Colour photograph: Beck's Crown Hotel, Hargreaves Street, Bendigo. Image shows two storey hotel, white painted, brown writing 'Beck's Crown Hotel' on top storey façade. Simple pediment on top of hotel. Cars parked at parking meters in Hargreaves Street. Cantilever verandah in front of hotel. VACC Insurance Col Ltd., and Beck Sheahan & Co. names on verandah. Extreme RH side, Robbs. Large crane in LH background, behind Shamrock Hotel. Construction of multi-storey carpark visible on LH side, fronting Hargreaves Street. Early 1980's ?.bendigo, hotel, beck's crown hotel

This document is a personal and nostalgic account by Max CS Beck, reflecting on his childhood and Bendigo's social history during the 1950s and 1960s. Beck's father, Reg, owned and ran The Crown Hotel, which became a central social hub in Bendigo after World War II. The hotel was known for its lively atmosphere, especially during the '6 o'clock swill' when patrons rushed to buy and consume drinks before the 6 pm closing time. Colorful anecdotes, such as the story of a severed finger prank involving a tobacco tin, illustrate the camaraderie and humor among patrons. Drinking was a standing-only affair, with heavy smoking and loud conversation common. The ritual of last drinks and the clearing of the bar at closing time were daily highlights. Sawdust was used on the bar floor to manage spills and, humorously, to recover lost coins and even a diamond ring. The influx of American soldiers during the war brought new customs and challenges to local pubs, including currency confusion and overcrowding. Beck's father previously ran the Canadian Hotel in Seymour, which was popular with American troops. Beck recounts his mischievous childhood, including borrowing his father's car underage and the influence of hotel patrons on his upbringing. The narrative touches on the loneliness of having parents who worked long hours and hints at family struggles, particularly related to alcohol. Beck expresses a sense of loss for the Bendigo of his youth, noting how much the city and its culture have changed.He emphasizes the importance of treasuring memories of the past without grieving for what is gone.Bendigo Advertiser "Life the bar" and "the day a severed finger was in a pub" Sat Aug 08 2022 3486.56a Max C S Beck in front of the Old Crown Hotel 3486.56b Colour Photo Beck's Hotel Hargeaves St Bendigo in about 1980 3486.56c Article from the Bendigo Advertiser "Life the bar" and "the day a severed finger was in a pub"bendigo, beck's crown hotel, max c s beck

314 page soft cover book entitled 'Around the Bend I Go' by Max C.S. Beck. The true story of a boy surviving childhood in a Bendigo city hotel in the 1950s and 1960s. The Crown Hotel in Hargreaves St. Illustrated with B&W photos. Published by Max CS Beck, 2022 Max C S Beckbiography, beck, the crown hotel

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.