http://chinglish-renee.blogspot.com/2010/03/bone-feeder-story-on-asia-downunder.html#links
Monday, March 29, 2010
The Bone Feeder - story on Asia Downunder
Sunday, June 27, 2010
We're in no position to lecture China on democracy
I DON'T KNOW Tibetan history chapter and verse, but I know cultural arrogance when I see it, and Russel Norman put on an interesting display of it when he pestered the visiting Chinese vice-president.
Rather than being snide about how the Chinese people wouldn't see this embarrassing scene in their news coverage, as some reporters were, we should be thankful, because he looked like such a dork.
We're deluded if we think Chinese viewers would be impressed with that graceless demonstration of freedom of speech, and rise as one to demand the novelty. They would surely have been struck, as I was, by the contrast between the composure of the leader of one of the world's great nations (theirs) compared with a sandy-haired git in a beige(!) suit (ours) mouthing off like a hysterical schoolboy somewhere in the remote Pacific. It takes a hell of a lot more intelligence and political skill to be a Xi Jinping in China than a Green MP in New Zealand – and better manners as well. That was obvious.
There's a level on which it's inherently embarrassing to see any European wagging their finger at a Chinese leader: our common history in their country is not a proud one, and is not forgotten there. I've seen colonial-era film footage of the signs in parks in China reading, "No Dogs or Chinese Allowed" – and this was less than a century ago. We knew better than the Chinese then, too, even in their own country. Perhaps it's something to do with our beigeness.
This was at a time when we still treated Chinese immigrants as a special case, when we dreaded the "yellow peril", and had recently had a prime minister, Richard Seddon, who used such racism as a political platform.
Our great-grandparents voted for him, and even erected the odd pigeon poo-bedecked statue in his memory. That Norman's display was on the steps of parliament, near where Seddon stands on a plinth in all his glory, was unpleasantly apt.
Thanks to this attitude of ours, from 1896 until 1944, Chinese immigrants had to pay a poll tax of 100 pounds – a heck of a lot of money – to be allowed to come here, and couldn't bring their families. In 1908 they were deprived of the right to be naturalised, an insult which remained legal until 1951. All in all, it's a history that's shaky ground to preach from, even if we've apologised for it, to a country with a history and civilisation going back thousands of years.
I was reminded, watching Norman's antics, of a display I saw in Shanghai a while back, showing the city's history. Our Chinese guides urged our media group on, but some of us stayed to watch it through, and saw how Europeans were depicted. Let me put it this way: a sandy-haired fellow in a beige suit would have blended in perfectly with the deadpan account of how the city was formerly divided between European powers whose venal attitude left much to be desired. By what right did we do this, and why weren't we preaching democracy then?
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I don't imagine Xi will care one way or the other about Norman's display of bad manners, and I sure don't expect he cares what you or I think about anything, least of all Tibet. He's quite busy running one of the most populous countries in the world, with its own problems and perspective on history, including how it looks on Tibet. We may disagree, but so what? We won't be changing anything.
Sure, we don't like the colonisation, as it appears to us, by the Chinese there. We have the luxury of that perspective, as heirs to the British wholesale colonisation of vast tracts of the planet, justified by confidence in our inherent cultural superiority, and the drive for trade. That's how we got here, not because Maori invited us.
As a descendant of blacksmiths, shoemakers and agricultural labourers from Europe, I'm not ungrateful.
But surely we charged into this country much as the Chinese have done into Tibet, and with as much consideration for Maori and their beliefs and practices as the Chinese show to the Tibetans.
My missionary ancestors were pretty keen to eradicate Maori religious practices, too, albeit with the most benevolent of intentions.
Time has a way of turning beliefs on their heads, of making wrongs right and rights wrong, as we, of all people, ought to know. So instead of brandishing other countries' flags and fighting other nations' battles, we might try being less smug about our own.
rosemary.mcleod@star-times.co.nz
By ROSEMARY MCLEOD - Sunday Star Times
Last updated 05:00 27/06/2010
Rather than being snide about how the Chinese people wouldn't see this embarrassing scene in their news coverage, as some reporters were, we should be thankful, because he looked like such a dork.
We're deluded if we think Chinese viewers would be impressed with that graceless demonstration of freedom of speech, and rise as one to demand the novelty. They would surely have been struck, as I was, by the contrast between the composure of the leader of one of the world's great nations (theirs) compared with a sandy-haired git in a beige(!) suit (ours) mouthing off like a hysterical schoolboy somewhere in the remote Pacific. It takes a hell of a lot more intelligence and political skill to be a Xi Jinping in China than a Green MP in New Zealand – and better manners as well. That was obvious.
There's a level on which it's inherently embarrassing to see any European wagging their finger at a Chinese leader: our common history in their country is not a proud one, and is not forgotten there. I've seen colonial-era film footage of the signs in parks in China reading, "No Dogs or Chinese Allowed" – and this was less than a century ago. We knew better than the Chinese then, too, even in their own country. Perhaps it's something to do with our beigeness.
This was at a time when we still treated Chinese immigrants as a special case, when we dreaded the "yellow peril", and had recently had a prime minister, Richard Seddon, who used such racism as a political platform.
Our great-grandparents voted for him, and even erected the odd pigeon poo-bedecked statue in his memory. That Norman's display was on the steps of parliament, near where Seddon stands on a plinth in all his glory, was unpleasantly apt.
Thanks to this attitude of ours, from 1896 until 1944, Chinese immigrants had to pay a poll tax of 100 pounds – a heck of a lot of money – to be allowed to come here, and couldn't bring their families. In 1908 they were deprived of the right to be naturalised, an insult which remained legal until 1951. All in all, it's a history that's shaky ground to preach from, even if we've apologised for it, to a country with a history and civilisation going back thousands of years.
I was reminded, watching Norman's antics, of a display I saw in Shanghai a while back, showing the city's history. Our Chinese guides urged our media group on, but some of us stayed to watch it through, and saw how Europeans were depicted. Let me put it this way: a sandy-haired fellow in a beige suit would have blended in perfectly with the deadpan account of how the city was formerly divided between European powers whose venal attitude left much to be desired. By what right did we do this, and why weren't we preaching democracy then?
Ad Feedback
I don't imagine Xi will care one way or the other about Norman's display of bad manners, and I sure don't expect he cares what you or I think about anything, least of all Tibet. He's quite busy running one of the most populous countries in the world, with its own problems and perspective on history, including how it looks on Tibet. We may disagree, but so what? We won't be changing anything.
Sure, we don't like the colonisation, as it appears to us, by the Chinese there. We have the luxury of that perspective, as heirs to the British wholesale colonisation of vast tracts of the planet, justified by confidence in our inherent cultural superiority, and the drive for trade. That's how we got here, not because Maori invited us.
As a descendant of blacksmiths, shoemakers and agricultural labourers from Europe, I'm not ungrateful.
But surely we charged into this country much as the Chinese have done into Tibet, and with as much consideration for Maori and their beliefs and practices as the Chinese show to the Tibetans.
My missionary ancestors were pretty keen to eradicate Maori religious practices, too, albeit with the most benevolent of intentions.
Time has a way of turning beliefs on their heads, of making wrongs right and rights wrong, as we, of all people, ought to know. So instead of brandishing other countries' flags and fighting other nations' battles, we might try being less smug about our own.
rosemary.mcleod@star-times.co.nz
By ROSEMARY MCLEOD - Sunday Star Times
Last updated 05:00 27/06/2010
Tuesday, June 22, 2010
First novel in line for award
First novel in line for award
By Rebekah White
4:00 AM Tuesday Jun 22, 2010
A first novel has been shortlisted for New Zealand's top literary honour.
As the Earth Turns Silver by Alison Wong is up against works by established writers Fiona Farrell and Owen Marshall in the fiction category of this year's New Zealand Post Book Awards.
Wong took 12 years to research and write the novel, which follows the secret relationship between a Pakeha woman and a Chinese immigrant in 1920s Wellington.
Judges' convener Stephen Stratford said it was always going to be a challenge, "but we agree that each of these three finalist books is convincing, compelling, superbly crafted and contributes distinctively to New Zealand's literature."
Sixteen finalists have been selected in the four categories of fiction, poetry, general non-fiction and illustrated non-fiction.
Stratford said illustrated non-fiction proved to be the standout category this year.
Winners will be announced on August 27. Voting for the People's Choice Award, where readers select the recipient of a $5000 prize, opens today.
By Rebekah White
By Rebekah White
4:00 AM Tuesday Jun 22, 2010
A first novel has been shortlisted for New Zealand's top literary honour.
As the Earth Turns Silver by Alison Wong is up against works by established writers Fiona Farrell and Owen Marshall in the fiction category of this year's New Zealand Post Book Awards.
Wong took 12 years to research and write the novel, which follows the secret relationship between a Pakeha woman and a Chinese immigrant in 1920s Wellington.
Judges' convener Stephen Stratford said it was always going to be a challenge, "but we agree that each of these three finalist books is convincing, compelling, superbly crafted and contributes distinctively to New Zealand's literature."
Sixteen finalists have been selected in the four categories of fiction, poetry, general non-fiction and illustrated non-fiction.
Stratford said illustrated non-fiction proved to be the standout category this year.
Winners will be announced on August 27. Voting for the People's Choice Award, where readers select the recipient of a $5000 prize, opens today.
By Rebekah White
Two homegrown writing debuts show promise
Alison Wong's first novel is modest in style, generous in tone, accomplished in structure; wide-ranging in characters. It's not surprising that overseas publishers are interested.
The Titahi Bay author, almost inevitably a graduate of Victoria University's writing school, sets her story at the start of the 20th century, when a Chinese person on a central Wellington street is an instant target for beggars and bigots, name-calling and plait-pulling.
Racism is one of the book's central motifs, in poems lip-smackingly recited by an apparently cultured lunch guest, stones thrown through a greengrocer's window, a Prime Minister quite unabashed by his membership of an anti-Asian faction.
It's not only Chinese who are targeted. Maori are apparently dying out — and a good thing too, say People In Power. There are also the situations vacant ads: "Maid required for light duties by respectable gentleman. No Irish need apply." And there's the prejudice against women, in the smug misogyny of Truby King et al. But it's "John Chinaman" who is victimised most.
Amid the bigotry, a love affair begins, between Yung the quick-minded, quick-fisted shopkeeper, ridding himself of his long rope of hair and his premises of invading thugs, and Katherine, with her caricature of a bullying husband (who has the decency to fall drunk into Wellington Harbour).
Both parties feel "an emptiness, a hungry space". Both are dissatisfied with convention or tradition, and are ready for transformation.
Alison Wong's first novel is modest in style, generous in tone, accomplished in structure; wide-ranging in characters. It's not surprising that overseas publishers are interested.
The Titahi Bay author, almost inevitably a graduate of Victoria University's writing school, sets her story at the start of the 20th century, when a Chinese person on a central Wellington street is an instant target for beggars and bigots, name-calling and plait-pulling.
Racism is one of the book's central motifs, in poems lip-smackingly recited by an apparently cultured lunch guest, stones thrown through a greengrocer's window, a Prime Minister quite unabashed by his membership of an anti-Asian faction.
It's not only Chinese who are targeted. Maori are apparently dying out — and a good thing too, say People In Power. There are also the situations vacant ads: "Maid required for light duties by respectable gentleman. No Irish need apply." And there's the prejudice against women, in the smug misogyny of Truby King et al. But it's "John Chinaman" who is victimised most.
Amid the bigotry, a love affair begins, between Yung the quick-minded, quick-fisted shopkeeper, ridding himself of his long rope of hair and his premises of invading thugs, and Katherine, with her caricature of a bullying husband (who has the decency to fall drunk into Wellington Harbour).
Both parties feel "an emptiness, a hungry space". Both are dissatisfied with convention or tradition, and are ready for transformation.
Article continues below
XXXIXXX
CCID: 36159 | adwidth=440
Things start under a cabbage tree by the Basin Reserve, and lead via delight and terror to an ending on a shop floor.
A quick shuttle of chapters keeps the plot pulsing along. Wong spreads complex nets of love and grief that catch up nearly every character. She does an impressively unshowy job of capturing the varied voices.
Period details feel just right. There's Mrs Newman the emancipist, fuming against being addressed by her husband's name and celebrating the first women in the Olympics. There's the jingoistic marching and cheering as WWI is declared. And there's a splendidly-evoked Haining Street, with "the smell of garlic and ginger", where a European shoots an Asian walking home, then defends himself with the argument that a Chinese "is not a man".
You could suggest that the ending is a bit prolonged and unremitting. You could also suggest that there's a whiff of Mills & Boon about the love affair, with its lingering glances, meaningful hand-touchings, and fireworks going off inside. But this is a striking and successful debut. Bring on Alison Wong's next one(s).
As the Earth Turns Silver $37: reviewed by David Hill
David Hill is a Taranaki writer.
http://www.nzherald.co.nz/lifestyle/news/article.cfm?c_id=6&objectid=10586926&pnum=0
The Titahi Bay author, almost inevitably a graduate of Victoria University's writing school, sets her story at the start of the 20th century, when a Chinese person on a central Wellington street is an instant target for beggars and bigots, name-calling and plait-pulling.
Racism is one of the book's central motifs, in poems lip-smackingly recited by an apparently cultured lunch guest, stones thrown through a greengrocer's window, a Prime Minister quite unabashed by his membership of an anti-Asian faction.
It's not only Chinese who are targeted. Maori are apparently dying out — and a good thing too, say People In Power. There are also the situations vacant ads: "Maid required for light duties by respectable gentleman. No Irish need apply." And there's the prejudice against women, in the smug misogyny of Truby King et al. But it's "John Chinaman" who is victimised most.
Amid the bigotry, a love affair begins, between Yung the quick-minded, quick-fisted shopkeeper, ridding himself of his long rope of hair and his premises of invading thugs, and Katherine, with her caricature of a bullying husband (who has the decency to fall drunk into Wellington Harbour).
Both parties feel "an emptiness, a hungry space". Both are dissatisfied with convention or tradition, and are ready for transformation.
Alison Wong's first novel is modest in style, generous in tone, accomplished in structure; wide-ranging in characters. It's not surprising that overseas publishers are interested.
The Titahi Bay author, almost inevitably a graduate of Victoria University's writing school, sets her story at the start of the 20th century, when a Chinese person on a central Wellington street is an instant target for beggars and bigots, name-calling and plait-pulling.
Racism is one of the book's central motifs, in poems lip-smackingly recited by an apparently cultured lunch guest, stones thrown through a greengrocer's window, a Prime Minister quite unabashed by his membership of an anti-Asian faction.
It's not only Chinese who are targeted. Maori are apparently dying out — and a good thing too, say People In Power. There are also the situations vacant ads: "Maid required for light duties by respectable gentleman. No Irish need apply." And there's the prejudice against women, in the smug misogyny of Truby King et al. But it's "John Chinaman" who is victimised most.
Amid the bigotry, a love affair begins, between Yung the quick-minded, quick-fisted shopkeeper, ridding himself of his long rope of hair and his premises of invading thugs, and Katherine, with her caricature of a bullying husband (who has the decency to fall drunk into Wellington Harbour).
Both parties feel "an emptiness, a hungry space". Both are dissatisfied with convention or tradition, and are ready for transformation.
Article continues below
XXXIXXX
CCID: 36159 | adwidth=440
Things start under a cabbage tree by the Basin Reserve, and lead via delight and terror to an ending on a shop floor.
A quick shuttle of chapters keeps the plot pulsing along. Wong spreads complex nets of love and grief that catch up nearly every character. She does an impressively unshowy job of capturing the varied voices.
Period details feel just right. There's Mrs Newman the emancipist, fuming against being addressed by her husband's name and celebrating the first women in the Olympics. There's the jingoistic marching and cheering as WWI is declared. And there's a splendidly-evoked Haining Street, with "the smell of garlic and ginger", where a European shoots an Asian walking home, then defends himself with the argument that a Chinese "is not a man".
You could suggest that the ending is a bit prolonged and unremitting. You could also suggest that there's a whiff of Mills & Boon about the love affair, with its lingering glances, meaningful hand-touchings, and fireworks going off inside. But this is a striking and successful debut. Bring on Alison Wong's next one(s).
As the Earth Turns Silver $37: reviewed by David Hill
David Hill is a Taranaki writer.
http://www.nzherald.co.nz/lifestyle/news/article.cfm?c_id=6&objectid=10586926&pnum=0
Sunday, June 13, 2010
150th anniversary discovery in New Zealand’s - gold.
The Lawrence-Tuapeka community is gearing up to celebrate the 150th anniversary of perhaps the most significant discovery in New Zealand’s history – gold.
Gold, in the payable form, was first struck by Gabriel Read near Lawrence on 25th May 1861. Read, an Australian-born prospector was initially told he was on a ‘wild goose chase’ but his discovery, in the gully that now bears his name, changed the course of history and laid a foundation for both Otago and New Zealand. By July 1861, the Tuapeka area was very much immersed in the gold rush, with the district’s population swelling to over 11,000 compared to the less than 6,000 in Dunedin at the time.
In 2011, attention will again turn to Lawrence as it celebrates 150 years since what was essentially the birth of our nation. Realising the significance of such an occasion, the Lawrence Community will be hosting a four day celebration, Gabriel’s Gully Goldrush 150th from Friday 18th to Monday 21st March 2011.
The four day celebration will feature a drama which re-enacts the Goldrush with treks and walks to take us back in time to the 1860’s. With music, historical tours and displays, visual art, drama and family games and fun, there’s something for everyone, young or old.
http://www.lawrence.co.nz/pages/98/Lawrence-2011-Gold-Celebrations
Gold, in the payable form, was first struck by Gabriel Read near Lawrence on 25th May 1861. Read, an Australian-born prospector was initially told he was on a ‘wild goose chase’ but his discovery, in the gully that now bears his name, changed the course of history and laid a foundation for both Otago and New Zealand. By July 1861, the Tuapeka area was very much immersed in the gold rush, with the district’s population swelling to over 11,000 compared to the less than 6,000 in Dunedin at the time.
In 2011, attention will again turn to Lawrence as it celebrates 150 years since what was essentially the birth of our nation. Realising the significance of such an occasion, the Lawrence Community will be hosting a four day celebration, Gabriel’s Gully Goldrush 150th from Friday 18th to Monday 21st March 2011.
The four day celebration will feature a drama which re-enacts the Goldrush with treks and walks to take us back in time to the 1860’s. With music, historical tours and displays, visual art, drama and family games and fun, there’s something for everyone, young or old.
http://www.lawrence.co.nz/pages/98/Lawrence-2011-Gold-Celebrations
Friday, June 04, 2010
Life & Style Next Article: Chill out, and enjoy your wine Shanghai Lil's back on the scene
Auckland's nightlife hasn't been the same without it. Shanghai Lil's has finally reopened in its third incarnation in Parnell
Russel Green, owner of Shanghai Lil. Photo / Babiche Martens Expand
Many hearts were broken when Shanghai Lil's, housed in the iconic Birdcage in Freemans Bay, closed its doors to revellers last year. In a city where you'll find 10 leatherette-clad, R&B-playing cafe-bars for one quirky independent establishment, Lil's managed to be instantly memorable and effortlessly cool.
All hand-carved dragons, Chinese red lanterns and 1930s art prints, entering Shanghai Lil's was like walking on to a film set - all the elegance of In The Mood For Love paired with the battiness of Grey Gardens - but regulars will tell you the most important part of the furniture has always been the double act of delightfully eccentric owner Russel Green and his resident jazz pianist - and partner of 22 years, Billy Farnell.
Clad in Chinese silk and prone to sporadic outbursts of the can-can on the dance floor, they treated regulars, newbies and the occasional Hollywood star with the same degree of warmth and attention.
But all good things must come to an end - in this case it was thanks to a wrecking ball courtesy of the Victoria Park tunnel which means the Birdcage will be dismantled and moved to a new location.
For those who missed out on it, and for those who miss it, there is good news.
Shanghai Lil's has found a new home in a colonial-style underground bar in Parnell Village.
"As soon as I peered through the dust-covered window, I knew I'd found something special," says Green, sitting proudly on a plush sofa in the den-like new venue. "In fact, 'remembered' would be a better word than 'found', because I'd worked here back in 1994 when it was Valerio's. It's got a wonderful feel to it, and I love the fact that its underground, like an opium den.
"The courtyard, with its wrought-iron spiral staircase and views of the Sky Tower sealed the deal. Plus we've got a dining room out the back, so we're finally able to include a restaurant."
The shift from bar to restaurant is a new step for Shanghai Lil's, although Green has had stints as a chef in a long hospitality career. "I've always loved the concept of 1930s supper clubs, where people can dine, enjoy post-dinner cocktails and have a turn on the dance floor, all in the same venue."
The all-new Shanghai Lil's has been open just a few weeks and has already hosted several "successful first dates", a "wonderfully celebratory" funeral wake and a dance floor takeover by a visiting dance act.
"Shanghai Lil's is all about escapism. I want to provide an extraordinary setting where people feel free to let dramas unfold in their lives - whether it's kissing in a corner, dancing to the piano or meeting a fabulous new friend over a cocktail."
So what do regulars make of the new venue? "As soon as people walk in, they say, 'Oh, it still feels like Shanghai Lil's'. Some say they prefer the low-ceiling intimacy of this place to The Birdcage."
It's certainly got the same Aladdin's Cave feel to it: no nook or cranny is left devoid of an antique porcelain vase or elaborately-carved rosewood chest.
"It's been fabulous fun delving into our collection to find pieces that fit here," says Green. The couple's art collection is legendary. Between the two of them they have 90 years worth of obsessive collecting of oriental furniture and art, Art Deco pieces and "anything whimsical and different, really". "Shanghai Lil's is essentially an extension of our living room at home. We joke that we opened the bar because we needed somewhere else to put everything."
And what of the move from Ponsonby to Parnell? Is Green worried that the hipsters, musicians and visiting thespians who made Shanghai Lil's so colourful will be lost to other venues along the way?
"Oh no," he says. "You see, we've put a sign up outside."
It's this refreshingly low-key attitude that has made Shanghai Lil's a hit with visiting luminaries including Sir Ian McKellen, Scarlett Johansson and Josh Hartnett; people who wouldn't dare show their faces at Spy Bar.
In fact, the only reason Viva knows about the new opening is because we walked past the building; there were no press releases or vodka-sponsored launch parties here.
Though Green insists he isn't in thrall to fame - "Everybody works hard and needs fun, everybody pays the same for a drink, so no so-called VIP is going to skip the door queue" - he clearly relishes Shanghai Lil's status as an underground celebrity hangout.
"When Kate Bosworth and Geoffrey Rush (filming soon-to-be-released The Warrior's Way) came to the bar last year it was just delightful. Geoffrey got stuck into the red wine and after a couple of cocktails Kate agreed to have a dance with me. She was absolutely lovely - although so skinny I was terrified I'd break her in half - and we gave a great high-kicking floor-show."
"And Scarlett! She was lovely. Although I didn't have a clue who she was, of course. This girl came in here with an American accent and a denim jacket on and mentioned that we'd been full the last time she was here and she'd been turned away at the door. It was only later that that someone told me who she was."
The star stories come thick and fast, from the time Sir Ian McKellen chatted candidly about his Kiwi former beau to the time Anna Hoffman (who scandalised 1960s society by getting caught selling marijuana) counselled Millie Holmes (who scandalised 2008 society with her own brush with drugs) about "experimenting but not getting caught".
"People call me a name-dropper, but everyone's got a name. It just happens that I like people whose names everyone knows. I admire people who've got up to do something different, whether they're a Hollywood actress or a reformed Mongrel Mob member. It's the story, not the name, that attracts me."
Still, the fact that famous faces show up in your bar can hardly hurt business, can it?
"Oh, it's never been about the money," laughs Green, as if this is the greatest joke in the world. "People assume that if you've got A-listers in your venue you're rolling in cash, but they spend the same on a glass of wine as anyone else. They just make our evenings a bit more interesting. Which is much more important anyway."
If you're searching for the secret of Green's success, this is it in a nutshell: he's clearly doing it just for fun.
"We count ourselves lucky to have a lifestyle that has us hosting a Fashion Week wrap party one week and an Aids Awareness initiative the next. The move to Parnell just means we'll have new faces, and new occasions to create. Running Shanghai Lil's keeps Billy and I in the middle of things. And that's exactly where we like to be."
* Shanghai Lil's, 311 Parnell Rd, ph (09) 358 0868, open Wed-Thurs 4.30pm-3am, Friday 12pm-3am, Sat 6pm-3am, Sun 10am-6pm.
By Anna Hart
4:00 AM Friday Jun 4, 2010
http://www.nzherald.co.nz/lifestyle/news/article.cfm?c_id=6&objectid=10649240&pnum=0
Russel Green, owner of Shanghai Lil. Photo / Babiche Martens Expand
Many hearts were broken when Shanghai Lil's, housed in the iconic Birdcage in Freemans Bay, closed its doors to revellers last year. In a city where you'll find 10 leatherette-clad, R&B-playing cafe-bars for one quirky independent establishment, Lil's managed to be instantly memorable and effortlessly cool.
All hand-carved dragons, Chinese red lanterns and 1930s art prints, entering Shanghai Lil's was like walking on to a film set - all the elegance of In The Mood For Love paired with the battiness of Grey Gardens - but regulars will tell you the most important part of the furniture has always been the double act of delightfully eccentric owner Russel Green and his resident jazz pianist - and partner of 22 years, Billy Farnell.
Clad in Chinese silk and prone to sporadic outbursts of the can-can on the dance floor, they treated regulars, newbies and the occasional Hollywood star with the same degree of warmth and attention.
But all good things must come to an end - in this case it was thanks to a wrecking ball courtesy of the Victoria Park tunnel which means the Birdcage will be dismantled and moved to a new location.
For those who missed out on it, and for those who miss it, there is good news.
Shanghai Lil's has found a new home in a colonial-style underground bar in Parnell Village.
"As soon as I peered through the dust-covered window, I knew I'd found something special," says Green, sitting proudly on a plush sofa in the den-like new venue. "In fact, 'remembered' would be a better word than 'found', because I'd worked here back in 1994 when it was Valerio's. It's got a wonderful feel to it, and I love the fact that its underground, like an opium den.
"The courtyard, with its wrought-iron spiral staircase and views of the Sky Tower sealed the deal. Plus we've got a dining room out the back, so we're finally able to include a restaurant."
The shift from bar to restaurant is a new step for Shanghai Lil's, although Green has had stints as a chef in a long hospitality career. "I've always loved the concept of 1930s supper clubs, where people can dine, enjoy post-dinner cocktails and have a turn on the dance floor, all in the same venue."
The all-new Shanghai Lil's has been open just a few weeks and has already hosted several "successful first dates", a "wonderfully celebratory" funeral wake and a dance floor takeover by a visiting dance act.
"Shanghai Lil's is all about escapism. I want to provide an extraordinary setting where people feel free to let dramas unfold in their lives - whether it's kissing in a corner, dancing to the piano or meeting a fabulous new friend over a cocktail."
So what do regulars make of the new venue? "As soon as people walk in, they say, 'Oh, it still feels like Shanghai Lil's'. Some say they prefer the low-ceiling intimacy of this place to The Birdcage."
It's certainly got the same Aladdin's Cave feel to it: no nook or cranny is left devoid of an antique porcelain vase or elaborately-carved rosewood chest.
"It's been fabulous fun delving into our collection to find pieces that fit here," says Green. The couple's art collection is legendary. Between the two of them they have 90 years worth of obsessive collecting of oriental furniture and art, Art Deco pieces and "anything whimsical and different, really". "Shanghai Lil's is essentially an extension of our living room at home. We joke that we opened the bar because we needed somewhere else to put everything."
And what of the move from Ponsonby to Parnell? Is Green worried that the hipsters, musicians and visiting thespians who made Shanghai Lil's so colourful will be lost to other venues along the way?
"Oh no," he says. "You see, we've put a sign up outside."
It's this refreshingly low-key attitude that has made Shanghai Lil's a hit with visiting luminaries including Sir Ian McKellen, Scarlett Johansson and Josh Hartnett; people who wouldn't dare show their faces at Spy Bar.
In fact, the only reason Viva knows about the new opening is because we walked past the building; there were no press releases or vodka-sponsored launch parties here.
Though Green insists he isn't in thrall to fame - "Everybody works hard and needs fun, everybody pays the same for a drink, so no so-called VIP is going to skip the door queue" - he clearly relishes Shanghai Lil's status as an underground celebrity hangout.
"When Kate Bosworth and Geoffrey Rush (filming soon-to-be-released The Warrior's Way) came to the bar last year it was just delightful. Geoffrey got stuck into the red wine and after a couple of cocktails Kate agreed to have a dance with me. She was absolutely lovely - although so skinny I was terrified I'd break her in half - and we gave a great high-kicking floor-show."
"And Scarlett! She was lovely. Although I didn't have a clue who she was, of course. This girl came in here with an American accent and a denim jacket on and mentioned that we'd been full the last time she was here and she'd been turned away at the door. It was only later that that someone told me who she was."
The star stories come thick and fast, from the time Sir Ian McKellen chatted candidly about his Kiwi former beau to the time Anna Hoffman (who scandalised 1960s society by getting caught selling marijuana) counselled Millie Holmes (who scandalised 2008 society with her own brush with drugs) about "experimenting but not getting caught".
"People call me a name-dropper, but everyone's got a name. It just happens that I like people whose names everyone knows. I admire people who've got up to do something different, whether they're a Hollywood actress or a reformed Mongrel Mob member. It's the story, not the name, that attracts me."
Still, the fact that famous faces show up in your bar can hardly hurt business, can it?
"Oh, it's never been about the money," laughs Green, as if this is the greatest joke in the world. "People assume that if you've got A-listers in your venue you're rolling in cash, but they spend the same on a glass of wine as anyone else. They just make our evenings a bit more interesting. Which is much more important anyway."
If you're searching for the secret of Green's success, this is it in a nutshell: he's clearly doing it just for fun.
"We count ourselves lucky to have a lifestyle that has us hosting a Fashion Week wrap party one week and an Aids Awareness initiative the next. The move to Parnell just means we'll have new faces, and new occasions to create. Running Shanghai Lil's keeps Billy and I in the middle of things. And that's exactly where we like to be."
* Shanghai Lil's, 311 Parnell Rd, ph (09) 358 0868, open Wed-Thurs 4.30pm-3am, Friday 12pm-3am, Sat 6pm-3am, Sun 10am-6pm.
By Anna Hart
4:00 AM Friday Jun 4, 2010
http://www.nzherald.co.nz/lifestyle/news/article.cfm?c_id=6&objectid=10649240&pnum=0
Gwa Leng Wongs in New Zealand
Gwa Leng Wongs in New Zealand
The Gwa Leng NZ Family History Group,
founded by Michael Wong, is delighted to
advise that the book Gwa Leng Wongs in
New Zealand is now available for purchase.
'It takes a village to raise a child', says the
proverb. Gwa Leng, in the southern province
of Guangdong, China, is a special village for
many in NZ; and some of its children -now
elders themselves in a faraway land -have
contributed to this special book to tell the
history and the stories of the village and its
people.
Authored by ex-villager Dr Edmon Wong, an
eminent former scientist, the book is
centered on his translation of the only known
copy of Gwa Leng's original genealogical
record. From material collated from disparate sources, he also writes about
origins; about places and events; and about families long ago and today. This
is a friendly elder's guide for younger generations interested in their historical
roots.
With sincerity and goodwill, and mostly in their own words and pictures, many
of these later generation NZ Gwa Leng families share their own recent day
stories with the three contributing authors in a latter part of the book.
For historical accuracy, the book uses written Chinese characters (not just
romanised transliterations) for original proper names. For readers of Chinese,
it also includes an appendix of a collection of Essays on Gwa Leng by the
former administrative head of Gwa Leng.
This unique bilingual book is a legacy that both honours those past, and
serves those present and still to come.
Paper Back: 180 pages
ISBN 978-0-473-16525-3
Book Dimensions: 189 X 268 X12 mm
Copies are available at a cost of
$30.00 plus postage and packing.
The Gwa Leng NZ Family History Group,
founded by Michael Wong, is delighted to
advise that the book Gwa Leng Wongs in
New Zealand is now available for purchase.
'It takes a village to raise a child', says the
proverb. Gwa Leng, in the southern province
of Guangdong, China, is a special village for
many in NZ; and some of its children -now
elders themselves in a faraway land -have
contributed to this special book to tell the
history and the stories of the village and its
people.
Authored by ex-villager Dr Edmon Wong, an
eminent former scientist, the book is
centered on his translation of the only known
copy of Gwa Leng's original genealogical
record. From material collated from disparate sources, he also writes about
origins; about places and events; and about families long ago and today. This
is a friendly elder's guide for younger generations interested in their historical
roots.
With sincerity and goodwill, and mostly in their own words and pictures, many
of these later generation NZ Gwa Leng families share their own recent day
stories with the three contributing authors in a latter part of the book.
For historical accuracy, the book uses written Chinese characters (not just
romanised transliterations) for original proper names. For readers of Chinese,
it also includes an appendix of a collection of Essays on Gwa Leng by the
former administrative head of Gwa Leng.
This unique bilingual book is a legacy that both honours those past, and
serves those present and still to come.
Paper Back: 180 pages
ISBN 978-0-473-16525-3
Book Dimensions: 189 X 268 X12 mm
Copies are available at a cost of
$30.00 plus postage and packing.
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