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(1310-04-22) Investors and Investment
Summary: Ortolette seeks out Clémentine at l'Opéra Marsilikos with a proposal for an investment.
RL Date: April 23rd, 2018
Related: None.
Auditorium - l'Opéra Marsilikos
The auditorium, the heart of l'Opera Marsilikos, is as opulent as the foyer. Seating in the stalls and circle is upholstered in tones of crushed grape and gold, this matching the safety curtains of the stage and the draperies wound about gilded stucco columns. Several private boxes are available for those that are willing to pay for the privacy and better views of the stage that sitting within one provides, though the grandest of these is reserved for the Ducal family and favoured guests, easily recognised by the de Mereliot Crest it displays. Chandeliers glitter against a backdrop of a night-painted ceiling, and further illumination is provided by crystal sconces affixed to the walls.
It's early afternoon, and within the auditorium of l'Opéra Marsilikos there's a hive of activity afoot. In four days it will be the opening night of the next play that's to be staged here, with the time between the last and this having been filled with a variety of performances ranging from instrumental to vocal to short farcical pieces. Since the middle of the previous week however, the doors have only opened to allow admittance to the front of house only, where patrons might indulge in the comforts the salon has to offer. Within the theatre proper, painters work on scenery that will stun the theatre's patrons on first sight, with huge colourful backdrops depicting scenes from the deserts and cities of Menekhet transforming the stage to a world that few will have seen. Stagehands call and catcall back and forth as they climb like monkeys amongst the scenery, and a knot of musicians in a gallery to the side work through the pieces that'll accompany the players. The hubbub and busyness appears to have brought out anyone and everyone that's connected with the the theatre and its production, no less a certain fiery-headed woman that's draped herself within the comfort of a front row of seats in the stalls. She holds a silver pan flute to her lips, laughter not far from either herself or her companion as a couple of actors go through their lines on the stage. This is theatre. This is Clémentine's domain.
Ortolette had got caught in the rain some days since, and now, as one might only expect, there is a dampness in her lung and her breathing is fitful. Otherwise, however, she is feeling well, and so she has taken to her chair and decided to visit the theatre anyhow, accompanied by a burly guard who is well apt in the manner of maneuvering the rather bulky contraption about the streets and over any ostacles which might present themselves. When she crosses the threshold into the auditorium, what little breath she has is near to stolen from her by the buzz of activity, the colorful sets and the mirthful music. Ortolette draws the blankets near up to her chin, a cough making her frail shoulders shake, and then she gestures for Girard to set her somewhat better upright, so that she is sitting up a little more than reclining. With kerchief in hand, she suppresses her coughing and straightens her shoulders— meant, no doubt, to produce the general impression of maturity and gravitas, but her wide doe-eyes are still awed by the surroundings, and she may well come off as more a child at a confectioner's than otherwise.
It'd be due to Clémentine's training within Salon Lis d'Or that has her instantly note the arrival of Ortolette to the auditorium. Either that, or it'd be down to the young lad that darts quickly towards the red-headed songbird and informs her of the fact. She's quick to turn and focus attention on the Duchesse's daughter, and there's nothing but warmth to be found in the smile that alights on her face. The distance is a little to great to call out to the girl, so instead she rises to her feet and beckons Girard to bring Ortolette closer. The floor is level and obstacles minor since this is the floor of the auditorium and not a box perched in the circle, and once the distance is a little lessened, she offers the perfection of a deeply swept curtsey. "Welcome to the noise of a rehearsal in full flow," she says, dimples pressing her cheeks with a smile. "Would you care to watch for a while?"
Ortolette's eyes dally over everything— this detail, that preparation, each with the eager zeal of one who is passionate to the utmost for the theatre. It all quite nearly draws tears from her. As it stands, her eyes water softly from the sheer stimulation and concordance of beautiful works. She doesn't even mark the beckoning, but as she is moved further forward her eyes focus on the beautiful proprietor of the opera who comes to meet her. She bows her head in a reciprocal gesture, about all that she can manage from her seated position, and her delicate fingers play with the blankets which cover her lap. "Oh, Ma'm'selle Clémentine! May I do so?" must be akin to a yes. "The sets are so beautiful," her voice touched with the edge of a swoon.
"Aren't they?" Clémentine smiles. "A person could truly believe themselves within the tent of Menekhetian Prince, sprawled upon cushions whilst drinking wine and being hand-fed with honeyed figs, don't you think? Come, sit with me here, and we can talk of the magical world which the play will reveals when the play opens on Friday." A small shoo-shooing motion is given her former companion with a flutter of her fingers as she drops herself into her previous seat, and she waits for Ortolette to be turned and placed alongside her before she continues. "You will be gracing us with your presence, I hope. I can promise you an evening that will transport you to another world. Or…" and a crinkle of her nose accompanies a laugh, "… that is what we are promising."
Girard will do one better, after a nod from Ortolette grants him permission — he simply scoops up the infirm maiden and carries her in the style of a bride into the stall, then sets her alongside Clémentine and takes a quick sweep of his Lady's skirts to make sure they are diligently arranged, covering even the tips of the maiden's toes. "Oh, I do hope I may, Ma'm'selle. I will have to see whether my cough has abated; I will not be the one to mar the production with my coughing. But if not for the opening, I will see it, I pledge, before it closes," she speaks bravely and strongly, and, after a fit of eloquence, she gives in to a coughing fit, turning her head aside to cough into her handkerchief and away from Clémentine. Once she's had a moment to recover and take a few deep breaths, "The cushions— they look so authentic. Are they imported, or made locally to imitate Menekhetian wares?" She is up front in a stall with Clémentine, a rather burly servant (Girard) standing in the aisle a short ways away next to a wheeled couch on which Ortolette was brought into the theatre. There is a myriad of noises and fuss about the place, the company in the throes of last-minute arrangements and rehearsals.
Slipping in through the doors Arielle enters quietly with a single guard following her. The blonde glances around curiously as she makes her way further in, wandering down the aisles till she is closer to the stage. She tilts her head observing the scene around her calmly and with composure. Her gown is a rich emerald green trimmed in silver stitching, its simple in design yet still elegant in appearance. The sound of voices draws her attention towards Ortolette and Clémentine and she offers both woman a soft shy looking smile and a low dip of her head in greeting. She seems to be considering whether or not she should approach or not.
"Do not tell anyone, but they are fake. Well…" Clémentine amends. "Not fake fake, since they are are indeed serviceable cushions, but I am led to believe that our seamstress ran them up from some fabric obtained from a merchant in the market. As to your cough…." A drift of her hand in the air and an upward glance to the box so rarely sees use every night. "Your mother's box is curtained well from those beside it, so I doubt you'd disturb anyone. I do understand your concern, but if your health allows, you should come. Yes you should." Sliding her pan flute into the gap between her hip and her chair, she scoots lower in her seat, stretching her legs before her so that the tips of her slippers peek from beneath her skirts. "I shall give you a tour backstage should you wish," a sideways glance to the girl at her side. "I'm sure though that you didn't happen here by chance today, was there a purpose to your visit my lady?" A pause as she spots Arielle. "Oh, and you came with a friend." A lift of her hand. "Come join us, my lady."
Ortolette presses her lips together over the secret, as though to keep it visibly to herself, pretting two fingers over her pale lips. "Oh— yes, I would adore that. But perhaps we may sit for a while longer? I do — in fact — there was a matter about which I wished to converse with you, Ma'm'selle," she begins, straightening her back in a manner most businesslike, before Clémentine points out her companion. It makes her head to turn, and she looks to Arielle with a mote of confusion before her features brighten with a smile like the petals of a flower before the rising dawn. "No; you are merely a very popular personage, Ma'm'selle Clémentine. As well you should be. There are people knocking down your very door to see you."
"Ah, and so to the truth of the matter," Clémentine chuckles, lifting a hand to beckon one of the workers over. After ascertaining whether Ortolette would like tea, cordial, water or something a little stronger, she sends the lad on his way, fingers curling loosely over the ends of her arms of her chair. She's done an utterly professional job on the renovation of the l'Opéra de Marsilikos, and it basks now in the glory of its sumptuous new decor that echoes the love and care lavished on it. Shades of crushed grape and gilt adorn both upholstery and walls, and Clémentine's fingers stroke thoughtfully over the velvet as her eyes search Ortolette's. "Then the lady can wait, since what you have come to discuss is perhaps not for everyone's ears." And whilst it did seem initially that Arielle might have approached them, she's apparently now quite transfixed by the happenings on stage, and where there might have been an interruption there's now happily not.
Ortolette makes it clear that a tea would be ever so lovely— and she does sort of eye the other Lady who'd entered, as though perhaps wondering whether she was coming for the self-same purpose. But when the other is distracted by the happening on stage (as it is difficult for Ortolette not to be, as well, but she shimmies slightly closer to the opera's keeper, keeping her own attention fixed on Clémentine). "Mademoiselle Clémentine," she begins, in as somber and tender a voice as though she meant to propose marriage, "I have for some years now been able to make investment in certain mercantile endeavors as have seemed wise to me, and have some small coffers of my own now at my discretion for use. I wish to become a true patron of this opera and to finance a show," she declares her intentions.
Clémentine's expression would indicate that Ortolette's request has caught her off-guard. The soft lines of her mouth skew to the left, and the faintest of frowns etches a line between her brows. Her regard of Ortolette is slow and measured. "Goodness, my lady. I had quite decided that you were going to ask for an introduction to one of the players here, or to one of those permanently attached to the Opera House. It is a great undertaking to personally finance a production, and pitfalls are many until something is brought to the stage." She draws a slow breath, taking in the frail figure of the Duchesse's young daughter. She perhaps looks younger than her seventeen years given her lifetime of ill-health, and Clémentine lays a gentle hand across the top of hers where they lie on the blanket. " I find myself a little concerned that you may not realise the full extent of what you wish, but if you are able to tell me the amount you are happy to invest — and potentially lose — I can certainly discuss this with you."
Ortolette does seem quite small. Quite frail. That baby-doll face hasn't yet become that of a woman. And yet there's a quiet certainty in her eyes, a confidence of spirit that lurks below her meagre constitution. "I have lost in mercantile speculation, Mamselle. I know what manner of thing a risk is. And these moneys which my coffers now hold would not exist at all if I had not taken some risk to attain them. You know how much it is that I adore your opera. This is a thing which I have a passion to do. I will of course invest no more than I will be content to consider lost to the effort. But please, do consider me your resource moving forward. If you assent, I will send correspondence with the details of my capacity to fund you."
<FS3> Clementine rolls Perception: Great Success. (4 8 8 8 1 1 6 8 7)
It's the way of the world that for those whom come into the orbit of Ortolette's world tend to want to nurture and care for her, and no less so Clémentine for whom this falls naturally. The smallest of squeezes is given the young Mereliot's fingers before she reclaims her hand and settles back in her seat. She listens quietly as the young woman speaks, her eyes quiet upon hers until she's done and finished with her case neatly put. "I can see that you are quite determined upon your course," she muses, the smallest of smile just starting at the edges of her lips. "And I cannot deny, I have been asking around recently for investment and investors. Much to my regret, it appears that whilst there are those that love to come to l'Opera Marsilikos to be entertained, there are fewer that are willing to make solid investments. If it is not a bone of contention with your mother, and from what you say I believe it is not, then we shall speak further on this. I would interested to know whether you had thoughts already towards a play or operetta in particular that you'd like to bring here."
"My coffers are my own to invest as I will; my mother may not be so fond of the theatre as I am, but the money which I invest here will be that which I have earned, not that which she has given me, and I have full autonomy over its use," Ortolette may give a faint clue that it might not be her mother's first choice for expenditures, but that she has enough independence here to act as she will. "I had some few ideas," she admits, "But my taste in opera tends toward the woesome; I do by far admire a scenario which will make me weep. I realize that tragedies such as these are harder to fill; everyone does so love to laugh. So for the time being I am content to rely on your judgement as to pieces to bring; you have done so well thus far," and she admires her for it; that much is clear. "Perhaps you would assent to my working alongside of you, such as I may, and learning the arts of management which you have so mastered." It's a push, but one which she won't push hard for; she will not want to seem apt to take things over. Still, it may be the beginning of a companionable patronage.
arielleclementinelogortolettesocialtheatrelog


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VinePair Podcast: Can the Restaurant Industry Overcome the Post-Covid Labor Crunch?
Posted by VinePair Staff | Apr 13, 2021 | Wine | 0 |
As vaccination rates across the U.S. continue to rise, Americans are returning to restaurants and bars — even in parts of the country that had previously been locked down. In response, understaffed establishments are looking to rehire furloughed workers or bring in new employees, yet many are facing a new challenge: a labor shortage that is greatly complicating those efforts.
On this week's episode of the "VinePair Podcast," Adam Teeter and Zach Geballe contemplate whether this labor crunch is purely an effect of the pandemic — discussing the issue's roots in long-standing trends in the industry, as well as ways that operators might hope to get around this challenge. Tune in to learn how this labor shortage might force a restructuring of the service industry entirely.
Adam Teeter: From Brooklyn, New York, I'm Adam Teeter.
Zach Geballe: And in Seattle, Wash., I'm Zach Geballe.
A: And this is the "VinePair Podcast." Oh man, Zach, it's feeling a little normal. I don't know about it in Seattle, but it definitely is here.
Z: We possibly could be looking at a 2021 as if 2020 never happened. Obviously, that's not going to be the case. Here in Washington state or in King County, where Seattle is located, a full 25 percent of all people 16 and over are fully vaccinated. I am also counting myself as part of that cohort. Obviously, a great number more are in the process. We're very close to everyone being eligible. I assume it's similar status in New York, but we're definitely heading there, which is cool.
A: It's awesome. What have you been drinking recently? Anything tasty? Anything delicious?
Z: Yeah, it was a big weekend in my life last weekend. On Friday, my sister got married.
A: Oh wow, congrats!
Z: Thank you! On Saturday, we had a very small family gathering to celebrate, and my dad made lamb, and I brought some Languedoc, so a south of France Syrah-Grenache blend, and it was great. It was imported by Kermit Lynch, who usually handles good stuff. I really was going to talk about, and it's been mentioned before, but it reinforced how much more fun and celebratory magnums feel. I think there's a little bit of fetishization in the wine world surrounding magnums. You could read into that whatever you want, but there is something fun about a larger-format bottle that makes those types of occasions feel special. It's also nice because I don't have to worry. If there are 10 people and I open a bottle and everyone wants to have some, am I going to get less than half a glass? That's a bummer. The magnum allows you to have a full glass or close to if everyone's drinking in that setting. Again, it's just something about it. It's two bottles of wine. It doesn't seem that remarkable, but it makes a big difference in a way. How about you, what you've been drinking?
A: I have an admission to make, which as I've stated publicly before, that a Paloma is not a Paloma if it doesn't have grapefruit soda in it. However, on Saturday, we were hanging out with a friend in the park, and we were like, "Oh, let's make Palomas." I ran to the bodega, and they didn't have grapefruit soda so I used sparkling-flavored grapefruit water. I used Spindrift, and it was pretty good. I said to myself, "Wow, I actually like this a lot better than how sweet the Paloma can be when it has the soda in it." I was wrong, I was wrong. I had that on Saturday and that was pretty tasty. Then, last night I met up with a friend and had some delicious wines, a bunch of random stuff from one of these wine bars. I can't even remember the names of the things that we drank.
Z: Sounds like a good night out.
A: Yeah, but that's always the problem and why I've always had this issue with people saying discovery happens in the restaurants. I was out with a friend, and we're at a restaurant. We know the people at the restaurant, but we ordered wines, but I don't remember the names of them because I was just enjoying the conversation and the wine that was in my glass. I was not going to pull my phone and take pictures of the labels. I think between us we had three or four glasses of wine each, and I don't remember them. I remember they were delicious. One was an orange wine, one was a light red, Xinomavro, and the other was the Nebbiolo. But I don't remember who the producer was or what the wine was. That has been the case when I go out to dinner for the most part, whereas when I have wine at home, I'm looking at the bottle all night sitting on my table. If I forget, I could look up my receipt.
Z: Or go digging in the recycling bin.
A: Yeah, exactly. I've always thought that was so weird, at least prior to Covid. There was such an emphasis on the part of producers being like, "We need to be in restaurants because that's where wine discovery happens." I would say maybe you discovered a region in the restaurant where maybe I have a Xinomavro, for example, for the first time and say, "Wow, this is so cool, never had this grape before. I should look for more Xinomavros." I don't know if you truly discover producers in the restaurant.
Z: Well, if you're the kind of person who does pull out the phone and take a picture of the bottle, and I've both served and been that person from time to time, but I think another thing you could do, and it would be acceptable, is you could reach out to the wine bar or restaurant and say, "Hey, I had a really nice time there last night. I know I drank these kinds of wines. Can you just tell me the info behind the bottle?" You're right that discovery in that context, and especially the case with imports, is more about varieties and regions than it is about individual producers. I think domestically, the names of the producers are going to stick in your head more than a Greek name or something that might be hard for a lot of consumers to internalize after just having read it off a menu. They might remember more the variety or the place. I'm envious, I have yet to have a glass of wine out because of Covid. I think it's coming soon. My wife and I, our anniversary is in May. We are going to try and do a celebratory dinner because obviously our anniversary celebration last year was dinner at home, which was the same as the night before and the night after. That might be the first time that we actually have wine that isn't from our collection in over a year, which is wild.
A: Yeah, it is pretty amazing to sit outside because the structures that people have built in New York are just amazing. Last night I was at Kindred, who you know, we've had the owners on the podcast before. The structures that these places have built, like Kindred, are just so incredible. It feels crazy normal. It's just weird.
Z: I have to ask you a question, Adam, about this because I think it transitioned us into our topic, anyhow. Is your sense, both from the restaurant side and from the New York City residents side, that all that stuff is going to stick? Are they going to be a permanent part of the city's landscape? To me, it is a fascinating conversation that's going on all over the country wherein so many places, people have taken up sidewalk space. Even streets have intentionally been closed or greatly reduced in terms of traffic to accommodate outdoor seating. I'm curious, what is your read? Do you think that's going to stick?
A: Yes, 100 percent. At least for the next year, if not longer. I think it's going to stick because a lot of people, even those who are vaccinated, like myself, don't really want to have meals indoors. Who knows how long people will want to do that? I think there will be an expectation that if you are going to dine indoors, there needs to be much more separation there. I'm not sure if we're ever going to go back to the time when you have restaurants where the tables are so close together that when you get up, you potentially could knock over a person's wine glass. I just don't know if we'll ever go back to that again. I mean, think about when you were sitting at a table indoors and you were basically a part of the conversation with the people next to you. if you want to.
Z: Absolutely.
A: I don't think that is going to happen anymore. People are very aware of space. The only way, then, for these restaurants to still be at numbers is to allow them to have these outdoor seating areas. A lot of these outdoor seating areas allow them to have even more seating than they had prior to the pandemic. Yeah. At least from what I'm seeing in New York, most of the restaurants are investing as if it's going to be permanent or at least permanent enough that it's worth the investment. Some of these structures are getting very elaborate. They are running much more like permanent electricity to them. They're taking them from their restaurant, they're going in the air with steel piping and then going into the structures. It's clearly above everyone's head. It almost looks like telephone poles coming out of these restaurants into these structures. A lot of people are investing in beautiful lighting and nice tables and now the structure is closed and locked in a very different way. I remember when people were first doing this, as our friends at Alphabet City Beer Company, Zack Mack posted something where they had their stuff stolen out of their sidewalk structure because they didn't really build the things that you could build at the time to really protect the structure. It was basically a platform with some sides, and they would bring in the tables from inside to outside. Now, people are investing in, specifically, chairs and tables that are for outdoors. A lot of them are now bolted to the bottom of the structure. It's pretty wild. The majority of people think it's going to be permanent because I know people are already negotiating with their next-door neighbors. For example, the way the city of New York is treating this is, you have access to the front of your restaurant. You can take that space equivalent in the street where there would be a parking space. If your next-door neighbor is a barbershop or a nail salon, and they don't need that frontage, you can actually rent it from them. People are negotiating and paying for that space and building larger spaces. I've seen a few people who've done that. When I've talked to the owners, they say, "Yeah, we pay into that landlord." It is interesting. I see people who are making investments because they're assuming it's permanent. Who knows? I'm hoping it is, because it's a nice way to dine. It really is.
Z: It combines two things that are really delightful in lots of other places, including some parts of the U.S., which is dining outside, for the most part, is quite nice. It's true too that if you're dining in around your neighborhood you feel more part of the community in a way. You see people walking by or cars going by, maybe not. People bicycling. It's something that you and I have both experienced where you go to a lot of places in Europe and you go to the centers of cities and like restaurants, their dining areas sprawl into piazzas and squares. They're all over the place, and that's how it is. These are public spaces that are used by the public. They're not parking spots. This isn't a transportation podcast. I don't want to get too deep into it. I think Covid has given us this opportunity to rethink how much space we dedicate in our cities. I would like to see less space for cars and more space for fun stuff like restaurant seating capacity.
A: I think what's so interesting about it all is that New York has always been trying to say that: "We want fewer cars." I think that's a very good thing. It is an opportunity to have these spaces that are really nice. Prior to these structures in New York, it was tables on the sidewalk. That wasn't great for anyone. You had to get approved by the community board. The community board had decided how much of the sidewalk they wanted to be taken up. If you were the last restaurant on the block that applied to the community board, you may not ever get outdoor seating because the community had already decided that there are two other restaurants already that have sidewalk cafes, you don't get one. Also, with the sidewalk cafe, they weren't protected. It's just an open table on an open sidewalk. It allows people to walk right up to you. In a city that does have a homeless population, it wasn't always enjoyable for people to have someone come up and ask for money or try to sell them something. Now with these structures, you walk into it, and sure, it is still open, but you are very much still in the restaurant, if that makes sense. No sidewalk space is being taken up. It's all in the street. That's so great for so many reasons. It's really cool to walk through neighborhoods that have really invested in these and see how cool they are. It's really phenomenal, but that brings us to the main topic of the day, where there is this boom, right? Along with this boom is something that's happening that I think is being reported as a new phenomenon. I think what you're going to add is that this isn't actually new. But there are a lot of articles being published right now, The Times published one today actually about how there's a massive labor shortage. All these restaurants that are reopening are having a really hard time hiring people. I've heard that from everyone that I know in the business in New York, that they cannot find anyone. The reasons for that vary. I had a friend who was a somm is not going to go back to work because she told me that the expectations of the places she's working at is that you're not just a somm anymore. You also are running food and taking orders. That's not what she wants to do. She wants to just be a wine professional. You already predicted in an earlier episode that that was going to happen. It is definitely happening. A lot of wine professionals are choosing not to go back because they don't want to be waiters or waitresses. They just want to be wine professionals. There are people who have found other well-paying jobs that they were into in the pandemic, or had a year's worth of reevaluation if the restaurant life was for them. They found other things to do. Zach, you told me this on Slack before recording, is that there was also a labor shortage before.
Z: Yes. My very first published article about food and drink was a piece about a labor shortage in Seattle restaurants. Restaurants had been coming out of the Great Recession and essentially every year since then, it's just gotten worse. I think there are a lot of reasons that this is true. Some of it has been exacerbated by Covid and some of it are things that this pandemic in the aftereffects might mitigate a little bit. I'm going to provide background for listeners who are not in the restaurant industry and might not be as familiar. One of the things that were happening in Seattle, New York, and San Francisco is you had a fundamental transformation of the restaurant industry. As a server, a cook, a front-of-house worker, server, bartender, etc., you could live in New York. You could live in San Francisco. Now, did you have a glamorous life? Maybe not, although those jobs do come with their own perks. You could have a steady job. You could potentially even have a family if that was the thing you were interested in. We just saw as the tech industry grew, rents got crazier in those cities. People who worked in those cities, in restaurants, could no longer afford to live in them. Unless you had a partner who made a lot more money than you or had an incredible deal on your rent or you were young and willing to eat Top Ramen every day. The idea of a service industry professional, frankly, even for sous chefs, chefs, etc., pay has not kept up with the cost of living in those categories unless you're very successful. As we've talked about in other episodes, people would move to smaller towns and cities or out of the industry entirely because they looked at their bank accounts and said, "I can't do this." I can't tell you the number of people here in Seattle that I worked with who now work for Amazon and say, "I don't really want to do this, but they will pay me enough to live in Seattle. I don't want to live an hour and a half away from the restaurant I work in, that's not fun." It takes away the whole appeal of being young-ish, or at least in an industry that has that dynamic element. They would say, "If I want to stay in Seattle, I got to work for Amazon or I got to get an office job of some sort."
A: The places that I know who is being able to hire are the ones who have dramatically increased the pay.
Z: Yeah, I think there's a way in which we may be coming to a different equilibrium in the restaurant and bar industry than we had pre-Covid. I don't inherently think this is a bad thing. There's a part of me that bemoans this very real fact that we are probably going to deal with fewer full-service establishments than we had pre-Covid because of the labor issue and the cost of labor is remaining very high. If the industry has more places that are counter-service, I don't see that as inherently a terrible thing, but I do think that it does mean that restaurant-goers will have to think about if you're going to go to a full-service restaurant, you're going to pay for the experience. That has always been true but in a lot of ways, it's just becoming more true. It's becoming harder and harder to not charge what you have to charge in order to have a viable business. We're going to see in this next year, how does America as a whole put its money where its mouth has been about restaurants and how much they matter? You might have to pay a lot more. I have another suggestion, but I definitely want to hear your thoughts first, Adam. I always thought that New York was a bit of an exception because of the incredible density of restaurants, that there was always going to be a labor pool there. But it sounds as if that's not the case there.
A: No, even in New York, people are having a really hard time hiring. There's a lot of factors. One is that people realize they can make the same amount of money or better in other jobs. There are fewer people who are willing to deal with the bullshit. It's been a really hard year. I think, going back to being in a service profession where you're going to have a lot of people coming in with a lot of entitlement and wanting to blow off a lot of steam, I don't think that is appealing to a lot of people. At a lot of these restaurants, it's going to be like New Year's Eve every night for a while. The other thing is that people who are going back are doing well. I was talking to a restaurant owner recently who told me there's a restaurant in Brooklyn that is making massive amounts of revenue every weekend because people want to go out. They have a massive outdoor space and they're just making money hand over fist. They're selling really nice bottles of wine. They're selling multi-course meals. It's because the population that would go to this restaurant didn't suffer in Covid. We've talked about this a bunch, they had white-collar jobs that they were able to do from their basement, second bedroom, dining room table, etc., and so they continued to earn. They also didn't spend on travel and things like that in the last year, so they had a lot of disposable income. One restaurant I talked to said that they are selling more $100-plus bottles of wine than they ever have before. People are thinking, "Why not splurge?" They made it through and now I'm eating out. It feels like a special occasion, even though it's no one's birthday, graduation, anniversary, promotion, etc., but we're here. But that is also taxing on a staff. You have people that are becoming harder to deal with in a lot of ways. Other people have found new careers. In this Times anecdote about this sous chef who worked at Marlow & Sons in Brooklyn and said, "What am I going to do for the next year? I'm going to sit here and wait to be a sous chef again? No, I'm going to learn computer programing." He taught himself computer programming and moved to San Francisco. I think a lot of people did that. A lot of people found new careers because it was too up and down for too long. Are we going to come back or are we not going to come back? I think a lot of it is just, f*ck it. I'm going to figure something else out. I always have wanted to do X, Y, or Z, and they did it.
Z: I think you make a really good point about how there was an element of volatility earlier on in the pandemic. At the beginning of 2021, it became a little bit clearer that vaccination programs are going to be ramping up. There was a ton of uncertainty. When are our restaurants going to reopen? Are people going to want to go out and eat? I think for a lot of people, including myself, it was also a rude awakening of just how fragile the industry was. No person who worked in the restaurant industry had any idea that the entire industry could completely grind to a halt in a matter of days. For a lot of people, and especially in some of these big cities that we're talking about, it was completely outside of anyone's field of vision until it happened. As a result, I think it just showed a lot of people just how fragile their situation really was. Obviously, part of that is there were real issues with unemployment insurance throughout the country and getting enhanced unemployment insurance for people. The political dynamic of that is its own thing. I think it showcased to so many people that this industry is extremely fragile. Even if we knew about this fragility on an individual level — I've worked with many, many people who were paycheck to paycheck; one bad shift, one bad week, one untimely illness or injury put them in a really bad financial situation — I don't think we all understood just how fragile the industry as a whole was. It caused a lot of people to say, "I don't want to f*cking do this again. Sure, I like restaurants, cooking, serving, bartending, or being a somm, but frankly, I don't want a job where the next time a pandemic happens, I can be the person who's sitting at home working on their computer, saving money, not the person who's scrambling to file unemployment insurance and hoping that it comes through. It was a stark reminder for a lot of people.
A: You know what else was a big awakening for a lot of people, I think? There was no safety, even maybe less safety in the big restaurant groups. I'm seeing a lot of people, if they are choosing to go back to work, prior to Covid, it was a very cool thing to work for a large restaurant group. I'm not trying to call any of them out, but I think we all know it's the ones that have a hospitality group at the end of their name. They own 12, 15 restaurants. They abandoned their staff just as fast. I think a lot of these smaller establishments really took care of their employees and really fought to take care of their employees. When there is so much competition, these employees can choose and are saying, "Huh, it actually seems like it'd be more fun to work at a place like this. It's smaller, scrappier. I'm going to make about as much money because it's so competitive right now." Basically, if you want someone, you've got to be willing to pay. I know great wine bars across the city that are hiring somms that were at two- and three-star Michelin restaurants in the city because they just want to work at a great place to work. These wine bars really took care of their staff and fought for their staff. People heard about that, and word spread. They want to work there because it's going to be a better environment. It's going to be more fun. It's almost what happened after the Great Recession, where you had a lot of young workers saying, "I'm going to work at a startup. It's just as volatile, but at least it's more fun. I feel like I'm part of something because I got screwed at a big company, too. I lost my job. There was no safety net there. They didn't fight for me." At least the smaller companies in the Great Recession fought to keep their employees, so you had this huge migration of people to startups. I wonder if that's going to be the same thing where we're going to see this huge migration of the workers that choose to stay in the industry going from the large restaurant groups to the smaller restaurant groups. Possibly, to the mom-and-pop restaurant.
Z: How about starting their own? Certainly talked to a number of people on "Next Round" who, pre-Covid, were working for someone else, and decided they were going to strike out on their own. Some of them may have those plans in the works before Covid hit for sure, but I think we're going to hear a lot of those stories of someone who says, "If I'm going to deal with all this volatility, I might as well be doing what I really want to be doing, not working for someone else." I have one other point to make, which I think is connected to this, and I'm curious about your thoughts on this, Adam. I have been thinking about this for the past year. I've been thinking about one thing that might make a difference in some of this whole conversation. I think it would be good to think about, as a society, whether it makes more sense to treat restaurants and bars more like we societally treat the performing arts. We don't necessarily consider that industry's sole purpose and focus to be profit-driven. We see, as in most places, that there is a broader societal benefit to having a symphony or an opera. The idea that there is a societal benefit to having these things, whether it's through subsidies at various levels, or through lower costs in various ways. I think it would be good to think about as a society, looking at restaurants and bars a little bit more that way. I'm not saying that a restaurant or bar should have no responsibility to be financially efficient or successful, but we've seen that we want to treat restaurants and bars as essential businesses. Even in the throes of a pandemic, we want to have options for food and drink, whether it's takeout, delivery, or outdoor dining. Yet, what we saw so much over 2020 in particular was "maybe we try to help you guys, I guess." Again, some of that has to do with the specific politics of 2020, and we don't have to rehash that. I also think it goes to show you that these industries are treated as essential, as it makes the cities like New York, and Seattle, places many people want to live in. Therefore, I think it's incumbent upon us to say more than just support businesses with your dollars, because that's a really inefficient way to do it. At a deeper, societal, structural level to provide some backstop in the way that you see in a lot of European nations, where dining and food are so central to the existence that not supporting restaurants of all different types is just unthinkable. I think America doesn't have a long history of deep culinary appreciation. It's a new thing. I'm not good at writing laws, so I don't have any idea what to do here. But I think it would be good to talk about, as an industry, what are the ways to put in structural supports for this industry moving forward so that when the next crisis comes along, it is more stable than it has been? Also, it could then bring labor back in. Again, this lack of stability explains a lot of why people left the industry. You need to be able to provide stability and not just at the individual employer level because it's really hard on employers to do that. You create really difficult financial issues for employers when they have to be the ones backstopping unemployment. Instead, doing it at the broadest possible level, I think makes more sense.
A: I don't know if it'll happen nationally, but I think smart cities will do it. It goes back to before we started this conversation when we were bantering about the outdoor shelters in New York City. For restaurants, I think one of the reasons everyone's assuming that they will stay permanent is because New York understands that the arts and restaurants are what attract people here. I think the smart cities are now saying, "Sh*t, we had this crazy migration of people leaving our cities. We have offices that say they're not coming back." The way they are going to get people to come back, ultimately, is by creating places that people want to live. It's having exciting restaurants, having a great theater, amazing museums. I think New York will realize this. Other places will, too. I may be the minority here, but I think that in two to three years there's going to be a lot of articles written, so I want to go on the record now. There's going to be a lot of articles written that say that phase we went through where everyone was working from home after Covid was a nice one, but we're also happy back in offices. I think that we are going to have a return to offices for the most part. I think some jobs will be majority remote. I really do think that, in a year or two when we really are through all of this and no one's wondering if they need to wear their mask at their desk etc., there will be a massive return to offices. There's a sense of community that you get there that you don't get elsewhere. We're sitting here arguing that we need to do education in person. I think you're going to start hearing the same argument from certain companies. I know VinePair, for example, we do better work when we're all together. We can brainstorm. We can come up with greater story ideas. We can help fix pieces. We come up with huge package ideas. All that stuff happens because we're in the same office together, and everyone wants to come back. When that happens, there are going to be cities competing for those locations and workers. The way that you get them is you have a place people want to live. If you don't, people will go somewhere else. You look at the places, prior to Covid, that really did that with the breweries. I know we wrote a big piece a few years ago about how Roanoke, Va., revitalized its city by becoming this location for breweries to locate. I think now they have nine or 10 breweries in the city. It created a scene for people who like beer. All of a sudden people want to live in Roanoke. Now, startups are saying, "Let's have an office in Roanoke. It's a cool place to live. There's a good quality of life." It's going to be the same. It's always about money, right? That realization that more people means more tax revenue means better services will cause certain places, potentially New York, maybe Seattle, to try to figure out how they can better support restaurants. They recognize that restaurants and bars are one of the best recruitment tools for getting someone to move to your city. A good sports team, maybe. But the Jets have been terrible forever, and people are still living in New York. It's culture, food, and drinks. That's going to be a big realization. The problem is that so many people just screwed up so badly early on in Covid, but I want to think that some places will move to correct it.
Z: I think so, too. I think they will.
A: Zach, always great conversation. If you have thoughts, listeners out there, shoot us an email at podcast@vinepair.com. Let us know what you think. Let us know if there's anything else you're interested in. We always love hearing from readers. Zach, I'll talk to you next week.
Thanks so much for listening to the "VinePair Podcast." If you love this show as much as we love making it, then please leave a rating or review on iTunes, Spotify, Stitcher, or wherever it is you get your podcasts. It really helps everyone else discover the show.
Now for the credits. VinePair is produced and recorded in New York City and in Seattle, Wash., by myself and Zach Geballe, who does all the editing and loves to get the credit. Also, I would love to give a special shout-out to my VinePair co-founder, Josh Malin, for helping make all this possible and also to Keith Beaver's VinePair's tasting director, who is additionally a producer on the show. I also want to, of course, thank every other member of the VinePair team who is instrumental in all of the ideas that go into making the show every week. Thanks so much for listening, and we'll see you again.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Solidity Interview Questions for Beginners
1) What are the main features of solidity?
2) Explain the concept of gas in Ethereum?
3) What is Solidity and what is it used for?
4) Enlist the major difference between a contract and a library in Solidity?
5) How to create a contract in Solidity?
6) What are the different types of data that can be stored in a Solidity contract?
7) How to declare a function in Solidity and what are the different visibility levels that can be used?
8) What are the different types of control structures available in Solidity?
9) How to handle errors and exceptions in Solidity?
10) What is the Solidity compiler and what is it used for?
11) What is the difference between a contract and an interface in Solidity?
12) What is the Solidity Remix IDE and how is it used?
Last Updated: Jan 17, 2023,
Posted in Interview Questions,
What is Solidity?
Solidity is a high-level, statically-typed programming language for writing smart contracts that run on the Ethereum Virtual Machine (EVM). It was developed specifically for the Ethereum platform but has since been used to write smart contracts for other blockchain platforms as well.
This is used to write smart contracts, which can be used to facilitate, verify, and enforce the negotiation or performance of a contract. It is a contract-oriented, Turing-complete programming language, which means that it can be used to write a wide variety of programs and execute them on the Ethereum blockchain.
Here are the top 12 Solidity Interview Questions with Answers that you could use to test your interview preparation for the Solidity Job Interviews.
Quick Questions About Solidity
Solidity is a Object-oriented Programming Language
Solidity is developed by Christian Reitwiessner, Alex Beregszaszi, and former Ethereum contributors
Solidity is influenced by C++, Python & JavaScript
Solidity programs are run on EVM (Ethereum Virtual Machine)
Solidity uses syntax like ECMAScript
Solidity features are statically typed, easy to learn, supports inheritance & libraries
Solidity file extension is .sol
Solidity applications are voting, crowdfunding, blind auctions, & multi-signature wallets, etc
Key Responsibilities of Solidity Developer
As a Solidity developer, some of the key responsibilities you may be expected to have include:
Writing and implementing smart contract code that meets functional requirements and follows best practices for security and performance.
Collaborating with other developers, designers, and stakeholders to understand and define requirements for smart contract systems.
Testing smart contract code using various testing frameworks and tools.
Deploying and maintaining smart contracts on the Ethereum blockchain, including monitoring for and addressing any issues that may arise.
Staying up-to-date with the latest developments in the Ethereum ecosystem, including new versions of the Solidity compiler, changes to the Ethereum virtual machine, and advancements in blockchain technology.
Collaboration with other blockchain developers to build decentralized applications.
Integration with other systems, off-chain data oracles, and web3 javascript libraries.
Debugging and troubleshooting issues that arise with smart contract systems.
Download Solidity Interview Questions PDF
Below are the list of Best Solidity Interview Questions and Answers
The main features of Solidity are as follows -
Contract-oriented programming: Solidity is a contract-oriented programming language, specifically designed for writing smart contracts on the Ethereum blockchain.
Stateful smart contracts: Solidity allows you to create and manage digital assets, and maintain the state of a smart contract through storage variables.
Inheritance and libraries: Solidity supports inheritance and libraries, allowing for the reuse of code and the creation of more complex smart contracts.
Types and units: Solidity supports various types such as integers, booleans, and addresses, and also has built-in units such as wei, ether, and time.
Event logging: Solidity allows you to emit events, which can be used for logging and debugging, or for triggering external actions.
Error handling: Solidity has built-in error handling mechanisms such as require() and assert() which can be used to validate conditions and throw exceptions.
Gas mechanism: Solidity operates on the Ethereum blockchain, which uses gas as a mechanism to pay for the execution of smart contracts on the EVM.
Gas refers to the fuel that is used to power transactions and smart contract execution on the Ethereum blockchain. Every operation on the EVM requires a certain amount of gas, and the cost of gas is measured in Ether (ETH). When a transaction is sent, the sender must include a gas limit and a gas price, which determine the maximum amount of gas they are willing to pay for the transaction to be processed.
Solidity is a high-level, statically-typed programming language for writing smart contracts that run on the Ethereum Virtual Machine (EVM).
It is a contract-oriented, Turing-complete programming language, which means that it can be used to write a wide variety of programs and execute them on the Ethereum blockchain. It is a key tool for developers working with the Ethereum platform and other blockchain-based systems.
In Solidity, a contract is a unit of code that can contain data and functions that can be invoked and interacted with. A contract can be used to represent a real-world entity, such as a token, an agreement, or a voting system.
while library is a collection of functions that can be called by other contracts or functions. Unlike contracts, libraries do not have their own state and cannot receive or send transactions. They are used to provide utility functions that can be shared across multiple contracts.
Here are some key differences between contracts and libraries in Solidity
State: Contracts have their own state, which means they can store data and maintain a record of their interactions. Libraries do not have their own state and cannot store data.
Transactions: Contracts can receive and send transactions, while libraries cannot.
Instances: A contract can have multiple instances, each with its own unique state. Libraries cannot be instantiated and do not have their own state.
Inheritance: Contracts can inherit from other contracts, while libraries cannot be inherited from.
Functions: Both contracts and libraries can have functions, but the functions in a contract can change the state of the contract, while the functions in a library cannot.
To create a contract in Solidity, you can follow these steps:
Step 1 - Define the contract using the contract keyword, followed by the name of the contract.
contract MyContract {
// contract code goes here
Step 2 - Declare any state variables that the contract will need to store data.
uint public myVariable;  // a state variable of type uint (unsigned integer)
Step 3 - Define any functions that the contract will need. Functions can have different visibility levels, such as public or private, which determine whether they can be called from outside the contract.
uint public myVariable;
function setVariable(uint x) public {
myVariable = x;
function getVariable() public view returns (uint) {
return myVariable;
Step 4 - Optionally, you can also define events that the contract can emit to signal to external clients that something has happened.
emit VariableChanged(x);  // emit an event
event VariableChanged(uint newValue);  // define the event
That's the basic structure of a Solidity contract. You can add more variables and functions as needed to suit your specific needs.
Download Free : Solidity Interview Questions PDF
Solidity provides a number of built-in data types that can be used to store data in a contract. Here is a list of the most commonly used data types:
bool: a boolean value (true or false)
int, uint: signed and unsigned integers of various sizes (e.g. int8, uint256)
bytes: a dynamic array of bytes
string: a dynamic array of characters (strings are UTF-8 encoded)
address: an Ethereum address
enum: a custom enumeration type
In addition to these basic data types, Solidity also supports more complex data structures such as arrays, mappings, and structs.
To declare a function in Solidity, you can use the 'function' keyword followed by the function name and a list of parameters within parentheses. For example:
function myFunction(uint x, string y) public {
// function code goes here
This creates a function called 'myFunction' that takes two arguments: a 'uint' (unsigned integer) and a 'string'.
Functions in Solidity can have different visibility levels, which determine whether they can be called from outside the contract or not. The three visibility levels are:
public: a public function can be called by anyone, including external contracts and clients.
internal: an internal function can only be called from within the contract or from derived contracts. It cannot be called from external clients.
private: a private function can only be called from within the contract. It cannot be called from derived contracts or external clients.
Here is an example of how these visibility levels can be used:
function updateVariable(uint x) internal {
myVariable += x;
function checkVariable() private view returns (bool) {
return myVariable > 0;
In this example, 'setVariable' and 'getVariable' are public functions that can be called from outside the contract, while 'updateVariable' is an internal function that can only be called from within the contract or from derived contracts. 'checkVariable' is a private function that can only be called from within the contract.
Solidity provides several control structures that can be used to control the flow of execution in a smart contract. These control structures include:
if statements: used to execute a block of code only if a condition is true.
for loops: used to execute a block of code multiple times.
while loops: used to execute a block of code repeatedly until a condition is met
do-while loops: used to execute a block of code repeatedly until a condition is met, with the code being executed at least once.
break and continue statements: used to exit a loop or skip an iteration of a loop.
In Solidity, errors and exceptions are handled using the 'require' function and the 'revert' function.
The 'require' function is used to check for a condition and throw an exception if the condition is not met. It can be used to enforce preconditions and postconditions on function arguments and return values. For example:
function divide(uint x, uint y) public returns (uint) {
require(y > 0, "Division by zero");  // throw an exception if y is zero
return x / y;
The 'revert' function is used to revert the state of the contract to the state it was in prior to the current call, and it can also be used to throw an exception with an optional message. It is typically used to revert the state of the contract when an error or exception occurs. For example:
function addFunds(uint amount) public {
require(amount > 0, "Invalid amount");
if (!msg.sender.send(amount)) {  // send the funds
revert("Error sending funds");  // revert the state of the contract if the send fails
Both the 'require' function and the 'revert' function will cause the current function to throw an exception and revert the state of the contract. If the exception is not caught and handled, it will propagate up the call stack until it is caught by the calling contract or client.
The Solidity compiler is a tool that is used to compile Solidity code into machine code that can be run on the Ethereum Virtual Machine (EVM). It takes the Solidity code and translates it into bytecode, which is the low-level language that the EVM can understand and execute. The compiler also checks the Solidity code for errors and warns the developer of any issues.
Take Free: Solidity MCQ & Quiz
While An interface is a way of specifying the functions that a contract must implement, without providing an implementation for those functions. Interfaces are used to define a common set of functions that multiple contracts can implement, allowing them to be used interchangeably.
Here are some key differences between contracts and interfaces in Solidity:
Implementation: Contracts contain both a definition and an implementation for the functions they define, while interfaces only contain a definition.
Inheritance: Contracts can inherit from other contracts, while interfaces cannot be inherited from.
State: Contracts can have their own state, while interfaces do not have state.
Instances: A contract can have multiple instances, each with its own unique state. Interfaces cannot be instantiated and do not have their own state.
Solidity Remix is an online Integrated Development Environment (IDE) for writing, testing, and deploying Solidity contracts. It is a web-based tool that allows you to write, compile, and debug Solidity code directly in your web browser.
The Solidity Remix IDE includes a number of useful features, including:
Syntax highlighting: to help you easily identify different types of code
Auto-complete: to help you quickly and easily write code
Compiler warnings and errors: to help you identify and fix problems in your code
Debugging tools: to help you step through your code and find issues
Test environment: to allow you to test your contract in a simulated environment
To use the Solidity Remix IDE, you can simply go to the website and start writing your Solidity code in the code editor. You can then use the various tools and features of the IDE to compile, test, and debug your code.
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Hawke's Bay Photo News 1962 – Number 043 June
43rd Issue
HAWKE'S BAY'S OWN PHOTO MAGAZINE
[Cover photo – Peter Snell and little Glenda Astwood, seem quite engrossed in each other as they make friends over a pair of Peter's running shoes.]
ROTHMANS KING SIZE REALLY SATISFIES
Extra length …finer filter … and best of all is the tobacco.
HAWKE'S BAY'S OWN PICTORIAL PHOTO MAGAZINE
Editor Philip Moore
39-047 Napier Night 39-931
P.O. Box 169, Napier
Published monthly by The Hawke's Bay Publishing Co.Ltd on the 4th Thursday of every month
MAIL ORDER SERVICE
"Photo News" mailed to you on receipt of 12-issue sub. of 32/6
Batchelor Studios
231 Heretaunga Street W., Hastings
Phone 88-766
Tennyson St., Napier – Phone 7413
Printed photo-litho for the Publishers by Swailes, Hurst and Co Ltd., Napier
Photographs in "H.B. Photo News" may be obtained through –
The Editor, H.B. Publishing Co.
State clearly page number on which photo appears, and a full description of photograph.
Enclose Postal Note to value of –
5/- for 6 x 4
7/6 " 8 x 6
10/- " 10 x 8
(Above prices include Postage)
OUR COVER PICTURES
Front Cover. Peter Snell and little Glenda Astwood, seem quite engrossed in each other as they make friends over a pair of Peter's running shoes.
Back Cover. The one that didn't get away. At last we got a rope around a ship of the Royal N.Z. Navy, in the shape of H.M.R.N.Z. Frigate "Rotoiti".
Bill Baillie gets his reward from Miss Alison Pitcan [Pitcairn] "Miss Brooklands", New Plymouth.
TWENTY-FIRSTS
Anne, daughter of Mr. and Mrs. G. H. Cooper, Te Awa Avenue, Napier, celebrated her 21st in the Manchester Unity Hall.
Lionel Dood, who is pictured here with his fiancee, Miss Jacqueline Cambridge, celebrated his 21st at his home, 53 King Street, Taradale.
Photos by Batchelors Studios
Maraekakaho Hall was where John, son of Mr. and Mrs. J. W. Guerin, "Riverview", Mangatahi, celebrated his coming-of-age.
Bruce and Peter, twin sons of Mr. and Mrs. J. D. Lockart of Twyford, received the key of the door in the Twyford Hall.
Batchelors Studios Photos
Lynette, daughter of Mr. and Mrs. S. G. Boyle, Awarua Crescent, Havelock North, has announced her engagement to Robin, son of Mrs. M. Hill. Haumoana.
A combined birthday and engagement party was held at the home of Mr. and Mrs. I. Lawrence, Latham Street, Marewa, to celebrate the engagement of their daughter Joan, to Lyndsay, son of Mr. and Mrs. C. Martin, Milton Road, Napier.
Batchelors Photos
Joy Thomson and Bruce Lockart announced their engagement at Bruce's 21st Birthday party.
Batchelors Studios Photo
These two boys, Trevor Fox, Napier, and Rodger Moat, Havelock North sailed from Auckland for Australia, early this year, where they will have a working holiday.
Photo by Batchelors Studios
WITHOUT TEARS
Paperhanging without tears, by Allan Baldwin Ltd. of Hastings.
A novel idea by Allan Baldwin, a Hastings businessman has met with an overwhelming response, a course in paperhanging – and free at that – conducted by Mr. Baldwin, himself a master tradesman with a life time of experience behind him.
"Photo News" went along to the Allan Baldwin shop in Heretaunga Street and found it packed to the doors with people anxious to learn how to "do it yourself".
The following pictures show Mr. Baldwin demonstrating the major points and methods of this art. Space here does not allow us to cover all aspects but we hope that anybody interested in making a first class job of their own home will go along to Allan Baldwin Ltd., perhaps take these pictures with them and we feel sure they will get all the help and advice they need.
The height of the wall is measured, the first length of paper cut and checked against the wall, making sure you have two inches overlap each end.
Next stage – cut up all the paper into the correct lengths – note that curl of bottom sheet makes a natural guide to cutting.
After cutting comes the pasting of the paper. Pull top sheet to be pasted to the very edge of table or paste boards and apply paste from the centre, brushing out to the edges, never brush back towards the paper's edge as the paste will seep on to the pattern side.
Following the pasting comes the folding. Here Mrs. Warmsley, a member of the audience, takes a hand. After the paper is folded it is left to soak. Mr. Baldwin would be able to enlarge on this, as soaking time is determined by the type of paper used.
How to shake out the paper ready to hang, catching it as it drops, on the foot.
Do not shake out the full length as it is liable to end up a nasty mess on the carpet.
Complete control of the paper must be had at all times. If you don't get it right first time or air bubbles appear, the paper can be pulled off to within a couple of inches of the top and you can start again.
How to cut those narrow strips. Straight edge of paper is placed to edge of table and mark scribed with a rule and tips of scissors – no pencils please.
To cut off selvedge, paper is brushed to obstruction whether it be skirting door or window frame. Scissors run along where paper meets obstruction then paper pulled away and cut slightly full on the line that appears on the back.
PANTO TIME
For the fifth year in succession the Wairoa Little Theatre presented its Annual Pantomime in Napier. This is the ninth production, but it was only five years ago that the company started to come to Napier. The Little Theatre has been most successful in this yearly trip to Napier that now the show is looked forward to with great anticipation. The panto this year, "Dick Whittington and His Cat", was up to the Little Theatre's usual high standard and with a cast of 62 people it does the company and the people of Wairoa great credit to bring this show to Napier. It must take a great effort and team spirit to transport all the cast, costumes, sets and backdrops for what is virtually a one night stand. We hope this effort will continue for many years to come.
The Fairy Queen (Penelope Dick).
Dick and Felix sail from the Port of London to seek their fortune.
LONDON TOWN
Idle Jack and Lizzie the cook, display their new wealth. Played by Lyall Dick and Ian Dickie.
Harem of the Emperor of Morocco.
Dick Whittington and his cat played by Shona Cooper and Barry Fraser.
ROVING CAMERA
A very popular visitor. The "Rotoiti's" visit was very much appreciated by the folk in the Bay.
Come on folks. How about buying some of this firewood. It's cheap and good burning. By doing so you will be helping the Lions to help others. Perhaps one day you might need some help – you never know.
12th HASTINGS HIGHLAND GAMES
Once again the Hastings Highland Games, the twelfth, became the centre of interest for New Zealand's top sportsmen, pipers and dancers. This year record crowds made the event an unqualified success. coupled with the appearance of those two greats of the running track, Peter Snell and Bill Baillie. Even rain on the Saturday afternoon did not drive the crowds away. Everybody was determined to see Peter Snell run regardless of the weather,
One of the most popular fixtures of the games was the Scottish Country Dancing. Here we see the dancers carrying on regardless of rain on Saturday.
Boxing seemed just as popular despite recent criticism.
Archery was more popular than ever.
Some of the many competitors in the highland dance section. The dancers in this group are performing in the Reel O'Tulloch.
Cyclists riding in a closely packed bunch at speed – jockeying for position.
Ken Sparks, games organiser, takes time off to act as pusher for his son.
CHAMPIONS ALL
Peter Snell breasts the tape.
B. D. McGonagle of Wanganui, under atrocious conditions, clears 13ft. 9ins. in the pole vault on Saturday. It is a great pity he was prevented from making 14ft. on the Monday when his fibre glass pole snapped.
Bill Baillie wins the Greater Hastings three mile handicap.
J.B. Miller, winner of the one mile walk.
J.Cartwright leads the field in the 100 yards women's final.
The Irish Jig, another National Dance which attracts a large entry at the Games.
W. Cruikshank of New Plymouth delights the judge's ear.
One of the most popular events of the games is the Grand Parade, this year held on the Monday. It presented a magnificent scene of costume and colour.
Men's Athletic Section.
Archery Section.
Women's Athletic Section.
Crowd on the stand sit it out despite the rain.
Brian Lincoln finds a dry spot while the competitors pass in the rain.
Three little girls and a brolly.
Arthur Hoskyns of Wanganui, winner of the Marathon receives congratulations from Miss Merrilyn Hollindale and Miss Alison Pitcan [Pitcairn].
Tuckers lightweight team take the first pull of the day with Mr. N. G. Cooper watching the indicator.
Finalists in the eleven inch standing chop go to it. The event was won by Eric Paterson.
Ray Graham was just a little slow in finishing in the jigger chop so Jim O'Brien starts to speed things up from the bottom.
Ray beats Jim and away goes his block.
Vic Watkins winning the caber toss.
Joyce Kapma tries her hand at "tossing the sheaf".
Roland Bradbury (Hawera), N.Z. Junior Pole Vault Champion, who was runner-up, in open competition to D. McGonagle.
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MARRIAGE VOWS
PANIANANI – TE TAU. At Saint Mark's Church, Takapau, Phylis, foster daughter of Mr. and Mrs. Te Tau, Norsewood, to Va, son of Mr. and the late Mrs. S. T. Panianani of Rarotonga. Best man was Tokoa Taiki, bridesmaid was Florence Russell and the flower girls were Patricia and Kathleen Te Tau. Brownies from Norsewood formed a guard-of-honour for the young couple.
Wendy Studios, Takapau
RICKARD – WRIGHT. At Saint David's Church, Norsewood, Patricia, daughter of Mr. and the late Mrs. C. Wright of Christchurch, to Garry, son of Mr. and Mrs. K. I. Rickard of Hastings.
WALSH – JOHNSTONE. Mr. and Mrs. Francis Maurice Walsh, pictured after their marriage at the Baptist Church, Napier. The bride is Dorothy Marion, daughter of Mrs. E. J. and the late Mr. Johnstone, Woodford, Queensland, Australia, and the groom is the son of Mrs. Z. M. O'Malley of Napier.
WEDDING OF THE PAINTED DOLL
Recently the primers of the Takapau School, staged a play based on the song, "The Wedding of the Painted Doll". The play, produced by the Infant Mistress, Mrs. Burgess, included the 130 children in the infant department, was an outstanding success and was well attended by people as far away as Napier.
The wedding group from left to right: Jill Mulvaney, Patricia Burgess, Andrew Young, Helen Hobson, Marie Fayen, Bill Parsons (Groom), Natalie Tucker (Bride), Rebecca Partridge, Ranna Renata, Sandra Savage and Mandy Allen.
Children saying Grace before the Wedding Breakfast.
Dancers entertaining after the wedding.
DEBUTANTES PRESENTED
Debs at Saint Mary's Parish Ball, Waipukurau, before being presented to the Very Reverend E. R. Guymer, Dean of Waiapu and Mrs. Guymer. Left to right: Shirley Leipst, daughter of Mr. and Mrs. Leipst, Edith Price, daughter of Mr. and Mrs. E. G. Price, Sonia Rogers, daughter of Mr. and Mrs R. M. Rogers and Kay Norris, daughter of Mr. and Mrs. K. S. Norris.
Wendy Studios Photo
EXHIBITION SKATING
An exhibition of skating, organised by the Revue Skating Club for the Maori Education Foundation was a great success, with exhibitions by Miss Jennifer Lord of Auckland and Mark Lind of Hamilton.
Skating par excellence. Miss Jennifer Lord was a treat to behold. Miss Lord was runner-up to the world title holder at the world championships at Fort Worth, Texas, U.S.A. Seen here are just a few pictures showing the skill of this fifteen-year-old skater.
Mark Lind shows his skill and speed to the delight of the crowd.
A novel race organised by the club was a horse race on skates.
HIGH FASHION by JENNY LEE
Fashions for everyone. A most successful parade of the latest ideas in fashion was shown by Jenny Lee at the War Memorial recently. Creations for both day and evening wear were displayed to the audience and featured here are just a few of the models shown.
This John Barry ensemble modelled by Marilyn is in golden pheasant velour.
Margery in a cocktail dress of silver embossed brocade.
Jenifer models a ballerina dress of petal pink silver embroidered perlon.
Shy violet chiffon embroidered with deep purple violets was chosen for this cocktail dress worn by Jill.
Marilyn presents a ballerina dress and stole in black lurex embroidered with gold roses.
A royal blue and white "Twist" party dress worn by Jenifer.
Jill models a coat of cream facecloth, double buttoned with Italian Lamb collar and cuffs.
This kingfisher blue, John Barry coat presented by Jenifer has an attractive stole collar.
This coat of forest-green mohair has striped mink collar and cuffs. Modelled by Margery.
Mr. and Mrs. EDWARD O'DOWD pictured after their recent marriage in Napier. The attendants were Helen Caldwell and Graham Angus. The bride was formerly Miss Faye Russell.
SHAW – PRITCHARD. Wellington is to be the future home of Mr. and. Mrs. T. J. Shaw, who were married recently at Saint Columba's Church, Taradale. The bride is a daughter of Mrs. F. E. Pritchard, Elbourne Street, Taradale, and the groom's parents are Mr. and Mrs. J. R. Shaw, School Road, Gisborne.
JONES – SMITH. At Saint John's Ambulance Hall, Hastings, Miss D. Smith, daughter of Mr. and Mrs. K. C. Frater, Beatty Street, to Mr. D. A. Jones, son of Mr. and Mrs. Robinson, Beresford Street. Future home – Kawerau.
NEALE – CROMPTON. At the Methodist Church, Napier, Maureen Edith, daughter of Mr. and Mrs. L. E. Crompton, Maxwell Street, to Barry Robert, son of Mr. and Mrs. R. A. Neale, Carlyle Street. The attendants were: Miss S. Mulholland, Miss P. Young, Mr. G. Lawrence, Miss P. Ford and Mr. K. Crompton. The young couple will make their home in Napier.
FIPPARD – FLEMING. The wedding of Helen, daughter of Mr. and Mrs. John Fleming, Pukahu, and Bruce, son of Mr. and Mrs. N. B. Fippard, was solemnised in Saint Matthew's Church, Hastings. The Bridal party from left is, Pamela Low, Ross Fippard, Janet Hooper, Groom and Bride, Robert Fleming, Glenys Powdrell and Graeme Reid.
Lovell-Smith Photo
Janis Durand, the outstanding swimmer of the year who won every title possible in her grade. She also broke many records, some even three times during the season. Presenting the cup is Mr. Ron Shakespeare – Club and N.Z. President – who has been appointed Swimming Team Manager for the Empire Games.
"Tut" Geddes presenting the new "Tut" Geddes Cup to Senior Diving Champion Pat Kerrisk. Tut won the Barden Cup ten times in succession during his career and was given the cup – which is now covered with names – for safe-keeping.
The Heretaunga Swimming Club held their annual presentation of trophies in the Labour and Trades Hall. Above we see the ladies of the Social Club and Committee who were presented with boxes of chocolates in appreciation of their efforts during the season.
SMART IDEA
Young Ross Farquhar of Napier South had the bright idea of running a film show in his father's shed during the school holidays. With a small admission charge – proceeds to be donated to Dr. Barnado's Homes – the response from the small fry was over-whelming.
A young customer buys her ticket from the cashier – Ross.
The crowded shed, with everybody impatient for the show to start.
AUTUMN FLOWER SHOW
It is with regret that this Autumn Show by the Napier HorticulturaL Society may be the last for same time to come. Due to lack of public support the society is finding it more and more difficult to put on these displays. This magazine hopes this is not the last show, as it has been a great pleasure to go along and see the fruits of local gardeners efforts – particuIarly the childrens.
Prize winners all.
Another prize winning exhibit by Mrs. Wimsett.
Little Helen O'Donnell of Hastings holds an outsize in carrots.
Mrs. Wimsett holds the Champion of Champions under the admiring gaze of Mr. A. C. Mackie, the judge.
Miss M. G. Spriggs, judge, and Miss Corbett, steward, admire the winning exhibit in the open decorative section.
TARADALE HELPS MAORI EDUCATION FOUNDATION
In an effort to raise funds for the Maori Education Foundation, a gala and hangi held jointly on Taradale Park recently was well attended by members of the public and it looks as if the Foundation will benefit quite considerably.
The day started with the preparation of the hangi, the stones having been heated and the experts are just covering the food – as only the Maoris know how – to ensure success.
The afternoon started with displays by Taradale's own marching teams. They have three now and the senior team is shown above.
Then came the chopping, always very popular, climaxed with that very tricky chop – the jigger chop.
Two young babies, Dawn and Janie Paul of Maraenui, are quite content to take their refreshment from a bottle.
KARATE SELF DEFENCE
Graeme Frederikson blocks an upwards blow from Peter Reid and is about to punch the stomach.
Karate, a comparatively new type of sport, was demonstrated at Taradale Park recently under the direction of Mr. Ray Frederikson, organiser of the only full time Karate Club in New Zeaiand. Karate, as a sport, is considered one of the fastest of its kind and as a means of self-defence is almost unrivalled. At no time are blows allowed to fall – all blows being stopped short. This is sound reasoning as serious injury could result.
Ian Jennings makes knife attack. Marshall McDonagh counter attacks with a snap kick.
Graeme Frederikson comes in to attack and is warded off by Peter Reid, using his feet.
Ian Jennings delivers a chop to the neck. Ken McLennan ducks and throws a punch to the ribs.
Paul Harris blocks a downwards blow and is ready with a punch to the stomach.
Ken McLennan blocks punch by Paul Harris and is about to deliver a back fist strike to his neck.
Mr. and Mrs. F. M. Martin of 104 Gascoigne Street, Hastings, who recently celebrated fifty years of marriage.
Photo by Russell Orr
NAPIER WEDDING
TOSCANO – MURRAY. At Saint Patrick's Church, Napier, Diane Elizabeth, eldest daughter of Mr and Mrs. A. F. Murray, Nelson Crescent, to Anthony John, eldest son of Mr. and Mrs. V. Toscano, Wellington. Future home – Wellington.
Mr. and Mrs. Tom Miller, pictured with their daughter, Maureen, at her 21st birthday party, which was held in the Buffalo Lodge, Takapau.
WEDDING PHOTOGRAPHS
To keep wedding photographs in proportion to other material in Photo News, we ask you to send in a 3 x 4 glossy print of the couple only.
However, for those who particularly want a 6 x 4 wedding group, Photo News will publish such groups on receipt of a ten shilling postal note with a 6 x 4 print.
EASTER FESTIVAL OF THE ARTS
The Napier Easter Competitions set its usual high standard once again this year and we present here just a few of the 1200 competitors who took part in the festival this year.
Ballet group on stage.
Pretty little Linda Dagg faces the camera just before she faces her audience.
Carol Honeyfield performs a very attractive solo.
Annette McCutcheon and Lynett Allis who both performed very competent skipping dances.
A group of happy attractive dancers, Carolyn Young, Jennifer Tarplett and Nerida Forward, all of Napier.
Sharon Brabener of New Plymouth performs another type of dance.
The winning tap group, Lynette Ansin, Murray Owen and Linda Dagg.
Last minute briefing.
Anzac Day was held this year with very little change. Everywhere in Hawke's Bay, people assembled at Cenotaphs and Memorials to remember those who left these shores, never to return, but never to be forgotten.
May we not forget our glorious dead. May we not forget the future of our children.
21st BIRTHDAYS
Paul, third son of Mr. and Mrs. A. V. Lightband. Vautier Street, Napier, celebrated at his home.
Kenneth White chose the James Banquet Lounge for his party. He is the son of Mr. and Mrs. F. White, 10 Tripoli Street, Onekawa. Napier.
Photos by Batchelors Studio
Val Jones of Gordon Road, Hastings, is another lass who recently celebrated her coming-of-age. Val, who is now an Air Hostess with N.A.C., is the daughter of Mr. and Mrs. A. Jones.
Julie, daughter of Mr. and Mrs. T. G. Hamilton, Fitzroy Avenue, Hastings, had her party at the Casa Blanca.
Being entertained to tea at the Napier Kindergarten, young members of the Napier Crippled Children's Society round off a full day, after visiting the Game Farm, Fire Station and Aquarium.
A. W. Colley Photo
Mrs. Annie Thomsen, celebrated her 80th birthday at her home in Burnside, Takapau. All, but thirteen of her family were present. Mrs. Thomsen is in the centre of the front row.
TABLE TENNIS CHAMPS.
The New Zealand Catholic Youth Club's table tennis championships were held at McLean Park over Easter. Members came from all parts of the country to compete. The competition was played under New Zealand Table Tennis Association rules to which the Youth Clubs are affiliated.
Above: The final of the women's doubles ("B" Grade) Y. Fisher (Napier) and D. Rayner (Christchurch) versus A. O'Conner (Gisborne) and J. Sharman (Napier).
Judith Sharman of Napier, winner of the women's "B" Grade Singles.
Young Pat Toye of Gisborne in action.
Frank O'Gorman (right) winner of the men's "A" Grade Singles and his opponent Lou Sharman of Napier.
The assembled group of players at the contest.
GRADING DAY
Grading Day at Ebbetts [Ebbett] Park, Hastings, provided some amusing incidents when the still camera stopped action. Featured here are just a few.
Batchelors Studios
AWAY LIKE A ROCKET
"GOT YA"
CIRCLE OF CONFUSION
HENRY CHARLES
A LIVING MEMORIAL
THE MAN HAS GONE – HIS MEMORIAL LIVES.
ODD SHOTS
Wind power. picture showing some of the debris left after the wind had finished with the partly finished, new store of Robert Holt and Sons Ltd., in Ford Street, Onekawa.
A SIGN OF THE TIMES
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COLOUR FOR EVERYONE
Miss Scott holds the interest of her audience.
The use of colour in the home. Miss Valerie Scott, colour consultant to B.A.L.M. Paints, in conjunction with Holts, lectures to a packed audience in the War Memorial Hall, Napier. She demonstrated with the use of fabrics and paintings how colour harmonies and contrasts are achieved.
Colour plays an important part in every home and Miss Scott shows how it can be used to advantage throughout the home.
At the time of Valerie Scott's lectures, Holts organised a competition in which, competitors had to place the ten most popular colours in correct order. This was won by eight-year-old Christine Laidlaw of Otane, and above we see young Christine receiving her voucher, for £50 worth of goods from Robert Holt and Sons, and also a large box of chocolates from Valerie Scott.
A study in silhouette. The industrial skyline of Napier.
A bridge with a difference. On the Waikoau Road that leads in to Holt's Forest from the main Wairoa Road at Tutira, a bridge is being virtually launched across a gorge on the back of a truck.
The top picture shows the truck with bridge structure ready for launching.
A closer luck at the truck shows it is no ordinary vehicle. The wheels are heavy duty truck wheels and a turntable which carries the bridge is built in the centre of the wheel-base on a very heavy chassis.
The gorge with the leading girders of the bridge showing on the left.
The old bridge which is being replaced.
[Back cover photo – H.M.R.N.Z. Frigate "Rotoiti".]
PN043Jun1962.pdf
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Published November 1958 – June 1967
The Hawke's Bay Publishing Company Ltd
967/968/35473


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