Michael Bogle[2]
Sydney
milk bars were design spaces addressing the emergent audiences of Australian
youth of the 1930s. While the later design-driven Sydney coffee shops and
cocktail lounges of the mid-20th century represented new modernist architectural
typologies, the architects and designers of the city’s new coffee shops and cocktail
lounges drew from an archetype established by the Sydney milk bar some two
decades earlier. The milk bars beckoned to a tribal “Bodgies and Widgies”
generation. This essay explores the design development of the Sydney milk bar
and its audiences.
The
language of style is critical to a discussion to the popular culture setting framed
by the milk bar. Susan Sontag observed, the perception of style “is always
charged with an awareness of the work’s historicity, its place in a
chronology.” [3]
In her study of the social and cultural development of Paris restaurants, Rebecca
Spang says the “transformations [of the restaurant] have been not so much a
progression through a series of clearly defined states as an on-going […]
process in which every new understanding […] has opened up the possibility of
yet further re-evaluations and creative departures. The patterns […] are not
linear but emergent.”[4]
A Low Mileage Holiday
Richard
White described the immediate post-war period as the “Heyday of the Holiday”
putting forward a figure of 80-percent for families who travelled “away from
home on holiday”.[5]
Supplementing the desire for leisure travel, of course, was the urban ritual of
“going out”, an interlude of idleness that relieved the tedium of a city job,
studies or casual work. Milk bars were transitional urban and suburban spaces between
work and leisure where labour could be forgotten through refreshments, friendships
and associations. The opportunity to be waited upon or “served” also had allure.
In the
post-war period, high birth rates and an active overseas recruitment programme
drove Sydney’s population to a figure approaching 2.5 million by 1954. This
growth was not at the expense of the rural population (where the population
figures remained static) but through urban migration and foreign immigration.
The completion of the city’s harbour bridge and a well-developed NSW Government
railway and ferry system allowed quick access to the city where urban jobs and
urban infrastructure grew apace. Transport, urbanisation and population underwrote
the activity of “going out”.
Figure 1. The Population Growth of Sydney and
New South Wales, 1921 to 1966.[6]
The Birth of “Cool”
Consecutive
newspaper and media reports of the era reporting on the new phenomena of the
milk bar demonstrate that discernible Sydney tribes with shared cultural
identities quickly adopted the milk bar in pursuit of “Cool” activities.[7]
Generally, they were young, unburdened with family responsibilities and
represented the population segment described as “Early Adopters”. In Cool Rules, Anatomy of an Attitude, Dick
Pountain and David Robins define 20th century Cool as “a new secular virtue,
the official language of a private or subcultural rebelliousness retuned from
generation to generation […]”.[8]
While
“Cool” commonly manifests itself in personal appearance and sartorial
expression, “Cool” is also expressed in interior architecture and design. The
early adoption of new colour, furnishings, lighting, decoration and ironic
cultural references were key elements in the adoption of distinctive venues throughout
the city [9]
The essence of “Cool” is the knowledge, rules and rituals mysterious to the
general public. “Cool as an ethic is exquisitely suited to a life of
consumption rather than production,” Pountain and Robins continue, “because […] [it] can drive new adventurous
and more discriminating modes of consumption […].”[10]
Figure 2. 1947 The potential “Early Adopter”
segments (15-34 years) of the NSW Population Distribution by Age. Total
population 2,984,000.[11]
Within an
Australian context, Nicholas Brown surveys Australian culture to identify what
he calls “the preoccupation of style […] as a phase of social change requiring
new formulations of the self.” The issue of style then reflected the threat of
modernity in fracturing older certainties […] into a mass, consumer culture.” [12]
Brown identifies the consecutive tribal groupings of the “Bodgies and Widgies”,
the “Cools”, the “Rockers” and the “Surfies” as prominent practitioners in the
notion of Cool engrained in the representation of style. Sydney’s
“Cool Hunters” tribes were willing to accept a degree of imposed group identity
as the price paid for secular “information” on what was fashionable within the
“Floating World” of the city’s pleasure seekers. [13]
The recent work of Leonard Janiszewski
and Effy Alexakis at Flinders University on the origin of the Australian milk bar enlarges on aspects of Nanette
Carter’s earlier study “Milk Bar Moderne” to conclusively demonstrate the milk
bar phenomenon first developed in Australia.[15]
[16] From its beginnings in the early 1930s, milk
bars’ emphasis on marketing through design and the use of modernist materials
such as Vitrolite opaque glass and Monel stainless steel detailing had
instantaneous marketing appeal to urban youth.
Some of
Australian earliest milk bars began to emerge in 1929-1932 in Sydney and by
1933, the trend was well underway and charting in the print media. In Hobart, The Mercury’s mainland
correspondent reported in February 1933, “The latest fad [in
Sydney] is the establishment of milk bars. They are small shops in the heart of
the city fitted as bars, with counter and maids, and even the comfort of brass rails
to ease the feet as the customer imbibes and carries on a gentle flirtation with
the girls that serve …”.[17]
The Sydney
Morning Herald reports that NSW Milk Board fostered the milk bar trade and
prior to the appearance of the phenomenon, milk was delivered directly to
homes. In 1932,the domestic trade was 6.4 million gallons and by 1935, when the
proliferation of the milk bar was rapidly expanding, the milk consumption had
risen to 19.4 million gallons.[18]
By 1937, the Sydney Morning Herald
reported there were 790 registered “milk drink shops” in the city.[19]
The milk
bar is also one of Australia’s lesser-known exports to Europe, appearing in the
United Kingdom through initiatives by Hugh D. McIntosh (1876-1942), a Surry
Hills-born identity who established the “Black and White Milk Bar” in Fleet
Street, London in 1934.[20]
The Sydney Morning Herald’s London
correspondent filed an article, “Milk Bar Craze Sweeping Britain” in 1936
identifying the Australian entrepreneur (derisively described by his
contemporaries as “Huge Deal” McIntosh) as the pioneer of this new British
phenomenon.[21]
Following the success of the “Black and White”, he began a chain of British
milk bars.
One of the first milk bars in Sydney (1929) has been
loosely attributed to the Burt Brothers (Norman and Clarence Burt).[22]
In 1934, they opened the apostrophe-free Burts milk bar, 76 Pitt Street, City,
then Burts milk bar, Darlinghurst Road, Kings Cross (1937) and Burts milk bar,
Manly wharf (date unknown). In 1938, the Burts were operating five
milk bars and using some 3,000 gallons of milk per
week.[23]
Despite five outlets, the Burt family retained the family business and played
an active role in the community sponsoring “The Burts Milk Bar Cot”, a charity
associated with the Sydney Children’s Hospital.
Figure 4. Burts Milk
Bar, Darlinghurst Road, Kings Cross, 1937. Designer unknown. Decoration and
Glass, October 1937, p.38.
Similar to the multitude of Australia’s sole operator
urban cafés in the 21st century, milk bars appear to have avoided the
franchising impulse. The small business operator could set up a milk bar within
an existing retail tenancy with credit assistance for shop-fitters, supplements
from milk suppliers and assistance from family. This small business opportunity
characterizes the high representation of early 20th century Greek migrants in
the café and milk bar economy.[24]
A Greek-Australian Joachim Tavlaridis, who had adopted
the name “Mick Adams”, established the Black and White Milk Bar, Martin Place,
one of Sydney’s most celebrated milk bars. Adams
went on to establish a chain of Black and White milk bars in Melbourne,
Adelaide and Brisbane but only opened a second Black and White milk bar in
Sydney.[25] Like Burts milk bar, the
Black and White milk bar, Sydney was also a generous supporter of local
charities, including those associated with children’s health.
“Youth Quake”
While the
popularity of the milk bar illustrates its appeal to the general public, the
milk bars were immediately attractive to Sydney’s youth. In 1938, Sydney’s
daily newspapers were reporting a surging “youth quake” in the city with
headlines such as “Larrikins in Café” and offering an account of a “mob of 10
to 15 larrikins” invading an Oxford Street milk bar.[26]
[27]
The spectacle of an interior architecture that opened directly onto the street,
the bright colours and reflective surfaces of the frontage, the novel
furnishings and, of course, the flavoured milk drinks, proved irresistible to
tribal youth.
As the phenomenon grew, the postwar “bodgies and
widgies” subculture engaged with the milk bar. A journalist from the Sydney Morning Herald went to a Kings
Cross milk bar to see them in action in 1951. “It was clear that they treated
the place as a
club. Every now and again, a bodgy or widgy would stroll in, nod to the others at nearby tables, talk for a while, and
go out again.[28]
In Sydney, the milk bar proved to be immediately “Cool”. For the bodgy
and the widgy and their camp followers, personal appearance and sartorial
expression were fundamental issues and milk bars provided a venue for the spectacles.[29]
The Victorian novelist, William Dick, wrote at
length about a suburban Footscray milk bar in and describes an archetypical
milk bar in loving detail.
Entering from the front door, there was a glass
counter and showcase running along the left wall where they sold every type of
soft drink and sweet that you could imagine. Right around the three walls ran a
five-feet wide mirror. The mirror commenced about three feet from the floor.
[…] The walls were painted in gaudy bright colours, each of a different hue.
There was a radio installed, a juke box and two slot machines. The whole of the
space left was taken up with three
rows of laminated tubular steel booths, each in
a different colour Laminex. It was a fairly large shop and made a terrific
hang-out. […] The shop was situated in a corner opposite the best picture
theatre in [Footscray], the Star, and the next best theatre, the Gold.[30]
Commenting
on Australian issues of style, Nicholas Brown argues “the issue of style […] reflected the threat of modernity in
fracturing older certainties and solidarities of class, faith and morality into
a mass, consumer culture.”[31]
These challenges to the prevailing order in clothing, social behaviour and the
pursuit of leisure could (and would) coalesce into “new identities” fostering
the adoption of new styles and new settings.
Milk Bar Typologies
In the
development of the architecture of the milk bar, two typologies quickly emerged,
the “Cinema milk bar” integrated into new cinema architecture and the much-reviewed
and illustrated “retro-fitted milk bar” designed and built to occupy a
conventional rectilinear floor plan in a commercial strip development. Few
urban strip milk bars appear to have been built to an original milk bar
specification on a vacant site.
Cinema Milk Bars
The development of a typology of
purpose-built cinemas integrating a milk bar and/or café into the façade and
streetscape precisely correlates with the Metro Goldwyn Mayer campaign for
ownership and control of Australian cinemas in the 1930s.[32] The firm known as 20th
Century Fox Local acquired a controlling interest in the Australian distributor
Hoyts in 1930. By 1948, a major Australian film industry journal, Film News, was regularly clarifying the
importance of cinema design and presentation. “Only in the correct setting can
a film impart the full richness of its entertainment value. Quality product
alone is insufficient to maintain the motion picture as the foremost
entertainment medium for the whole community.”[33] A “US style and scale”
was considered essential for a successful (and “correct”) film publicity
campaign.”[34]
The Crick
and Furse practice
Crick and Furse were Sydney’s foremost
cinema architects to introduce “US style and scale”. The practice began in 1935
with the principals of Guy Crick and Bruce Furse. Crick (1901-1964) was a
Hobart-born architect first registered in Victoria where he served his articles
with E.J. Ruck.[35]
After returning to Tasmania, he moved to Sydney in 1924 to work in the office
of Henry White, a practice with significant experience in cinema design. White
has more than 130 theatres to his credit, most designed in an “atmospheric”
Orientalist style.[36]
Crick was certainly well placed to
profit from a shift to a modernist cinema style as his brother Stan Crick
(1888-1955) was the Managing Director of American
Fox Film Corporation (Australasia) Ltd in 1922. Fox and Hoyts film distribution
were fully integrated by 1930.[37]
Bruce Furse (1906-1967) was a Sydney
Technical College student and articled with Wiltshire & Day, Sydney. He
began an independent practice in in 1933 and began his association with Crick
two years later. Furse has been described as a lighting specialist and an experimenter
in modernist interiors. The joint practice was noted for lighting effects and
their Savoy Theatre, Wollongong was described as having “hundred of feet of
concealed lighting”.[38]
The
surviving elevations and illustrations of the Crick and Furse cinemas show
their Sydney and rural practice relied on an asymmetrical theatre façade
massing with the cinema entrance centred in the larger section of the elevation
despite the scale of the streetscape composition. This convention also persists
in their corner location sites. Large-scale Moderne
ornamental treatments in masonry characterised by the theatre architecture
specialist Ross Thorne as “Expressionist” is typical of their street
elevations.[39]
The
asymmetrical elevation and streetscape treatment a provided a degree of
dynamism to the composition and the displacement gave Crick and Furse a
location for the insertion of a milk bar. Crick
and Furse’s
integration of a milk bar into the cinema experience was not a case of
“retro-fitting” modernist design into an existing building but provided
examples of a new architectural typology.
The Retro-fitted Milk Bar
While
Sydney’s Crick and Furse’s cinema & milk bar nexus created a new
architectural typology for Sydney’s integrated developments, most of the milk
bars were adaptive re-use tenancies in commercial strips in the urban and
suburban locations. The Frank G. O’Brien design of 1935 for Morrison’s Milk
Bar, Liverpool Street, Sydney characterises many of the developments to follow.[40]
For many
of the retro-fitted milk bars, the journey begins with a glazed showcase in Moderne ornamented stainless steel (or
tile) display case for confectionary while a long curved service counter is
visible through an oversize open entrance. Visual access and an interior
architecture drawing the eye inward is an essential strategy insuring that the
milk bar customers may see and be seen.
In planning
terms, the disposition of internal space follows the boundaries of the tenancy with
a rectilinear floor plan with design work restricted to the below-awning
elevation. While the cinema milk bar provided a streetscape spectacle, this milk
bar was a boulevard attraction scaled for the pedestrian. Many of the earliest Sydney
milk bars were not designed by architects but developed by in-house designers
for the Sydney shop-fitter and display designers such as Frank G. O’Brien and H.
and E. Sidgreaves.[41]
Figure 7. Streetscape spectacle. View from
Liverpool Street. “Morrison’s new Milk Bay, Liverpool Street, Sydney.” Designed
by Frank G. O’Brien Ltd. Decoration and Glass, January 1936, p.35.
In the late 1940s, the Lipson and Kaad practice
and other professional architects and designers began pursuing milk bar work.[42]
While their Hawaii Milk Bar for Repin’s (Lipson, Kaad, Fotheringham and
Partners), Pitt Street opened in 1946, Lipson and Kaad’s most publicised
commission has been Patricia’s Milk Bar, Wynyard (1948).[43]
This milk bar is noted for its
three-dimensional mural by Douglas Annand (and its later facsimile in the
exhibition at the Powerhouse Museum, Sydney and catalogue publication in
“Modern Times”).[44]
Patricia’s Milk Bar also gained some unwanted publicity in a 1950 pre-Christmas
break-in when the milk bar’s safe (and interior) was blown up with gelignite
and a considerable sum taken.[45]
Although the 1950s milk bar continued to
embrace the earlier model of narcissistic interior architecture, there were new
furniture designs, lighting innovations and materials available. But a typology
change was imminent and not every milk bar owner, whether as an independent or
chain operation, was nimble enough to adapt to the shifting demands of the
youth audience.
These mid-century changes can be seen in the
work of less-known Sydney milk bar architects such as Mrs A.C. Zacharewicz’s
Taylor Square milk bar, the Penguin Inn (1953) and Double Bay’s One, Two, Three
milk bar (ca.1958) by F.J. Zipfinger.[46]
By the late 1950s, Zipfinger’s Double Bay milk bar was prominently displaying a
new accessory that would displace the milk bar, the espresso machine.
As Sydney’s
milk bars faded in popularity, the post-war espresso bar and coffee shop assumed
a place in a new tribal setting. The patrons of the “craze” for coffee shops in
the “Atomic Age” assembled into a new breed of “Cool Hunters” as the teen
armies of bodgies and widgies retreated or grew to maturity. “The major
change,” observed Hotel and Café News in
1955, “is the way youth has invaded the cafe scene.” Following the “Bodgies and
Widgies” era; a new generation of worldly urbanites colonised the city’s coffee
shops anticipating moving amongst murals and modernist furniture.
Architects and designers began to take notice
of the evolving interior architecture and wrestle away the milk bar commissions
formerly enjoyed by Sydney’s shopfitters and their in-house designers. Then
architectural firms and designers such as F.J. Zipfinger, Bunning and Madden, Imre and
Gyula Soos, Henry Kurzer and Gordon Andrews began re-vitalise the milk bar
archetype to produce espresso bar interior architecture that had no precedent
in urban Sydney.
This
essay is drawn from milk bar research for an extended 2013-2014 exploration of
the development of Sydney espresso bars and cocktail lounges for the chapter
“Architecture, Coffee and Cocktails” in Leisure
Space. The Transformation of Sydney 1945-1970, Paul Hogben and Judith
O’Callaghan, UNSW, 2014.
ends/
[1] Acknowledgements to Nanette Carter for the
title of her essay “Milk Bar Moderne” in Modern
Times. Ann Stephen, Philip Goad, Andrew McNamara, eds. Melbourne University
Press, 2008, pps.120-129.
[2] This essay is drawn from milk bar research
for an extended 2013-2014 exploration of the development of Sydney espresso
bars and cocktail lounges for the chapter “Architecture, Coffee and Cocktails”
in Leisure Space. The Transformation of
Sydney 1945-1970, Paul Hogben and Judith O’Callaghan, UNSW, 2014.
[3] Susan Sontag. “On Style.” in Against Interpretation. Delta, 1981,
p.18.
[4] Rebecca Spang. The Invention of the Restaurant. Harvard University Press, 2000,
p.3.
[5] Richard White. On Holidays. Pluto Press, 2005, p.147.
[6] Figures drawn from Wray Vamplew, editor. Australians. Historical Statistics.
Fairfax, Syme and Weldon Associates.
[7] Mahmood Mamdani. “What is a Tribe?”
London Review of Books. 13 Sept 2012,
pps.20-22. See also Benedict Anderson’s Imagined Communities, Verso, 1983 and subsequent editions.
[8] Dick Pountain and David Robins. Cool Rules. Anatomy of an Attitude.
Reaktion Books, 2000, p.165.
[9] Notably, “the practice of feigning
boredom” when exposed to new experiences and settings. Dick Pountain and
David Robins. op. cit., pps.114-115.
[10] ibid., pps.165-166.
[11] Figures drawn from Wray Vamplew, editor. Australians. Historical Statistics.
Fairfax, Syme and Weldon Associates.
[12] Nicholas Brown. “The exacting
culture and politics of style in the 1950s.” in The Forgotten Fifties. John Murphy and Judith Smart. Australian Historical Studies, 109,
October 1997, pps.49-63.
[13] David Trotter. “Lady Chatterley’s Sneakers.” London Review of Books, 30 August 2012,
p.3. See Dick Pountain and David
Robins, Cool Rules: Anatomy of an
Attitude. Reaktion Books, 2000
[14] Acknowledgement to Nanette Carter and her
essay “Milk Bar Moderne” in Modern Times.
Ann Stephen, Philip Goad, Andrew McNamara, eds. Melbourne University Press,
2008, pps.120-129.
[15] Nanette Carter. “Milk Bar Moderne”.
pps.120-129.
[16] Leonard Janiszewski and Effy
Alexakis, 2009. “Shakin’ the World Over: The Greek-Australian Milk Bar.” In M.
Rossetto, M. Tsianikas, G. Couvalis and M. Palaktsoglou (Eds.) Greek Research in Australia: Proceedings of the Eighth Biennial
International Conference of Greek Studies, Flinders University, 2009.
Flinders University Department of Languages - Modern Greek: Adelaide,
pps.320-332. Accessed. 23 November 2012.
[17] The Mercury, Hobart, 15 February 1933.
[18] “Quenching a Thirst”, Sydney Morning Herald, 1 January 1937
[19] “Quenching a Thirst”, ibid.
[20] Chris Cunneen, 'McIntosh, Hugh
Donald (1876–1942)', Australian
Dictionary of Biography, National Centre of Biography, Australian National
University,
http://adb.anu.edu.au/biography/mcintosh-hugh-donald-7373/text12811, accessed
19 November 2012.
[21] Special Correspondent. “Milk Bar
Craze Sweeping Britain.” Sydney Morning
Herald, 9 December 1936, p.18.
[22] “Sydney’s Latest Milk Bar.” Glass. November 1934, pps.18-22.
[23] “Milk Drinks. Increase in Price.” Sydney Morning
Herald, 30 March 1938
[24] Leonard Janiszewski and Alexakis,
Effy 2009. Shakin’ the World Over: The Greek-Australian Milk Bar. In M.
Rossetto, M. Tsianikas, G. Couvalis and M. Palaktsoglou (Eds.) Greek Research in Australia: Proceedings of
the Eighth Biennial International Conference of Greek Studies, Flinders
University, 2009. Flinders University Department of Languages - Modern Greek:
Adelaide, pps.320-332. See also Toni Risson. Aphrodite and the Mixed Grill. Greek Cafés in
Twentieth-Century Australia. Queensland Arts Council, 2008.
[25] ibid., p.324-325.
[26] “Larrikins in Café.” Sydney Morning Herald, 5 December 1938.
[27] Melissa Bellanta. Larrikins. A History. UQP, 2012.
Bellanta considers the larrikin as a member of a loosely defined subculture
comprising “dress styles, leisure pursuits, cultural practices and social
networks” centred around prescribed locations. The larrikin was involved in a
“scene” as part of the larrikin subculture. The term “scene” has theatrical
implications and associations for the milk bar setting. See Ballanta, c.f.
p.195
[28] “When a Bodgy meets a Widgy in a Milk
bar.” Sydney Morning Herald, 3 January 1951, p.2.
(plural spelling commonly “Bodgie” or “Widgie”.
[29] Sartorial and grooming associations of
Cool are reviewed in Dick Pountain, David Robins,
Cool Rules: Anatomy of an Attitude. Reaktion Books,
2000, pps.114-115
[30] William Dick. A Bunch of Ratbags. Collins, 1965, pps.170-171.
[31] Nicholas Brown. “Culture and Politics of Style
in the 1950s.” in The Forgotten Fifties.
John Murray and Judith Smart, editors, Australian
Historical Studies, 109: October 1997, pps.49-51
[32] ibid. p.80
[33] The Film Weekly, 18 March 1948, Supplement, p.4, p.5, in
Ross Thorne. “The visual and aural
environment as part of the ‘presentation’ used to attract audiences to picture
theatres, circa 1910 to 1955.” People
and Physical Environment Research, 58-60, 2006, pps.68-86.
[34] Ross Thorne. “The visual and aural environment as part of
the ‘presentation’ used to attract audiences to picture theatres, circa 1910 to
1955.” People and Physical
Environment Research, 58-60, 2006, pps.68-86. Thorne draws on D. Collins. Hollywood Down Under: Australians at the
Movies: 1896 to the Present Day. Angus and Robertson, 1987.
[35] Australian Institute of Architects,
NSW. Architects Bibliographical Information files.
[36] Julian Thomas, “White, Henry Eli
(1876–1952)”, Australian Dictionary of
Biography, National Centre of Biography, Australian National University,
http://adb.anu.edu.au/biography/white-henry-eli-9074/text15995, accessed 23
November 2012.
[37] A. F. Pike, “Crick, Stanley Sadler
(1888–1955)”, Australian Dictionary of
Biography, National Centre of Biography, Australian National University,
http://adb.anu.edu.au/biography/crick-stanley-sadler-5820/text9881, accessed 23
November 2012.
[38] “Wollongong Theatre.” Building and
Construction, Sydney Morning Herald,
11 August 1936.
[39] Ross Thorne. “Modernist Forms in
early 20th century Theatres in Australia.” Fabrications,
September, 1994, pps.87-113.
[40] “Morrison’s New Milk Bar, Liverpool
Street, Sydney.” Decoration and Glass,
January 1936, pps.34-35.
[41] Frank G. O’Brien Ltd. was a Sydney
design and retail firm working in specialty glass, Formica®, furniture and
shop-fitting. H. and E. Sidgreaves were involved in shop-fitting.
[42] Lipson’s pre-war work had included
the California Café, Kings Cross opened by the American Entrepreneur Dick
McGowan. Mandy Sayer. “Cross Dressing.” Sydney Morning Herald, 12
August 2000, p.3
[43] This mural commission is dated to 1948 by
Anne McDonald in Douglas Annand. The Art
of Life. National Gallery of Australia, pps.53-54.
[44] Exhibition catalogue, Modern Times. Ann Stephen, Philip Goad,
Andrew McNamara, eds. Melbourne University Press, 2008, see Nanette Carter, “Milk Bar Moderne”, pps.120-129.
[45] “Thieves Take £309.” Sydney Morning
Herald, 22
December 1950.
[46] Although often assigned to Hugh Buhrich, the
Penguin Inn milk bar, Taylor Square is attributed by the Hotel and Café News to Mrs A.C. Zacharewicz ARAIA, Rose Bay in
“Novel Design Solves a Problem in Curves and Angles.” Hotel and Café News, December 1953, pps.10-11.
