourist areas and nearly 20% of Vancouver's heritage buildings.
Strathcona in the 1890s included the entire DTES. By 1994 Strathcona's northern boundary was generally considered to be the alley between East Pender and East Hastings streets, though some place it at Railway Street, including DTES east of Gore Avenue. |
Downtown Eastside | History | History
thumb|right|alt=refer to caption|The corner of Hastings and Main, c. 1912
thumb|right|alt=refer to caption|Lotus Light Lei Zang Si Temple, a Chinese Buddhist temple in the heart of East Hastings, is part of the diversity of the neighbourhood.
The DTES forms part of the traditional territories of the Squamish, Tsleil-Waututh, and Musqueam First Nations. European settlement of the area began in the mid-19th century, and most early buildings were destroyed in the Great Vancouver Fire of 1886. Residents rebuilt their town at the edge of Burrard Inlet, between Cambie and Carrall streets, a townsite that now forms Gastown and part of the DTES. At the turn of the century, the DTES was the heart of the city, containing city hall, the courthouse, banks, the main shopping district, and the Carnegie Library. Travellers connecting between Pacific steamships and the western terminus of the Canadian Pacific Railway used its hundreds of hotels and rooming houses. Large Japanese and Chinese immigrant communities settled in Japantown, which lies within the DTES, and in nearby Chinatown, respectively.
During the Depression, hundreds of men arrived in Vancouver searching for work. Most of them later returned to their hometowns, except workers who had been injured or those who were sick or elderly. These men remained in the DTES area – at the time known as Skid Road – which became a non-judgemental, affordable place to live as the main downtown area of Vancouver began to shift westward. Among them, drinking was a common pastime. In addition to being a central cultural and entertainment district, Hastings Street was also a centre for beer parlours and brothels.
In 1942, the neighbourhood lost its entire ethnic Japanese population, estimated at 8,000 to 10,000, due to the Canadian government's internment of these people. After the war, most did not return to the once-thriving Japantown community.
In the 1950s, the city centre continued its shift westward after the interurban rail line closed; its main depot was at Carrall and Hastings. Theatres and shops moved towards Granville and Robson streets. As tourist traffic declined, the neighbourhood's hotels became run-down and were gradually converted to single room occupancy (SRO) housing, a use which persists to this day. By 1965, the area was known for prostitution and for having a relatively high proportion of poor, single men, many of whom were alcoholics, disabled, or pensioners. |
Downtown Eastside | 1980s | 1980s
thumb|left|alt=refer to caption|Carnegie Community Centre at the corner of Main and Hastings.
In the early 1980s, the DTES was an edgy but still relatively calm place to live. The neighbourhood began a marked shift before Expo 86, when an estimated 800 to 1,000 tenants were evicted from DTES residential hotels to make room for tourists. With the increased tourist traffic of Expo 86, dealers introduced an influx of high-purity cocaine and heroin. In efforts to clean up other areas of the city, police cracked down on the cocaine market and street prostitution, but these activities resurfaced in the DTES. Within the DTES, police officers gave up on arresting the huge numbers of individual drug users, and chose to focus their efforts on dealers instead.
Meanwhile, the provincial government adopted a policy of de-institutionalization of the mentally ill, leading to the mass discharge of Riverview Hospital's patients, with the promise that they would be integrated into the community. Between 1985 and 1999, the number of patient-days of care provided by B.C. psychiatric hospitals declined by nearly 65%. Many of the de-institutionalized mentally ill moved to the DTES, attracted by the accepting culture and low-cost housing, but they floundered without adequate treatment and support and soon became addicted to the neighbourhood's readily available drugs.
Between 1980 and 2002, more than 60 women went missing from the DTES, most of them sex workers. A large number are missing and murdered Indigenous women. Robert Pickton, who had a farm east of the city where he held "raves", was charged with the murders of 26 of these women and convicted on six counts in 2007. He claimed to have murdered 49 women. As of 2009, an estimated 39 women were still missing from the Downtown Eastside. |
Downtown Eastside | 1990s to present | 1990s to present
thumb|right|alt=2024.People in the main streets are visibly taking drugs, passed out and suffering for over ten city blocks.
thumb|Downtown Eastside Justice for All Network asking the government and media to address persistent issues in the Downtown Eastside before the 2010 Olympics .
In the 1990s, the situation in the DTES deteriorated further on several fronts. Woodward's, an anchor store in the 100-block of West Hastings street, closed in 1993 with devastating effect on the formerly bustling retail district. Meanwhile, a crisis in housing and homelessness was emerging.
Between 1970 and the late 1990s, the supply of low-income housing shrank in both the DTES and in other parts of the city, partly because of the conversion of buildings into more expensive condominiums or hotels. In 1993, the federal government stopped funding social housing, and the rate of building social housing in B.C. dropped by two-thirds despite rising demand for it. By 1995, reports had begun to emerge of homeless people sleeping in parks, alleyways, and abandoned buildings. Cuts to the provincial welfare program in 2002 caused further hardship for the poor and homeless. Citywide, homeless people climbed from 630 in 2002 to 1,300 in 2005.
Without a viable retail economy, a drug economy proliferated, with an accompanying increase in crime, while police presence decreased. Crack cocaine arrived in Vancouver in 1995, and crystal methamphetamine started to appear in the DTES in 2003. In 1997 the local health authority declared a public health emergency in the DTES: Rates of HIV infection, spread by needle-sharing amongst drug users, were worse than anywhere in the world outside Sub-Saharan Africa, and more than 1000 people had died of drug overdoses. Efforts to reduce drug-related deaths in the DTES included the opening of a needle exchange in 1989, the opening of North America's first legal safe injection site in 2003, and treatment with anti-retroviral drugs for HIV. A shift among users from injected cocaine to crack cocaine use may have also slowed the spread of disease. Rates of HIV infection dropped from 8.1 cases per 100 person-years in 1997 to 0.37 cases per 100 person-years by 2011.
In the 21st century, considerable investment was made in DTES services and infrastructure, including the Woodward's Building redevelopment and the acquisition of 23 SRO hotels by the provincial government for conversion to social housing. In 2009, The Globe and Mail estimated that governments and the private sector had spent more than $1.4 billion since 2000 on projects aimed at resolving the area's many problems.
Opinions vary on whether the area has improved: A 2014 article in the National Post said, "For all the money and attention here, there is little success at either getting the area's shattered populace back on their feet or cleaning up the neighbourhood into something resembling a healthy community." Former NDP premier Mike Harcourt described the current reality of the neighbourhood as "100-per-cent failure." Also in 2014, B.C. housing minister Rich Coleman claimed "I'll go down for a walk in the Downtown Eastside, night time or day time, and it's dramatically different than it was. It's incredibly better than it was five, six years ago." |
Downtown Eastside | Demographics | Demographics
thumb|right|alt=Indigenous demonstrators at a march for Women's Housing in the DTES|Demonstrators at a march for women's housing, part of the long history of social activism in the DTES
There are no official population figures for the DTES. Estimates have ranged from 6,000 to 8,000; the geographic boundaries associated with these figures were not provided.
Official figures are available for the greater DTES area, which was home to an estimated 18,477 people in 2011. In comparison to the city of Vancouver overall, the greater DTES had a higher proportion of males (60% vs. 50%), more seniors (22% vs 13%), fewer children and youth (10% vs 18%), slightly fewer immigrants, and more Indigenous Canadians (10% vs. 2%).
A 2009 demographic profile by The Globe and Mail focused on an area of just over 30 city blocks in and around the DTES: It indicated that 14% of the residents were of Indigenous descent. The average household size was 1.3 residents; 82% of the population lived alone. Children and teenagers made up 7% of the people, compared to 25% of Canada overall.
A population that is frequently studied is tenants of single-room occupancy (SRO) hotels in the greater DTES area. According to a 2013 survey, this population is 77% male, with a median age of 44. Indigenous people make up 28% of the population, and Europeans 59%. |
Downtown Eastside | Migration patterns | Migration patterns
The DTES has a history of attracting migrants with mental health and addiction issues across B.C. and Canada, with many drawn by its drug market, affordable housing, and services. Between 1991 and 2007, the DTES population increased by 140%.
A 2016 study found that 52% of those DTES residents who experience chronic homelessness and serious mental health issues had migrated from outside Vancouver in the previous 10 years. This proportion of the population has tripled in the last decade. The same study found that once migrants had settled in the DTES, their conditions worsened. A 2013 study of tenants of DTES SROs found that while 93% of those surveyed were born in Canada, only 13% were born in Vancouver. Vancouver Coastal Health estimates that half of the population that uses its health services in the DTES are long-term residents and that there is a population turnover of 15 to 20% each year. |
Downtown Eastside | Culture | Culture
thumb|right|alt=Mosaic sidewalk art on East Hastings Street, depicting a heart and the Community "The Heart of the City"|Mosaic sidewalk art on East Hastings Street
Although many outsiders fear the DTES, its residents take pride in their neighbourhood and describe it as having multiple positive assets. DTES residents say the area has a strong sense of community and cultural heritage. They describe their neighbours as accepting and empathizing with people with addictions and health issues. According to the city government, Hastings Street is valued by SRO residents as "a place to meet friends, get support, access services and feel like they belong."
The area has had a robust tradition of advocacy for its marginalized residents since at least the 1970s when the Downtown Eastside Residents Association (DERA) was formed. Over the years, the DTES community has consistently resisted many attempts to "clean up" the neighbourhood by dispersing its close-knit residents. Successful resident-led initiatives to improve conditions in the DTES include the transformation of the then-closed Carnegie Library into a community centre in 1980, the opening of an unlicensed supervised injection site in 2003, which led to the founding of Insite; improvements to Oppenheimer Park, and the creation of CRAB Park.
In 2010, the V6A postal area, which includes most of the DTES, had the second-highest concentration of artists in the city. Artists made up 4.4% of the labour force, compared to 2.3% in the city as a whole. The Downtown Eastside Artists' Collective was formed by Trey Helten, manager of the Overdose Prevention Society. The greater DTES area is the location of several art galleries, artist-run centres and studios. Prominent local artists include poet Henry Doyle, artist Marcel Mousseau, and poet Bud Osborn.
Notable annual events include the Downtown Eastside Heart of the City Festival, which showcases the art, culture, and history of the neighbourhood, and the Powell Street Festival in Oppenheimer Park, which celebrates Japanese-Canadian arts and culture. The Smilin' Buddha Cabaret operated at 109 East Hastings Street from 1952 to the late 1980s as a symbol of "cultural vitality," reflecting shifts in the neighbourhood itself. City Opera of Vancouver, the Dancing on the Edge Festival, and other artists regularly perform in DTES venues such as the Carnegie Centre, the Firehall Arts Centre, and the Goldcorp Centre for the Arts at the Woodward's site. The musical composition "100 Block Rock," featuring 11 tracks, was released in 2020. In 2010, Sam Sullivan, former mayor of Vancouver, said that in the DTES, "Behind the visible people who have a lot of troubles, there's a community. Some very intelligent people say this is the city's cultural heart." |
Downtown Eastside | Current issues | Current issues |
Downtown Eastside | Addiction and mental illness | Addiction and mental illness
The DTES population suffers very high rates of mental illness and addiction. In 2007, Vancouver Coastal Health estimated that 2,100 DTES residents "exhibit behaviour that is outside the norm" and require more support in the areas of health and addiction services. According to the Vancouver Police Department (VPD) in 2008, up to 500 of these individuals were "chronically mentally ill with disabling addictions, extreme behaviours, no permanent housing and regular police contact." As of 2009, the DTES was home to an estimated 1,800 to 3,600 individuals who were considered to be at "extremely high health risk" due to severe addiction or mental illness, equivalent to 60% of the population in this category for the 1 million people in the Vancouver Coastal Health region.
A 2013 study of SRO tenants in the greater DTES found that 95.2% had some form of substance dependence, and 74.4% had a mental illness, including 47.4% with psychosis. Only one-third of individuals with psychosis received treatment, and among those with concurrent addiction, the proportion receiving treatment was even lower. A 2016 study of the 323 most chronic offenders in the DTES found that 99% had at least one mental disorder, and more than 80% also had substance abuse issues. Between 60% and 70% of mentally ill patients treated at St. Paul's Hospital, the hospital closest to the DTES, are estimated to have multiple addictions. Possible explanations for the high level of co-occurrence between addiction and mental illness in the DTES include the vulnerability of the mentally ill to drug dealers and a recent rise in crystal methamphetamine use, which can cause permanent psychosis. |
Downtown Eastside | Substance use | Substance use
A 2010 BBC article described the DTES as "home to one of the worst drug problems in North America." In 2011, crack cocaine was the most commonly used illicit hard drug in Vancouver, followed by injected prescription opioids (such as fentanyl and OxyContin), heroin, crystal methamphetamine (usually injected rather than smoked), and cocaine (also usually injected). Alcoholism, especially when it involves the use of highly toxic isopropyl alcohol, is a significant source of harm to residents of the DTES.
In 2016, a board member of the Vancouver Area Network of Drug Users said that in the previous year, Vancouver's supply of heroin had virtually disappeared and been replaced by fentanyl, which is cheaper and more potent. At the end of 2014, the DTES saw a dramatic rise in fentanyl overdoses. In 2016 the surge in drug overdose deaths led to the declaration of a public health emergency across the province.
In a 2008 survey of SRO residents in the greater DTES, 32% self-reported as being addicted to drugs, 20% were addicted to alcohol, 52% smoked cigarettes regularly, and 51% smoked marijuana. In 2003, the DTES was home to an estimated 4,700 injection drug users. Most live in unstable housing or are homeless, and approximately 20% are sex workers. In 2006, DTES residents incurred half of the deaths from illegal drug overdoses in the entire province. Between 1996 and 2011, there have been large fluctuations in drug usage, with the most recent trend being an overall decline in illicit drug use between 2007 and 2011. However, between 2010 and 2014, hospitalizations related to addictions increased by 89% at St. Paul's Hospital.
According to a 2008 survey of greater DTES area SROs, tenants who used drugs estimated the cost of their habits at $30 per day, on average. Some spend hundreds of dollars per day on drugs. Police attribute much of the property crime in Vancouver to chronic repeat offenders who steal to support their drug habits. |
Downtown Eastside | Mental illness | Mental illness
The VPD reported in 2008 that in its district, which includes the Downtown Eastside, mental health was a factor in 42% of all incidents in which police were involved. The police department says its officers are often forced to act as front-line mental health workers due to lacking more appropriate support for this population.
In 2013, the city and police department reported that in the previous three years, there had been a 43% increase in people with severe mental illness or addiction in the emergency department of St. Paul's Hospital. In Vancouver, apprehensions under the Mental Health Act rose by 16% between 2010 and 2012, and there was also an increase in the number of violent incidents involving mentally ill people. Mayor Gregor Robertson described the mental health crisis as "on par with, if not more serious than" the DTES HIV / AIDS epidemic that had led to a declaration of a public health emergency in 1997. |
Downtown Eastside | Overdose crisis | Overdose crisis
Drug overdose deaths across the province of British Columbia increased from an annual average of 203 during the first decade of the 2000s to 2,574 in 2023. In 2023, the City of Vancouver accounted for 22% of the province's fatal overdoses, and in Vancouver, authorities have repeatedly acknowledged that the DTES struggles with especially acute problems of addiction and overdose deaths.
The introduction of the synthetic opioid fentanyl is a leading cause of the increase in overdose deaths. In 2012, there were 270 fatal overdoses in B.C. and fentanyl was associated with 4% of them. Five years later, in 2017, there were 1,495 fatal overdoses and fentanyl was associated with 82% of them. Since 2017, fentanyl has remained associated with more than 80% of fatal overdoses in BC.
Other factors contributing to a rise in overdose deaths often discussed by Vancouver media reports include a lack of mental health care services, Vancouver's disproportionately large homeless population, and the war on drugs and the iron law of prohibition, which states that when police enforce a drug's criminalization, they do not reduce the availability of the drug type, but rather, encourage the proliferation of a more potent formulation.
In a report presented to the City Council of Vancouver by Mayor Kennedy Stewart on 20 December 2018 regarding the opioid crisis, he stated:
thumb|An emergency opioid overdose kit, containing a single dose of naloxone, needle, and syringe. |
Downtown Eastside | Sex work | Sex work
Vancouver has an estimated 1,000 street-based sex workers. According to the police, most of them work in the DTES. They call the neighbourhood and contiguous industrial areas near Vancouver's port these "outdoor workers" (previously referred to using the more stigmatizing language including "low track" workers), where they typically earn $5 to $20 for a "date". Most are survival sex workers who use sex work to support their substance use; up to two-thirds say they have been physically or sexually assaulted while working. Sex workers, particularly women with children, find it difficult to find housing that they can afford, and often have difficulty leaving the industry because of criminal records or addictions that make it harder to find jobs.
Although Indigenous Canadians makeup only 2% of Vancouver's population, approximately 40% of Vancouver's street-based sex workers are Indigenous. In one 2005 study, 52% of the sex workers surveyed in Vancouver were Indigenous, 96% reported having been sexually abused in childhood, and 81% reported childhood physical abuse. Some researchers and Indigenous advocacy groups have attributed the over-representation of Indigenous people in Vancouver's sex trade to transgenerational trauma, linking it to Canada's colonial history and in particular, to the cultural and individual damage caused by the residential schools, which previous generations of indigenous Canadians were forced to attend. |
Downtown Eastside | Displacement | Displacement
After the displacements that occurred on Dupont and Davie Street, Vancouver's outdoor sex workers were pushed to the streets of the Downtown Eastside. Here they are facing more violence than ever before. Neighbourhood harassment, policing, and developmental changes contribute to these conditions. Throughout all of the areas where sex work has been present, the city has been critiqued for backing up property owners to harass workers collectively. In the Downtown Eastside, these behaviours have continued to persist. A study published in 2017 containing interviews with thirty-three sex workers addressed concerns with changes in construction, surveillance, and security measures that have pushed workers into isolated areas where they are at greater risk of harm. The growth of new businesses in the area has also required workers to develop good relations to prevent frequent police calls. These conditions have also forced workers to rush or forgo screening and negotiation processes that increase the risk of bad dates and STI contractions. This disproportionately impacted the safety of oppressed communities such as indigenous, substance-dependent and transgender workers who are often restricted to this area. Over the years, this has also contributed to the many missing and murdered Indigenous women and girls (MMIWG) cases, including those involved in the mass killings by serial killer Robert Pickton. |
Downtown Eastside | Crime and public disorder | Crime and public disorder
thumb|Peoples' Pigeon Park, near Hastings and Carrall Streets
Reported crime rates in the DTES are higher than in the rest of the city, with most crimes being assaults, robberies, or public intoxication. Although it is home to 3% of Vancouver's population, the DTES was the location of 16% of the city's reported sexual assaults in 2012. In 2008, it was the location of 34.5% of all reported serious assaults and 22.6% of all robberies in the city.
These figures may be an underestimate, as marginalized populations such as DTES residents tend to be less likely to report crime. Many residents are survivors of the Canadian Indian residential school system or experience transgenerational trauma as a result of Residential Schools, and are further traumatized by excessive policing.
The figures do not indicate how many of the reported crimes were committed by DTES residents; some residents and business owners believe that visitors from other neighbourhoods are responsible for a significant proportion of serious crimes. According to police, DTES women say that what they fear most are "predatory drug dealers who conduct their business with violence, torture, and terror."
In addition to reported crime, the DTES has the highly visible street disorder, which The New York Times described as "a shock even to someone familiar with the Lower East Side of Manhattan in the 1980s or the Tenderloin in San Francisco." Some government social workers have refused to enter certain SROs out of concern for their safety, despite being mandated to monitor children who live there. Tourists are often encouraged to avoid the DTES. However, they are seldom victims of crime. High crime rates and difficulties in obtaining affordable property insurance deter legitimate businesses from opening or staying in the area, resulting in many vacant storefronts. |
Downtown Eastside | Poverty | Poverty
thumb|right|250px|alt=refer to caption|The Hotel Empress at 235 East Hastings was built in 1912–1913. Like many SROs in the DTES, it was originally designed for tourists and business travellers and was converted to residential use in the 20th century.
The greater DTES area is significantly poorer than the rest of Vancouver, with a median income of $13,691 versus $47,229 for the city as a whole. 53% of the greater DTES population is low-income, compared to 13.6% of the population of Metro Vancouver. In the V6A postal area, whose boundaries are similar to the greater DTES area, 6,339 residents received some form of social assistance in 2013. Of these, 3,193 were considered disabled and 1,461 were considered "employable". The base welfare rate for single adults who are considered employable is $610 per month: $375 per month for shelter and $235 ($335 since July 2017) per month for all other expenses. Advocates for low-income DTES residents say this amount, which has not increased since 2007, is not enough to live on. In 1981, the base welfare rate was equivalent to $970 per month after adjustment for inflation.
Some DTES residents supplement their incomes through the informal economy, through volunteer work which can yield stipends, or through criminal activity or sex work. A 2008 survey of SRO residents found that the average tenant income from all sources, including the informal economy, was $1,109 per month.
In addition to addiction and mental illness issues, DTES residents often have difficulty finding employment due to mental and physical disabilities and a lack of education and skills. According to a 2009 survey of the 30 blocks in and around the DTES, 62% of the residents over the age of 15 were not considered participants in the labour force, compared to 33% in Vancouver as a whole.
The DTES is often referred to as "Canada's poorest postal code," although this is not the case. |
Downtown Eastside | Housing | Housing
Both homelessness and substandard housing are major issues in the DTES that compound the neighbourhood's problems with addiction and mental illness. In 2012, there were 846 homeless people in the greater DTES area, including 171 who were not in some form of shelter. The DTES homeless made up approximately half of the city's total homeless population, over a third of whom are Indigenous.
Thousands of DTES residents live in SROs, which provide low-cost rooms without private kitchens or bathrooms, Although conditions in SROs vary considerably, they have become notorious for their squalor and chaos. Many are over 100 years old and in extreme disrepair, with shortages of necessities such as heat and functioning plumbing. In 2007, it was reported that four out of five rooms had bed bugs, cockroaches, and fire code violations. Even at their best, the SROs lack living space, resulting in tenants spending more time in the public areas of the DTES, including its street-based drug scene.
SRO landlords have often been called "slumlords" for failing to fix problems and illegally evicting tenants. The city has often been slow to force SRO owners to make significant repairs, saying that owners could not afford to make them without raising rents and adversely affecting affordability. |
Downtown Eastside | Housing availability and affordability | Housing availability and affordability
The City refers to the housing and homelessness situation in the DTES as a "crisis". There is wide support amongst governments, experts, and community groups on a Housing First model, which prioritizes stable, quality housing as a precursor to other interventions for the homeless, those who use drugs, or those with mental illness. Many people with severe addiction or mental illness require supportive housing.
As the DTES has many low-income adults who live alone and are at risk of homelessness, trends in housing options for low-income adults are of central importance to the neighbourhood. Although SROs have well-known problems, each SRO resident who loses their room and ends up on the street costs the provincial government approximately $30,000 to $40,000 per year in additional services.
thumb|left|alt=Photograph of a protestor holding a sign saying, "HOMES NOT CAPITALISM"|A protestor's character during a march for housing
In recent years, the number of units designed for low-income singles has increased slightly: In the downtown area (Burrard Street to Clark Drive), there were 11,371 units in 1993 and 12,126 units in 2013. The number of privately owned SROs declined during this time by 3283 units, while the number of social housing units increased by 4038 units. In 2014, 300 privately owned SRO units were lost.
However, rents in many of those units have risen. Rents in social housing units for low-income singles are fixed at the shelter component of welfare rates, but rents in privately owned SROs can vary. In 2013, 24% of privately owned SROs rented at the base welfare shelter rate of $375 per month, down from 60% in 2007. According to one advocacy group, the average lowest rent in privately owned hotels in the greater DTES area was $517 per month in 2015, and no vacant rooms were rented at less than $425 per month.
The city has implemented a bylaw to discourage the redevelopment of SROs. Advocates for SRO tenants argue that the city's bylaw does not go far enough, as it does not prevent rent increases. The city says that only the province, not the city, has the jurisdiction to control rents and that the province should raise welfare rates.
Since 2007, the provincial government has acquired 23 privately owned SRO hotels in the greater DTES area, containing 1,500 units. It undertook extensive renovations in 13 buildings for $143.3 million, of which $29.1 the federal government paid million. Due to rising rents and often-decrepit conditions in the area's remaining 4,484 privately owned SROs, DTES activists have called for governments to replace them with a further 5,000 social housing units for low-income singles. |
Downtown Eastside | Health and well-being | Health and well-being
A 2013 study of SRO residents in the greater DTES area found that 18.4% were HIV positive and 70.3% were positive for hepatitis C. Few of those infected with hepatitis C receive treatment. The DTES population also has higher rates of tuberculosis and syphilis than the rest of the province, and injection drug users are susceptible to other infections such as endocarditis. Indigenous people are at the greatest risk from the disease.
Amongst the most vulnerable DTES residents, common issues with psychosocial well-being include low self-worth, lack of personal safety, lack of respect from others, social isolation, and low education levels. Many have lost custody of their children. A 2000 report from the Vancouver Native Health Society Medical Clinic said, "Many individuals are survivors of severe childhood trauma. Negative experiences such as family violence, parental substance abuse, sexual and emotional abuse, suicide, divorce, and residential school atrocities are the norm." Many DTES residents are too unstable to keep appointments or reliably take medication.
Life expectancy in the greater DTES area is 79.9 years, a significant improvement since the mid-1990s. Some of the increase may, however, be explained by the migration of healthier residents to the neighbourhoods surrounding the DTES. A 2015 study of DTES SRO residents found that they were eight times more likely to die than the national average, mostly due to psychosis and hepatitis C-related liver dysfunction. |
Downtown Eastside | Costs | Costs
thumb|right|alt=refer to caption|250px|The crowded sidewalk of Hastings Street, near Main Street
Several overlapping sets of data exist on costs related to the DTES:
DTES-specific costs: Of the estimated $360 million per year to operate 260 social services and housing sites in the greater DTES area, three-quarters of the spending is funded by governments, and the rest by private donors. This figure includes operating costs of a range of organizations, including neighbourhood health care services, but does not include standard city operations, the capital costs of building social housing or other infrastructure, or hospital costs.
Wider-area costs related to issues concentrated in the DTES: In the closest hospital to the DTES, Saint Paul's, injection drug use leads to approximately 15% of admissions. The annual cost of ambulances responding to overdoses in Vancouver is $500,000, and the cost of police response to calls involving mental health problems is estimated to be $9 million per year.
Costs per individual: For each untreated drug addict, the costs to society, including crime, judicial costs, and health care, are estimated to be at least $45,000 annually. The government-paid lifetime healthcare cost per HIV-infected injection drug user is estimated at $150,000. A 2008 study estimated that each homeless person in B.C. costs $55,000 per year in government-paid costs related to healthcare, corrections, and social services, whereas providing housing and support would cost $37,000 per year. Costs per individual vary widely: A 2016 study found that 107 chronic offenders in the DTES incur public service costs of $247,000 per person per year. |
Downtown Eastside | Law enforcement | Law enforcement
In comparison to other Canadian cities, the VPD is generally considered to be progressive in dealing with drugs and sex work, emphasizing harm reduction over law enforcement.
The VPD engages in the controversial practice known as "carding," or "street checks," in which police stop and question individuals whom they suspect of being involved in criminal or suspicious activity. In Vancouver, 15% of street checks are on Indigenous people, representing just 2% of the general population, and 5% of reviews are on Black people, representing less than 1%. Some civil rights groups believe the VPD's practices constitute racial profiling and result in excessive harassment and violence against Indigenous and Black residents.
Since the 1980s, the VPD has ignored drug use in the DTES, as the sheer volume of users makes it unfeasible to arrest all of them. A large-scale police crackdown on DTES drug users in 2003 made no difference except to displace drug use to adjacent neighbourhoods. To encourage people to call for help when a drug user is overdosing, paramedics rather than police respond to 911 calls about overdose deaths, except in cases where public safety is at risk.
Nationwide efforts to reduce the supply of drugs through law enforcement have had minimal impact on the easy availability or low prices of illicit drugs in Vancouver. By former mayor Mike Harcourt's estimate, police intercept only 2% of the drugs that enter the city. Vancouver police guidelines on dealing with sex workers emphasize focusing on addressing violence, human trafficking, and involvement of youth or gangs in prostitution, whereas sex involving consenting adults is not an enforcement priority.
Relations between police and DTES women were strained by police shortcomings that allowed serial killer Robert Pickton to prey on the community for years before he was arrested in 2002; the VPD apologized in 2010 for its failures in apprehending him. In 2003, the Pivot Legal Society filed 50 complaints from DTES residents alleging police misconduct. An investigation by the RCMP, in which several VPD officers and the police chief failed to co-operate, found that 14 of those allegations were substantiated. In 2007, Pivot agreed to withdraw its remaining complaints, following apologies and changes to VPD policies and procedures.
In 2008, the VPD implemented a crackdown on minor offences, such as illegal vending on sidewalks and jaywalking. The ticketing blitz was stopped after objections from community groups. Residents with unpaid tickets – particularly women and sex workers – would be less afraid to approach the police to report serious safety concerns.
In 2010, police launched an initiative to combat violence against DTES women that resulted in the convictions of several violent offenders. However, the level of trust toward police remains low. According to some DTES activists, "gentrification / condos and police brutality," rather than drugs, are the two worst problems in the neighbourhood. |
Downtown Eastside | Controversies | Controversies |
Downtown Eastside | Concentration of services controversy | Concentration of services controversy
The DTES is the site of many service offerings, including social housing, health care, free meals and clothing, harm reduction for people who use drugs, housing assistance, employment preparation, adult education, children's programs, emergency housing, arts and recreation, and legal advocacy. In 2014, the Vancouver Sun reported that there were 260 social services and housing sites in the greater DTES area, spending $360 million per year. No other Canadian city has concentrated services to this degree in one small area.
Proponents of the high level of services say that it is necessary to meet the complex needs of the DTES population. For some residents, the sense of community and acceptance that they find in the DTES makes it a unique place of healing for them.
Locating many services in the DTES has also been criticized for attracting vulnerable people to an area where drugs, crime, and disorder are entrenched. Some advocates for vulnerable populations believe that many DTES residents would have a better quality of life and improved chances of health if they could separate from the neighbourhood's predatory drug pushers and pimps.
During the city's 2014 planning process for the greater DTES, two-thirds of those who participated said they wanted to stay in the area. But a 2008 survey of SRO tenants had indicated that 70% wanted to leave the DTES. The city's 30-year plan is for two-thirds of the city's future social housing to be located in the greater DTES area. |
Downtown Eastside | Views on services in other neighbourhoods | Views on services in other neighbourhoods
Vancouver Coastal Health says that the lack of appropriate care for complex social and health issues outside of the DTES often does not allow people "the choice to remain in their home community where their natural support systems exist... A common barrier that prevents mentally ill and addicted people from living outside of the DTES is a lack of appropriate services and support. Too often, clients who secure housing outside the neighbourhood return to the DTES regularly because of the lack of support in other communities."
Proposals to add social housing and services for those with addiction or mental health issues to other Metro Vancouver neighbourhoods are often met with Nimbyism, even when residents selected for such projects would be low-risk individuals. A 2012 poll of Metro Vancouver residents found that although nine out of 10 of those surveyed wanted the homeless to have access to services they need, 54% believed that "housing in their community should be there for the people who can afford it." Some commentators have suggested that Vancouver residents tacitly agree to have the DTES act as a de facto ghetto for the most troubled individuals in the city. |
Downtown Eastside | Gentrification controversy | Gentrification controversy
The DTES lies a few blocks east of the city's most expensive commercial real estate. Since the mid-2000s, new development in the DTES has brought a mixture of market-rate housing (primarily condominiums), social housing, office spaces, restaurants, and shops. Property values in the DTES area increased by 303% between 2001 and 2013. Prices at the newer retail establishments are often far higher than low-income residents can afford.
The city promotes mixed-income housing, and requires new large housing developments in the DTES to set aside 20% of their units for social housing. As of 2014, in a section of Hastings Street from Carrall Street to Heatley Avenue, at least 60% of units must be dedicated to social housing and the rest must be rental units. Rents in at least one-third of new social housing units are not permitted to exceed the shelter component of welfare rates.
Proponents say that new developments revitalize the area, improve the quality of life, provide new social housing, and encourage a stronger retail environment and a stabilizing street presence. They emphasize that their goal is for the DTES to include a mixture of income levels and avoid the problems associated with concentrated poverty, not to become an expensive yuppie-oriented neighbourhood like nearby Yaletown.
Others oppose the addition of market housing and upscale businesses to the DTES, in the belief that these changes will drive up prices, displace low-income residents, and make poor people feel less at home. Protests against new businesses and housing developments have occasionally turned violent. |
Downtown Eastside | Strategies | Strategies |
Downtown Eastside | Housing strategies | Housing strategies
thumb|left|alt=refer to caption|The Ovaltine Cafe at 251 E. Hastings has served the neighbourhood since the 1940s. The upper portion of the building is an SRO hotel.
Although housing and homelessness are often perceived as municipal issues, social housing is traditionally funded primarily by senior levels of government, which receive 92% of tax revenue in Canada. Libby Davies, a former DTES activist and Member of Parliament, called for a National Housing Strategy in 2009, saying that Canada is the world's only industrialized country with no national housing plan.
In 2014, the City of Vancouver approved a 30-year plan for the greater DTES area. It sets out a goal of having 4,400 units of social housing added to the greater DTES area, 3,350 units of social housing added elsewhere in the city, and 1,900 units of new supportive housing scattered throughout the city. The cost of implementing the plan is estimated at $1 billion, of which $220-million would be paid by the city, $300-million by developers, and more than $500-million from the provincial or national governments. The provincial government, which recently invested $300 million in social housing in Vancouver, said it will not fund the proposed housing expansion and that its housing strategy had shifted towards other models such as rent assistance rather than construction. |
Downtown Eastside | Addiction and mental illness strategies | Addiction and mental illness strategies
In 2001, the city adopted a "Four Pillars" drug strategy consisting of four equally important "pillars": prevention, treatment, enforcement, and harm reduction. Advocates of the Four Pillars strategy say that the 36 recommendations associated with the policy have only been partially implemented, with prevention, treatment, and harm reduction all being underfunded. Across Canada, 94% of drug strategy dollars are spent on enforcement. The city's 2014 Local Area Plan for the DTES does not propose solutions to the neighbourhood's drug problems; an article in the National Post described it as a "221-page document that expertly skirted around any mention of the Downtown Eastside as a failed community in need of a drastic turnaround."
The VPD, B.C. Medical Association and the City of Vancouver have asked the province to urgently increase capacity for treating addiction and mental illness. In 2009, the BCMA asked that detoxification be available on demand, with no waiting period, by 2012. A 2016 study of youth who used illicit drugs in Vancouver indicated that 28% had tried unsuccessfully to access addiction treatment in the previous 6 months, with the lack of success primarily due to being placed on waiting lists.
After the city and police department described an emerging mental health crisis in Vancouver in 2013, the province implemented three of their five recommendations within a year, including new Assertive Community Treatment teams and a nine-bed urgent care facility at St. Paul's Hospital. In response to a recommendation that the province adds 300 new long-term health care beds for the most severely mentally ill, provincial Health Minister Terry Lake said that more research was needed to determine whether these beds were urgently needed. As of 2015, the province had opened or committed to only 50 new beds. |
Downtown Eastside | Co-ordination of services | Co-ordination of services
Although DTES residents often have a complex combination of needs, services are typically delivered from the perspective of a single discipline (such as police or medical) or a particular agency's mandate, with little communication between the service providers who are working with a given individual. Despite widespread agreement in principle that a coordinated approach is necessary to improve conditions for DTES residents, the three levels of government have not agreed on any overall long-term plan for the DTES, and there is no overall co-ordination of services for the area.
In 2009, the VPD proposed creating a steering committee of senior city and provincial stakeholders, which would be mandated to improve collaboration between service providers to enable a client-centric rather than a discipline-centric model. The report recommends prioritizing the needs of the most vulnerable individuals in the neighbourhood, saying that having them get the assistance they require is "a necessary condition for other neighbourhood improvement initiatives to succeed."
In 2020 during the COVID-19 pandemic, a Coordinated Community Response Network was formed to distribute funds, resources, and support in the neighbourhood. The network consists of a coordinated effort of over 50 social service and frontline organizations and groups. |
Downtown Eastside | Notable activists | Notable activists
Shirley Chan, a prominent community activist and co-founder of the Strathcona Property Owners and Tenants Association (SPOTA), has worked for decades to revitalize Chinatown and preserve historical sites in the neighbourhood from development.
Bruce Eriksen (1928–1997), founder of the Downtown Eastside Residents Association (DERA)
Bud Osborn (1947–2014) and Ann Livingston, co-founders of the Vancouver Area Network of Drug Users (VANDU) |
Downtown Eastside | Portrayals in media | Portrayals in media
Films set in the Downtown Eastside include On the Corner, The Ballad of Oppenheimer Park, and Luk'Luk'I. The Matthew Good album Vancouver was inspired by the Downtown Eastside. |
Downtown Eastside | References | References |
Downtown Eastside | Citations | Citations |
Downtown Eastside | Sources | Sources
|
Downtown Eastside | External links | External links
Map and Local Area Plan for the greater DTES – City of Vancouver
Through a Blue Lens, a documentary shot in the DTES that follows interactions between police officers and drug addicts
Category:History of Vancouver
Category:Neighbourhoods in Vancouver
Category:Poverty in Canada
Category:Drugs in Canada
Category:Homelessness in Canada
Category:Urban decay in Canada
Category:Skid rows
Category:Red-light districts in Canada
Category:Culture of Vancouver |
Downtown Eastside | Table of Content | Short description, Geography, History, 1980s, 1990s to present, Demographics, Migration patterns, Culture, Current issues, Addiction and mental illness, Substance use, Mental illness, Overdose crisis, Sex work, Displacement, Crime and public disorder, Poverty, Housing, Housing availability and affordability, Health and well-being, Costs, Law enforcement, Controversies, Concentration of services controversy, Views on services in other neighbourhoods, Gentrification controversy, Strategies, Housing strategies, Addiction and mental illness strategies, Co-ordination of services, Notable activists, Portrayals in media, References, Citations, Sources, External links |
Four Noes and One Without | Short description | The Four Noes and One Without (), also known as the Four Noes () was a pledge by former President of the Republic of China Chen Shui-bian made in his inauguration speech on 20 May 2000, concerning the political status of Taiwan. It was an important part of cross-straits relations.
The pledge was that, provided the People's Republic of China has no intention to use military force against Taiwan, Chen's administration would not:
declare Taiwanese independence,
change the national title from "the Republic of China" to "the Republic of Taiwan",
include the doctrine of special state-to-state relations in the Constitution of the Republic of China, or
promote a referendum on unification or independence.
In addition, the "One Without" was that Chen's administration would not abolish the National Unification Council (later abolished in 2006) or the National Unification Guidelines though during his administration the National Unification Council met only once. On February 27, 2006, the Council ceased to function in tandem with the elimination of its already meager budget. Chen said that his decision did not change the status quo in the Taiwan Strait, but instead returned sovereignty to the people of Taiwan.
The Four Noes and One Without were an important part of Republic of China-United States relations. Several times, Chen had to reassure the United States that the Four Noes and One Without policy had not been abolished and that he was not attempting to circumvent the pledge via any loopholes. The phrase that the United States used with regard to the policy of "Four Noes and One Without" was that the United States "appreciate[d] Chen's pledge and t[ook] it very seriously." |
Four Noes and One Without | Policy revision | Policy revision
On 27 February 2006, Chen dismantled the National Unification Council and Guidelines saying they "will cease functioning and the budget no longer be appropriated", effectively breaking the promises made in 2000 if 'cease functioning' is considered to be synonymous with 'abolishing'. However, as the People's Republic of China has threatened to use military force against Taiwan by passing the Anti-Secession Law in March 2005 and continuing the buildup of missiles opposite the Taiwan Strait, the no intent of aggression provision may have long been violated. It is noteworthy that the 2004 referendum called by President Chen Shui-bian held in tandem with the presidential election used the 'emergent threat' stipulation in Taiwan's Referendum Law, thereby implying the provision had already been breached by China's imminent threat and missile buildup. Nevertheless, this move drew sharp rebuke from the United States, with the State Department insisting that the Taiwanese government clarify that the National Unification Council has not been abolished. However, in a TV interview days later, Chen stated that 'ceasing to function' is the same as having been 'abolished'.
In the week prior, he told U.S. Congressman Rob Simmons (R-CT) that the Council and Guidelines were "absurd products of an absurd era." Chen revealed he planned to draft a new constitution, which many conjectured would be pro-separatist, before he stepped down in 2008.
The Four Noes and One Without policy was officially replaced by Four Wants and One Without policy in 2007, which is essentially the opposite of the original Four Noes and One Without policy.
When Tsai Ing-wen became president in 2016, she announced what has been called a New Four Noes policy: "our pledges will not change, and our goodwill will not change; but we will not bow to pressure, and we will of course not revert to the old path of confrontation". |
Four Noes and One Without | Criticism | Criticism
Koo Kwang-ming and other pro-independence leaders openly criticized that Chen, as president, is "not constitutionally authorized" and has "no legal power" to confine Taiwanese political future and freedom with the pledge. In addition, some of Chen's supporters such as Vice-president Annette Lu have suggested that the pledge may have loopholes such as the definition of military force. Furthermore, while the pledge stated that Chen would not support a referendum, some have suggested that it does not exclude the possibility of a referendum occurring by citizen initiative. The possibility of loopholes has occasionally led to considerable unease in Beijing and in Washington, D.C.
Under strong objection from pro-independence leaders and his supporters, who threatened to walk out the inauguration ceremony immediately once the pledge was recited, Chen did not explicitly repeat this pledge in his 2004 inauguration speech after his re-election though he alluded to the pledge by stating that the assurances he had given in the 2000 inaugural address remained in effect, and he has stated many times that the pledge remains in effect. |
Four Noes and One Without | See also | See also
Three Noes
One Country on Each Side
Politics of the Republic of China
Taiwan–United States relations
Special non-state-to-state relations |
Four Noes and One Without | References | References
Category:Politics of Taiwan
Category:Cross-strait relations
Category:2000 in Taiwan |
Four Noes and One Without | Table of Content | Short description, Policy revision, Criticism, See also, References |
Angelo Badalamenti | short description | Angelo Daniel Badalamenti (March 22, 1937 – December 11, 2022) was an American composer and arranger best known for his film music, notably the scores for his collaborations with director David Lynch, Blue Velvet (1986), Twin Peaks (1990–1991; 2017), Twin Peaks: Fire Walk with Me (1992), The Straight Story (1999), and Mulholland Drive (2001).
Badalamenti also composed scores for such films as National Lampoon's Christmas Vacation (1989), The City of Lost Children (1995), Holy Smoke! (1999), and A Very Long Engagement (2004), and recorded songs with artists including Julee Cruise (in collaboration with Lynch), Nina Simone, Shirley Bassey, Pet Shop Boys, Dusty Springfield, Marianne Faithfull, David Bowie, Tim Booth, Siouxsie Sioux and Dolores O'Riordan.
In 1990, Badalamenti won the Grammy Award for Best Pop Instrumental Performance for his "Twin Peaks Theme" at the 32nd Annual Grammy Awards. He received a lifetime achievement award from the World Soundtrack Awards's Academy in 2008 and the Henry Mancini Award from the American Society of Composers, Authors and Publishers in 2011. |
Angelo Badalamenti | Early life | Early life
Angelo Daniel Badalamenti was born on March 22, 1937, in the borough of Brooklyn in New York City, the second of four children born to Leonora () and John Badalamenti. His father, who was of Italian descent from the town of Cinisi, was a fish market owner. He began taking piano lessons at age eight. By the time Badalamenti was a teenager, his aptitude at the piano earned him a summer job accompanying singers at resorts in the Catskill Mountains. His elder brother was a jazz trumpet player who used to improvise with other musicians. He also went to Latin American dance clubs. Badalamenti attended Lafayette High School, where he wrote the processional march for his high school graduation. After graduating, he enrolled at the Eastman School of Music at the University of Rochester, but transferred after two years to the Manhattan School of Music, where he earned a bachelor's degree in 1958 and a master's degree in 1959. He began composing music pieces in Kurt Weill's style. |
Angelo Badalamenti | Film and television scoring | Film and television scoring
Badalamenti scored films such as Gordon's War and Law and Disorder, but his break came when he was hired as Isabella Rossellini's singing coach for the song "Blue Velvet" in David Lynch's 1986 film Blue Velvet. Badalamenti and Lynch collaborated to write "Mysteries of Love" using lyrics Lynch wrote. Julee Cruise, who went on to work with Lynch and Badalamenti on other projects, performed the vocals for that track. Badalamenti composed the film's score and served as music supervisor. Lynch's request to him was for the score to be "like Shostakovich, be very Russian, but make it the most beautiful thing but make it dark and a little bit scary." Badalamenti appears in Blue Velvet as the piano player in the club where Rossellini's character performs. This film was the first instance of a career-long collaborative relationship with Lynch spanning television and film. Badalamenti dubbed their partnership "my second-best marriage".
After scoring a variety of mainstream films, including A Nightmare on Elm Street 3: Dream Warriors and National Lampoon's Christmas Vacation, Badalamenti again collaborated with Lynch in scoring Lynch's television show Twin Peaks, featuring Cruise's vocals on the leading song "Falling". Twin Peaks became the score Badalamenti is perhaps best known for, one that helped define the show's style and mood. The score features different themes patterned after specific characters in the show—"Audrey's Dance", for example, is an "abstract jazzy" theme that plays when Audrey Horne (played by Sherilyn Fenn) is onscreen. Many of the songs from the series were released on Cruise's album Floating into the Night. Badalamenti won the Grammy Award for Best Pop Instrumental Performance for the "Twin Peaks Theme" from the Twin Peaks soundtrack. The song also earned a gold plaque from the RIAA. Between 1991 and 1993, Badalamenti and Lynch collaborated on the project Thought Gang, the results of which were released in 2018.
Other Lynch projects Badalamenti worked on include the movies Wild at Heart, Twin Peaks: Fire Walk with Me, Lost Highway, The Straight Story, Mulholland Drive (in which he has a small role as a gangster with a finicky taste for espresso), and Rabbits, and the television shows On the Air and Hotel Room. His projects with other directors include the TV film Witch Hunt and the films Naked in New York, The City of Lost Children, A Very Long Engagement, The Wicker Man, Dark Water, and Secretary. He also worked on the soundtrack for the video game Fahrenheit (known as Indigo Prophecy in North America), and wrote the music for Paul Schrader's films Auto Focus, The Comfort of Strangers, and Dominion: Prequel to the Exorcist.
In 1995, he asked Marianne Faithfull to write lyrics for a song for the soundtrack of Jean-Pierre Jeunet's The City of Lost Children; the result was "Who Will Take My Dreams Away"."Angelo Badalamenti – The City Of Lost Children (Original Motion Picture Soundtrack)". Label: EastWest – 0630 10251 2, EastWest – 0630-10251-2. CD. Europe. 1995. "Credits for Who Will Take My Dreams Away? Faithfull/Badalamenti. Vocals and Lyrics by Marianne Faithfull.
In 1998, Badalamenti recorded "A Foggy Day (in London Town)" with David Bowie for the Red Hot Organization's compilation album Red Hot + Rhapsody, a tribute to George Gershwin that raised money for various charities devoted to increasing AIDS awareness and fighting the disease. Badalamenti had sent a demo of the song with his own vocals to the record company and Bowie was the first singer to respond. In 1999, he worked with director Jane Campion on the film Holy Smoke!, writing the soundtrack after working with Campion for a few days.
In 2005, he composed the themes for the movie Napola (Before the Fall), which were then adapted for the score by Normand Corbeil. In 2008, he composed and directed the soundtrack of The Edge of Love: Siouxsie Sioux sang the Weill-influenced "Careless Love", and Patrick Wolf and Beth Rowley recorded vocals for several other tracks.
Badalamenti received the Lifetime Achievement Award at the World Soundtrack Awards on October 18, 2008, in Ghent, Belgium. That night, he performed a concert at the piano with the Brussels Philharmonic orchestra directed by Dirk Brossé, with Siouxsie Sioux and Beth Rowley on vocals. The concert, spanning his whole career with a selection of tracks, was broadcast on Belgian television.
On July 23, 2011, the American Society of Composers, Authors and Publishers gave Badalamenti the Henry Mancini Award for his accomplishments in film and television music.
The 2017 revival of the Twin Peaks television series marked the continuation of Badalamenti's work with Lynch. Its score features new compositions by Badalamenti as well as material from the original score. |
Angelo Badalamenti | Collaborations | Collaborations
From the start, Badalamenti collaborated with other songwriters. In 1964, he contributed to Beatlemania by arranging, conducting, and co-writing a Christmas novelty single, "Santa, Bring Me Ringo", which was performed by Christine Hunter. In 1966, he co-wrote a song, "Visa to the Stars", on Perrey and Kingsley's album The In Sound from Way Out! In 1967, using the name Andy Badale, he co-wrote a song, "Pioneers of the Stars", for Perrey and Kingsley's next album, Kaleidoscopic Vibrations: Electronic Pop Music From Way Out. The same year, he and Norm Simon co-wrote "I Want to Love You for What You Are", a No. 54 pop hit for Ronnie Dove. He also arranged, produced, and co-wrote some songs on Perrey's two solo albums for Vanguard Records using the Badale pseudonym.
Badalamenti also wrote songs for Nina Simone and Shirley Bassey. In 1967, he co-wrote the song "I Hold No Grudge" for Simone's album High Priestess of Soul. In 1968, he and Sammy Cahn wrote "I've Been Loved" for Bassey’s album This Is My Life."Shirley Bassey – This Is My Life (album)". Label: Sunset Records – SLS 50297. 1968. "Credits for "I've Been Loved". (Angelo Badalamenti / Sammy Cahn)".
In 1987, he lent his services to the British synth-pop duo Pet Shop Boys, orchestrating "It Couldn't Happen Here". He also arranged the strings on two tracks from their 1990 album Behaviour.
Badalamenti arranged songs for artists such as Dusty Springfield and Paul McCartney. In 1989 he arranged Springfield's single "Nothing Has Been Proved", which was written by the Pet Shop Boys."Dusty Springfield – "Nothing Has Been Proved". Label: Parlophone – 12R 6207. 1989. "Credits. Arranged By Conductor – Angelo Badalamenti".
Badalementi conceived entire albums with singers such as Julee Cruise, Marianne Faithfull and Tim Booth of the band James. In 1993, he and Lynch directed an album for Cruise, The Voice of Love, which included several tracks from Twin Peaks. Also in 1993, he collaborated with thrash metal band Anthrax on the Twin Peaks-inspired track "Black Lodge" from the album Sound of White Noise.
In 1995, Badalamenti composed, orchestrated, and produced Faithfull's album A Secret Life. In 1996, he teamed up with Tim Booth as Booth and the Bad Angel; they released their eponymous album on the Mercury label. In 2000, he worked with Orbital on the single "Beached" for the movie The Beach. In 2004, he composed the Evilenko soundtrack, working with Dolores O'Riordan, who sang the main theme and with whom he continued to collaborate. |
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