The Age from Melbourne, Victoria, Australia • Page 137

4 TW MC SATURDAY 15 JANUARY 1994 Daryl Jackson: talk of the town is I stature, because he's done bigger and more expensive buildings, is not on." Archbishop Hollingworth says it's the classic tall-poppy syndrome: "It's what's wrong with this country. Daryl's an innovator. Right from the early days, instead of just doing a drawing for the client he would engage with them and listen. Clients have liked that approach. I think he's got a remarkable capacity to read the signs and adapt to the times, without being a trendy." Up in Sydney, the architect Philip Cox, Jackson's friend, contemporary, and rival, knows all about tall-poppydom.

Each summer. Cox and Jackson holiday together at their homes on the New South Wales south coast "I tell him, Daryl, you're not the only one suffering," Cox says. "We can suffer these experiences of agony together." me if they think I operate like that; it's insulting. There were times I took Oaryl off lists, partly because of the concern over our relationship (Jackson wasn't asked to compete for the design of the National Tennis Centre, for example). The trouble is, he's a good architect He never falters.

He's maintained a family and a practice, and he doesn't throw tantrums." Jackson also rejects the suggestion that he benefited from Labor Government patronage. "There was no political patronage from Evan Walker. It's an easy point for people to make if they don't know me or Evan. We competed for the jobs we won. Architects who compete for jobs and lose often find reasons why they've lost.

Through the '80s, we were doing work in other states that had nothing to do with Evan Walker. The comments smack of professional jealousy." Hendrix on stag: a brilliant perfectionist eaten alive by self-doubt. Who owns Jimi Hendrix? MabtraS Ml' THE lime, this was consid-o ercd bold and radical, and A-jl based on the premise that jV buildings were for people, rather Jiban' the architects who designed thejru This was after the era of the Housing Commission tower Mocks, when people were herded into boxes in the sky. Mnnda Katsalidis, the 41 -year-old architect now winning awards for his city buildings, credits Jackson with introduc-ingtt design culture to Melbourne: "He brotght intellect and social conscience to the -fore. Previously there was no sense of the philosophical message behind a building; buildings were just buildings." Jackson was enough of a realist to adrAit in his earlier days that "left-wing arcflftects need right-wing quantity and that all the vision and imagination in the world will not work if thectail of the building is not right "People give singular credit to a named architect but it's very rarely that," says onejMelbourne practitioner.

"It's usually teams of people. Engineers are so important projects like the Tennis Centre or ItejfldCG." Otge of the first buildings to make Jackson's name was Princes Hill High School. In 1972, the Liberal Government asked him to rebuild the wing of the school destroyed by fire. In those days, the standard school was a discarded orthodoxy and repriced it with curves, color and angles. Throughout this time, Jackson maintained a high profile, teaching, writing and, lecturing.

One day, Christine Abrahams, the Richmond gallery owner, went to Monash to hear him talk. She ended, up being so inspired that she asked Jackson to design her house on the beach at Brighton. "Oaryl was very full of his own convictions," Abrahams says, "but the architecture had to take into account the concerns of the people living there. He interviewed each of our children about wtiif they wanted in the house and I'd nevtr heard of that before. He had very humanistic values: the quality of your life Sfas just as important as the formal structure of the house.

I remember he saidri'Each site provokes a different response' and it wasn't as though he imposed the same solutions on every house." Jackson by now was running his own practice, which thrived through the '80s. Fellow architects say some developers may have felt that Jackson was in tune with 'Current Labor Government was the time of so-called "Labor when Jackson was alleged to have benefited from his Labor connections. At the time, Evan Walker was' Planning Minister. Whatever envy then? was towards Jackson in the profession now multiplied. In1 his office at Melbourne University, where he is now dean of architecture, Evan Walker greeted the patronage alle-gatjpji with contempt: "People misread people in the team, and Daryl's got it all." Meanwhile, the younger generation of Melbourne architects are at Jackson's heels.

Some, like lan McDougall, of the flamboyant firm of Ashton Raggatt McDougall (which has designed the new St Kilda library in the shape of an open book), suggest Jackson has lost his radical edge and is no longer as actively involved in the architectural discourse. Others, like Nonda Katsalidis, suggest that Jackson has become more conservative in his larger buildings. "120 Collins Street is a fairly mainstream skyscraper, it's not on the cutting edge of commercial building design. He's become the establishment and everyone has a go at the establishment." John Denton, from the leading firm of Denton Corker Marshall, said he thought Jackson was not fashionable with young architects. "My feeling is that the younger generation think he hasn't produced a great building in the last few years.

But, regardless of the tides of professional opinion, Daryl's a very good architect." Jackson takes the criticism on the chin, with a glimmer of hurt in his eyes: "You can be told you're too fashionable or you can be accused of repeating old work. I've spoken to mid-career painters who have exactly the same problem. Either they're accused of borrowing the latest idea from New York or of recycling old ideas. Architecture ebbs and flows. In the discourse, there is always a reaction from the next generation.

You expect the young to question. It's essential for each generation to establish its own dialogue." Yesterday's man? Perhaps, in the sense that it was only yesterday that Jackson won the Sir Zelman Cowen award (for the year's most outstanding building) for the Southern Stand. It was his third Zelman Cowen award, and came after he had been awarded the Royal Australian Institute of Architects' gold medal, for lifetime distinction. "Architecture's highly fashionable and there are firms that want to be first with the latest," Jackson says, "but I like artistic continuity. I like to work with the old-fashioned notions of space, light texture and form.

I try to find the social truth in each building and then find the forms relevant to the context in which the building is placed." He denies promoting the cult of Daryl Jackson, and was anxious to stress the teamwork aspect of architecture and the firms with which he had co-designed various Melbourne projects. "I think the ideas that permeate architecture are far more important than any of the personalities. One wins a gold medal not because one is a personality but because there is a body of work over 25 years. One expects criticism and one has to live with it, but my view is that often the criticism is ill-informed. I try to move on to the next job and not think about what people are saying about me." There was a university campus to compete for in Adelaide and a convention centre in Cairns, as well as his work on the Melbourne Casino.

Daryl Jackson is building for tomorrow. There was no political patronage from Evan Walker. The comments smack of professional jealousy. 67 1 ELBOURNE architects will tell If you that this city's architecture is I I about "ideas, where Sydney's is about style. For his part Philip Cox considers Jackson distinctively Melbourne in his approach.

"He carries on that tradition of Victorian opulence and decora-tiveness, though his buildings are more lyrical and playful. His work is an assemblage of things, rather than one big shape or idea. It's embroidery, building up a rich texture. It's urbanistic, not sculptural. "His works will be remembered as distinctly Daryl Jackson.

He represents the life and times of Melbourne from 1970 to 1990 in a very eloquent and elegant way, which is the envy of other architects." Peter Mclntyre, who retired as head of architecture at Melbourne University at the start of last year, thinks Jackson will be judged one of the great Australian, and even international architects. "He has a brilliant imagination. It wasn't the new things he did so much as the brilliant way they're executed. As a designer, you've got to convey ideas, convince people about them and get on with the Architecture is a potentially lethal cocktail of the artistic temperament and naked commerce, and particularly at a time of recession, which has hit architects' incomes, feelings can run high. Christine Abrahams sees similar envy among painters: "People say: 'Why did this person have a sell-out show when I only sold three or four? It's just human nature." "Architects tend to be very bitchy about one another," says Jamie Lear-month, from Peddle Thorp and Lear-month, which co-designed the National Tennis Centre with Philip Cox, and led the design of the new ANZ Gothic Building at 388 Collins Street.

"There's a lack of toleration of other people's work," Learmonth says. "I wish people felt sufficiently comfortable with their position in architecture to give credit where it's due. I think Daryl's a fine architect. It's not that he's better, he's different. There's a huge body of people who put architecture on the map in Melbourne.

But to give Daryl more mento, as they paint their memories of Jimi. "We were poor," Janie says. "I remember when Jimi first came back (in 1968), he told me he would take care of me for the rest of my life." On another visit, "he had to go ask his managers for $500 because he wanted to buy my mom and dad a washer and dryer," Janie says. "They said, 'What do you need the money for? It was like it was their money." Al Hendrix has filed an affidavit saying, "I never intended to sell Jimi's music to anyone, and I made that clear to (Branton)." Branton rarely explained things and "intimidated" him, Al says. Al's statement continues: "After a while (Branton) made it difficult for me to get money from him.

He asked me why I needed the money, for what These conversations made me feel like a child asking his father for money." Though Al had seemingly signed away his rights to Jimi's music, in fact he was due to get them back beginning in 1994, thanks to a provision in the copyright law. If Al died, Leon and Janie would inherit the copyrights. In October 1992, Janie and Leon both received letters from Branton offering them the opportunity to sell their copyright interests to Al for I million each. In his affidavit, Branton stated that Al would receive $9 million for his own rights. But Branton's letters to Leon and Janie also advised them to seek advice from an independent lawyer before signing.

Leon signed. But Janie was suspicious and soon Al would grow troubled too. He heard from a niece who worked at 'Entertainment Weekly' about a story saying Hcndrix's entire music catalogue was being offered for sale for $30 million. If the story was true, why was the Hendrix family getting less than half the $30 million from the sale? And who really owned ihc Hendrix music catalogue? In early 1993, Al fired Branton, and hired Yale Lewis, a lawyer with copyright experience. By April, Al Hendrix's lawsuit against Branton was filed.

Around the same time, press reports is not as good as Jimi, that nobody could be as good as Jimi. "Yeah, he was born on Thanksgiving and I was bom on Friday the 13th. He and his father are estranged, Leon says, "because he gave the fortune away. Out of ignorance. My father has a way of making millionaires out of strangers and paupers of his own family." Leon is still angry that his dad put him in foster care all those years ago, angry that he turned into a street kid and a hustler.

"My father didn't have nothing to offer me," Leon says. "He was not an attentive father. My dad was never home and me and Jimi were like gipsies, going from auntie to neighbor to get fed." Leon is something of a gipsy now; he has three phone numbers, but he isn't too easy to find. You might contact him through a shop that carries Hendrix T-shirts, including one Leon designed. It costs $23.99, and bears his brother's name and face and a signature: "Leon Hendrix." Leon believes he's been ripped off because he never got a job working with Jimi's music.

"Jimi's still making $5 million a year minimum! You hear him on the radio and all the TV commercials using his songs He was the Beethoven of the 20th century!" Leon has six kids. Leon needs money. So when Leo Branton, the LA lawyer, offered him a million-dollar deal last year 1 00,000 upfront, $200,000 later and $700,000 in trust for his children he took it. In the deal, Leon signed away any claim to Jimi Hendrix music copyrights that he would have inherited when his father died. Now he's unhappy about the deal.

He surveys the tables in the eatery and wishes he'd brought some T-shirts; "I could sell at least four or five here." A SNAPSHOT of the Hendrix estate, circa early 1974. The musical archives full of Jimi's famous jam sessions were nearly exhausted and the quality of posthumous material was dramatically uneven. Public demand for Hendrix music was waning at least, that's how it looked to Leo Bran- rJSrj HOLMESGLEN COLLEGE ii TAFE Theatre Technology PhD Scholarships Applications are invited from graduates to undertake higher degree research (MSc. PhD) on two ARC-funded, collaborative projects in ElectrochemistryMaterials Science. Project I with Ceramic Fuel Cells Ltd Seeks to develop new electrolyte compositions for the solid oxide fuel cell (SOFC) with a view to lowering the operating temperature, decreasing fabrication costs, and increasing the reliability of the SOFC.

Funding of 1 8.679 pa is available for 3 years. Project 2-with Amac Corrosion Protection Pry Ltd Seeks to optimise the performance of aluminium alloy anodes as used in cathodic protection in seawater. Funding is currently available for I year (1994): further support will be sought if progress is satisfactory. CONTINUING EDUCATION FOR REGISTERED NURSES The following short courses and workshops will be offered at the Monash University Peninsula campus (Frankston). commencing in February and March.

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Telephone (03) 904 4260. Caroline Chisholm School of Nursing Sub-facultv of Nursing, Faculty of Medicine From Extra 1 copies this year. And 1 994 wilt bring two new albums and a somewhat ghoulish "Hendrix: On the Road Again" tour of 1 30 college campuses. Produced by Alan Douglas, the exhibit allows fans to enter a 20-metre tractor-trailer, view Hendrix films and photos, hear his music, and even "play guitar with thanks to computer technology. More than most '60s artists, Hendrix shows amazing cross-generational appeal.

One marketing study found that 60 per cent of those who buy Hendrix CDs are between 13 and 21; many kids are enraptured by his revolutionary, guitar-burning image. Yet in its marketing tests, Chevrolet's ad agency found that Hcndrix's 'Fire' stirred all-American associations in older consumers, and a commercial using the song sparked strong sales for the new Camaro. Various tribute albums, on which other artists cover Hendrix songs, are further boosting revenues to the offshore companies that now control Hendrix's copyrights. Hendrix' career was full of contradictions: He was a black performer who tutored himself on a unique American art form the blues but had to go to England to find success. An army paratrooper who became a potent symbol of anti-war rebellion.

A drug-loving sybarite and exhibitionist who aspired to know God and is invariably described as shy. The best-paid rock performer of his day he commanded the highest fee at Woodstock who left behind SUS2I.000 in cash when he died. And he was a brilliant perfectionist eaten alive by self-doubt. Manic depression is afruslralin' mess, he sang. As a kid.

Jimi Hendrix loved to dress up, fashioning wings, wearing a cape and imagining himself a man from outer space. Before his daddy bought him a five-dollar guitar, he carried a broom wherever he went, strumming the straw. He favored moccasins he was part Cherokee, proud of it and once filched a pair with his pal, Sammy Drain. "He didn't want to dress like nobody else," Drain remembers. "He always had his own vision." Jimi couldn't read music, but he dreamt il.

Al Hendrix, who played saxophone, encouraged his eldest son to play along wilh blues records Muddy Waters. B. B. King but he also offered some practical career advice. "I said: 'It's all right playing along with them now, but when you get up there onstage, you do your own thing." The Hendrix family life was not stable.

Al's first wife, Lucille, who was 1 7 when they married, turned out to be a drinker and a man-chaser. He returned after three years in the army to find his boy in California, living with friends of Lucillc's mother. Al divorced Lucille in 1 95 1 two years after Leon was born. Lucille died of liver cirrhosis when Jimi was 16. Leon was put into foster care and, at other times, Jimi looked after him.

When Jimi wanted an electric guitar, Al bought one on credit, along with a new sax for himself. "But I got behind payments so I let the sax go back," he says. The father's sacrifice gave the world a new kind of music. Jimi left home at 1 7 for the army; after his discharge he toured as a sideman for such acts as Ike Tina Turner. In 1966.

Al who had since remarried and adopted Janie says he "got his call from England" from his eldest son. "He told me: 'Daddy. I think I'm on the way to the big time He was gonna call his group the Jimi Hendrix Experience. And he said he was gonna spell his name J-l-M-l "I said: 'Just keep your nose clean." "Thai was the good side. baby.

Here come the bad side. Jimi Htndrix, 51st annirtrsary LEON Hendrix, having already drained a glass of cheap champagne and chugged a beer, settles into a Chianti groove and contemplates how he'll gel the waitress's phone number. His philosophy of life: "Good (sex), good dope, clean wine hey, I'm cool." He is 45, and he has Jimi's lanky frame, his thin moustache, his patrician face. His voice rises just slightly higher than Jimi's, but it has that same hypnotic quality, Leon says he, too, is a guitarist but people never let him forget that he He gave the fortune away. Out of ignorance.

My father has a way of making millionaires out of strangers and paupers of his own family. Stage Management Applications are now open for the Advanced Certificate in Theatre Technology (Stage Management). Full time and part time places are available. Mature age students are encouraged to apply. Applications close: 24 January 1994 For a course brochure and application form, call the Express Line 564 1762.

Holmesqlen College of TAFE Applications close on 28 January, 1994 with Assoc. Prof. T. H. Randle.

Swinburne University of Technology, PO Box 2 1 8. Vic 3 1 28 (Tel: 8 1 9 8575 or 819 8179). i aiesfojcmoadhadsone14 UNIVERSITY OF TECHNOLOGY CARL JUNG (HIS LIFE AND THEORY) ton. According to Branton's affidavit, Jimi, as a '60s casualty of alcohol and drugs, "might not be a commercial success beyond Ihc mid-1970s." the lawyer advised his client, Al Hendrix. A Panama-based company, Presenta-cioncs Musicalcs SA (PMSA).

was offering to buy a batch of unreleased Hendrix tapes. It also wanted to buy all shares of Jimi's music publishing business, Bella Godiva Music Inc. which owned the song copyrights. In exchange, Al would be guaranteed $50,000 a year for 13 years. And PMSA would settle old legal claims against Jimi's estate, including a paternity suit in Sweden that had cropped up.

(A Swedish fan said she bore Jimi's son in 1969). In his affidavit, Branton says Al understood the offer and eagerly signed the agreement, which also disclosed Branton's intention to set up a corporation to market Jimi Hendrix's music. In the 1980s. PMSA sold the Hendrix material to corporations in the Netherlands and British Virgin Islands. Branton states that those agreements gave Al $50,000 a year for life, along with a $3 million trust fund that Al could "borrow" from and would begin making cash payments of $500,000 annually starting in 1994.

Thanks to me, Bramon.declares in his libel suit, "Hendrix has become a wealthy man, has received a lifetime annuity which has allowed him to live in grand style GREY paint is peeling off Al Hendrix's front door. Inside, the carpet is well worn, a bit musty. The furniture is circa 1970s; there's a plastic bamboo plant in one corner. The place is filled with golfing and bowling trophies and pictures of kids and grandkids. Al has a pacemaker in his cheit and a defibrillator in his stomach.

Arthritis has set into his right arm pretty bad. Janie brings over some Thanksgiving turkey leftovers. Neither Janie nor Al is allowed to talk about litigation to the press, but it's in the background, a penti- said MCA was acquiring the Hendrix catalogue for more than $30 million, but a spokesman now says the company is simply distributing the albums and helping to promote the Hendrix-on-wheels tour. The company that produces all of Hcndrix's music is called Are You Experienced? Ltd. Leo Branton says in an affidavit that the company was "organised" in 1983, but he doesn't own it.

And Arc You Experienced? has never made a profit, Branton states. The main contract employee of Are You Experienced? is Alan Douglas, who befriended Jimi for six months in the late '60s and now describes himself as "creative controller" of the Hendrix music catalogue: "I have the key to the lock that's on the (tape) vault," he boasts in a telephone interview. Douglas has produced 14 Hendrix albums and multi-record sets, including several with Chip Branton Leo's son listed as co-producer. To hear Douglas tell it, Jimi Hendrix was a magnificent talent who would have simply faded away if not for him. He's been responsible for the continued interest in Jimi Hendrix and Al Hendrix should realise that.

"Without the release of new product Jimi's fan base will stagnate." Douglas says in an affidavit. "There are people motivating Al Hendrix who have their own agenda. Who-evcr's involved in it is involved for what's obvious: greed." Rush with wine and victorious in his quest for Ihc waitress's phone number, Leon Hendrix stands outside the restaurant, his burning anger subsided. Smiling, he says he isn't worried about anything, really even if he did sign those legal papers. "I'll just wait, hang, relax; I've found the fountain of youth." he says before striding off into the rainy night.

"And I have one thing all the others don't: I have the name." WaaMiigjtoii Post 4 from Jungian theory). One session will be devoted Co the meaning and use of the indicator. LEVEL 2: SPECIALISED TOPICS This series is for those who have attended the first level or those who have some understanding of basic Jungian concepts. Dates: SATURDAYS 10 am 3 pm. 29 January.

S. 12 February. A light lunch will be provided. Cost: $215. The six sessions Include Overcoming Orlef through Dreams Miry Symes, Registered Nurse and author of Grief and Dreams.

Tha Crone and Wise Old Man Archetypes Sue Tweg, Senior Lecturer, English. Chiron The Wounded Haalar Within Mary Symes. Paminlsm and Jungian Theory Dr Felicity Allen, Senior Lecturer, Psychology. Depression: A Jungian Perspective Peter Macrls. Uncovering Family Myths with the Genogram Peter Macris.

LEVEL INTRODUCTION This series of seven, two-hour lectures is offered to the public. No prior knowledge of Jungian theory is assumed. Dates: The course will be of fered at two different times MONDAY SERIES 6.30 8.30 pm. 7. 14, 21.

28 February. 7. 14. 21 March. SATURDAY SERIES 10 am 3 pm.

29 January, S. 12. 19 February. Coit: $235 (including course notes and refreshments). The seven sessions include Jung's Ufa and relationship with Fraud Jungian dream theory Tha collective unconscious: archetypes and symbols Tha collective unconscious: tha shadow, anlmaanlmus Fairytale interpretation Mythology Personality types.

In addition, participants will complete the Myers-Briggs Personality Type Indicator (which is derived English Courses for Adult Migrants 20 week full-time courses Commencing 31 January 1994 General English from lower intermediate to advanced levels. (These General English classes are designed to lead to advanced courses that will focus on professional communication skills English courses for professionally qualified migrants (upper intermediate to advanced levels): English for Engineers English for Accountants Additional specialist courses: English for Business (intermediate to advanccdl English for Further Study (intermediate to advanced levels) Assessment day Monday 24 lanuary 9.30 1 1 .30. (Assessment will take approximately 2 hours from time of arrival). For details please phone 479 241 7 or 479 2451. Mease note: Applicants must be registered with the CES (for a minimum period of 3 months) and must be eligible for S.I.P.

(Special Intervention Program) entitlement. If you have any queries regarding S.I.P., please contact your nearest CES office before attending the assessment day. LATROBE -UNIVERSITY Opportunity for excellence Course Leader: Peter Macrls, Senior Lecturer in Psychology. For application form and detailed brochure contact Peter Macrls (03) 903 2246 or (03) 903 2247 on weekdays between 9.30 II am. Applications close on Wednesday, 26 January 1994.

Faculty of Science Department of Psychology (Caulflald campus) 5.