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The Practices of Carnival: Community, Culture and Place
The Practices of Carnival: Community, Culture and Place. Submitted by Jonathan Freeman Croose to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Geography May 2014 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. …………………………………………………………………….. 1 Abstract: This thesis analyses ethnographic data gathered during participant observation within two vernacular town carnivals in East Devon and Dorset during 2012 and within the professional Cartwheelin’ and Battle for the Winds street performances which were staged as part of the Maritime Mix programme of the 2012 Cultural Olympiad at Weymouth. The thesis presents qualitative perspectives with regard to the cultural performance of carnival in the fieldwork area, in order to analyse the ‘performativity’ of carnival in these contexts: how it enacts and embodies a range of instrumentalities with regard to notions of community, culture and place. The thesis serves to unpack the ‘performance efficacy’ of carnival within the wider political and cultural landscape of the UK in the early 21st century, revealing the increasing influence of institutional policy on its aesthetics and cultural performance. By way of contrast, the thesis also asserts the value of vernacular carnivalesque street performance as a contestation of hegemonic notions of ‘art’, ‘place’ and ‘culture’. -
The Copyright of This Recording Is Vested in the BECTU History Project
Yvonne Littlewood Tape 1 Side A This recording was transcribed by funds from the AHRC-funded ‘History of Women in British Film and Television project, 1933-1989’, led by Dr Melanie Bell (Principal Investigator, University of Leeds) and Dr Vicky Ball (Co-Investigator, De Montfort University). (2015). COPYRIGHT: No use may be made of any interview material without the permission of the BECTU History Project (http://www.historyproject.org.uk/). Copyright of interview material is vested in the BECTU History Project (formerly the ACTT History Project) and the right to publish some excerpts may not be allowed. CITATION: Women’s Work in British Film and Television, Yvonne Littlewood, http://bufvc.ac.uk/bectu/oral-histories/bectu-oh [date accessed] By accessing this transcript, I confirm that I am a student or staff member at a UK Higher Education Institution or member of the BUFVC and agree that this material will be used solely for educational, research, scholarly and non-commercial purposes only. I understand that the transcript may be reproduced in part for these purposes under the Fair Dealing provisions of the 1988 Copyright, Designs and Patents Act. For the purposes of the Act, the use is subject to the following: The work must be used solely to illustrate a point The use must not be for commercial purposes The use must be fair dealing (meaning that only a limited part of work that is necessary for the research project can be used) The use must be accompanied by a sufficient acknowledgement. Guidelines for citation and proper acknowledgement must be followed (see above). -
HANCOCK's HALF HOUR COLLECTIBLES Notes To
HANCOCK’S HALF HOUR COLLECTIBLES Notes to Accompany Volume 3 All photographs copyright (C) BBC (unless otherwise stated) The Tony Hancock Appreciation Society is delighted to have given its support to the production of this new and unique series concerning the lost works of Tony Hancock. Tony Hancock: BBC Publicity Shot for Hancock’s Half Hour, November 1956 The Tony Hancock Appreciation Society (THAS) Since its creation in 1976, the THAS has dedicated itself to preserving and promoting the works of Tony Hancock and, more crucially, to finding his broadcasts that were missing from the archives. Over the decades, these efforts have yielded a wealth of material, most notably lost episodes of his most beloved work on Hancock’s Half Hour for both television and radio. Many of these have now been located and returned to the BBC; some feature in this special series of Collectibles, now into 1 its third volume. However, many still remain lost at this time. In addition, our efforts have found other material – shows recorded before Hancock became a household name – from series such as Calling All Forces, Variety Bandbox and Star Bill. Again, examples of these can be found in this series. In the previous volumes, there was an extensive analysis of missing recordings from Hancock’s radio career, and, as ever, we remain hopeful that some of these recordings will emerge from private collections or, perhaps, the archives of the BBC or other institutions. In these notes, we will focus on a number of missing recordings and shows outside the ‘core’ work Hancock did on his eponymous series and those that preceded it. -
5.1 May 2018 Newsletter.Cdr
5.1 3D BBC CiNA/RNIB May 2018 Newsletter Summary April 1. April Competition 4. March Winner’s email 2. Clues & Explanations 5.May Extra mid-month 2018 3. Presentations 2017 6. Spike Milligan Crossword Enigmatist Pickles 1. April Competition I TOLD YOU I WAS ILL The April competition with Spike Milligan themed grid by Pickles and clued by Enigmatist, was won by Jos Tait of Preston Australia. Excellent solving! SPIKE MILLIGAN Feedback included: Enigmatist is one of my favourite setters and many of the reasons for that can be found in this puzzle: clever and challenging exploitation of an interesting theme; complex, cryptic and misleading clues – for example, it took me a long time to unravel the clue to IRONIC, but it is, as indeed are all his clues, ultimately both intricate and fair. A most enjoyable solve this month. Kmc One solver is speaking to another :- “Would you like to do this puzzle set by Enigmatist or climb the North face of the Eiger?” “Wait right there – I'll get the crampons!” GS Much fun to be had here, as Andre always has a go first. He was amazed when he came to complain that nothing could really contain Y__G T__G and I immediately burst into song... Quite an education in British culture for him! AR Thanks again for the great, and consistently entertaining, puzzles. JN Lovely to have the brilliant madcap humour of Spike Milligan celebrated and brought back to life again in such a clever puzzle. Again I am in awe of how much Engimatist was able to pack into the grid, and how many references Grid by there are, since I imagine the constraints of 3D must be greater than those Pickles of 2D. -
The Goon Show: the Spanish Suitcase
THE GOON SHOW: THE SPANISH SUITCASE First broadcast on December 7, 1954. Script by Spike Milligan and Eric Sykes. Produced by Peter Eton. Announced by Wallace Greenslade. The orchestra was conducted by Wally Stott. Transcribed by Kurt Adkins, corrections by Peter Olausson. Greenslade: This is the BBC Home Service. Grytpype: Oh dear! Greenslade: Never-the-less, this is the BBC Home Service, my almamata! Bluebottle: Olé! Seagoon: That olé of olés can only herald the coming of the highly esteemed Goon Show! Grams: [Panic stricken audience running out, door slams] Seagoon: Who unlocked the doors? Mr. Greenslade, emergency music! Grams: [’The Archers’ theme tune and animal noises] Seagoon: Stop! [Music stop] I knew that would get them back in. Heads above the trough! [country accent] Now then, Dan Greenslade, me dear, tell 'em as 'ow we're going to be doing that there Goon Show. I'll be off to mend my tractor. Greenslade (country accent): Aaaaah, aaalright me old dear Ned Archer, I reckon as all we'll be having a ripe harvest of compost from 'im tonight! Greenslade: Aaaaaarh! Seagoon: Aaaaaarh! Regal Woman: Hello you two, still arguing about the old cow? Greenslade: Aaaaaaaarh! Regal Woman: Where's Daddy? Greenslade: Well, he were asking if them beams up in the barn were strong. 1 Seagoon: Ay, he asked I that, he did, he asked I that then he went up there with a coil of rope and a noose around his neck. Regal Woman: No no, he... Oh look! Grams: [’The Archers’ end theme tune] Sellers: Easy money! Seagoon (himself): Right, now Greenslade, off with your dung smock and into a serious vein. -
Bibliography of Occult and Fantastic Beliefs Vol.4: S - Z
Bruno Antonio Buike, editor / undercover-collective „Paul Smith“, alias University of Melbourne, Australia Bibliography of Occult and Fantastic Beliefs vol.4: S - Z © Neuss / Germany: Bruno Buike 2017 Buike Music and Science [email protected] BBWV E30 Bruno Antonio Buike, editor / undercover-collective „Paul Smith“, alias University of Melbourne, Australia Bibliography of Occult and Fantastic Beliefs - vol.4: S - Z Neuss: Bruno Buike 2017 CONTENT Vol. 1 A-D 273 p. Vol. 2 E-K 271 p. Vol. 3 L-R 263 p. Vol. 4 S-Z 239 p. Appr. 21.000 title entries - total 1046 p. ---xxx--- 1. Dies ist ein wissenschaftliches Projekt ohne kommerzielle Interessen. 2. Wer finanzielle Forderungen gegen dieses Projekt erhebt, dessen Beitrag und Name werden in der nächsten Auflage gelöscht. 3. Das Projekt wurde gefördert von der Bundesrepublik Deutschland, Sozialamt Neuss. 4. Rechtschreibfehler zu unterlassen, konnte ich meinem Computer trotz jahrelanger Versuche nicht beibringen. Im Gegenteil: Das Biest fügt immer wieder neue Fehler ein, wo vorher keine waren! 1. This is a scientific project without commercial interests, that is not in bookstores, but free in Internet. 2. Financial and legal claims against this project, will result in the contribution and the name of contributor in the next edition canceled. 3. This project has been sponsored by the Federal Republic of Germany, Department for Social Benefits, city of Neuss. 4. Correct spelling and orthography is subject of a constant fight between me and my computer – AND THE SOFTWARE in use – and normally the other side is the winning party! Editor`s note – Vorwort des Herausgebers preface 1 ENGLISH SHORT PREFACE „Paul Smith“ is a FAKE-IDENTY behind which very probably is a COLLCETIVE of writers and researchers, using a more RATIONAL and SOBER approach towards the complex of Rennes-le-Chateau and to related complex of „Priory of Sion“ (Prieure de Sion of Pierre Plantard, Geradrd de Sede, Phlippe de Cherisey, Jean-Luc Chaumeil and others). -
The History of Lasham Airfield
GLIDING HERITAGE CENTRE A HISTORY OF LASHAM AIRFIELD Author Glyn Bradney Description Lasham airfield in WW2 and how it became a major gliding centre Date 28th April 2015, version 1.) INTRODUCTION The articles I’ve written for the Gliding Heritage Centre website to-date have been intended to fulfil the educational remit that the GHC has through being a registered charity. Given that the GHC is based at Lasham, which is one of the very largest gliding organisations in the world, it seems appropriate that I should write something on the history of Lasham itself. However, I’m not going to go into huge detail in covering every single one of the airfield’s many facets, there are other sources which I will reference should the reader really wish to “dig deep” into its evolution and past in particular areas. ("Lasham Airfield" by fr:Utilisateur:Steff - Personal picture ex Wikipedia, taken during a London Stansted-Dinard flight, May 2006, looking SE. Lasham village is at “3 o’clock”, the ATC maintenance facility at “5 o’clock”.) Lasham airfield, pronounced as “Lash-am” throughout the gliding world, was built by McAlpines in 1941/1942 using Irish labourers and Italian prisoners of war. The usual airfield naming convention was used, namely that of the nearest significant habitation, in this case Lasham village. The history of Lasham village itself goes back a long way. It’s recorded in the Doomsday All rights Reserved | The Gliding Heritage Centre, Lasham Airfield, Alton, Hampshire, GU34 5SS| GLIDING HERITAGE CENTRE book of 1086 as being of “2 ½ hides”, at that time called “”Esseham”. -
British Series About a Group of With
104 G000 LISTENING First Broadcast:1929 (under title "Rise of Milligan); Moriarity (Harry Secombe); Ma- the Goldbergs"). jor Bloodknock, Indian Army, retired (Harry Secombe);Bluebottle,the Good Listening character who always reads the stage directions in his script (Harry Secombe), Type:Quiz Min and Henry (Harry Secombe, Spike Milligan). Format:Calledforcontestantstoans- wer questions based on a medley of vocalAnnouncer:Wallace Greenslade. clues that were constantly interrupted by Vocalist:Max Geldry. plants in the studio audience. A playerOrchestra:Wally Stark. won money ($3, $6, or $9) based on how Also:The Ray Ellington Quartet. many questions he could answer thatLength:30 minutes. were related to the interrupted songs. Network:NBC. Host:Lionel Kaye. First Broadcast: 1955. Vocalists:The Three Chances. Orchestra:Van Alexander. Length:30 minutes. The Gordon MacRae Show Network:CBS. First Broadcast: 1943. Type:Musical Variety Host:Gordon MacRae. Vocalists:Sheila Stevens, Marian Bell. Good News Announcer:Dan Seymour. Orchestra:Archie Bleyer, Johnny Guar- Type:Musical Variety neri. Host:Dick Powell. Length:15 minutes. Vocalist:Mary Martin. Network:CBS. Orchestra:Meredith Wilson. First Broadcast:1945. Length:30 minutes. Network:NBC. First Broadcast:1939. The Gracie Fields Show The Goon Show Type:Variety Hostess:Gracie Fields (a British comed- Type:Comedy ienne). Format:British series about a group ofRegulars:Bob Burns, The Spartan Quar- goons, people "of inarticulate language tet, Don Hancock. with one -cell brains who think in theAnnouncer:Bill Goodwin. fourth dimension," who are anti -every-Orchestra:Harry Sosnik, Lou Bring, Carl thing and whose sole purpose is first to Hoffman. destroy the British Empire, then the restLength: 5minutes(1942),15minutes of the world. -
The National Life Story Collection
Daphne Shadwell Page 1 COPYRIGHT: No use may be made of any interview material without the permission of the BECTU History Project (http://www.historyproject.org.uk/). Copyright of interview material is vested in the BECTU History Project (formerly the ACTT History Project) and the right to publish some excerpts may not be allowed. CITATION: Women’s Work in British Film and Television, Daphne Shadwell, http://bufvc.ac.uk/bectu/oral-histories/bectu-oh [date accessed] By accessing this transcript, I confirm that I am a student or staff member at a UK Higher Education Institution or member of the BUFVC and agree that this material will be used solely for educational, research, scholarly and non-commercial purposes only. I understand that the transcript may be reproduced in part for these purposes under the Fair Dealing provisions of the 1988 Copyright, Designs and Patents Act. For the purposes of the Act, the use is subject to the following: The work must be used solely to illustrate a point The use must not be for commercial purposes The use must be fair dealing (meaning that only a limited part of work that is necessary for the research project can be used) The use must be accompanied by a sufficient acknowledgement. Guidelines for citation and proper acknowledgement must be followed (see above). It is prohibited to use the material for commercial purposes and access is limited exclusively to UK Higher Education staff and students and members of BUFVC. I agree to the above terms of use and that I will not edit, modify or use this material in ways that misrepresent the interviewees’ words, might be defamatory or likely to bring BUFVC, University of Leeds or my HEI into disrepute. -
The Rude Mechanicals Present Ying Tong – a Walk with the Goons
The Rude Mechanicals present The Australian première of Ying Tong – A Walk With The Goons By Roy Smiles, Directed by Ian Hart The Street Theatre, Canberra 17 August – 2 September 2006 Great wits are sure to madness near allied, And thin partitions do their bounds divide. —John Dryden The subversive anarchy and surreal humour of The Goon Show burst on post-war Britain and Australia like an exploding batter pudding. The shockwave wrenched English comedy off its secure moorings and set the course for Monty Python, Beyond the Fringe, The Goodies… all the way to Little Britain. Peter Sellers, Harry Secombe and Spike Milligan became household names. Today, 50 years later, The Goon Show is still being repeated on the ABC. Roy Smiles’ brilliant new play celebrates the genius of The Goons, but also demonstrates the truth of Dryden’s couplet in the high price that Milligan, its creator, paid for his success. Ying Tong opened at the West Yorkshire Playhouse and then transferred to The West End and has been touring in Britain and South Africa for the past year. The Street Theatre season is its Australian première. The Rude Mechanicals production is directed by Ian Hart and features four talented Canberra actors: Robert de Fries (Spike Milligan), Steven Kennedy (Peter Sellers), Robbie Matthews (Harry Secombe) and John Honey (Wallace Greenslade). The choral performance of The Ying Tong Song is by OOTS Choir, Tuggeranong, directed by Jenny Sawer. Visit the Rude Mechanicals web site http://www.camrin.com/rudemech Preview: 16 August Season: 17-19, 22-26, 29 August-2 September Wednesdays-Saturdays 7:30pm, Tuesdays 6:30pm Matinees 19 Aug, 26 Aug, 2 Sept at 1:30pm Venue: The Street Theatre Studio Tickets: $28 Concessions available. -
The Last Goon Show of All
The Last Goon Show of All Transcribed by John Koster, corrections by Sean Dwyer. Final corrections and colour-coded separation of versions by Helen. Green text = Radio version only Red text = TV version only (At least, the TV version that's on YouTube) Black text = Both versions ORCHESTRA: OLD COMRADES MARCH BROWELL: Well, good evening and welcome to the Camden. And if you'll forgive me, this is a most illustrious occasion. We're are playing this Goon Show, the first since 1960, in front of a very distinguished audience. And I am very glad to see you and I hope you have a wonderful time. First of all the "Old Comrades", obviously played by the Wally Stott Orchestra. Wally Stott, I'm afraid is not able to be with us this evening, so the orchestra is conducted by Peter Knight. AUDIENCE APPLAUSE BROWELL: Well, when Con Mahoney, who's head of my department, said "Can you get these bods together?", it was a bit of a job. But I got the principals. And I found Ray Ellington. But Max was a bit more difficult because he's in America. But the BBC dug deep into its pocket… AUDIENCE APPLAUSE BROWELL: …which was most unusual. But here, from America, is Max Geldray. AUDIENCE APPLAUSE BROWELL: Ha, ha. Well, we didn't have quite so far to go for our colour sergeant. Who else but Ray Ellington! AUDIENCE APPLAUSE BROWELL: Now it's absolutely fascinating because I am so delighted than nearly every one of the old musicians… Old? …have returned for tonight. -
The Goon Show: the Spon Plague
THE GOON SHOW: THE SPON PLAGUE First broadcast on March 3, 1958. Script by Spike Milligan and John Antrobus. Produced by Charles Chiltern. Announced by Wallace Greenslade. Orchestra conducted by Wally Stott. Transcribed by anon, corrections by Paul Webster and Peter Olausson. Greenslade: This is the BBC. It might not sound much but [tearfully] it’s home to me. [Sings] We’ve been together now fer forty years and it ain’t been a day... FX: [Pistol shot] Secombe: Got him, folks! It was the kindest way out. We had the vet’s permission, ha ha. Now, folks, by permission of one of the Lord Chamberlain’s secretaries, we present - Orchestra: [Timpani roll (come in on word ‘secretary’)] Throat: ‘The Great Spon Plague.’ Orchestra: [Dramatic chords] Sellers: My name is Doctor Hairy MacSquirter, Squirter MacSquirters of the Clan MacThud and Jim Thudder of Leeds. Our history goes back over half a decade. I have got nothing to do with tonight’s show, so I’ll bid ye all a guid night. Orchestra: [Tatty chord] Greenslade: The scene opens in a granny-hurling factory in Tooting. FX: [Stone chisel sculpting on granite. Then hammering iron from the forge] Grytpype (over FX): Ah, my masterpiece! Don’t move, Moriarty, keep that pose. Ahh - how Michaelangelo would have envied me. Moriarty: What are you making? Grytpype: A pill, Moriarty. Moriarty: Sapristi - you mean you made me pose in the nude to model for a pill?! Grytpype: I wasn’t using all of you, just a certain area you know. Ahm - round off the pill with sandpaper.