Dr. Goh Keng Swee: 1918 - 2010. The Complete Man And His Love For Music - 91 Years Young

Friday, May 14, 2010

Dr. Goh Keng Swee passed away on Friday, 14th May, 2010:

"'With very innovative ideas. I mean, could you imagine a Scottish Bagpipe Band in Singapore - with all Singapore girls?' President SR Nathan (Chapter 9, page: 171)." When so much has been written about him, how does one pay tribute to one of the main pillars of modern Singapore? And how does one pay tribute to a great man on an insignificant Singapore 60s music blog? I shall try.

Dr. Goh Keng Swee has passed on at 91 years young. When I was reading the book about him (image) by daughter-in-law Tan Siok Sun, I found insights on his love for both popular and classical music. Chapters 2 and 9 are entitled: 'Love in a Time of War' (halcyon days) and 'The Complete Man' (let music be the food of love).

"When he was not in school attending lectures and tutorials, or writing essays, he was out attending social functions or visiting the cinema with his male and female friends. He even took an interest in ballroom dancing, spending quite a bit of time patronising the dance halls at the New World and Great World cabarets with his favourite partners. Still GKS (Dr. Goh) was not as light of foot on the dance floor... (page: 35)." I am certain he enjoyed 40, 50s and 60s dance music and the big band sound because that's what they played at these cabarets.

Dr. Goh grew up in a musical environment and as his elder sister Ida Goh (my former school principal) played the piano, he had tried to play the accordion. "Though he enjoyed popular music of his time, his interest in classical music endured throughout his life... (page: 178)." And when he travelled on official business to cities renowned for their great orchestras, Dr. Goh would "invariably ask to attend a concert" as he, "enjoyed these diverting interludes very much. (page: 178)."

In fact, Dr. Goh encouraged the establishment of a small symphony orchestra, "not merely to entertain converted music lovers but to educate Singaporeans in good musical taste..." a special effort to be "directed towards more promising materials such as school children... ( page: 179)." And as Dr. Goh envisaged, The Singapore Symphonia Orchestra Company was formed in 1978 and its first concert was on January 24th, 1979 at the Singapore Conference Hall.

There was also the Music and Drama Company which he initiated at the Singapore Armed Forces and the setting up of a theatre for Cantonese Opera at his Kreta Ayer constituency in 1969 (page: 177). They were blueprints in his mind but he made them a reality. And, as he said himself, he wasn't a dreamer but a visionary.

Well, I stayed on the music theme and had quotes about a fabulous founding father. I try... Comments?

Image: Book cover from amazon.com

Extracts from: "Goh Keng Swee - A Portrait" by Tan Siok Sun. Editions Didier Millet/SNP Security Printing Pte Ltd (2007). This quotations from this posting is only a fraction of the book about the brilliant architect of Singapore's economy. One truly honourable man.

Original article: Andy Lim.

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(8) Golden Venus, Easter Show, Latin Quarters

Friday, March 12, 2010

US/UK BANDS IN SINGAPORE: Click: UK/US Bands In Spore

Lance Raymond continues his story about his stint at The Golden Venus Club and Bar on Orchard Road, Singapore from 1963 to 65 and his connection with some musician friends. This association gave him a lead into the music scene in Singapore as several of them were playing, recording and broadcasting on Radio Malaysia and TV Singapura. They were also ‘session musicians’ and played in most of the large hotels in Singapore, including the famous Raffles Hotel.

He was also invited to record for a Radio Malaysia show at the Victoria Theatre in Singapore (image: front right). He added that he participated in a show sponsored by a well-renowned company. Of several shows on Singapore television there was the Easter Show and a show called, ‘Latin Quarters’, where they played and recorded some Latin Jazz.

The question that was always asked of him was: "Did you get paid for all shows and on radio and TV broadcasts? The answer is yes and I even got paid for repeats long after I returned to the UK."

Image/Original article (edited): Lance Raymond. Thanks to PETER CHAN.

Thursday, January 14, 2010 Connect:

(4) E&O Hotel, Georgetown Penang And Kuala Lumpur Cricket Club, Malaya, 60s, Soliano Bros.

(3) British Army Servicemen And Camps Influence Singapore 50s And 60s Music

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(2) Songs, Music & Dances In Singapore 40s Slow Fox Trot Waltz, Swinging Before The 60s

Monday, December 21, 2009

ENTERTAINMENT IN SINGAPORE BEFORE THE 60:

The crowds were there during the weekends and the tea-dances were usually filled to the brim. Weekdays would bring in a small crowd to these cabarets but the prices of tickets were not as expensive. And the imported music? Benny Goodman, Count Basie, Louis Armstrong and Bing Crosby melodies, playing to the rhythm of rag-time, boogie-woogie, honky-tonk and of course jazz. The floor was crowded when the orchestra played the blues and dance music in slow-fox trot and waltz. The reason is obvious.

(*Beginning in the late 1920s, dancers in the US enjoyed doing an energetic dance they called the Lindy-Hop. Critics called these gyrating dancers 'jitter-bugs (image)', and in the late 30s the name was applied to the dance itself. What was now known as the Jitterbug was also called Swing, and would remain popular into the 40s.

*There were also many popular dances in the 30s, including the sophisticated Continental and Carioca, the carefree Lambeth Walk and Big Apple, and the Latin-inspired Rumba and Conga.

*In the late 30s, jazz that was written for dancing broke off into its own musical style... swing music. Performed by big bands, swing would become the most popular music style in the 40s.)

The song list played in these cabarets might include: April In Paris, The Way You Look Tonight, Goody Goody, Ebb Tide, Harbour Lights, Lullaby Of Broadway, I'm In The Mood For Love, It's Only A Paper Moon, Lady Of Spain, All Of Me, etc.

In Singapore, with some influence from HK, Shanghai and Malay culture, the cabarets would have a mix of the West and the East and the locals songs might include the ones sung by our 40s Shanghai ladies ( Zhou Xuan, Wu Yingyin, etc), peppered with the ronggeng, samba, rhumba, Latin music and old Malay songs.

Image: http://www.semaphoresa.com/

*Reference for 3 paragraphs: http://www.angelfire.com/

Original article: Andy Lim Collection

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(1) Singapore Tea Dances In The Late 30's - Live Music, Entertainment And Cabaret

ENTERTAINMENT IN SINGAPORE BEFORE THE 60s:

Tea-dances didn't start in the 60s with The Trailers at the Palace Theatre in Katong, East Coast Singapore nor did it start with The Checkmates at the Golden Venus nightclub at the end of the shopping strip at Orchard Road. Tea-dances were around way before the 40s. And with a poster to prove.

The orchestra, with at least 8 musicians, used to be called "live" because they were all on stage providing the swingingest music ever. If one looks at the year, it was 1939 and way before the Japanese decided to make our beautiful country its island gateway - about 22 years before Cliff Richard and The Shadows landed in Singapore.

There is a difference though, because, at this tea dance, one had to pay for a female dance partner as patrons were not allowed to bring female companions. For S$3.00 (expensive!) a patron would get 3 tickets to dance thrice with whoever he wished. Male friends would go as a group and buy beer for the night, sitting at tables provided in the cabaret.

The 20 or more "charming dancing partners (image)" in waiting would be sitting in a row in front of the orchestra. Blogger has been told that some cheeky patrons would place the ticket stub on the low-cut dresses of these ladies. A dance usually lasted about 3 minutes ie, the duration of the music. Remarks made after the gentlemen returned to their seats? "One dollar gone!" Those who just wanted a drink,"the first class bar" mentioned in the poster provided the water-hole.

Image: National Heritage Board, Singapore.

Original Article: Andy Lim Collection.

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British Skiffle Music Influenced Singapore 60?

Thursday, December 10, 2009

"British skiffle (image - The Doghouse Skiffle Group) grew out of the developing post-war British jazz scene, which saw a move away from swing music and towards authentic traditional jazz. It is a type of pop music with jazz, blues, folk, roots and country influences, using homemade or improvised instruments.

The origins of skiffle are obscure, but are generally thought to lie in African-American musical culture in the early 20th century. Skiffle is often said to have developed from New Orleans jazz, but this has been disputed. It became popular again in England in the 1950s, where it was mainly associated with Lonnie Donegan and played a major part in beginning the careers of other eminent music people in the late 50s and 60s.

They used things like a washboard, jugs, tea chest bass, cigar-box fiddle, musical saw, and comb-and-paper kazoos, as well as more conventional instruments like acoustic guitar and banjo. The term 'skiffle' was one of many slang phrases for a rent party, a social event with a small charge designed to pay rent on a house."

In Singapore, except for a few singers, most of the 60s artistes that have recorded with the top music labels came after skiffle was established. By then the swanky, solid guitars and drum-set were available, all polished and shiny. Who needs a washboard?

But skiffle sound is different. And it is great. Still got the vinyl anyone?

Information/Reference: Wikipedia (edited).

Image: http://mungomania.com/

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