Today Wellingtonians are spoilt for choice when it comes to dining out in the city with a huge range of different cuisines to try and restaurants which cover every budget. But what was the restaurant scene like nearly 40 years ago? This booklet now on Wellington City Recollect gives you some idea as to what going out for dinner in Wellington was like in the early-mid 1980s.
Called The Menu Guide, it was published in late 1982 by Henry Newrick and his firm Newrick Associates Ltd. Its cover price of $4.95 was relatively high for the time (approximately $18 in 2020 terms) but the booklet also included a set of discount coupons for diners to use at a selection of restaurants, one of the first times that a hospitality discount coupon scheme had been used in Wellington. A full and complete listing of almost every restaurant operating at the time was included in the introduction but establishments could pay to have a larger advertisement placed in the main body of the booklet in the form of a menu and it is these which offer a fascinating insight into our dining-out past.
This was at a time when traditional ‘family’ and ‘fine dining’ establishments started to be joined by new ‘ethnic’ restaurants as Wellingtonians’ culinary tastes expanded. Most of the fine dining restaurants were of course, French, while family restaurants all shared the common dominant theme of steak and chips.
Although the prices listed appear ridiculously low by today’s standards, how do they compare when inflation adjusted? The menu for Camelot, a popular family restaurant in Brandon Street which sported a ‘Ye Olde King Arthur’ theme, indicates that average prices were probably a bit higher than today; their $9.70 T-bone steak served with a mushroom sauce would be hitting $34 in 2020. Meanwhile, Des Britten’s legendary TheCoachman offered grilled prawns at the eye-watering equivalent of $63. The Bacchusrestaurant seemed to take the approach that if you needed to know their prices, you probably couldn’t afford to eat there (suffice to say that deep pockets were needed).
Though new ethnic cuisine restaurants were starting to appear, choice was still limited. Chinese restaurants serving a ‘Kiwi-fied’ version of Chinese food had been part of the city’s dining scene for generations, but these were now joined by Greek and Indian restaurants reflecting the long-standing presence of these ethnic communities in Wellington. South-east Asian eateries were virtually non-existent (the long-standing Indonesian restaurant Toko Baru being one of the few exceptions), middle-eastern restaurants were yet to be seen and it would be another decade before the doner kebab made its first appearance.
However, one new ethnic restaurant is included which really shook up the local scene; the Mexican Cantina in Edward Street. This gave many Wellingtonians their first taste of guacamole and nachos at a time when it wasn’t yet possible to buy corn chips or taco shells at the supermarket. The ‘Mex’ took the approach of keeping their prices low, the food simple (though exotic to most taste-buds) and packing customers in. Popular with students, waiting crowds would often be spilling out the door while chugging on their B.Y.O supplies (alcohol licences were difficult and expensive to obtain for most restaurants). With no reservation system in place, groups would have to write their details on a blackboard and wait until their listing got to the top at which point their name would be yelled out over the noise of diners indicating their table was ready.
Possibly influenced by the success of the ‘Mex’, Manuel’s — which operated out of the Broderick Inn in Johnsonville — also adopted a Mexican theme, but amusingly kept their menu as ‘family’ orientated as possible with not a pinch of cumin, dollop of sour cream or a kidney bean to be seen…
Exciting news for Film & Music lovers with large sections of the Wellington Central Library Audio Visual collection now available once again at our newest CBD library, Te Awe, on Panama and Brandon streets.
Some of our DVD collection, as well as a very small CD collection, were previously located in the Arapaki Branch on Manners Street following the closure of the Central Library building. We have added lots of core film titles to the DVDs, greatly expanded the CD collection, and brought them all together in a fresh new location, a cosy corner upstairs at the spacious new Te Awe library.
We have also curated a core collection of ‘Essential Listening’ & ‘Essential Viewing’ titles from our large Central AV collection, many of which are unavailable on streaming services in New Zealand. Watch out for our new blue stickers!
All our ‘Essential Viewing’ & Essential Listening’ titles are taken from titles such as 1001 movies you must see before you die, ‘1001 albums you must hear before you die’ & Nick Bollinger’s 100 essential New Zealand albums. They are also tagged on our catalogue. Just type in ‘Essential Film Viewing’, ‘Essential Television Viewing’ & ‘Essential Listening’ as a search and you can check them out from home, your device, or on our online catalogues in the library.
Many Wellingtonians will be familiar with Herbert Gardens, a striking mid-century modernist apartment building located at 186 The Terrace, next to the top end of Boulcott Street leading to the motorway on-ramp. It was designed by the architectural firm of Biggs, Power and Clark in the early 1960s and built between 1963 and 1965.
One can only imagine the impact the building had when it opened; at the time of construction the Terrace was still dotted from end to end with wooden colonial villas and only two modern office buildings (Shell House and Massey House) had been completed. This was also an era when the inner-city population was in rapid decline as people moved out to the suburbs, shops were closed on weekends, ‘six o’clock closing’ was still in force and Wellington’s first and only so-called ‘supermarket’ was little more than a medium-sized grocery store on Willis Street. With that in mind, the development firm of Winchester Developments Ltd took on a degree of risk in believing that there would be enough people interested in European-style apartment living at a time when inner-city culture and atmosphere was anything but ‘vibrant’. The name the developers decided to give to their venture commemorated the former owners of the large house which once existed on the site and (as the name suggests) their well-known and much-loved garden.
Dr William E Herbert was born in central Otago in 1872. He studied at both Otago University and the famous medical school at Edinburgh University before settling in Wellington where he established a small private practice as well as working at Wellington Hospital. After a visit to the United States where he was impressed with what he saw as a much more efficient way of delivering health care, he formed a business partnership with Dr Henry Hardwick-Smith and in 1912 they established what was then Wellington’s first ‘modern’ private hospital in Bowen Street. Though the hospital buildings were demolished in the early 1970s for the construction of the Treasury headquarters, the original name of the institution continues to live on after Bowen Hospital became a charitable trust and relocated to Crofton Downs. It was during the 1920s that William and his wife Florence moved into the large mansion at 186 The Terrace which had been owned by her parents, her father being the wealthy businessman and hotelier, Hamilton Gilmer. Likely built in the 1880s, it was located at the front of a one-acre section with the back of the land parcel dropping down into a natural valley where the Kumutoto river flowed and which later became known as Herbert Gully. They set about landscaping and planting the section behind the houseand transforming it into what was regarded as one of the finest private gardens in inner-Wellington. The Herberts had long been involved with charity and philanthropic causes, raising large sums of money to build Wellington’s children’s hospital and to purchase some of NZ’s first radiotherapy machines used for treating cancer, so it followed that they would use and showcase their garden for charitable purposes.
In early 1934, The Social Review reported such an event; a garden party raising funds for Wellington Free Kindergarten. Highlights included a fashion show featuring new work by the local clothing designer Mary Garden, a performance by a dance group and a display of “relaxation exercises demonstrated in a reclining position”. Though her husband died unexpectedly in 1933, ‘Florrie’ Herbert remained living in the house, outliving her husband by almost 30 years until her death in 1961. Soon after the mansion was demolished and planning and construction of the apartment building began.
Photos from this period in the late 1960s show the original gardens still existing and though they were in a state of disrepair, they would have provided a quiet outdoor area for the apartment building’s early residents. However, it was to be a short-lived peace; almost exactly the same time as the building was completed, the final route of the Wellington Urban Motorway was confirmed. Most of what remained of the gardens were compulsorily acquired by the National Roads Board and in the mid 1970s they were dug out to create the section of the motorway which leads to the northern portal of the Terrace Tunnel. However, now clad in regenerating native bush, a small section of the original garden remains for residents of the apartments to enjoy to this day.
Books for learning English are now available to borrow from our CBD branch, Arapaki on Manners Street. The collection supports the learning needs of people of all ages who are learning to read and write, and people who are learning English as a secondary language. The collection provides materials which can be used in addition to English courses and as an aid to self-study.
The types of books available include: graded readers, dictionaries, grammar and vocabulary courses, business English material, academic English material and books on the New Zealand lifestyle for new immigrants. We also have supplementary material for English Language courses, such as IELTS (International English Language Testing System), TOEFL (Test of English as a Foreign Language), and OET (Occupational English Test).
Our collection is divided into three levels, indicated by a coloured dot on the book’s cover or spine. Level One books are for beginners and they have a yellow dot. Level Two books are for intermediate learners and they have a blue dot. Level Three books are for advanced learners who are at the exam level, and they have a purple dot.
As well as Arapaki, many of our other branches also hold Learning English collections. You can find the collections at: Johnsonville, Karori, Kilbirnie, Miramar, Newtown, and Tawa branches. We also have a free online database for library members called Road to IELTS. It is is an online preparation and practice resource for IELTS, the International English Language Testing System, with general and academic modules.
Did you know that as well as being signed in Waitangi on 6 February 1840 the Treaty of Waitangi was also signed in other parts of Aotearoa throughout that year?
Ngā mihi ki a koutou katoa i tēnei wā COVID-19.
He pānui tēnei – ānei ngā rauemi ā-ipurangi mā koutou e kimi, mā koutou e tuku i ō koutou kāinga.
Usually our libraries commemorate the signing of Te Tiriti/Treaty of Waitangi in Te Whanganui-a-Tara/Wellington, 29 April 1840, through special events, displays, and the lending of relevant books or audio-visual material on the kaupapa of Te Tiriti.
Unfortunately our bricks and mortar libraries are currently closed due to the COVID-19 crisis. However our Māori Specialist Librarian, Ann Reweti, has put together a comprehensive selection of rauemi/resources about Te Tiriti and its signing in Te Whanganui-a-Tara in 1840. These can be accessed through our website or the internet and we are very pleased to provide online links in this special blog.
Lockdown is the perfect time to learn more about our local history and how modern day Wellington and New Zealand have been shaped by our unique past, and the relationships between mana whenua and the crown. Take some time to have a look at these wonderful resources – for a concise overview of history, places where treaty copies were signed, and lists of signatories to the treaties in each of eight locations – from the comfort of your own kāinga/home.
NZHistory.govt.nz – Treaty of Waitangi information includes the following topics: the Treaty in brief; English and te reo Māori texts; signings and locations of eight treaty documents; Tiriti timeline; biographies of Tiriti participants.
Te Ara – always presents a good New Zealand story for any discussion – and there are three video reconstructions around the the signing of Te Tiriti.
Spacious open plan living. Nest or invest. Classy urban retreat. If you’ve spent a bit of time browsing real estate brochures, you’ve probably read these words before. But there’s another, darker story of renting and home ownership in New Zealand, one without floor plans or glossy full-page photos: The New Animals, by Pip Adam.
Adam’s work has appeared in a range of journals and anthologies, with her short story collection Everything We Hoped For published in 2010 and her debut novel I’m Working on a Building in 2013. She’s been described as “the woman who is making literature subversive fun in this country again… The most wired-in to the seething discontent below the housing bubble.” So put down the brochure and get a copy of The New Animals today!
The blurb for The New Animals references intergenerational tension, however the story also looks at tensions of class, wealth and gender. What was it like shaping a story around these conflicts?
I always think conflict and complexity give ‘life’ to stories. It seems like a boringly obvious thing to say but it is also constantly a surprise to me. I often use writing to sort out things that confuse me about life and I guess confusion is often a state of conflict for me – one idea against another, or maybe things acting in ways that don’t gel with my world view that cause a disruption to the things I believe and understand. For me it is always scary writing about people who I am not, but I have always loved the idea of trying to imagine myself into a mindset that seems confusing to me. Like often I might see someone do something and I have this idea that people always act in ways they see as ‘good’ or ‘right’. I’ve met lots of people and no one ever seems to make decisions by thinking ‘this is wrong thing to do’, even people who have broken the law. So yeah, I am always interested in trying to imagine myself into a mindset that would see decisions I see as odd as the ‘right’ decision. I enjoyed it particularly in this work because it was a bit like Sudoko or those tile puzzles, where someone would act and there would be a domino tumble of other people being forced to act.
You recently talked about your relationship with fashion – its power and ability to answer societal questions, but also its environmental impact. How did you approach this in The New Animals, especially with fashion playing such a large role in the story?
I am really interested in design of all types, particularly the form and function, or form versus function. Before I started the book I had this love of fashion which I think was a hangover from my hairdressing days. Like I loved seeing how fashion changed and yeah, also I really like looking at beautiful things. For this book I started taking a more intense interest. I became a rampant follower of fashionable people and people in the fashion industry. I just consumed everything I could. I visited shops as well, touched the clothes, saw them on the hangar and on people. I was also really interested in the history of fashion and some of the theories around fashion. I am especially obsessed with the work of Rei Kawakubo and the way she deconstructs the human form. I love the play of her work but also the real seriousness and almost horror of some of her work. I am also quite obsessed with Alexander McQueen’s life and work – in a lot of cases the violence of it. One of the hard things about writing about fashion is that it is often talked about in quite ‘light’ ways. I had to read very deeply to find the language that had weight and importance. There is a risk that fashion can seem shallow because, I think, it is ephemeral and seems to be about adornment when often it is about so much more.
The New Animals is very grounded in Auckland. How do you think the city’s geography helped with the story?
I really love Auckland. I grew up there and I visit a lot. It’s interesting you ask about geography because I think it is a really interesting city that way. Like you have that massive volcanic basin that is the harbour and then you have that network of volcanoes that have formed Mt Wellington and Mt Eden and, yeah, I often think of Auckland as this volatile place. My parents live close to Stonefields which is a development built on the site of an old quarry. Auckland has this feeling for me of land acted on. Land in flux, land in change and to me this book is a lot about that, about change and fluidity and evolution and I think walking around Auckland, travelling over it which I did heaps of for this book it’s impossible not to feel that. For instance, the train I catch a lot from Glen Innes travels over the Orakei Basin, this incredibly changeable place. If the tide is in, it looks like a body of water, but when the tide is out it transforms into this muddy almost wasteland. Everything that was covered by the water is exposed. I like that as an image as well, the way things can be exposed by changes in environment. Tides are a big part of my thinking around this book. The way the moon pulls these huge bodies of water around, the way they kind of create these weather patterns deep below us. And then don’t even get me started about how humans began as fish, how the ocean must have some strange pull on us still.
One aspect that really stood out was the friendship between Carla and Duey, with the contrast between their interactions and their personal thoughts, and their awareness of the friendship’s decline. Was this relationship a difficult one to write?
For a long time, in the writing process, Carla and Duey had been lovers and it just wasn’t doing what I wanted it to do. We so often place the ‘sex’ relation above all other intimate relationships. I am really interested in friendship. I find it so interesting. What keeps friendships alive is so complicated but also so purely unselfish. I liked the idea that Carla and Duey were at a stage where the relationship (as if it were a separate thing from the two people in it) was in decline, like despite all their care and thought for each other nothing was going to save it. It was difficult to write because I don’t read many books about friendships that are like that, so in a way the models I had were very much about love and sex relationships. So it took some sorting out, like some real close work. The other thing that I loved about writing that relationship is that I think it is pretty cool how humans can think one thing and then act in a better way. I love how we do that for each other. I guess also, finally, I was interested in deconstructing some of the ‘work’ we do in human relationships. Like, I find people pretty confusing sometimes, a lot of the relating stuff doesn’t come automatically to me. So, I am often thinking a lot about what the right thing to say is or what a person is saying (like actually saying). It was fun to make some of that work apparent, to sort of uncover that and show it.
Reviews of The New Animals have generated some discussion about New Zealand literature and the reviewing process. What has it been like seeing the passion your work has brought out in people?
Writing is a weird thing. I really like the part of writing that takes place in a room by myself. I love working on something, like really working on something – crafting it and messing it up and having to fix it and living with it. I find I get so ‘into’ that work (like I literally feel like I climb inside the story) that I forget that other people will read it. So yeah, sometimes publication is a bit of a shock. Like I remember after my first book was published someone I didn’t know said to me, ‘I read your book,’ and I was like, ‘I never said you could.’ I just forget that people will read it. So, it’s pretty amazing when people I respect say they like what I’ve written. People will email me and tell me in person and it means heaps because I’ve sort of ‘shown my hand’ as a human. I’ve said, ‘I made this. I think this is how life is awesome,’ and when someone says, ‘I see what you’ve made and it made me think this is how I think life is awesome,’ that is just incredible. I love how art can do that and I’m not sure much else can. I put a lot of stake in passion. I love the way, in my life, I have been granted the opportunity to come into contact with many people who make me feel passionate and I just get fired up about the idea that our work sort of sparks off each other. Like no matter what is going on. No matter what other people are saying about our work, we can sustain ourselves. It’s like the biggest collaboration. Because although I love those times by myself working, I am never far from the work of others, I will be reading those writers to keep me going, to keep me passionate.