I recently came across a fascinating blog post by Dr. Caitlin Green, featuring a collection of early maps of Lincolnshire. Caitlin describes herself as a historian and writer whose professional interests lie in the history, archaeology, place-names and literature of late Roman and early medieval Britain.
She explains: “This post is primarily intended to share images of some of the interesting early maps of Lincolnshire that still exist, dating from the medieval era through until the early seventeenth century. Details of each map and a brief discussion of the principal points of interest—including the curious region-name ‘Ageland’ that appears in eastern Lincolnshire on many of them—are provided in the captions to the following image gallery, which I aim to add to over time.”
Not long after we moved into Kirkby on Bain in 2001, somebody said to me something along the lines of “Of course you must know about our famous murderer, Ethel Major”. Of course I had never heard of her, so I did some very superficial research and found that this Kirkby on Bain lady was convicted of killing her husband (a nasty piece of work, allegedly,) in 1934 and hanged in Hull gaol.
A little later Betty Dixon, who was born that year and until recently was one of Kirkby’s oldest residents, kindly lent me a bundle of newspaper cuttings and a book about this case. Like a lot of accounts of past murders, quite a bit of this material was written in sensationalist styles, with little by way of references or source attributions. I also noticed that some accounts were word-for-word copies, apparently lifted from one original newspaper write-up.
During subsequent searches, I stumbled across a real surprise – macabre testimony to the everlasting obsession with murder, a knitted representation of Ethel’s house, made by Jean Arkell, originally installed at the Minories Art Gallery, Colchester. Believe it or not there really is a website featuring knitted representations of houses lived in by female murderers. Midsomer Murders scriptwriters, please take note. Continue reading →
We had been warned. We should not have been surprised when our bed sheets were torn from the clothes line and distributed down the gorse covered hillside behind our rented house in Karori, a windswept suburb of Wellington, capital city of New Zealand, in 1971, not long after we moved there.
In 1966 the New Zealand National Film Unit produced a documentary called “Toehold on a Harbour”, which, not without typical kiwi irony, will give you a fair idea of what we were up against, including the wind problem and the near perpendicular housing sprawl. (Stay with this film, it really does the job, even though we moved to Wellington five years after the film was released).
Some time ago I wrote about my short-lived spell in the BBC2 Presentation Programmes Department in 1973, not long after the demise of Late Night Line-Up in 1972. Its predecessor “Line-up” had started out as a kind of early evening trailer when BBC2 first went on the air in 1964 but later that year it morphed into “Late Night Line-Up” featuring “open and candid discussion among invited guests”, transmitted live after the 9.00 p.m. watershed.
In my earlier post I mentioned Michael Dean, whom I got to know post Late Night Line-Up, as a friend and colleague, when I moved over from BBC2 programme directing to BBC1 Presentation Department as a Network Director (AKA Transmission Control and Trailers.) At that time Michael was working for Auntie as a continuity announcer prior to returning to his native New Zealand, and we used to chat and have a laugh or two in the tea room from time to time, often about NZ , whence I had just returned after a six-year stopover. At the time I knew Michael had worked on Late Night Line-Up, but did not fully realise that he had been a celeb as a “highbrow” arts and current affairs presenter and interviewer on the show, along with colleagues such as Denis Tuohy, Joan Bakewell, Tony Bilbow and Philip Jenkinson. Continue reading →
If you have read Part One of this memoir, you will remember that my main aim was to move away from routine directing of South Today, working more and more on regional “opt out” features made at BBC South. I will write later about this period, but it’s going to be quite a long job, so in the meantime, here’s a clip from one episode of a programme strand which I created and produced in the early eighties, called “Don’t Fence Me In”. In this edition John Fowles, celebrated author of “The French Lieutenant’s Woman” and other best sellers, who normally refused to appear on television following some bad experiences, broke cover and gave me an exclusive in his less well-known role as curator of the Philpot Museum in Lyme Regis.
The story was about claims that fossil hunters, both amateur and professional, were a threat to fossil conservation along the Dorset Jurassic Coast and even to the homes of residents on the cliff tops. The interviewer was Michael Jordan:
This story raised a few eyebrows among my NUJ card-carrying journalist colleagues
not for the first time, not because the story itself was momentous, but simply on the grounds that I had somehow persuaded an international celeb to appear on TV. For the record, I didn’t need to persuade him. I just phoned him and he readily agreed on condition that he would not be asked to talk about his books. Continue reading →
Coming into the BBC from New Zealand television in 1973, I quickly realised that my training and experience as a TV producer / director there did not fit well into the quasi civil service BBC job hierarchy, so at the time I had no choice but to settle for the assistant producer “rank” when I was hired to work as a network director (transmission controller) at the TV Centre in London, on a series of short-term contracts. The job was a means to an end; I wanted get back to making programmes as soon as possible.
In those days BBC Television didn’t normally hire programme directors. Instead they called them assistant producers. A fairly meaningless title really, as almost everyone on a production assists a producer. Also an insulting title, especially on live programmes, where the split second decisions of the programme director translate instantaneously into actions which dictate what the viewer sees and hears, independently of a producer. Continue reading →