A Question! Would you prefer e-book or print book?

"Always for Judy" book update:  Rejoice in the Joy and Genius of Judy Garland! 

Judy so loved singing "Swanee"

A question!  Would you buy an e-book or print book?

Our Town Hall Book Publishing Group had a consultation recently with Joel Friedlander, an expert in the field of book design. Joel was amazing and managed to spot and give constructive criticism to our various projects—and they are varied!

In the case of some of these books, he wondered how they would be marketed, but he did not have any concerns about my Judy book. He thought it looked worthwhile and I should publish. Joel had an excellent eye and gave me some formatting suggestions, which I have implemented. He did feel I needed a good cover design—which I am researching now. I love this photograph-- 

From John Fricke's collection. Cover Page photo?

Do not know the source of this photograph

We discussed the merits of e-books as opposed to print books and Joel pointed out how quickly an e-book could get out to market. In addition, there were fewer expenses involved for everyone.   So my question for everyone is—what are your feelings about this subject. Would you buy an e-book?   

Happy Holidays to everyone!!  

The Judy connection and five plays in October

As I was lucky enough to see five plays last month, three of them in New York, I felt I should share these experiences. Theatre was always close to Judy’s heart, and not only musicals, she loved straight plays and was often seen at the National Theatre when she lived in London for six months in 1964.  

My daughter, Carolyn, is an Assistant Professor at Shenandoah University in the Drama Department and along with teaching drama, dance, movement, she directs two plays a year and of course I can’t miss them.

The first play we went to see was suburbia by Eric Bogosian and directed by colleague Jonathan Flom. This grim play concerned the activities of a group of young men outside a 7UP store owned by an East Indian. One of their own had obtained success in the rock music world and was coming back to visit.  The play had some earthy humor and probably not to everyone’s taste but I found it quite touching and sad.    

The second was Sweet Charity based on a play by Neil Simon music by Cy Coleman and lyrics by Dorothy Fields which Carolyn directed.  We viewed the movie with Shirley MacLaine and it appeared more light hearted and glamorous than the script.  But then I realized several other shows from that era were in this category.   I’d seen the movie version of Chicago and Cabaret before stage versions and observed how more gritty and dramatic the stage versions were.  I can only assume the movie producers try to produce something which will attract a wider audience.

Carolyn with Erin Long 

 

Upon my arrival I was taken to a rehearsal and the first person I met was Erin Long, assistant director.  Erin sings the “Judy” part in the classic Judy/Barbra duets “Happy Days are Here Again/Get Happy.”  We talk about when the girls will do this number again, perhaps at a Christmas concert.  Catharine Kay, who sings Barbra, has the role of Charity.  She told me how her admiration for Judy had led her to pursue a career in the theatre.

Carolyn, Catharine Kay and Dr. Albert

 

Several things were going on at the same time.  Alan, the choreographer, was giving direction to the dancers for Bob Fosse’s triple numbers at a night club.  He was a chubby little man in his forties wearing Krogs, but could move!  “How about this?”  or “Try this?”  he suggested, and moved this way and that, twisting his body and arms in strange positions.  The young people picked it up and made magic out of it.   

 

I watched Carolyn stage the poignant cry for help from three dancers in the number, “There’s Gotta Be Something Better Than This”.   A wistful song wishing their lives could different.  One wanted to be a receptionist or secretary, but she had no skills.  Another wished to be a hat check girl both of these professions were preferable to what they were doing, but they were not motivated to learn any new skills.  That is, all of them except Charity, who was determined to get out of this unpleasant life.

Rafael Martinez-Salgado

 

Other numbers which were rehearsed were “I Love to Cry at Weddings” with Rafael Martinez-Salgado, as Herman, leading the dancers and the rousing “The Rhythm of Life” set in a revival meeting.  

 The subject matter was difficult.  It was set in the 1960s and concerned a group of women working in a dance hall where they are obliged to dance with male customers for $6.50 a time.

(I never remember this type of dance hall in England during this time, but Rafael who played the part of Herman, manager of the dance hall, chatted to me at this rehearsal. He told me that his father when he first arrived from Puerto Rico had seen such dance halls.)   There is a dramatic number, “Big Spender” with a line of girls trying to get customers to choose them for a dance.  One remembers singer Shirley Bassey’s marvelous version of this but in reality it was not really a pleasant scene, a little sad.

 Dr. Albert, the musical director, told me that the music is jazz and challenging for the students to capture the difficult tempos.    

 

The play starts with Charity, a good- natured naïve young woman, being pushed into a lake in the New York Park by her boyfriend, who takes money from her bag.  This was difficult staging but they finally managed to get her into the orchestra pit – onto a mattress without hurting her.  One soaked shoe is enough to prove she is wet.   

Charity singing "If My Friends Could See Me Now"

She meets a nice new young man, but he drops her when he realizes what she does for a living.  Again, in the park, she gets pushed into the lake.  Really not a happy ending!  Carolyn had to find some way to end the play without it being depressing.  Charity scrambles out of the lake, makes the wry comment to the audience, “Have you ever had one of those days?”  Never mind, she is a positive young lady; she has some money and her engagement ring.  She tosses her head and cheerfully goes down into the audience and out of the theatre into a new life.  The show is a success.  The “Big Spender” number, which has girls of different shapes and sizes, is dramatic and dynamic.  The three Bob Fosse dances in the night club are magnificent, the kids work very hard and one could scarcely recognize them from the first rehearsal.  I always enjoy watching a production come to life.       

I took the opportunity while over on the East Coast to visit some of my Judy Friends, talk about my book on Judy, and see a couple of shows.   I managed to see three shows, a jazz club and Metropolitan Museum of Art in three days and get some inspiration for the book! 

While on route to New York by train, two of my young friends were lining up at a discount booth for tickets for Once.  They were unsuccessful and dejected and cold.  We decided to go to dinner and catch up on our lives. I’d been texting my son about Jazz Clubs and he insisted we had to go Smalls down in the village.   Blue Note and Birdland were too commercial he decided.  We both checked on who was playing that evening: The Luis Perdoma Group with Mark Shim on tenor sax.  “Oh I saw him out here you must not miss him,” son insists. We met at the girls’ favorite Thai restaurant and caught up on our lives.  A taxi down to the jazz club; I love NY taxi drivers; they come from all over the world.  Smalls was delicious – an absolute hole in the wall just the way a jazz club should be. Mark Shim, who was born in Jamaica, brought up on Canada, lives in New York now, of course, was marvelous. 

 

with Mark Shim

 

Another friend is a drama critic and she invited me to the matinee preview of Cyrano De Bergerac the next.   But what should I see the next evening?  I had already bought a ticket for Chaplin for the Thursday evening.   Two of my friends had seen Edward Albee’s Who’s Afraid of Virginia Woolf? and loved it so much they wanted to see again.  So I bought a ticket.

 

The Roundabout Theatre is a charming small theatre and I remember see the Natasha Richardson there at the beginning of her career.  I knew nothing about the production, although I had seen the movie with José Ferrer in title role.  British actor-four-time Olivier-nominated actor/director- Douglas Hodge (Cyrano) burst into the theatre, literally from the audience entrance and charged up the aisle challenging those on the stage.  The French leading lady, Clémence Poésy as Roxane has appeared in many movies and BBC programs.  Patrick Page and Kyle Soller were both British actors, also the director Jamie Lloyd.  I thought I was back at the National Theatre in London.  I was in heaven listening to all these English voices.  The audience seem to enjoy the play, particularly the excellently staged sword fights and bakery scene.  

 

Later that day I found myself at the Booth Theatre and wondered if I would enjoy this play, remembering the violence of Elizabeth Taylor/Richard Burton in the movie.   This was a Chicago Steppenwolf Theatre Company’s production of the play starring Tracy Letts and Amy Morton.  Both of these actors were unknown to me but well-known by the audience as they received applause entering the set.  The set- how magnificent it was- particularly to someone who is an academic and writer; there were books everywhere!   I wanted to go up onto the stage and happily live there forever. 

 

It was funny, I could not believe it.   In the first interval I texted my daughter!!  She insisted I should wait till the second act.  The dialogue was marvelous of course and I suppose it is how the lines are delivered.  Both of the lead actors had appeared against each other as marriage couples several times and knew just how far they could damage each other.  Two other young actors were a part of the ensemble and it was like watching a fast doubles game in tennis.

 

The Metropolitan Museum the next morning and lunch with another Judy friend and we spent the afternoon chatting.       

 

I was slight disappointed about not seeing a musical, but Chaplin made everything all right.  This production had come from the San Diego and Rob McClure had received good reviews but some of the other reviews were mixed.   I was curious what with my British background and love of vaudeville; I felt I had to see it.   Rob McClure was excellent as the little entertainer, who started his life, filling in for his ailing mother in the East End of London.  The play traced Chaplin’s career in America and his battles with Hedda Hopper and investigations by the FBI for supporting the Russian war effort.  There were charming music numbers and the international audience applauded at the beginning and all through the show. 

 

I wonder in a few years’ time which one of these shows will stand out in my memory and how I wished I could have attended some of the rehearsals!    

 

Postscript

 

My daughter, Carolyn Coulson-Grigsby and colleague Jonathan Flom went out this week in the snow storm yet (!) to the Greater Hartford Academy in Connecticut to give an auditioning workshop.  This is where John Fricke helped Eric Larivee put on a show emphasizing Judy’s career in September.  Flom commented about the incredible students and what an amazing job Eric Larivee is doing.  So the Judy connection continues.    

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Judy and the musicians in her life

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Judy Garland had a long relationship with musicians; her parents were both musical and performers. Her mother taught her to sing and was her accompanist from the age of two years old.  Music and singing with her accompanist were nearly her whole life. When she signed a contract with MGM at the age of thirteen Roger Edens took over from her mother and helped to define her style, as would Kay Thompson later in her career at MGM.  She worked with all the great orchestras and conductors at MGM, radio and recording studios during the years, including Aexl Stordahl and Lennie Hayton and her husband David Rose.  Not to forget Artie Shaw and Oscar Levant.

Roger Edens

Judy formed great friendships with all the composers of the day, Cole Porter, the Gershwins, Richard Rodgers, Oscar Hammerstein, (in fact she changed her show at the Palladium August 28) when she learned of the death of Hammerstein to include “When you walk through a storm”).  She had a special relationship with E.Y. Harburg and Harold Arlen, who wrote the lyrics of “Somewhere over the Rainbow.”  Johnny Mercer carried a torch for her for years.  Irving Berlin was delighted that she would sing his songs in Easter Parade and was disappointed when she was not able to complete Annie Get Your Gun.

 When Judy signed with Capital Records Sinatra recommended Nelson Riddle and they produced the wonderful “Judy” LP album.  Riddle worked with her on many of her concerts.

   

 Gordon Jenkins who worked with her on the “Alone” LP came with her to London in 1957 and I watched him love and admire her at the Dominion during the four and ½ week run.  Jenkins wrote in The Melody Maker “the talent of Judy Garland could never be learned, and her electric crescendos are far beyond the scope of any mortal teacher …I believe that people cry at Judy for the same reason that they do at sunsets, or symphonies, or cathedrals; when one is confronted with overwhelming greatness, it is impossible not to be touched.”  He also said, “With Judy. She’d do something different all the time, and I always felt she got better with every performance.  She was a joy to work with, because she had exceptional timing.  If you looked out the window, you’d be lost.” 

Gordon Jenkins at Press Reception in London 1957

Gordon with Judy at recording studio

  Later I would see Mort Lindsey with her, again at the Palladium, during the filming of “Hello Bluebird” in the movie, I Could Go on Singing, for I was lucky enough to be among the extras in the audience that day.

filming I Could go on Singing at the Palladium - I am in balcony

I Could Go on Singing Mort Lindsey

I was also present, as a guest of Judy, at one of the recording sessions in London in 1960 and watched Judy interact with the conductor, Norrie Paramor, and orchestra.  There was no diva there; it was a collaboration of artists working together to produce a piece of art.  Judy guided the orchestra, encouraging them to get the effect she needed.  She recorded "I Happen to Like New York," "You’ll never Walk Alone," "Swanee" and "Why was I Born?”    She would record one song and then we would go into the sound proof room to listen to playback.     She guided the chorus and orchestra on how fast the tempo should be - the rhythm, pitch and volume.  She was always very sweet, charming and funny; she also knew what was going on at every moment.  She would sing over some of the lines for the chorus, conducting and leading, and wishing them to be perfect. "Could you sing a little louder there?" she inquired at one point to the chorus.  “You have to sound like twenty-eight” and laughed with them. 
         

Norrie Paramor

Saul Chaplin July 1962
"I could go on Singing"

Mort Lindsey was the first conductor on her first US concert after she returned from England and she was so pleased with him that she wanted him with her for all concerts including the famed Carnegie Hall event.  

Mort was a great musician, not only was he classically trained, having a BA and Masters from Colombia (and later a doctorate in Music Education in 1974) but at his core he was a jazz musician – says son Trevor – “he understood the mechanics of music from schooling, but he was still able to improvise freely on the piano.”  This, along with his charm and sensitivity made him the perfect person to accompany Judy.   

I was at many of the early shows at CBS of her television series and although one didn’t see Mort then, the orchestra was behind the scenes, one knew he was there.  Later we were able to see him interact with Judy in her concert type shows. 

When the series ended Mort and his wife went to Australia with Judy.  I am guessing key orchestra players went too.  Sydney gave Judy a great enormous orchestra to handle the big Sport Arena holding 10,000 people and in a couple of days Mort had them in magnificent shape and I encourage everyone to try and obtain a copy of this recording.  We can hear what Mort did for Judy.  One can hear their relationship – Judy would be messing around with microphone or spilling water chatting to the audience and suddenly her voice would change and in a firm tone she would says something like, “Let’s Go” and that was his clue that she was ready to sing again. They were perfectly in tune.

He told Larry King that working with Judy was one of the highlights of his career.  He  said, “Every time she sang, I got goose bumps…my back was too her to.” 

   

   

Judy's Sydney concert

I needed a break from formatting this book of mine and as I have written about Sydney and Judy before, thought I would comment on the recording that I had been sent by one of my Judy friends of her concert on May 16, 1964.  It was so exciting for me to hear a new concert-new because I had not heard it before.  Think this must have been the last really great concert the likes of Palladium (1960) and Carnegie Hall (1961) because soon after this concert Judy was ill in Hong Kong and damage was done to her throat.

If any of the young fans want to understand Judy’s relationship with her audience, this recording captures it. I’ve tried to include as many of Judy’s comments as I can decipher. The comments about the songs are fragmented but all the fans know the words.     

‘Clang, Clang, Clang…’ and we are into the familiar overture.   Dear Mort (Lindsey) conducting a wondrous, enormous orchestra. Sydney spared no effort to give Judy what she needed.  People react to all the well-loved songs – you KNOW this is going to be a great night!  The crowd (10,000 of them) cheered and cheered even before she came out.

But here she is, thanking everyone – a comment “Alright Mort” and goes into ‘When You’re Smiling’ (great cheers from the audience) great emphases on ‘stout’ and ‘pout’ and ‘heaven sake keep a calm demeanor – when you’re right up here in the middle of a Wrestling Arena’.

We can tell Judy is feeling great and in a very happy mood. Some business with tangled mike wires, there often is!  “Now Next” she says firmly and goes into ‘Almost like Being in Love.’  ‘But this can’t be love’ (more applause)…she takes a big breath and finishes ‘FROM THE WAY THAT I FEEL WHEN THAT BELL STARTS TO PEEL, I COULD TELL I WAS FALLING, IT’S ALMOST LIKE BEING IN LOVE.  ALMOST LIKE BEING IN LOVE…’

A very sweet ‘Do it Again’ the crowd reacts, they obviously have listened to the Carnegie Hall LP  many times.

Judy talks about the early days of movies and how important music was, even before the talkies, and how all the great composers came out to Hollywood (wherever that is?)--Cole Porter, Irving Berlin and George Gershwin. Said she was lucky enough to sing some of these songs in her movies. Then went into the melody starting with ‘You Made me Love you’ (great response from the crowd), ‘For Me and My Gal’ – “sing it with me” she says and they do, never heard an audience do so with such enthusiasm. ‘Clang, Clang, Clang…’ (they are out of their minds!).

Judy says, “Don’t know if any of you saw The Pirate?” (They did) chats with audience.  Judy thinks someone is the publicity agent for the Beatles!  And goes into ‘Love of my Life’

A trumpet wails (and the crowd knows from the first note that it is) ‘The Man that got away.’

Time for a chat, maybe Judy is talking about it being warm because she takes off her jacket and say, “Now We Can Go”  ‘I never will forget Jeannette McDonald’…..cheers…the song about my home town ‘San Francisco’  Then it is time for a break.

After Intermission Judy starts with ‘That’s Entertainment’ which she often did.  A stop half way and it sounded as if some water had been spelt,  “Somebody come up…”  fits of giggles…”Oh Boy I don’t know what the hell we were doing.  I think we should forget that….” But Mort starts again and she finishes ‘That’s Entertainment’ changing many of the words.  

Now it is old home week and a free for all.   “We can sing anything we want” Judy says.   People call out different songs but mostly ‘Swanee’ so Judy says “Let’s do it….they (orchestra) have to switch charts” “If I forget the words just throw things at me” she says as she goes into ‘Swanee’   How she loves ‘Swanee’ they cheer nearly all the way through the number. 

Crowd calls out “sing anything”….”I know that!” she retorts.  Tells them she got paid during the intermission and was happy and so the next song was ‘Make Someone Happy’ and then ‘Just in Time’ A discussion about the play ‘Oliver’ and she sing her song from ‘Oliver’ ‘As long as he needs me’  ‘By myself’ ‘Rockabye.’  More discussion about what she would sing, they or Judy decided to sing ‘Chicago’ and she ended with ‘Rainbow’

Judy had many joyous nights with her fans and this one must certainly be up there with the tops.  Thank you Sydney for loving her so well…

Anne Hathaway, "Get Happy" and other travesties

Dominion October 1957

Oh dear, someone, who is not qualified, is intending to tell the Judy Garland story again.  Now MORE people will come up to me and say “I have just seen...so and so-- and did you know…. so and so about Judy?”  I will want to KILLL but I will smile sweetly and reply and tell them that I knew Judy and she was not like that at all   They will look at me with pity, because after all who am I, and believe what they read in a half baked book, article or play. 

Hathaway seems a nice enough young woman who seems to admire Judy but I would have preferred an actor of the caliber of  Stockard Channing to portray Judy – alas too late now.   And there is the height difference!  Judy was petite, only 4’11.1/2” and this is an important aspect of who she was and how she dealt with life.  How does a beautiful willowy gal, who would be more suited to portray Ave Gardner or Rita Hayworth, transform herself into Mr. Mayer’s little hunchback? 

Apparently this movie is to be based on the book of Gerald Clarke.  I had great hopes when I learned of Mr. Clarke’s book because I knew he had been in contact with Sonny Gallagher, a long time fan, writer and collector of Judy material and I’d hope some of the truth of Judy’s life would emerge but that was not to be.   I suppose this is the type of book that sells.  How sad.

Now to the play which is currently on Broadway (the title of which I refuse to remember).  I was in England at the time of the previews and invited to see the play, but declined.  I had seen Judy perform and knew her. 

Mr. Quilter, the author of unnamed play, tells that he got the idea for the story while watching a cruise singer reluctant to perform – well why didn’t he complete the play with this cruise singer?  Why transfer the idea to the life of Judy Garland?   I can only imagine the horror to Judy’s children with all this talk about their mother.  They knew what a loving woman she was.   

My concern is for the young fans who are discovering her.  Instead of enjoying her movies, recordings, they will see a distorted image of her.   Those who write these plays, movies etc. do not consult with people who actually knew Judy; as Meredith, Eleanor and The Bench Wenches, Lorna Smith  – not to forget the many fans who were lucky enough to spend time with her after a concert.

When Lorna Smith, who accompanied Judy and Mickey Deans from the Ritz Hotel to Talk of the Town every night for five weeks acting as her dresser, tried to explain to Mr. Quilter some of the inaccuracies, they were not interested in anything she had to say.  They had a vehicle which was going to make them money, correct or not.  Judy was always aware of those who made money out of her, and she must be watching wryly.   The most stress before leaving the Ritz was Lorna running around looking for Judy’s reading glasses – as documented in her book, “Judy with Love.”

When I hear that “Come Rain or Come Shine” is one of the focal points of the play, I want to cry.  I saw Judy perform this many times and one night I was lucky enough to be in front row at the Dominion 1957, right at her feet!   I have written about this occasion as being one of the high lights of my many theatrical experiences and to have it shown in a hysterical manner is so unjust.  Judy knew exactly what she was doing on stage, she would chuckle at the end and say simply “Gosh that was a loud one, let’s do a quieter one next”.

But I must not finish on a down note.  Judy would not want that.  I have visions of Eleanor and I picketing the theater and me throwing white wash and getting arrested.   Judy would see the funny side of that and have a good laugh. 

Judy Garland and the great city of Sydney, Australia

Australia’s first and largest city is Sydney established in 1788. One can tell a great city by its buildings, museums and infrastructure and Sydney fulfills all these expectations.  When I was about eight years old in England, I spent a year in a geography class studying Australia and I remember at the end of the year I could draw the outline of the coast freehand.   In the 1970s my daughter spent her year at an English school on the geography of New Zealand.  I wonder if these studies continue at this time.  Certainly the young people in England are still fascinated with these countries “down under” and many of my friends and relatives have young relatives immigrating and starting new lives there. 

In February this year I spent five days in Sydney, Australia.  I had always wanted to visit this city after Judy’s successful concerts in 1964.

The following is an extract from my book “Always for Judy”

Judy at press reception

Judy’s television series had ended and she planned shows in Australia.   On May 11 1964 Judy and Mark Herron, her companion, arrived in Sydney along with conductor, Mort Lindsey and others. There was a large press reception at the airport and Judy seemed relaxed and happy.  In the evening she gave a press reception at the Hilton Hotel for about forty reporters, including interviews for radio and television.  

On Wednesday, May 13^th she gave a successful concert for 10,000 people at the Sydney Stadium and on May 16^th she gave an even more successful concert;  performing for more than 90 minutes singing about 23-24 songs including ‘The Man That Got Away’, ‘Swanee’, ‘When You’re Smiling’ and ‘As Long as He Needs Me’.

Performing before 10,000 people at Sports Arena

It is reported that the Immigration people confiscated Judy’s medicine.  Medicine stays in the body for a few days and Judy was fine during the Sydney concerts but she had not been able to obtain her regular medicine, probably Ritalin, in Australia.  Judy went by train to Melbourne on May 19^th which was probably a mistake and she arrived exhausted.  She attempted to give a concert the next day but it was not a success because she was unwell although she managed to get through fifteen songs.

The Melbourne Sunday Herald reported on May 20, 1964 how kindly the staff at the hotel thought of her, so the trip to Melbourne was not all bad.  They presented her with a toy koala bear and card from maids to manager, saying, “A very small Australian mascot, but a lot of good wishes.” They found her quiet, polite and agreeable and when she left she told assistant supervisor, Mr. Clarry Crew, “I really appreciate what everyone has done for me.  I think you’ve all been wonderful.  I’ve never had service like it anywhere in the world.”  These comments are important because they show how charming Judy was when she was treated with kindness.

As I lived and worked in many of the places where Judy performed, I needed to be in Sydney and understand the city and people who gave her such a great welcome.  I know you cannot understand a people until you are actually on the ground in their city.   So finally I was in Australia with Cathy and Chelsea.   Immigration and the officials are smiling and friendly.   We must seem an unlikely trio.  Cathy and Chelsea have passports from New Zealand, I have a U.S. passport but I am obviously English.  Cathy and I have the same coloring and could be related, but Chelsea is exotic with dark, dark hair and a very pale complexion.  Somehow we don’t have the correct entry forms and rush to try and fill them in standing in front of the Immigration Officer.  Now I have gone through many Immigration check points and the officials are usually very formal and impersonal.  This man was very tolerant of our confusion and it was as much as he could do not to laugh out loud.   

In the fifties about 90% of the population were from Britain and Ireland – the rest being the first immigrants, the Aborigines.   After this time the government made a concerted effort to increase immigration and many people came from Eastern Europe and Asia.  But when Judy performed in Sydney the majority of the people would have been British.  These were the same people who had greeted her in London in 1951, 1957 and 1960; the same people who had loved her in the MGM musical and listened to her recordings through the years.   No wonder her concerts were so successful.

But then there is Melbourne.  There has always been animosity between the two cities, particularly on the part of Melbourne.  I caught an example of this attitude at Sydney airport on my way home.  I was waiting with a lady who had flown up from Melbourne and when I asked about her town, she said, “Oh I love it, so such a beautiful civilized city so cultured, not like Sydney” which she dismissed as being rough and uncouth.  This might help to explain why the people of Melbourne did not welcome her with open arms the way Sydney did.  If Sydney liked her, they would not.   But the main entry point into Australia was Sydney in 1964, as it is now and so it was logical for the first concerts to be there.   We spent the next few days exploring the exciting city with a bus and ferry pass from our hotel at Potts Point and Kings Cross Station (all stations, trains and buses are clean and well run).  

My first impression as we leave Kings Cross Station is that it reminded me of New York with beautiful trees everywhere; later I revise this to San Francisco when I see all the many beautiful bays.  

  

We have a nice clean room with two double beds and a small kitchen stocked with tea, coffee and milk.  We quickly take off with our bus pass to explore.  The 311 bus goes past our hotel and we catch a bus; where to, who knows?    Chelsea has eagle eyes and spies the Circular Quay and we get off and catch the first ferry we see, which is going to Darling Harbor. 

I am sure that if we had been on an organized tour we would have been brought to the highlights of the city quicker, but I wanted to savor the place and try to understand the people.  Our bus rides in the next few days took us all over the city, through the beautiful Royal Botanic Gardens once or twice a day.  We rode the ferry boats and talked to people; or at least I did.   Towards the end of our few days, when I had asked an old lady about the walker she used and tried it out, Chelsea commented, “you really do like to talk to people!”   People interest me and so no one is a stranger; one can learn so much from people.  One such woman talked to me for half an hour on a bus one day and I learned so much about the city.  She came from Chile and was half Spanish and half Irish; with no Indian blood she insisted with a smile.

Another day we make our way by bus to Haymarket as Chelsea wants to shop - well me too, I can always shop.  We plan to meet in 90 minutes.  I find a backpack on wheels to replace my old one - determined to travel with only this bag in the future.  At the end of 90 minutes I am completely lost and realize there are several entrances to this market and I have no idea which was our entrance.   Luckily, I had taken some photographs on the way down and someone identified our entrance.  Chelsea has bought some food.  Cathy wanted to find her nursing friend who she had not seen for twenty years, but remembers that she has a dress shop on Williams Street the Paddington area.  This is a very old area of the original city and at one time was depressed but recently has become very fashionable with haute couture dress shops.  I insist that we take a taxi because to navigate the city of Sydney as inexperienced as we are will take too long.   I’m glad because I always like talking to taxi drivers.  Sydney taxi drivers, as rather like London taxi drivers, have to be natives to navigate the haphazard streets, which go off at peculiar angles with no rhyme or reason and obviously no overall plan.   I commented on this and the taxi driver explains that we are following the paths of the old carriage roads when travel was by horse and buggies (the new immigrants are bus drivers).    He tells me that the trees were planted 2000 for the Olympic Games.  The trees are beautiful and line every main street and many side streets consequently there is shade everywhere and one can walk without sunglasses.  The taxi driver finds Williams Road and puts us down literally outside the shop of Cathy’s friend.  There is a joyful reunion with Ruth we arrange to meet the next evening.  Ruth had given up nursing a few years ago and took a clothing design course and obtained a four year degree.  She was in the haute couture business which meant she designed and hand made clothes for special customers; many of her dresses costing over $3,000 each.   This was a world I was unfamiliar with.    

  

We walk up to the high street and see a bus to Watson Bay.   “Let’s go to the beach,” I suggest. 

 It is a lovely long ride through so many different neighborhoods.  We find ourselves at this pleasant area over looking a beach and small harbor.   We find an ice cream shop and talk to a couple from England visiting their children.  The place is full of grandparents visiting their children.  We find there is a ferry boat going back to the Circular Quay.  As always Chelsea is the leader.  At some point I turn to Cathy and say, “When was this child born? “   “August” she says.  Of course, she is a Leo, I should have known.  Leos are born leaders.  We eat at the Circular Quay.  I find a large sausage roll for $4 which is a complete meal in itself. 

There is a Picasso exhibition at the Art Gallery of New South Wales and of course we go.   It takes a big city with fore thought to bring such an exhibition from the Musee National Picasso, Paris.  The exhibition runs from November to the following March. 

Chelsea leads the way again from the bus and we walk near the beautiful Cathedral which we have passed so many times, and up the tree lined pathway to the Museum.  The exhibition is excellent and we have lunch in the museum cafe.

We find our way by bus back to Williams Street in charming Paddington, which so reminds me of New Orleans with its balconies. 

I meet two delightful Greek ladies who have been in Australia for over forty years.   One of them has a junk store set amongst the other fancy shops.  

When Ruth is finished with a client, because her customers are clients, we go down to a local pub and Chelsea and I enjoy listening to these two nurses reminisce about their training days.  They had both worked with elderly patients and very strangely Ruth turned to me at one point and started telling me this story about a patient on Ritalin. (She knew nothing about my interest in Judy and her drug problems). She told me that this poor lady had locked her medicine up for protection.  She lost the key and could not get into the box.  In her desperation for the drug she went completely mad and set herself on fire.  Ruth said it was ghastly and she considered Ritalin the most additive and most awful drug on the market.  I thought of Judy.

On our final day we take off for Taronga Zoo which is situated on 74 acres and one gets to it by ferry boat.  Most of the animals are in enclosures surrounded by moats with plenty of room to roam about in natural surroundings.  I was particularly impressed with the chimpanzees’ enclosure and I am sure Jane Goodall would love it. 

The ferry boat lands us back at Circular Quay and we are loathed to leave.  I find a sausage roll to eat again and we enjoy the atmosphere.  Cathy and Chelsea walk down to The Rocks where they can see the original houses of first settlers.  I sit and talk with a lady who lives inland and was just finishing a cruise, learning much more about life in Sydney and Australia.  We wander over to the other side of the Quay and Chelsea and Cathy talk with a Silver Man while I walk down the shops looking for some Wiggles toys for my grandson.  Instead of Wiggles I find a shop selling opals and of course I am in Australia and I must buy a necklace for myself.  I am so charmed by this city that I think I will frame a map so I can plan my next visit.