Saga from Holme Moss
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
April 2020 • Issue 2 PROSPERO
The newspaper for retired BBC Pension Scheme members • April 2020 • Issue 2 PROSPERO REMEMBERING A GOLDEN AGE OF FILM PAGE 8 PENSION SCHEME | BBC PENSIONS PAUL BOHAN AT 100: ‘A REMARKABLE MAN’ Former BBC broadcast engineer Paul Bohan recently celebrated his 100th birthday, and BBC Volunteer Visitor Arthur Masson caught up with him to talk about the interesting times – and places – he’s seen in his long life. aul was born in Bishop Auckland, County He arrived at Stoney Cross and joined a unit servicing Durham, on 24 November 1919. aircraft, for approximately a year. He was then transferred to RAF Marham, and then to RAF PHe was educated at a council school in Byers Mildenhall. Eventually, with his service completed, Green village, where he obtained the first of many he was released in March 1947. (It is perhaps worth ‘accomplishments’, his 11-plus certificate! He was then posted to Meldrum and completed noting that, as he had passed the Commission 12 years as a TV engineer. He left school at 16 and joined the RAF, completing an examinations, if he had remained in service he would 18-month course at Cranwell as a wireless operator, then, have been a Commissioned Officer.) He was offered early retirement, which he accepted after successfully qualifying, went to RAF Thornaby. at the ‘ripe old age’ of 58 and joined Aberdeen After leaving the RAF he joined BOAC, which was the University Language Laboratory as their recording After one year, he went back to Cranwell for another state airline, and was posted to Sudan (Wadi-Halfa). -
The True Story of Mission to Hell Page 4
The newspaper for BBC pensioners – with highlights from Ariel online The true story of Mission to Hell Page 4 August 2015 • Issue 4 Trainee Oh! What operators a lovely reunite – Vietnam War TFS 1964 50 years on Page 6 Page 8 Page 12 NEWS • MEMORIES • CLASSIFIEDS • YOUR LETTERS • OBITUARIES • CROSPERO 02 BACK AT THE BBC Departments Annual report highlights ‘better’ for BBC challenge move to Salford The BBC faces a challenge to keep all parts of the audience happy at the same time as efficiency targets demand that it does less. said that certain segments of society were more than £150k and to trim the senior being underserved. manager population to around 1% of But this pressing need to deliver more and the workforce. in different ways comes with a warning that In March this year, 95 senior managers Delivering Quality First (DQF) is set to take a collected salaries of more than £150k against bigger bite of BBC services. a target of 72. The annual report reiterates that £484m ‘We continue to work towards these of DQF annual savings have already been targets but they have not yet been achieved,’ achieved, with the BBC on track to deliver its the BBC admitted, attributing this to ‘changes Staff ‘loved the move’ from London to target of £700m pa savings by 2016/17. in the external market’ and the consolidation Salford that took place in 2011 and The first four years of DQF have seen of senior roles into larger jobs. departments ‘are better for it’, believes Peter Salmon (pictured). a 25% reduction in the proportion of the More staff licence fee spent on overheads, with 93% of Speaking four years on from the biggest There may be too many at the top, but the the BBC’s ‘controllable spend’ now going on ever BBC migration, the director, BBC gap between average BBC earnings and Tony content and distribution. -
One Man's Personal Campaign to Save the Building – Page 8
The newspaper for BBC pensioners – with highlights from Ariel online Goodbye TVC One man’s personal campaign to save the building – page 8 April 2013 • Issue 2 bbC expenses regional dance band down television drama memories Page 2 Page 6 Page 7 NEWS • MEMoriES • ClaSSifiEdS • Your lEttErS • obituariES • CroSPEro 02 baCk at thE bbC Pollard Review findings On 22 February, acting director general Tim Davie sent the following email to all staff, in advance of the publication of the Nick Pollard. Pollard Review evidence: hen the Pollard Review was made clearer to ensure all entries meet BBC published back in December, Editorial standards. we said that we would The additional papers we’ve published Club gives tVC a great release all the evidence that today don’t add to Nick Pollard’s findings, send off WNick Pollard provided to us when he they explain the factual basis of how he (where a genuine and identifiable interest of delivered his report. Today we are publishing arrived at them. We’ve already accepted the BBC is at stake). Thank you to all the retired members and all the emails and documents that were the review in full and today’s publication There will inevitably be press interest and ex-staff who joined us for our ‘Goodbye to appended to the report together with the gives us no reason to revisit that decision as you would expect we’re offering support to TVC’ on 9 March. The day started with a transcripts of interviews given to the review. or the actions we are already taking. -
The BBC's Response to the Jimmy Savile Case
House of Commons Culture, Media and Sport Committee The BBC’s response to the Jimmy Savile case Oral and written evidence 23 October 2012 George Entwistle, Director-General, and David Jordan, Director of Editorial Policy and Standards, BBC 27 November 2012 Lord Patten, Chairman, BBC Trust, and Tim Davie, Acting Director-General, BBC Ordered by The House of Commons to be printed 23 October and 27 November 2012 HC 649-i and -ii Published on 26 February 2013 by authority of the House of Commons London: The Stationery Office Limited £10.50 The Culture, Media and Sport Committee The Culture, Media and Sport Committee is appointed by the House of Commons to examine the expenditure, administration and policy of the Department for Culture, Media and Sport and its associated public bodies. Current membership Mr John Whittingdale MP (Conservative, Maldon) (Chair) Mr Ben Bradshaw MP (Labour, Exeter) Angie Bray MP (Conservative, Ealing Central and Acton) Conor Burns MP (Conservative, Bournemouth West) Tracey Crouch MP (Conservative, Chatham and Aylesford) Philip Davies MP (Conservative, Shipley) Paul Farrelly MP (Labour, Newcastle-under-Lyme) Mr John Leech MP (Liberal Democrat, Manchester, Withington) Steve Rotheram MP (Labour, Liverpool, Walton) Jim Sheridan MP (Labour, Paisley and Renfrewshire North) Mr Gerry Sutcliffe MP (Labour, Bradford South) The following members were also members of the committee during the parliament. David Cairns MP (Labour, Inverclyde) Dr Thérèse Coffey MP (Conservative, Suffolk Coastal) Damian Collins MP (Conservative, Folkestone and Hythe) Alan Keen MP (Labour Co-operative, Feltham and Heston) Louise Mensch MP (Conservative, Corby) Mr Adrian Sanders MP (Liberal Democrat, Torbay) Mr Tom Watson MP (Labour, West Bromwich East) Powers The committee is one of the departmental select committees, the powers of which are set out in House of Commons Standing Orders, principally in SO No 152. -
The Imitation Game
The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. The Imitation Game Editor: Ian McEwan Published by Jonathan Cape, Represented in South Africa I98! 175 pp. by Oxford University Press Price: R13.10 Reviewed by John Cundill Albert begins to turn Maisie inside out. All the while he continues to kiss her. Maisie's groans suggest the abandonment of lovemaking, as well as fear and pain Haisie begins to disappear. What can one say about a writer who includes directions like that in a television script? And features, in the same play, a severed 12-inch human penis floating in a sealed glass jar? Several thoughts rush to mind. Does he really expect to get away with it? How do you show lovers in action to that extent on television? How do you get the female partner into a position which would tax the agility of a professional contortionist? In the midst of all this, how do you get her to disappear into thin air? How can you expect a producer to tackle something like this in the first place? Where do you find a broadcasting authority willing to screen it? As a script writer with only SABC - TV for a local market, I stand in awe of Ian McEwan's audacity - and, oh, how I envy the man. -
Now for a Lampshade Solo: How the Radiophonic Workshop Built the Future of Sound
https://www.theguardian.com/tv-and-radio/2018/jul/18/lampshade-solo-radiophonic-workshop-built- future-of-sound-festivals Now for a lampshade solo: how the Radiophonic Workshop built the future of sound Pascal Wyse Wed 18 Jul 2018 They chased bees, raided junkyards and banged household objects. Now, half a century on, the Radiophonic Workshop are festival material. Meet the sound effect visionaries whose jobs came with a health warning. On a mission … a recording session in 1962. Photograph: BBC Photo Library In 1957, just before the broadcast of a radio show called Private Dreams and Public Nightmares, a warning was sent to BBC engineers. “Don’t attempt to alter anything that sounds strange,” it said. “It’s meant to sound that way.” The BBC was also worried about the public. Donald McWhinnie, the programme’s maker, made an explanatory statement, ending with the cheerful signoff: “One thought does occur – would it not be more illuminating to play the whole thing backwards?” Radiophonic sound was now in the public domain. A year later, to the bewilderment of many, the BBC dedicated a whole workshop to this avant-garde stuff, even giving it a home in an old ice rink: Maida Vale Studios. Years later, the Queen, shaking hands with the Workshop’s creator, Desmond Briscoe, would confirm its universal success with the words: “Ah yes, Doctor Who.” But what is radiophonic sound – and why did it need a workshop? Radiophonics owes everything to the invention of the tape recorder. Once you could capture sound, using a workable material, you could play with it: slow it down until it thundered, feed it back on itself until it shrieked and echoed, or simply slice bits out. -
An Analysis of Shakespeare' S Recycling of Characters To
Articulāte Volume 10 Article 3 2017 Running Out of Sources (An analysis of Shakespeare' s recycling of characters to consciously or unconciously create a highly evolved final character in Prospero) Shikha Shah Denison University Follow this and additional works at: http://digitalcommons.denison.edu/articulate Part of the English Language and Literature Commons Recommended Citation Shah, Shikha (2017) "Running Out of Sources (An analysis of Shakespeare' s recycling of characters to consciously or unconciously create a highly evolved final character in Prospero)," Articulāte: Vol. 10 , Article 3. Available at: http://digitalcommons.denison.edu/articulate/vol10/iss1/3 This Article is brought to you for free and open access by Denison Digital Commons. It has been accepted for inclusion in Articulāte by an authorized editor of Denison Digital Commons. 14 15 Running Out of Sources (An analysis of Shakespeare' s recycling of characters to consciously or unconciously create a highly evolved final character achieving the golden mean of active and contemplative, similarities that are seen between the two, which furthers active in his control of his actions, yet contemplative in care- the possibility that Prospero, in part, is an advanced King in Prospero) fully planning them and trying to predetermine their conse- Lear, in whom we see that Lear's faults of resignation, shun- quences. ning of duty, and fatherhood are resolved. Shikha Shah '07 The possibility of Prospero, being in part an active Another Shakespearean character who pays a price and developed version of King Lear is further seen in the for neglecting his kingdom, and then handing over its run- parallel scenes of the storms. -
JUNE 27–29, 2013 Thursday, June 27, 2013, 7:30 P.M. 15579Th
06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 23 JUNE 2 7–29, 2013 Two Works by Stravinsky Thursday, June 27, 2013, 7:30 p.m. 15, 579th Concert Friday, June 28, 2013, 8 :00 p.m. 15,580th Concert Saturday, June 29, 2013, 8:00 p.m. 15,58 1st Concert Alan Gilbert , Conductor/Magician Global Sponsor Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director These concerts are sponsored by Yoko Nagae Ceschina. A production created by Giants Are Small Generous support from The Andrew W. Mellon Foundation, Clifton Taylor, Lighting Designer The Susan and Elihu Rose Foun - Irina Kruzhilina, Costume Designer dation, Donna and Marvin Matt Acheson, Master Puppeteer Schwartz, the Mary and James G. Margie Durand, Make-Up Artist Wallach Family Foundation, and an anonymous donor. Featuring Sara Mearns, Principal Dancer* Filming and Digital Media distribution of this Amar Ramasar , Principal Dancer/Puppeteer* production are made possible by the generos ity of The Mary and James G. Wallach Family This concert will last approximately one and Foundation and The Rita E. and Gustave M. three-quarter hours, which includes one intermission. Hauser Recording Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic June 2013 23 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 24 New York Philharmonic Two Works by Stravinsky Alan Gilbert, Conductor/Magician Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director A production created by Giants Are Small Clifton Taylor, Lighting Designer Irina Kruzhilina, Costume Designer Matt Acheson, Master Puppeteer Margie Durand, Make-Up Artist Featuring Sara Mearns, Principal Dancer* Amar Ramasar, Principal Dancer/Puppeteer* STRAVINSKY Le Baiser de la fée (The Fairy’s Kiss ) (1882–1971) (1928, rev. -
Officers Report
Committee Date: 11/06/2015 Application Number: 2015/01789/PA Accepted: 12/03/2015 Application Type: Full Planning Target Date: 07/05/2015 Ward: Edgbaston Birmingham Dental Hospital & School Of Dentistry, Land At Former Pebble Mill Studios, Pebble Mill Road / Bristol Road, Edgbaston, Birmingham, B5 7QQ Erection of single storey temporary general anaesthetic unit, with plant room above, including ancillary works for parking, landscape and waste storage. Applicant: Birmingham Community Healthcare NHS Trust 3 Priestley Wharf, Holt Street, Birmingham Science Park, Aston, Birmingham, B7 4BN, Agent: One Creative Environment 5 The Triangle, Wildwood Drive, Worcestershire, WR5 2QX Recommendation Approve Temporary 1. Proposal 1.1. A three year temporary consent is sought for the erection of a single storey general anaesthetic unit with 228sq.m of accommodation provided with plant room above and ancillary works relating to parking, landscaping and waste storage. 1.2. The temporary building would measure 14.86m in width, 12m in depth and 6.9m in height (which includes the plant box on the roof). Without the plant, the building would measure 4.2m in height. The plant area on the roof would measure 12m in width, 4m in depth and 2.7m in height. The plant room would be constructed from powder coated aluminium louvres whilst the unit would be clad in white Kingspan panels with a brick plinth matching the existing Dental Hospital building. 1.3. The building would have an internal layout comprising one operating theatre with scrub and prep area, anaesthetic room and dirty utility; staff restroom; recovery area; staff areas, office area and a waiting room. -
Broadcasting House Hosts 2015 PLM Page 2
The newspaper for BBC pensioners – with highlights from Ariel online Broadcasting House hosts 2015 PLM Page 2 Dec 2015 • Issue 6 Memories Pensions PIE Memories at Ariel explained of ‘66 Flying Club Page 3 Page 4 Page 6 NEWS • MEMORIES • CLASSIFIEDS • YOUR LETTERS • OBITUARIES • CROSPERO 02 BBC PENSIONS 2015 Pensioners’ Liaison Meeting The 2015 Pensioners’ Liaison ‘Running the BBC Pension Scheme – Historically low bond yields ‘The aim of the plan is to provide recovery with assets of between £12-£13 billion, in event of a real disaster. We held a rehearsal The two key markets the Scheme is interested Meeting was held at the Radio depending on what the markets are doing in mid-September at Wood Norton, where in are equity markets and government bonds. – is like running a huge financial business. I the scenario was a complete closure of the Theatre in Broadcasting House, Equity markets have performed very strongly believe the Scheme is in good hands, and the building in Cardiff and all systems lost. We since the trough in 2009, with a bit of a dip London on 22 October. job I do is made a whole lot easier thanks to went to Evesham and managed to get the down over the last few months. On long-term Joy Moore and her team.’ system back up and operational – it was a government bonds (Gilts), however, the yield Bill paid tribute to Joy, who will be leaving complete success.’ has come down to historically low levels. the Scheme next year. ‘This will be Joy’s last The Trustee team had asked James Hacker Looking at the Scheme’s longer-term meeting of this nature. -
Jonny Greenwood
JONNY GREENWOOD Jonny Greenwood (b. 1971) is best known as the lead guitarist of the band Radiohead whom he joined while still at school. He started to study psychology and music at Oxford Brookes University, but only finished his first term before leaving to sign a six-album deal with EMI, and start his recording career with Radiohead. Radiohead have realised phenomenal success over the past decade, with multi-platinum album sales and an ever growing worldwide following. Greenwood is no stranger to classical music, though. Indeed, his early musical interests included Messiaen and Ligeti and he started out as a viola player. He plays several other instruments too, including piano, organ, banjo, glockenspiel and harmonica, and he has a particular love for the ondes martenot. To date Greenwood has penned three “classical” works. These compositions have been licensed to Faber Music: smear (two ondes martenots and ensemble), Popcorn Superhet Receiver (string orchestra) and Doghouse (string trio and orchestra). smear, commissioned by the FuseLeeds festival, was premiered there in March 2004 by the London Sinfonietta. In March 2005 Greenwood was Featured Composer at the South Bank Centre’s cutting- edge Ether Festival, where the revised version of smear was performed by the London Sinfonietta in the Royal Festival Hall, one of its’ two sell-out concerts there. smear was later released on CD on the London Sinfonietta Label as part of their Jerwood Series. In 2004, Greenwood was made Composer in Residence with the BBC Concert Orchestra. The first fruit of this association was Popcorn Superhet Receiver, a BBC commission, premiered by the BBC Concert Orchestra and Robert Ziegler in April 2005. -
Cutting Red Tape – Is Dealing with HR Easier Now? Page 10
P H otograp 08·12·09 Week 49 explore.gateway.bbc.co.uk/ariel H: step H en THE BBC NEWSPAPER GIBSON Staff with hidden talents among traders a at Pacific Quay Christmas Market Quay to a crafty Xmas page 4 ◆ Victoria Derbyshire ◆ Uploading the ‘next ◆ Cutting red tape – broadcasts live from big thing’ with BBC is dealing with HR Zimbabwe Page 3 Introducing Pages 8-9 easier now? Page 10 > NEWS 2-4 WEEK AT WORK 7 OPINION 10 MAIL 11 JOBS 14 GREEN ROOM 16 < 162 News aa 00·00·08 08·12·09 CITIZEN JOURNALISM POSES CHALLENGE The etiquette a Sharper skills needed to sort of social media a & a Room 2316, White City 201 Wood Lane, London W12 7TS fact from fiction, says Boaden 020 8008 4228 by Sally Hillier Editor NICK Candida Watson 02-84222 u THE RAPID RISE of user generated content Reynolds Deputy editor and social media sites promises new possi- Cathy Loughran 02-27360 bilities but has also ‘opened a can of worms’, SOCIAL MEDIA; WE LOVE IT. I’m making a very Chief writer Helen Boaden, director of news, has warned. good living out of social media myself. Sally Hillier 02-26877 At a White City seminar on Monday, she But if you want to be ‘social’ it’s about more Features editor pointed to the ‘huge benefits’ of citizen jour- than just starting a Twitter account. For to be Clare Bolt 02-27445 nalism – during the February snowstorms, social is to be human. As Stephen Fry wisely Broadcast Journalist for example, the BBC received 65,000 pic- said recently, Twitter (and he could have eas- Claire Barrett 02-27368 tures – while making clear that there were ily said all social media) is ‘human shaped not Art editor also significant downsides to this particular business shaped’.