Bangers and Mash

We opened a tin of country garden vegetable soup. Sheer laziness, I know, but it was fine. However, we were surprised to see that the contents included rice and pasta. I know they have to keep the price down, even though it was not a cheap brand, but country garden vegetable soup containing rice and pasta, well, you wonder which country’s garden vegetables they have in mind. 

I am not the first to say this, but before around 1970, at least in the north of England, rice was for puddings, and few knew what pasta was. “Foreign muck”, as my mother would have called it, was laughed at. 

From somewhere in my head, came this forgotten song about an Englishman who married an Italian, who, in the days when men never entered the kitchen, gave him only Italian food.   

https://youtu.be/aGFpVN2xwXU

Peter Sellers and Sophia Loren recorded the song as a follow-up to their hit, ‘Goodness Gracious Me’, which arose from their roles in the film, ‘The Millionairess’ (1960).

Sellers was at the height of his popularity. I never understood why. To me, he seemed a self-regarding show-off, and not a particularly likable person. I found much of his humour unfunny, and in retrospect it was often cruel, with every -ist and -phobia going. He was brilliant at inventing comic voices and characters, as you can hear in the song, but it was the kind of humour that laughed at odd accents and eccentricities. I side with the eccentrics. Underneath, I think he was an immensely talented but flawed, deeply unhappy soul. He seemed unable to be himself. He died of a heart attack in 1980, aged 54. There are conflicting views about the exact nature of his relationship with Sophia Loren. I suspect she had better sense. 

Shoot The Ruddy Sods

Following recent posts about the cats with a bank account and the survivor of the Titanic disaster, I have been browsing further through the BBC archive. This 7-minute gem from 1973, from the Nationwide reporter Bernard Falk, would not have looked out of place in an episode of Monty Python’s Flying Circus. It is about the god-forsaken East Yorkshire seaside resort of Hornsea, and a controversy about a proposed nudist beach that had the locals spitting venom: 

“It’s objectionable. All this sex and every wretched thing, more and more of it.”

“I’m telling you it will attract the wrong class of person ... The hooliganism ... Drinking and everything else. ... You’ll get all the scoundrels out of hell coming ... all the riff-raff out of Hull, Leeds and all over ... And they’ll be breaking in ... And crime.”

“What difference does it make covering their private parts up to their health? I ask you that much. Not the slightest.”

“I don’t think children should be watching people in the nude. This is a family resort. ... Why don’t they find themselves a little plot, fence it in, and cavort about to their hearts’ content?” 

“I don’t think I’d like to meet a party of nudists.

https://www.youtube.com/watch?v=uZWHVpB21ec

Good East Riding folk like these were in abundance where I grew up, less than forty miles from Hornsea. I sometimes went to a friend’s caravan there, and in the nineteen-thirties my great-grandfather’s cousin owned a newspaper shop in the town. They could be my distant relatives. However, as you may know, Yorkshire Pudding’s formative years were spent not a beach pebble’s throw from the place. Could that man in the Fedora be his dad? 

The Blue Mini

New Month Old Post: first posted 10th February, 2016

What do you think of those who, watching films or television programmes set in the past, say: “they would not have used the phrase ‘too right’ in the twenties”, or that nineteen-fifties midwives would never have taken such an attitude to abortion, or that a locomotive shown in a wartime scene had not been built until the fifties? Are they nit-picking pedants or defenders of authenticity? I am about to join them. 

In 2016, a television programme, “Back In Time For The Weekend”, took a family back to live as in the past. Episode by episode, their house and its contents were changed to how they would have been through the decades from the nineteen-fifties to the present day. Their furniture, decorations, kitchen and household appliances, and home entertainments were appropriate to the date. At the start of the series they had no television set or refrigerator, and they did not have a home computer until Episode 4 set in the nineteen-eighties. 

Episode 2 was about the nineteen-sixties, when car ownership became more common. Supposedly in 1961, the family were given a blue, D-registration Morris Mini (above). The problem was it was a 1966 Mini, in 1961, five years before it was first registered. I know because I had one, blue, D reg., exactly the same, as in my blog header. Was the BBC research department taking shortcuts? 

Those Minis had something called hydrolastic suspension. Instead of separate springs, the front and rear wheels were connected by pressurised pipes. The idea was that when a front wheel went over a bump, the pressure would tighten its paired back wheel to reduce the bounce. It was rubbish. Mine kept gradually losing pressure and sinking down into its wheel arches. It had to go every few months to be pumped up. It is astonishing after fifty years they found one that had not been scrapped years ago. The family of two adults and three teenage children in the programme would have weighed down the back and shone the headlights up into the air. 

Here is my uncropped picture taken on the Cam Gill Road North of Kettlewell late in 1974 as we were putting on our boots for a walk to the top of Great Whernside. It was blowing a gale on top, but we were able to shelter in the large hollow summit cairn. 

Near Kettlewell, 1974

Great Whernside Summit Cairn, 1974

Stiff Upper Lip

The phrase “stiff upper lip” has cropped up in blogs and comments recently. For example, behind the seemingly idyllic 1930s village childhood of my last two posts lay unmentionable death, disease, and hardship. And, all too soon, those children would have to face conflict and events in distant lands. They just got on with life, and made the best they could of it. 

I recently came across this BBC archive clip which captures the phrase perfectly. It is 7 minutes long, but I can almost guarantee you will watch spellbound from beginning to end. It is very powerful: an eyewitness account of the loss of the Titanic in 1912. 

Frank Prentice was an assistant storekeeper on the ship. As it began to sink, he helped lower and load the lifeboats, and then, when he could do no more, took refuge high on the stern. He jumped into the water at the last moment. On the point of freezing to death, he was fortunate to be pulled into one of the lifeboats. 

He was 23 at the time of the disaster. Soon afterwards, he would have had to face the First World War, in which he was awarded the Military Cross as a Major in the Royal Tank Regiment. The film was made in 1979 when he was 90. There is a Wikipedia page.

Stiff upper lip: we will need a lot more of it if the world takes a turn for the worse. Shirkers, moaners, and preening attention-seekers should take note. Unfortunately, they are unlikely to read this. 

The Cats With A Bank Account

Anyone seeking evidence that the BBC is not what it once was, look no further than this report from Nationwide in 1973. 

https://youtu.be/zEp-bigGqYI

As someone who was working in accountancy at the time, several things in this report trouble me greatly.  

Aside from tax and inheritance questions such as whether the correct tax was paid on interest received (cats do not have a tax allowance), and what happened to the money after the cats died: how did the beneficiaries or next-of-kin proved their right of inheritance, I have questions about the operation of the bank account. 

Presumably, Quicksilver and Quince had someone write the cheques for them, possibly the lady in the film, but how did they sign them? If it was with a paw print, then how did the bank verify the signatures as genuine, rather than the paw prints of criminal cats who steal cheque books? One paw print looks much like another as far as I can tell. 

And if the account required joint signatures, rather than either one, then how did the bank verify that both have actually signed, rather than just one that has put its paw mark on the cheque twice? That Quince looks a bit shifty to me.  

We need assurances that the bank account was operated legally and not in false names. 

Warp Land

The flatland where the River Humber branches into tributaries was once an expanse of permanent marsh. It dried out gradually over the centuries with the construction of river banks and drainage ditches, making agriculture possible. Some areas were improved by a process known as warping.

In warping, river waters are diverted into the fields to deposit layers of fine, fertile silt. It is carried out by building low embankments around the fields and filling them through a breach or sluice in the river bank. The water flows into the fields at high tide, and after being allowed to settle, is drained back as the tide goes out, leaving silt behind. When carried out regularly over two or three years, three feet of silt might be laid down. 

I remember my uncle, the farmer (see Aunty Bina’s Farm), explaining why he preferred certain fields for crops, and others for his “be-asts”. Potatoes, sugar beet, and wheat grew best on warp land, whereas the cattle grazed on pasture. 

I may be mistaken, but looking now on Streetview, I fancy that the line of the low bank around the field followed the line of the lane. The fields were for crops, while the cows grazed behind the house. 

But thinking about it now, it puzzled me. The buildings in the far distance are on the other side of a railway line, and there is a canal beyond that, with the river at the other side of the canal. How could the river water have been diverted into the fields? 

Perhaps the water came from a different river. The River Aire is around two miles to the North behind the camera, and the River Ouse about three miles to the East, but I think these would have been too far, and several main roads, the villages of Rawcliffe and Airmyn, and the town of Goole were in the way. My guess is that the warp water must have come from the river beyond the railway, canal, and buildings - the Dutch River (or River Don). 

Wikipedia provides an answer: “The first reliable report of warping seems to come in the 1730s from Rawcliffe, which is near the confluences of the Ouse with the Aire and the Don, where a small farmer called Barker used the technique.” Neither the railway nor the canal would have been there then. The Knottingley and Goole Canal was opened in 1826, and the Wakefield, Pontefract and Goole section of the Lancashire and Yorkshire Railway in 1846. The warping must have been done before these dates. Some of the brick outhouses at the farm could easily have dated from that time, and knowledge of the warping would have been passed down by word of mouth. 

The railway, canal, and Dutch River can be seen running parallel in the lower left quarter of this 1962 map (pre-motorway). The oddly straight Dutch River is clearly another man-made feature. It was constructed in the 1630s by Dutch engineers, who diverted the River Don to drain the moors of Hatfield Chase, hence the name “The Dutch River”. The River Don originally flowed further East into the River Trent. Warping of my uncle’s land must have used water from the diverted river Don. 

More extensive warping schemes were carried out in the Nineteenth Century along the original course of the Don, as far East as Adlingfleet on the Trent, and as far South as Crowle. One large area is served by the enormous Swinefleet Warping Drain (centre bottom of map) which runs for 5.6 miles (9 km) and has a permanent sluice into the River Ouse. The drain and much of the network of drainage ditches are deep and wide. Some are stocked with fish for anglers, and all provide habitats for frogs, sticklebacks, water voles, and other wildlife. It is astonishing to think it was all dug out by hand. But, we do not only alter our landscape. Families with Dutch names still live in the area, and the local name for drainage ditches is dykes. 

Swinefleet Warping Drain

Swinefleet Sluice where the warping drain enters the Ouse

Two areas of unreclaimed land remain just to the South: Thorne and Hatfield Moors, which together form the largest expanse of lowland peat bog in the country. Even the intrepid Yorkshire Pudding’s Geograph project has not much ventured there.  

One last piece of trivia. In the film “The Dam Busters” (1955), the aeroplanes are shown flying along a Dutch canal. It was actually filmed flying East along the Dutch River. The Goole shipyard cranes can be seen as the planes approach the River Ouse and then bank left over the town. Please don’t tell the East Riding Council. It will give them ideas about what to do with the place. 

Dave Northsider is now trying to work out how he can divert river water into his polytunnel. 

Downstairs

New Month Old Post: first posted 30th October, 2016.

A song for dads to sing to their children. 

What a super singalong on BBC Four on Friday! 

It Started with a Kiss, or rather for us with a bottle of Chilean Shiraz. It was followed by a fabulous edition of Top Of The Pops 1982, from 15th July. After several weeks of watching the constipated faces of Brian Ferry and Martin Fry (get the look!), it was great to have some good tunes for a change. Following Errol and Hot Chocolate came Dexy’s Come On Eileen, the perennial Cliff Richard, David Essex’s Night Clubbing, and Irene Cara’s Fame (although I have never understood the line in that song about qualifying for a pilots licence).

Later, there was a concert with the then (in 2016) 83-year-old Petula Clark who has brought out a new LP. Goodness, she is even more perennial than Cliff Richard. My great-grandfather used to like her and he died in 1960. Her voice is a bit thin now, but the music and band were superb. She kept us waiting for her ultimate singalong song but it duly arrived near the end. I then blotted my copybook by reprising my own lyrics from when the children were little. They went something like this.

When you’re in bed and Mummy’s snoring beside you

You can always go, downstairs

When you are cold and Mummy’s got all the duvet

There’s a place I know, downstairs

You can lie down on the settee, and have it all to yourself, 

Choose some bedtime reading from the books upon the bookshelf

How can you lose?

It’s warmer and quieter there 

You can forget all the snoring, no need to stay there 

Just go downstairs

Sleeping on the settee, downstairs

Sleeping so peacefully, downstairs

Everything’s waiting for you.

When you’re in bed and Mummy’s been eating garlic

There’s a place to go, downstairs

Onions and curry, chilli, tikka masala

Seems to help I know, downstairs

You can open all the windows and the air is clear and nice

Fill your lungs with freshness that’s free of herbs and spice

How can you lose?

The night is much cleaner there

You can forget all your troubles, forget all your cares

And go downstairs

Have a weak cup of tea, downstairs

Crackers or toast for me, downstairs

Everything’s waiting for you.

I was lucky not to have to sleep downstairs.  

Computers, Education and the Conservatives

Conservative governments are non-interventionist. They do not like the state to run anything. They spent the 1980s and 1990s selling off the country’s assets and giving away the proceeds. It continues today in their unwillingness to pay for public services or regulate things properly. Some of them would privatise health and education if they could get away with it. That is why, if my health holds out, I will not be voting Conservative at the next election. I will see the bastards* go to hell before I do. 

And yet, in the 1980s, they did intervene. A 1978 television documentary, ‘Now the Chips are Down’, made clear how woefully unprepared Britain was for the silvery white heat of the computer revolution. It scared the Thatcher government so much that they funded a number of costly initiatives. Two in particular stood out for me.  

A few of the many programmes in the BBC Computer Literacy Archive
https://clp.bbcrewind.co.uk/programmes

In one, the BBC was recruited to raise awareness of the skills needed. It led to the ‘Computer Literacy Project’, which ran from 1982 to 1989. It was linked to the specially commissioned ‘BBC Micro’, which was taken up by many homes and most schools, with over a million sold.

In the other, the ‘Microelectronics Education Programme’, massive amounts of money were spent putting computers in schools, setting up and funding resource centres, and training teachers. Politicians boasted that Britain led the world in “equipping the children of today with the skills of tomorrow.”    

Did it actually achieve anything, or was it bluster and spin?

At least it got my new career off the ground. After escaping from accountancy into a dream job as a university researcher, I knew as much about these new concepts and technologies as anyone. It would be hard to overstate how immersed, obsessed even, I was in this bright new world of colour and light.

I recently discovered that the television programmes, and more, are freely online in the ‘BBC Computer Literacy Archive’. It has the 1978 documentary which set things off (still informative 45 years later), and Dominic Sandbrook’s wonderfully evocative reflection on the social changes of the nineteen-eighties (not only computers). Incredibly, one programme even shows my own small part in this.  

Watching again now, I am struck by how aware we were of the social questions posed by what was about to come. How would people spend their time in a world with less work? How should wealth be shared across society? It is not turning out as well as it might.

Most fascinating for me is the series ‘The Learning Machine’ (1985), about computers in education, the area in which I worked. Here, once again, are the names and faces I knew and discussed things with at workshops and conferences, such as the main writer and presenter, Tim O’Shea.

He was scathing of the Microelectronics Education Programme, which, he said, had foisted cheap, underpowered computers and poor software upon parents and schools. The attractive message about improving the quality of education, disguised what was really on politicians’ minds: the job market, supporting British industry, and making education cheaper. Eventually, we might even do away with schools and teachers completely.

The then ubiquitous programming language, Basic, comes in for particular criticism. It encouraged tangled, undecipherable code, leading self-taught home and school users to think they knew how to write software, when, really, their knowledge was badly lacking.

I think Tim was broadly correct, but we were all still trying to understand how to use computers in education, and few teachers had the skills to teach programming. I was taught structured methods and had no difficulty creating reliable, intelligible Basic programs several hundred lines long.

It can also be argued that the initiatives did have benefits, but they were two decades in the making. A generation of youngsters became fascinated by computers, seeding Britain’s successful computer games industry. So, perhaps it did work out well in the end. Tim did well too. He became Principal of the University of Edinburgh.

One other series caught my eye: ‘With a Little Help from the Chip’ (1985), about helping those with special needs. I was astonished, in programme 3, to see a one-minute clip of software I designed and coded, being used in a school for deaf children. I have written about the programs before, but never seen the TV programme. It brought back all the satisfactions of going into schools to observe and collect data. 

Do you ever wonder, were it possible, whether you would happily go back to an earlier point in your life? I would, to this time for certain. And I would jump at the chance of another forty years. Most of all, it was an innocent, optimistic time, focused on what we were doing rather than the unrest and disruption taking place. We were trying to make the world a better place. We could do with more of that now. 

* A name used by Margaret Thatcher for Eurosceptic right-wing Conservatives. 

The Nineteen-Eighties

I missed most of the nineteen-eighties. I was working as a university researcher, writing a thesis in my spare time, and volunteering with the Samaritans. As well as all that, my mother was in and out of hospital with breast cancer, and then died. It left little over for anything else, and I gave no great thought to events taking place around me. Even the re-runs of old Top Of The Pops programmes from that time have seemed refreshingly new to me in recent years. 

Yet, in Britain, it was a decade of great change: to commerce and industry, to individual and national identity, in lifestyle, and in politics. Almost every week there was some new controversy about the morals of the young and the state of the nation. Most of it went over my head. 

So, forty years late, I have been back in the nineteen-eighties. I started with a 2016 television documentary, “The 80s With Dominic Sandbrook”. If nothing else, it is wonderful nostalgia. 

It takes us through the years of Margaret Thatcher and the IRA Brighton bombing, her “special relationship” with Ronald Reagan, and her nation of young computer programmers. Our hearts and minds are invaded by Japanese video games and VCR video nasties such as Cannibal Holocaust, much to the outrage of Mrs. Mary Whitehouse, a puritanical Christian campaigner. We fall under the influence of the American consumerist dream, and the lifestyles of television shows such as Dallas. There is the civil unrest of racism, and we are terrified by the “gay plague” of AIDS, fought with surprisingly frank publicity and the example of Princess Diana. There is a gradual increase in sexual tolerance and acceptance of diversity. We go to war with Argentina over the Falkland Islands, and with the striking miners. 

Is it rhetoric to say “we went to war” with the miners? It was certainly planned like a military campaign. The miners and other trade unions had been causing trouble for years, and the Thatcher government was determined to see them off once and for all. A sweeping programme of pit closures was announced, bringing miners out on strike throughout Yorkshire and elsewhere. The government had prepared by stockpiling mountains of coal at power stations, and were fortunate that the Nottinghamshire miners stayed at work, thinking their jobs were secure. An information assault was mounted, branding the miners as “the enemy within”, portraying then as uncouth animals making outrageous demands, prepared to be violent if not met. The image and persona of their leader, Arthur Scargill, seemed to fit perfectly. The mainstream media reinforced it, with reporting doctored to portray the miners in an unfavourable light. It had elements of regional and class snobbery designed to appeal to voters sympathetic to a right-wing government. 

But another documentary, made to correspond with this year’s fortieth anniversary of the strike, gives a different perspective. “The Miners’ Strike: A Frontline Story”, recalls the personal experiences of fifteen men and women involved in different ways: striking and strike-breaking miners from working and striking areas, their families, and members of the police force. It is powerful stuff, with harrowing recollections of hardship and brutality. 

One of the worst incidents occurred at Orgreave near Rotherham on the 18th June, 1984, where the miners planned to carry out peaceful secondary picketing. The police allowed them to approach and assemble without hindrance, and then brutally attacked them. The police were armed with batons, shields and riot gear, and hacked down the miners from horseback. It was like a medieval rout. At the time, it was widely presented as an act of self-defence by the police, but, later, miners were compensated for assault, wrongful arrest, unlawful detention and malicious prosecution. 

The strike ended after a year when the defeated miners went back to work. Essentially, they had been trying to defend their communities. They accepted that mines had to close, but not that it had to be done so abruptly, leaving whole villages near-destitute. You cannot “get on your bike and look for work”, as one cabinet minister told them, when you have a mortgage on an unsaleable house, and there is no work to be had anyway. And you can’t go to university late like I did when you have a family. The changes could have been introduced gradually, with support, as with later pit closures. Many of the affected areas never recovered, and remain amongst the poorest in Europe. 

Even now, there are many who choose to believe the media propaganda of the day, rather than recognising Margaret Thatcher and her Conservatives as uncaring, self-serving leeches who sold off the country’s assets and gave away the money. 

At the end of his programme, Dominic Sandbrook wonders how Britain might have looked had the miners and IRA succeeded. Would it have remained a trade union fortress holding out against globalisation and the advance of technology? No, it would not. Change was unstoppable, and trying to hold it back would have been futile. But it did not need to be handled with such incompetence.    

LINKS

The second of three parts of the series “The 80s With Dominic Sandbrook” (59 minutes) is online and apparently accessible without restriction at: https://clp.bbcrewind.co.uk/6b0ca8405623eacd3c490e87398bb3b9  

Currently there appear to be no legitimate copies of parts 1 and 3 online. 

“The Miners’ Strike: A Frontline Story” (89 minutes) is on the BBC iPlayer (UK only): https://www.bbc.co.uk/iplayer/episode/m001wm1x/miners-strike-a-frontline-story 

However, much more is generally available on the BBC website (search for “The Miners’ Strike”), such as: https://www.bbc.co.uk/news/av/uk-scotland-68442261 

I'm Sorry I Haven't A Clue

John Going Gently recently mentioned the long-running BBC radio show “I’m Sorry I Haven’t A Clue” (ISIHAC). For those who don't know, it is a spoof panel game in which teams are asked by the chair to do silly things, very silly, very funny. It started in 1972, and has been running almost continually since: an incredible 52 years. 

John included links to a couple of examples, and as he said in a comment, they should be prescribed on the NHS as treatment for depression. The one titled “The Complete Lionel Blair”, a compilation of a double-entendre gag running across a large number of shows, is almost too painful to take. You cannot believe such delightful dirty-mindedness could be broadcast on the radio. 

In 1972, I was still in the shared house in Leeds, where we often audio-taped television and radio shows to hear again. We fancied ourselves as comedy script writers, but apart from a couple of snippets in the magazine Private Eye, all else was rejected. 

ISIHAC was one of the series we recorded. Most of it is now gone, but I still have a tape with the very first four programmes from 1972. They were lost to the BBC for many years, and some may still be.

Humphrey Littleton was the chairman from the start, continuing until his death in 2008. Much of the success of the show was down to his deadpan delivery, as if genuinely baffled by the audience reaction to what he had to read out. Barry Cryer took over in the second and third programmes, but Humph returned for the fourth. The first panelists were Graeme Garden, Jo Kendall, Tim Brooke-Taylor and Bill Oddie, with John Cleese instead of Jo Kendall for the fourth programme. All had been in the show’s precursor, “I’m Sorry I’ll Read That Again” (ISIRTA), which we also recorded; also mostly lost. 

I digitise the shows to refer to in another post. For what it’s worth, here are the four half-hour programmes again. The BBC seemed uninterested when I tried to give them back some years ago. 

The production took time to settle into its established format, but many of the elements are there: one song to the tune of another; swanee whistles; late arrivals; limericks; the non-associated words game. These episodes are probably more of historical interests than classics, but they still raise a laugh: “Announcing late arrivals at the Plumbers’ Ball: Mr. and Mrs. Closet, and their son, Walter Closet.”

Series 1 Programme 1, 11th and 13th April 1972: https://youtu.be/D6EfHMvCEws
Series 1 Programme 2, 18th and 20th April 1972: https://youtu.be/z8zjDKMTZiE
Series 1 Programme 3, 25th and 27th April 1972: https://youtu.be/wPVGOgcy734
Series 1 Programme 4, 2nd and 4th May 1972: https://youtu.be/tuYAWVzuGWs 

Hartlepool, 1963

There are some surprising treasures in the depths of the BBC iPlayer.

In 1962/63, Jack Ashley, then a television producer but later a well-known Labour M.P. and campaigner for disability rights, made a 45-minute film, ‘Waiting for Work’, about unemployment in Hartlepool in the North of England (made before he became totally deaf).

The film could have been from my own childhood: the people, the homes and their contents, the shops, the pubs, the shipyard. Where I am from did not suffer mass unemployment as early as Hartlepool, but here were the same kind of lives I grew up with. Although my father would have been considered white-collar rather than blue, and later ran his own business, this is definitely the kind if background I came from. A real glimpse of a once familiar past.

The film is here (https://www.bbc.co.uk/iplayer/episode/p053r2q1/waiting-for-work), but as most will not want to sit through 45 minutes, and the iPlayer is not available outside the U.K., here are some screen-shots, probably far too many.  (Update: links to YouTube copy added at end)

There was still work to be had

but the shipyards are silent

and many are on the dole.

Out-of-work men are embarrassed to have to look after the children

and do the housework while their wives are at work. The children don’t like it.

Jack Ashley interviewed families about how unemployment affected them.

Pubs were still busy,

as was the High Street,

but many families were struggling.

Shopkeepers talked of decreased trade,

even the newsagents and hairdressers.

Luxury goods were hard to sell

and the second-hand shops had more sellers than buyers.

A few of those interviewed had been able to find work in the south of England, but those that owned houses in Hartlepool were unable to sell, and many did not want to leave the community of their parents, relatives and friends.

Like most of northern Britain, this was still a mare-orientated monoculture. Few women appear in the film and there are no persons of colour. It would inform today’s woke young things why some older people have the views and language they do, especially the part where unemployed young men (most then left school at 15) talk about how their lives are limited by lack of money. They cannot afford to go to the pictures (cinema) or buy records:

“You have to cut down on all your things ... you can’t be expected to enjoy yourself when you’re on the dole ... it’s very rare I go out with a girl now ... when you take them out you ... have to pay for everything ... you can’t get far with fifteen shillings ... you can’t expect to take them out ”

“Do the girls ever offer to pay for you?”

“They offer, but it’s more or less accepting charity.”

The whole way of life would now be dismissed as unenlightened, and inferior to cultures that have replaced it. 

Some of us were lucky, the beneficiaries of grammar school education, first-rate universities without fees, and student grants so generous that some even managed to save money. Most were not so lucky. I wonder what became of the people in the film. 

 

Update: for those who cannot see iPlayer, the film may be visible (with sub-titles) on YouTube in three segments:
Part 1: https://youtu.be/PxAKfnbFWe0
Part 2: https://youtu.be/sY9Fm4Y9k1c
Part 3: https://youtu.be/XZzTsThUIlU

Julius Caesar

I seem to be one of the diminishing few who still prefer to watch television in the traditional manner: as and when it is broadcast, usually in weekly episodes. For the past three Mondays we have been watching the Julius Caesar series on the BBC. Even Mrs. D., who is something of a phone addict, has been riveted by it.

It tells the story of how, through ruthless political manipulations and military conquests, and by appealing to the popular vote, Julius Caesar overthrew five hundred years of democracy, seizing power to become dictator of the whole Roman Empire. What a tyrant! Power corrupts, and absolute power corrupts absolutely. After him, democracy ended. Rome was governed by emperors and gradually fell into decline.

Caesar and those around him, such as Cato and Pompey, are played by actors. We see their actions, which are often terrible, and they spend a lot of time looking worried or thoughtful, but they speak no lines. Their contributions are described by around a dozen experts - academics, serious politicians and constitutional lawyers - who each focus on one person. The effect is gripping and powerful. I especially liked Rory Stewart’s explanations of Cato, Caesar’s adversary, who kills himself rather than compromise. I have seen historical dramas, and documentaries narrated by individuals, but nothing like this. Maybe I don’t watch enough television.

Without anything too explicit, it is impossible not to make comparisons with present times. Choose any conflict or political situation in any country you want. It is best said at the end. Democracy has to be defended constantly and vigorously. If democracy is weak, strong people come forward, and a new dictator will emerge.

I Haven’t Time To Be A Millionaire

What do young people do when they begin to take more than just a passing interest in each other? One answer it that they walk in the countryside. Our children did so with there special friends, and I have written about how I was smitten one warm evening in peaceful Leicestershire ridge and furrow. 

My parents were no different. This pair of photographs is from 1945. That is Rawcliffe Church in the distance. 

I was selecting images to illustrate the old family audiotapes I have mentioned several times, with a view to putting them on YouTube to minimise risk of loss. Here, yet again, is my dad singing “I Haven’t Time To Be A Millionaire”, this time as a video with images. It may not be particularly sophisticated, but it seems to work well.

I bet he imagined he was Bing Crosby singing with Gloria Jean in “If I Had My Way”. Let’s say he makes a recognisable attempt. I cannot imagine my mum managing Gloria Jean’s coloratura soprano, though. I looked up the original. What a delight! Astonishingly, Gloria Jean was just 14 at the time, playing the part of an orphaned child. She’s nearly as good as Bing. 

https://www.youtube.com/watch?v=kqzBUaonyZw

Dad sang a lot of Bing Crosby songs to us; there are more on the full audiotape, such as (from the same film): “If I had my way forever there’d be, a garden of roses for you and for me”, and (from “Rhythm on the River”): “Do I want to be with you, as the years come and go? Only forever, if you care to know”. 

“Stop being soppy,” I hear my mum say, which of course encouraged him. 

Isn’t it great to be able to share our parents’ musical obsessions, even years too late. I wish I could watch the films with them now. 

Andrew Lloyd Webber

A treat on BBC Television last night: ‘Andrew Lloyd Webber at the BBC’, a collection of performances over the years. It had some commentary, including from Lloyd Webber himself, but nothing shouty or intrusive, no one ‘emoting’ like an open mouthed idiot, just quiet, intelligent and sensible. The BBC at its best. It was first shown in March earlier this year but I missed it then. It is still on iPlayer.

I have long been a Lloyd Webber fan. I first became aware of him in the Joseph days of the nineteen-sixties, but it was Jesus Christ Superstar that won me over, particularly the film - the one with Ted Neely and Yvonne Elliman. I saw it three or four times. My friend Brendan, from the shared house, went to see it about ten times. He knew all the words and harmonies, and could imitate the actors’ bass/baritone/tenor voices:  “We need a more permanent solution to our problem. ...What then to do about Jesus of Nazareth? Miracle wonderman, hero of fools ...” If you know the original you can imagine the hilarious effect.

Then I bought the first recording of Evita and was absolutely entranced by it, especially the scene where Peron meets Eva for the first time:  “...Colonel Peron / Eva Duarte, I’ve heard so much about you. ... but I’m only an actress / a soldier ... But when you act, the things you do affect us all. But when you act, you take us away from the squalor of the real world. ...I’d be good for you, I’d be surprisingly good for you.”

For me, the highlight of the programme was Lesley Garrett and Michael Ball singing The Phantom of the Opera in 2001. I love Lesley Garrett. She is of my era and from Thorne in Yorkshire, my part of the country. She went to Thorne Grammar School. Goole, Thorne and the villages in between and around used to be as one. They even had the same telephone dialling code. Then some government factotum with apparently no understanding of the social geography of the area thought it would be more convenient to split them off into different administrative regions.

When Lesley Garrett speaks, much of her native Thorne accent still bubbles through. When she sings, she is spellbinding.

Lesley Garrett and Michael Ball: The Phantom of the Opera - https://youtu.be/yAYeqyrFWWU
I don’t know why the sub-titles to this video misleadingly implies that they are married.

Brian Cant and Play Away

New Month Old Post: first posted 20th June, 2017

                                It really doesn’t matter if it’s raining or it’s fine
                                Just as long as you’ve got time
                                To P-L-A-Y playaway-play, playaway,
                                Play-a-play, playaway. 

It was sad to hear [in June, 2017] of the death of Brian Cant, once polled the most-loved voice on UK children’s television. I used to love Play Away. I would never miss it unless I had to, despite being in my twenties at the time.

Brian Cant, Tony Robinson, Toni Arthur and Julie Stevens in Play Away (click to play)

Luckily, Play Away was on a Saturday afternoon when I wasn’t at work. It was full of silly jokes and sketches, some of them Pythonesque, and very musical. Its talented presenters had a vivacious energy that was simply uplifting. Children’s television is sometimes much too good for children.

And shining through it all was the childlike spirit of Brian Cant. He had a mischievous screen presence – a way every now and then of glancing into the camera as if to let you into the secret that this was every bit as daft as it looked. You never quite knew what he was going to do next. Just when he had drawn you in, he would give you a naughty nip like a playful Yorkshire terrier.

So I’ve spent a nostalgic couple of hours watching clips of Play Away on YouTube. The one above represents everything in it that was wonderful. Brian Cant hamming it up, the beautiful voice of Toni Arthur, crazy Julie Stevens, and an implausibly youthful Tony Robinson in the Court of King Caractacus.

If you want to eulogize about a man who sang a song about the fascinating witches who put the scintillating stitches in the britches of the boys who put the powder on the noses on the faces of the ladies of the harem of the court of King Caractacus …

... he’s just passed by.

Windmills Of Our Minds

I always have a tune playing in my head. This week there have been two not thought about in over sixty years. Where do we keep these things and the associations that suddenly bring them back?

I had been enjoying, on Yorkshire Pudding's recommendation a few weeks ago, the three series of 'The Detectorists' on BBC iPlayer. It is indeed good, although it contains more and more soap opera elements as it progresses, which I found annoying. 'Dad's Army' never needed extended plot lines about wives, daughers and girl friends.

I thought the best bit was the last five minutes of Series 3 Episode 1, when one of the main characters detects a falconer's whistle. He cleans if and blows to see if it still works, and to the eerie harmonies of The Unthanks 'Magpie' we are transported back to the scene of an Anglo Saxon burial on exactly the same piece of earth several centuries ago.

"Devil, devil, I defy thee", they sing. And then: "Oh, the magpie brings us tidings, Of news both fair and foul, She's more cunning than the raven, More wise than any owl, For she brings us news of the harvest, Of the barley, wheat, and corn, And she knows when we'll go to our graves, And how we shall be born." I had tingles down my spine.

After hearing 'Magpie' for a day or so, trying to make sense of the harmonies, I was struck by its slight similarity to the theme tune of the nineteen-fifties television series 'Cannonball'. It came back out of nowhere and I had to 'listen' to it for a time. This was then replaced, by association, with the singer Freddy Cannon's awful nineteen-fifties hit, 'Way Down Yonder in New Orleans', one of the first commercial songs I knew all the words to because they were printed in a magazine. I can still 'see' it from more than sixty years ago.

At least I can play The Unthanks to get rid of these two tunes, but sometime, it would be nice just to be able to switch it off.

https://youtu.be/w6EIFD80f90

Too Much Television

New month old post, originally posted as part of a longer post on the 19th September 2014. The other part of which was used at the beginning of last month.

We weren’t the last, but late enough for others to exclaim in disbelief: “What! You really don’t have a television?”

Dad thought them a mindless waste of time. After hours talking at work, he was happy to settle down to a book, or poetry, or his bible readings from church, or the B.B.C. “Book at Bedtime”. Mum, when not finishing housework, would be knitting, reading novels from the library or learning lines for her twice-yearly parts with a local drama group. I got through two or three library books a week too, and still had time for other worthwhile activities, not to mention homework. No one needed a television. There was always plenty to do. We were one of the last to have an X- or H-shaped aerial on the chimney stack.

My first viewing memories are therefore all on other peoples’ sets: school friends, the neighbour who regularly invited Mum, with me in tow, to watch ‘Val Parnell’s Sunday Night at the London Palladium’, another relative who let me watch football cup finals on Saturday afternoons, and one of my Mum’s aunts where I went once a week after school for tea. I remember the now forgotten Don Arrol’s brief stint as Palladium compere when he stood in for the ill Bruce Forsyth in 1960, the 1958 FA cup final when Bolton Wanderers beat a tragically depleted Manchester United after the Munich air disaster, and seemingly no end of escapist adventure series on Granada Television which was then the newly-licenced commercial provider for the whole of the North of England.

How many can you remember? How many theme tunes can you still sing? There was ‘The Lone Ranger’, ‘Bonanza’, ‘Rawhide’, ‘The Adventures of Robin Hood’, ‘The Adventures of William Tell’, ‘The Adventures of Rin Tin Tin’, ‘The Adventures of Long John Silver’, and ‘The Buccaneers’, to name but a few. The only theme tune I can’t remember is ‘The Buccaneers’, despite it being one of my favourite series. The tune was simply unmemorable. But I can still sing you the standby music used by Granada Television before programmes started at five o’clock.

Dad eventually surrendered to the inevitable and bought a set around 1962. I watched the first Transatlantic transmissions over the Telstar satellite in July of that year at home.

But all the many “worthwhile activities” soon disappeared. A year later I was watching the indisputably inane quiz show ‘Take Your Pick’ (the one in which Michael Miles tried to trick contestants into using the word “No”) when news of President Kennedy’s assassination came through. Within a few years, some programmes had become part of the bedrock of British society watched by more than half the population, and activities outside the home gradually dwindled away. For me, homework took second place on Thursdays when ‘Top of the Pops’ and ‘The Man From U.N.C.L.E.’ were on.

Dad remained a bastion of common sense. As soon as the television was turned on, he retired to his books, radio and other activities. I’m not quite that good, but I do try. Think of all the skills and knowledge lost to all that television. What goes around comes around. While I sit here trying desperately to improve my writing skills and perfect my pirate voice, my family sit the other room watching that embodiment of triviality, ‘The X factor’. 

originally posted as part of a longer post on the 19th September 2014

Talk like a pirate

New month old post (first posted 19th September 2014)

Robert Newton: the man who taught us to talk like a pirate

Although we did not yet have a television set at home, I used to see Newton in ‘The Adventures of Long John Silver’ at great Aunty Gina’s, where I would go once each week after school for tea. The series was made in Australia in 1954, but by the time it appeared on our screens in England some three years later, he had died from heart failure brought about by chronic alcohol consumption. He had previously played the role in the film, ‘Treasure Island’, in 1950.

Newton’s idiosyncratic one-eyed, one-legged and parrot-shouldered portrayal of Silver was much parodied and instantly memorable. The wildly gyrating eyeball and oddly exaggerated throaty West Country accent became the stereotypical pirate for the next half-century. Its influences are still prominent in the 2003 film ‘Pirates of the Caribbean’. Two Americans even thought it fitting to declare September 19th each year to be ‘International Talk Like A Pirate Day’ when everyone should greet each other with phrases such as “Ahoy, matey!”, and liberally sprinkle their speech with the pirate growl, “Aaarrrh”.

Exactly how do you talk like a pirate? It strikes me that the opening lines of ‘To The Hesitating Purchaser’ which begins Robert Louis Stevenson’s novel ‘Treasure Island’ provides a great model. Newton recites it at the start of every episode:

         If sailor tales to sailor tunes,
         Storm and adventure, heat and cold,
         If schooners, islands, and maroons,
         And buccaneers and buried gold,
         And all the old romance, retold,
         Exactly in the ancient way,
         Can please, as me they pleased of old,
         The wiser youngsters of today:
         So be it (Aarrrh Aarrrh), and fall on!

Just growl it out, stretching and rhoticising the ‘r’s and omitting the ‘d’ out of ‘adventure’, and you’ll sound pretty authentic.

To tell you the truth, I preferred the cleaner-cut, less eccentric Captain Dan Tempest in ‘The Buccaneers’, which was also set in the sixteenth-century age of pirates. Tempest was an ex-pirate, pardoned by the King and turned privateer to fight other pirates and the despicable Spaniards. He never caught the public imagination in the same way as Long John Silver. Perhaps it was because he didn’t talk like a pirate.

Sisters

This started out as one of those Google-powered rabbit burrows, beginning with Norma Waterson, the folk singer, who died at the end of January. She was born in ‘ull (American and non-Yorkshire: Hull). Mr YP mentioned her recently, and also, not so long ago, David Bowie’s collaborator Mick Ronson, who was also born in ‘ull. What other singers were born there, we wondered.

It sent me back to my mother’s Light Programme on the wireless in the nineteen-fifties. You would hear Ronnie Hilton singing about a mouse in a windmill with triplets and twins in, going clip-clippety-clop on the stair. He was born in ‘ull. David Whitfield too, the first British singer to have a number one in both Britain and the U.S. with the magnificently emotional Cara Mia.

Dickie Valentine was another of that era. What about him? Well, no, he was from London. What did he sing, then? Finger of Suspicion and Christmas Alphabet. But I thought Christmas Alphabet was by a female American group.

Yes: The McGuire Sisters. I remember them more for Sugartime. It’s on YouTube. Listen to those counter-melodies. Weren’t they good!

What about the Beverley Sisters: that’s near ‘ull. But they weren’t from Beverley; they were from London. Joy, Babs and Teddie. They were good too, and pretty, with distinctive harmonies. Here they are aged 20 and 23 (with 1947 cultural sensibilities): 

The matching qualities, the timbre, of family group voices can make pleasant listening, especially sisters. Take the Dale Sisters: Betty, Hazel and Julie Dunderdale, one of many sister acts that almost made it but not quite. They weren’t quite from ‘ull, but near enough to count. Their dad was a local butcher and Julie married our Geography teacher. They got off the ground in 1959 by winning a talent contest at Butlins holiday camp in Filey. They were also known as the England sisters:

The YouTube links, if you can’t see them are:

McGuire Sisters: https://youtu.be/bRvEHn6fKWE 

Beverley Sisters: https://youtu.be/-Ake5zUALFI

Dale Sisters: https://youtu.be/8O0gdFAJIT4

Jokers Wild

New Month Old Post: Barry Cryer, who died last week, is remembered in this not-so-old post from 18th November, 2018

Leeds 1970. Mondays. Back to work. Accountancy 8.45 to 5.30. I’d better get used to it because it could be for the next forty or fifty years. One of the older guys could find his own handwriting in ledgers from the nineteen-thirties: like in Cat Stevens’ Matthew and Son.

But there was one good thing about Mondays: Jokers Wild. The show had returned for a second series just after we moved into the first of our shared houses in March, 1970. I could be home for 6.15 when it went out on Yorkshire Television.

Jokers Wild (not to be confused with the American series of the same name) was a classic comedy show in which two teams of comedians competed by telling jokes on topics from cards drawn by Barry Cryer. Bonus points could be scored by interrupting a joke part-way through and completing the punchline. It was pretty much the first British example of many similar show formats: the Mock the Week of fifty years ago.

Old copies of that wonderful provincial newspaper The Yorkshire Post, which at parochial odds with almost every other newspaper and magazine in the country listed Yorkshire Television ahead of the B.B.C., name the regular team captains as Ted Ray and Arthur Askey, with team members Les Dawson and Ray Martine. On the 6th April, 1970, the day my wild-joking accountant boss had wished me a happy new fiscal year (I ashamedly still use that joke every year without fail), they were joined by guests Clive Dunn and Stubby Kaye.

Ray Cameron (father of the present day comedian Michael McIntire), who invented the show, appeared in some episodes. Other regulars and guests read like a who’s-who of British comedy from the last days of music hall to the nineteen-seventies. Many of them smoked cigarettes overtly on-screen. Some are now so gone and forgotten they don’t even have Wikipedia pages.

Barry Cryer with the Jokers Wild Trophy (click to play)

A YouTube clip advertising a DVD of some of the shows has guests Joe Baker and Lance Percival, probably from the 13th or 20th April, 1970. In subsequent weeks the Yorkshire Post lists Jack Douglas (in character as the nervous-tic-suffering Alfred Ippititimus), Ray Fell, Ted Rogers, Graham Stark, Kenneth Connor and Arthur Worsley. Other online clips include Michael Aspel, Warren Mitchell, Tim Brooke-Taylor and Sid James. Wikipedia and IMDb also mention that over its five-year, nine-series run, others on the show included Eric Sykes, Jimmy Edwards, Roy Hudd, Alfred Marks, Professor Stanley Unwin, Norman Collier, Bob Monkhouse, Peter Goodwright, Jack Smethurst, Lennie Bennett, David Nixon, Roy Kinnear, John Cleese, Charlie Chester, Freddie Starr, Michael Bentine, Paul Andrews, Lonnie Donegan, Milo O’Shea, Kenneth Earle, Kenny Cantor, Clement Freud, Mike Hope, Albie Keen, Tony Brandon, John Junkin, Mike Burton, Don Maclean, Bobby Pattinson, Tony Stewart, Dick Bentley, Deryck Guyler, Laurence Harvey, Dickie Henderson, Bernard Bresslaw, Rolf Harris, John Pertwee and Fred Emney. As was the spirit of the time, few women appeared on the show, the only ones listed (including hostesses) being Isabella Rye, Diana Dors, Audrey Jeans, ‘the lovely’ Aimi MacDonald and June Whitfield. I can remember most on the list, but by no means all. Some were actually singers, actors or presenters rather than comedians.

They told a lot of sexist, racist, men-in-pub, wife and mother-in-law jokes. I remember Tim-Brooke Taylor being allowed almost to complete a joke about a town in Devon before Barry Cryer interrupted to remind him that the subject was supposed to be painting. “Oh,” he said sounding surprised. “I thought you said Paignton.” The wonderful and much-underrated Ray Martine, a Polari-speaking, camp Jewish comedian with a reputation for witty and effective put-downs, became more and more ill-at-ease and hesitant as the series progressed. He seemed unable to cope with constant teasing and interruptions, especially from Les Dawson. On one programme he looked so fed up he launched into a stream of jokes about Barry Cryer’s wife, which was taking things a bit too far. Barry Cryer took it with good grace and said that after the break they would be back with more jokes and a letter from his solicitor. And it was all done without a single swear word.

One might also reflect on prominent comedians of the time who were not on the show: no Morecambe and Wise; no Ronnies; no Tommy Cooper, Frankie Howerd, Kenneth Williams, Dick Emery, Harry Worth, Charlie Drake, Benny Hill or Jimmy Tarbuck; only a minority of Carry-Ons, Pythons, Goodies and Goons; and so many, many others. Perhaps they were too busy, or under exclusive contract to the B.B.C., or maybe it was just not their format.

It was at least a last chance to see some of the older generation: the wartime generation and earlier. Arthur Askey and Fred Emney were over 70 when they appeared, with Ted Ray not much younger. From all of these lists it is astonishing to realise just how many brilliant comedians there have been over the years.

It looks terribly dated now and was probably more scripted than improvised, but it still raises a laugh. The DVDs for Series 1 and 2 are tempting [I later bought the series 2 DVD]. A much better review than this of the first DVD appears here.