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3360
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| 15
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https://news.leeds.gov.uk/news/demob-suit-s-a-perfect-fit-for-museum-s-wool-week-celebrations
|
en
|
Demob suit’s a perfect fit for museum’s Wool Week celebrations
|
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News from Leeds City Council
|
en
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/favicon.ico
|
Leeds City Council News
|
https://news.leeds.gov.uk/news/demob-suit-s-a-perfect-fit-for-museum-s-wool-week-celebrations
|
A stylish modern tribute to Leeds’s rich textile heritage has a new home at what was once the world’s largest woollen mill.
The recreation of a classic Burtons demob suit from 1945 was installed at Leeds Industrial Museum earlier this week as part of an annual celebration of all things wool.
The suit was created through an innovative project between Leeds Industrial Museum and Yorkshire Textiles, who together launched their own bespoke cloth last year- a luxurious eco British wool yarn developed by Laxtons of Guiseley in Leeds and made using the museum's looms.
Specialists working with the cloth to make the new suit were inspired by the dapper original, which is already on display in the museum’s Tailoring Gallery.
Experts who worked on the project included master weaver Greg Kotovs, bespoke tailors Carl Stuart of Ossett and leading textile finishers WT Johnsons.
Sarah Barton, keeper at Leeds Industrial Museum said: “It’s been really exciting to see the suit taking shape and the finished result looks amazing, particularly in the historic setting of the old mill.
“The suit is a perfect tribute to the city’s textile heritage, which stretches back hundreds of years, but also to the knowledge and expertise of the modern specialists who have worked so hard to make this project happen.”
Demob suits were a suit of civilian clothes given to a man on his demobilisation from the British armed forces at the end of the Second World War.
The suit project is part of the museum’s celebrations for Wool Week, which runs from October 5-11 and will see a series of events and activities taking place at the museum.
Suzy Shepherd of Yorkshire Textiles said:
“Wool week is the perfect time to celebrate the eco cloth being produced as part of this on-going project. We have been producing cloth for just over a year and are currently developing a range of products using this weave and others.
“This suit is one example and we have had fantastic interest from people keen to know more about the regions textiles. We’ve also had a great response from people buying items at the gallery shop on the Headrow and we hope to be extending the availability soon.”
Highlights at the museum during Wool Week will include crafts by The Spinners of Aire on Wednesday from 10.30am to 2pm, a behind-the-scenes tour on Wednesday at 2pm and a Knit and Natter group on Saturday from 1pm to 4pm.
A knitting workshop also takes place Saturday from 1pm to 4pm which costs £22 and must be booked in advance on 0113 378 3173.
Councillor Brian Selby, Leeds City Council’s lead member for museums and galleries, said:
“It’s fantastic to see so much effort and expertise going into celebrating what is a key part of our city’s industrial heritage.
“The textile industry was once one of the cornerstones of the Leeds economy and it’s important that we recognise and celebrate the huge impact it had on the city and its people.
“It’s also important that we celebrate the expertise that still thrives in the city today and which has seen the creation of this stylish suit.”
Leeds Industrial Museum is housed in what was once the world's largest woollen mill and gives visitors a chance to learn about the industrial history of Leeds from manufacturing textiles and clothing to printing, engineering and locomotives.
For more information about Leeds Industrial Museum please visit: www.leeds.gov.uk/armleymills
The museum will also be hosting Leeds Wool Festival next year on Saturday, June 4. For more information, visit: www.leeds.gov.uk/woolfestival
ENDS
For media enquiries, please contact:
Stuart Robinson
Communications Officer
Leeds City Council
Tel: 0113 224 3937
Email: stuart.robinson@leeds.gov.uk
www.leeds.gov.uk
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2
| 17
|
https://en.wikipedia.org/wiki/Demob_(disambiguation)
|
en
|
Demob (disambiguation)
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
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2021-07-06T08:21:47+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Demob_(disambiguation)
| |||||
3360
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dbpedia
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2
| 83
|
https://www.thelineofbestfit.com/news/latest-news/demob-happy-announce-second-album-holy-doom
|
en
|
Demob Happy announce second album Holy Doom and share new video for "Be Your Man"
|
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2017-11-23T12:03:00+00:00
|
Brighton-based rockers Demob Happy have announced second LP Holy Doom and shared new video/single "Be Your Man".
|
en
|
/apple-touch-icon.png
|
The Line of Best Fit
|
https://www.thelineofbestfit.com/news/latest-news/demob-happy-announce-second-album-holy-doom
|
The record follows long-in-the-making 2015 debut Dream Soda, and comes after a period of personal and professional tumult - including the loss of one of their original members.
"It's about getting to know your duality, that there's good and bad in you, and not hiding from either," explains frontman Matthew Marcantonio. "A spoonful of sugar is sickly, but with lemon it becomes bittersweet and something new altogether."
"We like old videos of bands on TV shows," Marcantonio continues of the new video for "Be Your Man". "They have this unorganised quality to them, before this standardised version of what a performer should do and how to act. it was looser and more care free, they took the piss out of it all."
Holy Doom was (mostly) recorded over the summer with Ian Davenport in Oxfordshire, with the drums laid down by previous collaborator Christoph Skirl.
Demob Happy play a few shows later this month with Frank Carter and The Rattlesnakes (they'll also head out to continental Europe with them in March), before heading around the UK with The Cribs next month. Find out the full details.
Tracklist:
Liar In Your Head
Be Your Man
Loosen It
Fake Satan
Runnin' Around
I Wanna Leave (Alive)
Maker Of Mine
Holy Doom
Spinning Out
Gods I’ve Seen
Fresh Outta Luck
Holy Doom is out 23 March 2018 via SO Recordings.
|
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3360
|
dbpedia
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1
| 39
|
http://colonialfilm.org.uk/node/3363
|
en
|
CALLING BLIGHTY NO. 385
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Messages home from British Army and WRNS personnel in India to their loved ones in the Bournemouth district. The location is Malabar Hill, Bombay and several soldiers, including a WRNS, send messages. Many refer to demob and coming home soon.
Notes
Part of the opening titles are missing. This is probably towards the very end of the Calling Blighty production run, as much reference is made to demob (the WRNS person refers to coming home 1 March). There are also relatively few personnel…
Messages home from British Army and WRNS personnel in India to their loved ones in the Bournemouth district. The location is Malabar Hill, Bombay and several soldiers, including a WRNS, send messages. Many refer to demob and coming home soon.
Notes
Part of the opening titles are missing. This is probably towards the very end of the Calling Blighty production run, as much reference is made to demob (the WRNS person refers to coming home 1 March). There are also relatively few personnel sending messages. The production values appear quite poor in comparison to earlier issues.
|
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3360
|
dbpedia
|
0
| 22
|
https://eaebebi.s3.uk.io.cloud.ovh.net/martin-clunes-s-biography-net-worth-fact-career-awards-and-life-story.html
|
en
|
Martin Cluness biography, net worth, fact, career, awards and life story
|
[] |
[] |
[] |
[
""
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[] | null |
Alexander Martin Clunes, OBE (born 28 November 1961) is an English actor, television presenter, film director and comedian. He is best known for portraying Martin Ellingham in the ITV drama series Doc Martin and Gary Strang in Men Behaving Badly. Clunes has narrated a number of documentaries for ITV, the first of which was Islands
|
en
|
./img/favicon.ico
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ByteBlog
|
https://eaebebi.s3.uk.io.cloud.ovh.net/./martin-clunes-s-biography-net-worth-fact-career-awards-and-life-story.html
|
IntroActorIsComedian
Actor
Film director
Musician
Television presenter
Film actor
Stage actor
Television actor FromUnited Kingdom TypeFilm, TV, Stage & Radio
Humor
Music GendermaleBirth28 November 1961, Wimbledon, United KingdomAge:58 yearsStar signSagittariusFamily
Father:Alec Clunes
Stats
Height:1.8923 m
Education
Royal Russell School
Alexander Martin Clunes, OBE (born 28 November 1961) is an English actor, television presenter, film director and comedian. He is best known for portraying Martin Ellingham in the ITV drama series Doc Martin and Gary Strang in Men Behaving Badly. Clunes has narrated a number of documentaries for ITV, the first of which was Islands of Britain in 2009. He has since presented a number of documentaries centred on animals. He has also voiced Kipper the Dog in the animated series, Kipper.
Clunes was appointed an Officer of the Order of the British Empire (OBE) in the 2015 Birthday Honours for services to drama, charity and the community in Dorset.
Early life
Clunes was born in Wimbledon, London, in November 1961, the son of respected actor Alec Clunes.
Clunes was educated at the Royal Russell School in Croydon, London, and later at the Arts Educational Schools, London. He has an older sister Amanda. He is a cousin of the actor Jeremy Brett. Clunesâs father died of lung cancer when Clunes was eight years old.
Career
Clunes served his first role in rep at the Mercury Theatre, Colchester, and his first television appearance came in the 1983 Doctor Who story Snakedance. But a sporadic career led to his supplementing his income as a photo model for Gilbert and George, and he can be seen in their 1983 work World.
He got his first regular television role as one of the sons in the BBC sitcom No Place Like Home, and then starred in two series of the sitcom All at No 20.
While Clunes was appearing on stage at the Hampstead Theatre, Harry Enfield came to see him; the acquaintanceship developed into a friendship where Clunes played characters in Enfieldâs sketch shows (most notably one of the Rugby Players). Enfield then recommended Clunes for the role of Gary in the sitcom Men Behaving Badly, written for Enfield by Simon Nye, for which Clunes won a BAFTA television award for Best Comedy Performance in 1996. He played the part of Group Captain Barker in the two-part TV mini-series Over Here that same year. In 1993, he played Dick Dobson in Demob about a pair of demobilised soldiers who have to adjust to civilian life after entertaining Second World War troops with a raunchy cabaret act.
Since 1994, Clunes has frequently appeared on the BBC One panel show Have I Got News for You as a panelist or a guest presenter.
Clunes has since appeared in films and television shows such as An Evening with Gary Lineker, Staggered (starred and directed), Hunting Venus, The Booze Cruise, Saving Grace and Jeeves and Wooster. In 1998, he was featured in Sweet Revenge and appeared as Richard Burbage in the film Shakespeare in Love. Clunes has also acted frequently for the radio, including a guest appearance in the BBC Radio 4 series Baldi.
In 2001, he played Captain Stickles in the BBC adaptation of R. D. Blackmoreâs Lorna Doone.
In 2002, Clunes played serial killer John George Haigh in a Yorkshire TV production A Is for Acid, and took the lead in ITVâs production of Goodbye Mr Chips.
Clunes was one of the eponymous leads in the 2004 ITV comedy-drama William and Mary, with Julie Graham. Clunes had worked with Julie Graham previously on Dirty Tricks (2000).
Since 2004, Clunes has played the lead role of Doctor Martin Ellingham in the ITV comedy drama series Doc Martin.
In August 2007, Clunes starred in the ITV/TVNZ co-production The Man Who Lost His Head.
Clunes is a regular voice over artist and is the voice of Kipper in the animated childrenâs series Kipper the Dog. For six years (1993â1999) he also did voice acting for Safeway adverts; he provided the voice of Harry in Safewayâs âWhen Harry Met Mollyâ advertising campaign during said years.
Clunes appeared in a television dramatisation of Fungus the Bogeyman playing Jessica Whiteâs father.
Between 2009 and 2010, Clunes starred on BBC One television in the title role of Reggie Perrin, a re-make of classic 1970s British situation comedy The Fall and Rise of Reginald Perrin. In 2015, Clunes played the role of Sir Arthur Conan Doyle in the ITV mini-series Arthur & George. In 2018, Clunes played the role of DCI Colin Sutton in the ITV drama Manhunt (first screened in 2019). In 2019, Clunes return to sitcom with the BBC1 series Warren, saying âIt was just so funny, I couldnât turn it downâ.
Film
Clunes played Brock in the 1990 film The Russia House. He played Richard Burbage in the 1998 film Shakespeare in Love, and Anthony Staxton-Billing in Sweet Revenge the same year. In 2000, Clunes played the role of Dr. Martin Bamford in the film Saving Grace, and the follow up to that film Doc Martin the following year (2001), he played James Chancellor in Global Heresy.
In 2011, Clunes voiced the mischievous dog Dudley in the short film Me or the Dog, starring Edward Hogg and directed by Abner Pastoll. Clunes then starred in the 2014 film Nativity 3: Dude, Whereâs My Donkey?.
Documentaries
In 2008 Clunes presented Martin Clunes: A Man and his Dogs, which was aired on 24 August 2008.
In 2009, Clunes presented a three-part ITV series Islands of Britain, which saw him travelling around several of the countryâs lesser known islands.
In 2010 Clunes presented ITV mini-series Horsepower about manâs relationship over time with the horse. This was followed by Heavy Horsepower which aired in 2013.
In January 2011, Clunes presented documentary Martin Clunes: Man to Manta.
In June 2012 Clunes presented a documentary series on ITV about the lemurs of Madagascar called Martin Clunes: The Lemurs of Madagascar.
On 31 January 2013 Clunes narrated ITV documentary Secret Life of Dogs. Then, on 2 and 3 June 2014, he narrated two more follow-up documentaries, Secret Life of Cats and Secret Life of Babies.
On 4 April 2014 Clunes hosted a one-off ITV documentary called Martin Clunes & A Lion Called Mugie, following the work of conservationists in Kenya as well as tracking the progress of a lion called Mugie. The documentary was filmed over a period of three years.
In August 2014 Clunes narrated ITVâs three-part documentary series Kids with Cameras: Diary of a Childrenâs Ward which saw Newcastleâs childrenâs ward through the eyes of its patients.
In April 2015 Clunes narrated Carry on Forever, a three part documentary series for ITV3. It was shown over the Easter weekend.
In May 2015 Clunes presented Man & Beast with Martin Clunes, a two-part factual series for ITV, which looked at the relationship between humans and animals.
In 2016 he narrated Rising Damp Forever, a two-part documentary series for ITV3. He also voiced ITV programmes Secrets of Growing Old, Secrets of Growing Up and Britainâs Favourite Dogs.
Also in 2016 Martin Clunes: Islands of Australia (also known as Islands of Oz) was released as a three part Australian documentary television series produced by Prospero Productions for the Seven Network that âfollows acclaimed actor and comedian Martin Clunes as he explores the most diverse, intriguing, remote and spectacular islands that surround Australia.â
In 2019 Martin Clunes: Islands of America was released as a four-part documentary where he traveled to remote islands across the United States.
Personal life
Clunesâs first marriage was to actress Lucy Aston in 1990. They divorced in 1997 and Clunes married future Doc Martin producer Philippa Braithwaite late that year. In 1998, Braithwaite gave birth to their daughter Emily. Clunes lives with his family in Beaminster, Dorset, where they run a farm with heavy horses. He became president of the British Horse Society on 1 June 2011.
Charity
A sponsor of numerous charities, Clunes made a short on-line film with Stephen Fry about HIV discrimination for the Terrence Higgins Trust. Clunes supports Weldmar Hospicecare Trust in Dorset and is a Patron of Juliaâs House, the Dorset and Wiltshire childrenâs hospice. The Buckham Fair is organised in support of these charities. In January 2011, Clunes became patron of Animal Care in Egypt.
Clunes was a patron of the Born Free Foundation but was dropped when footage emerged of him riding an elephant in mid May 2019. He had filmed several adverts for the wildlife charity. He has been involved in the Comic Relief charity which funds Survival International and African Initiatives, two organisations working with the Maasai on indigenous land rights issues. Clunes is also a celebrity supporter of The Dog Rescue Federation.
Awards and honours
1995 â British Comedy Awards, Top TV Comedy Actor : Men Behaving Badly â Gary Strang
1996 â BAFTA Awards, Best Comedy Performance : Men Behaving Badly â Gary Strang
1999 â Screen Actors Guild Awards, Outstanding Performance by a Cast : Shakespeare in Love â Richard Burbage
2007 â Honorary Doctorate from Bournemouth University
2015 â Officer of the Order of the British Empire (OBE) for services to drama, charity and the community in Dorset
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|
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3360
|
dbpedia
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1
| 97
|
https://openstax.org/books/us-history/pages/23-5-demobilization-and-its-difficult-aftermath
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en
|
23.5 Demobilization and Its Difficult Aftermath - U.S. History
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After the war ended, U.S. troops were demobilized and rapidly sent home. One unanticipated and unwanted effect of their return was the emergence of a ne...
|
en
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/favicon.ico
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https://openstax.org/books/us-history/pages/23-5-demobilization-and-its-difficult-aftermath
|
DISORDER AND FEAR IN AMERICA
After the war ended, U.S. troops were demobilized and rapidly sent home. One unanticipated and unwanted effect of their return was the emergence of a new strain of influenza that medical professionals had never before encountered. Within months of the warâs end, over twenty million Americans fell ill from the flu (Figure 23.19). Eventually, 675,000 Americans died before the disease mysteriously ran its course in the spring of 1919. Worldwide, recent estimates suggest that 500 million people suffered from this flu strain, with as many as fifty million people dying. Throughout the United States, from the fall of 1918 to the spring of 1919, fear of the flu gripped the country. Americans avoided public gatherings, children wore surgical masks to school, and undertakers ran out of coffins and burial plots in cemeteries. Hysteria grew as well, and instead of welcoming soldiers home with a postwar celebration, people hunkered down and hoped to avoid contagion.
Another element that greatly influenced the challenges of immediate postwar life was economic upheaval. As discussed above, wartime production had led to steady inflation; the rising cost of living meant that few Americans could comfortably afford to live off their wages. When the governmentâs wartime control over the economy ended, businesses slowly recalibrated from the wartime production of guns and ships to the peacetime production of toasters and cars. Public demand quickly outpaced the slow production, leading to notable shortages of domestic goods. As a result, inflation skyrocketed in 1919. By the end of the year, the cost of living in the United States was nearly double what it had been in 1916. Workers, facing a shortage in wages to buy more expensive goods, and no longer bound by the no-strike pledge they made for the National War Labor Board, initiated a series of strikes for better hours and wages. In 1919 alone, more than four million workers participated in a total of nearly three thousand strikes: both records within all of American history.
In addition to labor clashes, race riots shattered the peace at the home front. The race riots that had begun during the Great Migration only grew in postwar America. White soldiers returned home to find Black workers in their former jobs and neighborhoods, and were committed to restoring their position of White supremacy. Black soldiers returned home with a renewed sense of justice and strength, and were determined to assert their rights as men and as citizens. Meanwhile, southern lynchings continued to escalate, with White mobs burning African Americans at the stake. The mobs often used false accusations of indecency and assault on White women to justify the murders. During the âRed Summerâ of 1919, northern cities recorded twenty-five bloody race riots that killed over 250 people. Among these was the Chicago Race Riot of 1919, where a White mob stoned a young Black boy to death because he swam too close to the âWhite beachâ on Lake Michigan. Police at the scene did not arrest the perpetrator who threw the rock. This crime prompted a week-long riot that left twenty-three Black people and fifteen White people dead, as well as millions of dollarsâ worth of damage to the city (Figure 23.20).
Click and Explore
Read a Chicago newspaper report of the race riot, as well as a commentary on how the different newspapersâthose written for the Black community as well as those written by the mainstream pressâsought to sensationalize the story.
A massacre in Tulsa, Oklahoma, in 1921, turned out even more deadly, with estimates of Black fatalities ranging from fifty to three hundred. Again, the violence arose based on a dubious allegation of assault on a White girl by a Black teenager. After an incendiary newspaper article, a conflict at the courthouse led to ten White and two Black peoples' deaths. A riot ensued, with White groups pursuing Black people as they retreated to the Greenwood section of the city. Both sides were armed, and gunfire and arson continued throughout the night. The next morning, the White groups began an assault on the Black neighborhoods, killing many Black residents and destroying homes and businesses. The Tulsa Massacre (also called the Tulsa Riot, Greenwood Massacre, or Black Wall Street Massacre) was widely reported at the time, but was omitted from many historical recollections, textbooks, and media for decades.
My Story
The Tulsa Race Riot and Three of Its Victims
B.C. Franklin was a prominent Black lawyer in Tulsa, Oklahoma. A survivor of the Tulsa Massacre, he penned a first-person account ten years after the events. The manuscript was uncovered in 2015 and has been published by the Smithsonian.
About mid-night, I arose and went to the north porch on the second floor of my hotel and, looking in a north-westerly direction, I saw the top of stand-pipe hill literally lighted up by blazes that came from the throats of machine guns, and I could hear bullets whizzing and cutting the air. There was shooting now in every direction, and the sounds that came from the thousands and thousands of guns were deafening....
I reached my office in safety, but I knew that that safety would be short-lived. I now knew the mob-spirit. I knew too that government and law and order had broken down. I knew that mob law had been substituted in all its fiendishness and barbarity. I knew that the mobbist cared nothing about the written law and the constitution and I also knew that he had neither the patience nor the intelligence to distinguish between the good and the bad, the law-abiding and the lawless in my race. From my office window, I could see planes circling in mid-air. They grew in number and hummed, darted and dipped low. I could hear something like hail falling upon the top of my office building. Down East Archer, I saw the old Mid-Way hotel on fire, burning from its top, and then another and another and another building began to burn from the top.
While illness, economic hardship, and racial tensions all came from within, another destabilizing factor arrived from overseas. As revolutionary rhetoric emanating from Bolshevik Russia intensified in 1918 and 1919, a Red Scare erupted in the United States over fear that Communist infiltrators sought to overthrow the American government as part of an international revolution (Figure 23.21). When investigators uncovered a collection of thirty-six letter bombs at a New York City post office, with recipients that included several federal, state, and local public officials, as well as industrial leaders such as John D. Rockefeller, fears grew significantly. And when eight additional bombs actually exploded simultaneously on June 2, 1919, including one that destroyed the entrance to U.S. attorney general A. Mitchell Palmerâs house in Washington, the country was convinced that all radicals, no matter what ilk, were to blame. Socialists, Communists, members of the Industrial Workers of the World (Wobblies), and anarchists: They were all threats to be taken down.
Private citizens who considered themselves upstanding and loyal Americans, joined by discharged soldiers and sailors, raided radical meeting houses in many major cities, attacking any alleged radicals they found inside. By November 1919, Palmerâs new assistant in charge of the Bureau of Investigation, J. Edgar Hoover, organized nationwide raids on radical headquarters in twelve cities around the country. Subsequent âPalmer raidsâ resulted in the arrests of four thousand alleged American radicals who were detained for weeks in overcrowded cells. Almost 250 of those arrested were subsequently deported on board a ship dubbed âthe Soviet Arkâ (Figure 23.22).
A RETURN TO NORMALCY?
By 1920, Americans had failed their great expectations to make the world safer and more democratic. The flu epidemic had demonstrated the limits of science and technology in making Americans less vulnerable. The Red Scare signified Americansâ fear of revolutionary politics and the persistence of violent capital-labor conflicts. And race riots made it clear that the nation was no closer to peaceful race relations either. After a long era of Progressive initiatives and new government agencies, followed by a costly war that did not end in a better world, most of the public sought to focus on economic progress and success in their private lives instead. As the presidential election of 1920 unfolded, the extent of just how tired Americans were of an interventionist governmentâwhether in terms of Progressive reform or international involvementâbecame exceedingly clear. Republicans, anxious to return to the White House after eight years of Wilson idealism, capitalized on this growing American sentiment to find the candidate who would promise a return to normalcy.
The Republicans found their man in Senator Warren G. Harding from Ohio. Although not the most energetic candidate for the White House, Harding offered what party handlers desiredâa candidate around whom they could mold their policies of low taxes, immigration restriction, and noninterference in world affairs. He also provided Americans with what they desired: a candidate who could look and act presidential, and yet leave them alone to live their lives as they wished.
Click and Explore
Learn more about President Hardingâs campaign promise of a return to normalcy by listening to an audio recording or reading the text of his promise.
Democratic leaders realized they had little chance at victory. Wilson remained adamant that the election be a referendum over his League of Nations, yet after his stroke, he was in no physical condition to run for a third term. Political in-fighting among his cabinet, most notably between A. Mitchell Palmer and William McAdoo, threatened to split the party convention until a compromise candidate could be found in Ohio governor James Cox. Cox chose, for his vice presidential running mate, the young Assistant Secretary of the Navy, Franklin Delano Roosevelt.
At a time when Americans wanted prosperity and normalcy, rather than continued interference in their lives, Harding won in an overwhelming landslide, with 404 votes to 127 in the Electoral College, and 60 percent of the popular vote. With the war, the flu epidemic, the Red Scare, and other issues behind them, American looked forward to Hardingâs inauguration in 1921, and to an era of personal freedoms and hedonism that would come to be known as the Jazz Age.
Defining American
Historical Amnesia and Cultural Memory
The Tulsa Massacre shocked the nation, in large part because it was widely reported. The day after, the New York Times front page read â85 WHITES AND NEGROES DIE IN TULSA RIOTS,â a headline echoed by dozens of other newspapers, including international publications. Editorials and commentary from every region of the country criticized the acts as shameful, criminal, and disgraceful. The same acknowledgment and criticism followed other race riots and lynchings. However, most Americans stopped talking about these events soon after, and they faded from memory.
According to the Tulsa Massacre Report, commissioned by the State of Oklahoma and released in 2001, school curricula, textbooks, and news organizations throughout the 1930s through the 1950s and 1960s either avoided mentioning the riot entirely or offered highly sanitized versions. For many Americans, the Tulsa massacre would remain largely unknown until it was depicted in other media, such as the opening scenes of the television series Watchmen in 2019.
Such âhistorical amnesiaâ is typically viewed as a combination of deliberate actions â such as eliminating facts and events from retellings of history â to more everyday avoidance of discussion because of discomfort or shame. The treatment of enslaved people and Native Americans has been subject to similar amnesia, as have been events in other countries such as the British treatment of Indian people during the colonial period and war crimes committed by dozens of countries.
In contrast, groups can maintain âcultural memoryâ shaped by momentous events as well as shared traumas. This memory can be a significant component of cultural and societal identity, becoming part of a shared heritage. The Tulsa Massacre Report, for example, discusses the efforts of many Tulsa residents, including Black people and White people, who worked to preserve history by collecting and sharing first-person accounts, official hospital and Red Cross records, and photographs from before and after the riot.
Read more about the Tulsa Massacre and the contrasting efforts to forget and remember it in the Tulsa Massacre Report.
Which events have occurred in your lifetime that you feel are unexpectedly or inappropriately forgotten?
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Spurs Analysis: AI Under Pressure - LFC Demob Happy | Liverpool FC Statistics Podcast| Anfield Index
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2024-06-10T19:03:42
|
Spurs Analysis: AI Under Pressure - LFC Demob Happy | Liverpool FC Statistics Podcast| Anfield Index
Si is still away so Darth hosts Hamzah and Dr Barts to rev
|
en
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https://assets.humix.com/favicon.ico
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https://anfieldindex.com/humix/video/8JQzivkBHr2
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https://www.tenementtv.com/tracks/demob-happy-man/
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Demob Happy 'Be Your Man'
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"https://www.youtube.com/embed/9eJUCSSEgPU?feature=oembed"
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2017-11-24T01:35:28+00:00
|
Due for release on 23rd March 2018 via SO Recordings, our first insight into Demob Happy's new record is the riff-heavy 'Be Your Man'
|
Tenement TV
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https://www.tenementtv.com/tracks/demob-happy-man/
|
DEMOB HAPPY are back in thunderous form with the announcement of a brand new album called Holy Doom.
Due for release on 23rd March 2018 via SO Recordings, our first insight into the forthcoming record is the riff-heavy ‘Be Your Man’; three and a half minutes of crunching guitars, Beatles-esque harmonies and storming choruses. The matching video is an appropriately vintage affair which pays homage to old-school music shows with a slight hint of tongue-in-cheek.
Bassist and vocalist Matthew Marcantonio said: ” “We like old videos of bands on TV shows, they have this unorganised quality to them, before this standardised version of what a performer should do and how to act. it was looser and more care free, they took the piss out of it all”
Alongside the album announcement and new video, the band have shared plans for European tour with Frank Carter & the Rattlesnakes. After supporting The Cribs this December as part of their Cribsmas shows, they will head out on a lengthy tour next spring as Carter’s main support act.
Check out the new video below.
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https://www.comedy.co.uk/tv/list/all_genres/all_itv/
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British TV Comedies On ITV Channels
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[] |
[
"British TV Comedy Television Channels Details Comedies Information News Features BCG British TV comedies on ITV channels"
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[
"British Comedy Guide"
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A list of British TV comedies on ITV channels.
|
en
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British Comedy Guide
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https://www.comedy.co.uk/tv/list/all_genres/all_itv/
|
Television
Share this page
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https://www.independent.co.uk/arts-entertainment/music/features/new-music-to-listen-to-this-week-demob-happy-a6684761.html
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en
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New music to listen to this week: Demob Happy
|
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[
"Music",
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] | null |
[
"Roisin O'Connor"
] |
2015-10-07T13:45:53+00:00
|
Now Hear This
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en
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/img/shortcut-icons/favicon.ico
|
The Independent
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https://www.independent.co.uk/arts-entertainment/music/features/new-music-to-listen-to-this-week-demob-happy-a6684761.html
|
Demob Happy [Collins Dictionary]: "To feel elated in anticipation of demobilization from the armed forces, or feeling elated and carefree in anticipation of any onerous or unpleasant period."
It's rare nowadays that you find a guitar-focused band to get properly excited about.
So Demob Happy, a group from Newcastle (now based in Brighton), are a welcome diversion from the blander all-male bands currently riding the airwaves.
They feature the same drawling, sleazy guitar sounds as the Fat Whites with a tad more energy; one of (thankfully) many bands who are injecting some life and passion back into the UK rock scene.
Playing some blistering live shows around the UK, they're now taking on its bigger venues as part of a new tour.
They've been together for five years and have used this time to put together a debut album that is meticulous in its attention to detail, from the cover art to a singular note on an electric guitar.
Listen if you like: Fat White Family, Beck, Queens of the Stone Age, The Stooges (circa "Fun House")
Exclusive premiere: Watch the band's video for "Junk DNA"
Q&A with Demob Happy
Who’s on your playlist at the moment?
This week I have been mostly eating Uncle Acid and the Deadbeats, Afreeka and Bad Company.
Which artists do you cite as your biggest influences?
Anyone that's ever written a good song and said something interesting. We've never had a conversation about who to reference, it just comes out when we get together.
First gig, best gig
First gig was nigh on 12 years ago under a marquee at my uncle's annual countryside BBQ for friends and family, with a band completely different to this one. The best show so far was the Brighton gig of the tour this year at The Haunt. We built model aeroplanes big enough to get in and did laps of the building while we sang an encore!
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https://www.registerguard.com/story/opinion/columns/2019/12/21/the-macroeconomics-expanse/2036351007/
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The macroeconomics of 'The Expanse'
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"Paul Krugman, The Register-Guard"
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2019-12-21T00:00:00
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The fate of the republic hangs in the balance, but there’s nothing I can do about it today. So let’s have a bit of escapism, econogeek style. \n I suspect that long-time readers won’t be surprised to …
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Register-Guard
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https://www.registerguard.com/story/opinion/columns/2019/12/21/the-macroeconomics-expanse/2036351007/
|
The fate of the republic hangs in the balance, but there’s nothing I can do about it today. So let’s have a bit of escapism, econogeek style.
I suspect that long-time readers won’t be surprised to learn that I’m a big fan of the TV series "The Expanse," which was on Syfy for three seasons, canceled, but picked up by Amazon. Actually, the series seems to be a favorite of many social scientists, like international relations expert turned part time pundit Dan Drezner. Linguists love the carefully designed creole spoken by the Belters, who live on various asteroids.
Warning: I’m most of the way through the fourth season, and what follows will include slight spoilers, although probably not enough to matter.
Anyway, Drezner is enjoying the show’s take on interplanetary diplomacy, with the three-cornered cold war among Earth (which seems somehow to have acquired a world government, with the secretary-general of the United Nations the most powerful person on the planet), the Martian Congressional Republic, and the Belters.
If you ask me, the show also deserved a place in Aisha Harris’ article on the "new pop culture optimism." The 23rd century is full of greed and violence, much of it perpetrated by evil corporations; but it appears to be colorblind, gender-neutral, and LGBTQ-tolerant. There’s an interracial romance at the show’s core, multiple strong women (Avasarala! Bobbie Draper! Drummer!) and a key positive role played by Pastor Anna, who’s married to another woman.
But enough about humanity. Let’s talk about macroeconomics!
Earth appears to be suffering from mass technological unemployment. Half the population is unemployed and living on Basic, which apparently consists of in-kind provision of housing, food, and other necessities. (Kind of like a global version of Trump’s idea of replacing food stamps with food boxes.)
But are robots really the problem? For the first three seasons, Mars stands in stark contrast. It’s a mobilized, full-employment society where everyone is working either on supporting a military strong enough to stand up to Earth or on the long-term goal of terraforming the planet, making it suitable for humans.
Over the course of Season Three, however, the cold war was (mostly) resolved, while the protomolecule (don’t ask) seemed to have opened access to hundreds of habitable planets, making terraforming Mars seem pointless. And in Season Four, Martian society is in deep trouble. Unemployment is rife thanks to the winding down of both military spending and terraforming, with some ex-military Martians who can’t find jobs turning to crime.
So, my question: If Earth has mass unemployment because robots can do stuff, making human workers unnecessary, what were all those fully employed Martians doing?
In fact, the emergence of high unemployment on Mars after demobilization and the end of terraforming makes it seem as if the real problem wasn’t technology, it was secular stagnation — a situation in which private spending is consistently too weak to employ the economy’s resources, except during unsustainable asset or debt bubbles. Japan has been suffering from secular stagnation since the 1990s; a number of economists, myself included, believe that the whole advanced world now has much the same problem.
What’s the solution to secular stagnation? The answer, according to people like Larry Summers, is a big increase in public spending on infrastructure: roads, bridges, ports, and, if you happen to live on a planet without breathable air, terraforming.
The point is that when you’re in a secular stagnation economy, virtue is vice, prudence is folly, and good news can be bad. Even wasteful government spending can be a helpful stimulus. Before the outbreak of peace, Mars was a healthy society because it had a grand project; when that grand project became unnecessary, instead of freeing up resources to do other things, things got much worse.
So "The Expanse" is basically a show about the need for higher public investment. Well, and also monsters, alien technology, and space Mormons.
We now return you to your regularly scheduled 21st-century doom and gloom.
Paul Krugman writes for The New York Times.
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About: Demob (TV series)
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Demob was a short-lived British comedy-drama television series, which screened for one six-episode series in 1993; It was produced by Talkback Productions in association with Yorkshire Television for ITV. The series was set in the late 1940s and early 1950s, and starred Martin Clunes and Griff Rhys Jones as two ex-army friends who decide to try to form an entertainment act, with the aim of getting work on BBC radio. The series also starred Samantha Janus, Amanda Redman and Les Dawson, Dawson posthumously.
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DBpedia
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http://dbpedia.org/resource/Demob_(TV_series)
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dbo:abstract
Demob was a short-lived British comedy-drama television series, which screened for one six-episode series in 1993; It was produced by Talkback Productions in association with Yorkshire Television for ITV. The series was set in the late 1940s and early 1950s, and starred Martin Clunes and Griff Rhys Jones as two ex-army friends who decide to try to form an entertainment act, with the aim of getting work on BBC radio. The series also starred Samantha Janus, Amanda Redman and Les Dawson, Dawson posthumously. (en)
dbp:shortsummary
Disgusted with his behaviour, Janet kicks her husband out of the house and decides to take a job at the surgery working for Dr. Pollock. Hedda and Ian try to form an act without Dick, but it ends in disaster. An opportunity for Ian and Dick to earn cash by helping Lorimer with a summer camp goes awry when they meet and try to help some fellow veterans. (en)
Ian is sacked after too many late nights performing as one half of his new comedy partnership. Ian and Dick befriend beautiful dancer Hedda who is looking for her husband. Meanwhile, Dick assists shady businessman Rudy Lormier with his dealings and becomes the manager of The Blue Parrot nightclub. (en)
Deasey and Dobson get a three-week booking in Liverpool opening for comedy legend Moreton Stanley . When their routine arouses audience hatred they must enlist Hedda to assist them. Janet grows increasingly frustrated with her husband's absence when Alan comes down with chicken pox. (en)
Things heat up between Janet and her boss. Ian and Dick find a job working on a BBC Radio children's radio programme opposite a neurotic ventriloquist. While singing in a swanky new nightclub, Hedda receives some devastating news. (en)
Ian decides to stand by Dick when he discovers a shocking secret and Hedda becomes a film actress. Moreton Stanley offers Ian a job and he and Janet make a decision concerning their marriage. (en)
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'50s TV News
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TV News
William Russell, stage and screen actor who played Sir Lancelot and later appeared in Dr. Who, has died aged 99 (3rd June 2024)
William Russell achieved prominence in the title role of the ITV series The Adventures of Sir Lancelot (1956-57). He was strongly built with an air of dashing bravado about him.
In November 1963 he appeared in a new BBC television series and approached what looked like an old-fashioned police box in a scrapyard, from which an old chap emerged, saying he was the doctor. Russell responded: Doctor Who?. And so was launched one of the most popular TV series of all time. more.... Rolf Harris, entertainer and artist has died aged 93 (24 May 2023)Between 1953, when he was signed by the BBC to perform with a puppet called Fuzz in the childrens TV series Jigsaw, and 2012, when he was honoured with a Bafta fellowship, he was rarely off UK screens, in shows such as Hey Presto, Its Rolf! (1966), The Rolf Harris Show (1967-72), Rolf on Saturday OK? (1977-80), Rolfs Cartoon Club (1989-93), Animal Hospital (1994-2004) and Rolf on Art (2001-04). He was one of the handful of entertainers who was often professionally identified by his first name alone. In 1952 Harris travelled to London to go to art school. His BBC television debut on Jigsaw was followed by Whirligig, on which his character Willoughby came to life on a drawing board. He was also developing his musical skills by playing a piano accordion at a London club for expat antipodeans called Down Under and writing songs, one of which was Tie Me Kangaroo Down, Sport. This calypso tune about an Aussie stockman on his deathbed became a No 1 hit in Australia and reached the British Top 10 in 1960. more.... Dennis Lotis, Big band crooner, of the 1950s has died aged 97(12th February 2023)In 1957 Dennis Lotis played his first Royal Variety Show. Lotiss career flourished and included appearances on the BBCs first attempt at a pop show, Six-Five Special and, in 1958, on the first edition of the BBCs Black and White Minstrel Show.
Lotis also turned his hand to film and theatre before fading from view as tastes changed in the 60s. more.... Leslie Phillips, actor and director, has died aged 98 (8th November 2022)
Leslie Phillips was one of the most successful light comedians in the post-war West End theatre, but he was most enduringly known as the skirt-chasing silly ass in the Doctor and Carry On films of the 1960s. Although with his twitching moustache, roving eye, leering looks and air of cheerful mischief, he became a leading exponent of light-hearted lechery, his brand of suave geniality could also strike a sinister note.
He played his first BBC television lead in 1952 in My Wife Jacqueline (opposite Joy Shelton), a pioneering but mediocre (he said) sitcom about married life, broadcast live from Lime Grove in six 30-minute episodes.
He became a national Sunday lunchtime institution on BBC Radios The Navy Lark, in which he appeared as a hopeless lieutenant on HMS Troutbridge alongside Stephen Murray, Jon Pertwee, Tenniel Evans, Heather Chasen and Ronnie Barker between 1959 and 1977.
Phillips was also a familiar face on television, with roles including the local Mr Fixit opposite John Gielgud in John Mortimers Summers Lease (1989); a judge in The Trials of Oz (1991); Lord Lane in the drama-documentary Who Bombed Birmingham? (1990); appearances in the Chancer series (1990-91) and, a decade later, in Midsomer Murders, Marple and The Catherine Tate Show.
more.... Frank Williams, actor, has died aged 90. (26 June 2022)
Frank Williams was best known as the Rev Timothy Farthing in Dad's Army, one of the BBC's most popular TV series. Although this mild-mannered vicar was a bit of a joke and a ditherer, Williams himself was a deeply religious man, an Anglican churchgoer.
On TV, he popped up first as a dying patient in Emergency Ward 10 and then, crucially, as Captain Pocket in The Army Game (1957-60), a Granada TV comedy series starring Bernard Bresslaw, Bill Fraser and Alfie Bass, set in an army surplus depot and transit camp at Nether Hopping, somewhere in Warwickshire.
In this period he also played stooge characters in several Norman Wisdom films including The Square Peg. (1958). He joined the Dads Army cast which ran from 1968 to 1977. Apart from Ian Lavender as the "stupid boy" Pike, Williams was the youngest member of the cast. It amused him that, having once donned the dog collar, he progressed on other screen outings through the clerical ranks: as an archdeacon in the final episode of the BBCs 1987 Vanity Fair serialisation, then as a bishop in You Rang, My Lord? a comedy series set in the 1920s that ran for three years from 1990, written by the Dads Army team of Jimmy Perry and David Croft. more.... Denise Bryer, actor who voiced children's TV characters including Little Weed and Noddy, has died aged 93(16 October 2021)
As well as childrens TV characters, Denise Bryer was in scores of BBC radio dramas and commercials for products ranging from Colgate toothpaste to PG Tips.
She was an actor whose voice, rather than face, was known to several generations of young television viewers. She brought to life animated characters such as Little Weed in The Flkowerpot Men, Noddy, Kiki the frog in Hector's House and the villainous Zelda in the producer Gerry Anderson's sci-fi series Terrahawks.
Bryer always said she was happier behind a microphone than in front of a camera. From 1947, she was in scores of plays with BBC radios drama company, displaying a special talent for playing old ladies and young boys.
It was no surprise when she was picked to voice the title character in The Adventures of Noddy (1955-56), a puppet series and the first to feature Enid Blyton's character, taken by the friendly gnome Big Ears to live in Toyland. The "parp-parp" sound of the horn from Noddys little car announced his arrival, along with the jingle of the bell on his hat.
Anderson and the director of photography Arthur Provis were among the owners of Pentagon Films, which then hired Bryer to voice a 1956 Kellogg's Sugar Ricicles commercial featuring Noddy.
When the pair formed AP Films, its first production was the 52-episode marionette series The Adventures of Twizzle (1957-58), created by Roberta Leigh. Bryer was cast as the feline friend of the title character, voiced by Nancy Nevinson.
She was back with Anderson for his western saga Four Feather Falls (1959-60). Her then husband, Nicholas Parsons, played Sheriff Tex Tucker, who had a talking dog and horse, and she voiced several characters Martha "Ma" Jones, the store owner, Little Jake, the town's only child, and Makooya, a little boy. more.... Una Stubbs, actor whose long, eclectic career ranged from Shakespeare to Sherlock has died aged 84(12 August 2021)
In 1955 Una Stubbs was "the Dairy Box girl" in an early TV ad, her breathy, adenoidal voice instantly memorable. She was also dancing at the London Palladium, and in 1956 appeared in both ITV's Cool for Cats, the first-ever teen pop music show, with the Dougie Squires dancers.
She was best known as Cliff Richards girlfriend in two high-spirited pop musical movies Summer Holiday (1963) and Wonderful Life (1964) and as Alf Garnetts daughter, Rita Rawlins, married to a socialist layabout (Anthony Booth, Cherie Blairs father and so Tonys father-in-law), in Johnny Speights classic TV series Till Death Us Do Part (1965-75) and in episodes of its 1980s sequel, In Sickness and in Health.
Her place in popular television culture was sealed in the next few years as she appeared in Fawlty Towers; as the ferocious Aunt Sally in Worzel Gummidge (1979-81); and as team captain in the television show, Give Us a Clue.
After many years on the Stage during the 1990s and 2000s, her television career remained eclectic, as she popped up in EastEnders as Caroline Bishop in 2006, and in various episodes of Benidorm, Midsomer Murders and The Durrells. From 2010 onwards she was busy as Mrs Hudson in Sherlock. more.... Frank Windsor, actor, has died aged 92 (2nd October 2020)
Frank Windsor was, as DS John Watt, one of the longest-serving coppers on the TV beat in Z Cars and its BBC sequels and spin-offs from 1962 right through to 1978.
He trained for the stage in London at the Central School of Speech and Drama, still situated in those days, the early 1950s, at the Royal Albert Hall and toured in Britain and India with the Elizabethan Theatre Company
His first foray into television saw him playing the Crown Prince Rudolph of Austria in a BBC Sunday Night Theatre play of 1955 and, in 1957, the Duke of Norfolk in a television version of Robert Bolts A Man for All Seasons, three years before it became a West End hit. Windsors experience in Shakespeare made him well qualified to play the Earl of Warwick and Sir Walter Blunt, among other characters, in the landmark BBC series of Shakespeare histories, An Age of Kings (1960). more.... Leslie Randall, actor, writer and comedian, has died aged 95 (July 2020)
Leslie Randall was best known for the TV show Joan and Leslie, ITVs first sitcom, which began in 1955. He had a mammoth 62-year career in the business.
Although he got a taste for acting while serving in the RAF, his first professional appearance as a comedian was on television in the BBCs New To You talent showcase. This led to standup tour dates at Val Parnells Moss Empires variety theatres.
In 1951 he married Joan Reynolds, whom he met in repertory at Darlington. They shared their big break in 1955 starring in Joan and Leslie, which ran until 1958. The couple also appeared in a long-running series of TV adverts for Fairy Snow.more.... Heather Chasen, actress, has died aged 92. (22 May 2020)Heather Chasen spent a year (1958-59) in the role of Mollie Ralston in the Agatha Christie whodunnit The Mousetrap (Ambassadors theatre, London) and many West End roles followed.
She played more than 20 characters most of the female parts throughout the 18-year run of the BBC radio sitcom The Navy Lark (1959-77), set on board the Royal Navy frigate HMS Troutbridge. With adept changes of voice, Chasens roles included Ramona Povey, the wife of Richard Caldicots commander; Miss Simpkins, assistant to the Sea Lord; and Wren Chasen, alongside Leslie Phillips and Jon Pertwee as, respectively, the sub-lieutenant and chief petty officer perpetually trying to get the vessel out of the trouble they had personally created.
Chasen appeared on television in Crossroads for a four-year run (1982-86) as Valerie.
She had runs as Helen Baker in the Francis Durbridge thriller The World of Tim Frazer (1960), Caroline Kerr (1968-69) in the BBC soap The Newcomers, Isabel Neal in the afternoon serial Marked Personal (1973-74), Mary Queen of Scots in the childrens adventure A Traveller in Time (1978) and Aunt Rachel in Young Sherlock: The Mystery of the Manor House (1982), as well as playing Margaret Thatcher in the drama-documentary Who Bombed Birmingham? (1990). more.... Andrée Melly, the actress, died on 31st January 2020 aged 87(27 February 2020)
Andrée Melly was born on 15 September 1932 in Liverpool, and was educated in Liverpool and in Switzerland. Her mother and father were Edith and Francis Melly and her brother was jazz legend, George Melly.
Andrée began her career at the New Theatre, Bromley alongside such stars as Robin Bailey, Leslie Phillips and Arthur Lowe. Moira Lister had played Tony's girlfriend in the first series of Hancock's Half Hour', and Andrée took over for the second and third series, appearing in a total of 32 episodes.
Perhaps most noticeable about her first three appearances in the series was that she played alongside Harry Secombe, while Hancock was absent. She was (re)introduced into the series when Hancock and Bill smuggled her back to East Cheam from Paris, where they had ended up after setting out for Southend!
In the early years of the long-running BBC radio comedy 'Just a Minute' she was a regular panellist. Along with Sheila Hancock, she was one of the most regular female contestants, appearing in fifty-four episodes between 1967 and 1976. In 1972, she chaired an episode. She was the first panellist to win points for talking for the prescribed 60 seconds without hesitation, repetition or deviation.
She also appeared in several episodes of the 'Benny Hill Show'. She continued to appear on British television until 1991.
She was the last surviving regular cast member of Hancock's Half Hour. more.... Michael Medwin, actor, has died aged 96(26 February 2020)
Michael Medwin was born in London in 1923, he was made an OBE for services to drama in 2005.
He trained at the Italia Conti stage school in London and made his film debut as a radio operator in 1946's Piccadilly Incident.
He made his television debut as a boxer in Kid Flanagan (1948). In The Army Game (1957-58), he was Springer, the ringleader to four privates who regard national service as a licence for anarchy.
In the five decades that followed, he appeared in such films as A Hill in Korea, Doctor at Large, Carry On Nurse and The Longest Day.
Often cast as cockney spivs at the start of his career, he moved on to authority figures like the doctor who treats Connery's James Bond in 1983's Never Say Never Again.
He also played the nephew of Albert Finney's title character in Scrooge, despite being 12 years Finney's senior. Alongside Finney, he also produced such films as Lindsay Anderson's If...., O Lucky Man! and Charlie Bubbles. more.... Pearl Carr, singer, has died aged 98(16 February 2020)
The young Pearl was put into one of CB Cochrans shows and then joined the Three in Harmony singing group, who appeared in Best Bib And Tucker with Tommy Trinder at the London Palladium in 1942.
She sang with Cyril Stapleton and his Orchestra and then joined a vocal quartet, the Keynotes, for whom she was the lead singer in 1946. The Keynotes were regular guests on two radio shows, Take It From Here and Breakfast With (Bernard) Braden.
Teddy Johnson had worked as a drummer and DJ, and then had a hit single with Beloved, Be Faithful in 1950. When he appeared on the BBC radio show Black Magic, hosted by the bandleader Stanley Black, Carr was asked to sing with him. The partnership worked well, although they had no plans at the time to repeat it. However, by 1952 they were dating and they started appearing on the same shows, performing separate acts and coming together for Idle Gossip and Shadow Dance, which Johnson would sing while Carr danced.
They were also regulars on the Winifred Atwell Show on TV (1956-57), as well as on Big Night Out and Blackpool Night Out and the new childrens series Crackerjack, and they hosted shows for Radio Luxembourg, advertised as Mr and Mrs Music.
The couple represented the UK in 1959 at the Eurovision Song Contest with the song Sing little birdy and finished 2nd with the Sing, Little Birdie. The song peaked at No. 12 on the UK Singles Chart. more.... Actor, comedian and broadcaster Nicholas Parsons has died aged 96(28th January 2020)
After several years working in radio variety, Parsons breakthrough came in 1956 on independent television when he was asked to play straight man to droll comedian Arthur Haynes. The show, with scripts supplied by Johnny Speight, who went on to pen Till Death Us Do Part, was a resounding success and Parsons partnership with Haynes lasted 10 years, during which time they enjoyed a season at the London Palladium and appeared six times on The Ed Sullivan Show in America.
During this period he was a regular face on British television comedy and variety shows, even providing the voice of Sheriff Tex Tucker in the Gerry Anderson TV puppet series Four Feather Falls (1960). He also began to appear in British film comedies, cast mainly as amiable posh twits or sundry ineffective lower-order government officials in the likes of Carlton-Browne of the F.O. (1959) with Peter Sellers and Terry Thomas, Doctor in Love (1960), Carry on Regardless (1961) and Murder Ahoy (1964), featuring Margaret Rutherford as Miss Marple. more.... Christopher Beeny, known for roles in Upstairs, Downstairs and BBC sitcom Last of the Summer Wine, has died at the age of 78(7th January 2020)The London-born actor had his first taste of the spotlight aged six when he danced for the Ballet Rambert, and went on to land his first role in 1953 with The Long Memory.
He was also one of the first British soap stars, nabbing the part of Lenny Grove in the 1950s BBC series The Grove Family.
He gained notice when he appeared in the highly successful period drama Upstairs, Downstairs (197175) as the footman Edward Barnes. He appeared as Geoffrey in the single mother sitcom Miss Jones and Son (197778), as Tony in the remake of The Rag Trade (197778) and co-starring (as Billy Henshaw) with Thora Hird in a further sitcom, In Loving Memory.
In 2001 he made a guest appearance in Last of the Summer Wine, something which he repeated numerous times until 2009 when he joined the cast as a regular character. He appeared originally as the character Herman Teasdale, who later became Morton Beamish.
In 2006, he played a cameo role in Emmerdale. Coincidentally, he played the cousin of the character Noreen Bell, who had been played by his Upstairs, Downstairs colleague Jenny Tomasin. Beeny also played cameo roles in BBC TV's Sense & Sensibility and ITV's series Honest. Actor Elizabeth Sellars has died aged 98(6th January 2020)Elizabeth Sellars had a fulfilling career on television and on stage, and took leading roles in low-budget British thrillers, as well as supporting roles to bigger stars in bigger pictures, in the 1950s and 60s.She emerged at a rich time for British television drama, often appearing on the BBCs Sunday Night Theatre (1951-59) and ITVs Play of the Week (1959-67). In the theatre, she had long runs in West End productions, and was one of the stars at Stratford-upon-Avon during Peter Halls first season as artistic director of the newly formed Royal Shakespeare Theatre in 1960-61. more.... Dame June Whitfield, comedy actor, has died aged 93(29 December 2018)
On radio June Whitfield became a national favourite playing the eternal fiancée Eth, coaxing her dozy Ron Glum (played by Dick Bentley) towards the altar in the Frank Muir-Denis Norden 1950s radio series 'Take It From Here' (in the portion of the show known as "The Glums"), and began her association with Roy Hudd in 'The News Huddlines' in 1984, which lasted into the new century.
On Television June became a regular on Arthur Askeys 'Before Your Very Eyes' in 1956, then played his wife in the 'Arthur Askey Show' in 1961. She also appeared in the 'Tony Hancock Show', the comics first series for ITV, and when he moved back to the BBC in 1961 she went with him. She went on to perform a long running double-act as the long-suffering wife of overgrown boy scout Terry Scott in the archetypal suburban sitcom 'Happy Ever After' (1974-78) and its follow-up 'Terry And June', which ran from 1979 until 1987 when it was axed by the BBC as out-of-touch in the age of "alternative comedy".
She later captivated a new generation as Jennifer Saunderss vague but sometimes acerbic mother in 'Absolutely Fabulous'. more.... Richard Baker, former BBC newsreader and presenter dies aged 93(17 November 2018)
Richard Baker served on a minesweeper with the Royal Naval Volunteer Reserve during the Second World War, attached to the supply convoys to Russia.
A keen amateur dramatist, Baker resumed his education after the war and joined the BBC in 1950 as a radio presenter.
His voice introduced the first news bulletin broadcast on BBC television in 1954 but it was a year before he was actually seen on screen, going on to become one of the most familiar faces on TV. In 1969 he was narrator of the BBC children's series, Mary, Mungo & Midge, which ran for 13 episodes, and he later narrated another children's series, Teddy Edward, made three guest appearances on Monty Python's Flying Circus and was a regular on the panel game, Face the Music.
In 1982, he decided to leave the TV news desk but his voice continued to be heard on BBC radio where he presented, among other programmes; Start the Week, These You Have Loved and Your Hundred Best Tunes.
For many years he fronted the Last Night of the Proms from the Royal Albert Hall, resplendent on a balcony festooned with streamers. more.... Babs Beverley, member of the Beverley Sisters,has died aged 91(28 October 2018)
The first broadcasts by the Beverley Sisters were on wartime radio shows. When the BBCs television service reopened after the war, they were featured almost daily.
Their first television series, in 1947, was called Three Little Girls on View. Rebranded as Those Beverley Sisters, it ran for a further seven years.
Following their TV success, the Beverley Sisters were not short of offers for summer seasons at seaside theatres and seasonal pantomimes. There were spells at Blackpool, Great Yarmouth and Bournemouth. When they were booked to appear in Cinderella in Liverpool in 1956, the script was adapted so they could play a trio of principal boys.
The Beverley Sisters appeared at the Royal Variety Performance five times, beginning in 1952 and ending 50 years later for the Queens golden jubilee celebrations. In later years they supported ex-service personnel charities, notably the Burma Star Association. All three were made MBE in 2006. more.... Ray Galton, comedy script writer, has died aged 88(5th October 2018)
Ray Galton joined up with Alan Simpson when, as boys, they had both suffered from tuberculosis and met in the same sanitorium. The two boys found they were on the same wavelength and teamed up to become writing partners. Together they created Hancocks Half Hour on radio and later on television for Tony Hancock, a programme that, in 1954 was one of the first "situation comedies", based on characters and experiences rather than on gags.
For seven years, Galton and Simpson wrote every word uttered by Hancock, a difficult and touchy man who embraced the illusion that he could do better than his writers, and parted company with them. His career never fully recovered.
Galton and his writing partner, now part of Associated London Scripts, a co-operative writers agency, along with Spike Milligan, Eric Sykes and Howerd, were rescued by the BBC TV series Comedy Playhouse, a vehicle for individual plays. They contributed number four, The Offer, featuring an old rag-and-bone man and his deluded and snobbish son. Both writers thought these characters too good to waste and saw the comic possibilities of a series. It became Steptoe and Son, a TV programme that drew audiences as high as 28 million. They also wrote for the comedians Frankie Howerd and Les Dawson, and lived a Rolls-Royce lifestyle far removed from their working-class roots. more.... Denis Norden, comedy writer and TV presenter, has died aged 96(18 September 2018)
In 1942, Norden joined the RAF. He became a radio operator and also wrote stage shows to entertain the troops: one of them benefited from the talents of the servicemen Eric Sykes and Bill Fraser. While in northern Germany, Norden encountered the horrors of the recently liberated Bergen-Belsen concentration camp.
On demob in 1945 he started to write gags for variety comedians, including Nat Mills and Bobby and Issy Bonn.
Norden met Muir in 1947, when both were working for a script-writing agency run by a top comedy writer of the day, Ted Kavanagh. Norden was providing material for a young Australian comic, Dick Bentley, and Muir was writing for handle-bar-moustached Jimmy Edwards. A BBC radio producer, Charles Maxwell, suggested that the two young writers team up to work on Take It from Here, starring Edwards, Bentley and Joy Nichols (later replaced by June Whitfield).
Norden and Muir moved into TV with several successful shows Whack-O!, for example, also starring Edwards as the charlatan headmaster with a traditional faith in the value of caning (1956-60, with a colour TV revival in 1971-72) and worked as joint consultants to the BBC TV light entertainment department (1960-64).
Norden and Muir moved into TV with several successful shows Whack-O!, for example, also starring Edwards as the charlatan headmaster with a traditional faith in the value of caning (1956-60, with a colour TV revival in 1971-72) and worked as joint consultants to the BBC TV light entertainment department (1960-64). more.... Teddy Johnson, singer, has died aged 98(6 June 2018)
The British entry has finished second in the Eurovision song contest 15 times. The first of these was in 1959 when Sing, Little Birdie was performed by the husband-and-wife duo Pearl Carr and Teddy Johnson. In addition to his singing career as a soloist and with his wife, Johnson was a well-known radio personality on Radio Luxembourg and the BBC, and an occasional actor.
After the war he joined the resident band at the Locarno dance hall in Streatham, south London, and broadcast as a singer with the bandleader Jack Payne. Johnson worked with several more dance bands before he was hired in 1948 as chief announcer for the English language programmes of Radio Luxembourg.
In 1950, Johnson briefly presented the record request show Housewives Choice until BBC managers deemed him be too informal.
He had more luck as compere of the radio variety show Black Magic, which also featured Carr, an established singer and member of the vocal group the Keynotes. This was the start of their long professional and personal collaboration. They toured together in variety shows during the 1950s and were regular guests on the BBC childrens programme Crackerjack. The couple married in 1955. more.... Peter Byrne, actor who played Andy Crawford in Dixon of Dock Green, has died aged 90(14 May 2018)
Peter Byrne had joined Dixon of Dock Green at its inception, as a wet-behind-the-ears police constable. PC George Dixon had previously featured in The Blue Lamp, the most popular film in British cinemas in 1950. Although the character was shot dead little more than 20 minutes in, he was brought back to life in a 1952 stage version of The Blue Lamp that featured Gordon Harker as Dixon, Byrne as PC Andy Crawford and Warner as Chief Inspector Cherry. Ted Willis, co-writer of both the film and play, then turned it into the television series, with Warner as star and Byrne reprising his stage role.
In later years, Crawford married Dixons daughter, Mary (played successively by Billie Whitelaw, Jeanette Hutchinson and Anna Dawson), and moved to CID, rising to the rank of detective inspector, and gradually did more of the legwork for Dixon astonishingly, Warner was 80 by the time the programme finally ended in 1976.
He had a guest role in a 1981 episode of the TV sci-fi serial Blakes 7 as Justin, a scientist who genetically engineers animals as slaves for humans, and a run in the sitcom Bread as Derek (1988-91), a widower who befriends Nellie Boswell (Jean Boht). He played an ageing Tony Blair relocating to the Middle East in the satirical 2006 series Time Trumpet, set 25 years in the future, and appeared in episodes of Doctors (2006) and Holby City (2006 and 2012). more.... Ronald Chesney, harmonica player and comedy writer, has died aged 97(23 April 2018)
On leaving school at 16, Ronald Chesney became a professional harmonica player.
Exempted from serving in the forces during the second world war after having a TB-infected kidney removed, Chesney played his part by teaching musical skills to the troops and other listeners in the radio programme Lets Play the Mouth-Organ (1940). His own eponymously titled show followed in 1941 and 1947, along with long runs in the radio series Variety Band-Box (1944-51) and Workers Playtime (1949-56).
While providing musical interludes with his "talking harmonica" during the entire run of the radio comedy Educating Archie (1950-60), featuring the ventriloquist Peter Brough and his doll, Chesney met Ronald Wolfe, who joined the show as a scriptwriter in 1955. They teamed up and, with Marty Feldman, wrote for the final two series, as well as a TV version (1958-59).
When Feldman left to team up with Barry Took, Chesney and Wolfe continued together Chesney giving up his career as a harmonica player and created the 1961 radio sitcom Its a Deal, starring Sid James as a bungling property developer.
The Rag Trade then began 20 years of hit comedies for the pair on television. more.... Zena Skinner, TV cook and author, has died aged 91(4 April 2018)
Zena Skinner presented the popular BBC show 'Cookery Club' and had a television career that spanned nearly 30 years. She made her first appearance on 'Cookery Club' in 1959, showing viewers how to make brandy snaps.
She went on to present many programmes for the BBC, including 'Town And Around', 'Ask Zena Skinner' and 'Bon Appétit'. She even appeared on the BBC children's television show 'Crackerjack'. She was a regular contributor to the Radio Times and wrote several cookery books. Meanwhile she was brand ambassador for Tupperware, which distributed her cookery leaflets with women's magazines. Her popularity was in large part due to the fact that compared to other TV cooks of the time, Skinner's style was down-to-earth and accessible. more.... Bill Maynard, comedy actor, has died aged 89 (30 March 2018)
In 1949, Bill Maynard appeared in talent shows for Bryan Michie and Carrol Levis as well as in an Opportunity Knocks! stage production and in 1953 he made his first TV appearance on the BBC show Face the Music.
He worked in local repertory companies and then went to Butlins holiday camp, Skegness, where he met the comedy actor Terry Scott. Maynard and Scott became stars when the BBC gave the pair their own television show, 'Great Scott, Its Maynard' (1955), a sitcom in which their characters shared a flat. Maynard also had his own series, 'Mostly Maynard', but that proved less successful and his desire to switch to acting led to the break-up of the partnership with Scott.
In the 60s and 70s he found work in TV series such as Till Death Do Us Part (1969 and 1972), Up Pompeii (1970), Coronation Street (1970) and Love Thy Neighbour (1973). The Carry On films kept him occupied throughout the 70s, along with, on TV, Oh No, Its Selwyn Froggitt! (1974) and The Life of Riley (1975). more.... Katie Boyle, actress and presenter, has died aged 91 (20 March 2018)
A love of cinema pushed Boyle from an early modelling career towards the film world. As Catherine Carleton she played school secretary Miss Weston in the comedy Old Mother Riley Headmistress (1950), with music-hall stars Arthur Lucan and Kitty McShane.
Boyle also danced in the chorus at the Theatre Royal, Windsor, in the pantomime Dick Whittington (1949-50), starring Paul Scofield and Geraldine McEwen. Although she acted in another film, The House in the Square (1951), she then became a full-time model, still as Catherine Carleton, with catwalk jobs and work for Vogue.
Her growing fame led the BBC producer Richard Afton to feature Boyle in the "Beauty Spot" on his variety show Quite Contrary (1953). After one programme, he made her its presenter.
This introduction to television led to an appearance in the 1954 Royal Variety Performance and a return to acting. Billed as Catherine Boyle, she was in several films as well as a string of television plays.
She landed the starring role in the BBC adventure serial Golden Girl (1960). As Katie Johnson, she was the secretary who through an unexpected inheritance becomes the worlds richest woman.
However, the Eurovision Song Contest brought Boyle fame in her own right and she left acting behind. She presented the ITV advertising magazine Mayfair Merry-go-round and, over the years, was a panellist on Juke Box Jury (1960-1965), Call My Bluff (1967-1970), Punchlines (1981-1983), Blankety Blank (1979-1985) and the English, American and Italian versions of Whats My Line? She hosted her own BBC Radio 2 show, Katie & Friends in 1990. more.... Peter Wyngarde, actor famous as the suave television sleuth Jason King, has died aged "around 90" (18 January 2018)
Following the War, Peter Wyngarde, who had endured the Japanese internment camp Lunghua due to his British diplomat father visiting China at the time that the Japanese invaded, returned to London and claimed to have read law at Oxford, but there is no record of him having studied there in the postwar years. His first acting credit was as a policeman at the Buxton Playhouse in May 1946, making nonsense of the 1933 birth date he claimed.
He supported Alec Guinnesss Hamlet at the New theatre in London in 1951, then played the soldier Dunois to Siobhán McKennas Saint Joan at the Arts in 1954. He appeared opposite Vivien Leigh in Duel of Angels at the Apollo in 1958, and said that the highlight of his career, at the Bristol Old Vic in 1959, had been playing Cyrano de Bergerac.
His burgeoning TV career brought him lead roles as Sydney Carton in A Tale of Two Cities (1957), Long John Silver in The Adventures of Ben Gunn (1958) and the title role in Rupert of Hentzau (1964). His appearance in The Avengers (1966), inducting Diana Rigg into the Hellfire Club, is well remembered.In The Innocents (1961), he did not have a single word of dialogue; his only film lead was as a psychology professor in a horror film, Night of the Eagle (1962). more.... Jack Good, the man who put pop music on television, has died aged 86(29 September 2017)
IIt was in 1957 that the BBC decided to abandon the Toddlers Truce, which required television to shut down for an hour each day between 6pm and 7pm to give mums time to put their young children to bed.
Jack Good was the producer who persuaded the BBC to accept the idea of a Saturday night TV pop show called Six-Five Special and then filled the studio floor with young listeners, creating the atmosphere of a teenage hop as they jived to the Vipers or Tommy Steele.
In 1958 he was on his way to ITV, where Cliff Richard was booked for Oh Boy!, as were Marty Wilde, Billy Fury. The show was recorded at Hackney Empire every Saturday morning and transmitted that evening, competing directly against Six-Five Special, which it swiftly rendered obsolete.
Oh Boy! lasted a year. Good followed it in 1959 with Boy Meets Girls, also for ITV, in which Marty Wilde and the Vernons Girls were the featured performers. In turn that show was succeeded in 1960 by the Good-produced Wham!, whose guests included Fury, Joe Brown and Jess Conrad. more.... Sir Bruce Forsyth, entertainer who began his career in variety and became an enduringly popular TV host has died aged 89 (18 August 2017)
Bruce Forsyth made his BBC television debut in 1939 on the Jasmine Bligh talent show. He later launched his career as Boy Bruce, the Mighty Atom, at the Theatre Royal, Bilston, in Staffordshire, in 1942, wearing a satin suit made by his mother and playing the accordion, ukulele and banjo.
Forsyth led a busy and sometimes complicated private life with a penchant for showgirls, singers and beauty queens, made his Windmill theatre debut in 1953, performing impressions of Tommy Cooper.
During a summer season at Babbacombe in Devon in 1957, another dance act recommended Bruce to their agent, Billy Marsh, and this led to a booking on a television show, New Look, followed by the breakthrough Sunday Night at the London Palladium in September 1958; in black and white, and always broadcast live on ATV, Forsyth demonstrated his genius for improvisation and ad-libbing as he shuffled and chivvied the audience participants in physical competitions and word games in the shows Beat the Clock segment.
He displayed a true vaudevillians talent for catchphrases; as Tommy Trinder (whom he succeeded on Sunday Night at the London Palladium) had You lucky people, or Arthur Askey I thank-yeaow, so Forsyth patented Im in charge at the Palladium followed by Nice to see you to see you, nice! and Didnt he do well? on The Generation Game. more.... Ty Hardin, actor who starred as Bronco Layne, has died aged 87(3rd August 2017)
Ty Hardin was a blond beefcake actor who appeared in films such as Battle of the Bulge (1965) and Custer of the West (1967), after making his name on television as Bronco Layne in the popular Western series Bronco.
Broadcast by the BBC from 1958 to 1962, Bronco, in which Hardin played a former Confederate captain and adept horseman roaming the Old West and meeting such characters as Wild Bill Hickock, Billy the Kid and Jesse James, was an instant hit.
Hardins appeal for women viewers was obvious, and the catchy theme tune embedded itself in the British psyche. The most popular of several parodies, commencing Bronco, Bronco, tearing across the dotted line was a reference to a shiny, abrasive lavatory paper of the day. more.... Sir Roger Moore, illustrious actor who starred as Ivanhoe in the 1950s TV series, has died aged 89(22nd May 2017)
Roger Moore was born in London. Tagging along with friends in 1945 to auditions for film extras, Moore was picked to appear in a non-speaking role as a legionnaire in Caesar and Cleopatra, starring Vivien Leigh and Claude Rains. After three years in the army, Moore returned to acting, landing small roles in theatre and film, and moved to New York City in 1953 with his second wife, the singer Dorothy Squires and began getting acting work on US television. Returning to Britain, he took the lead in the 1958 television adventure series adapted from Walter Scotts novel, Ivanhoe.
Other regular TV roles of increasing size followed, including two western series, The Alaskans and Maverick, before Moore finally became a bona fide star, playing the crime-fighter and playboy Simon Templar in the popular television crime series The Saint.
Two years after The Saint ended, Moore was cast once more as a playboy adventurer in The Persuaders!, in which he was teamed with Tony Curtis. The odd-couple pairing (Moore, as Lord Brett Sinclair, was dapper; Curtis, playing Danny Wilde, was a ruffian) and the action staged in glamorous locations made the series a hit. more.... Moray Watson, actor, has died aged 88(3 May 2017)
Following repertory theatre in Nottingham, Leatherhead and Liverpool, the West End beckoned. Moray Watson made his debut in Small Hotel (St Martins Theatre, 1955), then was seen as the novel-writing butler, Trevor Sellers, in the comedy The Grass Is Greener (St Martins, 1958). He reprised the character in the film version two years later, alongside Cary Grant, Deborah Kerr and Robert Mitchum. Then came rare starring roles, in The Bad Soldier Smith (Westminster Theatre, 1960-61) and The Public Eye (Broadway, 1963-4).
After his introduction to television audiences as assistant control engineer Peter Marsh in the landmark sci-fi serial The Quatermass Experiment (1953), Watson switched to soap opera, spending a year (1962-3) in the womens magazine serial Compact as art editor Richard Lowe, then returning for the last month of its run in 1965.
He was cast to type in war films such as The Valiant (1962), Operation Crossbow (1965) and The Sea Wolves (1980) but was better utilised on television. His dozens of character roles included Godfrey Cass in Silas Marner (1964), Barrington Erle in the first series (1974) of The Pallisers, Angus Kinloch in Quiller (1975), Chief Constable Chubb in Murder Most English (1977), Mr Bennet in Pride and Prejudice (1980), Judge Frobisher (1978-88) in Rumpole of the Bailey and Wordsworth, the butler, in the sitcom Union Castle (1982). more.... Veteran Saturday Club presenter Brian Matthew has died aged 88(8 April 2017)
Brian Matthew was born to musical parents in Coventry in September 1928, it is unsurprising that he blossomed on the radio music scene, capturing the attention of BBC producers after his first appearance on the new 'Saturday Skiffle Club' - later renamed 'Saturday Club' - in 1957.
He originally found employment as a news reader for the BBC Home Service, studying under the veteran broadcaster, John Snagge. He moved to the Light Programme and presented the occasional programme such as 'Housewives Choice' and was the announcer for the comedy programmes, 'Take It From Here' and 'Hancocks Half Hour'.
His talents in front of a camera saw him take on television roles during the 1960s - including hosting shows 'Thank Your Lucky Stars' and 'Swinging UK' - before he cemented himself as a much-loved regular radio presenter.
And it was his 27-year stint as presenter of the Saturday morning show, 'Sounds Of The 60s', which kept him firmly in the hearts of radio listeners all the way into the 2000s. His broadcasting career spanned almost 70 years, but to many Brian Matthew's name will always be synonymous with the sounds of the 60s.. more.... Alan Simpson, scriptwriter, has died aged 87(8 February 2017)
Alan Simpson was half of one of Britain's most successful comedy writing partnerships. Simpson, it is always said, patiently banged away at a manual typewriter while his partner, Ray Galton, strode up and down the room declaiming ideas or dialogue. They made an odd couple, but it worked. Together they wrote the scripts for Tony Hancock's radio and TV shows, and for many comedy plays, and they created Steptoe and Son, which ran for eight series.
With Ray Galton, in 1951 he supplied the well-known comic Derek Roy with jokes at five shillings a go for his Happy Go Lucky radio programme, after which the duo were put on the show's payroll at eight guineas a week. They ended up writing all the shows, an hour once a fortnight, for 20 guineas each.
They knew they had "arrived" when Hancock offered them 25 guineas. The comedian had made a name for himself in the BBC shows Educating Archie and Kaleidoscope and in 1954 he was given his own radio series, Hancocks Half Hour, in which he played an exaggerated version of himself. Galton and Simpson wrote the scripts, establishing a form of comedy based on character and situation, rather than sketches and gags. They continued to script the show when it was adapted for television in 1956, altogether writing 160 radio and TV programmes for Hancock between 1954 and 1961. more.... Desmond Carrington, actor and disc jockey, has died aged 90(1 February 2017)
Desmond Carrington was a unique radio phenomenon: a veteran DJ for BBC Radio 2 whose weekly show of classical and popular music was broadcast from his home a farm in Perthshire using his personal collection of some 80,000 CDs, LPs and 78s.
Called up for second world war service in 1943, he joined the Queens Own Royal West Kent Regiment and was sent to India. Later posted to Colombo, where he joined Radio SEAC, and discovered that radio was a natural medium for him.
On demob, he became a member of the BBC Drama Repertory Company, and was an independent producer for Radio Luxembourg as well as the BBC. He also began to appear on TV, including in a very lucrative Daz commercial.
It was this growing experience of TV, together with his good looks, that landed him the part of Dr Chris Anderson, the new house physician at the fictional Oxbridge General hospital, in Emergency Ward 10, a year after the series started in 1957. His original contract was for three weeks; he stayed for more than 200 episodes. more.... Barbara Hale, actress, Della Street in Perry Mason, has died aged 94(27 January 2017)
Barbara Hale was best known as Della Street, the super-reliable secretary of Perry Mason (Raymond Burr), the criminal defence attorney in the popular CBS television series (1957-66), a role for which she won a best supporting actress Emmy; two decades later, the pair reunited to make more than two dozen television movies for NBC.
After appearing in such films as The First Yank in Tokyo (1945), The Boy With the Green Hair (1948), The Window (1949) and The Clay Pigeon (1949), Hale delivered perhaps her most notable movie performance in the Columbia sequel Jolson Sings Again (1949), playing a nurse and the singer's new wife.
Hale then appeared often as the female lead in a number of top-level movies, including Lorna Doone (1951) with Richard Greene, The First Time (1952) with Robert Cummings, Seminole (1953) with Rock Hudson and Hugh OBrian, The Lone Hand (1953) and The Oklahoman (1957) with Joel McCrea, A Lion Is in the Streets (1953) with James Cagney, 7th Cavalry (1956) with Randolph Scott and The Houston Story (1956) with Gene Barry.
After the Perry Mason series ended, Hale appeared in the star-studded Airport (1970), in the lamentable The Giant Spider Invasion (1975) and alongside her son in the John Milius surfing picture Big Wednesday (1978). She also played Katt's mom on a 1982 episode of The Greatest American Hero. more.... Sabrina (Norma Ann Sykes), glamour model and actress, has died aged 80(24 November 2016)
In 1955 Sabrina was chosen to play a dumb blonde sidekick in Arthur Askey's new television series, Before Your Very Eyes (BBC 195256, ITV 195658) which soon made her a household name.
She made her motion-picture debut in Stock Car, in 1955. She then appeared in a small role in the 1956 film, Ramsbottom Rides Again. In her third movie, Blue Murder at St Trinian's (1957) she had a non-speaking role in which, despite sharing equal billing with the star Alastair Sim on posters and appearing in many publicity stills in school uniform, she was required only to sit up in bed wearing a nightdress, reading a book whilst the action took place around her.
Other TV appearances included Double Your Money (1955), Make Mine a Million (1959), Tarzan (1967), This Is Your Life - (Arthur Askey, 1974). more.... Hugh O'Brian, actor who played Wyatt Earp, has died aged 91 (5 September 2016)
Hugh OBrian was one of the first American actors to achieve television celebrity in 1950s Britain as the marshal of Dodge City in The Life and Legend of Wyatt Earp.
More than 200 black-and-white episodes of the series were shown on the fledgling ITV network between 1956 and 1962. Handsome and square-jawed, OBrian landed the starring title role because he resembled the real Wyatt Earp (1848-1929) as a young lawman in late 19th-century Kansas and later in Tombstone, Arizona.
It was the first television western to be aimed specifically at adults. Series appealing to children such as The Cisco Kid and The Lone Ranger had been scheduled for late afternoon slots. Inspired by the legendary events of the real-life frontier marshal, Earp played in after-dinner prime time and transformed OBrian into one of televisions first sex symbols.
O'Brian was a one of the founders of the Thalians, a show-business charitable organization formed in 1955 to raise money for children with mental health problems. In 1964, he established the Hugh O'Brian Acting Awards competition at UCLA. more.... Sir Antony Jay, writer, broadcaster and director, has died aged 86 (23 August 2016)
After National Service in the Royal Signals, Antony Jay joined BBC Television in 1955, and was a member of the team that launched the current affairs programme Tonight, which he edited from 1962 to 1963. After a further year as head of Television Talk Features, he left the BBC to work as a freelance writer and producer.
From 1981, Jay was co-author, with Jonathan Lynn, of Yes Minister and Yes, Prime Minister, the political comedies which kept the nation laughing through the Thatcherite 1980s. Yes, Minister ran for three series, before the advancement of Jim Hackers career (due to his valiant defiance of a new Euro directive redefining the British banger as an emulsified offal tube), led to its relaunch as Yes, Prime Minister, with the same cast (Sir Humphrey promoted to Cabinet Secretary), in 1986. The series ran until 1988. However, not many, perhaps, were aware that the serial was commissioned with a serious political purpose: to popularise public choice theory. It is because it succeeded spectacularly that Jay received a knighthood in 1988.
Jay also wrote the BBC TV documentaries Royal Family and Elizabeth R, for which he was appointed CVO in 1993 for personal services to the Royal Family. more.... Brian Rix, Lord Rix, brilliant comic actor, manager and dedicated campaigner for people with learning disabilities, has died aged 92(20 August 2016)
Brian Rix devoted his life almost equally to stage farce as one of the most brilliant comic actors in the postwar years and to campaigning for people with learning disabilities. He was successful at both. In the theatre, both in management and on stage, his name became synonymous with the Whitehall farces, named after the London venue and with plotlines usually involving a lie, a comic deception and someone being caught with his trousers around his ankles. Rix also ran repertory companies and presented more than 90 farces on television in the 1960s to huge audiences starring the big names of the day, such as Dora Bryan, Sid James, Sheila Hancock and John Le Mesurier.
In 1952 Reluctant Heroes became one of the first West End plays to be partly televised. As a result, there were huge queues outside the Whitehall. Rix negotiated a contract with the BBC that lasted 17 years. The TV work included a number of Sunday Night Theatre productions under the Brian Rix Presents banner in the late 50s and early 60s.
Management was the art that mattered to him. For years he put on and appeared in the most noted farces of the West End, including Dry Rot by John Chapman, who had understudied him in Reluctant Heroes. Rix also appeared in the film of Dry Rot (1956), one of 11 film credits.
In 1949 he had married the actor Elspet Gray; the first of their four children, Shelley, was born with Downs syndrome.
He threw himself into fundraising for learning disability charities, and in 1978 he began the Lets Go! TV programmes for people with learning disabilities he made 40 of them.
In 1979 a job advert in the Guardian caught Rixs eye, for the position of Mencaps secretary general. He applied and was initially turned down, but was later accepted and started work in 1980. more.... Sylvia Peters, actress and BBC continuity announcer, has died aged 90(26 July 2016)
Sylvia Peters, who has died aged 90, was one of the faces of BBC Television during the 1950s; having introduced the historic broadcast of the Queens Coronation in 1953, she later helped to teach the Queen the skills she needed for the annual royal Christmas message.
As well as becoming the youngest of three in-vision announcers (Mary Malcolm and McDonald Hobley were the others), she presented Come Dancing between 1954 and 1958. She also fronted the BBC Television programme For Deaf Children in 1956. With her refined accent and crisp, elegant manner, she became one of Britains first big television stars.
The turning point for television came in 1953 with the Coronation. At 10?am on Coronation Day, Sylvia Peters went on the air live and continued to provide linking material until 11.30 that night.
In 1954, Peters was chosen to host Come Dancing and was also the compere for Television Dancing Club, which featured the bandleader Victor Silvester.
After leaving the staff of the BBC in 1958, she became a freelance, and covered such events as Lady's Day at Royal Ascot and Come Dancing, and made less frequent appearances on screen and fronted Jims Inn, an advertisement magazine for the ITV.
http://www.telegraph.co.uk/obituaries/2016/07/29/sylvia-peters-bbc-television-presenter--obituary/https://www.theguardian.com/media/2016/jul/29/sylvia-peters-obituary William Lucas, television actor, has died aged 91 (8 July 2016)
William Lucas' big television break came with the part of the blackmailing car dealer Reg Dorking in Portrait of Alison (1955), a crime thriller serial written by Francis Durbridge.
He was a regular as David Graham in The Strange World of Planet X (1956), Charlton Bradbury in The Crime of the Century (1956-57), Jim Pereira in the second series (1958) of the hotel saga The Royalty, Jonathan Briggs in the serialisation of Frank Tilsleys novel Champion Road (1958) and Durea in the London underworld thriller Solo for Canary (1958).
He starred in The Infamous John Friend (1959), in the title role of the smuggler and spy for Napoleon, and was Detective Inspector Mitchell in the crime dramas The Days of Vengeance (1960) and Flower of Evil (1961), and Eddie Prior in the thriller serial The Prior Commitment (1969).
He even took the title role in a TV production of Rigoletto (1958), recalling: Happily, the singing was dubbed. more.... Ray Lakeland, outside broadcasting pioneer, has died aged 95(8 July 2016)
After the war Ray lakeland joined the British Forces Network, and on demobilisation transferred to BBC North, initially as a freelance reporter. He joined its radio studios in Newcastle full-time in 1947.
It was with his move to television in 1956 that Ray found his natural creative home, producing a wide range of programmes, including the first televised coverage of the launching of a liner RMS Windsor Castle, named in 1959 by the Queen Mother a broadcast from Blackpool illuminations, the BBCs first pop programme, Six-Five Special, and the ballroom contest Come Dancing.
He is perhaps best remembered for his innovative coverage of the 1960 Grand National, for which he developed the system, still used today, of attaching a camera to the top of a vehicle to keep pace with the runners and riders and give viewers a greater sense of the speed and noise of the race. more.... Noel Neill, actress, has died aged 95(5 July 2016)
Neill was the original big screen Lois Lane, the crack investigative reporter on the Metropolis Daily Planet who never quite figures out that that the Man of Steel who keeps rescuing her from the jaws of death or worse is really her slightly nerdy colleague Clark Kent. She took the role in two movie serials and 78 episodes of the hit television series, between 1948 and 1958.
Neill remained with Superman until the programme was cancelled in 1958 after Reevess death.
Her last film role was in Lawless Rider (1954), and she played in many of the early TV programmes that were extensions of the B-movie and serial factories, including The Lone Ranger and The Cisco Kid. more.... Gordon Murray, producer and puppeteer, has died aged 95 (1 July 2016)
Gordon Murray created Camberwick Green, Chigley and Trumpton, three of the best-loved series for younger children on BBC Television, first screened in the 1960s.
In 1953 he launched his own professional puppet company, Murray Marionettes in Broadstairs.
Audiences were disappointingly small but he invited Freda Lingstrom, head of BBC childrens television, to see the show and so impressed her that she offered him a job pulling the strings of Spotty Dog in a new series for toddlers called The Woodentops.
In 1955, Murray took a BBC production course and was officially taken on as a contract producer in childrens television. As well as The Woodentops he worked on The Flowerpot Men before creating a television version of the radio series Toytown.
Initially his shows were broadcast live, but Murray became frustrated by the hazards of live transmission and he developed his own film studio to record his films. In 1958 he created The Rubovian Legends, an early collaboration with Bura and Hardwick.
Murray devised new puppet techniques for television, wrote scripts, built puppets and trained a team of puppeteers to use rod and glove puppets as well as marionettes worked by strings. He worked with John Ryan on the popular Captain Pugwash series, and also produced the Sketch Club series with the artist Adrian Hill. more.... Ronnie Corbett, comedian, has died aged 85(1 April 2016)
Ronnie Corbett achieved such fame as one of the Two Ronnies that his solo career was often eclipsed; as his fans knew well, he worked on his own for many years, exploiting to the full both his lack of height he was only 5ft 1in and his undoubted talent as a comic performer.
After National Service with the RAF, Corbett moved to London, he endured eight lean years, taking occasional engagements but mostly living on his earnings as a caretaker, house-sitter, tennis-court superintendent and advertising salesman.
For some years he lived in grimy digs, working in nightclubs or on the halls, and teamed up with Anne Hart, a singer whom he met at a club, who became his stooge and whom he later married.
He appeared with Eamonn Andrews on the children's TV programme, Crackerjack, as its resident comedian for many episodes.
But Corbett's big chance came when he was spotted by David Frost at Winston's, Danny La Rue's West End night club, and cast in his BBC show The Frost Report (1966-67), followed by Frost on Sunday for ITV (1968-69).
It was with Frost that he first teamed up with Ronnie Barker. Television extended Corbetts appeal. Although he had become a star in his own right before meeting Ronnie Barker, The Two Ronnies (1971-1987) remained the zenith of a television career that lasted more than 40 years. more.... Adrienne Corri, actress, has died aged 85 (28 March 2016)
Adrienne Corri was an actor of considerable range and versatility whose career ranged from the high with Shakespearean roles alongside Ralph Richardson and Alec Guinness to the decidedly low, including appearances in many quota quickies and low-budget horror movies that showcased her striking red-haired beauty.
Among her dozens of television parts were Milady de Winter in the BBC series of The Three Musketeers (1954) and various appearances in episodes of ABCs Armchair Theatre (1956-60). She featured in several BBC Plays of the Month, in one of which she was Violet in George Bernard Shaws Man and Superman (1968), alongside Maggie Smith, and she played Olivia in ITVs Twelfth Night (1969). In Measure for Measure (1979) she was the cheroot-smoking bawdy-house keeper Mistress Overdone, and she was last seen in two episodes of Lovejoy (1992). more.... Robert Horton, star of the Wagon Train western series, has died aged 91(20 March 2016)
Robert Horton won legions of female fans in the role of frontier scout Flint McCullough on Wagon Train (1957-65), a television western series that became a massive hit on both sides of the Atlantic.
In 1945 a chance encounter with a talent scout led to an uncredited part in the Second World War film A Walk in the Sun. After taking a degree in Theatre Arts at the University of California, Los Angeles, he appeared in (among others) Apache War Smoke (1952) and on television shows such as The Lone Ranger and The Public Defender before winning his part on Wagon Train.
The role turned him into an international idol and he was especially popular in Britain, where Wagon Train was shown on ITVs Monday teatime slot. When he appeared at the London Palladium, a reviewer reported that he had drawn squeals and shrieks from his mainly female audience. more.... Cliff Michelmore, television and radio broadcaster, has died aged 96 (17 March 2016)
Cliff Michelmore was one of the most familiar faces on British television in the 1950s and 1960s, notably as presenter of Tonight, which ran for some 1,800 editions between 1957 and 1965. In the late 1950s and early 1960s he was appearing in as many as 300 programmes a year and on screen he invariably appeared confident, calm, unhurried and unflappable.
In 1935 he joined the RAF and underwent initial training at RAF Halton, in Buckinghamshire. Having survived the war and on the strength of having done some radio commentaries on inter-service games, he was sent to Hamburg as Officer Commanding Royal Airforce Element, the British Forces Network in Germany. His rank was, by now, squadron leader.
When the regular Hamburg presenter of Two-Way Family Favourites, the Sunday lunchtime link between the forces in Germany and their families in Britain, was taken ill, Michelmore was drafted in to replace him. Before the programme began he used to chat on the closed line to the presenter at the London end, Jean Metcalfe, in whom he detected a distinctly flirtatious tone. She helped him through the early programmes, and when, in the spring of 1949, he came to London and met her, romance immediately blossomed. They married in 1950.
Michelmores breakthrough to evening television came in 1955 when Donald Baverstock asked him to join his topical programme Highlight, which pioneered a grittier style of interviewing. Michelmore also worked for Panorama and as a reporter on Saturday Sport. He had therefore served a thorough apprenticeship by time he was offered his big chance on Tonight.
In no time, Michelmore was rivalling Richard Dimbleby as the BBCs leading current affairs specialist, less heavyweight no doubt, but still scrupulously well informed, and a good deal less pompous. more.... Sylvia Anderson, co-creator of Thunderbirds, has died aged 88 (16 March 2016)
With her then husband, Gerry, Sylvia Anderson brought to television some of the best-loved childrens puppet series of the 1960s, remembered for their groundbreaking animation and spectacular special effects. While he produced the programmes, she was responsible for character development, storylines, costume design, providing voices and directing other voice actors dialogue. Her most famous creation was Lady Penelope, International Rescues London agent in Thunderbirds (1965-66), whom she gave not only the daring and panache of a secret agent, but also the poise of a cool and beautiful aristocrat.
They had established AP Films in 1957, with Sylvia as a company director and production assistant, and were commissioned by ITV to make The Adventures of Twizzle (1957-59), from Roberta Leighs childrens stories, followed by the first run of Leighs Torchy the Battery Boy (1958-59). Both featured traditional marionettes, but Gerry devised innovative filming and puppetry techniques.
Sylvia and Gerry married in 1960 while making the western puppet series Four Feather Falls. Supermarionation began with Supercar (1961-62) and Fireball XL5 (1962-63), then Stingray, the Andersons first effort to be filmed in colour. more.... Vlasta Dalibor, puppeteer, has died aged 94(21 February 2016)
Vlasta Dalibor, who has died aged 94, was the co-creator, with her husband Jan, of the unmelodious porcine puppets Pinky and Perky.
The couple began performing during the 1956 summer season at Heysham, for £25 a week. Trevor Hill (producer of The Sooty Show) saw them there and gave them their own BBC television series, featuring the pigs in both string and glove puppet form, manipulated by Jan and Vlasta.
Their debut was in Pinky and Perkys Pop Parade in October 1958, set in the mythical radio station POP (later PPC TV), with Roger Moffat as the station announcer.
The BBC granted the Dalibors the light entertainment slot before the six oclock news, and grown-up audiences warmed to the pigs gently subversive humour and high-pitched renditions of speeded-up pop songs (with opening theme We Belong Together).
Pinky and Perky joined The Beatles and Marlene Dietrich onstage for the 1963 Royal Variety performance, and the following year they appeared in America on The Ed Sullivan Show alongside Morecambe and Wise.
In 1968 the Dalibors accepted an offer from Thames Television, but in the event only two more series made it to air, though they were frequently repeated. The Dalibors retired from the small screen in 1973. more.... Conrad Phillips, stage and screen actor, has died aged 90(13 January 2016)
One of ITVs first action heroes, notable for his expertise with a crossbow, was William Tell, played by Conrad Phillips. Swashbucklers were hugely popular in ITVs early years and William Tell (1958-59), set in 14th-century Switzerland under the tyrannical rule of Emperor Rudolph of Austria, was one of the most memorable series.
He had worked in repertory theatre, and acted in more than 30 films, including The Battle of the River Plate (1956), Sons and Lovers (1960) and Heavens Above! (1963). Phillips was often cast as police officers and military types.
The role of Tell came after the actor made guest appearances in other swashbuckling television series, such as The Scarlet Pimpernel (1956), The Count of Monte Cristo (1956), The Adventures of Robin Hood (1957) and The Buccaneers (1957). Apart from the detectives he played in the crime dramas Silent Evidence (1962) and A Game of Murder (1966), most of his subsequent television roles were one-offs. However, Phillips had runs as Robert Malcolm in the final year of the BBC soap opera The Newcomers (1969) and the NY Estates managing director Christopher Meadows in Emmerdale Farm (on and off between 1981 and 1986). more....
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] |
[] |
[] |
[
"Opportunities at Vale; Jobs outside the country; Jobs at Vale; Working at Vale;"
] | null |
[] | null |
Find out your career possibilities at Vale. Discover how to apply to work at each of our locations worldwide.
|
en
|
/documents/44618/57981/fav_128px/550e3a42-f32c-7356-de52-41320d095395
|
Vale
|
https://vale.com/global-opportunities
|
Vale offers a lot of chances and I got the opportunities to work on different areas and use my experience to contribute and at the same time learn more. It is a very positive cicle to develop myself and the company.
It was my dream to work at Vale. I wanted to have an international experience and I am learning a lot with all the interaction between the teams. I always want to learn more, I feel like I'm evolving and I know I can count on Vale's support.
Vale is a very large company, and it provides you with many experiences. For those who are willing to change and learn new things it is very good, because there are many options. You can be at the Integrated Operation Center in São Luís or go to the port, for example. You have a very big world at your disposal if you are open to challenge yourself.
|
||
3360
|
dbpedia
|
1
| 22
|
https://www.demobjob.co.uk/
|
en
|
Engineering & Technical ex Military Recruitment Agency – Demob Job
|
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] |
[] |
[] |
[
""
] | null |
[] |
2019-07-05T07:58:01+00:00
|
Leading Engineering & Technical ex-military recruitment agency specialising in personnel who have previously served in the Royal Navy, British Army & RAF.
|
en
|
/wp-content/themes/demob-job/assets/images/branding/favicon.png
|
Demob Job
|
https://www.demobjob.co.uk/
|
About demob job
We are a long-established technical and engineering recruitment specialist for ex-military personnel.
Ex-military candidates have a breadth of aptitude, skills and training which can greatly contribute to a company's growth and success. Acting as an extension of our client's team or as an outsourced recruitment partner, we utilise our extensive insight to identify high quality candidates with a technical and engineering skillset who meet our client's job specifications.
We work nationally with companies of varying size, in a wide range of industries including manufacturing, engineering and automotive. We provide a personalised service and build long term relationships with our clients.
Why use us
|
||||
3360
|
dbpedia
|
2
| 20
|
https://military-history.fandom.com/wiki/Demobilization
|
en
|
Demobilization
|
https://static.wikia.nocookie.net/ucp-internal-test-starter-commons/images/a/aa/FandomFireLogo.png/revision/latest?cb=20210713142711
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https://static.wikia.nocookie.net/ucp-internal-test-starter-commons/images/a/aa/FandomFireLogo.png/revision/latest?cb=20210713142711
|
[
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[] |
[] |
[
""
] | null |
[
"Contributors to Military Wiki"
] |
2024-07-29T22:27:06+00:00
|
Demob redirects here. For the television series, see TV series. For the British punk rock band see band. See also D Mob. Demobilization or demobilisation (see spelling differences) is the process of standing down a nation's armed forces from combat-ready status. This may be as a result of...
|
en
|
/skins-ucp/mw139/common/favicon.ico
|
Military Wiki
|
https://military-history.fandom.com/wiki/Demobilization
|
Demob redirects here. For the television series, see TV series. For the British punk rock band see band. See also D Mob.
Demobilization or demobilisation (see spelling differences) is the process of standing down a nation's armed forces from combat-ready status. This may be as a result of victory in war, or because a crisis has been peacefully resolved and military force will not be necessary. The opposite of demobilization is mobilization. Forceful demobilization of a defeated enemy is called demilitarization.
In the final days of World War II, for example, the United States Armed Forces developed a demobilization plan which would discharge soldiers on the basis of a point system that favoured length and certain types of service. The British armed forces were demobilised according to an 'age-and-service' scheme.[1]
The phrase demob happy refers to demobilization and is broadly applied to the feeling of relief at imminent release from a time-serving burden, such as a career.[2] In the Russian language it is known as dembel and has become a certain tradition in the Soviet and post-Soviet Armed Forces. A United States equivalent is "short-timer's disease", comparable to "senioritis" among United States high-school students.
See also[]
Military discharge
19th of April Movement
Demobilization of United States armed forces after World War II
|
||
3360
|
dbpedia
|
1
| 75
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https://shapersofthe80s.com/tag/demob/
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en
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➢➢ Shapers of the 80s ➣➣
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Posts about Demob written by OTL
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https://s1.wp.com/i/favicon.ico
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➢➢ Shapers of the 80s ➣➣
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https://shapersofthe80s.com/tag/demob/
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❚ “JEAN PAUL GAULTIER SENT SADE LOOK-ALIKES down his Spring-Summer runway last month, and Olivier Rousteing borrowed her signature hoops and shoulder pads for his Balmain collection. The up-and-coming British soul star Jessie Ware owes everything to Sade, down to her painted lips and single braid.” So says the prestige fashion website Style.com today in its Beauty Icon spot. “As it turns out, fashion has played no small role in the life of Helen Folasade Adu,” it adds, while sketching her distinctive contribution to music and style.
Best of all, Style.com includes a classic early shot of Sade taken by Shapersofthe80s, long before she became a singer, when she modelled clothes by Melissa Caplan in New York during the now legendary invasion of America by London’s trend-setting Blitz Kids in 1981. Catch our eye-witness report inside:
➢ 1981 — Pix of Sade’s Demob designs during the first
Blitz invasion of the US
➢ 1982 — Pix of Sade helping backstage during Steve Strange’s fashion show in Paris
➢ 2010 — Shapersofthe80s finds comeback Shard comfy
as ‘Auntie Sade’
FRONT PAGE
➢ Sade proves to be highest-earning British musical act in America last year — read Caspar Llewellyn Smith in today’s Guardian…
“ Viewers of the 2012 Grammys awards last month watched Adele, the 23-year old girl from Tottenham, north London, walk away with six awards, but the top-earning act from the UK in America last year was an artist who fans back home have to some extent forgotten.
BILLBOARD’S TOP EARNERS
1 Taylor Swift: $35.7m
2 U2: $32.1m
3 Kenny Chesney: $29.8m
4 Lady Gaga: $25.4m
5 Lil Wayne: $23.2m
6 Sade $16.4m
7 Bon Jovi: $15.8m
8 Celine Dion: $14.3m
9 Jason Aldean: $13.4m
10 Adele: $13.1m
[Touring and record sales 2011]
Sade raked in $16.4m (£10.5m) in 2011 on the back of her first tour in North America for a decade and the release of The Ultimate Collection. The 53-year-old singer came sixth on a list of the biggest-earning acts of last year, compiled by the American trade publication Billboard, eclipsing Adele, the only other Brit in the top 10, who earned $13.1m.
Sade [say it “Zhah-Day”] is the most successful solo female artist Britain has ever produced, selling more than 50m records in a career that stretches back to her 1984 hit Your Love Is King. Famously reclusive — nicknamed Howie by her friends, after millionaire hermit Howard Hughes — she toured the world for eight months last year, but the bulk of the tour was devoted to North America, where she played 59 shows. The tour started 18 months after the release of her US No 1 album Soldier of Love, a record that reached No 4 in the UK… ” / continued at Guardian Online
➢ Smooth Operator Sade is surprise US smash,
beating Adele and Take That to be Britain’s biggest music export
— today’s Daily Mail feature
➢ Billboard’s Top 40 Money Makers 2012
FLASHBACK TO SADE’S 2010 ALBUM LAUNCH
Rolling Stone described Sade’s studio album, Soldier of Love, as “unimpeachably excellent” … Billboard said: “It’s been 10 years since Sade released an album, but be forewarned – the giant has awoken” … People magazine said Sade’s enduring appeal was as “the voice of comfort to the wounded heart”
❏ In her American fan forums black guys are besotted with Sade, and here in an audience for a live TV performance we see doting female fans for whom she is a role model. On Jimmy Kimmel’s show in February 2010 (above), Sade performed Soldier of Love live as her eponymous album hit No 1 in the US (502,000 copies sold there in its first week — the best sales week for an album by a group since AC/DC in October 2008). Susan Boyle, the finalist from the Britain’s Got Talent contest, was holding steady at No 9.
❏ Backstage video interview with Sade by The Insider, June 2011 (above) — “I’m really a country girl. I don’t give too much of myself away. When I go in a studio I lose all my shyness.”
➢ Read Sade: The Billboard Cover Story by Mitchell Peters, August 19, 2011 — Preparing for a 100-plus-date international concert tour is daunting for even the most seasoned musical acts… “I do the opposite and pretend it’s not going to happen, immersing myself in the details of production as a way of distracting myself from reality,” says English singer Sade Adu. “When the time comes, I don’t test the waters — I just jump straight in.”
❏ Listen to The Moon and the Sky (remix featuring Jay Z):
SADE’S EARLY CAREER AT SHAPERSOFTHE80S
➢ 1981 — Pix of fashion designer Sade’s Demob outfits during the first Blitz invasion of the US
➢ 1982 — Pix of Sade helping backstage during Steve Strange’s fashion show by Londoners in Paris
➢ 2010 — Her first interview in 10 years finds comeback Shard comfy as ‘Auntie Sade’ — On her new man, Ian Watts, who has been in turn Royal Marine, fireman and scientist: “I always said that if I could just find a guy who could chop wood and had a nice smile it didn’t bother me if he was an aristocrat or a thug as long as he was a good guy. I’ve ended up with an educated thug!”
FRONT PAGE
❚ SADE IS TALKING FRANKLY AND REFLECTIVELY. It’s a rare treat from a singer who rarely ever breaks cover. Ten years on from her last album, Lovers Rock, she is said to be the most successful solo female artist Britain has ever produced – more than 50m albums sold over 26 years, valued at £30m in The Sunday Times Rich List. She is the first to acknowledge that Sade is a band, and together they have won a Brit Award for Best British Album of 1984 (view award speech) plus nine other Brit nominations, three Grammies (for 1985, 1993, 2001, plus two other nominations) and Sade herself was appointed an OBE, an order of chivalry, by the Queen (2002).
In yesterday’s Sunday Times Magazine, according to the writer Robert Sandall whom Sade knows of old, the Blitz clubbing veteran was giving the only face-to-face interview to coincide with this month’s release of her new album, titled Soldier of Love.
Sandall delivers full value as Sade really does let her guard down, surprisingly further than most of us who used to know her might have expected, especially about her “complicated” inter-racial family background. (She was born Helen Folasade Adu in Nigeria, raised in the UK at Clacton-on-Sea, and took a fashion BA at St Martin’s School of Art). She also talks about motherhood with a 13-year-old daughter and her several romances – “I’ve paid some rugged dues,” she observes. Highlights among many soundbites…
❏ On being a black singer in a white soul outfit: “I didn’t have any confidence as a singer, but I found that I liked writing songs.”
❏ The same band of clubbing wags from 1983 is reunited for the album – Paul Denman, Andrew Hale and Stuart Matthewman. They remain one tight unit on the new album, we’re told, under the control of a matriarch who likes the nickname “Auntie Sade”. [Note for newbies: say it Shah-day /ʃɑːˈdeɪ/. Only friends are allowed to use the nickname Shard.]
❏ On her new man, Ian Watts, who has been in turn Royal Marine, fireman and scientist: “I always said that if I could just find a guy who could chop wood and had a nice smile it didn’t bother me if he was an aristocrat or a thug as long as he was a good guy. I’ve ended up with an educated thug!”
❏ The old charge that Sade was the backdrop of the yuppie era still rankles: “With my family history, that really irks me. And it so annoyed me at the time, when we were secretly giving money we didn’t even have yet to Arthur Scargill and the striking miners.”
➢➢ For links to new video documentary and tracks see Sade box in sidebar, right
➢➢ A Reluctant Return: In this month’s New York Times interview, Sade worries about being “too candid” with the press, yet reveals she is considering marriage
➢➢ Kanye collaboration rumours in this National Post interview, Feb 16, 2010
➢➢ Compare and contrast quotes with this version at ThisIsGloucestershire!
➢➢ Click for pix of Sade’s Demob designs during 1981’s first Blitz invasion of the US
➢➢ More pix of Sade helping backstage during Steve Strange’s 1982 fashion show in Paris
FRONT PAGE
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https://www.wonderlandmagazine.com/2017/11/22/premiere-demob-happy-be-your-man/
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Premiere: Demob Happy - "Be Your Man"
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2017-11-22T00:00:00
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The Brighton trio throwback in their new vid.
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/icons/apple-touch-icon-152x152-precomposed.png
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Wonderland
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https://www.wonderlandmagazine.com/2017/11/22/premiere-demob-happy-be-your-man/
|
Demob Happy are spoiling us today. Premiering the new video for their brilliant track “Be Your Man”, the Newcastle-formed Brighton-based three-piece are also announcing new tour dates with The Cribs and Frank Carter & The Rattlesnakes and announcing their sophomore album Holy Doom, which will be out on March 23rd via SO Recordings (and is available to preorder here!).
Speaking on the new album, frontman Matthew Marcantonio says, “It’s about getting to know your duality, that’s there’s good and bad in you, and not hiding from either. A spoonful of sugar is sickly, but with lemon it becomes bittersweet and something new all together.”
Releasing the accompanying visuals to “Be Your Man” today too, the vid pays homage to the old TV shows we all used to love. “We like old videos of bands on TV shows,” says Marcantonio, “They have this unorganised quality to them, before this standardised version of what a performer should do and how to act. It was looser and more care free, they took the piss out of it all.”
The kind of look that rustles up memories of grainy footage of The Beatles, the vid perfectly mirrors that of the Beatles-y song, and is certain to make you fall even more in love with Demob Happy than you already are.
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https://www.comedy.co.uk/tv/list/
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British Comedy Guide
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British Comedy Guide
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https://www.comedy.co.uk/tv/list/
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Television
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https://www.warmuseum.ca/cwm/exhibitions/newspapers/canadawar/demobilization_e.html
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Canada and the War
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The Canadian War Museum's World War 2 Online Newspaper Archives - As the war drew to a close, members of all the armed forces of the Allies Allies wanted nothing so much as to shed their uniforms, and fast. But there was not enough shipping available to bring Allied troops from all over the world as quickly as they wished
| null |
The Canadian Armed Forces: Demobilization
As the war drew to a close, members of all the armed forces of the wanted nothing so much as to shed their uniforms, and fast. But there was not enough shipping available to bring Allied troops from all over the world as quickly as they wished.
Both the and the Canadian concocted complicated systems for deciding when their members could "demob" - get out and get home. Length of service, marital status and peacetime job were all part of the mix, and those who volunteered for further duty in the war against Japan were told that they could home before anyone else. The general rule, though, was "First In - First Out." Units which had trained and fought together were not necessarily to stay together for the trip back to Canada, although some did. The Irish Regiment of Canada, memorably, came home to parade a last time in Toronto. Some squadrons intended for the Pacific war flew their Lancaster bombers back to Canada.
3rd Canadian Infantry Division, by then made up of men with low priority for returning home, was part of the occupation force in Germany until the spring of 1946. After VE Day, both transport and bomber squadrons of the carried food supplies to the starving Dutch population ( see The Liberation of the Netherlands, 1944-1945 ) and brought freed Allied prisoners of war and returning servicemen to Britain. A strike among RCAF groundcrew impatient to be back in Canada made people at home suddenly aware that some Canadian squadrons were still in England in 1946.
Equipment, like service personnel, had to be demobilized. Aircraft of the were sold for civilian use, recycled or even piled up and burned. Armoured vehicles sold overseas became agricultural or construction machinery. The 's multitude of small escort vessels were sold off or recycled as scrap metal; a few of the best went into storage.
Related Newspaper Articles
English Articles
Power Forecasts Demobilization
The Toronto Daily Star, 06/10/1944
35 000 Men Scheduled For Occupation Force; Discharge 65 000 Fliers
The Globe And Mail, 30/05/1945
First In - First Out
The Globe And Mail, 06/06/1945
1 000, Convoy Vessels Join 'Boneyard Fleet'
The Globe And Mail, 13/06/1945
Crerar Orders Troops To End All Bickering
The Hamilton Spectator, 12/07/1945
Claim First In, First Out Policy Not Being Followed
The Hamilton Spectator, 18/07/1945
Admit Policy Unfair, 'Too Late' to Change It
The Globe And Mail, 21/11/1945
Flyers Refuse To Work Until Requests Met
The Hamilton Spectator, 06/02/1946
Gibson Promises Demobilization Of RCAF Sept. 30
The Globe And Mail, 28/05/1946
Three Famous Fighting Regiments Return To Toronto Today
The Toronto Telegram, 16/01/1946
French Articles
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2016-01-04T21:34:42+00:00
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Notes on 1940s fashion and dressing post-war London
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https://secure.gravatar.com/blavatar/b380ed67cc6db51e0c654b87b3b5bdce37a6d01314d666f004f253d76dbb3d3e?s=32
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austerityfashion
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https://austerityfashion.wordpress.com/
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Few post-war garments are more ubiquitous than the British Demob suit. The ambitious brainchild of Major-General W.W. Richards, the War Office’s Director of Clothing and Stores, Demob suits were produced to ensure returning servicemen would begin their peacetime lives well dressed.
This waistcoat from the Museum of London would have formed part of a double-breasted three-piece suit, which was one of two available choices, the other being a single-breasted jacket with flannel trousers. Although Demob clothes do not feature manufacturer’s labels (only a label reading ‘Discharged or Demobbed Soldiers & Airmen’ and stating the size), these suits were commonly made by one of Leeds’ multiple tailoring firms, such as Burtons, although a small number were made by higher-end menswear specialists, including Simpsons. The quality of this waistcoat’s construction is clear in its fine stitching and full lining in heavy stripped cotton, comparing favourably to cheaper wholesale suits from this period that also feature in the Museum of London’s collections.
In contrast to contemporary perceptions about the uniformity of the Demob suit, the bold pink pinstripe running through the navy wool of this waistcoat exemplifies the variety of fabric choices available. Crucially, Demob suits were exempt from wartime austerity restrictions, and as such were among the first high quality men’s clothes made on a large scale since the early years of the war, something reflected in the high volume of subsequent black market Demob suits sales. Unlike earlier Utility waistcoats, this example features an extravagant four pockets rather than two, although it still omits other traditional features such as an extra buttonhole to accommodate a watchstrap. Although the production of Demob suits came at the expense of civilian clothes, the production of which had to be scaled down to save materials for Demob, their design triggered the relaxation of many austerity regulations for civilian menswear.
Government photographs of Demob processing centres reveal the surprising breadth of sartorial choice available to men. From shoes to ties, the range of goods to choose from, so says the narrator of a British Pathe newsreel on the subject, beats that to be found in ‘most civvie stores’. In contrast, there was no female version of the Demob suit. Instead, women were given cash and coupons to procure clothes. A woman discharged from the ATS, WRNS or WAAF received £12 10 shillings in cash, as well 56 clothing coupons from their unit and another 90 from the Board of Trade. Many department stores, such as Selfridges, staged Demob fashion shows for servicewomen, but with no official assistance as to where or how to obtain good quality items during a period of intense shortages, the success of the Demob clothing process for women was largely a matter of luck.
In spite of its instant familiarity, the Demob suit currently suffers from something of an unfair reputation considering its quality. While the majority of those writing critically about the suit in the contemporary press came from privileged backgrounds and were familiar with bespoke tailoring, for many working class servicemen, the Demob suit was a revelation. As such, it is little surprise that J.B. Priestly described the Demobbed man as quite literally ‘a cut above the rest of us’.
In the early hours of 18 September 1940, several high explosive and incendiary bombs struck John Lewis’s flagship department store at 278 Oxford Street. Fire ripped through the store’s West House and, aided by wind, spread across Holles Street to the East House. It took thirty fire engines nearly two days to tackle the blaze, by which point the store was little more than a burnt-out shell. As the dust settled on Oxford Street after the Second World War, it became clear that retailers needed to do more than simply plan for the physical reconstruction of consumption infrastructure; they were challenged to re-imagine consumption entirely as they taught Londoners how to consume fashion in a new, modern era. The experiments conducted in the immediate post-war years by retail pioneers radically changed the look of West End shops, and would go on to shape both fashion retail and the city’s image for the rest of the twentieth century.
The combination of the West End’s heritage as a centre for fashion retail and the level of damage inflicted on the area during the war left it uniquely placed to lead the nation in reimagining fashion retail. While broad swathes of the city were damaged during the Blitz, the detailed bomb maps and ARP reports held in the City of Westminster Archives paint a particularly devastating picture of disrupted consumption across the West End. (Fig. 1) On 24 September 1940, Savile Row, the home of British tailoring, was hit by a high explosive bomb, badly damaging the tailoring firm Sandon and Co; on 17 April 1941, a parachute mine exploded in Jermyn Street, damaging luxury men’s retailers Dunhill’s; the Burlington Arcade, a grand symbol of Regency retail, was badly damaged by a high explosive on 11 September 1940 and during the same raid, another high explosive damaged the windows of Austen Reed’s flagship Regent Street store.[1] From the high-end department stores of Oxford Street, stocked with ready-to-wear clothes, to the areas around Bond Street that were traditionally associated with luxury consumption and bespoke clothing, the bombs that fell on the West End left an extensive trail of broken glass, flattened buildings—and damaged stock.
In spite of this, the shopping streets of the West End seldom feature in the grand story of London’s post-war reconstruction, which is instead dominated by the large-scale (and largely unfulfilled) plans of architect and planner Patrick Abercrombie.[2] Unlike the retail centres of Bristol or Coventry, where the level of bomb damage necessitated almost total rebuilding, enabling a modern reimagining of the shopping space, London’s West End was, for the most part, largely recognizable as the same place in 1945 that it had been in 1939. The backbone of London retail remained in the undamaged street patterns, bending from Oxford Street into the curve of Regent Street before sweeping onto Piccadilly. Although, walking down them, the frontages of these streets would have contained many prominent gaps, the majority of shop buildings still stood, and the continued trading of many of the same retailers on the same sites gave the impression of business as usual in the post-war era. It was the very familiarity of these shopping routes that masked the startlingly modern changes to London retail that occurred behind the white Portland stone facades during the immediate post-war years.
That this retail modernisation remains largely unacknowledged is due, at least in part, to the vested interests of retailers in preserving the heritage status of West End consumption. The West End was already by this time a long-established centre for fashionable consumption,[3] and although the shops of Oxford Street especially could be seen as a mismatch of tired and old-fashioned Victorian relics, retailers and consumers placed a high value on the historic fabric on which the area’s reputation was built.[4] Abercrombie’s ‘County of London Plan’[5] (Fig. 2) may have advocated decentralization and zoning,[6] but the West End’s historic street pattern and mixed land use, where retailers operated cheek-by-jowl with small-scale garment workshops, would remain the bedrock of London fashion consumption in the immediate post-war years and provide a foundation of heritage on which retailers could build their new image.
In spite of continued trading, the broken windows and lost shopping floors disrupted the social practice of pleasurable consumption in the West End.[7] The destruction caused to the fabric of London’s shopping centre provided an opportunity for stores to reinvent the London shopping experience, using interior (re)decoration to change the environment in which customers shopped. For some very badly damaged stores, such as John Lewis, rebuilding would have to wait until the 1950s, but most stores were able to modernise within their existing, albeit damaged, buildings—combining historic legacy with contemporary design. Even shops that had escaped bomb damage were in need of modernisation, having been neglected since the outbreak of war, meaning that London’s retail spaces were poised for mass modernisation on a previously unprecedented scale.
London’s shops redecorated at a rapid pace between 1945 and 1950, exemplifying the pressures felt by fashion retailers to compete for custom at the highest level and arguing against the common portrayal of shops enjoying a sellers’ market during the late 1940s. Facing frustratingly small government quotas on building materials, West End stores adapted promotional ideas and store layouts in creative and imaginative ways, using the limited resources available to them. The sleek, modern aesthetics of many refurbished post-war fashion departments hid a distinctly make-do approach. Perhaps the most successful of these was the creation of the Young Liberty department at Liberty & Co. in 1949, the work of architect and designer Hulme Chadwick, who was later to work extensively on the 1951 Festival of Britain. Chadwick deliberately turned his back on the heritage of the Liberty brand, rendering the interior of the famous Arts and Crafts style department store unrecognizable by completely covering its dark wood paneling with white painted panels and mirrors, lit by stark halogen strip lighting. In doing so, the Young Liberty department was visually separated from the rest of shop, known for the exposed wood beams that overlooked its stacks of richly decorated oriental rugs and intricately printed fabrics. In stating its modern fashionable credentials through this new interior, Liberty’s laid the foundations for the fashionable rebirth of the old Tudor shop and its dress fabrics in the Fifties and Sixties.[8]
While women’s fashion departments were redecorated according to unquestionably modern aesthetics, in line with the Young Liberty approach, many popular menswear retailers were a little more cautious, keen to balance modernism with the brand values of British heritage that had long associated London with high-end luxury retail for men. Menswear specialist Austin Reed, in particular, demonstrated this balance in the redesign of their Regent Street store interior. Rather than opting for a bright and open modern look throughout the store, they incorporated elements of open space and modern industrial design into their ground floor ready-to-wear department, while retaining lush décor and wood paneling on the upper floor, which was the home of their upscale made-to-measure services.[9] The far-reaching influence of London’s consumer heritage on the post-war rebuilding of the West End can be seen in the differences between the design of Austin Reed and Liberty’s retail spaces, highlighting the complex relationship between modernity and the architecture of the area’s fashionable legacy in a space still mourning the cultural losses to the built environment inflicted during the Blitz.
Seventy-five years on from the start of the Blitz, the successful legacy of post-war retail reconstruction can still be traced in the continued importance of the West End’s retail backbone, with Oxford and Regent streets enjoying an international reputation and flourishing as London’s foremost destination for fashionable consumption.
[1] ARP Message Form, Savile Row, 24 September 1940. Westminster City Archives.
[2] Self, P. (2002) ‘The Evolution of the Greater London Plan, 1944–1970.’ Progress in Planning vol. 57, no. 3-4: pp145-75.
[3] See Breward, C. (1999) The Hidden Consumer; Masculinities, Fashion and City Life 1860-1914. Manchester: Manchester University Press and
Rappaport, E. (2000) Shopping for Pleasure: Women and the making of London’s West End. Princeton: Princeton University Press.
[4] Edwards, B. (2006) ‘Shaping the Fashion City: Master Plans and Pipe Dreams in the Post-War West End of London’ in Breward, C. and Gilbert, D. (eds.) Fashion’s World Cities. London: Berg. p159.
[5] The County of London Plan was a 1943 proposal for the development and reconstruction of London, prepared for the London City Council. See Carter, E. J. and Goldfinger, E. (1943) The County of London Plan Explained by E. J. Carter and Erno Goldfinger. London: Penguin.
[6] It can also be argued that 1940s planners were largely hostile to fashionable consumption due to its associations with feminine frivolity. See Edwards, B. (2006) p164.
[7] Customers were denied the visual pleasure of window displays, with large plate glass windows boarded up, leaving only the occasional peephole, and Selfridges famous roof garden was closed due to bomb damage, never to reopen. See ARP Message Form, Selfridges, September 1940, Westminster City Archives.
[8] Buruma, A. (2008) Liberty & Co. in the Fifties and Sixties: A Taste for Design. London: ACC Editions. p7.
[9] Display (August 1947) p18.
Home sewing is not the first place fashion historians turn when examining the formation of fashion cities. However, while the couturiers of IncSoc focused on the export market rather than the post-war city, and London’s ready-to-wear wholesalers battled to keep up with consumer demands, it was frequently the home sewers of the 1940s who picked up their needles and dressed Londoners out of austerity. Although their creations could be strikingly individual, even statements of post-war social change, many still found inspiration in the fashionable shops of the West End.
The domestic interior, considered the fashionable domain of the home sewer, is commonly separated from retail centres such as the West End, but archival evidence suggests that these seemingly unconnected spaces are intrinsically linked through consumption practices. While the 1940s are often hailed as the heyday of fashionable ingenuity through ‘Make Do and Mend’, evidence suggests that Austerity did not breed creativity out of necessity. In fact, as Mass Observation’s report into “The £.S.d. of home sewing” demonstrates, creative home sewing fell during the war, with most sewing instead limited to mending (MO FR 3085). The report suggests that home sewing is explicitly tied to consumption, and creative dressmaking only begun to bounce back in the later part of the decade, as austerity measures were eased. The report highlights that in these later years, sewing is seen as a creative pursuit as much as an economic necessity, with 44.8% of home sewers making women’s garments only, indicating that they were primarily sewing for themselves and not their families.
The business records of London’s major department stores, such as John Lewis, show that during the latter part of the 1940s, haberdashery and piece goods still formed an important part of their sales, in spite of the advances made by ready-to-wear clothes (John Lewis Gazette 1947). Although the rise in creative home sewing towards the end of the decade can be linked to rising ready-to-wear clothing prices (MO FR 3085), it is also indicative of changing attitudes towards the retail of home sewing sundries. Manufacturers and retailers alike recognised that in marketing fabric and thread they were selling the transformational promise of a new fashionable identity. The exciting possibilities of sewing are explicit in the fashion focus of Singer’s shop-run sewing classes and the “Teen Fashions” sewing manual produced by thread manufacturer’s J. and P. Coats (MO FR 3085).
The high-fashion credentials of home dressmaking can be seen most clearly in the packaging of the growing paper pattern industry. Stocked in West End haberdashery departments, patterns such as Bestway’s ‘Economy Couture’ range promised the tantalising prospect of the latest styles at an affordable price. The packaging of Vogue patterns distinguished them from those found free in magazines such as Women’s Weekly by using pictorial styles copied from couture illustrators such as Francis Marshall, emphaising the fashionable silhouette with its sloped shoulders, narrow waist and full skirts. These illustrations frequently over emphasise these features in comparison with the patterns inside, which show narrower skirts, broader shoulders and less constricted waists (Fig 1). By purchasing these patterns, the consumer could bring West End fashions home with them, transforming the creative potential of the domestic space through connections to London’s symbolic fashion capital. However, as noted by Partington (1992), the home sewer was not simply recreating West End fashions: patterns were adapted to suit personal taste, the dimensions of individual bodies, and the places where the garment was to be worn.
In the West End, the creative promise of home dressmaking translated into both retail sales and an expansion of the imagined possibilities offered by fashion. This dual promise can be seen in the prominence placed on fine textiles by high-end retailers. Both Liberty and Selfridges regularly devoted at least one large window display to fashion fabrics, with display designers creating fantasy gowns from draped material. Retailers used these promotions to fulfill a consumer desire for grander, more elaborate fantasy fashions than were available in their ready-to-wear stock (Display 1950). In return, home sewers were inspired to push creative boundaries, dressing themselves as fashion forward individuals, and so changing the city’s aesthetic through street fashion.
References:
Display. ‘Mainly Mayfair’. December 1950: p12.
Mass Observation FR 3085 ‘The £.S.d. of home sewing’, February 1949: p1-5.
Partington, A. (1992) Popular Fashion and Working-Class Affluence, in Ash, J. and Wilson, E. (eds), Chic Thrills: A Fashion Reader. London: Pandora.
This December, my usual careful attempts to avoid Oxford Street and its marauding hoards of Christmas shoppers happened to coincide with some research into West End shopping during the post-war austerity years. In spite of my best intentions, disorganisation found me emerging from Oxford Street station on Christmas Eve, shopping list in hand. As I stood at Oxford Circus, I found myself unexpectedly dazzled by the Christmas lights leading off in all directions. Anyone who has visited the area recently will know that this is not a reflection on the quality of this year’s display (N.B. Regent Street: there is nothing festive about a film starring dinosaur skeletons). Instead, it was a reaction to a recently learnt fact – that for the decade between 1939 and 1949, West End shoppers would not have seen Christmas lights.
Using the trade magazine Display, Design and Presentation, I have been plotting out the changing appearance of fashionable consumption in post-war London via the window displays and store interiors of the period. This research has thrown up a wealth of fascinating material, and acted as a reminder of exactly how much this area, and in many cases the same shops, have changed in the last seventy years. However, it was perhaps not until that moment, standing at Oxford Circus in preparation to do battle in John Lewis for socks to gift to my brother-in-law, that the stark realities of austerity shopping really hit home.
The strings of fairy lights in trees and radiantly lit shop windows illuminating festive fantasies are one of the few things that salvage Christmas shopping from being one of my least favourite activities. Light is an integral part of the holiday season; the pagan roots of our Christmas celebrations highlight how important light is in transforming our moods at this dark time of year, and without its hopeful promise, the greeting card image of the festive toyshop window starts to look rather bleak indeed.
It was the wartime blackout that initially curtailed Oxford Street’s festive glow, but the assumption that peacetime would herald the return of Christmas lights was dealt continual blows by government austerity policies, caused primarily by ongoing fuel shortages. Even when shops were finally allowed to bring electric lights back to their window displays in 1949, there were still restrictions in place during afternoon hours.
There is evidence from many shop owners and display managers that this was a serious source of frustration, and impacted upon sales during the festive season (Display, November 1948), highlighting the importance of capturing the consumer imagination in order to make a sale. This small detail points to a wider truth about austerity shopping that is emerging from my research – while it is common to discuss the seller’s market of the austerity years in terms of desperate consumer demand for whatever goods they could get their hands on, London’s retailers recognised that, even in a time of shortages, it was still necessary to sell the transformational fantasy of fashionable goods in order to shift merchandise. London’s shoppers may have had a limited selection, but they still wanted to shop for the promise of a newer, better way of life, and at Christmas time especially, a bit of magic.
Suddenly, I find myself much better disposed to the crowds of shoppers filling the pavements outside Selfridges and Hamleys, reminded of how it must have felt to see a lit Christmas window after a long and difficult decade; a small promise that the 1950s would be a little brighter.
Austerity breeds creativity out of necessity. Since the British coalition government began its programme of austerity policies in 2010, this notion has formed the central premise of many discussions about home sewing, and is frequently linked to the phrase ‘Make Do And Mend’, a reference to a government issued sewing manual from 1943. Today, ‘Make Do And Mend’ describes inspirational sewing classes, money saving blogs, and has even been used as a television programme title. However, the original wartime campaign actually had limited impact, because it overlooked the vast majority of the population who historically had little choice but to remake and reuse (Slater, 2011). In reality, London’s home sewers had long been proficient in the process of adaptation and recreation, and were well prepared to meet the challenges of official clothing restrictions with a level of ingenuity and flair that outstripped the suggestions offered by this rather utilitarian instruction manual. As such, it is perhaps more useful to think of ‘Make Do And Mend’ in terms of an ongoing, grassroots movement rather than official austerity policy.
‘Make Do And Mend’ is most commonly associated with wartime shortages, but in fact the period of austerity following the war presented Londoners with much greater challenges in terms of obtaining new clothes. In these immediate post-war years consumers contended with limited supplies as the government focused production on the export market, and clothes rationing persisted until 1949. However, after a period of relative stability in fashion design during the war, women’s clothing underwent a series of major changes, and London’s home sewers found themselves at the forefront of a fashion revolution as radical as the social policies of Britain’s new Labour government.
London fashion during this time is typically discussed in relation to trends elsewhere. In particular, the city’s post-war fashion changes are described as an import of Christian Dior’s 1947 Corolle Line (commonly nicknamed the ‘New Look’) from Paris, at the time the self-declared world fashion capital. Characterised by its tightly structured and corseted torsos, and long, voluminous skirts, the New Look was widely criticised as impractical and restrictive to its female wearers (Beckett, 1947). In spite of this, fashion mythology tells us that British women were desperate to emulate this new trend, and attempted to alter their clothes accordingly, with even Princess Margaret adding a strip of fabric to lengthen the hem of an old coat (Behlen, 2012). The resulting outfits are gently mocked as weak imitations, but the clothes of Londoners held in the Museum of London’s collection tell a different story, one that demonstrates how creative amateur adaptations contributed to a new fashion line that belonged to London.
While home sewers in London followed certain aspects of the New Look trend, namely the lower hems, fuller skirts and softer shoulders, they rejected other, more restrictive features. In October 1947, Woman’s Weekly ran instructions to show how a coat could be adapted by letting out the hem, removing the shoulder pads, and reshaping the waist (Woman’s Weekly, 1947). Although adhering to fashionable lines, the resulting garment was still a practical length, with a lack of internal structuring that would restrict the body.
Examples of home dressmaking from the period demonstrate that this looser, shorter trend was not simply due to the restraints of altering an existing garment. Even when starting from scratch, only certain aspects of the Parisian New Look feature, for example, full skirts are created by clever pleating rather than a weighty excess of fabric or cumbersome petticoats, and hem lengths are short enough not to be tripped over when running for a bus. Oral history interviews demonstrate that these altered lines cannot be simply explained away as compromises resulting from austerity restrictions, but were positive choices made by the sewer, who saw their garments as an ideal, improved version of the new fashion.
Such shorter, freer styles were the London’s fashions of choice, and this consumer demand can be seen reflected in the ready-to-wear creations of the period, which also demonstrate these features. Crucially, these developing trends in ready-to-wear and home-made garments were occurring simultaneously, defying the theory that fashion trends ‘trickle down’ from upper to lower classes (Veblen, 1994). The new London Look was not a compromise between Parisian couture and the practicality demanded by austerity conditions, but the result of a process of co-creation between professional dress designers and the home sewers of the city.
Since the 1940s, London’s creative home sewers have largely disappeared–not from a lack of austerity, but due to the changing nature of the clothing retail market. In a world of planned obsolescence and mass manufacture in fashion, where today’s London consumer can pop to Primark and buy an entire new outfit for under £20, there is less financial need to remake and remodel old clothes, and there is certainly no shortage of products in shops. However, there is, more than ever, a need to promote sustainability in clothing consumption, and by looking to the creation of the 1948 London Look, a fashion evolved by home dressmakers to suit London lives, we can perhaps rediscover the creative possibilities offered by a ‘Make Do And Mend’ mentality for the promotion of sustainable fashions.
Bibliography:
Beckett, M. (1947). Paris Forgets This Is 1947. Picture Post, 27 September. pp. 220-224.
Behlen, B. (2012). ‘Does Your Highness feel like a gold person or a silver one?’ Princess Margaret and Dior. Costume, volume 46, issue 1, pp. 55-74.
Woman’s Weekly (1947). Make What You Have Look New!, 23 August. p. 233.
Slater, A. (2011). The Dress of Working Class Women in Bolton and Oldham, Lancashire 1939-1945. Ph.D.. Manchester: Manchester Metropolitan University
Veblen, T. (1994). The Theory of the Leisure Class. New York: Dover.
I recently presented a paper on 1940s window displays at the Glasgow School of Art’s ‘Crafting the Look: Styling as Creative Process’ conference. Here is an extract from that paper, looking at the work of display manager Eric Lucking at Liberty’s:
At first glance, London’s West End in 1946 does not look like the most promising place for a retail revolution. London’s shops emerged from the Second World War to face a very steep uphill struggle: many had suffered severe cosmetic and structural damage, and others, such as Oxford Street’s John Lewis, had been bombed out completely. On top of this, they faced both a shortage of display props, such as mannequins, and a shortage of merchandise to display. Window displays were subject to a series of government restrictions, including a 10% quota on the amount of windows that shops were able to fit with new glass, very high purchase tax on mannequins, limitations on the amount of lighting that could be used and restrictions on the use of raw materials such as paper and wood for creating displays.
It was into these challenging circumstances that a newly Demobbed Eric Lucking arrived at Liberty & Co. Lucking’s appointment as Liberty’s first ever display manager speaks for the forward looking nature of Liberty’s then director, Arthur Stewart-Liberty, who had attended courses at the newly launched Reiman school of display design and appreciated the importance of display styling in a way that many of his west end counterparts were yet to catch up with. Lucking’s appointment gave the shop a coherent vision for the first time, as previously individual department had been allocated windows to dress separately, and Arthur Stewart-Liberty later reported that this even inspired buyers to procure better stock, hoping that their items might be selected for use in one of Lucking’s windows.
Window displays were of particular importance in the late 1940s due to the limitations on other marketing techniques; for example, Liberty’s did not release its first post-war catalogue until 1952 due to paper shortages. In order to achieve the necessarily striking visuals, Lucking needed to be extremely resourceful. In late 1945 and early 1946, Display magazine is dominated by distinctly ‘make do and mend’ ideas, including the use of dyed sawdust and autumn leaves to cover damaged floors, creating backdrops of coloured water in glass tumblers, and updating old pre-war mannequins with plaster of paris ‘facials’ and improvised paper wigs. Even the high-end store Simpsons of Piccadilly was using found objects, such as leaves and pebbles, as price labels.
Perhaps the biggest problems facing display stylists at this time was a lack of mannequins on which to create clothing displays. When Lucking joined Liberty in 1946, Display magazine was carrying numerous adverts for mannequin refurbishment services and even the flagship national design exhibition ‘Britain Can Make It’, held at the Victoria and Albert museum later that year, was dogged by problems trying to procure mannequins. In order to update old-fashioned pre-war models, Lucking created abstract and surrealist displays, removing heads and replacing them with bunches of flowers or suspending hats as if perched on invisible heads.
Lucking took this disassembling further, and in his displays disembodied hands hold up gloves and bags. Often the body is dispensed with entirely, and dresses are draped or hung on hangers as if floating out of wardrobes. By creating these surreal models, Lucking was able to evoke a feeling of animation through abstraction, and clothes in window displays came to life as never before, aided by the imagination of the shopper outside.
One of the more innovative solutions to the mannequin shortages in London was to be found in hand made wire mannequins. Eric Lucking adopted the wire model concept and emphasized their uncanny nature through his surrealist displays, for example in the image below, where the missing head and arms place emphasis on the exquisite wire foot, highlighting the alluring nature of the dresses drape over the leg, while a series of props float around the model as if in orbit to it.
Another way in which Eric Lucking worked with limited props was to make a feature of empty space, often creating striking scenes that highlighted the merchandise on display to great effect. In order to create a spectacle, Lucking used nylon wires against a plain backdrop from which he suspended garments to give the impression of some ghostly presence, attracting the viewer with this uncanny visual trick. Realizing the visual power of suspension, Lucking worked with artist Lyn Chadwick, displaying his mobiles as props in a way that interacted with the store’s merchandise, as if the mannequins in the window were themselves observers at an art gallery.
Probably Eric Lucking’s biggest contribution to display design is to be found in his use of draping. Lucking is repeatedly praised in the contemporary press for his masterful grasp of fabric draping, and this was noticed by several trade associations, including the British Nylon Spinners Association and the International Wool Secretariat who engaged his services for several major national and international trade fairs. Lucking was deeply interested in the properties of fabric and what could be done with them, as can be seen from his many sketches of falling and draped fabric. His skill can be seen in this draped figure from 1947, complete with one of his trademark floral heads.
Eric Lucking’s decade at Liberty’s was more successful than even Arthur Stewart-Liberty could have hoped. His view was highly practical, believing that creative display should be used first and foremost to sell merchandise, and there is evidence that he succeeded on this front, with archive letters from department heads congratulating him on window displays that had lead to the featured merchandise swiftly selling out.
For individuals, the window displays they passed represented more than just an advertisement. They became part of the symbolic struggle against austerity regulations, and designer Sally Tuffin recalls how “From a war-torn childhood, where everything seemed grey, my first visit to Regent Street was a pure fantasy of delight”. The surreal, imaginative fantasies produced by Eric Lucking do not conform to our usual grey image of post-war austerity. Instead, they offer a vision into the hopeful and optimistic side of the national mood, indulging in escapism whilst dreaming of a brighter future. The floating and seemingly magical figures in these displays are able to transcend the reality of shortages that plagued many London lives, but their very construction under the shadow of these same shortages proved to onlookers that it was possible to achieve individuality in a world of uniformity.
When using the material object as a historical source, one of the more difficult boundaries to negotiate is the acceptable line between deduction and speculation; how far from the material evidence can our interpretations wander before they become invalid?
This question commonly arises when contemplating damage and repairs to garments, when we often have few clues as to when or how the garment was damaged, or who completed the repairs. However, I often find that contemplating a range of possible alternatives can help broaden my understanding of the material object and its social and cultural role. In order to demonstrate this, let us return to the Museum of London’s item 64.128, the checked wool dress, which has two patched repairs, one at the waistband and one at the hem.
The woolen checked tweed is a heavy fabric, especially given the relative fullness of the skirt, and as such it is unsurprising to find evidence of the weave pulled and stretched thin at the waistband, close to the area that has been patched. It is likely to have been this structural weakness that caused the fabric to tear here, although the specific location, at the front left hand side towards the seam, implies that the immediate cause may well have been a vigorous stretching movement. This is not to undermine the quality of the garment, as can be seen from the durability of its stitching and quality components, including the heavy brass zip, but is a clear indication of the heavy wear this dress has seen.
To mend this wear and tear, a patch has been sewn into the underside of the garment by machine. Curiously for a high quality item, very little care has been taken to minimize the appearance of the patch, as can be seen from the long rows of brown stitching that extend above the damaged area on the outside of the garment. These are irregular and densely packed, implying that it was the strength of the mend rather than its appearance afterwards that was of prime concern to the mender. The quality of this patch might be seen as an indication of a lack of skill by the mender. However, while we do not know the level of sewing skills possessed by whoever enacted this repair, it is not entirely unreasonable to assume that they would have been reasonably proficient; they clearly had access to a sewing machine, and it is unlikely that they would have remained untouched by the previous eight years, during which time the sewing skills of the middle classes* had been improved through the efforts of the ‘Make do and Mend’ campaign, government sewing classes, the prioritization of sewing under the 1944 education act, and the necessity to sew, and especially repair, created by wartime shortages.
The lack of care taken in this mend may mean that the repair would not have been visible when worn under the accessorizing belt, although, due to the extent of the repaired area, this seems unlikely. As such, perhaps the more likely explanation lies in the evidence that this repair covered damage caused by heavy wear over time, and as such was inflicted upon a garment that had long since ceased to be seen as ‘best’. This scenario represents the life cycle of a garment during this period, when, for the vast majority of Londoners, even the most fashionable item was purchased to be worn frequently over a long period of time, representing a period when women’s wardrobes were considerably smaller than they are today, and the purchase of a garment was a serious investment.
The damage to the hem reflects the heavy wear seen on the rest of the garment, probably having been torn after getting caught on a static object while the wearer was moving with some speed. This also confirms the activity the dress was subjected to, and the mobile nature of the wearer. The hem is mended with a similarly crude patch; leaving loose threads uncut and the thinness of the worn wool weave exposed in the remaining white warp threads. This would seem to confirm that the mender took little joy in the process of sewing. Many observers of the late 1940s noted that one of the consequences of the preceding years of shortages plugged with ‘Make do and Mend’ was that sewing became more commonly associated with mending and adaptation than creative dressmaking, and as such was more likely to be associated with boredom and drudgery than the fantasy of sartorial transformation.
While some may say that speculating so far from descriptions of the garment cannot be useful, I would argue that, providing we acknowledge that these are just one set of possibilities, such contextualizing helps us understand the broader life of the garment, relating it to its environment. Above all, it helps to remind us that what we actually see in front of us is a dress that does not only represent fashion as conceived, pictured and sold, or as merely a product of government policy, but fashion as worn, displaying the battle scars of a London life in all their messy plurality.
* There is evidence to suggest that working class sewers largely found the ‘Make Do And Mend’ campaign at best ineffectual, as they already possessed these skills, and at worst highly patronizing.
Once again returning to the theme of perceived uniformity in Utility design, the Museum of London’s collections demonstrate how overlooked the stylistic and fashion forward nature of many Utility designs is. In spite of claims made by the popular press at its inception, the Utility scheme was never intended to create a homogenously dressed populace, quashing individual tastes and preferences based around age and lifestyle. Had it done so, there is no way the scheme could possibly have been successful enough to last a decade, or have impacted upon the wardrobes of such a large cross section of society. Utility regulations may have stipulated certain restrictions, but as is evidenced by the Museum of London collections, the CC41 mark can be seen across a vast range of garments, varying hugely in both style and quality, suiting a range of tastes and budgets, and, perhaps most importantly, adapting to changing trends in order to stay relevant in a demanding ready-to-wear market.
Item 64.128 in the Museum of London’s costume collection is an excellent reminder of Utility’s ability to adapt to changing styles, while still adhering to regulations. 64.128 is absolutely a Utility dress, bearing the CC41 label and clearly conforming to all the relevant regulations; for example, it has no pockets, the hems sit just fractionally shy of the two-inch limit, and the side zip enables the skirt to be constructed using only two seams. However, this garment is a world away from the narrow, boxy styles so proudly paraded by IncSoc at the conception of the Utility scheme. The skirt has volume, created by gathered tucks at the waist, cleverly too small to count as pleats and so be subject to Utility limits. This volume is emphasized by the positioning of the waist, which sits lower than wartime waistbands to a point where it is almost skimming the hips, creating what was familiar in the late 1940s as a fashionably feminine silhouette. Additionally, the garment is longer than those of early Utility, and while we do not know the wearers height exactly, it would certainly have fallen somewhere below the knee. Utility designs needed to keep abreast, and indeed even ahead of current trends in order to ensure the continuing success of the scheme, and there is certainly evidence here of the influential spring 1947 Paris collections, in particular the narrow waists and full skirts of Dior’s Corolle line, later dubbed the ‘New Look’.
As is well documented, the New Look made its way to Britain in late 1947, and supposedly exerted such influence that the spring 1948 collections were nicknamed the ‘British New Look’. As the name implies, this was a story of adaptation rather than adoption, and, as can be seen in this garment, a fuller and longer skirt was accompanied by much broader shoulders than Dior’s vision of femininity. While the shoulders of 64.128 may not be padded to the extent of some extreme 1945-6 Parisian styles, there is a large volume of fabric gathered over arm, resulting from an extremely broad sleeve cap, matching the soft gathering technique seen at the waist. This volume of fabric is not merely a stylistic decision, but casts light on the demands made by the British public in their fashion trends; practicality in the form of hard wearing and wearable garments. These demands sit in opposition to the highest profile design influences of the day—Dior’s spring 1947 collection matched many of the other Parisian houses in its proliferation of physically restrictive styles. The narrow waists demanded shaping undergarments, and the soft, sloped shoulders and narrow sleeves used such little fabric to achieve the desired slimline look that they seriously restricted arm movements. While it is certainly true that French ready-to-wear also avoided the excesses of these restrictions, it is notable that even British couture designers created garments that avoided the most extreme elements of these styles.
While those who came out to decry the New Look are often considered reactionaries, they raised the valid point that these couture styles were simply not practical for the modern woman and the physical demands of her lifestyle. As Marjorie Beckett asked in Picture Post:
Can anyone seriously contemplate hopping onto a bus in a hobble skirt? Try lifting a bale of tweed—and imagine voluntarily adding to the fatigue of standing in the fish queue by having twenty yards of it hanging from ones waist. Think of doing housework, or sitting at a typewriter all day, or working in a factory, tightly corseted
(Beckett, 1947).
In fact, Beckett’s broad overview of the variety of 1947’s newly imported styles raises the question of why it is that we now think of the New Look in terms of full skirts, noting that a significant portion of Parisian collections that season featured the extremely tapered, below knee ‘hobble’ skirt, so called due to the confines it placed upon walking. It seems probable that these garments simply failed to make the transition to the sartorial mainstream because it was too difficult to adapt them for practical, everyday wear, without loosing the elegance of their proportions. 64.128 provides an excellent example of how the British New Look, particularly in ready-to-wear styles, showed practical adaptations, enabling fashionable wear in everyday life. This provides a strong argument against those fashion narratives that speak of the desire for femininity winning out over the resistance to the “caged bird” restrictions of the New Look.
The gathered fabric at the sleeve cap and relatively wide armholes allow for full arm movement above the head, enabling the wearer to participate fully in everything from office based activities to domestic tasks. Similarly, the gathered effect at the waistband serves a duel function. The skirt of this dress follows the fashionable shape of the day; emphasizing the hips by providing a high volume of fabric just below the narrow waistband, and allowing for the aesthetic appearance of a full skirt as the fabric falls, an effect that is especially noticeable when the dress is in motion when worn. However, it achieves these fashionable lines within certain practical confines; the gathering allows for the hips to be emphasized without the need for the excessive padding favoured by Dior, which would be both costly and uncomfortable, and also gives the impression of fullness in the skirt without using an excessive amount of fabric at a time when Utility restrictions still applied to fabric quantities.
Additionally, it is important to acknowledge that this dress carries traces of other international fashion influences, proving that design was not merely subject to a linear export from Paris to London. The puffed sleeves in checked wool are reminiscent of period Hollywood costumes of the era, with exaggerated sleeves first rising to prominence with Vivienne Leigh in Gone With The Wind (1939), before reappearing repeatedly over the next decade, usually in checks and stripes, in films such as Meet Me In Saint Louis (1944) and Fort Apache (1948). Post-war London was also a design hub in itself, and, while the dropped hem was certainly a new style statement for 1948, it is important to remember that in Britain a wider skirt had replaced the slim wartime silhouette in Utility garments from as early as 1946.
As is often the case with high-end Utility garments, great care has been taken with the cut in order to assure the best possible fit for the widest range of body types, all with minimal construction labour. This thoughtful pattern cutting is one of the important legacies the Utility scheme gifted to the British ready-to-wear industry. In the case of 64.128, this is most clearly demonstrated in the bodice front. Unlike the rest of the garment, this piece has been cut on the bias, something often avoided in ready-to-wear construction as it creates more waste fabric than laying out the pattern with the grain. However, cutting on the bias allows the woven fabric to have considerably more stretch, and as such fit more comfortably around the body’s contours with minimal stitched construction. In this dress, the bias cut of the front bodice allows the garment to be constructed without bust darts, saving construction costs and also allowing the garment to fit well over a larger range of chest sizes. Not only this, but the cut tilts the checked pattern of the fabric at a 45° angle, directing the gaze down the body along the lines of the diamond pattern in order to emphasize the narrowing of the torso to the waist, and subsequent widening at the hips, where the checks again run horizontally. This use of pattern is another example of the garment utilizing simple tailoring techniques to create the fashionable hourglass body shape without the need for prohibitive shaping undergarments. As such, the dress conforms to a fashionable ideal without constricting movement, defying the notion that this version of femininity required women to relinquish certain freedoms or represented a move away from women’s ability to fulfill roles outside of a conventional domestic sphere (a notion in itself made nonsensical by the physical demands of housework).
While one garment can never encapsulate all fashion design from a period, analysis of this ready-to-wear dress demonstrates how one garment can often betray multiple narratives of not only the owner and wearer, but the entire complex web of the fashion industry. In doing so, this dress reminds us that ready-to-wear, so often overlooked in favour of couture study, has the capacity to be equally innovative and fashion forward.
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Paramilitaries’ Heirs
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This 122-page report documents widespread and serious abuses by successor groups to the paramilitary coalition known as the United Self-Defense Forces of Colombia (Autodefensas Unidas de Colombia, AUC). The successor groups regularly commit massacres, killings, forced displacement, rape, and extortion, and create a threatening atmosphere in the communities they control.
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/sites/default/files/favicon.ico
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Human Rights Watch
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https://www.hrw.org/report/2010/02/03/paramilitaries-heirs/new-face-violence-colombia
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Glossary
AUC: Autodefensas Unidas de Colombia,United Self-Defense Forces of Colombia, a coalition of 37 paramilitary groups in Colombia that officially demobilized by 2006.
Colombian National Police, Division of Carabineers: Dirección de Carabineros de la Policía Nacional de Colombia, a division of the National Police that operates in rural regions and is tasked with confronting successor groups, as well as with providing security for eradication of illicit crops.
ELN: Ejército de Liberación Nacional, National Liberation Army, a left-wing guerrilla group.
FARC: Fuerzas Armadas Revolucionarias de Colombia, Revolutionary Armed Forces of Colombia, Colombia’s largest left-wing guerrilla group.
MAPP/OAS: Organization of American States’ Mission to Support the Peace Process in Colombia, a mission established in 2004 as part of an agreement between the Organization of American States and the Colombian government to monitor and verify the demobilization of the AUC paramilitary groups.
Office of the Attorney General of Colombia: Fiscalía General de la Nación, a Colombian state entity charged with conducting most criminal investigations and prosecutions. The Office of the Attorney General is formally independent of the executive branch of the government.
Office of the Inspector General of Colombia: Procuraduría General de la Nación, a Colombian state entity charged with representing the interests of citizens before the rest of the state. The office conducts most disciplinary investigations of public officials and monitors criminal investigations and prosecutions, as well as other state agencies’ actions.
Early Warning System of the Office of the Ombudsman of Colombia: Sistema de Alertas Tempranas de la Defensoría del Pueblo de Colombia. The Ombudsman’s Office (or Defensoría) is a Colombian state entity charged with promoting and defending human rights and international humanitarian law. The Early Warning System is a subdivision of the Ombudsman’s Office, charged with monitoring risks to civilians in connection with the armed conflict, and promoting actions to prevent abuses.
Permanent Human Rights Unit of the Personería of Medellín: Unidad Permanente de Derechos Humanos de la Personería de Medellín. The Personería is a municipal entity that is also an agent of the Public Ministry, and is charged with monitoring human rights and citizens’ rights in the city of Medellín. The Medellín Personería’s Permanent Human Rights Unit is a division of the Personería specifically charged with monitoring and protecting human rights in the city.
Presidential Agency for Social Action and International Cooperation (Social Action): Agencia Presidencial para la Acción Social y la Cooperación Internacional (Acción Social), a Colombian state entity that is charged with administering national and international resources for the execution of social programs for vulnerable populations under the authority of the Presidency of Colombia. Among other functions, Social Action oversees the registration of and assistance to internally displaced persons.
Map of Colombia
I. Summary and Recommendations
Between 2003 and 2006 the Colombian government implemented a demobilization process for 37 armed groups that made up the brutal, mafia-like, paramilitary coalition known as the AUC (the Autodefensas Unidas de Colombia, or United Self-Defense Forces of Colombia). The government claimed success, as more than 30,000 persons went through demobilization ceremonies, pledged to cease criminal activity, and entered reintegration programs offering them training, work, and stipends. Since then, the government has repeatedly said that the paramilitaries no longer exist.
But almost immediately after the demobilization process had ended, new groups cropped up all over the country, taking the reins of the criminal operations that the AUC leadership previously ran.
Today, these successor groups are quietly having a dramatic effect on the human rights and humanitarian situation in Colombia. Of particular concern, as documented extensively in this report, the successor groups are engaging in widespread and serious abuses against civilians, including massacres, killings, rapes, threats, and extortion. They have repeatedly targeted human rights defenders, trade unionists, displaced persons including Afro-Colombians who seek to recover their land, victims of the AUC who are seeking justice, and community members who do not follow their orders. The rise of the groups has coincided with a significant increase in the rates of internal displacement around the country from 2004 through at least 2007. And in some regions, like the city of Medellín, where the homicide rate has nearly doubled in the past year, the groups’ operations have resulted in a large increase in violence. To many civilians, the AUC’s demobilization has done little to change the conditions of fear and violence in which they live.
The threat posed by the successor groups is both serious and steadily growing. Colombia’s National Police estimates that they have more than 4,000 members. Non-governmental estimates run as high as 10,200. According to conservative police figures, the groups are quickly increasing their areas of operation and as of July 2009 had a presence in at least 173 municipalities in 24 of Colombia’s 32 departments. They are actively recruiting new members from among teenagers, demobilized individuals, and young men and women. In several cases, they have been known to recruit members from distant regions of the country, displaying a high level of organization at a national level. Increasingly, the successor groups have merged or have absorbed one another, so that fewer groups are operating in a more coordinated manner, covering a larger territory.
The police speak of eight major groups: the Urabeños, the Rastrojos, ERPAC, the Paisas, the Machos, New Generation, the group from the Magdalena Medio, and Renacer. Human Rights Watch also received credible reports of the existence of other groups, such as the Black Eagles in Nariño, which the police did not include in their list at the time.
A serious cause for concern is the fact that many eyewitnesses with whom we spoke reported that members of the security forces were tolerating successor groups’ activities in various regions.
The Colombian government and some analysts label the successor groups as “emerging criminal gangs at the service of drug trafficking” (bandas criminales emergentes or BACRIM), insisting that the successor groups are something new and very different from the paramilitaries. Other experts and many residents view them as a continuation of the AUC, or a new generation of paramilitaries.
Regardless of how the successor groups are categorized, the fact is that today they are frequently targeting civilians, committing horrific crimes including massacres, killings, rapes, and forced displacement. And the state has an obligation to protect the civilian population, to prevent abuses, and to hold perpetrators accountable.
Unfortunately, the government has yet to take strong and effective measures to fulfill these obligations. It has failed to invest adequate resources in the police units charged with combating the groups, or in the group of prosecutors charged with investigating them. It has done far too little to investigate regular reports of toleration of the successor groups by state agents or public security forces. And it has yet to take adequate measures to protect civilians from this new threat. Instead, the government has dragged its feet on funding for the Early Warning System of the Ombudsman’s Office, which plays a key role in protecting the civilian population, and state agencies have at times denied assistance to civilians who reported being displaced by successor groups.
This report addresses three main issues. First, it documents the extent to which the emergence of the successor groups is related to the government’s failure to effectively demobilize many AUC leaders and fighters. Second, it describes the groups’ frequent and brutal abuses against civilians, highlighting common patterns of behavior with particular attention to four regions where the groups have a substantial presence: the city of Medellín, the Urabá region of Chocó state, and the states of Meta and Nariño. Third, the report points out continuing shortcomings in the government’s response to the groups’ operations and abuses.
The report is based on nearly two years of field research in Colombia. Human Rights Watch conducted dozens of interviews with victims, demobilized paramilitaries, local and national law enforcement authorities and state agencies, members of the public security forces, and non-governmental organizations in the following regions: Sincelejo (Sucre); Barranquilla (Atlántico); Pasto and Tumaco (Nariño); Cúcuta (Norte de Santander); Barrancabermeja and Bucaramanga (Santander); Medellín (Antioquia); Villavicencio, Granada, Vistahermosa, and Puerto Rico (Meta); the humanitarian zones of Curvaradó and Andalucía (Chocó); and the capital, Bogotá.
The Successor Groups: A Predictable Outcome of a Flawed Demobilization
While there are differences between the AUC and its successors, the successor groups are in several respects a continuation of some of the AUC’s paramilitary “blocks” or groups. As reported by the police, a majority of the leaders of the successor groups are mid-level AUC commanders who never demobilized or continued engaging in criminal activity despite ostensibly having demobilized. The groups are active in many of the same regions where the AUC had a presence, and operate in similar ways to the AUC: controlling territory through threats and extortion, engaging in drug trafficking and other criminal activity, and committing widespread abuses against civilians.
The emergence of the successor groups was predictable, in large part due to the Colombian government’s failure to dismantle the AUC’s criminal networks and financial and political support structures during the demobilizations.
The demobilization process suffered from serious flaws, which Human Rights Watch documented extensively and reported on at the time. One problem is that the government failed to verify whether those who demobilized were really paramilitaries, and whether all paramilitaries in fact demobilized. As a result, in some cases paramilitary groups were able to engage in fraud, recruiting civilians to pose as paramilitaries to demobilize, while keeping a core segment of their groups active. This is particularly clear in the case of the Northern Block demobilization, in which there is substantial evidence of outright fraud. There are also signs of fraud in the demobilizations of groups in Medellín and Nariño.
But perhaps a more serious problem was the fact that the government failed to take advantage of the process to thoroughly question demobilizing paramilitaries about their knowledge of the groups’ assets, contacts, and criminal operations, to investigate the groups’ criminal networks and sources of support, and to take them apart. Thus, for example, even though Freddy Rendón, the commander of the Elmer Cárdenas block of the AUC, demobilized, his brother Daniel quickly filled Freddy’s shoes, continuing the block’s drug trafficking, extortion, protection of illegally taken lands held by people associated with the paramilitaries, and its harassment of civilians in the Urabá region.
With some exceptions, prosecutors have failed to thoroughly investigate the AUC’s complex criminal operations, financing sources, and networks of support. Thus, successor groups have been able to easily fill the AUC’s shoes, using the massive resources they already had or could readily obtain through crime to recruit new members and continue controlling and abusing the civilian population.
The Human Rights and Humanitarian Impact of the Successor Groups
The successor groups are engaged in widespread and serious abuses against civilians in much of the country. They massacre, kill, rape, torture, and forcibly “disappear” persons who do not follow their orders. They regularly use threats and extortion against members of the communities where they operate, as a way to exert control over local populations. They frequently threaten, and sometimes attack, human rights defenders, trade unionists, journalists, and victims of the AUC who press claims for justice or restitution of land.
For example, one human rights defender described how, while she was providing assistance to a victim of the AUC at the victim’s home, members of a successor group calling themselves the Black Eagles broke into the house, raped both women, and warned her to stop doing human rights work. “They told me it was forbidden for me to do that in the municipality. They didn’t want victims to know their rights or report abuses,” she told us. When she continued her work, they kidnapped her and said that if she did not leave town, they would go after her family. She sought help from local authorities, who dismissed her saying she should have known better than to do human rights work, and so she eventually fled and went into hiding.
Similarly, Juan David Díaz, a doctor who leads the local Sincelejo chapter of the Movement of Victims of State Crimes, a non-governmental organization, has reported threats and attempts on his life by successor groups. Juan David has been pressing for justice for the murder of his father, Tito Diaz, a mayor who was killed by the AUC, with the collaboration of a former state governor (who was recently convicted).
Trade unionists, a frequent target of the AUC, are now targeted by successor groups. According to the National Labor School, the leading organization monitoring labor rights in Colombia, in 2008 trade unionists reported receiving 498 threats (against 405 trade unionists). Of those, 265 are listed as having come from the successor groups, while 220 came from unidentified actors.
The successor groups are also forcibly displacing large numbers of civilians from their homes. Forced displacement by these groups likely has contributed to a substantial rise in internal displacement nationwide after 2004. According to official figures, after dropping to 228,828 in 2004, the number of newly displaced persons went up each year until it hit 327,624 in 2007. The official 2008 numbers are a little lower, at 300,693, but still substantially higher than at the start of the demobilization process. The non-governmental organization Consultoria para los Derechos Humanos y el Desplazamiento (CODHES) reports different numbers, finding that around 380,863 people were displaced in 2008—a 24.47 percent increase over its number (305,966) for 2007.
In fact, much of the displacement is occurring in regions where successor groups are active. CODHES says there were 82 cases of group displacement in 2008; the most affected departments were Nariño and Chocó, where the successor groups are very active. Human Rights Watch spoke to dozens of victims who said they had been displaced by successor groups in Nariño, Medellín, the Urabá region, and along the Atlantic Coast.
Without exception, in each of the four major regions Human Rights Watch visited and examined closely for this report, the successor groups were committing serious abuses against civilians.
For example, inMedellín, successor groups (often made up of demobilized or non-demobilized AUC members) continued exerting control in various neighborhoods through extortion, threats, beatings, and targeted killings after the demobilization of the paramilitary blocks in the city. Despite his supposed demobilization, AUC leader Diego Murillo Bejarano (known as “Don Berna”), exerted what locals and many officials described as a monopoly over crime and security in the city, contributing to a significant but temporary reduction in homicides for a few years. But in the words of one city resident, the people in the city at the time were experiencing “peace with a gun to your throat.”
Due to infighting in Don Berna’s group, as well as competition with other successor groups trying to enter the city, the last two years have seen a rapid rise in violence against civilians in Medellín. In the first ten months of 2009 there were 1,717 homicides in the city—more than doubling the 830 killings registered in Medellín for the same period in 2008. The groups have also caused a significant rise in internal displacement in the city. In one case Human Rights Watch documented, more than 40 people from the Pablo Escobar neighborhood of Medellín were forced to flee their homes between late 2008 and early 2009 as a result of killings and threats by the local armed group, which is partly made up of demobilized individuals. The victims, who were hiding in a shelter in Medellín, described living in a state of constant fear in the city: “We can no longer live in Medellín. They have tentacles everywhere.”
In the southern border state of Nariño, massacres, killings, threats, and massive forced displacement of civilians occur on a regular basis, though they are significantly underreported. The successor groups in Nariño are responsible for a significant share of these abuses. For example, between June and July of 2008, almost all residents in three communities in the coastal municipality of Satinga were displaced after one of the successor groups (then using the name Autodefensas Campesinas de Nariño, or Peasant Self Defense Forces of Nariño) went into one of the towns, killed two young men, and reportedly caused the forced disappearance of a third.
A substantial portion of the Liberators of the South Block of the AUC remained active in Nariño and, under the name “New Generation,” violently took over important sectors of the Andean mountain range shortly after the demobilizations. More recently, New Generation has lost influence, but two other groups have gained in strength. Along most of Nariño’s coastline, the Rastrojos and the Black Eagles are active and frequently engage in acts of violence against civilians. Both groups are reported to have a growing presence in the Andean mountain range. In our interviews in the region, several residents, local officials, and international observers described cases in which public security forces apparently tolerated the Black Eagles.
As one man from the Andean town of Santa Cruz told Human Rights Watch: “In Madrigal ... the Black Eagles interrogate us, with the police 20 meters away... [Y]ou can’t trust the army or police because they’re practically with the guys... In Santa Cruz and Santa Rosa we have the Rastrojos. They arrived in March or April. They arrived ... in camouflaged uniform. They’re a lot, 100, 150, 300—they’ve grown a lot... They come in and tax the businessmen. It appears that they sometimes confront guerrillas and other times the Black Eagles and New Generation.”
Colombia’s Obligations
Regardless of their label (whether as armed groups, paramilitaries or organized crime), the Colombian government bears specific responsibilities to address the threat that they pose to the civilian population. Those include obligations to protect civilians from harm, prevent abuses, and ensure accountability for abuses when they occur. The level of state responsibility for the abuses of the successor groups will increase depending on the extent to which state agents tolerate or actively collaborate with these groups.
In addition, some of the successor groups could be considered armed groups for the purposes of the laws of war (international humanitarian law, IHL). Several successor groups appear to be highly organized and to have a responsible command and control structure, and an involvement in the conflict, such that they qualify as armed groups under IHL: for example, ERPAC, which operates on in Meta, Vichada, and Guaviare, and, arguably, some of the groups in Nariño, qualify.
Other groups, enjoying less territorial control or less organization, or that are not aligned to the conflict, may simply be “criminal organizations.” In relation to such groups, however, the state still has a legal duty to take reasonable steps to prevent the commission of human rights violations, to carry out serious investigations of violations if committed, to identify those responsible, to impose the appropriate punishment, and to ensure adequate compensation for victims.
State Response
The government has assigned the Colombian National Police’s Division of Carabineers the lead role in confronting the successor groups.
Government policies stipulate that the military is to step in to confront the successor groups only when the police formally request it, or in situations where the military happens to encounter the groups and must use force to protect the civilian population. But the Carabineers presently appear to lack the capacity and resources to effectively pursue the successor groups in all areas where the successor groups are engaging in abuses. In several areas where the groups operate, the police have no presence. Yet the military does not appear to be stepping in to fight the groups in those areas. In at least one case, Human Rights Watch found that police and army officials in the state of Meta each pointed to the other as the authority responsible for combating the successor groups. The army cited the government policy assigning responsibility to the police as a reason not to step in, and the local police said they had no jurisdiction.
Another problem is the failure of the government to invest adequate resources to ensure that members of the successor groups and their accomplices are held accountable for their crimes. The Office of the Attorney General created a specialized group of prosecutors in 2008 to handle cases involving the successor groups. But the group is understaffed, and is able to focus only on some of the successor groups.
One significant concern, raised by members of the police and the Office of the Attorney General, is corruption and toleration of successor groups by some state officials, which make it difficult to track down, confront, and hold accountable the groups.
The most prominent example of such concerns involves the current criminal investigation into allegations that the chief prosecutor of Medellín, Guillermo Valencia Cossio (the brother of Colombia’s minister of interior), collaborated extensively with successor groups. He has denied the allegations. As detailed in this report, Human Rights Watch also received reports in Nariño, Chocó, Medellín and Meta of situations in which members of the police or army appeared to tolerate the activities of successor groups.
With few exceptions, the government has failed to take effective measures to identify, investigate, and punish state officials who tolerate the successor groups. At times, public security forces appear to respond to allegations that their members are tolerating the groups by simply transferring the officials to other regions. The correct response would be to inform prosecutors of the allegations and suspend the officials in question while criminal investigations are conducted.
The state has also failed to take adequate measures to prevent abuses by the successor groups and protect the civilian population.
The Ministry of Interior’s longstanding protection program for human rights defenders, trade unionists, and journalists has provided much-needed protection to vulnerable individuals. But it does not cover victims of the AUC who are seeking justice, restitution of land, or reparation under the Justice and Peace Law (a 2005 law allowing paramilitaries responsible for atrocities and other serious crimes to receive dramatically reduced sentences in exchange for their demobilization, confession, and return of illegally acquired assets). The Constitutional Court has ordered that these victims receive protection from the state and the government has since implemented a decree providing for increased police security in regions considered to present high risks for victims participating in the Justice and Peace Law Process. Yet it remains unclear whether the program is effectively covering all victims who need protection. These programs also do not cover ordinary civilians in many regions who are continuously being threatened, attacked, and displaced by the successor groups.
In several instances, Human Rights Watch received reports that representatives of the Presidential Agency for Social Action and International Cooperation (Social Action) were refusing to register and provide assistance to internally displaced persons who reported that they were displaced by paramilitaries, on the grounds that paramilitaries no longer exist. While Social Action says that these cases do not reflect official government policy, it must take effective action to ensure that such rejections do not continue at a local level.
Finally, the Ombudsman’s Early Warning System (the EWS), which constantly monitors the human rights situation in various regions and regularly issues well-documented risk reports about the dangers facing civilian populations, has played a key role in reporting on the successor groups’ operations and likely abuses. But other state institutions that should be acting on the EWS’s recommendations often ignore or downplay them. The decision-making process on what actions to take based on the EWS’s risk reports lacks transparency and, as recommended by the US Agency for International Development, requires reform. The EWS has also suffered due to government delays in providing necessary funding.
Recommendations
To the Government of Colombia
On the Demobilization of Paramilitary Blocks
In light of the evidence of significant fraud in the demobilizations of some paramilitary blocks, and the failure of portions of the blocks to demobilize, the government should:
Establish an ad-hoc independent commission of inquiry to provide a public accounting of what happened during the demobilizations, how many of the purportedly demobilized paramilitaries were really combatants, to what extent paramilitaries remain active today, and to what extent paramilitaries responsible for atrocities have evaded justice.
Conduct a systematic and coordinated effort to identify land and illegal assets that paramilitaries or their accomplices may be holding, and ensure their recovery and restitution to victims. Among other steps, this will require adequately funding the Superintendence of Notaries and Registry, so that it can increase collection of information about land holdings and cross-reference it with displaced persons’ reports of land takings.
On Combating the Successor Groups
In light of the failure of government policies to prevent the continued growth of the successor groups, the government should:
Ensure that the Carabineers unit of the police is adequately funded and staffed to confront the successor groups.
Instruct the army that if its members observe or receive reports of successor groups operating in regions under their jurisdiction, they are to immediately inform the police and appropriate judicial authorities so that they can respond. The instruction should make clear that if the police have no presence in the area, the army should take steps to confront and arrest the successor groups’ members.
Provide sufficient resources for the Office of the Attorney General to increase the number of prosecutors and investigators in its specialized group investigating successor groups.
On Alleged Toleration of Successor Groups by State Agents
In light of regular, credible allegations that state agents and members of the public security forces are tolerating successor groups, and the tendency of public security forces to address the allegations by simply transferring their members to other regions, the government should:
Vigorously investigate and prosecute officials who are credibly alleged to have collaborated with or tolerated the successor groups.
Instruct the police and army that, when they receive allegations of toleration of successor groups by their members, they should immediately report such allegations to the Office of the Attorney General for investigation and suspend the members against whom the allegations were made while investigations are conducted.
On Protection of and Assistance to Victims and Civilians
In light of the failure of current government policies to provide effective protection to victims of the AUC and civilians in regions where the successor groups operate, the government should:
Put into operation an effective protection program for victims and witnesses of paramilitary crimes, as required by the Colombian Constitutional Court.
Provide sufficient funding for the Office of the Ombudsman to expand and ensure the uninterrupted operation of the Early Warning System.
As the US Agency for International Development’s inspector general has recommended, reform the Inter-Institutional Committee on Early Warnings to allow active participation by representatives of the Ombudsman’s Office, to ensure publicity of risk reports and transparency of the Committee’s decision-making, and to ensure appropriate and timely responses to risk reports.
Issue directives to Social Action and other state agencies providing that Social Action should register persons who are victims of displacement by successor groups. Victims who refer to the perpetrators of abuses against them as paramilitaries should not be denied assistance on the grounds that paramilitaries no longer exist. The directive should provide for disciplinary action against officials who disregard these instructions.
To the Office of the Attorney General of Colombia
On the Demobilization of Paramilitary Blocks
In light of a 2007 Supreme Court ruling that forbids pardons for crimes of “paramilitarism,” the Office of the Attorney General should open investigations into and take advantage of the opportunity to re-interview demobilized persons who did not receive pardons, and to inquire in greater depth about their groups’ structure, crimes, accomplices, and assets, as well as about the individual’s membership in the group.
Thoroughly interrogate participants in the Justice and Peace Process about their groups’ financing streams, assets, and criminal networks; dismantle those networks; and recover assets under the control of the groups or their successors.
Thoroughly investigate and prosecute demobilized mid-level commanders or others who had leadership roles in paramilitary groups and who may have remained active, as well as all high-ranking military, police, and intelligence officers, politicians, businessmen, or financial backers, against whom there is evidence that they collaborated with paramilitaries.
In light of the high rate of impunity in cases involving forced displacement, substantially increase efforts to investigate and prosecute allegations of forced displacement and land takings by paramilitary groups and their successors.
On Investigation of Successor Group Abuses
Review the number and distribution of prosecutors and investigators throughout Colombia to ensure that there are sufficient law enforcement authorities available in regions where the successor groups have a presence.
Strengthen the specialized group focused on investigating the successor groups, by adding a sufficient number of prosecutors and investigators, and providing sufficient resources and logistical support to that group, so that it can effectively and systematically investigate the major successor groups.
Instruct prosecutors to prioritize investigations of state agents who have been credibly alleged to have tolerated or collaborated with the successor groups.
To the United States
Provide specific assistance for logistical support, equipment, and relevant training to the specialized group of prosecutors investigating the successor groups. Training should cover not only strategies for investigation and prosecution of the groups themselves, but also of state agents who have allegedly cooperated with or tolerated the groups.
Urge the Colombian government to expand the Early Warning System of the Ombudsman’s Office, and to ensure that victims of displacement by the successor groups receive the assistance to which they are entitled.
Because the paramilitary leaders with the most information about the groups’ criminal networks and financing sources were extradited to the United States, the US Department of Justice should instruct US prosecutors to create meaningful incentives for the extradited paramilitary leaders to disclose information about their criminal networks and links to the political system, military, and financial backers, as well as about the successor groups. The United States should use that information to prosecute all implicated persons that are within its jurisdiction and when appropriate should share the information with Colombian authorities to further prosecutions in Colombia.
Condition not only military but also police aid on accountability for members of public security forces who collaborate with successor groups.
Continue to delay ratification of the US-Colombia Free Trade Agreement until Colombia’s government meets human rights pre-conditions, including dismantling paramilitary structures and effectively confronting the successor groups that now pose a serious threat to trade unionists.
To all Donor Countries to Colombia
Press the Colombian government to expand the Early Warning System of the Ombudsman’s Office, and to ensure that victims of displacement by the successor groups receive the assistance to which they are entitled.
Assist the Colombian justice system to put in place investigative procedures and strategies to ensure accountability for state agents who cooperate with the successor groups.
Condition any aid to public security forces on accountability for members of public security forces who collaborate with successor groups.
Delay consideration of free trade deals with Colombia until the Colombian government meets human rights pre-conditions, including dismantling paramilitary structures and effectively confronting the successor groups that now pose a serious threat to trade unionists.
II. Methodology
Human Rights Watch staff have closely monitored the paramilitary demobilization process in Colombia since it started in 2004, through trips several times a year to different regions in the country where paramilitaries operated and where demobilizations occurred, as well as interviews with demobilized paramilitaries, national, state and local officials, members of the public security forces, and victims of the AUC. The findings of this report are in part based on this long-term monitoring of the demobilization process.
In addition, starting in February of 2008, Human Rights Watch staff conducted intensive field research on the successor groups to the AUC, visiting Sincelejo (Sucre) in February 2008; Pasto (Nariño) in February and July 2008, and July 2009; Tumaco (Nariño) in September and October 2008; Cúcuta (Norte de Santander) in September 2008; Barrancabermeja and Bucaramanga (Santander) in September 2008; Villavicencio, Granada, Vistahermosa, and Puerto Rico (Meta) in March 2009; the humanitarian zones of Curvaradó and Andalucía (Chocó) in June 2009; and the cities of Medellín and Bogotá, on multiple occasions in 2008 and 2009.
Human Rights Watch representatives carried out more than 100 interviews with victims of successor groups to the AUC. In most regions, Human Rights Watch was also able to obtain meetings with local and sometimes national authorities, members of the public security forces, non-governmental organizations, and international organizations. In Barrancabermeja, Sincelejo, Cúcuta, Medellín, and Pasto, Human Rights Watch also interviewed individuals who had participated in the demobilization process. In Bogotá, Human Rights Watch met with diplomats, journalists, experts on Colombian security issues, and high-level government and law enforcement officials who are responsible for addressing the issues discussed in the report. Nearly all interviews were conducted in Spanish, the native language of the interviewees (the sole exceptions are interviews with diplomats, foreign journalists or foreign staff at international organizations).
Human Rights Watch received and reviewed documents, reports, books, and criminal case files, as well as photographs and video footage, from multiple sources. Most photographs in this report or included in the associated multimedia presentation, as well as audio testimony from persons in the field, were taken during the course of research for this report.
Interviewees were identified with the assistance of civil society groups, government officials, and journalists, among others. Most interviews were conducted individually, although they sometimes took place in the presence of family members and friends. Many interviewees expressed fear of reprisals by the successor groups, and, for that reason, requested to speak anonymously. Details about individuals have been withheld when information could place a person at risk, but are on file with Human Rights Watch.
II. The Successor Groups: A Predictable Outcome of a Flawed Demobilization
The successor groups, though different in important respects from the paramilitary United Self-Defense Forces of Colombia (Autodefensas Unidas de Colombia, or AUC), have taken on many of the same roles, often with some of the same personnel, in some cases with the same counterinsurgency objectives of the AUC. And whether categorized as new paramilitaries or organized criminal gangs, the successor groups are committing egregious abuses and terrorizing the civilian population in ways all too reminiscent of the AUC. As detailed in this chapter, the successor groups have been able to play this role in part because of serious flaws in the AUC demobilization process, which left portions of the paramilitary blocks active and failed to dismantle their criminal networks and sources of funding and support.
A Fundamentally Flawed Demobilization
Between 2003 and 2006 the Colombian government implemented a demobilization process for the AUC. The Colombian government reports that 31,671 paramilitaries demobilized as part of this process, meaning that they participated in “demobilization” ceremonies in which many of them turned over weapons, pledged to abandon their groups and cease criminal activity, and entered government-sponsored reintegration programs. The majority of the persons who went through the ceremonies received pardons for their membership in the group, but were never investigated for other crimes. Since 2005, approximately 1,800 of the demobilized have begun a process of confessions in exchange for sentencing benefits under the “Justice and Peace Law”—a special law drafted by the Uribe administration to offer a single reduced sentence of five to eight years to paramilitaries responsible for serious crimes who fulfill various requirements.
The demobilization process suffered from two basic problems. First, the government failed to take basic steps to verify who was demobilizing. As a result, in at least some regions there was fraud in the demobilizations, and a portion of the groups remained active. Second, the government failed to take advantage of the opportunity to interrogate demobilizing individuals about the AUC blocks’ criminal networks and assets, which may have allowed groups to hide assets, recruit new members and continue operating under new guises.
Failure to Verify Who Was Demobilizing
It is clear that many paramilitary combatants did in fact go through the demobilization process and abandoned their groups for good. However, there is substantial evidence that many others who participated in the demobilization process were stand-ins rather than paramilitaries, and that portions of the groups remained active. There is also evidence that members of the groups who supposedly demobilized continued engaging in illegal activities.
For example, Human Rights Watch has for years received reports that, during the demobilization of the Cacique Nutibara Block in Medellín in 2003, paramilitary forces recruited young men simply for the purpose of participating in the demobilization ceremony, luring them with promises of a generous stipend and other benefits. The reports of fraud were so widespread that Colombia’s High Commissioner for Peace, Luis Carlos Restrepo, stated that “48 hours before [the demobilization] they mixed in common criminals and stuck them in the package of demobilized persons.” Officials from the Permanent Human Rights Unit of Medellín’s Personería said that, based on surveys in Medellín neighborhoods, they estimate that about 75 percent of the persons who demobilized as part of the Cacique Nutibara and Heroes de Granada Blocks in Medellín were not really combatants in those groups.
Similarly, a demobilized man in Norte de Santander said that, in the demobilization of the Catatumbo block, while most of the group’s members did go through the process, “there were people who never belonged to the group but demobilized because they wanted a benefit. He claims they approached the commander, who said ‘if you want to you can enter.’” In other regions, such as Nariño, Human Rights Watch has received reports that paramilitary commanders put on a show of demobilizing while in fact leaving behind a core group of members who could continue exerting territorial control.
In other cases, combatants and mid-level commanders who supposedly demobilized have continued engaging in the same activities. One demobilized individual told Human Rights Watch that his unit participated in the demobilization process “due to pressure from the high commanders, but our local commander told us that whoever wanted to return should just come back to [the region]. They’re still there. That hasn’t finished.”
The most obvious case of fraud is that of the demobilization of the Northern Block, which had a strong presence in the coastal states of Cesar, Magdalena, Atlántico, and La Guajira. Between March 8 and 10, 2006, 4,759 supposed members of the Northern Block demobilized alongside their commander, Rodrigo Tovar Pupo, also known by his alias as “Jorge 40.” But the next day, investigators from the Human Rights Unit of the Attorney General’s Office made a huge find: as part of a long-standing criminal investigation, they arrested Édgar Ignacio Fierro Flórez, also known as “Don Antonio,” a member of the Northern Block who had participated in the demobilization ceremonies but who was reportedly continuing to run the group’s operations in that part of the country. In a search, the investigators found computers and a massive quantity of electronic and paper files about the Northern Block.
Human Rights Watch had access to internal investigative reports about the contents of a computer, hard drives, and files, which show that there was widespread fraud in the Northern Block’s demobilization. The files reportedly contain numerous emails and instant messenger discussions, allegedly involving Jorge 40, in which he apparently gave orders to his lieutenants to recruit as many people as possible from among peasants and unemployed persons to participate in the demobilization. The messages include instructions to prepare these civilians for the day of the demobilization ceremony, so that they would know how to march and sing the paramilitaries’ anthem. They address details such as how to obtain uniforms, and include instructions to guide the “demobilizing” persons on what to say to prosecutors, telling them the questions prosecutors would ask, and how to answer. For example, the messages emphasize that these persons must make clear that there are no “urban” members of the organization—sectors of the group continued operating in urban areas like Barranquilla. One message says that the paramilitaries gave a list of individuals who were demobilizing to the National Intelligence Service (Departamento Administrativo de Seguridad or DAS) in advance, to see if any of them had criminal records, and that the DAS had said they did not. Other messages discuss the members of the group who would not demobilize, so that they could continue controlling key regions.
The Inter-American Commission on Human Rights of the Organization of American States, which was present at the Northern Block’s demobilization, described its concern over fraud:
[M]any persons claiming demobilization status did not appear to be combatants... [T]he delegation was concerned at the low number of combatants compared to the number of persons who said they were radio operators, food distributors, or laundresses.... They repeatedly claimed that they were following direct orders of the “maximum leader” of Bloque Norte, Jorge 40, and they provided no information to identify lower ranking officers of the armed unit, thus undermining the credibility of their statement.
As Human Rights Watch has previously documented, the demobilization process lacked mechanisms designed to ensure that those who were going through the demobilization ceremonies were in fact paramilitaries or that all paramilitaries in each block in fact demobilized. As noted by the Inter-American Commission on Human Rights with respect to the Northern Block’s demobilization, “there were no mechanisms for determining which persons really belonged to the unit, and were therefore entitled to social and economic benefits, nor for establishing consequences in case of fraud.” The authorities failed to effectively interrogate the persons seeking demobilization benefits, or conduct even a cursory investigation of who they were and what they did.
Contrary to common belief, the vast majority of persons who have “demobilized” have not done so pursuant to the “Justice and Peace Law”—the specialized law designed to grant reduced sentences to demobilized persons responsible for serious crimes. Rather, they have simply sought to receive economic benefits and pardons for their membership in the group pursuant to Colombian Law 782 of 2002 and Decree 128 of 2003.
Until July of 2007, the Colombian government interpreted Law 782 and Decree 128 to allow the government to offer a pardon or “cessation” of criminal proceedings for the crime of concierto para delinquir (conspiracy, the standard charge against paramilitaries) and related crimes such as illegal weapons possession.
Thus, thousands of individuals going through the demobilization ceremonies were simply asked to answer a handful of questions by prosecutors, and later granted pardons or “cessation.” They then entered reintegration programs that offered them stipends and other economic and social benefits, with no further scrutiny from the authorities.
Because of the lack of rigor of the process, it is now very difficult to determine how many of the demobilized were combatants, or how many of the real paramilitaries remained active.
The government has had opportunities to restructure the demobilization process to address some of these problems, but so far has failed to do so. Specifically in July 2007, the Colombian Supreme Court ruled that paramilitaries’ crimes did not constitute “political crimes,” the only type of offense that is pardonable according to Law 782 of 2002 and Colombia’s Constitution. Until the Supreme Court ruling, the government had been applying pardons for paramilitaries on the ground that their crimes were political. The Court’s ruling, while not specifically addressing the application of Law 782, contradicted the government’s interpretation of “paramilitarism” as a political crime that could be pardoned.
But instead of taking advantage of this new opportunity to restructure the demobilization process and conduct more thorough interviews and investigations of the demobilized persons, President Uribe reacted to the ruling by accusing the Court of operating with an “ideological bias,” and claiming that the Court’s independence was only “relative” because “all the institutions of the State must cooperate with the good of the Nation.” Uribe administration officials claimed that the ruling threatened to derail the demobilization process because approximately 19,000 individuals who had gone through demobilization ceremonies had not yet received pardons, and now they would be barred from doing so.
To avoid having to investigate the demobilized paramilitaries, in July 2009 the Colombian Congress amended the country’s Penal Code to allow the Office of the Attorney General to apply what is known as the “principle of opportunity” (a form of prosecutorial discretion) to suspend investigations against or refuse to prosecute demobilized persons.
Failure to Dismantle Paramilitaries’ Criminal and Financial Networks
To secure a genuine and lasting paramilitary demobilization, the government should have focused on the sources of their power: their drug trafficking routes and criminal activity, their assets, their financial backers, and their support networks in the political system and military.
But as Human Rights Watch has documented in past reports, the government actively resisted efforts to dismantle paramilitaries’ networks and to investigate their accomplices. For example, the Justice and Peace Law, which offers reduced sentences to paramilitaries responsible for atrocities in exchange for their demobilization, as originally drafted by the government, did not provide for effective sanctions if paramilitaries seeking reduced sentences failed to confess their crimes or turn over illegally acquired assets.
Some of these problems were corrected thanks to a Constitutional Court ruling, which said that paramilitaries who wanted reduced sentences would be required to give full and truthful confessions and turn over illegally acquired assets, and that they would risk losing reduced sentences if they lied. As a result, throughout 2007 and part of 2008, prosecutors began to obtain some valuable information from paramilitary commanders about their crimes and accomplices. At the same time, the Colombian Supreme Court began a series of unprecedented investigations of paramilitary collaborators in the political system. Today, more than 80 members of the Colombian Congress have come under Supreme Court investigation or have been convicted for links to paramilitaries.
Yet the implementation of the reformed Justice and Peace Law has continued to suffer from serious problems. The vast majority of paramilitaries who demobilized are not actively participating in the Justice and Peace Law process, as only the ones who already had criminal records or were afraid they might be caught had a real incentive to participate—the overwhelming majority simply sought pardons under Law 782. The Attorney General’s Office lists 3,712 persons as having applied for benefits under the Justice and Peace Law. Of these, only 1,836—less than half—have started their “versiones libres”—the statements to prosecutors in which they’re supposed to confess their crimes if they wish to receive reduced sentences. And only five are reported to have completed their confessions. The leaders who probably had the most information to offer have been extradited to the United States, where they have, for the most part, ceased talking to Colombian authorities.
The Colombian government has yet to make a serious nationwide effort to track down the AUC’s massive illegally obtained assets and wealth, which can easily be used to recruit new members and continue running criminal operations under new guises.
Among other illegal activities, the paramilitaries were responsible for widespread land takings, but the government has yet to identify the stolen land. “I left my land with my children because of threats and massacres in Ungía, Chocó,” one displaced woman told Human Rights Watch. “Those who didn’t leave are now dead... The majority of people from there left land that today the paramilitaries possess.” Today, according to official statistics, more than 3 million people are registered as internally displaced in Colombia. A recent national poll of displaced persons found that the largest group—37 percent—was pushed out by paramilitary groups. Most left behind land or real estate. Official estimates of the amount of land left behind by displaced persons range from 2.9 million hectares (between 2001 and 2006, according to the State Comptroller’s Office) to 6.8 million hectares (according to the Presidential Agency for Social Action and International Cooperation, or “Social Action,” in a 2004 study). The takings have particularly affected Afro-Colombian and indigenous communities that have been pushed out of their traditional territories.
As of February 2008, the National Reparations Fund, charged with holding land and assets turned over by paramilitaries during the Justice and Peace Process, contained only US$5 million worth of assets in the form of land, cattle, cash, and vehicles. As of October 2009, only thirty-one paramilitaries, and six paramilitary blocks, had officially turned over assets to the government as part of the Justice and Peace Process.
At least part of the problem is that the government itself decreed that individual paramilitaries could turn over illegal assets anytime before they were actually charged with crimes under the Justice and Peace Law—giving them little incentive to turn them over early on. Once they were extradited, most leaders lost even that incentive.
Identifying and recovering the land that paramilitaries took by force is a complex task that will require a well-planned strategy and the investment of adequate resources. The Justice and Peace Law, various implementing decrees, and Constitutional Court rulings require the government to ensure land restitution. But the government has only recently started to establish the regional commissions on land restitution required by the Justice and Peace Law. And it has yet to invest adequate resources to collect basic information about the displaced persons and the land or other property that was taken from them.
Unless the government takes effective measures to identify the land that paramilitaries took and return it to its owners, it will be leaving intact a significant source of wealth and power for paramilitary accomplices and front men. Due to the lack of investigation of this issue, it is difficult to know for sure to what extent AUC assets and financing sources have continued fueling the activities of the successor groups. However, as described in later sections, in regions such as Urabá landowners who benefited from paramilitary takings have been reported to be working with successor groups to threaten and even kill victims who seek to recover land.
Finally, as Human Rights Watch has documented before, despite the efforts of the Supreme Court and others to investigate and hold accountable paramilitary collaborators in politics and the military, the government has repeatedly taken steps that have undermined or limited progress in this area. In particular, the Uribe administration has repeatedly launched public personal attacks on the Supreme Court and its members, in what looks like a concerted campaign to smear and discredit the court, and has proposed constitutional amendments to remove the so-called “para-politics” investigations from the court’s jurisdiction. It has also blocked meaningful efforts to reform Congress to eliminate paramilitary influence. According to recent news reports, several of the politicians who have come under investigation and have resigned are supporting candidacies of their siblings and spouses to replace them, so that they may retain their influence in Congress.
Links between the AUC and its Successors
There are differences between the successor groups and the AUC. First, the successor groups, for the most part, appear to operate independently from one another—they have yet to form a single coalition articulating their shared goals and interests or coordinating their criminal activities and, in some cases, military-like operations. Second, their leaders are less visible than some of the AUC leaders, such as Carlos Castaño, were. And third, the focus of most successor groups appears to be less on counterinsurgency. Nonetheless, they share with the AUC a deep involvement in mafia-like criminal activities, including drug-trafficking, as has been noted not only by the government but also by the OAS Mission to Support the Peace Process in Colombia (the MAPP/OAS). And as described below, there are other significant ways in which these groups are a continuation of, and are similar to, the AUC’s blocks.
Leadership
Based on police reports about the structure of the successor groups, it appears that most are led by former mid-level commanders of the AUC who either never demobilized or simply continued their operations after supposedly demobilizing. This is true of Pedro Oliverio Guerrero (Cuchillo), the leader of ERPAC; several of the leaders of the groups operating in Medellín; and Ovidio Isaza in the Middle Magdalena region, among others. Daniel Rendón, who led the Urabeños until his arrest in 2009, was also an AUC member and the brother of Freddy Rendón, the leader of the Elmer Cárdenas block of the AUC. The main exception is the Rastrojos group, which is reported to have developed from an armed wing of the North of the Valley drug cartel, which was barred from participating in the demobilization process.
Drug Trafficking and Other Criminal Activity
Like the AUC blocks, the successor groups are deeply involved in drug trafficking and other criminal activities, including smuggling, extortion, and money laundering. In fact, the AUC was a descendant of “Muerte a Secuestradores” (Death to Kidnappers), an alliance formed in the 1980s by the drug lords Pablo Escobar, Fidel Castaño, Gonzalo Rodríguez Gacha, and others to free relatives or traffickers who had been kidnapped by guerrillas.
In Norte de Santander, for example, even though the Catatumbo Block of the AUC engaged in horrific massacres and killings of civilians whom they labeled as “guerrilla sympathizers,” sources said they rarely confronted the guerrillas directly. One of their main activities was controlling the lucrative drug corridors and smuggling over the border with Venezuela, as well as extortion and other criminal activity.
Many well-known paramilitary leaders like “Don Berna” or “Macaco” were known primarily as drug traffickers before they claimed the mantle of paramilitarism.
One senior police officer went so far as to tell Human Rights Watch that he saw clear continuity between the paramilitaries and the successor groups, in the sense that the AUC’s blocks “were not paramilitaries; they were narcotrafficking mafias that latched on to paramilitarism. [The successor groups] are the product of a demobilization process that was full of lies. Those guys tricked all of us. They included young boys who were displaced. The ones who killed did not demobilize.”
Counterinsurgency Operations
Human Rights Watch received information indicating that some of the groups (or sectors of them) occasionally engage in counterinsurgency operations and persecute persons whom they view as FARC collaborators, particularly in regions where the FARC still has a presence. For example, in Meta, residents reported that members of the successor groups had been seeking information about persons who might have helped guerrillas, and had threatened some people as “guerrilla collaborators.” In Nariño, too, Human Rights Watch received reports of possible confrontations between some of the successor groups and the FARC.
Many of the threats that trade unionists, human rights defenders, and others have received from the successor groups refer to their targets as guerrillas or guerrilla collaborators, using language similar to that used by the AUC. Similarly, threatening flyers that have appeared in many Colombian towns and cities in the last year or so, and which are sometimes signed by “Black Eagles” or other similar groups, often label their recipients “military objectives” and accuse them of being “guerrillas.”
Most successor groups appear less focused on counterinsurgency than the AUC. In fact, government sources often speak of links between the successor groups and FARC or ELN guerrillas, at least for purposes of drug trafficking. Several sources told Human Rights Watch that in Nariño and Cauca, the Rastrojos (which were never part of the AUC) have developed an alliance with the ELN guerrillas against the FARC to control territory for drug trafficking.
Yet the AUC itself included several groups that did not have a strong counterinsurgency focus, such as Don Berna’s groups in Medellín, which were to a large extent focused on controlling criminal activity. The same is true of the groups run by Carlos Mario Jiménez Naranjo (“Macaco”), the head of the Central Bolívar Block of the AUC; Rodrigo Pérez Alzate (“Pablo Sevillano”), the head of the Liberators of the South Block; and Francisco Javier Zuluaga (“Gordolindo”) who led the Pacific Block of the AUC.
According to one of the specialized prosecutors charged with investigating the successor groups, these groups are “a development from the paramilitaries... That ideological base that the paramilitaries had, which was already very questionable, now they have it even less.”
III. The Rise and Growth of the Successor Groups
The AUC demobilizations officially ended on August 15, 2006. In their aftermath, scores of successor groups with close ties to the AUC appeared around the country.
The OAS Mission to Support the Peace Process in Colombia (or MAPP), tracking official information from the Colombian police, reported in early 2007 that it had identified “22 units, with the participation of middle-ranking officers—demobilized or not—the recruitment of former combatants... and the control of illicit economic activity.” The MAPP estimated the groups had approximately 3,000 members.
Since then, the groups’ membership and areas of operation have consistently grown. Estimates of the successor groups’ number and membership vary a great deal by source, but in some cases run as high as 10,200. In mid-2008, the MAPP expressed concern “about the continued existence and even increase in these factions, despite actions taken by law enforcement agencies. This shows a significant resistance and revival capacity, with resources making possible ongoing recruitment and the persistence of corruption at the local level.”
The police, who have the most conservative figures, say the total number of groups has dropped, as many have fused or absorbed one another and some have disappeared or been defeated. But their membership and regional presence continues to grow. As of July 2009, the police reported that the groups had 4,037 members, an increase over the 3,760 they said existed a few months before, in February of 2009. They operate in 24 of Colombia’s 32 departments. Police figures also show that between February and July of 2009, the groups increased their areas of operation by 21 municipalities, jumping from 152 to 173.
The Principal Successor Groups
As of mid-2009, police documents stated that eight successor groups were in operation. According to sources in the police and the Office of the Attorney General, four of the groups are significantly stronger and are the main focus of attention of the authorities:
Los de Urabá or the Urabeños: This group was formerly run by Daniel Rendón (also known as “Don Mario”), a non-demobilized AUC member who was also the brother of Freddy Rendón Arias (“El Alemán”), the former leader of the “Elmer Cárdenas” Block of the AUC, which supposedly demobilized in 2006. After Don Mario’s arrest in early 2009, the police reported that the group had come under the command of Juan de Dios Usuga David, also known as “Giovanni.” However, in October 2009 the police reported the arrest of another man, Omar Alberto Gómez, known as “El Guajiro,” whom they identified as the group’s leader. According to police documents, this group, which has in the past used other names such as “Heroes de Castaño” (the “Heroes of Castaño,” alluding to disappeared AUC chief Carlos Castaño) and “Autodefensas Gaitanistas de Colombia” (Gaitanista Self-Defense Forces of Colombia) has spread its area of operation from the Urabá region of Chocó and Antioquia to nine departments and seventy-nine municipalities. The group is reported to have 1,120 members.
The Rastrojos: According to multiple reports received by Human Rights Watch, the Rastrojos were an armed wing of the North of the Valley drug cartel, who have historically been tied to Wilber Varela (also known as “Jabón”), a drug trafficker who was reportedly killed in Venezuela in January 2008. They were believed to have had links to demobilized paramilitary leader Carlos Mario Jiménez (also known as “Macaco”). The group attempted to participate in the demobilization process but ultimately was not allowed to do so because the government considered it a criminal organization. Official documents state that the Rastrojos now operate in 10 departments and 50 municipalities, have 1,394 members, and are commanded by Javier Antonio Calle Serna (also known as “El Doctor”).
The Paisas: Multiple sources told Human Rights Watch that the Paisas are the heirs of paramilitary leader Don Berna, and are related to his “Envigado Office,” a criminal organization in Medellín. Don Berna is reported to have retained control over these groups from prison. Since his extradition, there have been reports of substantial infighting and possible fracturing of the groups. Official documents state that the Paisas operate in 7 departments and 45 municipalities and have 415 members; their leader is said to be Fabio León Vélez Correa (also known as “Nito”).
Ejército Revolucionario Popular Antiterrorista Colombiano, or ERPAC (Colombian Revolutionary Popular Antiterrorist Army): This group is led by Pedro Oliverio Guerrero Castillo, also known as “Cuchillo.” Cuchillo is a long-running paramilitary leader, first operating in the private army of drug-trafficker Gonzalo Rodriguez Gacha, and then joining the AUC’s Centauros Block. He is reported to have killed the then-leader of the Centauros Block, Miguel Arroyave. He participated in the demobilization process as the leader of the Heroes del Guaviare front of the Centauros Block, but continued his illegal activity. The ERPAC operates mostly on the plains east of Bogotá, in the departments of Meta, Casanare, Vichada, and Guaviare, though police reports state it also has a presence in Arauca and Guainia. Police estimate it has 770 members.
In addition, the police report having identified the following other groups:
Renacer (Rebirth): The police report that this group operates in 11 municipalities of the department of Chocó under the leadership of José María Negrete (also known as “Raúl”), and has 100 members.
Nueva Generación (New Generation): Human Rights Watch has received substantial credible information indicating that this group was created by members of the Liberators of the South Block of the AUC almost immediately after its supposed demobilization. The police report that this group operates in three municipalities in the department of Nariño, under the leadership of Omar Grannoble (also known as “El Tigre”) and has 114 members.
Los del Magdalena Medio (the ones from the Middle Magdalena region): The police report that this group operates in eight municipalities in four departments and has 80 members. Its leader, according to police documents, is Ovidio Isaza (also known as Roque). Isaza is a former leader of the AUC in the Magdalena Medio region. He is also the son of Ramon Isaza, one of the first and most prominent AUC leaders. After participating in the demobilization process, he never went through the Justice and Peace Process, and was released by authorities due to lack of evidence.
The Machos: Like the Rastrojos, this group is reported to be the armed branch of a preexisting drug trafficking cartel. The police reports it operates in two municipalities of the Valle del Cauca department and has 44 members.
Interviews with victims and local authorities around the country suggest that Colombian police figures underestimate the membership and number of the successor groups. In some regions, Human Rights Watch received reports about the existence of groups that the police did not recognize as such. For example, in an interview with Human Rights Watch, a senior member of the police said that the Black Eagles group in Nariño is “more mythical” than real. Yet Human Rights Watch received repeated, consistent statements from people in Nariño about the operation of the Black Eagles, who controlled territory in several areas, threatened civilians, and were apparently engaged in a bloody turf war against the Rastrojos over control of the port city of Tumaco. Less than two months after denying the existence of the Black Eagles in meetings with Human Rights Watch, the police announced the arrest of 36 members of the Black Eagles in Nariño. Similarly, even though the police list ERPAC as having 770 members, news reports cite the army and the investigative arm of the Office of the Attorney General as estimating that it has 1,120 members and is rapidly growing through active recruitment.
What are the Black Eagles?
In many different parts of the country, witnesses that spoke to Human Rights Watch said that the persons who were controlling crime and killing, forcibly displacing, raping, or threatening them, had identified themselves as members of the “Black Eagles.” Often, flyers and written threats against human rights defenders and others are signed by the Black Eagles.
Yet members of the Police told Human Rights Watch that the “Black Eagles” was not a single group, but rather a convenient label that many groups, including local gangs, had appropriated to generate fear in the population.
As described later in this report, in Nariño, Human Rights Watch received consistent reports by several residents and authorities that indicate that the Black Eagles in that region are in fact a single successor group with a high level of coordination, operating in many ways like a former AUC block. In Urabá, Human Rights Watch received reports that the local successor group (there called the Urabeños) at times has called itself the Black Eagles, using the name interchangeably with others. These groups, at least, are not simply local gangs. Nonetheless, Human Rights Watch did not receive substantial information indicating that the various groups using the label Black Eagles are a single national group.
Recruitment of New Members
The successor groups have been actively recruiting members, offering very high wages, and sometimes threatening people to get them to join. They often target demobilized persons.
According to one demobilized individual in Sucre, when he demobilized in 2005, his commander told the group that “whoever wanted to turn himself in should do so, but that whoever wants to return, should return” to their area of operation in Antioquia. “They’re there. That’s not over,” he said. In fact, “there are lots of active groups of the same paramilitaries. Even yesterday when I went to school a classmate told me that ‘Cucho’ called him so we would pick up some guys and go out there. They’re paying 500 or more. They’ve approached me several times, old commanders, friends... Lots of guys have gone.”
Another demobilized man said that “there were people who went to the new groups... There are kids who ask me if I’d go again. You’re afraid to talk to anybody. Many have been killed because they’ve spoken about something. The self-defense forces aren’t finished.... There are other people who go too, new people. [The pay] doesn’t drop below half a million pesos. It’s easy to enter, but leaving is difficult.” A local official in Sincelejo told Human Rights Watch that he knew of approximately 14 cases in which demobilized men had been approached by their former commanders to rejoin their groups.
A member of an organization of demobilized paramilitaries in Barrancabermeja said that members of his organization had been murdered. “We’re in a tough moment because we are being threatened by people who want us to return to crime. It hurts because we’ve tried to organize, but we have received threats... [T]here are still criminal groups that see the demobilized as possible recruits and they do it through threats.”
He recounted how, in mid-2008, when a group of demobilized men was attending a psychological support session outdoors as part of the reintegration program, armed men passed by in a motorcycle and shot at them, injuring the psychologist and three of the program participants. A few days later, on August 19, he said he received a call from someone saying he should meet the “new company” at a soccer field. The demobilized man said they threatened his family. He did not go, but was afraid of what would happen.
MAPP officials told Human Rights Watch that they estimated that more than 50 percent of the members of the successor groups were new recruits. Often, the groups use threats and deception to convince new members to join, according to the MAPP. They said some of the strongest recruitment they had documented was taking place in the regions of Urabá, Cesar, La Guajira and the Middle Magdalena, Buenaventura, and the Nariño coast. “There are historic areas for recruitment, that the groups know,” said a MAPP representative.
Often recruits are taken to work in distant regions. For example, in the southern state of Nariño, Human Rights Watch received numerous reports that many members of the group that citizens identify as the Black Eagles had an accent characteristic of people from Antioquia, in the north of the country. Similarly, Human Rights Watch received reports that many young men from the western Urabá region were operating under Cuchillo’s command on the plains states, in the east of Colombia.
One man in the Urabá region of Chocó department described how the Black Eagles had taken 18 young men from Belen de Bajirá. “One was my grandson and he escaped. They took them to Guaviare to join the Black Eagles there. They’re new faces, not from here. And they send the ones from here to other places.”
The groups’ frequent recruitment and movement of men from one part of the country to another suggests a high level of national integration and operation by the groups.
Human Rights Watch also received reports of young men who remained in the demobilization program but were simultaneously working for paramilitary groups. Sources that work with the reintegration program in the department of Norte de Santander said that many participants, especially in the towns of Tibú and Puerto Santander, “continue committing crimes. But we can’t do anything until somebody reports them... [T]he guys are with the police and pass in front of the police, and even the community itself seeks them out [instead of] going to the police to complain... It’s perverse... But there’s a situation of silence... even though it’s a widely known secret [secreto a gritos].” One demobilized man living in Puerto Santander agreed, stating that “the ones in Puerto Santander have a strange monopoly... They go to the training sessions and meetings with the OAS but they’re working with the Black Eagles.”
IV. The Successor Groups’ Human Rights and Humanitarian Impact
The successor groups are committing widespread and serious abuses, including massacres, killings, forced disappearances, rape, forced displacement, threats, extortion, kidnappings, and recruitment of children as combatants.
The most common abuses are killings of and threats against civilians, including trade unionists, journalists, human rights defenders, and victims of the AUC seeking restitution of land and justice as part of the Justice and Peace Process. They are one of the main actors responsible for the forced displacement of over a quarter of a million Colombians every year.
The MAPP has noted that in several regions people “do not perceive an improvement in their security conditions” as a result of the paramilitary demobilization. Colombians in many different regions told Human Rights Watch that the climate of fear in which they lived had not meaningfully changed as a result of the demobilizations.
The government has occasionally acknowledged this fact, in an indirect manner. For example, in its 2007 report on human rights in Colombia, the Human Rights Observatory of the Vice-President’s Office stated that “[h]istorically the self-defense forces were the principal group responsible for massacres in the country, but with their disappearance... there is an increase in the percentage of cases with no known author... [S]everal of these cases ... are linked to the appearance of new criminal gangs linked to drug trafficking.”
In fact, between 2007 and 2008 the number of yearly massacres in Colombia jumped by 42 percent, to 37 cases (involving 169 victims) from 26 cases (involving 128 victims). According to the Human Rights Observatory, the successor groups were using the massacres “as a means of revenge, to take control of territory, show power, and conduct ‘purges’ within their organizations, all of this directed towards controlling the drug business.”
Violence and Threats against Vulnerable Groups
In every region Human Rights Watch visited, it received numerous reports of threats and killings by the successor groups. Often their targets are human rights defenders, trade unionists, journalists, and victims of the AUC who seek to claim their rights. Such threats often have a chilling effect on, or otherwise impair, the legitimate work of their targets.
For example, on November 4, 2007, Yolanda Becerra, president of the Popular Women’s Organization (Organización Femenina Popular or OFP) in Barrancabermeja, Santander department, reported being assaulted, beaten, and injured by armed men who broke into her home and told her that she had 48 hours to leave town or they would “finish off her family.” She had previously reported receiving a written death threat from “Black Eagles” and had been labeled an “enemy of the peace process” by a former paramilitary commander. As a result of the threats and attack Yolanda had to move from Barrancabermeja to Bucaramanga, where she continues leading the OFP, but has to take significant security precautions.
A woman who coordinates a group on disappearances said “I live in a high-risk community where we coexist with the paramilitaries. This year people arrived at my house and said that I had to defend ... a demobilized paramilitary who was in jail. They threatened me.”
In the first half of 2008 there was a wave of threats against human rights groups, trade unionists, and others, usually signed by Black Eagles or other successor groups. Several of the threats targeted people associated with a massive march against paramilitary violence and state crimes on March 6, 2008. For example, on March 11, 2008, the “Bogotá Block” of the “Black Eagles” sent one threat in three parts to various organizations and people involved in the march, calling for “death to the leaders of the march, guerrillas, and collaborators,” and declaring various organizations and individuals to be “military objectives.” Another written threat circulated the following day to Semana magazine, the CUT trade union confederation, Peace Brigades International, indigenous groups, and human rights organizations. Signed by the head of the “Central Command of the Rearming Black Eagles,” this threat announced a “total rearming of paramilitary forces” and declared various groups to be military targets. In the week following the march, four trade unionists were killed—some of them were reported to have been organizers of the march in their region. The organization Nuevo Arco Iris, which has been deeply involved in monitoring paramilitary infiltration of the political system, reported a break-in by armed men who stole computer files. The UN High Commissioner for Human Rights also reported that on February 28, 2008, there was a shooting against the house of Luz Adriana González, a member of the Permanent Committee for the Defense of Human Rights and a promoter of the March 6 event in the department of Pereira.
The threats have included international observers and foreign embassies. In March 2008, eight foreign embassies in Bogotá were reported to have received threats signed by the “Black Eagles.” Similarly, in November 2007, a representative of the MAPP was threatened by successor groups operating in Medellín.
In the southern part of Bolivar department, the Peace and Development Program of the Magdalena Medio, as well as various priests and non-governmental organizations and the trade union Fedeagromisbol, reported receiving threats in the first half of 2008 from “members of paramilitary structures that operate freely, publicly, and openly in the South of Bolivar.” Specifically, they had received e-mail threats signed by “Black Eagles, Northern Block of Colombia,” indicating that they were being followed and that the “annihilation plan against [them] could start at any moment.”
Diro César González Tejada, a journalist in Barrancabermeja, Santander, who self-publishes a small local newspaper that reports on violence and human rights abuses in the city, described being displaced for a year after two armed men went looking for him at his house. After returning to Barrancabermeja, he said, “we have been permanently followed by armed men who are recognized paramilitaries.” Diro said that he receives threats at his office and that the successor groups “constantly call my wife, recounting to her where she has traveled and saying ‘we’re going to kill you’... Except for going to the office, I don’t leave my house. I don’t have a social life, I can’t go anywhere without my guards.” Diro said he had been able to protect himself through the support of non-governmental organizations and due to international attention to his case, but state authorities had regularly denied that anything was happening in Barrancabermeja. “If this is my case as a journalist, what can you expect when a peasant makes a complaint?” he said.
In November 2009, several human rights and indigenous groups in Nariño received a written threat signed by the Rastrojos’ “Urban Commandos,” which associated the organizations with left-wing guerrillas and warned their members might be killed.
Raped and Threatened for Helping Victims
“Lucía,” who asked not to be identified by name, described being raped by the Black Eagles in Eastern Antioquia in 2007 to punish her for her work supporting victims:
I was advising a woman [who had been a victim of the AUC]. It was raining and far from the buses so I spent the night. After midnight someone knocked on the door... Five men in hoods calling themselves the Black Eagles broke in and began interrogating me about my work... They told me it was forbidden for me to do that in the municipality. They didn’t want victims to know their rights or report abuses. Before leaving, two of the men abused the woman and me sexually, for a long time.
Lucía got pregnant as a result of the rape, but said she eventually had a miscarriage “from the anger and depression... It’s the most horrible thing that can happen to you because you feel incompetent and completely vulnerable because you can’t do anything.... It’s their way of intimidating people.” When Lucía continued her work, the Black Eagles found her again:
Each time I did less. [But then] a TV promo appeared [featuring some of my work. The next day] four armed men knocked on my door. They put me on their pick-up truck and blindfolded me. I thought I would never return home because there had been a lot of very tough killings, where they were leaving people chopped up... Only a short time before they had killed one of my friends and left her in pieces in a sack... [Another man] said they didn’t know how to talk to me, they asked if I didn’t have a family, and if it hadn’t been enough with the other lesson.... They gave me 15 days to leave the region.
The threats against her family finally forced Lucía to try to report the crimes and leave town, but she faced numerous difficulties in getting assistance:
I went to the National Commission on Reparation and Reconciliation but they said they couldn’t do anything and sent me to the Justice and Peace prosecutors. The prosecutor ... said she couldn’t do anything because it happened after the demobilization process. I had to go home. [Later] I went to the Gaula to report it as a kidnapping... When they finally met with me, they laughed and said it was my fault because I knew human rights defenders get killed, and I shouldn’t have continued after the warning.... [Eventually] the Ombudsman’s Office in Medellín took the report and [I got protection as a human rights defender for three months through the Ministry of Interior.] Later, other NGOs and institutions have helped me. The investigation has gone nowhere... I now live in fear, because I don’t know who I can trust...
Lucía had in fact been victimized before, but by FARC guerrillas, who kidnapped her in 1995 and held her for ransom for six months. She was finally released when her family bankrupted itself to pay her ransom.
Anti-Union Violence
Trade unionists, who were frequently targeted by the AUC, which stigmatized them as guerrilla fronts, have faced continued threats and violence from successor groups. According to the National Labor School, in 2008 39 trade unionists were killed. Complete numbers for 2009 were not yet available as of this writing, but as of December 7, the National Labor School had registered 36 killings of trade unionists in the year. Due to the widespread impunity in such cases, in most registered cases of anti-union violence the perpetrator remains unknown. However, there are good reasons to believe the successor groups are involved in many of the killings: in 2008 trade unionists reported receiving 498 threats (against 405 union members). Of those, 265 were identified as having come from the successor groups, while 220 came from unidentified actors.
The threats have a chilling effect on union activity. For example, Over Dorado, from the ADIDA teachers’ union based in Medellín, said that in the first nine months of 2008 he had received 20-25 threats over the phone and email. In a recording of one such phone threat, which he played for Human Rights Watch, the perpetrator accused him of being a terrorist and mentioned a failed attack against him. Because of the overwhelming failure to hold perpetrators to account in past cases of anti-union violence, such threats are even more alarming to unionists. Dorado said one of his colleagues, Julio Gómez, a senior member of the union, was killed in 2007. “But they only came to interview me about the case three days ago. He was killed a year ago, and they are only investigating now because of pressure from the gringos... The death of union leaders has affected the organization a lot, because we were strengthening the union and having an effect on national politics.... But the threats have a silencing effect.”
In Cúcuta, representatives of ASINORT, another teacher’s union for the state of Norte de Santander, said that even though there were fewer killings of union members than in the past, “the violence has transformed itself... [T]hey kill a few and threaten the rest. The threat is effective and people are afraid of speaking out.... Among the unionists, fear prevails, [and union activity] is almost underground. We keep the lowest profile we can.”
Local Threats and Killings: a Constant Problem
The successor groups not only target human rights defenders, trade unionists, and journalists, but also ordinary citizens, including peasants, community leaders, small business persons, and simply neighbors who get in the way of the groups’ objectives.
In Cúcuta, sources described how successor groups had circulated flyers ordering curfews in certain neighborhoods, where they were seeking to control lucrative contraband and the drug business. “They control the neighborhoods through social cleansing. The flyers state that after 9 p.m. they can’t go out,” said an international observer in Cúcuta. “People see the drugs ... and behind this, there are other businesses, money-lending, police corruption. They handle the daily problems in the neighborhood.... They recruit young men.”
Some sources said that, before the demobilization, the AUC had taken over the provision of “private security services” in the city, and the successor groups were pursuing the same strategy. “They began to kill the security guards in the communities to replace them with their own cooperatives of security guards and in that way control the community. They killed the security guard in our neighborhood,” said a representative of Fundación Progresar, a human rights organization in Cúcuta. Another resident said “the security committees search people, mistreat them.... They threaten you, they get you with kicks and fists. There are informants about everything that’s going on in the neighborhood. Now we’re afraid to go out at night. The sense of anxiety continues.”
The president of a neighborhood council in Cúcuta described narrowly escaping being killed by unknown assailants who may have belonged to successor groups: “I was afraid of joining the council because my wife had warned me that people who joined were ‘disappeared’ or killed... After the first meeting ... I was walking and young men approached.... The man walking next to me got shot in the shoulder and dropped to the ground. Then they shot me six times.... I don’t understand how I survived because the guy next to me ... died.”
One demobilized man told us that in Puerto Santander (Norte de Santander) “people involved in contraband have to pay the Black Eagles.... They met with the gasoline carriers ... and made a list of the people who buy gasoline... [T]hey’re in drug trafficking too... They take care of coca crops ... and have labs and handle transportation. The police protect them.”
A woman in Medellín said that she had been displaced from Turbo, Antioquia, after receiving threats from a group she identified as the Black Eagles. “They threatened us because we were selling drugs.... I think they are the same paramilitaries but they have changed names. The paramilitaries also used to persecute the people who sold drugs if they didn’t pay them a tax... They have killed dealers and young people... I was directly threatened: two men came on motorcycles and said that those people who sell drugs will be killed.”
Threats and Violence against Victims of the AUC
Victims and relatives of victims of the AUC who have sought to obtain justice for the paramilitaries’ crimes have repeatedly been threatened, attacked, and even killed. Often, they point to successor groups as the sources of the threats.
The most prominent case involves Yolanda Izquierdo, who was shot to death alongside her husband outside their house in Córdoba in January 2007. Izquierdo had been representing families who were seeking the return of thousands of hectares of land under the Justice and Peace Process. She had repeatedly sought protection from the authorities, but her requests had gone unheeded. Police have since arrested Víctor Alonso Rojas (known by his alias as “Jawi”), an alleged member of the “Urabeños” and reported to be former close advisor of AUC leader Salvatore Mancuso, for the killing. Human rights prosecutors have also charged Sor Teresa Gómez, a sister-in-law of AUC leaders Carlos and Vicente Castaño, in connection with the assassination. Gómez is known for controlling extensive tracts of land, reportedly taken from displaced persons by paramilitaries, in the Urabá region.
A victim from the El Salado massacre told Human Rights Watch that she had not told her story to representatives from the Attorney General’s Office because she was afraid she or her children would be attacked if anyone found out what had happened to her: “[in my city] I don’t say I’m from El Salado because I have my kids.... Because [the city I live in] is very dangerous, at 6 p.m. we already have the door closed. I’m calm in the day but not at night because the Black Eagles are there.”
A woman who had filed a complaint about her father’s disappearance described how a successor group forced her to move out of her home in 2006: “The group arrived at my house and threatened us... [T]hey took away my documents. They ... said that if I complained about disappearances or being displaced, they would kill me... [T]here were 35 of them and they were camouflaged.”
Another group of relatives of persons killed in an AUC massacre in Santander said they had been threatened after seeking justice through the Justice and Peace Process, but they were too afraid to disclose details of the threats. Similarly, the family of the members of an investigative commission from the Attorney General’s Office who were “disappeared” or executed by the Northern Block of the AUC have reported being threatened and harassed for seeking the truth about the fate of their loved ones.
According to the Office of the UN High Commissioner for Human Rights, in 2007 the National Police reported 160 death threats against victims claiming their rights and the National Commission on Reparation and Reconciliation recorded 13 murders of victims pressing for restitution of their land and other assets.
Juan David Díaz: Threatened for Seeking Justice
Juan David Díaz Chamorro is the son of Eudaldo “Tito” Díaz, who served as mayor of El Roble, Sucre, and was killed in April 2002 by paramilitaries, allegedly operating in collusion with local politicians. At a 2002 regional security meeting with President Uribe, senior officials from the public security forces, and several Sucre regional officials including governor Salvador Arana, Tito had complained that regional politicians were trying to take resources from the El Roble treasury to finance the AUC, and he reported how thousands of people in the department had been killed by the paramilitaries. Juan David claims Tito was later persecuted by paramilitaries and pushed out of office by corrupt officials. In a community council with President Uribe on February 1, 2003, Tito repeated his earlier statements and said he was going to be killed for what he had been reporting.
Three months later, on April 5, Tito was assassinated. Tito left home saying he was going to attend a political meeting with senior officials, but after the meeting he disappeared. On April 10, Tito’s body was found on the road with signs of torture and multiple bullet wounds. He was in a crucified position, with his mayor’s credentials on his head. In his shoe, the family found a letter from Tito dated April 8 and addressed to “commander Rodrigo” (known as “Cadena,” the local paramilitary chief). In the letter, Tito begged for a meeting with him and asked that Cadena spare his family.
“The disappointing thing is that all the politicians my father had denounced were rewarded. One of the men he accused was named military attaché in France.... Another was named ambassador to Chile.... No one is paying for their crimes,” said Juan David. President Uribe appointed the former governor of Sucre, Salvador Arana, ambassador to Chile shortly after the murder.
The day of his father’s murder, Juan David received threats from people who said he had 24 hours to leave Sucre. He left for two years, but returned and began working with the Movement of Victims of State Crimes. Since then, he has been engaged in a persistent and frustrating struggle to bring his father’s killers to justice. He has repeatedly received threats.
They have tried to kill me in the street. They have threatened me and persecuted me, and told me to leave the department or the same thing that happened to my father would happen to me for continuing to denounce the paramilitaries and working for justice. But I won’t leave Sucre because I have to lift the flag that my father tried to lift and was destroyed.
Juan David says that 11 witnesses in the case have been assassinated, there have been attempts on the lives of two others, one has disappeared, and others have been threatened. In a recent message, Juan David said that “the threats against me and my family have increased, in the form of pamphlets, emails, and an attempt on my life that they tried to carry out on March 27, [2009,] all this to keep us from continuing to press for our right to justice.” Juan David believes that the men who tried to kill him in March were members of the Paisas. A recent threat arrived by e-mail, in October of 2009, and it warned that if Arana was convicted Juan David’s family would die.
Nonetheless, six years after the murder, the Colombian Supreme Court has convicted Arana of collaborating with paramilitaries and of involvement in the murder of Tito Díaz, and has sentenced him to 40 years in prison. According to Juan David, other officials and paramilitaries who may have been involved in the killing have yet to be tried.
Internal Displacement
Paramilitary groups are considered to have been responsible for more displacement than any other single actor in Colombia—37 percent according to a recent study done as part of the Colombian Constitutional Court’s monitoring of the plight of displaced persons.
The demobilization process did not result in a significant and sustained decline in displacement, as one might have expected. On the contrary, according to Social Action, in the years following the demobilization, internal displacement rates went up in Colombia.
According to official figures, after dropping to 228,828 in 2004, the number of newly displaced persons went up each year until it hit 327,624 in 2007. The official 2008 numbers are a little lower, at 300,693, but still substantially higher than at the start of the demobilization process.
A prominent organization monitoring displacement in Colombia, CODHES (Consultoria para los Derechos Humanos y el Desplazamiento), reports different numbers, finding that around 380,863 people were displaced in 2008—a 24.47 percent increase over its number (305,966) for 2007.
In statements to human rights groups in mid-2009, the director of Social Action highlighted the fact that Social Action’s numbers for 2009 so far appeared to reflect a significant drop in displacement for the year: as of September 30, it had registered 86,397 new cases for 2009. Nonetheless, as of this writing it is too early to determine whether the 2009 numbers, once fully tallied, will show a drop in internal displacement.
The head of Social Action told Human Rights Watch that the reasons for the rise in displacement, at least between 2006 and 2007, might have included the victims’ “perception of violence” where there was no real threat, and “processes of manual eradication of coca crops, which led the [armed] groups to put pressure on the civilian population, as well as territorial disputes [among armed groups].”
CODHES, meanwhile, attributes the increase in displacement through 2008 to many factors, but highlights in particular the growth of the successor groups.
Whether or not the successor groups are the main cause of the rise in displacement after 2004, it is clear that they are a significant factor causing displacement. Human Rights Watch received many reports of displacement by successor groups, usually due to threats. One woman described her experience in the south of Cesar department:
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Dates refer to when review was written
Da Ali G Show (11/01)
Sacha Baron Cohen created "the voice of youth," Ali G, a Tommy Hilfinger-wearing semi-ethnic wannabe, originally for The 11 O'Clock Show and was so successful that Channel Four spun him off on his own comedy series. Ali's big claim to fame (at least until everyone in Britain got wise to it) was to interview members of the Establishment and make them look like fools with his moronic questions. It's amazing how many fell for it (I guess they don't watch late night telly on Four) although Ali has had to take his act on the road to America sometimes in order to find unsuspecting victims for his comic assaults (an assistant director for the FBI plays right into his hands with hilarious results). Studio guests including Mohammed Al-Fayed (owner of Harrods and defender of a notorious libel suit in Britain) turn up as well (presumably in on the joke). To his credit, after appearing in a Madonna video, Baron-Cohen has hung up his Ali G gear rather than beat a one-joke gimmick to death. But who will represent "Britain's youth" now?
Dad (11/97)
Like Keeping Mum, this sitcom is about adult children of parents who drive them mad, in this case Alan (Kevin McNally) whose short fuse is continually lit by the well-meaning but maddening George Cole. Not to mention Alan's teenage son who is already driving him crazy and you wonder how Alan ever managed to make it to middle age in one piece. Not brilliant, but Cole, as always, is impossible to hate.
Dalziel and Pascoe (11/96)
Three separate detective mysteries starring Warren Clarke (Moving Story, Sleepers) as annoying working class detective Dalziel (pronounced DEE-el) who along with his new partner, the Oxford educated Pascoe, get involved in movie-length cases each with its own milieu. The first, "A Clubbable Woman," is based at the Rugby Association Dalziel is a member, and involves murder, a scandal, and secrets. Pascoe is completely out of his depths here. But the shoe is on the other foot in the second story, "An Advancement of Learning," set in Oxford and involving Pascoe's fiance, where a body is discovered under a 20-year-old statue and more skeletons are uncloseted in the process. The final story, "An Autumn Shroud," has Dalziel end up by accident at the stately home of a recent widow where more mysterious activities rapidly turn up. These co-productions with A&E allegedly showed here with extra footage. In any event, they're worth checking out.
(7/98)
Two new feature-length mysteries based on the Reginald Hill books with the double act of working-class Yorkshireman Dalziel (Warren Clarke) and his partner, the Oxford educated Pascoe. In the first, "Under World," the body of a coal miner gone missing for years and thought responsible for a child-killing resurrects hidden secrets, as well as hidden passions for Pascoe's wife Ellie. In "Child's Play," we learn some new things about Detective Wield when a long-lost heir shows up setting off a family's scramble for the estate.
(3/99)
In new feature-lengthed movies, "Bones and Silence" the odd-couple team of midlands detectives get involved in case of adultery and murder, while dour DI Dalziel (Warren Clarke) is drafted to play God for a play by a visionary director (Josette Simon, looking like she just stepped off the set of Blake’s 7 17 years ago!). In "The Wood Beyond" flashbacks to Pascoe's grandfather in WWI are connected to a murder in contemporary times.
Dancing On the Edge (3/13)
Stephen Poliakoff wrote and directed this ambitious BBC mini-series set in 1930s London about the rise and fall of the Louis Lester Band, jazz musicians who eventually play for the Prince of Wales. Chiwetel Ejiofor stars as Louis, a British born bandleader who comes to the attention of music magazine writer Stanley (Matthew Goode) who promotes the band and eventually gets them an ongoing gig as permanent residents in the posh Imperial Hotel. At first their jazz music is not well-received by the establishment, but patrons (including Anthony Head and Jacqueline Bisset) who are eager to experience the next new thing help them open the right doors, meet the right people, and eventually even get on the staid old BBC. But Poliakoff also examines the racism of the era, though not as bad as America at the time, most of the characters (admittedly upper class) treat Louis and his band as equals, at least when everything is going well. But when the lead singer (Angel Coulby) is discovered dead and Louis suspects the young protege of mysterious American tycoon Masterson (John Goodman), things turn ugly and Louis isn't sure who, if anyone, is still his ally. Louis sometimes is a bit too paranoid for his own good, although based on his experiences, not entirely unjustified.
The Dark Room (1/00)
Dervla Kirwan (Ballykissangel) stars in this two-part BBC drama as an amnesiac accident victim who may have committed a double murder. Her manipulative father (Paul Freeman, the villain in "Raiders of the Lost Ark") tries to pull strings, but the police are hot on the trail and she is the chief suspect. Will her memory return in time to solve the mystery or is someone after her as well?
The Darling Buds of May (3/93)
Most of the urban young people I know in the UK hate this series because it represents the past, a simpler time, and they see it having no bearing on their current situation. Fair enough, but I quite enjoy it. The Larkin family are practically the Waltons incarnate, and it is jolly good to see people act nicely towards each other and have things turn out well. In a way it is almost an anti-soap opera: warm family values instead of characters forever doing dirt to each other as the tragedies pile on. Considering the huge popularity of soap operas in the UK, it is refreshing to see a drama take a much different approach - and be successful. Catherine Zeta-Jones began her career playing David Jason's daughter in this series.
Dates (11/13)
Channel 4 series about a series of first dates that at first go spectacularly wrong but then head off in an unexpected direction. It appears to be an anthology series with a different set of characters each week, but then old ones come back and we realize we're seeing one interconnected universe. The cast included Ben Chaplin, Will Mellor, Andrew Scott, Oona Chaplin, Greg McHugh, Gemma Chan and Sheridan Smith.
The Day Britain Stopped (3/04)
Chilling (and fortunately entirely fictional) documentary about a transportation disaster that begins as a chain reaction on the M25 motorway and ends with a mid-air collision between two jetliners over Heathrow. Done in riveting BBC style with interviews, reenactments, and actual "footage" that recreates the incident after the fact and looks for answers. The gist of the writer's message is Britain's transportation system is an interlocking mess and the conditions still exist for what he showed dramatically could still occur in real life.
Daydream Believers (1/03)
A clever pilot from Channel 4's "Comedy Lab" about a suburban hack sci-fi writer whose interactions with friends and neighbors become elements of the space epic he is working on, dramatized in hilarious low-budget glory using the same actors. Sadly this did not go to series but I'm hoping that creators David Mitchell and Robert Webb are given another shot with something equally amusing.
Day Return To Space (3/00)
To celebrate the 30th anniversary of the moon landing (and British TV did a lot more coverage in July 1999 than I saw here in the US), Channel 4 made a fascinating documentary about new rocket concepts that might be used in the next voyage to another world.
Days Like These (9/99)
ITV's remake of That 70s Show fails for so many reasons: for one thing, the experiences of teenagers in a small town in Wisconsin do not translate into Luton, England. Having a car is everything in Wisconsin where the nearest civilization is literally hundreds of miles away. But with London a mere train ride away from Luton, the teenage "car culture" doesn't really need to develop. And Eric Foreman's parents are played all wrong too. As Red in That 70s Show, Kurtwood Smith is the perfect terrorizing father figure, not so much for what he'll do physically but how he can cut you down to size just by calling you a "dumbass." But Trevor Cooper (Star Cops) in the same part can't bring the same moral authority (or call anybody a dumbass), which diminishes his impact. And Eric's mom (rather than Donna's) is played as an airhead. Even though the scripts are based on the American edition, this is like watching a road show version, with a cast that's not quite ready for prime time yet. ITV lost millions on this series and it was quickly pulled.
The Day Today (5/94)
A news parody that makes KYTV (see separate listing) seem sedate. Anything goes here and FOX would do well to imitate this series when their late-night news parody comes on later this year. Tremendous production values and graphics, and delivered completely with a straight face.
DCI Banks (11/11)
Stephen Tomkinson (Ballykissangel), usually cast as a dim-bulb, gets to play a hard man for a change, a Yorkshire police detective inspector solving grisly two-part mysteries in this ITV1 series. Essentially the series is Inspector Morse but set in the North, with a supporting cast of detectives and Banks' interactions with the suspects and his team. Based on the novels by Peter Robertson, the mysteries are nicely adapted by a broadcaster that is well experienced in these sorts of crime dramas.
Dead Boss (10/12)
Sharon Horgan co-wrote and stars in this series as Helen, a woman wrongly accused of murdering her boss and sent to a women's prison run by a wacky warden (Jennifer Saunders) in this BBC-3 comedy. The premise only sustains itself as long as the entire series is populated by dumb, selfish characters. Don't attempt to apply logic or real-world situations to anything that happens on screen. Told in a serialized format, in addition to prison life we see the machinations at Helen's old company as her co-workers scramble for power, her easily intimidated lawyer, and her sister who isn't especially bothered to work on freeing Helen. A number of big name guest stars turn up including Caroline Quentin and Miranda Richardson.
Dead Man Weds (4/07)
Johnny Vegas stars in this ITV sitcom as a lazy journalist at a small town rag who suddenly has to shape up when a new no-nonsense editor takes over. Conveniently a legitimate scandal appears in the making with a large American conglomerate up to no-good in town and our heroes hot on the story. The title of the series comes from Vegas' best-ever headline.
Dead Ringers (3/03)
Celebrity impersonations are the feature of this sketch comedy series that makes a leap from BBC radio. Most noteworthy is Jon Culshaw, a Tom Baker lookalike dressed like Doctor Who in a furniture store making life hell for unsuspecting salesmen (prank phone calls to celebrities as "The Doctor" was his trademark on the radio).
Dead Set (3/10)
TV critic Charlie Brooker devised this brilliant concept: What if zombies attacked the Big Brother house? And we're off! We get a quick glimpse of the behind-the-scenes personnel (including the fire-breathing producer) before all hell breaks loose and we are given a proper zombie movie with tons of gore, death and destruction. Eventually a few survivors hole up inside the Big Brother house (including a plucky production assistant), but the producer's eventual insistence on doing things his way or the highway spells disaster in this novel E4 mini-series.
Death Comes To Pemberley (2/14)
So do Elizabeth and Mr Darcy live happily ever after in Pemberley after the events of Jane Austin's "Pride and Prejudice"? Not in P.D. James' novel, or in this three-part BBC adaptation starring Anna Maxwell Martin as Lizzy (now a mum), Matthew Rhys as Darcy, Rebecca Front as Mrs Bennet and Jenna Coleman as airhead sister Lydia still married to scuzzy Wickham (Matthew Goode). A murder is committed one night and Wickham is the prime suspect. Darcy must help prove his innocence because apparently having a murderer for a brother-in-law would be social death. But it's up to plucky Elizabeth to save the day and solve the murder before Wickham hangs.
Death In Paradise (11/11)
A BBC-French TV co-production mystery drama set in Saint Marie, a Caribbean island that conveniently has a locked-door murder each week. Brought in to solve them is Detective Inspector Richard Poole (Ben Miller) from the Met, which sets up a classic fish-out-of-water interplay with the more laid-back members of the Saint Marie police force. Miller seems a bit miscast as a crack detective who has no clue about human relations, similar to his uptight character in Primeval. But it's an opportunity to cast many well-known black actors including Danny John-Jules, and with guest appearances by Patterson Joseph, Lenora Crichlow, and Don Warrington. ITV have been doing this genre for so long that you expect a particular style and when the BBC give it a shot, something just seems a bit off. Maybe it's Miller's casting, or the attempt to combine humor and murder, but for fans of whodunnits who enjoy beautiful scenery, you could do a lot worse.
The Debt (5/04)
Warren Clarke plays a reformed safecracker whose witless son-in-law (The Office's Martin Freeman) involves him with a gangster and "one more job." Of course it all goes south but what it fascinating is the movie mainly told in flashbacks that give incredible background and detail to the main characters, particularly the police detective so intent on busting Clarke for the crime. Ironically, Clarke once played The Locksmith on another BBC drama, so now you could say he's seen both sides of the biz.
Dee Construction: The Simon Dee Story (7/04)
Simon Dee was to British 1960s talk shows what Johnny Carson was in the U.S. Jumping from pirate Radio Caroline to the BBC, he quickly got his own series and was arguably one of the most famous people in Britain by the late 1960s (even appearing in the classic "The Italian Job" opposite Michael Caine). And then, when the BBC refused to give him a raise, he went over to David Frosts' rival London Weekend Television, bombed (particularly after an on air incident involving George Lazenby) and was off the air within a year, a pariah on TV for 33 years and a cautionary tale of those who succeed too quickly. Or was he? In this documentary presented by TV critic Victor Lewis-Smith, Dee's rise and fall is chronicled in the context of its time, as well as letting him participate in a round table discussion with various TV producers (including Rumpole creator John Mortimer). Needless to say, 33 year in exile has left Dee a little bit bitter, shall we say? and maybe a lot more paranoid (Lewis-Smith can't resist playing some of the ranting phone messages left by Dee as the show was being put together). Channel 4, which produced the show, even lets Dee back on air for one night only doing his old chat show, although the speed he goes through guests barely leaves any time for chat.
The Deep (10/10)
Remember the James Cameron movie "The Abyss" from 21 years ago? If you liked that, you'll like The Deep, an underwater BBC drama starring James Nesbitt and Minnie Driver as scientists. Tobias Menzies (Rome's Brutus) plays a mysterious military attache who takes charge to go on a recovery mission near thermal vents deep under the ocean. But Something Weird is going on. There are mysterious deaths, international conspiracies, and two characters are having an affair--something that comes a huge shock to rest of the crew but to nobody who has ever seen a drama before. BBC Wales produced this series which has pretty good special effects, although the inside of the submarine seems far too spacious with oddly nondescript corridors. Unlike the Cameron film the aliens are a no-show, but if you aren't interested in seeing pretty good actors trapped underwater for six episodes, maybe this isn't the series for you.
Degrees of Error (3/96)
First of two medical thrillers that ran this month. A female doctor takes a job in a testing lab and becomes aware of a conspiracy to cover up the possible side-effects of a popular drug. A fascinating, if fictional, look at how far the pharmaceutical industry will go to cover their ass when there is big money involved.
Delta Wave (11/96)
Children's SF adventure series (a kind of "Tomorrow People Lite") about two gifted children with psychic powers and the female University professor who takes care of them. A series of two-part adventures has the trio get into all sorts of trouble while traveling around the country in a mobile home. Juvenile but effective, with many familiar faces as guest stars: Graham Crowden, Nickolas Grace, Una Stubbs and Mac MacDonald to name a few.
Demob (5/94)
Griff Rhys-Jones and Martin Clunes star in this 6-part drama about two comedians struggling after the War (to "demob" is to be demobilized--discharged--from the Army in England). Touching and surprising, you really care about these guys and hope they can manage some kind of success. Dramatic and funny. Worth catching.
Demolition Day (11/04)
First we had Scrapheap Challenge (aka "Junkyard Wars") where teams competed to build stuff, now they have to create various items and then attempt to make them survive their opponent's demolition efforts using heavy machinery. The best part of these shows is the near the end as hydraulic hammers and caterpillar tractors wreak havoc on carefully constructed buildings.
The Demon Headmaster (7/96)
Children's drama about a sinister school administrator who has hypnotized his students into being obedient drones. When a gang of children thwart him, he sets his sights on a larger target: the Prime Minister. The kids get into so many dangerous stunts during each episode that a voice-over during the credits continually advises viewers not to try this at home.
(1/97)
The Demon Headmaster returns to again threaten the world, this time from a genetics research center, with only the kids from SPLAT able to stop him in this BBC Children's series.
Dennis Potter--Terminal Cancer (7/94)
An interview conducted with the late television playwright (The Singing Detective, Pennies From Heaven) only two months before he died of liver and pancreatic cancer on June 7th. Conducted in a TV studio by Melvyn Bragg, Potter is only able to keep going by drinking liquid morphine. He talks about his career and his final two plays which have yet to be produced: Karaoke and Cold Lazarus. Even though optioned to two different channels, he hopes they'll be shown consecutively. According to "Anglophile," a dispute between producer Kenith Trodd and director Renny Rye is holding up production of either. This fascinating look at one of the best writers ever in the medium is supposedly going to be shown here in America.
Derek (6/12)
Ricky Gervais starred in this one-off drama for Channel 4 (done in the usual style of a docudrama where he can play to the camera) as a mentally-challenged worker at an old folks home. Heeding the advice of Robert Downey Jr in "Tropic Thunder," Gervais does not go "full retard" in his portrayal, although I'd like to see him get away from the documentary format he favors on TV.
Derren Brown (11/04)
Derren is sort of the Amazing Kreskin of the 21st Century, doing hypnosis, mind-games, and various bits of deception on various members of the public (and we at home). He obviously has studied human behavior quite a bit, and knows someone pliable to suggestion when he sees them. The result is an entertaining Channel 4 series full of "how did he do that" moments, and tricks that rely on observation and people's habits.
Derren Brown: Apocalypse (12/12)
The illusionist really pulls the wool over an unsuspecting slacker in this two-part Channel 4 special by convincing him he's one of the few survivors during a zombie apocalypse. But it's not to prank him or make him look foolish, but rather inspiring him to develop skills (leadership, bravery, empathy) that will prove useful once the experiment is over.
Derren Brown: Fear & Faith (12/12)
In this two-part Channel 4 documentary, Brown first manages to persuade a huge group of people to overcome their phobias using a placebo and an elaborate fake medical company set up complete with doctors and scientists. Secondly, he finds a deliberately agnostic non-religious woman and in just 15 minutes is able to have her believe she's having a religious experience. He is the master of persuasion and fills the hour with examples of how human being's attempts to find patterns in randomness can lead to some thinking there's a divine hand involved. Skeptics should find much to rejoice here as usual.
Derren Brown: The Great Art Robbery (2/14)
Illusionist Brown had a pretty good year, getting a shout-out in "Day of the Doctor" and a cameo in Sherlock, and in this Channel 4 special he informs millionaire collector Ivan Massow exactly which painting of his he's going to steal at an exhibition, as well as the exact day and time. And then we see Brown do it, all under the watchful eyes of guards and security cameras.
Derren Brown: Hero At 30,000 Feet (10/10)
Brown broadcast live from an airplane hanger as he told us we were about to watch Matt, a young man, through a journey from bystander to take-charge hero in 30 days without really knowing he was the subject of the show. The way his introductions were staged, it appeared like events would be happening in real time, although if you thought about it afterwards, you'd realize that the events, including the climax must have been done several days earlier. Matt first is subjected to a fake hold-up at a gas station where actors hold a gun on him and threaten him. Hidden cameras follow his progress as we see his behavior begin to change. He breaks into a policeman's house after finding his wallet, but he also gives a life-changing talk to an actor playing a disgruntled delivery driver. He meets Derren for the first time but thinks he's just being considered for a game show he might be doing and ties Matt up in a straitjacket and leaves him on a railroad with an oncoming train approaching. Finally, fear-of-flying Matt is told he has to fly to Jersey to participate on the program, and in a plane full of actors, an emergency is staged and we find out whether Matt will stand up to help land the airplane. A lot of people like to call BS on all of Derren Brown's stunts, but either you believe what he says he's doing on screen or not. It certainly seems plausible that someone could be nudged ever so slightly to change their core behavior, particularly with the entire resources of a TV production company behind it. I think the suspense in these is really more about whether Brown will fail on nationwide TV rather than about whomever the subject of his program might be.
Desperate Romantics (3/10)
A romp through 19th Century art history and the loosely-adapted story of the Pre-Raphaelite Brotherhood, the angry young men who were shaking up the British art scene in the 1850s including Dante Gabriel Rossetti (Aiden Turner from Being Human), William Holman Hunt (Rafe Spall, Timothy's son), and John Everett Millais (Samuel Barnett). Based on the book by Franny Moyle, adapted by Peter Bowker, this is no stuffy BBC costume drama but a high-energy mix of sex, adultery, nudity and dirty language with a little art appreciation thrown in. If you liked Russell T. Davies version of Casanova, this series is very much in that vein.
The Detectives (3/93)
An expanded version of sketches which originally appeared on Jasper Carrott's variety, Carrott Confidential. Along with Robert Powell ("Jesus of Nazareth"), this spoof of cops shows works best when specificially parodying certain name brand series in the UK (including Bergerac with an appearance by John Nettles himself). On their own though, these two just aren't that funny, and the 25 minute episodes seem padded. Directed by Ed Nye who did early seasons of Red Dwarf.
(5/94)
Another series about the Met's worst coppers as played by comedian Jasper Carrott and Robert Powell. It would be much improved if they got rid of the awful laugh track.
(7/95)
Briggs and Louis (Robert Powell & Jasper Carrott) return in another series as bumbling coppers. Guest appearances this season include Michael Troughton as an aristocratic smuggler whom the detectives mistake for a flasher, and Richard O'Brien ("The Rocky Horror Picture Show") as "Dr. Phibes," a bizarre police coroner who assists our heroes on a case.
(11/96)
Returning for a fourth series, the Met's most incompetent coppers, Briggs and Louie, manage to botch their way through another six cases. The highlight for me was while trying to climb some stairs while hiding in a vaulting horse Briggs observes, "This is what buggered the Daleks you know."
(3/98)
The comedy series is wrapped up in this Christmas special that sends the boys (Jasper Carrott & Robert Powell) to Canada in search of their AWOL boss (George Sewell). Filmed on location with guest appearances by John Ratzenberger and Rory McGrath. The finale would seem to suggest this is the end, but with BBC comedies, who knows?
Detectorists (12/14)
Low-key but charming BBC4 comedy (one of the last original programs for that channel) written, starring and directed by Mackenzie Crook (The Office) as Andy, a sweet but unambitious metal "detectorist" (they are very particular about that word) who is usually found in a field with his best mate Lance (Toby Jones) slowly probing for lost artifacts. Amazingly, Andy has a girlfriend (Rachel Stirling) but maybe not for long when cute perky Sophie (Aimee-Ffion Edwards) turns up to help assist the boys in their search of a farmer's field that might yet yield treasures. Full of eccentric characters (particularly the farmer and his imaginary dogs), maybe most people won't get it, but I really dug it (no pun intended).
The Devil's Whore (10/10)
A Channel 4 period costume drama (words I'm pretty certain I haven't written together often on this site) dramatizing the English Civil War from the point of a view of a woman (the subtitle is "A true account of the life and times of Angelica Fanshawe"). Angelica is orphaned early on when her father dies and her mother goes into a nunnery. She renounces God and begins to see visions of Satan (or some demon). This leads her to a certain amount of self-reliance somewhat like Scarlett O'Hara in "Gone With The Wind." And like Scarlet, Angelica has a number of husbands, each of whom fall afoul of the winds of war. John Simm plays a highwayman and her most loyal follower (and would-be lover), while Dominic West is a very sympathetic Oliver Cromwell, at least until power and a determination that the end justifies the means corrupts him. Peter Capaldi is the doomed Charles II, who never quite comes to the realization that his subject would dare rebel against him.
The Diary of Anne Frank (11/09)
The BBC dramatizes the famous tale in this five episode mini-series that was shot on sets that were exacting recreations of the original building. The series' length allows it to explore story moments that are frequently edited out of most movie versions. It was shown over consecutive nights and allowed the claustrophobia to build up until the tragic conclusion.
Dickens' Secret Lover (7/09)
Charles Dance presents this intriguing look at Charles Dickens and presents some plausible evidence about his affair.
Dick Whittington (1/03)
ITV's annual celebrity Christmas panto this year had Simon Nye (Men Behaving Badly) adapting the story of a young lad who, along with his cat (Julian Clary), eventually becomes mayor of London. Music, men in drag, bad jokes, and audience participation are all part of the fun which included Paul Merton, Richard Wilson, Mark Williams, James Fleet, and Harry Hill.
Dinnerladies (5/99)
Victoria Wood is a household name and institution in Britain, yet is virtually unknown in the US. More's the pity because she is extremely talented, both as a writer and performer (and singer), and you can never get enough of her. In this BBC series, her first sitcom which she also writes and stars in, the focus is on the women who work in a cafeteria of a large Manchester company. Everyone is a "character" but like in all of Wood's work, there is poignancy in the laughs, especially when her mad mother (played by frequent collaborator Julie Walters) occasionally drops in. A nice little workplace comedy, although if it were as easy as it looks, everyone could do it. Read my feature about Victoria Wood.
Director's Commentary (11/04)
It's amazing that in 10 years DVDs have gone from being some futuristic technology my friend Jim used to talk about (before he got rich writing about them), to being so ubiquitous that nearly everyone has heard a director's audio commentary on the DVD soundtrack. So much so that it's now ripe for parodying and Rob Brydon (Marion and Geoff) is the man to do it. Actually getting the rights to old series such as Bonanza and Duchess of Duke Street, Brydon plays an old duffer British director who supposedly worked on the shows and now years later has been commissioned to comment upon the action. At first, you don't realize it's a wind-up but as he goes on about Hoss, Little Joe, and Ben Cartwright, slowly it begins to dawn that he's speaking utter (but hilarious) rubbish. And the fact it is so close to actual commentaries now being foisted on the unsuspecting public by well-meaning but boring speakers, just makes it all that much funnier.
Dirk Gently (3/11)
The popular series of novels by Douglas Adams was adapted as a TV pilot by Howard Overman, the creator and writer of Misfits. Stephen Mangan plays the "holistic detective" who sees the interconnectedness of all things. Or maybe he's just a conman who wants people to support his activities. The novel "Dirk Gently's Holistic Detective Agency" is rather infamous in Doctor Who fan circles because Adams, who wrote and script edited for the series in the late 1970s before "The Hitchhikers Guide to the Galaxy" took off, recycled two of his Doctor Who plots for it. It's Adams' flair for comedy that make his work so memorable regardless of the plots, which are convoluted to say the least. But Overman created his own story for this BBC4 pilot which has resulted in a pushback by fans of the novels. He also altered the back story of what presumably would be two supporting characters if this went to series, Richard McDuff (Darren Boyd), and his girlfriend Susan (Helen Baxendale). I like the way Gently and McDuff always try to go through doors at exactly the same time. The only elements from the first book used in the pilot are the search for a missing cat and the use of time travel. Howard Overman is clearly a talented writer. You only have to watch any episode of Misfits to appreciate his use of dialog and engaging plots. Had he done a verbatim adaption of the first novel, it would have been three hours long to start with, and after they did the sequel "The Long Dark Tea Time of the Soul" they'd have run out original Adams material as he inconveniently died before finishing the third novel. It wouldn't be much of a TV series. Stephen Mangan is an interesting choice as the protagonist. There's always something annoying about his characters whether it's Adrian Mole or Dr. Guy Secretan in Green Wing. He seems to delight in playing people who at first glance are off-putting in their ways but ultimately charm you over. I had one gripe though and that is an iPhone would never hold its charge for 16 years. Heck, you're lucky they last 16 hours. Sorry, Howard.
Dirty Something (7/94)
Young squatters occupy an old man's flat after he dies and end up nearly becoming respectable members of society. A BBC TV movie, it neatly characterizes the feelings of anti-establishmentism and trying to put a roof over your head in modern London.
Dirty Tricks (11/01)
Martin Clunes (Men Behaving Badly) stars in this two-part ITV adaption of a novel about a middle-brow English language teacher who tries to move up the ladder of social respectability by romancing the wife of a friend of his boss. Clunes narrates the story in flashback and with tongue-in-cheek tells us the tale of how he ended up on the run from the police and accused of a double-murder. James Bolam turns up in part two as a detective who isn't exactly hot on his trail, while Lindsay Duncan plays a cool blonde he can't quite impress. Much of the subtext has to do with class distinctions, with a dash of the American perspective, but Clunes keeps the whole enterprise from getting too heavy.
Distant Shores (4/07)
Peter Davison as a former surgeon (wasn't this the plot of Doc Martin as well?), with yet another family moving to a remote island (see Two Thousand Acres of Sky) this time Hildesay Island. His kids hate it, but his wife starts to see the charm of a local fisherman she works with. Davison as usual gets to do his slow burn as the ultimate fish-out-of-water in this ITV drama series.
Distraction (7/04)
An evil and sadistic late night Channel 4 quiz show, nevertheless it's compulsive viewing. Four hapless contestants are tortured through four rounds (at times having electric shocks, being hit by paint balls, or sitting under pooing pigeons) while being asked fairly easy general knowledge questions. The winner then is given either a new car or 5000 pounds but then must answer five final questions or risk having the car systematically destroyed or the money burned. Hosted by Jimmy Carr who never quits making fun of the contestants, you feel dirty after watching each episode but human nature prevents you from looking away at the same time.
DOA (12/10)
Kris Marshall (My Family) plays Tom Lassiter, a surgeon who's lost his medical license because a patient died. Now he's a paramedic working for a surreal ambulance company in this BBC3 comedy pilot. Karen Taylor plays Julie, his co-worker who also sells marital aids when they aren't out on calls. Meanwhile Tom's Doctor girlfriend Lucy takes his loss of status, and possible impending legal problems, to reconsider their relationship. All in all, things aren't going too well. This certainly isn't the first comedy to try to mine laughs from ambulance drivers, and if Tom's choice in lawyers is any sign, perhaps many of the choices that have lead him to this point are his fault. Julie's ongoing battles with their dispatcher over the radio, and the other ambulance crews absurd down-time activities add to the craziness. British TV commissioners are forever searching for the magic bullet work place comedy that will be as successful as The Office was.
Doc Martin (2/06)
Martin Clunes is a posh London surgeon who for reasons we later learn, moves to a small Cornish town to be the local general physician. Of course in this fish-out-of-water ITV drama he has to get used to the local's unusual ways, and perhaps relax a bit instead of being so uptight. Some of the behavior of the villagers is annoying but Clunes' barely controlled rage is what makes it work without too much schmaltz.
Dr Terrible's House of Horrible (11/02)
Steve Coogan stars in this anthology comedy series parodying classic genres with such titles as "Lesbian Vampire Lovers of Lust" and "Frenzy of Tongs" (a Fu Manchu send-up). You have to buy into Coogan's odd brand of deadpan humor as well as recognizing the source material of what he lampoons but I think the combination works well enough. It's definitely BBC-2 material, but since the demise of the Comic Strip, nobody else is doing extended material like this on a regular basis.
Doctor Thorne (9/16)
At the exact same time as he was appearing as the creepy sidekick in The Night Manager, over on ITV Tom Hollander played the nice-as-pie title character in this adaptation of the Anthony Trollope novel by Julian Fellowes. Thorne is raising his "niece" who attracts the attention of the heir of the local estate--much to the horror of his status-conscious parents (Rebecca Front is hilarious as his mum). Can Thorne put all to rights by the end?
Doctor Who Night (9/00)
BBC-2 Theme Nights are great for fans, although they follow a very prescribed ritual: amusing host segments, the obligatory documentary, a look at the fans, and plenty of clips from the most popular episodes. Whether it's Goodness Gracious Me, Monty Python or Doctor Who, that are being celebrated, the formula never varies. That said, for the 36th anniversary last year, Tom Baker was trotted out to introduce the shows, and they even provided him with an elaborate CGI TARDIS to inhabit. Big-name fan Mark Gatiss (now best known for The League of Gentlemen) was enlisted to produce three sketches especially for the night and they are right on the money and classic: the first takes place in 1963 as a producer attempts to pitch the series to the BBC. Full of hilarious in-jokes including the origin of the theme tune, you almost have to wonder if it really happened this way. The second sketch takes place in a quarry with the Doctor (Gatiss) encountering some of the most crap aliens ever, although he tries to be polite to get rid of them. Finally, the night was capped with a sketch in a fan's bedroom as his best friend has just kidnapped the real Peter Davison and brings him in for inspection. The documentaries included "Adventures In Time and Space" narrated by Peter Jones (of The Hitchhiker's Guide To The Galaxy) just before he passed away. There is a look at the various Doctor Who monsters over the years, and even a scientist discussing how you could realistically build a working TARDIS. Now if only the BBC would actually make some new episodes for television!
Does China Exist? (1/98)
Paul Merton hosts this one-off spoof of "reality" shows showcasing various human "talents" and attempting to unravel terrestrial mysteries (such as posed by the title). Merton is perfect for this sort of thing, with his patented ironic detachment "amazed" at every new discovery.
Does Doug Know? (3/03)
Daisy Donovan hosts this Channel 4 comedy quiz show that features teams of two comics who are then "joined" by a member of the public via prerecorded interviews on the street by Donovan herself (a technique she honed during The 11 O'Clock Show). Some of the quizzes like a word association game with missing words are really tough, or trying to guess a current news events based on amateur interpretation are a definitely novelty.
Doggin' Around (3/95)
BBC TV-movie by jazz-fanatic Alan Plater about an aging American piano man (Elliott Gould) who returns to the mid-lands of England after 10 years and must confront his past of gambling debts, police inquiries, and a paternity suit. Minding him is a no-nonsense former singer (Geraldine James). This is good material that is completely ruined by Elliott Gould's inability to act. In a word, he is terrible. Every line comes out like he's doing a Neil Simon comedy on Broadway. It may well be the worst performance I've ever seen in a BBC drama. Shame on him!
Doing Rude Things (11/96)
Angus Deayton (Have I Got News For You) hosts this documentary look at the history of the British sex film. It explores (and shows) early underground efforts, including "naturist" films that featured nudist colonies, and later soft-core films that were permitted under British censorship laws. Deayton sends up the whole "before they were famous" genre with a factitious clip of himself as "Gus Deayton" supposedly appearing in an early 1970s sex film, I guess proving that no one was particularly ashamed by what was going on at the time.
Dominion (11/01)
A series of animated shorts on Channel 4 about a space station that is the last stop for creatures from around the galaxy including a hapless human (voice of Tim McInnerny) who is forced to work in an office he can never escape from with a bunch of aliens (including Hugh Laurie).
Dom Jolly and the Black Island (3/11)
The comedian (Trigger Happy TV) presented this Channel 4 documentary about the popular comic character "Tintin." So well researched were Herge's artwork that Jolly is able to find the actual locations the drawing were based on as he shares his love for the long-running adventure series.
Donovan Quick (3/01)
Hunky Colin Firth (aka "Mr Darcy") stars in this update of Don Quixote as a mysterious stranger who comes to a small Scottish town and does battle with the corporation that runs the local bus service. He encourages the family he boards with to start their own line and manages to outwit the evil corporate stooges for a while before his own tragic past is revealed in this BBC TV movie. Firth, with his baritone voice, is a dominating presence, and apparently this part was a welcome break from the period roles he is often cast in.
Don't Call Us (9/99)
Documentary look back at the era of TV talent shows, for years dominated by Opportunity Knocks, hosted by Canadian Hughie Green. Audience write-in polls would determine who returned the following week, and a number of careers were first launched on this series, many of whom are interviewed here. Usurpers, in the form of New Faces - which introduced judges in person giving their critiques (horribly, right in front of the contestants), and the gimmicky Stars In Their Eyes, eventually killed the golden goose and the whole "amateur hour" variety show concept.
Doors Open (3/13)
Stephen Fry plays an art historian who has curated a vast collection owned by a bank that needs to liquidate. Horrified, he organizes a gang of friends to substitute fakes for the originals before the collection is broken up in this light-hearted ITV TV movie. Many familiar TV faces fill the cast including Douglas Henshall and Lenora Crichlow as former lovers.
Double Exposure (1/97)
A series of one-hour dramas by new writers presents some interesting and varied material. In Out of the Deep Pan, a young couple try to make a go of it in the pizza delivery business. The Golden Collar stars Mark McGann (Paul's brother) as a crooked injury lawyer who meets his match in a young man. A Relative Stranger takes the fascinating premise of what if you went to sleep one night in 1971 as a rebellious young hippie, then woke up and it was suddenly 25 years later and you were a successful, but boring, yuppie - but couldn't remember the intervening years had ever happened? A man discovers he is now married (only not to the girl he was passionately in love with in the past), with two nearly grown children, and a sell-out job he hates. Of course from everyone else's point of view, he's merely amnesic, or crazy, but he tries to find out what caused him to take the paths in life he now finds himself on. Nightlife features Jane Horrocks as a woman who hasn't left her apartment in months, choosing instead to keep surveillance on the park just across the street. When she witnesses a crime she has to do something she hasn't in ages: get involved.
Double Take (3/04)
BBC comedy series that presents mock surveillance footage using celebrity doubles and voice overs with lots of shaky camera work through windows and bushes. More a triumph of style over content, and a segment with "Michael Jackson" visiting a plastic surgeon with his kids just plain creeped me out.
Double Time (1/09)
James Dreyfus plays two parts in this TV movie: a very camp (and not very good) actor, and his lookalike, a ganglord currently serving time in prison. Their paths cross when the actor is hired for a TV re-enactment and the gangster, watching in prison, uses their amazing similarity in order to temporarily swap places so he can stop a book written about him by a sneaky journalist. How much you enjoy this depends on the amount of Dreyfus's swishing around attempting to be "hard" in prison act you can handle, although to be fair, he plays the gangster very convincingly.
Downton Abbey (10/10)
ITV scored huge ratings for this seven part period drama that was written by Julian Fellowes ("Gosford Park," which he won an Oscar for). Fans of it or Upstairs Downstairs should love this new series set in an Edwardian manor house which chronicles the lives of both the servants and the members of the peerage who live there. It opens the day after the Titanic sunk in 1912, which immediately impacts the line of succession for the Earl of Grantham (Hugh Bonneville) and his family. With no male heirs, the estate and title might be lost if the Earl dies. Meanwhile, a new valet, John Bates (Brendan Coyle, Laura's father from Lark Rise to Candleford) comes to work at Downton Abbey. But Bates has a bad leg, and despite being the Earl's batsman during the Boer War, the other staff undermine Bates at every turn. An ambitious footman, Thomas, wants the job although he'll settle for being the very special close friend (nudge nudge, wink wink, say no more) to a visiting Duke. Elizabeth McGovern plays Lady Grantham, an American heiress the Earl married for her money 24 years ago despite the misgivings of his mother, impeccably played by Maggie Smith. I like seeing an old-fashioned period drama like this turn up on ITV. Back in the 1980s Brideshead Revisited and The Jewel in the Crown reigned supreme on the commercial network but they ceded the dramatic high ground to the BBC in recent years except for Agatha Christie mysteries. In fact, I wouldn't be surprised that it wasn't so much competition from the BBC as American co-production money that is the tail wagging the dog here. PBS's "Masterpiece" is a co-producer of Downton Abbey which no doubt eased the worries of ITV executives about such a project.
Down To Earth (11/01)
Warren Clarke (Dalziel and Pascoe) stars as a London flower seller who chucks it all in and moves his family to Devon and start a farm. Needless to say, things don't go quite to plan in this BBC drama series which also stars Pauline Quirk. Despite the title, there is a visual motif that is quite aerial and it seems we are gracefully flying over the characters at times. Clarke is full of fury most of the time, and things usually get pretty grim about 10 minutes before the end of each episode before a happy conclusion is reached.
Downwardly Mobile (1/95)
Sit-com about an 80s Yuppie couple whose 90s lifestyle crashes-and-burns forcing them to move in with relatives. Needless to say, the family doesn't share their attitudes about conspicuous consumption, wherein lies the laughs. Josie Lawrence (Whose Line Is It Anyway) plays the pampered wife forced to face economic reality.
Dracula (4/08)
Marc Warren (Hustle) wouldn't be my first choice to play the legendary vampire, but he pulls it off in this BBC adaptation that also features Sophia Myles (ironically appearing in the vampire drama "Moonlight" in America now).
Dressing For Breakfast (5/96)
A plain girl and her best friend try to survive the nineties while trying to maintain relationships. But poor Louise, when her mother isn't driving her nuts, can't find a boyfriend who isn't a complete flake or already married. The second episode ends with a great scene where the women decide, "All men are Daleks. Inside they have this little creature controlling everything they do." You have to love a series like this.
(7/98)
The third season finds the series moving upmarket with a nice, new apartment for Louise and a potential boyfriend in the form of an old friend of Carla's. But it's hardly smooth sailing for anyone, although the self-deprecating jokes by all the characters make this an enjoyable series to watch.
The Driven Man (1/91)
A funny but insightful documentary documentary by Rowan Atkinson about people's love affair with the automobile. While there are weak moments, it does make some excellent points about the car culture of the late 20th century.
The Driver (12/14)
Transatlantic star David Morrissey plays a working class minicab driver with money problems who gets roped in with a mobster (Colm Meaney--where's he been?) as his driver and finds his conscience (not to mention his freedom) severely tested as he inevitably gets in way over his head in this three-part BBC drama. Morrissey, as ever, delivers the good, nobody plays anguish better than him.
Drop Dead Gorgeous (10/08)
Serialized BBC drama about two sisters, one of whom is plucked from obscurity in working class Manchester, and becomes an overnight sensation as a supermodel. Needless to say, the other one is a bit jealous, and their mother sees this as the family's chance to do some social climbing. Remarkable, in the first season at least, the model modestly keeps her head on her shoulders and some perspective about being suddenly famous, even if while all around her the world is moving much too quickly.
Duck Patrol (1/99)
Richard Wilson (One Foot In the Grave) stars in this ITV riverside comedy/drama about a police unit working the Thames. Though the actors try hard, it's neither very funny nor very dramatic.
Dunrulin' (8/91)
A one-off comedy set a few years in the future, where the Thatcher household has had to respond to private life. Very funny and right on the money. Apparently this had been filmed and was sitting on the shelf waiting for her to leave office before running.
A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z
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Written and maintained by Ryan K. Johnson (rkj@eskimo.com).
September 6, 2016
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Demob · Season 1
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Demob · Season 1 starring Griff Rhys Jones, Martin Clunes.
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en
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/icons/favicon.ico
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https://watch.plex.tv/show/demob/season/1
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A comedy drama starring Griff Rhys Jones and Martin Clunes as two soldiers looking to continue their cabaret act after the end of the war. The series is notable for featuring Les Dawson in a guest role, broadcast posthumously.
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https://www.bucksmusicgroup.com/artists/401-joshua-epithet
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Bucks Music Group Ltd
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Bucks Music Group is one of the UK’s leading and longest running international, independent music publishers.
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http://www.bucksmusicgroup.com
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Joshua Epithet is a 21-year old Manchester based artist/producer. Josh has spent the past few years splitting his time between the UK & US, which is evident in his list of influences - ranging from Blur and The Streets to 2010's US rap scene and albums like Childish Gambino's 'Because The Internet' and Tyler, The Creator's 'Flower Boy' - "When I was growing up, the type of music I was into, America was doing it way better" he explains, when talking about this particular scene, "but I'll rep Britain all day long - as much as my Irish mum allows me to. I want to be part of this new wave of British musicians".
Music came along around the time Josh entered his teens. Armed with music sampling software Splice, he set about creating his own distinct music world – one filled with plantastic synths, cross-continent collaborations, and blissed-out production. Dedicated to his craft, he also sees a need to match the last generation’s pace.
And testament to his generation, Josh has mastered the art of global collaboration. He's worked on music with Indiana-based teenage hyperpop artist Lucas Lex and Canadian indie-pop songstress Nep to fellow British acts pinkpirate, FINLINCE!, Zack Teale and Cian Jay to Thai artist Salads and Portugal's multi-hyphenate Nana Lourdes.
Josh has shared his first piece of new music for 2023, ‘She Writes Fanfiction’, a masterwork of lush production and punchy melodies, entirely self-written, mixed and produced by the alt-indie newcomer. Out now on his new label home Liberator Music (home to fellow UK artists Gengahr and Demob Happy), the single is accompanied by an official video, directed by frequent collaborator Ben Wescott (skaiwater, Ezekiel, Viji, Deijuhvs).
Speaking about the song, Josh explains “She Writes Fan Fiction is about reality, and everyone’s own individual idea of what that means. At what point does your own reality become fantasy? When have you finally been swallowed whole by the lie you told yourself?”
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https://missmephistopheles.wordpress.com/2019/05/02/demob-happy-interview/
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The Psychedelic Explosion of ‘Demob Happy’: Are They Saving Rock’n’Roll?
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"darya (miss mephistopheles)"
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2019-05-02T00:00:00
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"All I'd like to do is fill the world with some decent f*cking music, that revels in the joy of its own existence" - Matt Marcantonio, lead singer and bass player of @DemobHappy
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miss mephistopheles
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https://missmephistopheles.wordpress.com/2019/05/02/demob-happy-interview/
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British psychedelic rock band, Demob Happy, has been making serious waves in the stoner rock scene for quite some years now, yet for some reason, I had just learned of the band 2 months ago after seeing them as the opening act on the “Peace Across The Wasteland Tour”. The music was definitely “love at first listen”, after their sensational debuting performance in Vancouver.
Demob Happy triggered an excruciatingly curious desire to know more about what the band offers beyond their seventies inspired aesthetic, and what they are contributing to the rock’n’roll scene. The band definitely looked the part of a classic rock band, they also played kick-ass psychedelic tunes with captivating enthusiasm, but I wanted to know what makes them different. It’s easy to exude the embodiment of a rock-star, write a catchy tune or two, and then ride the “fame-wave” while letting things roll from there.
However, there is something different about Demob Happy, something I can’t quite put my finger on just yet, but has inspired me to investigate more into. When I write these articles, I go in with caution, as I don’t ever want to promote to my readers a band that I wouldn’t fully stand behind, which is why one could say that the thesis, if you must, for most of my articles is: What are you offering that other bands aren’t and what do you provide to the rock music scene? And this is what has brought us here today with Demob Happy.
Post “Wasteland Tour”, it’s safe to say that I definitely had a few of their [Demob Happy] songs stuck in my head. So, first and foremost, I did what I typically do best, and shared their songs with all of you on my Instagram page to see the feedback I would get from a crowd that generally has the same taste in music as I do. I wanted to “test the waters” so-to-speak and read what you guys had to say about the band, before I invested more investigative efforts in order to fully promote the band. To no one’s suprise , the feedback was very positive and you guys were eager to know more. Therefore, confirming my looming eagerness to set off on the quest to get these answers for you guys, I set off on my adventure.
The purpose of this article is to scratch beyond the band’s Instagram posts that emit “vintage vibes”, and learn more about what really “Demob Happy” is — so you don’t have to spend monumental time on the internet to only be hit with articles from several years ago. With this thirst for knowledge, and lack of previous information elsewhere, I jumped to work and tried to pin down a member of the band to attain this much-needed information. Despite proving difficult to pry the band away from their dedication to serving the rock scene, I somehow managed to get some answers from the frontman, himself, Matt Marcantonio, who took me down the path of the whimsical universe of what Demob Happy is and partially-explained to me the creation of their incendiary tunes.
Miss Mephisto: “Despite being together for eleven years, Demob Happy is quite the elusive band with not enough information out there. So, I would love to know the story of how the band started
Matt: “Well I can’t tell you too much or the mystery would die…but we met in school and just started playing together. We just shared a love of writing fun stuff together and that hasn’t really let up. We developed into a songwriting force later, we spent the first couple of years together writing 10-minute wig-outs, somewhere between blues and prog, before we thought that maybe we could make them a little shorter and write just one chorus per song. I think you can still hear the remnants of that though…we always struggle with shaving off our precious baby ideas, not the opposite.”
The band consists of Matt on lead vocals and bass, Adam Godfrey on guitar and Tom Armstrong on drums; established in their hometown of Newcastle, the three later moved to the more art-friendly part of England, the city of Brighton, where their career later took off.
Miss Mephisto: “The term ‘demob-happy’ is the feeling of elation after an arduous time period (or event), is that the ultimate goal of Demob Happy’s music? Do you hope that the music provides a sort of relief from this chaotic time we’re currently living in?”
Matt: “Yeah I think so. The name came earlier than any sort of relevance it had to an ethic in the band, it was just an enjoyable couple of words, but I think over the years we’ve kind of stepped into it, quite prophetically. It’s funny, people often don’t know what it means, and I think it can seem an odd name to begin with when you’re unaware of its meaning, but it does make sense when you figure it out. We’re going through a difficult time, but also a time of good change as custodians of this here planet. It’s just the nature of the changing of the guard. Out with the old, in with the new, night is darkest just before the dawn, that sort of thing, etc. All id like to do is fill the world with some decent fucking music, that revels in the joy of its own existence, and that maybe has a little bit of something in it to make you question things. There’s a surface level, and there’s another level, and If I can make someone ask ‘hang on, what does he mean by that?’ then this current paradigm that doesn’t serve the interests of the majority but the few, might receive one more little chip out of its foundations. “
“All I’d like to do is fill the world with some decent fucking music, that revels in the joy of its own existence,” Matt reaffirms the notion that I began this article with. We are all aware that there’s a lot of new music bouncing around in the rock industry at the moment, hell, there’s actually a lot of good music being released into the universe at the moment. However, as I said earlier, it’s one thing to play “rockstar” and another thing to genuinely hold the “rockstar” passion. It eases my mind knowing that Demob Happy doesn’t solely rely on their well-thought-out aesthetic to gain them exposure, but there is also an equal amount (if not more) thought put into their music.
Miss Mephisto: “You guys have two studio LPs under your belt, so far, and something in particular that I have been enjoying the most from your latest album ‘holy doom’ is that, although it has the psychedelic feel to it, it remains fresh and modern. Has the production of this record come out organically, kind of a “take it day by day and then see what the end product becomes” approach? or, did you guys dive in with a vision in mind?”
Matt: “We’ve had a sound in our head for years, so, although, there’s an element of experimentation in the studio, it’s always been with a clear end goal in mind. Really the process we’ve been through has more been learning bit by bit how to get closer to it. It just takes years of failure to figure out how to get what you want, how to create this abstract thing in your mind. For that reason, we’ve always been very DIY, as we never really trusted anyone to truly understand that vision, or more importantly to not impart theirs on ours. We’ve been very selective who we’ve worked with.
The quality of the songwriting is most important, but after that, the production plays an important part in defining how people hear your music. Humans are very good at contextualizing things based on what they’ve heard previously, so you have to consider that in whatever you do.
Once you figure out what you like and how to get it, then the truly interesting next steps happen where you create something entirely new, and I think that’s what we’re doing now.”
In the eleven years together, the band has been able to experiment in sound progression by utilizing their late 60s inspirations and narrow it down to a “Demob Happy” signature sound that they have packaged together quite nicely with their latest record “Holy Doom”. This, nevertheless, makes me wonder if this fusion of psychedelic-stoner-rock will be an established sound for them or will they continue to experiment with their sound and gradually shift into other subgenres of rock in order to keep things fresh. Furthermore, I am intrigued with what Matt means by “We’ve always been very DIY, as we never really trusted anyone to truly understand that vision, or more importantly to not impart theirs on ours.”, I understand that artists are typically very protective of their work and vision in mind, but my brain can’t help but question what it would be like if the band moved beyond the garage-rock feel that they currently nail, and into something bigger if they allowed a producer, or whatever it may be, that will guide them into a more experimental path.
Miss Mephisto: “What is the song-writing process for Demob Happy? is there a designated “lyricist” or does everyone pitch in for lyrics? As for the music, is there a designated “groove creator” or is the process all teamwork?”
Matt: “I [Matt] write the lyrics, but that’s always at the end of the process really. We have different ways of originating songs. Sometimes I’ll write something in its entirety and we’ll learn it as a band, sometimes we’ll jump off from a riff or the bare bones of a song that one of us has written and developed a song from there, and sometimes we’ll just mess around playing together and songs will reveal themselves in the moment. Regardless of how it starts, we’ll always end up suggesting ideas and writing parts. Once we have a structure down, I’ll fine tune melodies and lyrics and it’ll be hot to trot.”
Demob Happy is definitely in it for the music and not the glory of a rockstar life that attracts most average musicians, they have the passion and the talent, this is all evident through their music (and why I have been so keen to know more and share them with you all). With all that being said, I truly wish I could unpacl the statement of “DIY” that Matt has mentioned. As a music-nerd, it’s easy to conclude that the band has a natural knack for writing a song that involves an interesting concoction of layered classic psychedelic vibes. Every track on “Holy Doom” is worth listening to more than once, because with every listen your ear picks up on a hidden layer. But, since this is a conquest to learn more about the band, and not just recite the obvious, it would have been more satisfying to uncover the “how’s” and “why’s” behind this interesting production process that Matt teases with.
Sadly, Demob seems to be excruciatingly busy with their preparation for their first US headlining tour (see tour dates and ticket information at the bottom), therefore this is the most information I have been able to get. It is for this reason, we, the interwebs, must take Matt’s word and conclude that the Demob sound is simply due to a lot of hands-on-work by the band, to what extent? We shall never know.
Miss Mephisto: “To me, one of the most exceptional parts about being an artist, especially a musician, is the ability to channel your own personal vision into influence and create something that could (and most likely will) inspire someone else along the line. So, what/who is it that inspired you to get into music, to pick up an instrument and take your passion and create your own piece of art? And who/what continues to inspire you to this day?”
Matt: “I think I was initially inspired to start writing because there was something interesting about the music that I couldn’t ignore. There were instruments about my house because my dad and brother played, but I naturally was drawn to the piano. I had lessons for about 3 weeks, but very quickly realized all I wanted to do was just sit at the piano and experiment, to make the connection between what I could hear and what I could play on the keys. That was really how I developed an ear for music, that, and just being fascinated with how its constructed and trying to figure it out. The actual consideration of trying to write a song came to a lot later, and in some ways I feel hasn’t even really taken me. My compulsion has always been to just write musical passages, the extra element of writing lyrics and actually singing them have developed separately. “
Miss Mephisto: What is your take on current day Rock’n’Roll, and how do you feel Demob Happy plays a role in current day Rock’n’Roll?
Matt: “I hear a lot of very bad stuff. I sometimes don’t really know where the hell we sit amongst, to be honest. I think what is deemed to be “rock ’n’ roll” on the wider spectrum nowadays is far from it, it’s closer to the x-factor or pop rock or something. There’s a lot of faux-epic emotion and quasi-meaningful motivation-poster level depth to the lyric too (Miss Mephisto note: try saying that five times fast) which sits very awkwardly with me. Maybe I’m just not the audience, but “modern rock” – at least the sort that’s selling all the tickets for the most part, is in a pretty dire place. However, that’s only on the surface level, if you dive deeper there’s a wealth of really good stuff, it’s just not getting the exposure it deserves. It’s all about where the money flows. I think our place in all of this is to just provide an antithesis, for all those people out there who still have good taste, and in our own little way try and illuminate some of the more occult aspects of the functioning of the world.”
This question is the pinnacle part of my articles, it is a perspective that I take into high regard when discussing music with musicians, because it’s easy to sell your own music (I mean, it’s your own blood, sweat and tears) but how do you sell the industry you’re in? As an avid rock-music fan, there’s a lot of new music out there; even when you try to narrow the search down through specific sub-categories, there’s still a vast amount to choose from. To you, the reader, Demob Happy is just another candy in the bowl of sweets, they may be a yellow one amongst the bowl of reds, but why should you choose to listen to them above a whole array of other psychedelic bands?
My answer to that is they do offer a lot of originality in realm-of-mainstream music. I try very hard to not be pretentious when it comes to music, because music is very subjective, but I have to agree with Matt and say “Rock’n’Roll” has become muddled within the x-factor culture of pop-rock (and there are a lot more authentic rock bands that deserve a lot more recognition that they are getting, a lotttt more out there). Therefore, when we (the music fans) do find bands that embody a lot of elements that initially attracted us to sweet ol’ rock’n’roll, it is our duty to promote and encourage this behaviour, so rock music does not get lost within the top 40 world.
Do I think Demob Happy is the only band embodying real rock’n’roll in 2019? No
Do I think Demob Happy is doing an excellent job at preserving a precious genre? Yes
Does Demob Happy make stellar garage-rock-psychedelic tunes that are worth checking out? Yes
Miss Mephisto: Lastly, I just want to take a minute to emphasize how fucking fantastic the band is live, the energy you radiate is absolutely magnetic. What is that you all enjoy most about performing? And what do you feel, as a band, brings differently to the live music scene?
Matt: Difficult to say really, depends on the day. I always find the mood of the performance to be based heavily in the context of the day, or the tour, or the crowd or whatever. A difficult day can sometimes lead to the best shows, and an easy happy day can make you complacent and the show goes badly. Whatever I end up channelling though, I always try and do it with honesty, for better or for worse. I’m not interested in lying on the stage, I may as well be in a tribute band or performing a musical about a rock band if I’m gonna get up there with a jazz-hands show-must-go-on mentality, but I always try and make the best of it!
What excited me the most about this band is their clever ability to feed their listeners a nostalgic feeling of 60s rock music, while mixing in melodic and hard-rock touches. Despite the fact that a lot of my questions and curiosities of this band has not been answered, I am satisfied enough to say based on the music alone, Demob Happy is worthy of keeping a close eye on. The band is definitely amongst the group of modern day musicians who are making an effort to preserve the beloved rock-music industry, and to me, that’s enough to get my seal of approval. Be sure to catch them on tour if you are currently residing in the US-of-A
Demob Happy US Headlining Tour – May 2019
02/Jacksonville/@welcometorockville
05/Atlanta/@shakykneesfest
08/Chicago/Cobra Lounge
09/Detroit/@pjslagerhouse
11/Nashville/@endnashville
12/Rockingham/@epicenterfest
14/College Park/@milkboyarthouse
15/Asbury Park/@thewonderbarofficial
16/Brooklyn/@elsewherespace
17/Philadelphia/@voltagephilly
18/Pittsburgh/@thesmilingmoose
19/Columbus/@sonictemplefestival
21/Los Angeles @rocknightout/@madamesiamla⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
11/14/15/18 with @cleopatrickband & @brknlovemusic
16/17 with @brknlovemusic
Get your tickets here: https://demob-happy.com/tour/
Until next time Interwebs! 🕸
Facebook
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Contact email: blueveinblues@gmail.com
Enjoyed my writing? help me keep at it by donating to my paypal: blueveinblues@gmail.com
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Demob Happy: How TV Conquered Britain (TV Movie 2007)
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Top Gap
What was the official certification given to Demob Happy: How TV Conquered Britain (2007) in the United Kingdom?
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[INTERVIEW] with... Demob Happy
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2018-05-15T10:37:00+01:00
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An Indie and Alternative music discovery blog based in The UK and Poland. We pride ourselves on finding the best new music around.
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Demob Happy - L-R Adam Godfrey, Matthew Marcantonio and Thomas Armstrong
Newcastle bred Brighton based rock trio Demob Happy are establishing themselves as a force to be reckoned with as they continue to grow their fan base and wow audiences with their heavy high intensity, energy-driven alternative rock.
Only yesterday the 3-piece announced details of a US tour with Nothing Like Thieves this autumn. But UK fans will also get a chance to enjoy the band's music sooner rather than later as they play The Great Escape this week and are due to share a festival bill with headliners Pulled Apart By Horses, The Wytches, The Sheafs and False Heads at Liverpool Calling next month (June).
2018 has been a busy year so far and following the release of their studio album Holy Doom the band also completed an extensive UK and Europe headline tour.
Holy Doom has seemingly been written and produced with great ease as much as confidence and singer/bassist Matthew Marcantonio, guitarist Adam Godfrey and drummer Thomas Armstrong are able to confirm such a perception. Like its predecessor Dream Soda, Holy Doom is an well-produced album but it is not just some rock production adventure far removed from the experience of seeing the band play live.
There is hardly any difference between the sound quality of listening to a Demob Happy album compared with seeing the band live. How do they go about achieving such a fine balance?
Adam: We tend to record our material 'live' and we took the same approach when we recorded Holy Doom. A few overdubs were included in places but it is mostly the sound we have when we play live.
Thomas: We had a 'fourth' guy (Christoph Skirl) with us on stage. He is a really good friend of ours who has been producing for us and worked on both records so he is is really good at making sure we are bringing the album to the stage in the best possible way.
Matthew: Yes that is the thing because with the Holy Doom Tour we really wanted to represent the album so he was like our obvious choice because he worked on every song we have ever released and he knows our material inside out.
Musically, it is extremely tight, tighter than what most similar older bands are able to produce and songs such as Fake Satan, Running Around Gods I've Seen and I wanna Leave are of a particularly high quality. There is such a high level of dynamic intensity in their music and it makes it suitable for recorded listening as well as the live environment. It is in fact no wonder why the response to album and live shows have both been phenomenal.
Matthew: It has been great and just amazing to hear everyone singing along. Even obscure album tracks in the smaller venues, it is just incredible. It is like nothing we have ever experienced before, we feel like we have hit a really good point and it feels great.
Matthew: We have done a lot of support over the last few years so it is good to come back and finally do a big headline thing, it has been fantastic.
Newcastle and Manchester were among the best shows on the tour
Matthew: They were both really great shows, it was lovely to be playing on home ground and to have family and friends in the crowds. It was really nice to get a chance to get them all together at the shows.
Holy Doom also seems to work as a platform for bringing in other instruments
Matthew: We do not tend to limit ourselves. I play the piano and I have done so for longer than I have played bass. We just put stuff in there when we feel the need for it. We write very openly so it is never quite like ‘oh no, not like that’. I think we have been feeling very liberated over the last year or so to just write a lot and do what we wanted to do. The effects have been quite poignant and there has been some incredible moments along the way including us making use of Turkish pipes.
There are times when parting ways with a band member (Matthew Renforth) can lead to further freedom and creativity
Matthew: He did not really share our enthusiasm or vision so we felt it was best to part ways. It was the right thing to do for us and the band as it enabled us to make Holy Doom.
Matthew: It actually felt cathartic doing this album really because we just sort of got back in together and started writing, as long as we can get in a room and write then we can expel any demons we have.
Thomas: We were in a happy place when we went back in and started writing together again, the songs were just pouring out of us.
Does part of Holy Doom's credibility come down to working working with some of the same people?
Matthew: Our friend is constant for us and we recorded at the same studio as we did with the first album but otherwise we brought in Ian Davenport to produce with us and we mixed it with a guy called Adrian Bushby (Foo Fighters + Muse), he has been involved in some massive music productions. But the whole thing was still very hands on we were there every stage of making it. We knew what we sound we wanted.
Thomas: It has been great, we are lucky enough to work with a lot of people who just want to facilitate what we want to do.
How do Demob Happy go about sourcing the right people to work with?
Matthew: It just kind of happens, sometimes it is just pure chance. But Ian Davenport came recommended through a few people and the label recommended him.
Thomas: We usually had a few sessions before. We knew what we wanted to present to the world, what is right for us, we do not want to hear something that does not sound right and does not represent us. We do not settle for second best or compromise our sound.
The recording process lasted approximately 20 days including 10 days recording the bass and drums and 10 doing the vocals and guitars.The band's first writing session was about a year ago, early 2017. Not a long process, yet it is such an incredible piece of work
Thomas: It was a slightly different approach this time. Last time we had six weeks living in the studio and then just zooming right in on it but this time we did not do much zooming in beforehand and instead chose to get on with the job in hand.
Adam: I knew it was good when we were playing it out but I had not really thought about the reality of what it would mean to hand it over to the world, it had just been ours for quite a while. It might as well have been someone else’s record and meant something to them. But now it is just really cool to hear how much it means to people.
Matthew: We set out to do was to create this more in depth album, we wanted people to feel something and take them on some kind of journey. I guess people are responding to that and I hope and think people can hear that on the record.
In terms of musical influences the band seem to feel a closer kinship with a lot of American bands and having just signed with an American agent his could give the band wider exposure to other parts of the world
Adam: I guess that is true, certainly in terms of the style of music we make. I think we share a lot more of our sound with current bands from there rather than here.
Matthew: There is an argument that Britain probably needs to fly the rock flag a little harder to be honest, the Americans and the Australians are making some really good music right now.
Do they feel guitar music is still prominent and how much scope is there for bands such as Demob Happy to make it really big?
Thomas: The type of music that we admire was like the pop music of its day and the influences that we bring in from the past such as Beach Boys type harmonies etc., the type of music we are making is seen as alternative music today but as Dave Grohl has said, ‘as long as the kids think it is is cool' it totally is and well worth continuing it.
Adam: Some people bitch about bands such as Royal Blood but those kind of bands that actually break through and for every Royal Blood band that can kick the door down just a bit, they do happen to open up cheque books for some of the big labels for smaller bands to break through. They show that guitar music can sell and it keeps bands like us going.
Matthew: We have only just signed with a American agent and we are going to enter America and get our name about. It is totally amazing and it is such a dream. Our agent is really into our music and that is entirely what we need. Beatles is probably the thing to mention, I mean I got called "grunge Lennon" the other day. I can sell that to America.
It does seem as if Demob Happy are on to something truly great and the timing seems just right for them. Hopefully, between now and 2019 they will be making headlines over there and everywhere else.
Holy Doom is out now on So Recordings
Festival appearances and touring
The Great Escape - Brighton
Liverpool Calling Festival
US tour in autumn
with Nothing But Thieves
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2015-06-04T15:12:59+01:00
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Feel the width of these big and beautiful classics produced in the groundbreaking new widescreen process that revolutionised filmmaking in the 1950s.
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en
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BFI
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https://www.bfi.org.uk/lists/10-great-films-shot-cinemascope
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It just goes to show that you can’t trust history books. Most texts insist that Henry Koster’s The Robe (1953) was the first film produced in CinemaScope. In fact, it was Jean Negulesco’s How to Marry a Millionaire, which was rushed into production alongside Robert D. Webb’s Beneath the 12-mile Reef to give 20th Century-Fox a head start in the widescreen race to lure Americans away from their new television sets.
Negulesco finished his picture first, but the Fox front office felt that a Roman epic with religious undertones would make a grander statement about “the miracle you see without glasses” than a musical about three single girls (Marilyn Monroe, Lauren Bacall and Betty Grable) searching for rich husbands. Consequently, an imposing, sincere, but undeniably pedestrian saga about the garment worn by Christ en route to Calvary became the first of the 654 features that were made in colour and black-and-white CinemaScope over the next 14 years.
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A further 38 features were produced by Fox between 1956 and 1959 in a monochrome variation dubbed RegalScope. But each relied on a process that first allowed wide-field images to be squeezed laterally onto 35mm stock by a cylindrical lens with a 2:1 compression ratio and then to be viewed in their elongated form courtesy of a compensating lens in the projector. Initially, the aspect ratio was 2.55:1, but the format worked best at 2.35:1, with accompanying four-track stereo.
There were teething troubles, as Fox was so eager to move into widescreen production that it bought the primitive Hypergonar lenses that French inventor Henri Chrétien had originally developed for wide-angle tank sights during the Great War. These anamorphic lenses had been used by Claude Autant-Lara to shoot the silent short, Origins of Fire, in 1928. But the patents had lapsed by the time Fox chief Spyros P. Skouras tracked Chrétien down and he took the decision to start work on the launch pictures while the optical company Bausch & Lomb refined the technology (and earned itself an Oscar in the process). As a consequence, the earliest CinemaScope releases suffered from diminished brightness and resolution, while close-ups often seemed disproportionate and lateral and tracking movements across the screen sometimes appeared distorted.
But ’Scope was cheaper to use than Cinerama and appealed to audiences more than 3-D. As Fox shared its discovery with its rivals, much of Hollywood adopted the format and alternative forms began emerging around the world, including Franscope and Tohoscope.
The principal exception was Paramount, which plumped for the VistaVision system, although a number of MGM releases between 1958 and 1962 employed Panavision, despite being billed as CinemaScope. Ultimately, Panavision would become the industry norm, as it was more affordable and reliable and eradicated the distorting ‘mumping’ effect that tainted many a glamorous close-up.
But, for a while, Hollywood danced to the tune that Cole Porter had composed for Rouben Mamoulian’s Silk Stockings (1957), with its mantra: “You gotta have glorious Technicolor, breathtaking CinemaScope and stereophonic sound.”
Here are 10 of the era’s most stunning productions.
Violent Saturday (1955)
Director: Richard Fleischer
Everyone has something to hide in Richard Fleischer’s simmering study of smalltown America, which was adapted by Sydney Boehm from a William L. Heath story that originally appeared in Cosmopolitan. Similar in tone to John Sturges’ Bad Day at Black Rock (1955), this widescreen masterclass puts a noirishly melodramatic spin on the classic western scenario of the outlaws riding into a remote outpost to rob the bank. But ‘travelling salesmen’ Stephen McNally, J. Carroll Naish and Lee Marvin are not the only shady characters in Bradenville, Arizona.
Fleischer exposes the soap operatic lusts, deceptions, anxieties and betrayals in a series of measured long takes that not only establishes the pace of life, but also the layout of the town and the copper mine and Amish farm beyond its limits. He also uses Charles G. Clarke’s meticulous DeLuxe imagery to emphasise the isolation the characters endure in an outwardly close-knit community. But the shot length shortens during the heist, getaway and climactic shootout, as hostaged mine supervisor Victor Mature proves to his doubting 10-year-old son that not every hero has a chestful of war medals.
Lady and the Tramp (1955)
Directors: Clyde Geronimi, Wilfred Jackson and Hamilton Luske
Walt Disney was among the first to licence CinemaScope from Fox and he experimented with it on the Oscar-winning cartoon Toot, Whistle, Plunk and Boom (1953) before hiring Richard Fleischer to use the format in adapting Jules Verne’s 20,000 Leagues under the Sea (1954) as the studio’s fifth live-action adventure. Despite the success of these outings, however, Disney decided to produce Lady and the Tramp in both Academy and ’Scope ratios, in case the public failed to respond to the latter version. Having been developing the tale of a pampered cocker spaniel who meets a roving mongrel since 1942, Disney was understandably nervous about producing his first original storyline in widescreen. But, after four years in which 150 animators produced over two million drawings, the $4m picture proved a critical and commercial triumph.
In truth, directors Clyde Geronimi, Wilfred Jackson and Hamilton Luske spent more time solving problems than concocting spectacular set-pieces. The additional space enhanced the realism of the vistas and made the 1910s world that Lady discovers on first leaving her comfortable home seem both exciting and daunting. But the layout artists had to rethink their entire approach to the relationship between the characters and their backdrops and it was soon realised that groups filled the long-take frames better than isolated figures. Yet, while the full parameters were used for the chase sequences with the Siamese cats, the dog-catchers and the rat, a poignant intimacy is also palpable during the celebrated moment in the courtyard of Tony’s restaurant with the strand of spaghetti and the last meatball.
It’s Always Fair Weather (1955)
Directors: Gene Kelly and Stanley Donen
Having danced ‘dream ballets’ in Vincente Minnelli’s An American in Paris (1951) and Singin’ in the Rain (1952), which he co-directed with Stanley Donen, Gene Kelly decided to showcase his contention that dancing was a man’s game in his sole excursion in CinemaScope. Donen had utilised the format to thrilling effect to capture the 19th-century backwoods in Seven Brides for Seven Brothers (1954), but the pair returned to the New York of On the Town (1949) for this reunion of three wartime buddies. Contemporary audiences proved resistant to the noirish cynicism, but the satirical snipes at television and advertising retain their edge.
Donen and Kelly make the best use of widescreen during the musical numbers, notably sharing Kelly, Dan Dailey and Michael Kidd’s demob exuberance as they hoof with bin lids on their feet in ‘The Binge’ before dividing the rectangle into a triptych as the trio lament ‘I Shouldn’t Have Come’ on realising how far they have grown apart in the subsequent decade. The co-directors also make evocative use of the enclosed spaces of a nightclub stage and a boxing gymnasium, as Dolores Gray and Cyd Charisse respectively put the menfolk in their places in ‘Thanks a Lot but No Thanks’ and ‘Baby, You Knock Me Out’. But for sheer ’Scope exuberance, nothing tops Kelly rollerskating through Manhattan while crooning ‘I Like Myself’.
Lola Montès (1955)
Director: Max Ophüls
Very loosely based on a novel by Cécil Saint-Laurent, Max Ophüls’ swan song was his only picture in Eastmancolor and CinemaScope. Slated by uncomprehending critics, it was drastically re-edited by Gamma Films, in spite of a letter to Le Figaro from the likes of Jean Cocteau, Roberto Rossellini and Jacques Tati proclaiming it a cinematic landmark. The existing version is 30 minutes shorter than the premiere cut, but its denunciation of lurid publicity remains potent, as does the dazzling manner in which Ophüls uses technique to demystify the spectacle of scandal and subvert the audience’s voyeuristic gaze.
As the master of the mise-en-scène style, Ophüls keeps Christian Matras’s camera gliding elegantly through Jean d’Eaubonne’s sublime sets. He also borrows the method Josef von Sternberg used in his Marlene Dietrich vehicles to fill dead space in the New Orleans circus sequences with ropes, ladders, chandeliers and cheap crowns descending from the ceiling of the big top, while curtains, shadows, arches and walls were employed in the various carriages, inns, theatres and palaces that Lola (Martine Carol) frequents. The effect of isolating detachment reinforces Ophüls’s themes and gives this work of cine-aesthetic genius a deceptive emotional power.
The Bridge on the River Kwai (1957)
Director: David Lean
David Lean had no experience of epic cinema when he signed up to direct this adaptation of a fact-based Pierre Boulle novel that had been scripted by blacklistees Michael Wilson and Carl Foreman. Yet he won one of the seven Academy Awards presented to this harrowing account of the construction of a railroad through the Burmese jungle by Allied prisoners of the Japanese. The climactic action around the sabotage mission is thrilling, but the dramatic potency lies in the contrasting codes of honour and duty motivating sadistic camp commander Sessue Hayakawa and Alec Guinness’s senior British officer, whose twisted patriotic pride prompts him into an act of collaboration whose folly only dawns on him in a terrifying moment of expiring clarity.
Bookending the action with bird’s eye views of the forbidding terrain, Lean and cinematographer Jack Hildyard consistently emphasise the vast impenetrability of the locale and the sheer difficulty of constructing a railway line in such challenging conditions. Scale is key, yet Lean closes down screen space during Guinness’s stint in ‘the oven’ and periodically during the commando trek to confirm the sweltering conditions and the density of the forest. As the bridge takes shape, however, Lean returns to wide angles to extol the magnitude of the achievement and to make the edifice’s final destruction all the more heroic and spectacular.
Ride Lonesome (1959)
Director: Budd Boetticher
Although he eventually used it on The Long Gray Line (1955), John Ford resisted CinemaScope because he claimed painters never used canvases shaped like tennis courts. However, he must surely have been impressed by the manner in which Budd Boetticher and Charles Lawton Jr photographed the Alabama Hills of Lone Pine, California in this elegiac and surprisingly witty and optimistic paean to the passing of the old west. Marking Boetticher’s sixth collaboration with Randolph Scott, this revisits themes explored in Seven Men from Now (1956) and Decision at Sundown (1957), as a bounty hunter encounters a pair of maverick outlaws and a glamorous widow while seeking to lure an old foe into the open before delivering his prisoner in Santa Cruz. Many rank it among the finest Hollywood westerns and few can rival its visual majesty.
It goes without saying that Boetticher filled the screen with the rugged beauty of the frontier wilderness. The towering rocks and forbidding expanses of desert stress the isolation and insignificance of the characters and the dangers they face from the native dwellers and interlopers who disregard the law that Scott used to uphold. But it’s the expressionist use of shadow during the nocturnal sequences that most compels, as Boetticher cannily employs campfires and moonlight to illuminate the quintet’s faces as they gauge how best to exploit their fellow travellers. Yet the image that lingers centres on the blazing hanging tree, as Scott finally fulfils his destiny.
The Diary of Anne Frank (1959)
Director: George Stevens
While serving with the US Army Signal Corps, George Stevens filmed the D-Day landings, the liberation of Paris and the meeting of American and Soviet forces on the River Elbe. He also witnessed harrowing scenes at the Duben labour and Dachau concentration camps and helped prepare visual evidence for use at the Nuremberg trials. Thus, he seemed the natural choice for 20th Century-Fox’s adaptation of the Pulitzer Prize-winning Frances Goodrich and Albert Hackett play that had distilled the essence of the diary that Anne Frank’s father, Otto, had been determined to share with the world after his family of four had spent 25 months hiding with four fellow Jews in a secret annex above an Amsterdam spice factory. But Fox insisted on shooting the picture in the CinemaScope process that Stevens complained was “fine if you want a system that shows a boa constrictor to better advantage to a man”.
Aware that the wider screen could undermine his efforts to convey the cramped conditions in which the Franks, Van Daans and Fritz Pfeffer lived, Stevens had production designers Lyle R. Wheeler and George W. Davis add vertical pillars to the sets based on the actual rooms at 263-267 Prinsengracht. Consequently, he was able to confine the action to limited spaces during moments of intimacy and dramatic tension, while still being able, through judicious use of angles, to show the claustrophobic proximity of all eight characters in sequences like the Hanukkah supper. Stevens and cinematographer William Mellor also used shadows to reinforce the sense of constraint and heighten the oppressive mood. But audiences never got to see the scenes Stevens shot of Anne (Millie Perkins) in Bergen-Belsen, as they were cut after scoring badly in test screenings.
Pillow Talk (1959)
Director: Michael Gordon
In 1913, Lois Weber and Phillips Smalley triangulated the screen during the phone call interludes in their silent melodrama, Suspense. Forty-five years later, Stanley Donen synchronised Cary Grant and Ingrid Bergman’s movements across a split screen for their bedtime calls in Indiscreet. But Michael Gordon was not content with chaste pillow talk and had New York party-liners Doris Day and Rock Hudson chat in their baths at opposite ends of a split CinemaScope screen and the Production Code guardians couldn’t do a thing about it. This was the first of the three pictures that Hudson and Day did together and it marked the moment that screwball became what Day’s producer husband Marty Melcher called “clean sex comedy”.
Gordon begins by paying homage to Weber and Smalley, as Day eavesdrops on Hudson’s endless chats with his female paramours. But he resorts to standard split screens for their testy exchanges until Hudson recognises Day’s voice in a nightclub and poses as a naive Texan in order to flirt without her realising his true identity. As he starts to woo her in this guise, Hudson is shown reclining in the upper portion of the screen as he sweet-talks Day lying in her bed in the lower half. This mischievous sight gag is later topped when each stretches out a leg from their tub and their feet meet in a saucy parody of Grant and Bergman’s chaste hand touch. Clean sex comedy, indeed!
Billy Liar (1963)
Director: John Schlesinger
CinemaScope and social realism hardly seem made for each other. But John Schlesinger makes inspired use of widescreen in this reworking of the Keith Waterhouse and Willis Hall stage play that had been adapted from the former’s 1959 novel. Schlesinger might have opted for a gimmicky approach and switched to ’Scope from the limiting confines of the Academy frame in order to depict undertaker’s clerk Tom Courtenay’s escapist fantasies in his fictional realm of Ambrosia. But, while Henri-Georges Clouzot had literally created a grander canvas 54 minutes into his groundbreaking art documentary, Le Mystère Picasso (1956), Schlesinger saw beauty and nobility in the grim northern landscape and employed capacious deep-focus perspectives throughout this kitchen sink comedy to show that there was more than one way to broaden one’s horizons.
There’s something mischievous about the way in which Schlesinger contrasts Courtenay’s flights of fancy with his quotidian existence. Although they seem epic in his reveries, the Ambrosian military parades actually lack pomp and spectacle and suggest the limitations of the daydreamer’s imagination. By filming everything from wrecking cranes to conga lines in widescreen, Schlesinger reveals that Courtenay’s narrowness of vision is down to his own detachment from reality. Thus, he uses Julie Christie’s handbag-swinging sashay through the city centre to demonstrate the simple pleasures of true self-awareness and freedom and, with this one sequence – imbued with the spirit of the nouvelle vague – Schlesinger signalled that the 60s had started to swing.
Le Mépris (1963)
Director: Jean-Luc Godard
Cinematographer Raoul Coutard always believed that Jean-Luc Godard’s adaptation of Alberto Moravia’s novel A Ghost at Noon was a love letter to his wife and muse, Anna Karina. The story of a marriage falling apart during the making of a Technicolor version of The Odyssey may not seem the most romantic of gestures. But the fact that Godard dressed Brigitte Bardot in a modish wig to resemble Karina and included a poster for Roberto Rossellini’s Journey to Italy (1954) in the background during one of their conversations seems to bear out the contention. Yet Godard’s sixth feature is also a treatise on art and entertainment, the classical and the commercial and the extent to which cinematic creativity depends on collaboration and compromise. “The eye of the gods has been replaced by cinema,” observes director Fritz Lang at one point. But, by turning the camera’s Cyclops gaze on the audience in the prologue, Godard reminds us that passive spectatorship is no longer an option.
Lang also quips during a discussion with screenwriter Michel Piccoli and producer Jack Palance that CinemaScope “wasn’t meant for human beings. Just for snakes – and funerals.” However, Godard and Coutard revel in the freedom widescreen affords them, whether they are capturing the backlots at Cinecittà, the gardens of Palance’s palazzo or the glorious coastal scenery of Capri. The pair also appreciated how the wider frame could accommodate the mise-en-scène technique. The second act parley between Piccoli and Bardot in their new apartment is particularly striking, as Godard exploits doorways, walls and furnishings to frame a series of intricate dolly shots before using pendulum pans to record a peevish exchange across a table lamp. Moreover, only JLG would consider a book of Roman erotica suitable for ’Scoping.
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https://www.scribd.com/doc/53319094/ELEMENTS-OF-DRAMA
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Elements of Drama
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https://imgv2-2-f.scribdassets.com/img/document/53319094/original/7193012851/1723530279?v=1
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ELEMENTS OF DRAMA - Free download as PDF File (.pdf), Text File (.txt) or read online for free. This document provides an overview of drama as a genre of literature. It defines drama as staged art that is designed to be performed in a theater. Drama differs from other genres like novels and poems in that it presents a story through characters interacting and living out experiences on stage, using dialogue, rather than just narrating a story. Drama is considered the most active and concrete genre because it brings stories to life for an audience through live performance. While some actions may seem dramatic, drama specifically refers to staged performances of plays meant for theater.
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https://s-f.scribdassets.com/scribd.ico?d4187ae93?v=5
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Scribd
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https://www.scribd.com/doc/53319094/ELEMENTS-OF-DRAMA
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https://search.proquest.com/openview/b481a3a4c6cfcaae38e872d123c22c28/1%3Fpq-origsite%3Dgscholar%26cbl%3D1816914
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Comment on Two of Silverberg's Worlds of Wonder
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Explore millions of resources from scholarly journals, books, newspapers, videos and more, on the ProQuest Platform.
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This is a short preview of the document. Your library or institution may give you access to the complete full text for this document in ProQuest.
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https://link.springer.com/chapter/10.1007/978-1-137-40649-1_6
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Arms for Revolutions: Military Demobilization after the Napoleonic Wars and Latin American Independence
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2016-08-13T00:00:00
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By the end of 1815, the Latin American independence movement was stalled. In New Spain (Mexico) the creole elites, who elsewhere led the movement, had been frightened by the spectre of social upheaval into supporting the royalist cause. The last major Mexican...
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By the end of 1815, the Latin American independence movement was stalled. In New Spain (Mexico) the creole elites, who elsewhere led the movement, had been frightened by the spectre of social upheaval into supporting the royalist cause. The last major Mexican insurgent leader, Morelos, was executed in December 1815. His army disintegrated. On the Costa Firme, infighting and an effective, homegrown royalist military response hindered the insurgents’ ability to resist the expedition of Spanish General Morillo when it arrived in mid-1815. Composed of over 10,000 veterans of the Peninsular campaign, it overwhelmed the insurgents. Their last bastion, Cartagena, surrendered on 6 December 1815. Only a few insurgents escaped, fleeing by boat to Jamaica or Haiti. Six months later, Morillo took Bogotá, the last major city in insurgent hands, which in turn prompted Quito to surrender. Only in Buenos Aires did independence seem secure. Yet, even there, all was not well. Repeated attempts by Buenos Aires to invade Peru, the centre of royalist power in South America, failed. In Buenos Aires itself, factionalism produced instability. At the same time, the provinces chafed at the city’s centralizing ambitions. Trouble was also brewing across the River Plate, in the Banda Oriental (Uruguay), where a local independence movement was confronting Buenos Aires, Spain, and Portugal. The troops of the last-named power occupied the area in August 1816, probably with Argentine complicity.
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https://api.parliament.uk/historic-hansard/lords/1945/nov/20/demobilization
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DEMOBILIZATION. (Hansard, 20 November 1945)
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1945-11-20T00:00:00
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DEMOBILIZATION. (Hansard, 20 November 1945)
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| null |
§ VISCOUNT SAMUEL
My Lords, the terms of the Motion include not only demobilization of the Forces but also the turnover of factories from war to peace production. That second aspect was dealt with somewhat fully by the noble Lord, Lord Llewellin, in his very comprehensive speech. He illustrated it by many instances, and I do not propose to trouble your Lordships with any observations at all on that portion of the Motion, but will limit myself entirely to the question of the demobilization of the Forces. First of all, I would desire to remind your Lordships of the many aspects of our national life which are being affected by the slowness of demobilization and by the widespread discontents among the people, which are intensified by the consequences of the shortage of labour, which in turn is largely the result of the slowness of demobilization. Housing, for example, has priority in the minds of 1015 most of us. When we consider the needs of the present hour, the difficulties of housing, the need for the provision of prefabricated and ordinary houses, and the restoration of houses destroyed or partially destroyed during the war, we realize that all these things depend upon the supply of labour. The deficiencies that at present exist are due primarily to labour shortage, and that in turn is due to the slowness of demobilization.
We had a debate for two days last week on the housing question, and we had a statement by the noble Earl, Lord Listowel; but I am sure that many of your Lordships who heard that statement shared the feeling that I myself entertained—that it was on the whole disappointing when referring to the actual results obtained. Your Lordships will remember that, in giving statistics of what had been achieved in various parts of this sphere, the figures were mainly in hundreds, whereas what is required is thousands, and indeed tens of thousands, and even, in prospect, hundreds of thousands.
Then there is the problem of overcrowding in London and other cities, the lack of accommodation, the shortage of hotels. The discomfort and difficulties caused by all this are partly due, no doubt, to the fact that great numbers of premises of all kinds have been requisitioned by the various Government Departments, and they are very slow to derequisition those premises. Tenacity has always been a virtue of the British Army; the bulldog, which never lets go, is the symbol of the British soldier; but tenacity when shown by the War Office in the form of an intense reluctance to give up the hotels and other premises which it has requisitioned ceases to be a virtue and becomes a serious inconvenience.
Again, consider the discomfort and injury to health and to well-being inflicted on the feminine half of the population during these long years of war through the difficulties in obtaining domestic supplies—the queueing at the shops, the time that is occupied day by day, and so on. You see middle-aged and elderly women day by day carrying their heavy bags and baskets of home supplies, to the injury of their health and frequently to their physical exhaustion. This is causing 1016 a great strain upon the health of the women of our country. It is due partly to the insufficient number of shop assistants, and partly to the cessation of deliveries by the shopkeepers. Consider how disproportionate the saving has been compared with the burden imposed. A hundred women in a neighbourhood have each to go to their supplying shops, have each to wait in a queue and come back with their domestic supplies, while a single girl with a motor van and half a gallon of petrol would be able to supply all that is needed. To paraphrase a famous sentence of the late Prime Minister, "Seldom have so many borne so much to save so little." That again is due primarily to shortage of labour, and shortage of labour is due to the slowness of demobilization.
The difficulties of transport by rail and by bus, which cause the greatest inconvenience to a large part of the population, are again a matter of the shortage of labour. The controls that have to be exercised, to the dissatisfaction of a great many people, but which are recognized to be necessary, are due to the danger of soaring prices and possible inflation, because the supply is inadequate to meet the potential demand. Why is it inadequate? It is due to shortage of labour, again due in great measure to slowness of demobilization. The potential dangers of the foreign exchange position, the risk of a further depreciation of the pound, the necessity to concentrate a large part of our manufacture upon exports, again impose a deficiency on our home supplies. If labour has to be devoted to exports, it cannot be devoted to home supplies, and thus the fact that the drive for the export trade is so burdensome to the country at the present time is in part due to shortage of labour.
Consider also the financial position of the country and the high rates of taxation. This taxation was uncomplainingly borne during all the years of war for the sake of the great object in view, but it is now continuing almost unchanged. The reduction in expenditure has been exceedingly small in recent months, and the reduction in taxation almost negligible. Why is that? It is because we go on paying, week by week, millions of men and women of all grades in the Forces, with a mere pretence at occupying them. We keep in the Forces people who are eager to get back to their 1017 homes and to be united to their families; they are kept in idleness on full pay, at the cost of the taxpayers and to their own indignation. It is compulsory unemployment, and their pay is really the "dole" in uniform.
I would remind your Lordships of all these issues—housing, rationing and queues, transport, the lack of consumer goods, the difficulty of supplying sufficient exports, the question of foreign exchange, taxation, and the injury to the men themselves. All these are due to shortage of labour; and shortage of labour, I repeat, is due to the slowness of demobilization. Government spokesmen have given us figures which, at first sight, seem impressive of the numbers of releases since the war ended, and, indeed, since this Government came into power there has been a slight acceleration. Of course, there have been releases. Millions of persons were drawn into the Forces to fight the Germans and the Japanese, and, with our Allies, they have achieved their object. The German and Japanese Armies, Navies and Air Forces have been dissolved or destroyed and have disappeared, and naturally the Forces raised by us for the purposes of the war should be released. I suggest, though, that the figures we should concentrate our attention upon are not the figures of releases but the figures of retentions. It is those figures which I would quote now to your Lordships.
Government statements that have been made on this subject disclose that at the end of the war—the date taken was June 18 of this year—there were in the three Forces taken together, 5,136,000 men and women, or just over five millions. At December 31 of this year it is anticipated that there will be 3,842,000, or dose upon four millions. Eight months after the end of the German war and six months after the ending of the Japanese war three out of the four men and women who have been drawn into the Forces are still there! Three-quarters will still, be under arms at the end of this year. By the middle of next year, June 3o, 1946, it is anticipated that the Forces will number 2,232,000. Think of it, thirteen months after the end of the German war 2,200,000 in round figures, will be retained, and 2,900,000 releases—only rather more than half of the total—will have taken place. Nearly half of the total will have 1018 been retained after the lapse of that long period. If at any date before the war or during the war anyone had suggested that when the war had been over for a year we should still have 2,250,000 people under arms the idea would have been scouted as an absurd and exaggerated prognostication.
We do not yet know what is likely to be the permanent military, naval and air force establishment of this country. We discussed that matter in this House a few days ago, and it was generally agreed that it would not be possible at the present date to give any definite and reliable estimate of what the requirements of the country would be when the present period has passed away. Certainly, I think we should all be resolved that the Forces should not be insufficient for the purposes for which they would be needed. The first of those purposes is that we may take our share in the occupation of the late enemy countries; the second is to provide the kind of force that has always been necessary for the police work to be performed by the British Army, Navy and, in recent years, Air Force; the third is to supply the British contingent to the Force or Corps which is to be at the command of the United Nations Organization. Last, and not least important, of these purposes, is that of providing against possible risks in respect of our own defence if the United Nations Organization were found not to succeed in its great purposes.
Undoubtedly the invention of the atomic bomb will not dispense with military, naval, or air forces. It is clearly quite a delusion that it should do so. At the present time there are in progress military operations or preparations to forestall the necessity of military operations in Palestine and Java, and even when the United Nations Organization comes into full operation it might be necessary at any moment to take repressive action in some country threatening aggression. But no one would suggest that any of those cases could be dealt with by dropping atomic bombs and wiping out masses of the population. Such a course would arouse the greatest possible resentment and would intensify violence rather than intimidate those who were disposed towards it. Consequently, it is clear that there must be, for a long time to come, a very considerable force 1019 maintained—unhappily at the expense of the taxpayers of this country—and making a demand on our man-power. How big the Forces may be cannot yet be ascertained, but we have very high authority for the view that the figures I have quoted for the Forces to be maintained at the end of this year and at the end of next year are very excessive; the authority of no less a person than the late Prime Minister, Mr. Winston Churchill. As Minister of Defence, and prime conductor of military, naval and air force operations he had unrivalled experience and he speaks with unrivalled authority. He has always been the protagonist of fully adequate defence for this country and he is not likely to understate the needs of the future.
But he said, speaking in a debate in another place, in October last, that unless the Government contemplated the possibility of having to go into another major war within the next five years (and if that were so we ought not to have demobilization at all)—and that is not the expectation that any of us have in our minds—the figures which he would give (and he presented a careful review of the requirements of each of the three Services in turn), led him to this conclusion; and here I quote his words: I have no hesitation in saying that the Government's measures fall far below what is both possible and necessary. That referred to measures for demobilization. Mr. Churchill further declared that the figure of 3,800,000 contemplated for December 31 of this year, meant in his view that no fewer than 2,225,000 were redundant. Two millions, that is an immense figure. What a difference it would make to the labour force in this country if those people were released, and how far it would enable us to proceed towards a solution of those domestic problems to which I have referred. With regard to the target for next year he, himself, would contemplate a figure of 1,550,000 which, he said, should be reached much earlier than is now contemplated. I do not know how the Government have arrived at the figures which they have presented to the nation. Presumably, they have done so on the advice of their Military, Naval and Air Force chiefs—the chiefs of the three Services. But responsibility must, in the long run, rest with the Government, for 1020 Service Chiefs always put their figures high. They must do so in order to safeguard themselves. It is for the civilian authority in the State ultimately to say what the requirements of the country and the Commonwealth are.
If it is true, as Mr. Churchill says, that these very high figures of retentions are unnecessary and injurious, the next question is, are they unavoidable? The Government may say: "We agree that the figures are much too high, but they cannot be reduced for two reasons; one is the difficulty of transport and the other is the working of the Bevin scheme of demobilization." With regard to transport no one in this House can form any valid opinion without full knowledge of the facts. When Lord Leathers was Minister of War Transport we felt great confidence that the matter would be handled with the maximum of efficiency. Under the present administration we do not know that. We have no reason to think that it is not efficient, but we do not know that it is. We can only judge by results, and the results are that the troops are being brought home very, very slowly. We invite the Government to give a justification of this. If they say that transport is inadequate, they should give facts, definite facts. There is no reason for secrecy now and they should explain why it is that they cannot bring men home much more rapidly than has hitherto been the case.
With regard to the Bevin scheme resting upon age and service, there is general agreement that it secures a large measure of equal justice and prevents great discontent amongst the Forces if they have no reason to think that any among them are given privileges over any others. A man out in the Far East or wherever he may be, may endure waiting for month after month if he is told that it is unavoidable and if he finds that everyone else is in the same position as himself. Privileges for some would undoubtedly increase and embitter the grievances of others. There is a little-known eighteenth Century poet who wrote: I can endure my own despair, But not another's hope. There is this point in the working of the Bevin scheme to which I think attention has not been drawn; at all events I have never seen any reference to it. That is, that many of the men who are most 1021 needed in industry are kept now for the very reason that they have been the men who were most needed in industry. During recruitment all through the war, key-men in the factories, workshops and industries in general were deferred and the deferment was renewed at intervals of six months. A man in charge of the workshop or a valuable foreman was kept for six months, again for half a year and then for another half year. The more valuable he was, the longer he was deferred. The effect of that was that that man had eventually to be taken into the Forces, and now, under the principle of age and service, he is in one of the most postponed classes. The consequence is that the principle of reserving for industry its most valuable men works out in exactly the opposite direction. The more valuable a man was (and he was kept in industry for that reason), the longer he will be kept in the Forces and the slower will be his return to ordinary life. I happened to be talking to a leading London builder who drew my attention to this fact. He said that he, in his own case, had been unable to get back many of his best men and had had to put IT with inferior labour because he had been allowed to retain his best men in his business for building houses for a long time before they had been called up. That should surely be taken into account in administering the Bevin scheme.
Then again, there are some in the Army, perhaps a small minority but: perhaps in the total a substantial number, who do not want to be released at present. They have got no work to go to; they are uncertain as to their future. They like serving in the Army, the Navy or the Air Force. Would it be possible for them to volunteer? Could they be invited and perhaps given financial inducement to stay willingly in the Army with the result that a larger number of releases could be speeded up, to take the places of those these men would have filled?
But all these things are not our business; these detailed matters are the business of the Executive. All we can do is to state a case, to press for action to meet it, and then it is for the Government to say whether the case is a good one and, if they say it is not a bad one, to explain their failure to accomplish results. The noble Lord who is going to reply to me is the Parliamentary Under-Secretary of State for War and is therefore a member 1022 of the Army Council, and in a position of great responsibility and influence in these matters, although no doubt the principle of the course to be taken is a matter for Cabinet 'decision. Nevertheless, within the limits of a Cabinet decision there is room for a great deal of ingenuity, and a need for energy on the part of the Service Departments. A change of Government from time to time is one of the advantages of the British constitutional system in that it very often brings fresh minds to bear on problems instead of minds which we might possibly describe as stale ones. There are disadvantages, however, in a Coalition, in that members of the new Government are to some extent those who have already committed themselves as members of the previous Government and a freshness of view may perhaps be lacking. That does not apply to the noble Lord, Lord Nathan, who is a new arrival, so new an arrival in the Government that he is not likely to 'have been already bureaucratized. In a mood of 'expectancy, cautious expectancy, even dubious expectancy, we await the statement he is about to make.
§ THE EARL OF DUDLEY
My Lords, I want to emphasize what has been said by the noble Lord, Lord Llewellin; and the noble Viscount, Lord Samuel, and others because I am in very close touch with some very large industrial under- 1023 takings and I have opportunities of seeing what a disastrous effect the dead hand policy of the Government is having on industry. No one will deny the importance of the rapid resuscitation of our export trade. The exhortations of the Government in this respect are almost superfluous and receive a ready response from the great majority of those engaged in industry. The tremendous difficulties of carrying it into effect in this post-war transitional period are obvious to your Lordships. In many cases they seem to be almost insuperable, hedged about, as they are, by many difficulties beyond our control. Everybody is doing his best to surmount them, and it seems senseless to enhance these difficulties by such a short-sighted and unhelpful policy as that which the Government have adopted in regard to demobilization.
As the noble Viscount has just said, although the war in Europe has been over for about six months, and the war with Japan for over four months, so far as the companies with which I am connected are concerned, less than 3 per cent. of the called-up personnel have so far been released—or at least returned to us. There may, of course, be further numbers on demobilization leave, but we have only received about 3 per cent., and, as far as I can find out, that is the kind of figure that can be applied to industry as a whole. At the same time, the labour position is being worsened, day by day, by the call-up of the younger men and apprentices who, until now, have been deferred. This means that industry, during the delicate period of change-over from war to peace, has to rely, very largely, on the older men. Grand old workmen, certainly, most of them are, and they have done a splendid job in the war, but they are physically capable of fulfilling not much more than half a younger man's task.
Another great handicap from which we are suffering is the lack of specialists. That release of key-men cannot be speeded up seems incomprehensible. I saw in the Press yesterday that a little over a quarter of the key personnel applied for under Class B had so far been released, and I must say I am not at all surprised because I know, from bitter experience, how difficult it is to get the 1024 specialists released from the Services. As has already been pointed out by the noble Lord, Lord Llewellin, releases under this category are not popular with the men because they lose some of their demobilization amenities, and, therefore, those in the lower release groups prefer to wait their turn in the normal way. But, apart from this, the terms of release under Class B are so extremely narrow, as regards qualifications, and so on, that very few men, indeed, seem to fall within them. I hope the noble Lord, Lord Nathan, when he replies in a moment, will tell us something about Class B, and whether its conditions could not be made less rigid and restrictive so that we could attain a very much greater flow of men who could fill the specialists' positions. At the moment there is a great dearth of these, and even though the men have only previously had a brief training in such positions, after all, a half-trained or quarter-trained man is better than none at all.
I am not going into the question of how many men we should retain under arms during the present highly unsettled state of the world, because I am not qualified to do so. Like the noble Viscount, I am in favour of maintaining the maximum number which Chiefs of Staff consider to be essential for peace and safety. But we all know there are a great many officers and men serving at home to whom the Service Departments are finding the very greatest difficulty in allocating work to keep them barely occupied. We see them wherever we go, all over the country, engaged on fatigue tasks, and as the noble Lord, Lord Llewellin, says, thoroughly browned off and bored. And yet, day by day, more and more young men, on the very threshold of their industrial careers, are being called up to join the ranks of this vast unemployed Army.
I have talked to a great many young men who have not been long in the Services, thwarted in their training, perhaps, through the closing down of various training schemes after months of keenness and hard work, with little prospects of promotion in a shrinking Service, and without the driving power behind them that comes while war is on. I am bound to say I am very struck by how deeply the iron of bitter disappointment and frustration has entered into the souls of these young men 1025 —there are thousands of them in all the Services—which is doing a great deal of harm to their moral characters. These are the young men upon whom we have to rely for the rehabilitation of Britain, the very same young men who have got to compete in the markets of the world with those other manufacturing countries who are getting such a magnificent start with regard to demobilization, and in other respects. For goodness' sake, let us do our very best to equip them for that task at the very earliest moment.
If I may have the noble Lord's attention for one moment, I am told that there are certain vocational schemes started by the Services. That is all to the good, but I would like to know how wide they go. Do they embody technical training and commercial training? Who are the teachers, and are they qualified teachers? Can those schemes be widened? Of course, they cannot be wide enough to embrace all these young men, but the wider they are the better. Why are not the Government releasing more students from the Forces? Our universities and technical schools, at this period of our history, ought to be crammed to overflowing, and every teacher ought to be pressed into commission. Apprentice schemes in all our works ought to be doubled, and even trebled, and they should be made sacrosanct from the depredations of the Service Departments. It is true that students are being released who have been fortunate and clever enough to win scholarships and exhibitions, but it seems to me to be rather illogical to release a student to take up his scholarship and, at the same time, to refuse further deferment to an apprentice in the last year or two of his apprenticeship. That apprentice has worked bard, night and day, at the bench and in the technical school for years past, and is within grasp of the fruits of his labour. It seems very hard on him.
It would also seem here that there are many thousands of officers and men serving overseas whose release could be speeded up. Many units, we know, have been divorced from their weapons; tank men from their armour, gunners from their guns, sailors from their ships, airmen from their aircraft, and so on. These men cannot possibly be of any use as offensive or defensive units, and, therefore, their retention cannot possibly 1026 be justified on grounds of security. We all know, as the noble Lord has pointed out, that there are vast difficulties in the way of the transportation of these men back home, particularly respecting those serving in the Far East. But I think that the Government are so busily engaged in trying to be strictly fair to those men serving overseas, who at present cannot be got home, that they are succeeding very well in being fair to no one, and imposing great hardships on everyone, whether they be serving at home or abroad. Two wrongs do not make a right, and I think the time has come for the Government to review their policy in the light of the common-sense view which, as the noble Viscount, Lord Samuel, has pointed out, must be held by those serving in the far corners of the world whose release may be delayed by uncontrollable circumstances.
I will make one final point, very briefly, before I sit down. Apart from the vast labour entailed by the alteration of factories and workshops from war to peace, a great many of them, as your Lordships know, are worn out and out of date after six gruelling years of war during which we have had little or no opportunity of maintaining normal and necessary repairs and renewals, and the plants have had to be kept at work day and night, day in and day out. I can assure your Lordships that manufacturers are not being slow to put their house in order, however great the difficulties are. Most of them have got vast schemes of reconstruction and rehabilitation, either already started or else ready to start as soon as the necessary licences can be obtained. All these schemes are being very greatly hindered and delayed by labour shortage, and particularly by the shortage of specialists, due to the Government's dilatory demobilization policy, and grave loss of production is already being incurred. Your Lordships will realize that even in the best circumstances these works of reconstruction interfere very considerably with the normal routine and production of the factory, and that it is most essential to complete them without undue delay. Therefore it is a matter of importance that the necessary releases from the Forces should be accelerated before the great volume of this work reaches its peak; otherwise damage will be done to our national pro- 1027 ductive power from which it may take years and years to recover.
Whatever may be the ultimate future of the ownership of some of these industries—and we learnt something about that yesterday afternoon—it is quite clear that if we are to exist as an industrial nation, they must be put in good order at the very earliest moment. If the Government play their part wisely, I personally have the greatest possible faith in the future of British industry, where still the greatest manufacturing genius in the world is to be found. But it is quite clear that it will need all the assistance it can get to build up its strength before it has to face the full blast of the bitter east wind of foreign competition. Certainly it owes no bouquets to the present Government in regard to the demobilization policy, which imposes hardship on industrialists and Service men alike and, furthermore, commends itself to not one single section of the British public.
§ THE PARLIAMENTARY UNDER-SECRETARY OF STATE FOR WAR (LORD NATHAN)
My Lords, when I listened last Thursday to the opening speech of the noble Lord, Lord Llewellin, on this Motion, I could not help contrasting that in some degree with the debate on the previous day, opened by the noble and gallant Viscount, Lord Trenchard, for it seemed to me that the two debates might well have been inverted and that it would have been more logical had we been "off with the old" before we were "on with the new." But yet there was this in common between the two occasions. Those who spoke on the Motion of the noble Viscount put forward the suggestion that an effort should be made on the part of the Forces to invite the men to remain in the Forces towards the building up of a post-war Army, and, if I understood aright something that fell from the noble Viscount, Lord Samuel, this afternoon, he also is of the opinion that it would be helpful if a statement to that effect were made, so that those in the Forces may know what the future may have for them. In a sense it is a little inconsistent with that that the whole burden of the debate both on Thursday and to-day has been in regard to the necessity for diminishing the Armed Forces as speedily as maybe.
1028 It may perhaps be helpful that I should say this, in the light of what was said both last Wednesday and Thursday: that of course the Government are now proceeding with the consideration of the structure of the post-war Army. While no decision has yet been taken as to the size, structure, composition or shape of the post-war Army, it is hoped by the middle of next month—the 15th December is the date at which we aim, and this applies to all the Forces—that it will be possible to make a statement on the terms and conditions of service for other ranks, giving information which will be helpful to those who are considering whether or not to make their future career in the Forces. The terms and conditions as they affect officers are expected to follow without any great delay.
The main burden of the speeches made by Lord Llewellin and Viscount Samuel have been that the demobilization has been too slow and the ultimate figure in the programme before the public is too high. As I listened to Lord Samuel's speech, when he referred to the fact that the German war had been over for so many months and the Japanese war for so many fewer months, I could not help remembering that after all it is only thirty-seven weeks since the Allied Armies were battling on the Rhine and the battle for Germany had not even begun on the soil of Germany. It is only thirty-seven weeks since that battle was at its height and all the Forces of the Allies were most heavily engaged. It seems to me that what is remarkable in the time that has since passed and the short period that His Majesty's Government have held office, is not how little but how much has been achieved. His Majesty's Government share with those who have spoken, and with all those who hold similar opinions, the view that it is of the first importance that the industrial force available in this country should become as large as possible, as soon as possible. Upon that there is no difference between us, and the aim of His Majesty's Government is to ensure that end, but always subject to there remaining in the Armed Forces of the Crown sufficient to meet our foreseeable commitments, including, of course, our commitments to the World Organization.
Now what was the position of His Majesty's Government when, at the end of the Japanese war, within a few days of 1029 entering upon office, they were confronted with the necessity of considering the problems and the processes of demobilization? Their first task was to ascertain what was the appropriate objective at which to aim. It is true, of course, as both Lord Llewellin and Lord Samuel have said, that the Government have sought the advice of their trusted counsellors, the Chiefs of Staff; but it is equally true that, having weighed, assessed and evaluated the advice given them by the Chiefs of Staff, they have accepted and do accept the sole and full responsibility for the decisions taken. The Government both recognize and accept that responsibility. The target could only be arrived at by a species of crystal gazing. The Chiefs of Staff, in advising the Government, and the Government, in evaluating that advice, were in the position of having to form sonic opinion, on the very morrow of the finish of the war with Japan, as to the target which should be set before the Government and the Services. They arrived at the figure to which Lord Samuel has referred, a figure which will mean a run down in the Armed Forces by no negligible amount, a run down from rather more than five millions to a little more than two millions in the period to the 30th June of next year. That is a diminution of the Armed Forces of the Crown by sonic three million during that period.
It must not be assumed that that target is necessarily related to the strength of the post-war Armed Forces of the Crown. It was a figure which was ascertained after the end of the Japanese war, taking into account our commitments, actual and potential, so far as they were foreseeable. It is a figure to which the demobilization scheme has so far been directed, but it is not, of course, a final figure. It is scarcely necessary for me to say that that target is at all times under review and the time cannot be too far distant when a decision will be taken as to what figure should be substituted. There, again, however, it is a question of crystal gazing, having regard to the situation which has developed since August of this year and having regard to all those matters which any Government must take into account, in-chiding our obligations to the United Nations Organization. In a sense the position, when the decision comes to be given, will be rather like that which arises when an appeal comes before the Court of 1030 Criminal Appeal; while the appellant hopes that the sentence may be lower, it is, of course, always possible that it may be higher. It is the hope of His Majesty's Government that it may be possible without too great a delay to put forward a lower target. I hope I have made it clear that whatever that target may be, whether it be higher or lower, it is dependent upon the circumstances existing at the time.
The noble Earl, Lord Dudley, made, as indeed did Lord Samuel, a broad attack upon the demobilization scheme as such; nor was Lord Llewellin silent upon that point. There are certain criteria by which any demobilization scheme must be judged, and I will put them in this way. Is it a scheme which has about it the qualities both of smoothness and of swiftness? Has it a smooth passage with the troops, and by means of it have the troops a smooth passage into civilian life?
§ LORD NATHAN
The question of the age of the Canadian seems to me to be irrelevant. The point made by the noble Lord was that a Canadian airman could get out of the Canadian Air Force after three and a half years service and a British soldier could not get out of the British Army within the same period. That would be a complete misconception.
The machinery which operates the de-mobilization scheme has been thoroughly run in and is working extremely well. I have seen it myself in more than one place and I would say to your Lordships, with a due sense of responsibility, that it is a model of efficiency. Its capacity is sufficiently elastic to enable it to cope with any peak release which may arise due to fluctuation from time to time. The average number passing through the dispersal centres was stated in October of this year by the Minister of Labour to be 43,000 a week. By October it had risen to 80,000 a week and from now to the end of the year there will be 85,000 weekly, or 12,000 a day, passing through the centres. There is a limit, of course, to the capacity of the record offices and the pay offices, and also of the clothing depots, but the scheme is working well. So far as the system of documentation at release centres is concerned, which is the key to the whole release system, those centres, any one of them, can work on the footing of 60 men an hour or a man a minute.
1032 I said that it was essential that the scheme should be both smooth and swift. The release target by June 30 you already know. To October 15, which is the latest date at my disposal, 543,000 odd had been released, as against a target of 548,000. There was therefore a deficiency of only one per cent. I ought to say this. The reason why more was not done, why a higher figure was not reached earlier, was the inevitable time-lag of eight or nine weeks between the taking of a decision to speed up release and the reflection of that decision in the actual releases themselves.
It would be a mistake. however, to relate the actual releases to the figure of those immediately available for; industry, because, as your Lordships are aware, not only have those who come out of the Services by the ordinary, general system of release 56 days' release leave, but they have an additional leave of one day for every month spent abroad, so that it is quite possible that in large numbers of cases men already released may be on leave for a period of between ninety and a hundred days. There is therefore a considerable time-lag between the moment at which the release is effected and the moment at which a man will be available for industry, if he decides to spend on leave the whole of the time given to him for that purpose. Indeed, it is probably true that at this moment there are 300,000 men already released who are on leave, and who, as their leave works off, will take their place in industry. While over half a million had been released by the middle of last month, just under a million remain to be released between that date and the end of this year. I am assured by all the Services that despite all the difficulties of transport which we have had to face, and of which some noble Lords opposite are aware, and despite all other difficulties, we shall fulfil that programme by December 31.
Noble Lords will naturally say: "What of next year?" I believe that I can fairly say this in relation to the programme announced by the Minister of Labour, that if nothing unforeseen happens, if no new commitments arise, if existing commitments are not extended, if there is no breakdown in shipping nor any diversion of shipping which might, for instance, be necessitated by the developments in Java; if everything goes according to plan, then all the Services 1033 will do better than appears from the programme which has, been submitted to the public. It is expected that the Army will have fulfilled its part of the programme at a date later, indeed, than March 31, the date propounded by Mr. Churchill in the recent debate in another place, but appreciably earlier than the target date of June 30. The Royal Navy also anticipate being ahead of schedule, while the Royal Air Force expect to be up to schedule, in spite of four new groups, as already announced, having been added to their programme in the Minister of Labour's statement in October. It may be that our anticipations are optimistic, in a sense; it may be that situations will arise which may postpone their fulfilment in the way that we should wish; but, as matters stand at the moment, that is the prospect which we envisage.
Noble Lords may ask, and I think I have asked, why demobilization cannot be made speedier even within the target which we have set ourselves. Let me give an indication of some of the reasons. It is not now, as matters have developed, so much a question of transport. Difficulties were anticipated with regard to transport which I am glad to say have been overcome, and, unless there is some unexpected breakdown there, transport is not a factor which we need necessarily take into account within the limits of the programme which we have set ourselves. But I see, as matters stand, no prospect of extending the amount of transport likely to be available in the immediate future. The mere physical situation, the mechanical position, requires that a period of eight or nine weeks should elapse before a decision can be made effective as regards the release at all events of those in the oversea theatres in the East. Many men cannot be released until their replacements have arrived. Their replacements may be technical or they may not. But, if they are technical, then the period may be somewhat longer, because we have to train the technical replacements here. We are suffering in some degree from our own virtues. In the early days of the war, it was often held against the Army—and no doubt against the other Services too, but I know against the Army—that it had an unhappy knack of getting round pegs into square holes. The Army, therefore, set itself to get round pegs 1034 into round holes, by re-sorting, and it was highly successful in getting the right men into the right place.
VISCOUNT STONEHAVEN
My Lords, I am in entire agreement with what has been said from this side of the House and I find myself somewhat embarrassed through most of the points I was going to raise having been already covered. There is one point, however, which I think deserves stressing a little more, and that is the point about endeavouring to be fair to all and being fair to none. We have been told that roughly half the numbers in the Forces are in this country and half are overseas. I see no point in having the lot "browned off" when you can at least satisfy a portion. May I elaborate that a little more? When once you are out, you are out, and you soon forget all the troubles you have been in; but when the demobilization process has taken a long time and you come back to queues, no houses, restrictions and all the rest of it, the grudge lasts, and you get people in a bad state of mind for a longer period instead of some people in a bad state of mind for a short period. The vital thing, to my mind, is time, and there is one method whereby the time-lag which has been mentioned—that is, the fifty-six days' leave—could be eliminated, so as to get people back into industry at least that much sooner. I see no reason why the demobilization leave should not be given to men in this country in advance —that is to say, fifty-six days in advance of the date on which they are to be demobilized. That would at least have 1045 two advantages. One is that their demobilization benefits would not be aggregated with their wages for the purposes of Income Tax, which is the case at the moment and which is preventing men from taking on jobs during their leave. The other advantage is that they would get straight back to work, which is where we want them.
I must again mention the point raised by the noble Viscount, Lord Samuel, about the order in which men entered the Forces. I apologize for doing so, but I was myself in the category concerned and I give that as my reason for returning to the matter. The majority of men in the building trade were fully employed on constructional work until early in 1942, and it was not until then that they were permitted to volunteer for any branch of the Services. At that date those of us who could volunteer did so. That means that men of my own age and a great many younger than myself are now between groups 30 and 40. Those groups, 10 far as anyone can see, will not be reached until midsummer next year. Therefore it appears to me that the only solution to the building trade problem is the B release—I do not know if there is any significance in that title, but some people think so. That, as has been remarked, and it does not need any emphasis on my part, is a thoroughly unpopular thing. We had some harrowing details of the difficulties involved. To meet anybody who has actually been released under the B scheme is a pretty rare thing, but I do happen to have done that in one case. I think it might be of interest to your Lordships to hear what junior officers and this man had to say on the subject and how he was released under that scheme.
This lad is younger than myself. He was in Germany. Before the war he was an agricultural student, but he happened to be filling in time before he was called up, and was employed by his father, who is an engineer, as a chainman. I may explain that a chainman is a man who holds the other end of the tape when you are measuring. He did that for a period of two or three months. One evening, at five o'clock, he was suddenly sent for by his Company Commander, who said: "You are to be released under the B scheme as an architect." He replied: "But I am not an architect." The officer 1046 said: "That does not matter. Here it is on the paper. You are to be released under the B scheme as an architect, if you accept. Do you accept?" The man said: "I want to think this over." "No," answered the officer, "you must reply now, because I have to reply tomorrow." There is the point my Lords—reply to-morrow." The man said: "Well, if somebody says I am an architect, yes. Anything to get out." That is the only fellow I know who has been released under the B scheme. It is perfectly true; it is not a good yarn.
To come to a little more serious matter, is it not fairly obvious that the B scheme has not worked? If you want to make it work, I can tell you exactly how to do it. All you need to do is to increase your bid. The only reason men will not accept is that it is not financially to their advantage to do so. That is the hard and fast fact. That is one aspect of it. Here is another. We hear harrowing stories of the difficulties of working the B scheme. I must say that I think the Quartermaster's Department has a lot to do with this. That Department, when talking about the officer's armchair, says: "Chair, reclining, officer's." When they try to get men out under the B scheme they shuffle among their papers, amongst which are those of a lot of people who are dead, and 'hunt up the particulars. There are thousands of clerks working 'day and night trying to get out those details. Then they try to find out where these men are, as they have been posted to various places, and eventually a man who has no intention of accepting is offered release under the B scheme. It appears to me that a more sensible way of doing this would be to call for volunteers under the B scheme in all units, send back the names of the men willing to come out and choose from those men. Surely that would speed up matters.
I must refer to another matter which has been mentioned, though I am sorry I cannot remember which noble Lord raised it. It seems to me that if technical direction were available a great deal better use could be made of the labour which we now have. It is the direction which is lacking and that direction is in the Forces. Largely—very often, at any rate—the man has risen and become an officer. Officers are at a very great disadvantage in getting out as compared 1047 with other ranks. That may be right or it may be wrong, but it is nevertheless the fact. It is that direction which is needed to make use of the existing labour.
A lot has been said about the difficulty of forecasting the size of the Services in the future. I entirely agree with that and so does everyone. There are, however, two facts which must be apparent. One is that the Armed Forces will not be smaller than they were before the war and the other is that the Government must know what is left of the pre-war permanent Army. They have, therefore, a margin on which they can work. There are many old men—I admit I am speaking from experience only in my own unit—who would elect to stay on in the Services at the present time without worrying about terms. They are better off where they are now and they know it. They would stay, but they are being turned out now and young men, who have a job to do, are being kept on. The noble Lord, Lord Nathan, said, quite rightly, that the demobilization machine was now nicely run in. I would like to say that the normal thing which an engineer does, after running a machine in, is to have a go at speed trials. Cannot we have some speed trials with this demobilization scheme?
I now wish to talk on rather a restricted field—namely, the position of the Royal Marine Engineers. They are a small technical unit. Their other ranks are composed entirely of building trade operatives and their officers are all architects, engineers, surveyors and so on. They are all technical men. Among the large majority of those officers and men there is a feeling that they are at a disadvantage. I do not know whether this is true, but what I want to do is to get an answer from His Majesty's Government. They feel they are doing next to nothing except contract work for the Admiralty, work which is normally done by civilian labour. As far as we know, the only cost that is returned—anyway from the actual sites—is the cost of material. No cost of labour is returned from the sites that we know of. If that is so, the Admiralty are getting away with the cost of labour, which is being charged—as far as we know again —presumably to the Service Vote. The feeling is that the Admiralty are sitting back, rubbing their hands and saying: 1048 "This is a good thing; the longer it goes on the better." That is the feeling. I hope it is not true and if so I hope I shall be corrected, because it is having a very bad effect on the morale of these men.
When I was in that unit we were told, unofficially anyway, that we were barred from any class B release. If you bar an entire engineering unit it seems to me you are barring just the kind of men you want to get out. I do not know if that is so, but that is the feeling. Certainly, to my knowledge, at the time I left only one man had been released under Class B. I know of one case where an architect, who was very closely associated with Howard House, was refused release and sent out to Australia, where he is now. That occurred after VJ Day. Right throughout the war all the staff work of the Royal Marine Engineers was carried out by a very gallant old gentleman who had the China ribbon up. As a matter of fact, if you wanted to get on his right side you said, "What is that decoration?" and he was very pleased to tell you. That gallant old gentleman carried on, with the assistance of one junior officer, right through until after VE Day. He was over seventy, but he was fully capable of doing the job and he did do a good job. He was turned out neck and crop in spite of volunteering to stay on; he was not even allowed the courtesy of calling himself "Colonel." A complete new staff was drafted on to the Royal Marine Engineers; certainly seven, and I believe nine, officers replaced that gallant old gentleman. There may have been a very good reason for that but I do not know what it is and I should be very glad to be told. That sort of thing is not convincing to the men in the unit who think they are not getting a fair deal in demobilization.
I think I have already said quite enough, but I would like to tell you that the only means by which I managed to extricate myself from that predicament—I was in release group 31—was to say I wished to come to your Lordships' House and that I believed I could do so. After a period of two months' consideration they decided there was no method whereby they could stop me, and I am afraid I am here. For every two months I sit here I "tick up" one release group, so I do not know how I am going to get out.
§ THE LORD CHANCELLOR (LORD JOWITT)
My Lords, I might perhaps usefully occupy your Lordships' time for a few minutes only in dealing with some of the points which have been made in the last two very interesting speeches. I want to put this to your Lordships. We have worked out a plan, and to that plan we are adhering. Criticism from your Lordships' House has been on two diametrically opposite lines. On the one hand, the noble Lord, Lord Llewellin, said that it was a policy of "drift, drift, drift." That is to say, he says that we are not steering by the compass at all, but just letting ourselves be blown wherever the wind happens to blow us. On the other hand, the noble Earl, Lord Dudley, said that we were adhering too rigidly to a plan, and that we were foolish not to alter our plan and make it more flexible to deal with the situation as it emerges from day to day. Both those criticisms cannot be right; they rule each other out altogether, and your Lordships must really choose which horse to back. Is it that we are drifting and have no plan at all, or is it, on the other hand, that we are adhering much too rigidly to the plan which we have?
1052 I submit that we are taking the proper course in adhering to the plan commonly called the Bevin plan, because the Bevin plan has certain very great advantages. On the other hand, I am very conscious of the need, the clamant need, to get back more workers for our industry. If I am asked whether we are going to speed up demobilization, I would ask your Lordships to consider this figure. We have had a machine which was slow to start, I quite agree; disappointingly slow, I quite agree. Our total releases down to October 31 were 711,000. Our target for the end of the year, two months later, is, as your Lordships know, over 1,500,000. I believe that we are going to reach that target, and therefore in the two months, November and December, we have to discharge the difference between those two figures, which is roughly of the order of 800,000. If I take the period as eight weeks—it is rather longer, but it eases my arithmetic to take it as eight weeks—that gives a weekly average of 100,000, or a daily average of 14,000. If we do achieve that figure, a weekly average of 100,000, that is pretty speedy; I do not think it could be suggested that we could improve on that.
Now that is all very well, but do let us consider this. Are you going to have these men coming back in a sort of unregulated scramble, or are you going to try to get them back in an orderly and regulated way? The noble Earl, Lord Dudley, said—and we all know it to be true—that there are many of our factories which have to be re-tooled and modernized before they can be effectively used, and, at the present moment, the labour you want for those factories is that labour which is able to do the retooling and modernizing; it is not the labour that will come to those factories when they have been re-tooled. We must not imagine that the greatest good will be done if we try to get out the greatest number of men without any sort of regard to what is going to happen to them when they come out of the Army. I would ask that we should concentrate on an orderly and regulated method, and if we do make good that target and discharge 800,000 men between now and the end of the year, I am quite certain that that will be as many as industry can digest for the time being. Then, of course, for the next six months, down to June 30 next year, we have to discharge rather more than 1053 another 1,500,000 men. So we bring down our Armed Forces from approximately 5,250,000 — or rather less, in fact—to 2,200,000 or thereabouts.
Now I want to say that our limiting factor is not transport. The limiting factor is what Armed Forces shall we want by the end of June next year? It is too early yet to say what we shall need, but we cannot consider cutting down and allowing demobilization to go on to an unlimited extent. We must have regard to our possible needs and we must have regard to the situation in various parts of the world. And, though I hope that time will prove that the figure of 2,200,000 is excessive, we are not prepared at the, present time to say that it is so. It must always be remembered that if you want accurately to measure demobilization you must not merely subtract from 5,250,000 the figure 2,200,000, because, of course, the latter figure will have been swollen by the new intake. That surely is right. That is our limiting factor at the present time, and I have yet to hear any of your Lordships definitely pledge yourselves to the view that the world situation is so clear and so easy that we ought, at the present time, to prepare our plans for cutting down further than that. I hope, naturally, that we shall be able to go down further than that.
Next, may I say something about the speech of Lord De L'Isle with regard to our labour force? I have not the figures but my recollection is from what I have heard—and I have heard them quoted before—that his figures are right. The lesson they show, I think, is this. We shall have hereafter to use our labour more effectively and we must try to increase our output. We must modernize our plan, and our methods, and also try to, see that more of our labour does go into production. There was nothing that impressed any of us more, in looking at the figures of, the call-up in the time of the Coalition Government, than to find what an overwhelming proportion of men came, not from production, but from distribution. I feel certain that in the future, if we are going to achieve all we want to do, we must get a larger number of men into production, and we must see that those men in production are so placed and sc circumstanced, and the factories so tooled and machined, that a far greater output can be obtained. That, I believe, is one 1054 of the problems before us, and for that reason I would say, do not let us get into an unregulated scramble in this matter.
We do not look upon the Bevin scheme as part of the law of the Medes and Persian's which cannot possibly be altered. Of course it can, and we should indeed be foolish if we did not learn, in the light Of experience, what we ought to learn. But in view of the feeling there was after the last war about demobilization, of the suspicion of the soldiers with regard to what were called key-men—as many of your Lordships will recollect—are we not right to take no risks of that happening again? We have a scheme which, at any rate, has this merit; that it commends itself to the Armed Forces. I suggest that His Majesty's Government would be foolish to jettison that scheme unless there is any really very serious case for so doing. At the present moment I do not think that there is such a case. I concede at once that for the few months that the machine has been operating it has worked disappointingly slowly. But now the machine is properly "revved up" I believe it is going to work—as I said before—quite as fast, and give us quite as large a number of men as industry can absorb. In these circumstances, I am not prepared, at the present time, to say that any drastic amendment in the Bevin scheme is necessary.
Now as to Class B. That figure was fixed very carefully. We came to the conclusion in the old days—and I think that conclusion was right—that at no time should B releases exceed, as a maximum, 10 per cent. of the A releases. Your Lordships all know why we came to that conclusion. The reason was that we were advised that unless we did so the soldiers would not think that the scheme was fair. At the present moment the position is that up to the 31st October Class B releases were 39,000, and they were gaining impetus rapidly.
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LES DAWSON
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Born: February 2 1931, Collyhurst, Manchester, EnglandDied: June 10 1993, Whalley Range, Manchester, England by PETER TATCHELL (copyright 2012) For a quarter of a century he was one of Britain’s most cherished comedians, a man who not only said funny things and said things “funny” but, on occasion, looked funny while he was saying them.…
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Born: February 2 1931, Collyhurst, Manchester, England
Died: June 10 1993, Whalley Range, Manchester, England
by PETER TATCHELL (copyright 2012)
For a quarter of a century he was one of Britain’s most cherished comedians, a man who not only said funny things and said things “funny” but, on occasion, looked funny while he was saying them. Les Dawson was perhaps the last bastion of the British music hall, relying on clever wordplays, facial expressions and outlandish appearance in pursuit of a solid belly laugh.
Starting out as a singer, Manchester-born Les soon realized his short chubby looks were more suited to making people laugh than swoon, but by his mid-thirties (with success eluding him and a family to support) he was on the brink of admitting defeat and getting a day job.
But national exposure on Opportunity Knocks in 1967 proved the catalyst and by decade’s end Dawson had his own series Sez Les on Yorkshire Television and was a regular participant in the company’s new Jokers Wild gagfest. The following year he began a long association with BBC radio and was heard in such shows as Our Les and Listen to Les.
Les wasn’t just a run-of-the-mill joke teller … he was a talented musician who knew how to play the piano excruciatingly badly, he had a lugubrious expression oft-times resembling “a sack of spanners” (to use his own words) and was more than adept at appearing gormless in a variety of guises.
His shows were also enlivened by a gallery of regular Dawson characters: most notable being dumpy housewife Ada (inspired by, and a tribute to, the revered Northern comic Norman Evans). With Roy Barraclough as gossipy neighbour Cissie, the Dawson talent for facial distortion and vocal meandering came into full play. John Cleese was also a regular participant in the early years, being an unashamed fan of the newcomer.
After ten years as Yorkshire’s chief funnyman, Les was lured to BBC Television in 1978 (at a time when Morecambe and Wise had deserted them for ITV company Thames). But unlike the legendary double act, his popularity wasn’t affected by the switch.
The 1980s was a turbulent time for British comedians of the old school … their schoolyard was rapidly being taken over by crowds of “alternative” playmates who decreed that mothers-in-law and busty blondes were no longer to be included in the syllabus and the most popular new subject was to be political correctness.
Les knew what he was good at and, thanks to the BBC, he was allowed to keep doing it. Each year saw new seasons of his BBC1 and Radio 2 offerings, but by the middle of the decade the latter stages of his wife’s terminal illness forced him to lessen his workload.
In late 1984 he took over from Terry Wogan as host of the game show Blankety Blank, and would make it his personal plaything for six years, relegating the panel of celebrities to a glittering gaggle of straightmen (sorry, “straightpersons”). And his love of the English language continued to find expression in an array of humorous novels and (eventually) two volumes of autobiography.
In 1990, Dawson fronted a revived version of Opportunity Knocks and the following year a frustratingly mediocre game show called Fast Friends. Les could also be seen in the lead role of the bizarre play Nona on BBC2 and was the standout performer at that year’s Royal Variety Show. But now his own health was becoming a problem and he had to contend himself with being guest on other people’s chat shows and a recurring character part in the Griff Rhys Jones/Martin Clunes drama series, Demob. His final TV appearance was on Cilla Black’s Surprise Surprise.
Les Dawson was felled by a fatal heart attack in June 1993 (ironically whilst visiting hospital for a checkup). Twenty years later he is still fondly remembered as a very funny man, and sadly missed.
Radio
COMEDY PARADE
Series 1: Light Thursday 8-00pm October 1 1964
GOING PLACES starring Les Dawson, Ray Fell
Series 3: R2 Sunday 2-30pm February 21 1971
OUR LES starring Les Dawson, Joe Gladwin
LES DAWSON – MAN OF FICTION
R4 (North) Thursday 12-25pm February 26 to April 2 1970
with Les Dawson, Robert Dorning, Joe Gladwin, Sandra Gough, Daphne Oxenford
OUR LES (pilot in COMEDY PARADE)
Series 1: R2 Wednesday 8-00pm December 8 1971 to January 26 1972
Series 2: R2 Sunday 2-30pm December 31 1972 to February 25 1973
episodes 3 and 9 are in BBC Archives
with Les Dawson
LISTEN TO LES
Series 1: R2 Sundays 2-00pm July 7 to August 25 1974
episode 6 is in BBC Archives
Series 2: R2 Sundays 2-00pm June 8 to July 27 1975
episode 3 is in BBC Archives
*** MIKE YARWOOD IN THE LES DAWSON SHOW
R2 Monday 1-00pm August 25 1975 (50 min)
held in BBC Archives
Series 3: R2 Sunday 2-00pm October 17 to December 5 1976
episode 1 is in BBC Archives
Series 4: R2 Sunday 2-00pm August 7 to September 25 1977
episode 3 is in BBC Archives
Series 5: R2 Sunday 10-30pm October 1 to November 19 1978
episode 1 is in BBC Archives
Series 6: R2 Sunday 1-30pm November 18 1979 to January 6 1980
episode 1 is in BBC Archives
Series 7: R2 Sunday 1-30pm December 7 1980 to January 25 1981
all episodes are in BBC Archives
Series 8: R2 Sunday 1-30pm January 10 to March 28 1982
all episodes (except show 3) are in BBC Archives
Series 9: R2 Sunday 1-30pm July 10 to September 25 1983
episodes 1 to 3 and 10 to 12 are in BBC Archives
Series 10: R2 Sunday 4-00pm January 20 to March 24 1985
all episodes are in BBC Archives
with Les Dawson, Colin Edwynn, Daphne Oxenford, Roy Barraclough (series 9)
THE CHRISTMAS LAUGHALONG
R2 Friday 11-00pm December 24 1982 (60 min)
with Les Dawson, Roy Castle, Eli Woods, Daphne Oxenford
MARRIOTT’S MONOLOGUES
R2 Thursday 9-45pm September 5 1991 (15 min): Les Dawson
NEVER GIVE A SUCKER AN EVEN BREAK – tribute to W.C. Fields
R4 Wednesday 4-05pm March 30 1977
hosted by Les Dawson
IT MAKES ME LAUGH
*** R4 Thursday 6-30pm December 31 1981: Les Dawson
IT’S A FUNNY BUSINESS
Series 5: R2 Wednesday 10-00pm January 22 1986: Les Dawson
tributes
SAID LES – tribute to Les Dawson
R2 Saturday 4-00pm August 28 1993 (60 min)
TURNS OF THE CENTURY
Series 1: R3 Friday 4-20pm June 16 1995 (10 min): Les Dawson
HOW TICKLED AM I?
Series 1: R4 Tuesday 11-30am April 20 1999: Les Dawson
THERE’LL NEVER BE ANOTHER
R2 Tuesday 9-00pm August 22 2000 (60 min): Les Dawson
hosted by Graeme Garden
Television
COMEDY PLAYHOUSE: State of the Union (BBC1 April 26 1968)
JOKERS WILD
(Les Dawson is featured in most editions)
series 1: ITV/Yorkshire July 9 to November 12 1969
series 2: ITV/Yorkshire July 4 to September 26 1970
series 3: ITV/Yorkshire December 12 1970 to January 23 1971
series 4: ITV/Yorkshire July 24 to September 4 1972
series 5: ITV/Yorkshire October 19 1972 to March 22 1973
series 6: ITV/Yorkshire May 17 to September 13 1973
series 7: ITV/Yorkshire November 19 1973 to June 24 1975
series 8: ITV/Yorkshire September 25 to November 20 1975
SEZ LES
series 1: Yorkshire April 30 to June 18 1969 series 2: Yorkshire September 10 to November 19 1969 series 3: Yorkshire August 16 to September 6 1971 series 4: Yorkshire January 13 to February 17 1972 series 5: Yorkshire July 29 to September 9 1972 (45 min) series 6 (titled LES SEZ): Yorkshire October 40 to December 4 1972 series 7: Yorkshire July 28 to September 8 1973 (45 min) and Christmas special December 26 1973 (60 min) series 8: Yorkshire January 25 to March 8 1974 series 9: Yorkshire June 28 to August 9 1974 special: Yorkshire January 2 1976 (60 min) series 10: Yorkshire February 25 to March 10 1976 (60 min) series 11: Yorkshire October 19 to December 6 1976
(short segments were also featured in the Christmas Day All-Star Comedy Carnival programmes of 1971, 1972 and 1973
HOLIDAY WITH STRINGS: Yorkshire August 26 1974 (35 min)
SOUNDS LIKE LES DAWSON:Yorkshire December 4 1974 (60 min)
LES DAWSON’S CHRISTMAS BOX
special 1: Yorkshire December 21 1974 (60 min) special 2: Yorkshire December 26 1975 (60 min)
DAWSON’S ELECTRIC CINEMA: Yorkshire April 3 1975 (60 min)
THE LONER: Yorkshire May 7 to 21 1975
Dawson’s Complaint
Dawson’s Connection
Dawson’s Encounter
DAWSON’S WEEKLY: Yorkshire June 12 to July 29 1975
Les Miserables
Where There’s a Will
Stage-Struck
Accident Prone
All Pools Day
The Clerical Error
THE LES DAWSON SHOW: Yorkshire September 10 1975 (60 min)
DAWSON AND FRIENDS: Yorkshire (60 min)
special 1: April 20 1977
special 2: May 25 1977
special 3: June 15 1977
special 4: June 29 1977
THE LES DAWSON SHOW
series 1: BBC1 January 21 to April 1 1978
THE DAWSON WATCH
series 1: BBC1 February 23 to April 6 1979
series 2: BBC1 November 22 to December 27 1979
series 3: BBC1 October 17 to November 28 1980
special: BBC1 December 23 1980
THE LES DAWSON SHOW
special: BBC1 May 25 1981 (45 min)
series 2: BBC1 January 30 to March 5 1982
series 3: BBC1 January 15 to February 19 1983
series 4: BBC1 January 21 to February 25 1984
special: BBC1 December 28 1987 (50 min)
series 5: BBC1 October 19 to November 23 1989
MUSSOLINI WITH KNICKERS: BBC1 October 18 1981
BLANKETY BLANK
Les took over the game show (previously hosted by Terry Wogan) and compered nearly a hundred editions between September 7 1984 and March 12 1990.
OPPORTUNITY KNOCKS (BBC1 March 31 to June 2 1990)
FAST FRIENDS (BBC1 March 30 – June 28 1991)
NONA (special, BBC2 October 19 1991)
DEMOB (episodes 3 and 6)
tributes
COMIC ROOTS – Les Dawson’s Lanes (BBC1 August 2 1982)
THE LAST LAUGH – A TRIBUTE TO LES DAWSON (BBC1 July 5 1993)
A TRIBUTE TO LES DAWSON (ITV December 26 1993)
LES DAWSON – THE ENTERTAINER (BBC1 October 2, 17 and 24 1994)
HEROES OF COMEDY (CH4 April 16 1997)
THE BEST OF LES DAWSON (BBC1 May 17, 24 and 31 and June 20 1997)
UNFORGETTABLE (ITV December 11 2000)
LES DAWSON’S FINEST HOUR (CH4 December 30 2000)
THE MANY FACES OF LES DAWSON (BBC2 December 24 2011)
LES DAWSON – THE AUDIENCE THAT NEVER WAS (ITV June 1 2013)
TALKING COMEDY – Les Dawson (BBC2 April 6 2015)
THE INTERVIEWS – Les Dawson (Gold July 8 2015)
LES DAWSON FOREVER (ITV3 December 21 and 22 2016)
LES DAWSON IN HIS OWN WORDS (C5 December 22 2017)
Recordings
Send Her Roses / I’m Just Another Sweetheart
Chapter one 45rpm CH 106
Promise Me / How Small We Are, How Little We Know
Decca 45rpm L 13287
Spread It Around / She’s Gone
Ocean Nashville OCS 204
AN EVENING WITH LES DAWSON
Phonogram/Contour LP 2870 516 (1976)
Our Love Story
For Me and My Gal
My Blue Heaven
I Can’t Control Myself
Jeremiah Fisher Frog
Show Me the Way to Go Home
Goodbye (from White Horse Inn)
Bye Bye Blackbird
LAUGH WITH LES
BBC LP REB 346 (1979)
Soundtrack extracts from THE DAWSON WATCH
or LISTEN TO LES (*)
Opening – An Appeal
Transport – Mission Impossible
Cissie and Ada – Getting About
Dissertation – The Barnsley Dracula *
Leisure – The Alien Evil
Cissie and Ada – Time Off
Dissertation – A Strange Experience
Money – The Sin of Mankind
Cissie and Ada – Making Ends Meet
Dissertation – The Holiday *
LISTEN TO LES
Volume 1 (ZBBC 1437)
contents unknown
Volume 2 (ZBBC 1711)
contents unknown
DVDs
SEZ LES
volume 1: all of series 3 and 4 (Network 2-DVD)
volume 2: all of series 5 and 6 (Network 3-DVD)
volume 3: all of series 7 and 8, plus the 1973 Christmas show (Network 3-DVD)
DAWSON’S WEEKLY
includes all 6 episodes, plus the 1974 Holiday With Strings special (Network)
LES DAWSON – THE ITV SPECIALS
2 editions of Les Dawson’s Christmas Box, 4 of Dawson And Friends, Sounds Like Les Dawson, The Les Dawson Show (1975), Dawson’s Electric Cinema, plus two guest appearances (Network 3-DVD)
THE BEST OF LES DAWSON
85 minutes of highlights from his BBC series (BBC DVD)
MASTERS OF COMEDY
54 minutes of highlights (ITV DVD)
COMEDY HEROES
65 minutes of highlights (ITV DVD)
Books
fiction
A CARD FOR THE CLUBS
by Les Dawson (Sphere Books, London. 1974)
THE SPY WHO CAME …
by Les Dawson
THE COSMO SMALLPIECE GUIDE TO MALE LIBERATION
by Les Dawson (Star / W.H. Allen paperback, London. 1979)
THE MALADY LINGERS ON AND OTHER GREAT BROANERS
by Les Dawson (Arrow / Hutchinson paperback, London. 1982)
THE AMY PLUCKETT LETTERS
by Les Dawson (Robson, London. 1982)
HITLER WAS MY MOTHER-IN-LAW
by Les Dawson
COME BACK WITH THE WIND
by Les Dawson (Robson, London. 1990)
WELL FARED, MY LOVELY
by Les Dawson (Robson, London. 1991)
biographical
LES DAWSON’S LANCASHIRE
by Les Dawson (Elm Tree Books, London. 1983)
A CLOWN TOO MANY
by Les Dawson (Elm Tree Books, London. 1985)
NO TEARS FOR THE CLOWN
by Les Dawson (Robson, London. 1992)
LES DAWSON – WHEN YOU’RE SMILING
by Mick Middles (Andre Deutsch / Chameleon, London. 1999) LES DAWSON’S SECRET NOTEBOOKS
compiled by Tracy Dawson (JR Books, 2007)
|
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https://www.gao.gov/assets/a244152.html
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en
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term Reserve Force Availability and Related Mobilization and Demobilization Issues
|
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[] |
[] |
[
""
] | null |
[] |
2004-09-15T00:00:00
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| 48
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https://ideas.repec.org/a/cup/bjposi/v28y1998i01p113-137_00.html
|
en
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The Dynamics of Party Activism in Britain: A Spiral of Demobilization?
|
https://ideas.repec.org/cgi-bin/twimage.cgi?a&cup:bjposi:v:28:y:1998:i:01:p:113-137_00
|
https://ideas.repec.org/cgi-bin/twimage.cgi?a&cup:bjposi:v:28:y:1998:i:01:p:113-137_00
|
[
"https://ideas.repec.org/ideas4.jpg",
"https://ideas.repec.org/ideas4.jpg",
"https://ideas.repec.org/images/mastodon.svg"
] |
[] |
[] |
[
""
] | null |
[
"Whiteley, Paul F. & Seyd, Patrick",
"Paul F. & Seyd"
] |
1998-08-13T00:00:00
|
Downloadable! Changes in activism among grassroots members of the Labour and Conservative parties in Britain are modelled using panel surveys in this article, with party members being surveyed before and after the 1992 general election. The evidence suggests that a decline in activism over time has occurred in both parties, but this decline is greater in the Labour party than in the Conservative party. This is attributed to a number of political, cultural and sociological changes in society over time, but in the short run the main factor is the outcome of the general election in 1992. These trends are modelled by means of a ‘general incentives’ theory of activism, which explains the decline in activism in terms of changing incentives for political action. Reductions in incentives for activism were, with one exception, greater for Labour party members than for Conservatives, which explains the differences between the two parties. This may produce a ‘spiral of demobilization’ in which electoral losses produce a decline in activism and campaigning at the local level, which in turn leads to further electoral losses.
|
en
|
/favicon.ico
|
https://ideas.repec.org//a/cup/bjposi/v28y1998i01p113-137_00.html
|
Corrections
All material on this site has been provided by the respective publishers and authors. You can help correct errors and omissions. When requesting a correction, please mention this item's handle: RePEc:cup:bjposi:v:28:y:1998:i:01:p:113-137_00. See general information about how to correct material in RePEc.
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https://www.thefreedictionary.com/Demob%2Bhappy
|
en
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Demob+happy
|
http://img.tfd.com/TFDlogo1200x1200.png
|
http://img.tfd.com/TFDlogo1200x1200.png
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Define Demob+happy. Demob+happy synonyms, Demob+happy pronunciation, Demob+happy translation, English dictionary definition of Demob+happy.
|
https://img.tfd.com/favicon.ico
|
TheFreeDictionary.com
| null | ||||
3360
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| 3
|
https://www.ranker.com/list/best-shows-set-in-the-50s/ranker-tv%3Fpage%3D2
|
en
|
The 65 Best TV Shows Set In The '50s, Ranked
|
https://imgix.ranker.com/list_img_v2/7325/2727325/original/best-shows-set-in-the-50s
|
https://imgix.ranker.com/list_img_v2/7325/2727325/original/best-shows-set-in-the-50s
|
[
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"https://v3api.ranker.com/api/px?lid=2727325"
] |
[] |
[] |
[
""
] | null |
[
"Ranker TV"
] |
2018-08-21T00:00:00
|
Over 500 TV viewers have voted on the 65 Best TV Shows Set In The '50s, Ranked. Current Top 3: The Marvelous Mrs. Maisel, Happy Days, Call The Midwife
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/best-shows-set-in-the-50s/ranker-tv
|
The allure of television shows set in the 1950s captivates viewers with their nostalgic charm and compelling stories. Transporting audiences to a bygone era, these series expertly depict the social landscapes, fashion, and cultural milestones that defined the decade. As an ode to this golden age of television, a collection of such shows has been carefully curated, showcasing programs that brilliantly capture both the spirit and essence of life in the '50s.
These exceptional 1950s shows offer visual feasts as they bring to life various themes, characters, ideologies, and narratives that resonated during this transformative period. From laugh-a-minute comedies to gripping dramas set against historical backdrops, each series masterfully portrays facets of life in post-WWII America and beyond. Whether it's exploring changing gender roles or delving into political intrigue, these shows encapsulate aspects of society's transformation while providing edge-of-your-seat entertainment.
Among the standouts in this treasure trove of 1950s series are The Marvelous Mrs. Maisel, Happy Days, and The Queen's Gambit. The Emmy-winning comedy-drama The Marvelous Mrs. Maisel shines a spotlight on gender expectations through its protagonist's journey as a housewife turned trailblazing comedian. Meanwhile, Happy Days immerses viewers in an idyllic vision of suburban America during simpler times and offers feel-good moments that warm hearts even today. Finally, The Queen's Gambit mesmerizes with its tale of a young orphan girl who ascends to chess stardom amid Cold War tensions. These engrossing titles serve as prime examples of how some of the best shows set in the '50s have left indelible marks on popular culture.
As we reflect on these outstanding productions that whisk us away to bygone days full of hope and possibility, we can't help but appreciate their timeless appeal and the numerous ways they have enriched our understanding of that era. The absorbing stories, endearing characters, and authentic portrayals of the 1950s found within these series serve as a testament to their enduring popularity. Indeed, such exceptional shows set in the '50s continue to resonate with viewers across generations and will undoubtedly remain an integral part of television's rich history.
|
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3360
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2
| 89
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https://www.tiktok.com/%40demob_happy/video/7328006525203647777
|
en
|
Make Your Day
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
3360
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https://watch.plex.tv/show/demob
|
en
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Demob
|
https://images.plex.tv/photo?size=large-1280&url=https%3A%2F%2Fartworks.thetvdb.com%2Fbanners%2Ffanart%2Foriginal%2F273010-1.jpg
|
https://images.plex.tv/photo?size=large-1280&url=https%3A%2F%2Fartworks.thetvdb.com%2Fbanners%2Ffanart%2Foriginal%2F273010-1.jpg
|
[
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Demob (1993) starring Griff Rhys Jones, Martin Clunes and directed by Robert Knights.
|
en
|
/icons/favicon.ico
|
https://watch.plex.tv/show/demob
|
A comedy drama starring Griff Rhys Jones and Martin Clunes as two soldiers looking to continue their cabaret act after the end of the war. The series is notable for featuring Les Dawson in a guest role, broadcast posthumously.
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3360
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dbpedia
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0
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https://blogcritics.org/war-what-is-it-good-for1/
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War. What is it Good For? Why, Entertainment, Of Course!
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2011-06-28T15:53:20+00:00
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In 1970, Edwin Starr’s anti-war opus “War” hit the number-one spot on the Billboar
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en
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https://blogcritics.org/wp-content/uploads/2017/09/favicon.ico
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Blogcritics
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https://blogcritics.org/war-what-is-it-good-for1/
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In 1970, Edwin Starr’s anti-war opus “War” hit the number-one spot on the Billboard Hot 100 chart. While the message of the track was painfully clear (it was against the conflict that was going on at the time in Vietnam), it nevertheless sparked a heated debate between parties from every aspect of the political scale. Forty years on, the Vietnam War is no longer a concern to the general public (with the exception of a few interesting fellows you tend to encounter out in front of coffee shops and Laundromats). Edwin’s song, on the other hand — not to mention its meaning — has gone on to become less of a statement, but more of a pop-culture reference — particularly in the motion picture and television industry.
In short, the question remains: “What is it good for?” Well, if the entertainment industry’s many productions that come out each and every year, focusing their attention on the multifaceted aspects of war are any evidence as to what the official — if slightly sarcastic — answer to Edwin’s query might be, I suppose that the well-sanctioned riposte would be something along the lines of “Hey, it’s good for making movies and TV shows, of course.” And, with that in mind, I present you with six titles now available on home video that explore the versatility that only a straightforward scuffle can supply, aptly titled: “War. What is it Good For? Why, Entertainment, Of Course!” Good God, y’all!
Enjoy.
· 20th Century With Mike Wallace: America At War (1995) (Athena)
The Short Version: A fascination collection of early History Channel fodder.
The Slightly-Elongated Version: Acorn Media’s educational/historical label Athena brings us another collection of episodes from 20th Century With Mike Wallace from the mid-‘90s, and which originally aired on The History Channel. Ever the astonishingly-adept anchor, the one and only Mike Wallace (of 60 Minutes fame) takes on into the dusty old archives of stock footage to present us with a look on the aforementioned Vietnam War (cue the Edwin Starr, kids), the (first) Gulf War and what the Korean War was like without Alan Alda. The three-disc series also examines some of the country’s alternative forms of armed forces (e.g. the Green Berets, Navy SEALs, women), takes a peek at the advancements in weaponry following the Cold War, and even touches on some of the great gaffes in military history (such as the Bay of Pigs Invasion and that wonderful Iran hostage rescue). While the Cable TV programming of 1995 wasn’t quite as in-depth or as compelling as it is today, 20th Century With Mike Wallace: America At War is nevertheless an educational piece (especially for those of you who didn’t see it the first time ‘round).
· Attack On Darfur (2009) (Phase 4 Films)
The Short Version: Uwe Boll brings us serious movie for a change.
The Slightly-Elongated Version: The very mention of his name causes some people to flee in terror, while others have honestly considered waging a war of their own against Germany for unleashing him upon the world. His name is Uwe Boll, and he is often considered to be one of the worst filmmakers in the industry. Obviously, the people who make such preposterous claims probably enjoy films by Michael Bay, Jerry Bruckheimer, Will Smith and Akiva Goldsman — and thusly, have no such right to accuse anyone of anything. Truth be told, Boll’s usual tongue-in-cheek style of filmmaking is right up my alley; but with Darfur, Uwe has brought us a very unusual, solemnly-stern and extremely gritty look at the genocide in Sudan. The story centers on several American journalists who are faced with either venturing back to the States so that they can report what they‘ve seen, or staying to help the locals whose lives have been forever and tragically altered by the grotesque goings-on. Billy Zane (who has really and unfairly earned a bad rep over the years) leads the mostly-formidable cast, which also includes Hakeem Kae-Kazim, Kristanna Loken, and (unfortunately) Edward Furlong.
· A Film Unfinished (2010) (Oscilloscope Laboratories)
The Short Version: The real-life Nazi equivalent of Cannibal Holocaust and The Blair Witch Project.
The Slightly-Elongated Version: Since we’ve already touched upon the topic of genocide, this would be as good of a time as any to bring up Adolf Hitler. But this isn’t your typical documentary approach to the Holocaust. Following the final days of World War II, a mysterious canister of film was discovered in a concrete vault, far away from the prying eyes of the world in an East Berlin forest: a propaganda film of petrifying proportions entitled Das Ghetto. Years later, additional footage from the partial project was discovered, enabling documentarian Yael Hersonski to make this disheartening look at Nazi manipulation at its finest. A Film Unfinished investigates the origins of the original footage, recreating the events around the making of the film via documented reports and eyewitness accounts. Scenes of “upper-class” Jews in the Warsaw Ghetto circa 1942 dining and dancing while their brethren are being tortured slaughtered outside are obviously staged, and running commentaries from survivors only go to make this motion picture experience all the more devastating. It’s a thoroughly-fascinating find overall, but not if you’re on the lookout for the perfect Bar Mitzvah gift.
· Tigerland (2000) (Fox Home Entertainment)
The Short Version: Another shitty Joel Schumacher film. Now on Blu-ray!
The Slightly-Elongated Version: One of the nice things about the major video labels slowly churning out their older catalogue titles to Blu-ray is that you get the chance to revisit movies you didn’t find to be overly-impressive the first time ‘round. I remember seeing Joel Schumacher’s Tigerland in the early ‘00s when it first hit home video. Suffice to say, I didn’t care for it then, and I still don’t today. This early Colin Farrell starring vehicle brings us the harsh existence of a group of infantry trainees in Louisiana, as they prepare to ship out to Vietnam in 1971. While some (who usually turn out to be folks that were in the armed forces at one time or another, or whose family members were) see this one as a masterpiece, others find it to be rather typical war fare (read: boring) — only this time, Joel Schumacher fills up the screen with lots of pretty young men. It has its plus side: it put me to sleep both times I tried watching it (maybe the third time will be the charm, eh?). Fox Home Entertainment’s new Blu-ray of the film is a somewhat murky affair (particularly in the A/V departments) and includes a few new special features mixed with a lot of old ones. Also available on DVD.
· Demob (1993) (Acorn Media)
The Short Version: An oft-delightful British dramedy about life after WWII.
The Slightly-Elongated Version: We see a lot of stories that take place during wars. We also see a fair deal of tales that transpire many years following wars. But how often do we get to explore that odd transitionary period wherein ex-soldiers have to go back to normal, civilian life? Demob (short for “demobilized”) is an early-‘90s British comedy/drama that tells of two army buddies (played to the hilt by Doc Martin’s own Martin Clunes and Griff Rhys Jones of Alas Smith And Jones fame) that return to England immediately following the end of their stint in WWII. Life for these two former entertainers (they never entered into battle) isn’t what they grew accustomed to. One the one side, you have Ian Deasey (Jones), who has to contend with his alienated wife and son, while Dick Dobson (Clunes) prefers to avoid his family altogether — getting himself (if not the two of them) into some fairly shifty schemes in the process. Acorn Media presents this charming post-war dramedy in a two-disc set that presents us with all six episodes. James Faulkner, Samantha Womack and New Tricks star Amanda Redman co-star.
· Outrage: Born In Terror (2009) (Phase 4 Films)
The Short Version: I suppose Infuriation: Produced In Dreadfulness would have been too honest a title…
The Slightly-Elongated Version: Another, more popular type of post-war genre is the “crazy ex-military feller goes nutso” approach. While a few entries in this field have actually been extremely entertaining — some of them even being good — there are at least several kajillion other movies in this field that are utterly unbearable. One such act of cruelty is known as Outrage (aka Outrage: Born In Terror). It begins with a young lass (Katie Fountain) going on holiday with a couple of friends to an extremely remote hunting lodge way out in the deep dark woods. Their vacation becomes a nightmare — particularly after she encounters a crazy ex-military feller (played by crazy Michael Madsen; choice casting if I ever saw it) who has gone nutso. He and his pals (who are just as crazy) decide to terrorize the vacationing normal people, partially because they’re envious over how much better-looking the young travelers are, but mainly they’re not peculiar. Michael Berryman and Natasha Lyonne also star in this embarrassingly amateurish low-budget crap-fest from Ace Cruz (seriously, that’s his name), best viewed after some Gamma-Hydroxybutyric acid.
Happy viewing, kids!
|
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3360
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https://www.comedy.co.uk/film/demobbed/
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British Comedy Guide
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A guide to Demobbed, the 1944 film. Demobbed from the army, four troublesome soldiers are reunited with their old Sergeant.
|
en
|
British Comedy Guide
|
https://www.comedy.co.uk/film/demobbed/
|
Soldiers Nat, Dan, Billy and Norman are facing their demob and are more than a little reluctant to return to civvy street. The oddball group have grown rather fond of their sergeant during the past few years, and are even keener on the army's regular pay! However, with the sergeant about to be demobbed too, the men quieten their objections and resign themselves to entering back into the world of regular work.
Arriving at the Labour Exchange, the four are soon given their instructions: they are to report to a company producing scientific instruments, who are desperate for workers. After a few false starts attempting to find the factory, they arrive - only to be introduced to their old sergeant as their new foreman!
As the quartet begin to get to work, it becomes very quickly apparent that they're not exactly suited to the regular running of the factory, and have a particular run-in with one of the executives, Mr Black. A discussion with his friendly secretary, however, soon has the boys making plans of their own.
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2
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https://abc7chicago.com/live-updates/2024-nascar-chicago-street-race-live-updates-street-closures-events-races-day-weekend-event/15021487/entry/15041012
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en
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2024 NASCAR Chicago Street Race: Live updates as race weekend wraps up in Grant Park
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2024-07-09T17:50:09.446000+00:00
|
The 2024 NASCAR Chicago Street Race weekend is here. We have the latest live updates.
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https://cdn.abcotvs.net/abcotv/assets/news/wls/images/logos/favicon.ico
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ABC7 Chicago
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https://abc7chicago.com/live-updates/2024-nascar-chicago-street-race-live-updates-street-closures-events-races-day-weekend-event/15021487/entry/15041012
|
Select streets will begin reopening following the conclusion of the event. All street closures are expected to remain in effect as demobilization of the track wall, fence, and viewing structures takes place.
Chicago OEMC issued the following street reopening schedule:
The northbound section of DuSable Lake Shore Drive is set to reopen on Monday, July 8 at 6 a.m.
The southbound section of DuSable Lake Shore Drive is set to reopen on Tuesday, July 9 at 11 p.m.
Northbound and southbound Michigan Avenue between Roosevelt Road and Monroe Street is set to reopen on Monday, July 8 by noon. Northbound Michigan Avenue between Van Buren and Jackson will have one travel lane closed.
READ MORE | Chicago NASCAR street closures, reopenings guide
The priority streets to reopen are DuSable Lake Shore Drive, Michigan Avenue, and Columbus Drive.
Other street closures will remain in effect as demobilization of the track wall, fence, and viewing structures takes place.
Northbound DuSable Lake Shore Dr. will begin reopening Monday, July 8 at 6 a.m., with all NASCAR-related demobilization activity expected to conclude by end of day July 18th.
Streets with local access are only for residents, businesses and their employees.
NASCAR can't seem to escape the rain in Chicago as downpours shortened the race for a second year in a row.
Many fans were braving the weather though and staying until the checkered flag to see Alex Bowman win the race.
"I knew it was gonna be a great ending... it's been really close, so I just had to stick it through," Chicago resident James Chaplin said.
Fans adjusted to the weather quickly with ponchos and rain gear as they said the atmosphere was worth it.
"Rainy, but this is the energy, it doesn't matter... the energy is awesome... people are happy and we're right here loving NASCAR in Chicago," Chicago resident Jorge Azpeitia said.
It was a jam packed weekend of action with all sorts of live entertainment.
Motor cross bringing the tricks and flips before the race, as well as some concerts with Laura Alaina and Keith Urban stealing the show.
"It's pretty neat actually to see the big names coming out for these... and the Chainsmokers yesterday, that was a fantastic concert," NASCAR fan Jennifer Decker said.
"I love how the concerts got screens everywhere so you don't feel like you're glued in this sunny place where you'll burn... so I love this atmosphere," said Pam Schoeffling from Milwaukee.
Despite the rain impacting the race in back-to-back years, fans said it was an enjoyable weekend that they hope NASCAR will continue to bring to Chicago.
"We've had great food... great talent playing... great race... great city. Hope to have it back," said Cam Arnold from Nashville.
After Shane van Gisbergen was knocked out earlier in the race, it seemed like Kyle Larson would be the new favorite to win the 2024 NASCAR Cups Series street race in Chicago.
When Larson crashed into the concrete wall around 7:30 p.m. on turn 6 of the street race course in the 34th lap, that prospect seemed to be in doubt.
Larson had won the pole in qualifying rounds Saturday morning to start Sunday's race in the most favorable position, but now he appears to be out of the competition.
His car had to be towed after it got stuck in the tire barricades near the concrete wall.
The wet track conditions still seem to be providing an added challenge for the NASCAR drivers as they still have about 40 laps to go, unless the race is called complete at 8:20 p.m.
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3360
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dbpedia
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2
| 71
|
https://www.bbc.co.uk/programmes/m000d1pc
|
en
|
Radio 1's Indie Show, Demob Happy Live Session
|
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[
""
] | null |
[] |
2020-01-07T00:00:00
|
Demob Happy perform their first session for the Radio 1 Indie Show.
|
en
|
https://www.bbc.co.uk/favicon.ico
|
BBC
|
https://www.bbc.co.uk/programmes/m000d1pc
|
Brighton-based trio Demob Happy perform new music and tracks from their 2nd album 'Holy Doom' in their first session for the Radio 1 Indie Show.
|
||||
3360
|
dbpedia
|
1
| 24
|
https://www.iwm.org.uk/collections/item/object/30099969
|
en
|
Hat (trilby): Civilian Demob Suit
|
https://www.iwm.org.uk/sites/default/files/favicon.ico
|
https://www.iwm.org.uk/sites/default/files/favicon.ico
|
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[] |
[] |
[
""
] | null |
[] | null |
hatGrey felt trilby, has black tape ribbon that terminates in a decorative bow to the left side. Either side of the hat are a series of small air vent holes grouped in circles of 19. Inside, the hat features a grey artificial leather sweatband, tied with a light blue coloured bow.
|
en
|
/sites/default/files/favicon.ico
|
Imperial War Museums
|
https://www.iwm.org.uk/collections/item/object/30099969
|
This media is not currently available online. Contact the Image and Film Licensing team about access
Description
Physical description
hat Grey felt trilby, has black tape ribbon that terminates in a decorative bow to the left side. Either side of the hat are a series of small air vent holes grouped in circles of 19. Inside, the hat features a grey artificial leather sweatband, tied with a light blue coloured bow.
Label
This style of hat was issued to all returning servicemen, along with a suit of clothing and a suitcase, on the completion of their war service. James Reeder served as an infantryman with The North Staffordshire Regiment, serving in North Africa and later in Italy. He was captured at Anzio 8 February 1944, and later taken to Stalag IV B, at Muhlberg, east of Leipzig. Having successfully escaped in April 1945, Reeder was able to reach the American lines and later repatriated to England. Reeder was not finally released from military service until 1947, having been reassigned back to duty in Belgium as a guard for POWs!
History note
This style of hat was issued to all returning servicemen, along with a suit of clothing and a suitcase, on the completion of their war service. James Reeder served as an infantryman with The North Staffordshire Regiment, serving in North Africa and later in Italy. He was captured at Anzio 8 February 1944, and later taken to Stalag IV B, at Muhlberg, east of Leipzig. Having successfully escaped in April 1945, Reeder was able to reach the American lines and later repatriated to England. Reeder was not finally released from military service until 1947, having been reassigned back to duty in Belgium as a guard for POWs!
(a,b, & c) embossed into sweatband (d) paper label attached to inside of sweatband
(a) British Manufacture (b) 21 (c) 6 3/4 (d) 1945
Object Details
Category
Uniforms and insignia
Related period
Second World War (production), Second World War (association)
Creator
British Manufacture
Production date
1945
Materials
Hat: felt
Sweatband: leatherette
whole: tape
Dimensions
whole: Height 108 mm, Internal Circumference 538 mm, Length 293 mm, Width 257 mm
Catalogue number
UNI 12143
Our collections information
We have over a million object records online, and we are adding to this all the time. Our records are never finished. Sometimes we discover new information that changes what we know about an object, such as who made it or used it. Sometimes we change how an object is interpreted. We sometimes make mistakes in our spelling, transcription or categorisation, or miss information out of our records.
Read more about our collections and the information we hold. Developing our collections information
If you have concerns about the language in this record, or you have information to improve it, please share your feedback.
Our collections information
Please use this form to give us feedback on an object. The form will be sent to our Collections Management Team who will use it to improve our object records. We receive a lot of comments and can't respond to each one, but we do read them all and will respond where we can.
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Related content
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Six years of war brought many changes to familiar festive rituals. Christmas celebrations during the Second World War often had to be scaled down or adjusted as restrictions and shortages took their toll.
Share this
|
||
3360
|
dbpedia
|
2
| 26
|
https://wakemag.org/q-a/2023/11/27/demob-happy-at-turf-club
|
en
|
DEMOB HAPPY AT TURF CLUB — The Wake
|
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] |
[] |
[] |
[
""
] | null |
[
"Wake Mag"
] |
2023-11-27T00:00:00
|
BY SHANNA SIVAKUMAR Alternative rock band Demob Happy is currently on tour in North America, and this past Wednesday, the 15th of November, they made a stop at Minneapolis for a night of alcohol-infused drinks and metal & rockinfused music. Demob Happy is a trio of musicians consisting
|
en
|
https://images.squarespace-cdn.com/content/v1/5bbbf769fd679359977477ee/1574892598746-6LA1OIQJROK00EU2SWD9/favicon.ico?format=100w
|
The Wake
|
https://wakemag.org/q-a/2023/11/27/demob-happy-at-turf-club
|
BY SHANNA SIVAKUMAR
Alternative rock band Demob Happy is currently on tour in North America, and this past Wednesday, the 15th of November, they made a stop at Minneapolis for a night of alcohol-infused drinks and metal & rockinfused music.
Demob Happy is a trio of musicians consisting of lead singer and bassist Matthew Marcantonio, drummer Thomas Armstrong, and guitarist Adam Godfrey. The trio (originally a quartet) formed in 2008 in Newcastle upon Tyne, England. Their first release was their debut EP, “You Shook the Soul,” which was released in 2011. And after a few singles and EPs scattered in between, their debut album, “Dream Soda,” dropped in 2015. After their lead guitarist, Mathew Renforth, departed from the band in 2016, they co-headlined a tour with rock band Tigercub. Following their tour, the band dropped a second album in 2018, titled “Holy Doom.” They performed songs off this album while opening for Jack White’s UK leg of his Boarding House Reach world tour later that year. Their third studio album, “Divine Machines,” was released earlier this year and is the album they are performing on their current tour.
The concert was held at Turf Club, a twolevel venue with a bar and stage on the top floor and a basement bar and stage below. The St. Paul venue is a historical landmark, originally opened in the 1940s as a supper club and dancehall. The space is cozy, with standing space in front of the stage and the rest of the room filled with tables for eating and a bar on the right end of the venue. Turf Club is now managed under First Avenue, and the place sees a steady stream of musicians come in and out of its doors.
The opening act was rock and metal group BlurCurve, an energetic four-piece band with a female lead singer. Their set was metal, with lyrics that speak of resistance and power, with a touch of angst towards the end of their 30-minute set. But the angst was in the lyrics, not the music itself. This provided a high-energy performance that kept the audience up and moving and hyped-up for Demob Happy.
And once Demob Happy hit the stage, the energy rocketed even higher as they jumped right into the music. They performed songs primarily off of their third studio album, “Divine Machines.” Lead singer Mathew Marcantonio had the crowd singing along to each track, while Thomas Armstrong kept everyone up on their feet with his drum work. Adam Godfrey added flavor to each song, his guitar skills impressive and commanding on stage. After a few songs, Marcantonio addressed the crowd and honestly took me aback me with his English accent. I wasn’t aware of their British roots, so imagine my surprise when he opened his mouth to speak and found out that a band with a song titled “Sweet & Sour America” was not actually… American. Regardless, I have a penchant for British bands, so it was a pleasant surprise.
A highlight of the night was when they played one of their most recent releases, “Sweet & Sour America,” a heavy rock track that speaks of the morbidity of everyday America. With lyrics like “Suck it to the new religion / Pharmacate the blues / All American sorrow lifting / Give me what I choose,” they say what we are already thinking, just in a more musical, concise way that rhymes and sounds much better than a possible thesis on the pharmaceutical hegemony in this country…
Another moment to note was when they played “Autoportrait,” an up-beat track about being happy, in love and present in the moment. It is one of their most popular songs within their discography, and that was clear by the audience’s reaction. The crowd loved this track, as they sang and danced along to the entire song. Their next most popular track, “Less is More,” also garnered a lot of noise and cheering.
Overall, the concert was great. Between the cozy venue, high-power opener, and the star of the show — Demob Happy — I could not get enough of the night. Would I see them again if possible? Absolutely, but only if I don’t have class the next day.
You can find them on instagram @demob_happy !
|
||
3360
|
dbpedia
|
1
| 73
|
https://www.academia.edu/10300269/Demobilization_in_British_and_French_Africa_at_the_End_of_the_First_World_War
|
en
|
Demobilization in British and French Africa at the End of the First World War
|
http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif
|
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[] |
[] |
[
""
] | null |
[
"Richard S . Fogarty",
"Richard S. Fogarty",
"David Killingray",
"albany.academia.edu"
] |
2015-01-23T00:00:00
|
This article reconsiders important aspects of African participation in the First World War, both in Europe and in Africa itself, as part of the British and French empires. More specifically, it explores demobilization at the end of the war in
|
https://www.academia.edu/10300269/Demobilization_in_British_and_French_Africa_at_the_End_of_the_First_World_War
|
During the First World War, Britain and France mobilized colonial soldiers and non-European civilian laborers on an unprecedented scale to support military operations on the Western Front. The massive deployment of soldiers and contract workers from Africa, Asia and the Caribbean temporarily transformed the racial demographics in Western Europe and ruptured the geographic and social boundaries between European metropoles and their overseas colonial territories. Framing the Western Front as a sociocultural contact zone, this article examines how colonial soldiers from the British West Indies Regiment (BWIR) navigated interracial and inter-imperial encounters in wartime France. The article illustrates how BWIR soldiers’ intimate exchanges across the color line—whether at military work sites, in places of leisure or in private homes—provided an opportunity to compare British and French racial policies and to assess the status of colonials of color in the British Empire.
The paper explores the demise of the ‘colonial war’ category through the employment of French colonial troops, under the 1918 armistice, to occupy the German Rhineland. It traces the prevalence of—and the anxieties underpinning—antebellum doctrine on using ‘Barbarous Forces’ in ‘European’ war. It then records the silence of postbellum scholars on the ‘horror on the Rhine’—orchestrated allegations of rape framed in racialised terms of humanity and the requirements of the law of civilised warfare. Among possible explanations for this silence, the paper follows recent literature that considers this scandal as the embodiment of crises in masculinity, white domination, and European civilisation. These crises, like the scandal itself, expressed antebellum jurisprudential anxieties about the capacity—and implications—of black soldiers being ‘drilled white’. They also deprived postbellum lawyers of the vocabulary necessary to address what they signified: breakdown of the laws of war; evident, self-inflicted European barbarity; and the collapse of international law itself, embodied by the Versailles Diktat treating Germany—as Smuts warned, ‘as we would not treat a kaffir nation’—a colonial ‘object’, as Schmitt lamented. Last, the paper traces the resurgence of ‘colonial war’. It reveals how, at the moment of collapse, in the very instrument ambodying it, the category found a new life. The Covenant’s Art.22(5) reasserted control over the colonial object, furnishing international lawyers with new vocabulary to address the employment of colonial troops—yet, now, as part of the ‘law of peace’. Reclassified, both rule and category re-emerged, were codified, and institutionalised imperial governance.
|
|||||
3360
|
dbpedia
|
2
| 30
|
https://www.soundspheremag.com/features/matthew-marcantonio-from-demob-happy-talks-about-tunes-touring-and-beyond/
|
en
|
Matthew Marcantonio from Demob Happy talks about tunes, touring and beyond
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[] |
[
""
] | null |
[
"Meg Barton"
] |
2023-09-19T13:36:15+00:00
|
“We’ve come a long way since then. We’re just ever-evolving, we wouldn’t want to stand still,” says Demob Happy’s Matthew Marcantonio.
|
en
|
Soundsphere magazine
|
https://www.soundspheremag.com/features/matthew-marcantonio-from-demob-happy-talks-about-tunes-touring-and-beyond/
|
“We’ve come a long way since then. We’re just ever-evolving, we wouldn’t want to stand still,” says Demob Happy’s Matthew Marcantonio.
Things are hectic in the world of Demob Happy. After releasing their third album, Divine Machines, earlier this year, then embarking on a UK tour and also releasing their newest single, Sweet & Sour America, somewhere among the chaos I had the chance to sit down with lead vocalist and bass player, Matthew Marcantonio.
Released in May of this year, Demob Happy’s third album Divine Machines has underlying themes of dystopia and utopia, yet overall is a positive album. Planned for a much earlier release date, Marcantonio comments:
“We first started working on it in February 2020, before lockdown and we had gone away to Wales to write some songs together and obviously we had come with the plan of creating a new record pretty soon. When lockdown hit we were kind of pushed into a position where we were like, ‘oh well, we’ve created all these demos,’ so we started working on them at home and basically that’s what became the album.”
After a bit of tweaking and final embellishment the album was finished and ready to go. Thinking about the attitude and character of the album, Marcantonio adds, “Quite early on we realised that there’s this sort of dystopian, utopian, kind of sci-fi, bladerunner, retro-futuristic feel to a lot of it, especially in the song Tear It Down, which became the centrepiece of the record.” With the theme and general aesthetic of the album decided, it was only a matter of time until a title was needed. When reflecting on Divine Machines, Marcantonio notes that it actually isn’t dystopian at all and has a rather positive outlook on the future, “ So that was where we got Divine Machines from, we wanted it to have this sort of cosmic, sort of spiritual, but also very rounded and human and earthly title because that was how it felt. It’s a combination of both worlds. And that’s Divine Machines, that’s what felt right.”
Currently on tour, Demob Happy has been able to witness firsthand the impact and reactions the album has garnered, Marcantonio reflects on the tour thus far, “The reaction has been incredible. It’s been some of the best gigs we’ve ever done. Everyone has been so welcoming of the new songs and things, it’s been really cool for us because there are some softer, more brooding kinds of ballads and songs that aren’t just all high energy and riffs. But I think we’ve got the set and our music at a place where we’ve been striking a good balance. It doesn’t just have to be loud after loud after loud after loud and we can actually have some soft ones and our fans are on that journey with us.”
Since the release of Divine Machines, Demob Happy have kept themselves busy. Just before heading out on tour the band debuted their newest single, Sweet & Sour America. A powerful and driving force, the track seems to discuss the politics of America, the good and the bad and almost appears to be an extension of the Divine Machines album. “We wanted to put it on the record,” says Marcantonio, “There were few other songs that we wanted to put on the record but we simply couldn’t really. We knew that we’d recorded it and we knew that it was great, but the record just feels so cohesive and it’s such a beautiful thing. So we thought let’s keep this song back and release it as a single and that’s the best of both worlds. So now we get to release it in time for the tour and people are going absolutely crackers for it and that’s a win for us!”
As the band hurtle towards the end of the UK leg of the Divine Machines tour and onto the European shows, it seems like the perfect time to discuss what is coming in the not so distant future. “We’re playing Amsterdam and Paris, which are both already sold out and those are always amazing shows so we’re really looking forward to Amsterdam but I think they’re all going to be great,”exclaims Marcantonio. “We’re back down in Germany and doing things in Spain, it’s all good and it’s a pleasure to play in Europe.” However, in October, Demob Happy is going across the pond to play in America with the Canadian rock Duo, Death From Above 1979. “They’re heroes of ours. They were one of the first linchpin bands that we started jamming together to. They were one of the bands that we reference to be great and have a sound that we love playing.” states Marcantonio.
With so much on the horizon for Demob Happy, it only leaves us wondering what comes next? “I never want to retread old ground, and as long as it’s the three of us making it and writing lyrics or whatever it is, it’s always going to have the vein of Demob running through it.” Marcantonio continues, “ But it means that the phases of the band are more distinct and I think that’s more interesting and more pleasurable for people. It’s just like Pokèmon cards! And they can have their favourite one and that for me is far more interesting than just being like ‘Oh here comes another predictable Demob record’.”
“It’s always going to evolve and it’s always going to stay the same. Each one (phase) is always evolving,” states Matthew Marcantonio. And with so many unknowns as to what the next iteration of Demob Happy will be, I’m sure many fans are only left with one thought. How exciting!
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Reviews: Nightbeat
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Out of Service British Military Aircraft
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Demobbed Aircraft by Wolverhampton Aviation Group
Select the Aircraft type from the list below : Aerospatiale GazelleSingle engined light observation and general purpose helicopterAerospatiale PumaAnglo-French twin engined medium lift helicopterAerospatiale SA.330Anglo-French twin engined medium lift helicopterAerospatiale SA.341Anglo-French single engine light helicopterAgusta A.109Italian made general purpose twin engined single rotor military helicopterAgusta Bell SiouxItalian built version of Bell 47 Sioux for the AACAgustaWestland AW.139AgustaWestland designed medium sized twin-engined helicopterAgustaWestland EH-101Three engined anti submarine and general purpose heavy helicopterAgustaWestland MerlinAnglo Italian tactical heavy lift / maritime attack helicopterAgustaWestland WildcatAW.159 development of the Westland LynxAirspeed HorsaWWII troop carrier gliderAirspeed OxfordPre war twin engined communications and transport aircraftArmy Balloon Factory BetaVery early airship designAusterSTOL light observation aircraft used post war by the Army Air CorpsAvro 504The standard British training aircraft during World War IAvro 707High speed delta wing research aircraftAvro AnsonWorld War II Avro built twin engined light transport and reconnaissance aircraftAvro AshtonAvro's jet engine research aircraft, based on Avro Tudor airlinersAvro LancasterClassic Avro designed WWII night bomberAvro LincolnLong range heavy bomber based on LancasterAvro ShackletonLong range reconnaissance aircraft based on Avro Lancaster / LincolnAvro TutorRAF training aircraft used between the warsAvro VulcanFour engined delta winged strategic bomberAvro YorkWW2 transport aircraft based on Lancaster flying surfaces with a new fuselageAW ArgosyArmstrong Whitworth 650, large high wing twin boom turboprop transportAW MeteorNight fighter redesign of the Gloster MeteorAW WhitleyArmstrong Whitworth bomber used until early in WWIIB-V ChinookAmerican Tandem rotor heavy lift transport helicopterBAC 1-11Short haul jet airlinerBAC StrikemasterDevelopment of Jet Provost with underwing hard points for ground attackBAC TSR-2Twin engined delta winged Strike bomber designed as Canberra replacementBAC.221Fairey FD2 with revised concorde Ogee wing shapeBAe EAPSingle seat delta canard technology demonstratorBAe HarrierLarger and much improved version of the classic VTOL ground attack aircraftBAe HawkTandem seat jet trainer built by BAeBAe Sea HarrierSingle engined VSTOL jet fighter based on Harrier with revised cockpit layoutBAE Systems NimrodVirtually new build upgrade maritime patrol and ISTAR platformBAE Systems PhoenixUAVBAe.125Hugely successful business jetBAe.1464 jet STOL passenger transportBAT BantamLight between the wars biplaneBeagle B206Twin engined 6 seat light aircraftBeagle BassetMilitary version of Beagle 206Beagle D5/180 HuskyHighwing monoplane spotter planeBeagle TerrierHighwing monoplane spotter planeBeech CochiseMilitary version of Beech 55 Baron twin engined four seat transport.Beech ExpeditorMilitary version of Beech 18 twin engined transportBeech King AirTwin turboprop T-tailed transport and training aircraftBeech MentorBeech T-34, twin seat aircraft, used for trainingBeech StaggerwingSingle engined bi-planeBeech TravellerBeechcraft built trainer, based on the UC43Bell 212Updated and enlarged version of the UH-1 powered by twin turboshaft enginesBell AiracobraBell P-39 World War II fighter with tri-cycle undercarraigeBell GriffinUK version of Bell 212 light transport and general utility helicopterBH-7 WellingtonLarge general purpose transport HovercraftBlackburn BaffinDevelopment of the Blackburn RiponBlackburn BeverleyBlackburn's large high wing transport aircraftBlackburn BuccaneerBlackburn post war low level strike attack aircraftBlackburn SkuaNaval piston engined torpedo bomberBleriotEarly French built aircraftBN DefenderTwin engined multi role light utility aircraftBN IslanderRugged twin engined light transport aircraftBoeing ScanEagleSwept wing trials UAV aircraftBoeing SentryBoeing AWACS aircraft based on B707 airlinerBoeing WashingtonRAF operated version of the B-29 SuperfortressBombardier SentinelRAF J-STARS platform based on Bombadier business jetBP BalliolBoulton Paul P.108 post war advanced trainerBP DefiantBoulton Paul World War II heavy fighterBP Sea Balliol1950's Naval 3 seat trainer powered by RR MerlinBP.111Boulton Paul experimental delta wing research aircraftBrewster BermudaBrewster SB2A World War II dive bomberBristol 170 FreighterHigh wing boxlike fuselage twin engine transportBristol 173Prototype 13 seat tandem rotor helicopterBristol 188High speed jet research aircraftBristol BeaufighterBristol's twin engined long range World War II fighterBristol BeaufortBristol's twin engined torpedo bomberBristol BelvedereBristol's large twin rotor transport helicopterBristol BlenheimBristol's long range twin engined light bomberBristol BrigandBristol built high speed twin engined light bomberBristol BritanniaBristol 175 large 4 propeller passenger aircraftBristol F.2World War I observation aircraftBristol FighterWorld War I fighter aircraftBristol M.1First World War British monoplaneBristol SycamorePiston engined transport helicopterBrunswickGerman built single seat high wing planeBucker BestmannBucker Bu.181 Luftwaffe liaison aircraftCanadair SabreSwept wing jet powered day fighterCessna Bird DogTwo seat, single prop engined, high wing monoplane aircraft used for liaison and FAC, from 1950Cessna CraneAT-17 Bobcat twin prop trainerCierva C.30Between the wars autogyroCody VBiplane from before WWIConsolidated CatalinaWWII Twin engined high wing long range amphibian bomber/transportConsolidated LiberatorAmerican four engined heavy bomberCurtiss 'Jenny'Very early biplaneCurtiss KittyhawkSingle engined WWII day fighterCurtiss TomahawkCurtiss built single seat WWII fighterCurtiss WarhawkCurtis built WWII day fighterCushioncraftHovercraftDassault-Dornier Alpha JetLight attack trainerDesert HawkUnmanned aerial droneDesford TrainerWooden twin engined trainer built after WWIIDH CometWorld's first large jet passenger transportDH DevonDe Havilland twin prop passenger transport/communications aircraftDH Dragon RapideDe Haviland light biplane transport evolved from DH84DH HeronDe Havilland four prop passenger transport aircraftDH Hornet MothPre war de Havilland four seat tourer biplaneDH JackarooFour seat development of Tiger Moth trainerDH Leopard MothPre war de Havilland four seat tourer biplaneDH MosquitoAll wooden twin engined night/day fighter bomberDH Moth MinorPre war De havilland tandem seat tourer biplaneDH Puss MothPre war de Havilland four seat tourer biplaneDH Queen BeePilotless target version of Tiger Moth biplane trainerDH Sea DevonDe Havilland twin prop passenger transport aircraft as used by the Royal NavyDH Sea HeronDe Havilland four prop passenger transport aircraft as used by the Royal NavyDH Sea HornetAll wooden twin engined single seat fighter bomber optimised for use at seaDH Sea VampireNavalised version of the de Havilland twin boom jet fighterDH Sea VenomDesign development based on Venom family with radarDH Sea VixenLarge twin engined twin boom naval fighter bomberDH Tiger MothDe Havilland designed tandem seat biplane training aircraftDH VampireDe Havilland twin boom single engined fighter / trainerDH VenomDe Havilland twin boom single engined fighter with semiswept wingDH.60De Havilland twin seat, biplane training aircraft, including Gipsy MothDH.84 DragonDe Havilland DH.84 light biplane transportDH.88 CometDe Havilland high speed transportDH.89 DominieDe Havilland military version of the Rapide light biplane transportDH.9De Havilland World War I aircraftDHC BeaverSTOL light transport, observation and communications aircraftDHC ChipmunkDe Havilland Canada DHC-1 post war basic trainerDHC OtterHigh wing monoplane single engined transportDiamond Twin StarDiamond DA42 aerial survey aircraftDouglas BostonWWII twin engined bomberDouglas DakotaDouglas twin prop transportDouglas SkymasterC-54 military version of the Douglas DC-4Douglas SkyraiderDouglas built, carrier based aircraft from the end of WW2E.P.9Rugged STOL high wing transport with rear loading hatchEE CanberraEnglish Electric twin jet bomberEE LightningTwin engined swept wing interceptorEE P.1English Electric high speed development aircraftElbit Lydian 450Elbit produced UAVEON EtonSingle seat primary glider built by Elliott's of Newbury (EON)(Rectangular shaped tailplane)EoN OlympiaGliderEurocopter DauphinMedium sized SAR, and general purpose helicopterEurocopter SquirrelGeneral purpose transport / training helicopterEurofighterTwin engined delta canard fighterEurofighter TyphoonTwin engined delta canard fighterFairchild ArgusFairchild UC-61 light communications and transport aircraft from World War IIFairchild CornellPre war piston engined monoplane trainerFairey AlbacoreFairey produced, World War II carrier based reconnaissance biplaneFairey BarracudaFairey and Boulton Paul produced carrier based torpedo bomberFairey BattleFairey built single engined bomber, outclassed by World War IIFairey FD.2Delta winged high speed research aircraftFairey FireflyPostwar Naval fighter bomberFairey FulmarWWII naval torpedo bomberFairey GannetFairey antisubmarine and COD naval aircraft powered by AS twin mambaFairey RotodyneHeavy lift compound transport helicopterFairey SwordfishPiston engined naval biplane torpedo bomberFairey Ultra-LightLightweight helicopter powered by jet eflux from rotor tipsFiat CR.42WWII radial engined biplane fighterFieseler Fi.156High wing Stol capable single engined transportFMA PucaraArgentinian built twin turboprop ground attack aircraftFolland GnatLightweight tandem seat swept wing jet trainerFoster Wikner WickoTwo-seat high winged monoplane built for communication dutiesGAF JindivikViper engined pilotless drone target aircraftGAL HamilcarWWII Heavy lift glider transportGAL HotspurWW2 transport gliderGAL.42 CygnetUnusual tricycle undercarriage light transport/trainerGeneral Atomics ReaperGeneral Atomics MQ-9 surveillance and attack UAV, based on an enlarged MQ-1 Predator with a much more powerful engineGloster E.28/39Britains first jet aircraft, low wing monoplaneGloster GamecockSingle seat, biplane aircraft from 1924Gloster GauntletSingle seat, single prop engined, biplane fighter, from 1934Gloster GladiatorWWII radial engined biplane fighterGloster JavelinTwin engined delta winged day / night fighterGloster MeteorTwin jet engined fighter / night fighterGloster Sea GladiatorWWII radial engined biplane fighterGrob VigilantComposite construction powered training gliderGrob VikingModern composite training gliderGrumman AvengerCarrier based World War II torpedo bomber built by GrummanGrumman GooseSeven seat, twin engined high wing seaplane, from 1938Grumman HellcatGrumman built naval day fighterGrumman MartletGrumman built naval day fighterGrumman WildcatGrumman built WWII carrier borne fighterGrunau BabyGerman pre war training gliderHawker AudaxA light observation biplane version of the Hawker Hart used between the warsHawker DemonInter war biplane fighter optimised for naval use one, of the Hind familyHawker FuryLegendary interwar biplane Fighter designed by Sir Sydney CammHawker HartSingle engined biplane day bomber of similar design to the HindHawker HindClassic inter war biplane fighter bomber designed by Sir Sydney CammHawker HunterClassic 50's Hawker designed sweptwing single engined fighterHawker HurricaneClassic Hawker built WWII Fighter / Fighter BomberHawker KestrelIntermediate development batch of Harrier VSTOL FighterHawker NimrodNaval single engined biplane fighter of similar design to the FuryHawker P.1052Swept wing prototype based on the P1040 seahawkHawker P.1121Unflown company demonstratorHawker P.1127Prototype version of Harrier VSTOL jet fighterHawker Sea FuryLarge radial engined low wing monoplane naval fighterHawker Sea HawkRoyal Navy's first jet engined fighter bomberHawker Sea HurricaneNavailised version of the classic Hawker built WWII FighterHawker TempestWWII monoplane ground attack fighter bomberHawker TomtitTwo seat basic trainer and light sports aircraftHawker TyphoonSingle seat interceptor fighter and fighter bomberHD.1Hovercraft built for trials evaluationHeinkel He.162German WWII single engined jet fighterHillerTwin seat piston engined training helicopterHorten HoGerman WWII swept wing gliderHP HalifaxFour engined heavy bomberHP HampdenTwin engined light duty bomberHP HastingsFour engined heavy lift transport aircraftHP VictorSwept wing 1950's nuclear bomber / tankerHP.115Delta wing research aircraft built to investigate low speed handlingHP.39 GugnuncLate 1920's Handley Page biplaneHS AndoverTwin turboprop STOL transport aircraft produced by Hawker SiddeleyHS DominieMilitary version of HS.125 business jetHS HarrierSingle engined VSTOL jet fighter bomberHS NimrodMaritime patrol aircraft based on Comet airlinerHS P.11271965 development of the original Hawker P.1127 for the RAFHS.125Classic de Havilland designed executive twin jet transportHS.748Twin turboprop civil and military transport aircraftHS.801Prototype for a maritime patrol aircraft based on Comet airlinerHumming BirdDe Havilland light aircraft built for Lymne trialsHunting H.126Research aircraft built to investigate boundary layer controlHunting Jet ProvostTwin seat single engined military trainerJet GyrodyneExperimental compound helicopter with rotors powered by Jet tip thrustJunkers Ju.88WWII twin engined German day bomberKittiwakeHome built twin seat light aircraftKlemm SwallowTwo seat low wing light aircraft developed from German Klemm L.25Lockheed HerculesFour engined turboprop heavy lift military transportLockheed HudsonWWII twin engined bomber / transport aircraftLockheed L12Twin prop, 6 seat passenger transport aircraftLockheed LodestarTwin engined civil transport aircraftLockheed Martin LightningLockheed Martin F-35, product of the Joint Strike Fighter competitionLockheed NeptuneTwin engined maritime patrol aircraftLockheed TriStarTanker / Transport aircraft based on L-1011 civil airlinerLockheed VenturaWWII anti submarine bomber based on Lockeed twin engined comercial transportMartinsyde Buzzard F.4Single seat, UK built, single prop engined biplane fighter from 1917McDD PhantomSwept wing tandem seat jet naval Fighter bomberMesserschmitt Bf.108Messerschmitt 4 seat, single prop utility aircraft from 1934, also built by Nord as the N.1002 PingouinMesserschmitt Bf.109Messerschmitt World War II Luftwaffe single engined fighterMesserschmitt Me.262Messerschmitt, twin jet engined fighter from 1944Meteor Mirach 100/5Jet powered high speed target droneMil Mi-17Transport helicopter from the Mil Design Bureau, export version of the Mi-8 with upgraded engines, NATO code 'Hip'Miles Hawk MajorPre war Miles low wing tandem seat aircraftMiles Hawk TrainerPre war Miles low wing tandem seat aircraft built for the RAFMiles M.100 StudentOne off swept wing jet trainer with seating for 4Miles M.18Pre war Miles low wing communications aircraftMiles MagisterWWII Miles low wing tandem seat trainer built for the RAFMiles MartinetWWII radial engined target tug / trainerMiles MessengerSingle engined wooden communications aircraftMiles MohawkPre war Miles low wing tandem seat aircraftMiles MonarchPre war Miles low wing aircraftMiles Whitney StraightPre-war M-11A monoplane built by Miles Aircraft and impressed for the Royal Navy and RAFML UtilityPrototype light observation aircraft with an inflatable wingMorane BBFrench built biplane fighterNA HarvardRAF designation for the T-6 monoplane radial engined wartime basic trainerNA MitchellTwin engined American day bomberNA MustangNorth American P-51, single seat, single prop engined monoplane fighter from 1941NA TrojanNorth American T-28, two seat, single prop engined trainer and light attack aircraftNieuportSingle seat, French built, single prop engined biplane fighterNorthrop ChukarNorthrop BQM-74 drone target used by the NavyNorthrop ShelduckNorthrop MQM-36/KD2R-5 piston engined target dronePanavia TornadoEuropean variable geometry ground attack and fighter aircraftPercival GullPre war Percival touring aircraftPercival PembrokeTwin engined, high wing communications / transport aircraftPercival PrenticeSingle engined three seat basic trainerPercival ProctorWWII Four seat single engined communications aircraftPercival ProvostRadial engined low wing basic trainerPercival Q6Twin prop passenger transport aircraftPercival Sea PrinceTwin engined, high wing civil transport aircraft as used by Royal NavyPilatus PC-9Tandem seat turboprop training aircraftPiper PA.31Piper Navajo Chieftan twin engined communications aircraftPitcairnAmerican built biplane training aircraftRAF BE.2WWI biplane day bomberRAF RE.8WWI biplane observation arcraftRAF SE.5WWI biplane fighterSA BulldogScottish Aviation light trainerSA JetstreamTurboprop military transport / training aircraftSA PioneerRadial engined high wing STOL communications / transport aircraftSA Twin PioneerRugged twin engined STOL high wing transport aircraftSaro P.531Prototype twin seat naval patrol / attack helicopterSaro SkeeterSARO designed piston engined light transport helicopterSaro SRA.1Jet powered single seat flying boat fighter aircraftSchempp-Hirth CirrusGliderSchempp-Hirth KestrelSchempp-Hirth Janus two seat high performance glass fibre sailplaneSchleicher Ka.6Single seat enclosed cockpit high wing wooden low performance glider built by Schleicher in GermanySchleicher ValiantSingle seat glass fibre T-tailed high performance sailplane built by SchleicherSchleicher VanguardTwo-seat glass fibre T tailed training glider built by SchleicherSEPECAT JaguarAnglo French ground attack aircraftShort 184Single engined biplane observation seaplaneShort BelfastShorts built extremely large transport aircraftShort FelixstoweTwin engine biplane seaplane from 1917Short MATS-BTarget droneShort SandringhamFour engined flying boatShort SB.5Jet powered research aircraft built to explore the low speed handling of the LightningShort SC.1Single seat VSTOL research aircraftShort SC.9Canberra PR9 converted for Red Top developmentShort SolentLarge four engined passenger carrying seaplaneShort StirlingShort designed 4 engine heavy WWII bomberShort SunderlandLong range four engined anti submarine flying boatShort TucanoTandem seat turboprop training aircraftSikorsky HoverflyWWII Sikorsky built light transport helicopterSikorsky Sea KingSuccessful US built naval helicopter.Sikorsky WhirlwindSikorsky built S-55 provided for UK serviceSkyshipSemi rigid Airship designed for observation / passenger transportSlingsby GrasshopperT.38 single seat primary glider built by Slingsby. (Triangular shaped tailplane)Slingsby Gull T15Inovative Slingsby built gliderSlingsby PrefectSingle seat open cockpit high wing strutted wooden intermediate glider, built by SlingsbySlingsby SedberghWooden twin seat training gliderSlingsby T.34A SkySingle seat enclosed cockpit high wing wooden intermediate gliderSlingsby T.53BTandem two-seat metal training glider with a T-tailSlingsby T.6 KiteSingle seat open cockpit gull winged strutted wooden pre-war design built by SlingsbySopwith BabyWWI Naval seaplane bomberSopwith CamelSopwith World War I fighterSopwith DolphinEarly twenties Sopwith designed naval fighterSopwith PupWWI Biplane fighterSopwith SnipeWWI Fighter designed as Camel successorSopwith TriplaneWWI RFC fighter with triple wing layoutSPAD VIIWWI French built, biplane fighter/reconnaissance aircraftSPAD VIIIWWI biplane fighterSpartan 7WWWII US Trainer aircraftSR.N5 WardenHovercraft built for trials evaluationSR.N6 WinchesterHovercraft built for Army trials evaluationStinson ReliantAmerican communications / transport aircraftSud Aviation AlouetteSud Aviation built light helicopterSupermarine AttackerCarrier based single seat jet fighter produced by SupermarineSupermarine S.6Schnieder trophy winning high speed seaplaneSupermarine ScimitarNaval twin engined swept wing fighterSupermarine Sea OtterSingle engined biplane SAR seaplaneSupermarine SeafireNavalised SpitfireSupermarine SouthamptonLarge biplane twin engined communication and transport seaplaneSupermarine SpitfireIconic RJ Mitchell designed WWII fighterSupermarine SwiftSwept wing jet fighter developed as backup to Hawker HunterSupermarine WalrusSingle engined biplane SAR seaplaneTaylorcraft PlusHighwing monoplane spotter planeThrust Measuring RigFlying Bedstead thrust measuring rig powered by two RR Nene jet enginesTwin Squirrel AS.355Twin engined general purpose transport / training helicopterVickers ValettaTwin piston engined military transport aircraft derived from WellingtonVickers ValiantSwept wing 1950's nuclear bomber / tankerVickers VarsityRAF navigation trainer based on ValettaVickers VC10Vickers 4 engined jet airliner converted for tanker / transport useVickers VikingCommercial version of Valetta transportVickers VimyThree seat, twin prop engined biplane heavy bomber, from 1917Vickers Vincent1930's general purpose biplane optimised for use in the Midddle EastVickers ViscountFour engined turboprop commercial passenger airlinerVickers WellingtonWWII Bomber designed by Rex Pierson featuring an innovative geodetic structureVought CorsairWorld War II carrier based fighterVS.510Experimental swept wing aircraft based on Attacker fuselageVultee VengeanceVultee built WWII naval dive bomberWACO HadrianWaco CG-4A WWII assault gliderWallis WA.116Autogyro designed by Wg Cmdr Ken WallisWatchkeeperThales development of the Elbit Hermes 450Westland ApacheTandem seat attack helicopterWestland DragonflyWestland built light helicopterWestland LynxAnglo French Military attack / transport helicopterWestland LysanderHigh wing monoplane STOL light transport aircraftWestland PterodactylWestland built experimental tailless monoplane aircraftWestland ScoutFour seat turboshaft powered army attack helicopterWestland Sea KingMedium lift twin engined SAR helicopterWestland Super LynxGrowth development of the Lynx helicopterWestland WallaceTwo seat general purpose biplane used in expedition to fly over Mt EverestWestland WaspSingle engined light anti submarine helicopterWestland WessexWestland built version of S58Westland WhirlwindWestland built version of S55Westland WyvernSingle engined contra-propelled carrier-bourne aircraft built for the Royal Navy
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SxSW Music Diary: Sugarmen, Fizzy Blood & Demob Happy
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Sugarmen impress and Fizzy Blood deliver a manic set that will stand out as a high point of the conference, but Demob Happy underwhelm. The Roots jam session turns away hundreds of hopefuls, highlighting the problems of Sx's unchecked growth.
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Friday’s storm brought a chill that endures through most of Saturday, cutting down San Jacinto Boulevard and Brazos in sudden gusts, the bitterest of which we endure between 10 and 11 pm, waiting to be turned away from The Roots’ jam session at The Bud Light Factory, one of the most buzzed about shows of the week. The same sentiment runs in mumbles up and down the line: the exponential growth of the festival that started on 6th Street 29 years ago is causing problems that organisers can’t continue to ignore.
Four days of Sx have left us unevenly sunburned, scarred from a motorscooter racing mishap, and having all the spiritual wherewithal of a scooped-out cup of food truck mac and cheese – despite the residual thrill of having seen so many surprising new acts. Still, we need a generous helping of antelope and venison sausage at Banger’s on Rainey, as well as coffee served in a cup that looks like it could give us tetanus, to sally forth into Saturday. The music’s started already: the patrons of this venerable beer hall’s packed yard are entertained by local country and bluegrass acts The Boxcar Preachers and then The Cover Letter.
We spend most of my day at The British Music Embassy’s showcase at Latitude, though not before bumping into WOMPS in the Registrant’s Lounge, a small beer tent near the Austin Convention Center. We chat for a few minutes – highlights of their week, like ours, include Wednesday’s phenomenal Iggy Pop show and the frenetic Yonatan Gat.
At Latitude we're in time to catch much of Sugarmen. These Liverpudlians play songs like Plastic Ocean and It’s My Life, It’s Alright, with a sound leaning toward The Clash (they’ve worked with producer Mick Jones) and The Strokes. Their songs are simple and full of heart, and something about them reminds us of what Elvis Costello said about his crowd in the 70s: “We were just trying to play 50s music and were really bad at it.” That formula still works, and produces something new with each generation that tries it (whether they know they’re trying it or not).
Fizzy Blood’s set is the high point of the day. On at 4:40pm, these hard rockers are even more evidently looking backward while moving forward. Their buzzing guitars jostle our tonsils while frontman Benji Inkley unleashes a classic metal yowl. They cite Queens of the Stone Age and Pulled Apart By Horses as influences, but it's difficult to trace either. Fizzy Blood can pray at whatever temples they choose, but right now we're standing front and center at their (quite literally) whiskey soaked altar. So close, in fact, that one of Inkley’s kicks almost sends the notebook flying.
It’s soon evident that their antics are an organic part of their live act – they inhabit, with British punk-rock panache, the mentality that Austin band Duncan Fellows recommended yesterday. Guitarist Paul Howells stands on the sound equipment, jumps off, and crashes into bassist Ciaran Scanlon, who in turn crashes into the drums. Luckily Jake Greenway can find a pocket of relative calm in one of their versatile songs to fix his toms.
This leaves Howells with a broken string by the third tune – “typical,” he says, and Inkley lends the man his axe and directs his full attention to the mic, like a lover. Something goes wrong with his pedal board and he disconnects and plugs straight into the amp without missing a step; they chew their way through I’m No Good and Queen of Hearts the way five rock-loving wolverines would tear through the annual Nugget World Rib Eating Championship.
They’re delivered double-shots of whiskey that must be laced with adrenochrome; now drummer Greenway and bassist Scanlon have fixed their faces into ferocious open-mouthed grimaces, looking like skeleton-pale Ndeemba masks. Howells he finishes their set from on top of the bar, roadies rushing to make sure his cord doesn’t cause a glass catastrophe, while Inkley frisbees records out into the crowd.
Demob Happy, the Brighton/Newcastle quartet, have a tough act to follow, even tougher when one of the guitarists’ pedalboards conks out. But they go on gamely and replace the batteries – after all, as the guitarist’s arm tattoo reads, “It could be worse. We could be dead.” But they’re not exactly demob happy once they start – the stumble has shaken them.
Inkley, in the crowd now, is quietly singing along to most of the band’s songs, a fine endorsement but they've left us indifferent. With yellow backlights making messy coronas of their grungey mops, they’re intermittently engaging but need to move beyond the training wheels of influences that are all to obvious.
Still with a bit of a thrill in our veins from Fizzy Blood’s unexpected transfusion, we take a pleasant bike ride across the Colorado River, passing through different zones of sound – a dance party above Shiner’s, indie rock on the Handlebar’s balcony, and the Caribbean Systema Solar at the Outdoor Stage at Lady Bird Lake – ending up at the New York Times-hyped Tatsu-Ya, which justifies its reputation with some incredibly unctuous ramen.
Then, of course, we enter the valley of SxSorrow. The badges queue for The Roots’ jam was “insane” and the wristbands queue “impossible,” according to one staffer, but we take a spot in a line that folds thrice on itself in front of the venue on 4th St, before stretching down Brazos almost to 5th. The Roots’ soundcheck rattles a window next to where we're queueing; we lean in to hear ?uestlove fool around for a while. His snare sound would be distinguishable anywhere. An hour later we’ve moved from Brazos to 4th St., in front of the venue, and can hear a cover of Express Yourself, and a hot trumpet solo from David Guy. Guests (we learn over Twitter) include X Ambassadors, Tish Hyman, Marc E Bassy, Emily King, and Too Short, culminating in Big Grams – Big Boi and Phantogram.
Meanwhile fans further up fool around with an interactive Bud Light soundboard set up along the wall – amusing them but making the rest of us even less patient. I give up after about an hour into the jam – we’re waiting, we learn, not to get into the show, but to get into an overflow room where we can watch the jam on a smallish TV screen and sip one complimentary can of a brew most of us would only drink when attending a superbowl party at the house of an uncle stuck in his outdated bevvying ways – and then only to be polite, kicking ourselves for not bringing a six of a better craft brew.
The Roots jam typifies the problems with the 30 year-old Sx: it tries to be all things for all people. Badge-holders and artists alone numbered 30,208 at last year’s conference. This doesn’t include those who buy only wristbands, or hope to get into unofficial showcases, and this year’s conference was even bigger. Of 30,000 attendees, how many will want to get into a Roots jam session on a Saturday night? More than the few hundred – a paltry handful – that the Brazos Hall could hold.
Organisers need to get better at picking venues – and need to expand many of their showcases to much larger venues – while clearing up the confusion caused by badges and wristbands, VIPs, and the ability to RSVP directly to showcase-organizer months in advance. The saddest thing about missing The Roots' show was that it really wasn’t a case of old timers cruising in to steal thunder.
Big Grams came on late and only after a deluge of other acts (so many that some found them at once over- and underwhelming): this was a revolving door-show of relative unknowns, acts The Roots thought could use the exposure in front of this audience of tastemakers. That fits the original spirit of Sx, but it doesn’t fit the reality of Sx today: metastasised and many-headed. You might expect some soul-searching from the conference organisers: the key will be keeping the creative chaos but cutting down on the wait times, miscommunications, and disappointments like this.
|
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3360
|
dbpedia
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0
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https://www.amazon.co.uk/Demob-DVD-Martin-Clunes/dp/B00KX8G2OM
|
en
|
Demob [DVD]: Amazon.co.uk: Martin Clunes, Griff Rhys Jones, Amanda Redman, Samantha Womack, Martin Clunes, Griff Rhys Jones: DVD & Blu
|
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Buy Demob [DVD] from Amazon's Movies Store. Everyday low prices and free delivery on eligible orders.
|
en
|
https://www.amazon.co.uk/Demob-DVD-Martin-Clunes/dp/B00KX8G2OM
|
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3360
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dbpedia
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2
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https://www.imdb.com/title/tt0105985/
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en
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Demob (TV Series 1993)
|
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[] |
[] |
[
"Reviews",
"Showtimes",
"DVDs",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Credits"
] | null |
[] |
1993-10-15T00:00:00
|
Demob: With Griff Rhys Jones, Martin Clunes, Amanda Redman, Samantha Womack. A comedy drama starring Griff Rhys Jones and Martin Clunes as two soldiers looking to continue their cabaret act after the end of the war. The series is notable for featuring Les Dawson in a guest role, broadcast posthumously.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0105985/
|
A comedy drama starring Griff Rhys Jones and Martin Clunes as two soldiers looking to continue their cabaret act after the end of the war. The series is notable for featuring Les Dawson in a... Read allA comedy drama starring Griff Rhys Jones and Martin Clunes as two soldiers looking to continue their cabaret act after the end of the war. The series is notable for featuring Les Dawson in a guest role, broadcast posthumously.A comedy drama starring Griff Rhys Jones and Martin Clunes as two soldiers looking to continue their cabaret act after the end of the war. The series is notable for featuring Les Dawson in a guest role, broadcast posthumously.
|
|||||
3360
|
dbpedia
|
2
| 92
|
https://killyourpetpuppy.co.uk/news/crass-glasshouse-may-1984-alternative-tv-deptford-fun-city-records-1977-demob-round-ear-records-1981-1982-the-astronauts-bugle-records-1979-exit-stance-e-s-records-1984/
|
en
|
Screaming Dead – Dead Records – 1982 – KILL YOUR PET PUPPY
|
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[
""
] | null |
[] |
2017-06-23T11:34:25+01:00
|
en
|
https://killyourpetpuppy.co.uk/news/crass-glasshouse-may-1984-alternative-tv-deptford-fun-city-records-1977-demob-round-ear-records-1981-1982-the-astronauts-bugle-records-1979-exit-stance-e-s-records-1984/
|
Crass – Glasshouse – May 1984
Indebted to Nick Comfylux for supplying me with this audio that he recorded at the back of the hall of Crass performing their last ever concert in London, and indeed one of the last performances.
Below are snippets of memories for two gigs from Tristian ‘Stringy’ Carter. Crass at the Bingo Hall, Flux at the Glasshouse, and the final word on the gig that was missed, Crass at the Glasshouse!
At the Bingo Hall in Islington, Crass were a little more ‘user-friendly’, more accessible on the night, albeit with well-known numbers interspersed with fury-driven snippets of ‘Yes Sir I Will’, and of course the more recent head-on turn of ‘You’re Already Dead’, and ‘Smash The Mac’ with its chilling guitar refrain.
The perceived failure of the peace-punks’ stance, and the turn towards more confrontational and violent action was of course personified at this time by the major emergence of Class War (established in 1983); the Bingo Hall was the first time I think I really started to take on board these changes in rhetoric and practice, and I have vague recollections of Ian Bone being there, arguments and scuffles…
That was a hell of a weekend, with recollections centring around the post-Camden gig mooch by about twelve of us up to the Bingo Hall, all quiet and seemingly empty, well certainly no-one answered when we banged on the door, so then decision time, what to do next?
Half the guys left for a restless night at Liverpool Street station, while we wandered about until we bumped into some lovely Scottish mohawked character, who knew all about the next night’s gig and was happy for us to crash at his flat, a fun night of incomprehensible accents, cider, and the Icons Of Filth E.P being played again, and again, that and us lot chrysalis-like scrunched up in our sleeping bags on the warm floor…
Next day and to the well-known Upper Street chippy none too far round the corner from the Bingo Hall itself (renowned for the fact that it didn’t fry its chips in lard, so we could eat them), then a day of hanging out, helping to move the gear from Crass’ van into the venue and the gradual gathering of the clans.
Great gig, great memories of togetherness with the Ipswich guys, the feeling of community at the Bingo Hall itself and this feeling of things really happening in new ways, as we segued from the carefully policed C.N.D demos to the more ad hoc and fluid Stop The City movement.
Over the next few weeks things got a bit quieter for me; I didn’t end up participating in the March 29th Stop The City, and most gigging was avowedly local as I had turn my attention to ‘A’ Level exams and the end of high school life.
The next real blip on the radar was the Flux Of Pink Indians / D&V / Chumbawamba gig at the squatted Camden Glasshouse on the 4th June, another great place, albeit with somewhat worryingly bouncy floors for an upstairs venue.
It also had a different vibe because of the bands’ musical variance. I always had a soft spot for D&V, their minimalist sound (drums and vocals), with looping quasi-rap / staccato lyrical punctuation, and a good humoured front-man.
Could have sworn this was the gig of Flux playing in beachwear and an encore in knickers, but if not, then I do recall a broken down reggae-styled segment at the end, I think a ‘Tube Disasters-Progress-Tube Disasters’ segue.
Whether humour was the driving force behind the reinterpretation I am not sure, but I chose to view it as a breath of fresh air, or olive branch to all after the recent aural hostility and fury of the ‘Fucking Cunts Treat Us Like Pricks’ set of March.
Not giving up, or taking the foot off the pedal per se, but maybe an appreciation that your engagement with the shit out there could only run so far on anger, and that we required some nuanced approaches, and different tools in our box, for dealing with all that we were being confronted with.
Then there was Chumbawamba.
I think this has to be the first of many occasions I’d saw them, and it was just wonderfully different. Categorically on the same page in terms of many of the themes being discussed, but here the nuance and variety of approaches I believed were coming to the fore with the Flux Of Pink Indians performance that night, but very much taken to the next level. It was categorically theatrical, with the shifting vocals, the literal changing of the instruments between members, the harmonies alongside the punch, the clothes and posture, again a much needed change of pace from what at times had become a miasma of well-intentioned re-iterations of the Crass / Conflict / Subhumans / Antisect families.
Talking of Crass, that was the one downer of the night, when I asked an attendant Phil Free if those guys might play the Glasshouse, only to be told they’d indeed played there a few weeks earlier…
Bugger.
Tristian ‘Stringy’ Carter
Indebted to Jim Wafford for the photographs of Crass performing at the Glasshouse.
Alternative TV – Version 1 A
Alternative TV – Version 1 B
Alternative TV – Version 2 A
Alternative TV – Version 2 A
Uploaded tonight are BOTH versions of the debut 7″ single by Alternative T.V.
Both records and sleeves have been scanned and if you are sad like me, you will notice that the alternative version of this 7″ single has ALTERNATIVE VERSIONS written upon the label.
Furthermore, the folds on the rear of either sleeves are slightly different. I told you I was sad.
Oddly the catalogue number DFC002 is the same for both versions. I assume it must have been pot luck which copy you were supplied over the counter back when it was released.
The first release on Deptford Fun City Records, DFC001, was ‘A Packet Of Three’ by Squeeze. Yes, that Squeeze!
This debut 7″ single by Alternative T.V is of course a classic, and here are some words on it from Mark Perry
“We didn’t actually record ‘Love Lies Limp’ as a single cos that was one of the songs we did for E.M.I as a demo. We did four songs, we did ‘Love Lies Limp’, ‘How Much Longer’, ‘You Bastard’ and ‘Life’ as as demo.
We went in an’ did these songs, and ‘Love Lies Limp’ was about sex and had swearing in it, I think I swore in ‘How Much Longer’ at the end – “You all don’t fucking care” – ‘You Bastard’ – well, “You bastard”, right? – and ‘Life’ was the only one that was “acceptable”.
E.M.I basically said “Look, very interesting, but we think it’s too political, it’s too controversial” – that’s what they said about our music, it was quite funny – but the good thing about the E.M.I demo was that it was like a free recording for us, so we had these tracks. I dunno I had the idea or someone else had the idea that when it came to the last issue of Sniffin’ Glue, cos by that time we’d recorded a different version of ‘How Much Longer’/’You Bastard’ for the first single but we hadn’t put it out yet, and just thought it’d be a nice introduction to the band.
The concept idea that you end the fanzine so one thing ends of mine, and the band starts. So that’s why. But I don’t know why we chose that particular song for the flexidisc.
It was good to do something different. Someone also mentioned that cos it was a flexi, cos it was on a floppy disc, y’know ‘Love Lies Limp’? I didn’t think of that, someone else come up with that.
Someone said that in the NME, they said “This is not a conventional record, this is ‘Love Lies Limp’ on floppy, and they made that connection. I think it was a bit of an inspired idea doing that flexidisc.
I think we spent all our profits on it, which didn’t amount to much, but we had load of ’em, cos what happened was we had got 20,000 made of the bloody things. In fact, Harry Murlowski, who was at the time he was doing more of the business side of the fanzine and that, he was at his mum’s the other day, well last year or something, and he was looking in the loft and he found a box of ‘LLL’ flexidiscs, about fifty of ’em.
The debut single had two versions. What happened was, we did the E.M.I demo, and we thought that was pretty cool, more rough and ready, and then we re-recorded it for the proper single but after living with the first single for a little bit, not long, I just thought it was over-produced, and I liked the old version better.
What we did, when we did a re-press we just thought we’d put that other version out, the E.M.I session one, so that’s what we did. They are quite different. The E.M.I version is much more what we sounded like live, there’s no overdubs, it’s just as it is, y’know”.
Whichever version you prefer, and I feel you should give both versions a listen while you read this immense KYPP post HERE
The three original 1977 flyers that are featured on this YouTube post are from the collection of Tony D, Ripped And Torn and Kill Your Pet Puppy fanzines.
Dedicated to Robert Dellar – 16th December 1964 – 17th December 2017.
Demob First Single
Demob First Single
Demob Second Single
Demob Second Single
I always thought Demob were great and severely underrated at the time, so I am uploading both 7″ singles that were released during the band’s lifetime.
All these tracks that are uploaded by this band tonight are great, but ‘No Room For You’ (five minute mark) is an absolute stone wall classic…
For best results play this track loud enough to receive a visit and a court order from your local plod / social services.
Undoubtedly one of my favourite songs by any bands at that time.
I’m listening to ‘No Room For You’, as I write this, LOUD.
Text from Wikkiwackiewoo.
Demob formed in late 1978 by guitarist Terry Elcock and drummer Johnny Melfah, and they were soon joined by Mike Howes (vocals), Tony Wakefield (bass) and Chris Rush (guitar). Howes ex-army skinhead friend Andy Kanonik soon joined, also on vocals.
It was this line-up that first rehearsed and played the first gigs in and around Gloucester, the Viking Youth Club becoming the main place of rehearsals and Tracy’s night club was the first venue that Demob played in 1978, and became the local night club hangout for all the band and punks at that time. Elcock had previous experience on guitar as a member of a church band.
Demob’s first big break came in the summer of 1979 when they fooled the authorities into letting them have a place in the Gloucester annual carnival parade.
The ever increasing support for the band resulted in a mass riot between the punks and the bikers and, ultimately, the suspension of the carnival. The riot made national press and attracted the interest of the local record label, Round Ear Records.
In 1980, Howes was sacked from the band, and Kanonik was imprisoned for three months, leaving the band without a singer.
The band had just recruited Mark “Miff” Smith to replace Rush, and he took over the role of singer, with Paul “Fatty” Price also replacing Wakefield on bass. Smith soon become an integral part, arranging and organising gigs.
With the line-up now comprising Mark Smith (vocals), Terry Elcock (guitar), Paul Price & Barry Philips (bass guitar), and Johnny Melfah (drums), the band worked on their first recordings. ‘Anti-Police’ was Demob’s first release on the independent Round Ear Records, the record was supported by the late John Peel, and journalist Garry Bushell.
The record spent over two months in the UK Indie Chart, peaking at number 34.
On the back of the success of ‘Anti-Police’, Demob supported many acts around the punk circuit at this time, including U2 (!), UK Subs, The Angelic Upstarts, Discharge and The Beat (!!).
Most performances ended with a police presence and inevitable violence with their notorious hardcore followers, the ‘Demob Riot Squad’. The band’s multi-racial line-up sometimes attracted hostility from Nazi skinheads who attended their gigs, and the band would play several concerts in aid of the Anti-Nazi League.
A second single, ‘No Room For You’ quickly followed to add to the success, but unfortunately, like so many punk acts of the era, musical differences soon developed amongst the line up and Demob split to pursue other musical avenues in 1983.
THE THREE BAND MEMBER PHOTOGRAPHS THAT ARE FEATURED ON THIS YOUTUBE POST ARE NOT MINE. THEY ARE BRILLIANT PHOTOGRAPHS I JUST HAD TO ADD THEM. IF THE PHOTOGRAPHS ARE YOURS YOU WILL BE DUE FOR A CREDIT. LEAVE A COMMENT.
The Astronauts First Single
The Astronauts First Single
The Astronauts were partly responsible for inspiring me to start helping out at All The Madmen Records, based in Brougham Road Hackney, in 1985.
The Astronauts were just one part of a mish-mash roster of bands that included Flowers In The Dustbin, Zos Kia, Blyth Power and of course The Mob.
This wonderful debut extended play 7″ single by The Astronauts was released by Bugle Records based in Potters Bar, Hertfordshire.
Mark Astronauts’s well thought out lyrics are always written with great feeling and care are impeccably delivered.
Bugle Records also released the second extended play 7″ single by The Astronauts a year later.
Text below written by Robin Basak of Zero fanzine fame, ripped off with love from his Acid Stings site.
Eternal long-haired losers who also have some of the best tunes this semi-legendary band has only released six albums in its long existence but each of them is a bonafide classic.
The Astronauts second album ‘All Done By Mirrors’ judged by those who heard it as among the best albums of all time was a stunning collection of explosive pop songs and traditional folk ballads recorded at a time when all their gigs were with anarchist punk bands.
Their fifth album ’In Defence Of Compassion’ experimented with ambient house music years before other conventional bands even thought of doing so.
Inspired by the UK punk explosion Mark Astronaut formed the band with a few friends in 1977 and began playing local gigs in their hometown of Welwyn Garden City.
By 1979 The Astronauts were regularly appearing at free festivals and gigs in London organised by a hippy collective known as Fuck Off Records and from these began a close friendship with then London based punk bands Zounds and the Mob.
That year the first Astronauts E.P was released on local label Bugle Records and musically it reflected the hippie drug culture combined with the energy of punk. ‘All Night Party’ still sounds like the paranoid nightmare it did back then. The record established the Astronauts on the local gig scene among the non mainstream hippie/punk/biker crowd.
Also in 1979 an E.P was released under the assumed name of Restricted Hours on the Stevenage Rock Against Racism label. ‘Getting Things Done’ attacked the political apathy of small town life while ‘Still Living Out The Car Crash’ was musically a typically nightmarish theme.
By 1980 gigs throughout England with Zounds had won over an army of fans and the ‘Pranksters In Revolt’ E.P sold all its copies within weeks. Musically the four songs were not as adventurous as the first E.P although the lyrics were as incisive as ever.
Like many great bands from the post punk era the Astronauts were completely ignored by the UK music press which then as now was only interested in anything trendy, fashionable or middle class. Local fanzine Zero began to champion the band as did the local newspapers.
The ‘Peter Pan Hits The Suburbs’ album was released in 1981 to widespread acclaim. Incredibly it received great reviews in virtually all the UK music press.
The typical Astronauts audience at the time was largely hardcore punks attracted by the energetic gigs and a handful of hippies so the album was something of a surprise. Full of heartfelt folk ballads and featuring legendary saxophonist Nic Turner, the album was not what fans had expected but appealed to a different audience. The contradiction of heavy chaotic punk performances and structured melodic alternative pop/folk/ambient songs continues to this day.
Throughout 1982-1985 there were hundreds of gigs with the many anarcho punk bands of the era and ‘All Done By Mirrors’ was arguably the finest album to date.
The ‘Soon’ album featured great songs but was let down by lifeless production while the ‘Seedy Side Of Paul’ album combined a scathing indictment of the 1980’s attitudes of greed with some truly wonderful songs.
I have scanned the original biog and lyric sheet that I had stuck in my copy of this record to compliment the audio for this YouTube post.
Exit Stance First Single
Exit Stance First Single
Presenting a brilliant 7″ single by Bristol’s Exit-Stance.
This is not the Milton Keynes punk band that released records on Mortarhate and supported Conflict from time to time.
The Exit-Stance that recorded these two tracks uploaded today and releasing them on this record via the bands own label, were from Bristol and had a sound reminiscent, actually pretty much a carbon copy, of UK Decay (with added Ritual perhaps).
After the recording of the ‘Esthetics’ 7″ single, the punk Exit-Stance (perhaps supported by Mortarhate records) forced the Bristol Exit-Stance to change their name after threatening legal action.
If that was correct then it’s a pretty ironic situation, considering.
Bristol’s Exit-Stance changed their name to Feud and I assume the Milton Keynes Exit-Stance were OK with that.
I know nothing else about this band from Bristol, save that this is a very good 7″ single.
I am sure the record would probably get played at goth nights if anyone owned a copy!
Screaming Dead First Single
Screaming Dead First Single
Screaming Dead were a band I first read about in a copy of ‘Rising Free’ fanzine (The ‘No Future’ issue of Rising Free to be precise) written, edited, printed and distributed in and around the Welwyn, Hitchin and Stevenage areas.
I was surprised to read about this band as the band came from the DARK SIDE of the world, well from Cheltenham to be exact, home to the another punk band, the massively fine Demob.
Screaming Dead. Cheltenham’s answer to the Misfits. That can’t be a bad thing.
The band, named after the English title of Drácula contra Frankenstein, the 1972 horror film directed by Jesús Franco, was formed by guitarist Tony McCormack, who recruited former singer with The Waste, Sam Missile, bass guitarist Mal Page, and drummer Mark Ogilvie.
The band built up a strong local following which spread farther afield with coverage in fanzines such as Gez Lowery’s ‘Rising Free’ and through sales of their demo tape.
They followed their first tape with a more formal release, the ‘Children Of The Boneyard Stones’ cassette, which came with a badge and a copy of the band’s own fanzine, ‘Warcry’.
They then self-financed their debut vinyl release, the ‘Valley of the Dead’ 7″ single, initially released on their own Skull Records label, but when it sold out of its first pressing within a week it was picked up by No Future records.
The band’s next release, the ‘Night Creatures’ 12″ single, saw them break into the UK Indie Chart, reaching number 22 in September 1983.
While the band were at times tagged as Goths, the label was rejected by Bignall, who in a posthumous interview stated “Screaming Dead were a punk rock band, there’s no doubt about that! We had a bit of an interest in the horror theme, and that was how we decided to present ourselves.”
For their next release, the band recorded a cover of the Rolling Stones’ ‘Paint It Black’ which was also an indie hit, and was recorded as a tribute of sorts to Brian Jones who is buried in their home town of Cheltenham.
In 1984, taking inspiration from X-Ray Spex, the band recruited saxophonist Nick Upton, the band also signing to Nine Mile Records, who issued their last two releases on the Angel label.
The change in sound lost a lot of fans, and with interest in punk rock declining, the band split up in 1985.
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Coal was essential for military production during WW2; somehow Britain had to match the quotas needed to keep factories churning out the m...
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Amanda Jacqueline Redman, MBE (born 12 August 1957) is an English actress, known for her role as Sandra Pullman in the BBC One series New Tricks (200313). She received BAFTA TV Award nominations for At Home with the Braithwaites (200003) and Tommy Cooper Not Like That, Like This (2014). Her film
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Nisha Rathode
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I love writing and learning new things in order to better educate those in need. I also enjoy hackathons and adventures around the world.
Amanda Redman
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Amanda redman discovers a brand new relative who do you think you are
Amanda Jacqueline Redman, MBE (born 12 August 1957) is an English actress, known for her role as Sandra Pullman in the BBC One series New Tricks (2003–13). She received BAFTA TV Award nominations for At Home with the Braithwaites (2000–03) and Tommy Cooper: Not Like That, Like This (2014). Her film roles include For Queen and Country (1988), Sexy Beast (2000) and Mike Bassett: England Manager (2001).
Contents
Amanda redman discovers a brand new relative who do you think you are
Amanda redman
Early life
Career
Awards and nominations
Personal life
Filmography
References
Amanda redman
Early life
Redman was born in Brighton. Her father, Ronald Jack Redman (1929-80), was born in Camberwell, London to parents from Yorkshire, and her mother, Joan Beryl Redman (née Herrington, 1927-2014), was born in India as the daughter of William Herrington, a British Indian Army soldier. Redman's father, who was two years younger than her mother, died at the age of 51 in 1980, when Redman was 23. Redman had one brother, who died in 2012.
Redman is badly scarred on her upper left arm as a result of an accident when she was 18 months old. She was scalded with a pan of boiling soup and suffered burns to 75% of her body. Her arm was the only part of her body permanently affected, but the trauma was so severe that she was pronounced clinically dead at the Queen Victoria Hospital in East Grinstead, Sussex.
Career
Redman trained at the Bristol Old Vic Theatre School.
In 1984 she appeared as Marina in the BBC Shakespeare production of Pericles, Prince of Tyre opposite Mike Gwilym. She also played Maxine in Oxbridge Blues, a British television mini-series, produced by the BBC and first shown in 1984 written by Frederick Raphael. In 1985 she played Janet in the touring version of The Rocky Horror Show.
In 1986 she played Miss Fairfax (Gwendolen) in the BBC Drama production of The Importance Of Being Earnest by Oscar Wilde.
She played opposite Liv Ullmann in Richard's Things (1980), took over from Alfred Molina in the 1990s comedy drama El C.I.D., playing a new female lead in the series, and played Diana Dors in the TV film The Blonde Bombshell (1999). She presented an MTV show on satellite TV in the 1990s. She co-starred in the first two series of Dangerfield in 1995, playing Joanna Stevens, and played a role in Taggart the same year. In 2000 she played Deedee Dove in the feature film Sexy Beast. From 2000 until 2003 she played Alison Braithwaite, a woman whose life is turned upside down after she wins the lottery, in ITV's At Home with the Braithwaites. Beginning in 2003, Redman took the role of DSI Sandra Pullman in the BBC's New Tricks.
In June 2006 Redman performed in Children's Party at the Palace as Cruella DeVil for the Queen's 80th birthday, and was the subject of an episode of the BBC documentary series Who Do You Think You Are?, a programme that explored her family history.
In July 2013, she announced that she would be leaving New Tricks; Tamzin Outhwaite replaced her. In 2015, she played the role of Jackie Rose in the three-part ITV drama The Trials of Jimmy Rose, starring alongside Ray Winstone. In 2017, she played Lydia Fonseca in the ITV drama series The Good Karma Hospital.
Redman is the founder and principal of the Artists Theatre School.
Awards and nominations
2001 – nominated – BAFTA TV Award – Best Actress for At Home with the Braithwaites
2003 – nominated – National Television Award – Most Popular Actress for At Home with the Braithwaites
2007 – nominated – TV Quick Award – Best Actress for New Tricks
2015 – nominated – BAFTA TV Award – Best Supporting Actress for Tommy Cooper: Not Like That, Like This
Personal life
Redman is the mother of Emily from her marriage to the actor Robert Glenister. She is credited with having encouraged her then-brother-in-law, Philip Glenister, who played DCI Gene Hunt in Life on Mars and Ashes to Ashes, to go to drama school and to pursue acting.
Redman was appointed a Member of the Order of the British Empire (MBE) in the 2012 Birthday Honours for services to drama and charity.
Filmography
Actress
2017
The Good Karma Hospital (TV Series) as
Dr. Lydia Fonseca
2021
Fading (Short) as
Jane Campbell
2020
Bumps (TV Movie) as
Anita
2019
Hafu (Short) as
Mrs. Coates
2016
Mike Bassett: Interim Manager as
Karine Bassett
2015
The Trials of Jimmy Rose (TV Mini Series) as
Jackie Rose
- Episode #1.3 (2015) - Jackie Rose
- Episode #1.2 (2015) - Jackie Rose
- Episode #1.1 (2015) - Jackie Rose
2014
Tommy Cooper: Not Like That, Like This (TV Movie) as
Gwen 'Dove' Cooper
2003
New Tricks (TV Series) as
Det. Supt. Sandra Pullman / Det.Supt.Sandra Pullman / Detective Superintendent Sandra Pullman / ...
- The One That Got Away (2013) - Detective Superintendent Sandra Pullman
- Things Can Only Get Better (2013) - Detective Superintendent Sandra Pullman
- Into the Woods (2013) - Detective Superintendent Sandra Pullman
- Cry Me a River (2013) - Detective Superintendent Sandra Pullman
- The Little Brother (2013) - Detective Superintendent Sandra Pullman
- The Sins of the Father (2013) - Detective Superintendent Sandra Pullman
- The Rock: Part Two (2013) - Detective Superintendent Sandra Pullman
- The Rock: Part One (2013) - Detective Superintendent Sandra Pullman
- Part of a Whole (2012) - Det. Supt. Sandra Pullman
- Blue Flower (2012) - Det.Supt.Sandra Pullman
- Dead Poets (2012) - Det. Supt. Sandra Pullman
- Love Means Nothing in Tennis (2012) - Det.Supt.Sandra Pullman
- Body of Evidence (2012) - Det.Supt.Sandra Pullman
- The Girl Who Lived (2012) - Det.Supt.Sandra Pullman
- Queen and Country (2012) - Det.Supt.Sandra Pullman
- Old School Ties (2012) - Det.Supt.Sandra Pullman
- A Death in the Family (2012) - Det.Supt.Sandra Pullman
- Tiger Tiger (2011) - Det.Supt.Sandra Pullman
- Half Life (2011) - Det. Supt. Sandra Pullman
- Only the Brave (2011) - Det. Supt. Sandra Pullman
- The Gentleman Vanishes (2011) - Det. Supt. Sandra Pullman
- Object of Desire (2011) - Det. Supt. Sandra Pullman
- Moving Target (2011) - Det. Supt. Sandra Pullman
- Setting Out Your Stall (2011) - Det. Supt. Sandra Pullman
- Lost in Translation (2011) - Det. Supt. Sandra Pullman
- End of the Line (2011) - Det. Supt. Sandra Pullman
- Old Fossils (2011) - Det. Supt. Sandra Pullman
- The Fourth Man (2010) - Det. Supt. Sandra Pullman
- Gloves Off (2010) - Det. Supt. Sandra Pullman
- Coming Out Ball (2010) - Det. Supt. Sandra Pullman
- Where There's Smoke (2010) - Det.Supt.Sandra Pullman
- Fashion Victim (2010) - Det.Supt.Sandra Pullman
- Good Morning Lemmings (2010) - Det.Supt.Sandra Pullman
- Dark Chocolate (2010) - Det.Supt.Sandra Pullman
- Left Field (2010) - Det.Supt.Sandra Pullman
- It Smells of Books (2010) - Det. Supt. Sandra Pullman
- Dead Man Talking (2010) - Det.Supt.Sandra Pullman
- Meat Is Murder (2009) - Det.Supt.Sandra Pullman
- Blood Is Thicker Than Water (2009) - Det.Supt.Sandra Pullman
- The Last Laugh (2009) - Det. Supt. Sandra Pullman
- Death of a Timeshare Salesman (2009) - Det. Supt. Sandra Pullman
- Shadow Show (2009) - Det.Supt.Sandra Pullman
- Fresh Starts (2009) - Det.Supt.Sandra Pullman
- The Truth Is Out There (2009) - Det.Supt.Sandra Pullman
- The War Against Drugs (2009) - Det.Supt.Sandra Pullman
- Mad Dogs (2008) - Det Supt Sandra Pullman
- Communal Living (2008) - Det Supt Sandra Pullman
- Magic Majestic (2008) - Det Supt Sandra Pullman
- Couldn't Organise One (2008) - Det Supt Sandra Pullman
- Loyalties and Royalties (2008) - Det Supt Sandra Pullman
- A Face for Radio (2008) - Det Supt Sandra Pullman
- Final Curtain (2008) - Det Supt Sandra Pullman
- Spare Parts (2008) - Det Supt Sandra Pullman
- Big Topped (2007) - Det. Supt. Sandra Pullman
- Father's Pride (2007) - Det. Supt. Sandra Pullman
- Buried Treasure (2007) - Det. Supt. Sandra Pullman
- Powerhouse (2007) - Det. Supt. Sandra Pullman
- Nine Lives (2007) - Det. Supt. Sandra Pullman
- Ducking and Diving (2007) - Det. Supt. Sandra Pullman
- God's Waiting Room (2007) - Det. Supt. Sandra Pullman
- Casualty (2007) - Det. Supt. Sandra Pullman
- Congratulations (2006) - Det. Supt. Sandra Pullman
- Ice Cream Wars (2006) - Det. Supt. Sandra Pullman
- Bank Robbery (2006) - Det. Supt. Sandra Pullman
- Wicca Work (2006) - Det. Supt. Sandra Pullman
- Diamond Geezers (2006) - Det. Supt. Sandra Pullman
- Old Dogs (2006) - Det. Supt. Sandra Pullman
- Dockers (2006) - Det. Supt. Sandra Pullman
- Lady's Pleasure (2006) - Det. Supt. Sandra Pullman
- 17 Years of Nothing (2005) - Supt. Sandra Pullman
- Fluke of Luck (2005) - Supt. Sandra Pullman
- Eyes Down for a Full House (2005) - Supt. Sandra Pullman
- Creative Problem Solving (2005) - Supt. Sandra Pullman
- Old and Cold (2005) - Supt. Sandra Pullman
- Trust Me (2005) - Supt. Sandra Pullman
- Family Business (2005) - Supt. Sandra Pullman
- A Delicate Touch (2005) - Supt. Sandra Pullman
- Talking to the Dead (2004) - Sandra Pullman
- Home Truths (2004) - Sandra Pullman
- Good Work Rewarded (2004) - Sandra Pullman
- 1984 (2004) - Sandra Pullman
- Painting on Loan (2004) - Sandra Pullman
- ID Parade (2004) - Sandra Pullman
- The Chinese Job (2003) - Detective Superintendent Sandra Pullman
2008
Little Dorrit (TV Series) as
Mrs. Merdle
2008
Honest (TV Series) as
Lindsay Carter
- Episode #1.6 (2008) - Lindsay Carter
- Episode #1.5 (2008) - Lindsay Carter
- Episode #1.4 (2008) - Lindsay Carter
- Episode #1.3 (2008) - Lindsay Carter
- Episode #1.2 (2008) - Lindsay Carter
- Episode #1.1 (2008) - Lindsay Carter
2006
Vincent (TV Series) as
Jackie Nelson
- Episode #2.3 (2006) - Jackie Nelson
2006
The Children's Party at the Palace (TV Special) as
Cruella de Vil (The 101 Dalmatians)
2005
Mike Bassett: Manager (TV Series) as
Karine Bassett
- Abide with Me (2005) - Karine Bassett
- Seven Brothers for Seven Brothers (2005) - Karine Bassett
- Return of the Paralytic Son (2005) - Karine Bassett
- Flat Pack Four (2005) - Karine Bassett
- Going Dutch (2005) - Karine Bassett
- Football's Coming Home (2005) - Karine Bassett
2003
Suspicion (TV Movie) as
Carol Finnegan
2000
At Home with the Braithwaites (TV Series) as
Alison Braithwaite
2001
Mike Bassett: England Manager as
Karine Bassett
2000
Sexy Beast as
Deedee Dove
2000
The Sight (TV Movie) as
Detective Pryce
2000
The Wedding Tackle as
Petula
1999
Hope & Glory (TV Series) as
Debbie Bryan
- Episode #2.4 (2000) - Debbie Bryan
- Episode #2.3 (2000) - Debbie Bryan
- Episode #2.2 (2000) - Debbie Bryan
- Episode #2.1 (2000) - Debbie Bryan
- Episode #1.6 (1999) - Debbie Bryan
- Episode #1.5 (1999) - Debbie Bryan
- Episode #1.4 (1999) - Debbie Bryan
- Episode #1.3 (1999) - Debbie Bryan
- Episode #1.2 (1999) - Debbie Bryan
- Episode #1.1 (1999) - Debbie Bryan
1999
The Blonde Bombshell (TV Mini Series) as
Diana Dors 1965-1984
- Episode #1.2 (1999) - Diana Dors 1965-1984
1998
Next Birthday (Short) as
Sarah
1998
Close Relations (TV Mini Series) as
Prudence
- Episode #1.5 (1998) - Prudence
- Episode #1.4 (1998) - Prudence
- Episode #1.3 (1998) - Prudence
- Episode #1.2 (1998) - Prudence
- Episode #1.1 (1998) - Prudence
1998
Performance (TV Series) as
Regan
- King Lear (1998) - Regan
1996
Beck (TV Series) as
Beck
- Episode #1.6 (1996) - Beck
- Episode #1.5 (1996) - Beck
- Episode #1.4 (1996) - Beck
- Episode #1.3 (1996) - Beck
- Episode #1.2 (1996) - Beck
- Episode #1.1 (1996) - Beck
1991
Ruth Rendell Mysteries (TV Series) as
Susan Townsend / Helen Missal
- The Secret House of Death: Part 2 (1996) - Susan Townsend
- The Secret House of Death: Part 1 (1996) - Susan Townsend
- From Doon with Death: Part Two (1991) - Helen Missal
- From Doon with Death: Part One (1991) - Helen Missal
1995
Dangerfield (TV Series) as
Dr. Joanna Stevens
- The Bosnian Girl (1995) - Dr. Joanna Stevens
- The Norfolk Holiday: Part 2 (1995) - Dr. Joanna Stevens
- The Norfolk Holiday: Part 1 (1995) - Dr. Joanna Stevens
- The Unfaithful Husband (1995) - Dr. Joanna Stevens
- SAS Death (1995) - Dr. Joanna Stevens
- The Body in the Quarry (1995) - Dr. Joanna Stevens
- The Call Girl (1995) - Dr. Joanna Stevens
- The Dead Businessman (1995) - Dr. Joanna Stevens
- Dr Stevens' Stalker (1995) - Dr. Joanna Stevens
- Dem Bones (1995) - Dr. Joanna Stevens
- Death in Custody (1995) - Dr. Joanna Stevens
- Down by the Riverside (1995) - Dr. Joanna Stevens
- Peeping Tom (1995) - Dr. Joanna Stevens
- Victim of Rape: Part 2 (1995) - Dr. Joanna Stevens
- Victim of Rape: Part 1 (1995) - Dr. Joanna Stevens
- A Patient's Secret (1995) - Dr. Joanna Stevens
- The Accidental Shooting (1995) - Dr. Joanna Stevens
- Police Brutality (1995) - Dr. Joanna Stevens
1995
Taggart (TV Series) as
Julie Carson
- Black Orchid (1995) - Julie Carson
1993
Demob (TV Series) as
Janet Deasey
- Episode #1.6 (1993) - Janet Deasey
- Episode #1.5 (1993) - Janet Deasey
- Episode #1.4 (1993) - Janet Deasey
- Episode #1.3 (1993) - Janet Deasey
- Episode #1.2 (1993) - Janet Deasey
- Episode #1.1 (1993) - Janet Deasey
1993
Body & Soul (TV Mini Series) as
Lynn / Lynn Gibson
- Episode #1.6 (1993) - Lynn
- Episode #1.5 (1993) - Lynn
- Episode #1.4 (1993) - Lynn
- Episode #1.3 (1993) - Lynn
- Episode #1.2 (1993) - Lynn
- Episode #1.1 (1993) - Lynn Gibson
1993
Casualty (TV Series) as
Olivia Purcell
- The Ties That Bind (1993) - Olivia Purcell
1992
El C.I.D. (TV Series) as
Rosie Bromley
- The Lone Stranger (1992) - Rosie Bromley
- Day of the Gato (1992) - Rosie Bromley
- Who Needs Enemies? (1992) - Rosie Bromley
- My Brother's Keeper (1992) - Rosie Bromley
- Nothing Is Forever (1992) - Rosie Bromley
- Making Amends (1992) - Rosie Bromley
1991
The Men's Room (TV Mini Series) as
Sally
- Episode #1.5 (1991) - Sally
- Episode #1.4 (1991) - Sally
- Episode #1.3 (1991) - Sally
- Episode #1.2 (1991) - Sally
- Episode #1.1 (1991) - Sally
1991
Spender (TV Series) as
Roberta 'Bobby' Montgomery
- The Candidate (1991) - Roberta 'Bobby' Montgomery
1990
Screen Two (TV Series) as
Kate
- The Lorelei (1990) - Kate
1988
Streets Apart (TV Series) as
Sylvia Grant
1988
Theatre Night (TV Series) as
Julia Melville / Gwendolen
- The Rivals (1988) - Julia Melville
- The Importance of Being Earnest (1988) - Gwendolen
1988
For Queen & Country as
Stacey
1986
Bergerac (TV Series) as
Pauline Taylor
- Fires in the Fall (1986) - Pauline Taylor
1986
To Have and to Hold (TV Mini Series) as
Viv Meadows
- Episode #1.8 (1986) - Viv Meadows
- Episode #1.7 (1986) - Viv Meadows
- Episode #1.6 (1986) - Viv Meadows
- Episode #1.5 (1986) - Viv Meadows
- Episode #1.4 (1986) - Viv Meadows
- Episode #1.3 (1986) - Viv Meadows
- Episode #1.2 (1986) - Viv Meadows
- Episode #1.1 (1986) - Viv Meadows
1984
Pericles, Prince of Tyre (TV Movie) as
Marina
1984
Oxbridge Blues (TV Series) as
Maxine
- Oxbridge Blues (1984) - Maxine
1984
Give My Regards to Broad Street as
Office Receptionist
1982
The Agatha Christie Hour (TV Mini Series) as
Pauline, Grand Duchess of Ostravia
- Jane in Search of a Job (1982) - Pauline, Grand Duchess of Ostravia
1982
On the Line (TV Series) as
Sara Newton
1982
La ronde (TV Movie) as
The Sweet Young Thing
1980
Tales of the Unexpected (TV Series) as
Pat / Anna Warrack
- The Party (1980) - Pat
- I'll Be Seeing You (1980) - Anna Warrack
1980
Richard's Things as
Josie
1979
Turning Year Tales (TV Series) as
Member
- Clubs (1979) - Member (uncredited)
Miscellaneous
2017
Diana, Our Mother: Her Life and Legacy (TV Movie documentary) (narrator)
Soundtrack
2001
At Home with the Braithwaites (TV Series) (performer - 2 episodes)
- Episode #3.6 (2002) - (performer: "Heat Wave" - uncredited)
- Episode #2.3 (2001) - (performer: "Happy Birthday to You" - uncredited)
1993
Demob (TV Series) (performer - 1 episode)
- Episode #1.2 (1993) - (performer: "Happy Birthday to You" - uncredited)
Self
2022
Love Your Weekend with Alan Titchmarsh (TV Series) as
Self
- Episode #4.8 (2022) - Self
2020
The Diana Interview: Revenge of a Princess (TV Mini Series documentary) as
Self - Narrator
- Episode #1.2 (2020) - Self - Narrator (voice)
- Episode #1.1 (2020) - Self - Narrator (voice)
2020
Lorraine (TV Series) as
Self - Guest
- Episode dated 24 April 2020 (2020) - Self - Guest
2018
Saturday Kitchen (TV Series) as
Self
- Episode #22.11 (2020) - Self
- Episode #14.51 (2018) - Self
2004
This Morning (TV Series) as
Self
- Episode dated 13 March 2020 (2020) - Self
- Episode dated 27 April 2004 (2004) - Self
- Episode dated 30 March 2004 (2004) - Self
2000
Loose Women (TV Series) as
Self
- Episode #24.108 (2020) - Self
- Episode #22.150 (2018) - Self
- Episode #20.148 (2016) - Self
- Episode #20.6 (2015) - Self
- Episode #15.207 (2011) - Self
- Episode #15.30 (2010) - Self
- Episode #2.25 (2000) - Self
2019
Prince Charles: Inside the Duchy of Cornwall (TV Special documentary) as
Self - Narrator (voice)
2018
Zoe Ball on ... (TV Series) as
Self - Guest
- Sunday 2 (2018) - Self - Guest
2017
Sunday Brunch (TV Series) as
Self - Guest
- Episode #5.52 (2017) - Self - Guest
2016
Weekend (TV Series) as
Self - Guest
- Episode #3.6 (2016) - Self - Guest
1999
Horizon (TV Series documentary) as
Self - Narrator
- Allergies: Modern Life and Me (2014) - Self - Narrator (voice)
- Volcanoes of the Deep (1999) - Self - Narrator (voice)
2009
The One Show (TV Series) as
Self - Guest / Self
- Episode #7.154 (2012) - Self - Guest
- Episode #6.123 (2011) - Self - Guest
- Episode dated 5 August 2009 (2009) - Self
2005
Breakfast (TV Series) as
Self - Actress / Self
- Episode dated 3 September 2010 (2010) - Self - Actress
- Episode dated 13 May 2005 (2005) - Self
2010
The Michael Ball Show (TV Series) as
Self
- Episode #1.15 (2010) - Self
2009
Little Dorrit: An Insight (Video documentary short) as
Self - 'Mrs. Merdle'
2008
Profiling (TV Series documentary) as
Self
- Ruth Rendell (2008) - Self
2006
Friday Night with Jonathan Ross (TV Series) as
Self
- Episode #10.5 (2006) - Self
2005
The Paul O'Grady Show (TV Series) as
Self
- Episode #2.41 (2005) - Self
2004
Richard & Judy (TV Series) as
Self
- Episode dated 9 March 2005 (2005) - Self
- Episode dated 13 October 2004 (2004) - Self
- Episode dated 8 April 2004 (2004) - Self
2005
Jeremy Vine Meets... (TV Series documentary) as
Self
- Episode #2.2 (2005) - Self
2004
Who Do You Think You Are? (TV Series documentary) as
Self
- Amanda Redman (2004) - Self
2004
Hell's Kitchen (TV Series) as
Self
- Episode #1.4 (2004) - Self (uncredited)
2004
Who Wants to Be a Millionaire (TV Series) as
Self - Contestant
- Celebrity Special (2004) - Self - Contestant
2003
Trouble at the Top (TV Series documentary) as
Self - Narrator
- Cheese Wars (2003) - Self - Narrator (voice)
2003
Pride of Britain Awards 2003 (TV Special) as
Self
2002
Scar Stories (Documentary) as
Self
2002
Celebrity Ready, Steady, Cook (TV Series) as
Self
- Episode dated 5 January 2002 (2002) - Self
2001
Turning Points (TV Series) as
Self
- Episode #3.11 - Self
2001
The BAFTA TV Awards 2001 (TV Special documentary) as
Self
2000
Starstruck (TV Mini Series documentary) as
Self
- Holding On (2000) - Self
1998
An Audience with the Bee Gees (TV Special) as
Self
1998
Holiday Heaven (TV Series documentary) as
Self
- Episode #1.2 (1998) - Self
1992
Wogan (TV Series) as
Self
- Episode #12.11 (1992) - Self
1982
The Royal Variety Performance 1982 (TV Special) as
Self
Archive Footage
2012
Innuendo Bingo (TV Series) as
Det. Supt. Sandra Pullman
- Beccy and Chris (2012) - Det. Supt. Sandra Pullman
References
Amanda Redman Wikipedia
(Text) CC BY-SA
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Dates refer to when review was written
Da Ali G Show (11/01)
Sacha Baron Cohen created "the voice of youth," Ali G, a Tommy Hilfinger-wearing semi-ethnic wannabe, originally for The 11 O'Clock Show and was so successful that Channel Four spun him off on his own comedy series. Ali's big claim to fame (at least until everyone in Britain got wise to it) was to interview members of the Establishment and make them look like fools with his moronic questions. It's amazing how many fell for it (I guess they don't watch late night telly on Four) although Ali has had to take his act on the road to America sometimes in order to find unsuspecting victims for his comic assaults (an assistant director for the FBI plays right into his hands with hilarious results). Studio guests including Mohammed Al-Fayed (owner of Harrods and defender of a notorious libel suit in Britain) turn up as well (presumably in on the joke). To his credit, after appearing in a Madonna video, Baron-Cohen has hung up his Ali G gear rather than beat a one-joke gimmick to death. But who will represent "Britain's youth" now?
Dad (11/97)
Like Keeping Mum, this sitcom is about adult children of parents who drive them mad, in this case Alan (Kevin McNally) whose short fuse is continually lit by the well-meaning but maddening George Cole. Not to mention Alan's teenage son who is already driving him crazy and you wonder how Alan ever managed to make it to middle age in one piece. Not brilliant, but Cole, as always, is impossible to hate.
Dalziel and Pascoe (11/96)
Three separate detective mysteries starring Warren Clarke (Moving Story, Sleepers) as annoying working class detective Dalziel (pronounced DEE-el) who along with his new partner, the Oxford educated Pascoe, get involved in movie-length cases each with its own milieu. The first, "A Clubbable Woman," is based at the Rugby Association Dalziel is a member, and involves murder, a scandal, and secrets. Pascoe is completely out of his depths here. But the shoe is on the other foot in the second story, "An Advancement of Learning," set in Oxford and involving Pascoe's fiance, where a body is discovered under a 20-year-old statue and more skeletons are uncloseted in the process. The final story, "An Autumn Shroud," has Dalziel end up by accident at the stately home of a recent widow where more mysterious activities rapidly turn up. These co-productions with A&E allegedly showed here with extra footage. In any event, they're worth checking out.
(7/98)
Two new feature-length mysteries based on the Reginald Hill books with the double act of working-class Yorkshireman Dalziel (Warren Clarke) and his partner, the Oxford educated Pascoe. In the first, "Under World," the body of a coal miner gone missing for years and thought responsible for a child-killing resurrects hidden secrets, as well as hidden passions for Pascoe's wife Ellie. In "Child's Play," we learn some new things about Detective Wield when a long-lost heir shows up setting off a family's scramble for the estate.
(3/99)
In new feature-lengthed movies, "Bones and Silence" the odd-couple team of midlands detectives get involved in case of adultery and murder, while dour DI Dalziel (Warren Clarke) is drafted to play God for a play by a visionary director (Josette Simon, looking like she just stepped off the set of Blake’s 7 17 years ago!). In "The Wood Beyond" flashbacks to Pascoe's grandfather in WWI are connected to a murder in contemporary times.
Dancing On the Edge (3/13)
Stephen Poliakoff wrote and directed this ambitious BBC mini-series set in 1930s London about the rise and fall of the Louis Lester Band, jazz musicians who eventually play for the Prince of Wales. Chiwetel Ejiofor stars as Louis, a British born bandleader who comes to the attention of music magazine writer Stanley (Matthew Goode) who promotes the band and eventually gets them an ongoing gig as permanent residents in the posh Imperial Hotel. At first their jazz music is not well-received by the establishment, but patrons (including Anthony Head and Jacqueline Bisset) who are eager to experience the next new thing help them open the right doors, meet the right people, and eventually even get on the staid old BBC. But Poliakoff also examines the racism of the era, though not as bad as America at the time, most of the characters (admittedly upper class) treat Louis and his band as equals, at least when everything is going well. But when the lead singer (Angel Coulby) is discovered dead and Louis suspects the young protege of mysterious American tycoon Masterson (John Goodman), things turn ugly and Louis isn't sure who, if anyone, is still his ally. Louis sometimes is a bit too paranoid for his own good, although based on his experiences, not entirely unjustified.
The Dark Room (1/00)
Dervla Kirwan (Ballykissangel) stars in this two-part BBC drama as an amnesiac accident victim who may have committed a double murder. Her manipulative father (Paul Freeman, the villain in "Raiders of the Lost Ark") tries to pull strings, but the police are hot on the trail and she is the chief suspect. Will her memory return in time to solve the mystery or is someone after her as well?
The Darling Buds of May (3/93)
Most of the urban young people I know in the UK hate this series because it represents the past, a simpler time, and they see it having no bearing on their current situation. Fair enough, but I quite enjoy it. The Larkin family are practically the Waltons incarnate, and it is jolly good to see people act nicely towards each other and have things turn out well. In a way it is almost an anti-soap opera: warm family values instead of characters forever doing dirt to each other as the tragedies pile on. Considering the huge popularity of soap operas in the UK, it is refreshing to see a drama take a much different approach - and be successful. Catherine Zeta-Jones began her career playing David Jason's daughter in this series.
Dates (11/13)
Channel 4 series about a series of first dates that at first go spectacularly wrong but then head off in an unexpected direction. It appears to be an anthology series with a different set of characters each week, but then old ones come back and we realize we're seeing one interconnected universe. The cast included Ben Chaplin, Will Mellor, Andrew Scott, Oona Chaplin, Greg McHugh, Gemma Chan and Sheridan Smith.
The Day Britain Stopped (3/04)
Chilling (and fortunately entirely fictional) documentary about a transportation disaster that begins as a chain reaction on the M25 motorway and ends with a mid-air collision between two jetliners over Heathrow. Done in riveting BBC style with interviews, reenactments, and actual "footage" that recreates the incident after the fact and looks for answers. The gist of the writer's message is Britain's transportation system is an interlocking mess and the conditions still exist for what he showed dramatically could still occur in real life.
Daydream Believers (1/03)
A clever pilot from Channel 4's "Comedy Lab" about a suburban hack sci-fi writer whose interactions with friends and neighbors become elements of the space epic he is working on, dramatized in hilarious low-budget glory using the same actors. Sadly this did not go to series but I'm hoping that creators David Mitchell and Robert Webb are given another shot with something equally amusing.
Day Return To Space (3/00)
To celebrate the 30th anniversary of the moon landing (and British TV did a lot more coverage in July 1999 than I saw here in the US), Channel 4 made a fascinating documentary about new rocket concepts that might be used in the next voyage to another world.
Days Like These (9/99)
ITV's remake of That 70s Show fails for so many reasons: for one thing, the experiences of teenagers in a small town in Wisconsin do not translate into Luton, England. Having a car is everything in Wisconsin where the nearest civilization is literally hundreds of miles away. But with London a mere train ride away from Luton, the teenage "car culture" doesn't really need to develop. And Eric Foreman's parents are played all wrong too. As Red in That 70s Show, Kurtwood Smith is the perfect terrorizing father figure, not so much for what he'll do physically but how he can cut you down to size just by calling you a "dumbass." But Trevor Cooper (Star Cops) in the same part can't bring the same moral authority (or call anybody a dumbass), which diminishes his impact. And Eric's mom (rather than Donna's) is played as an airhead. Even though the scripts are based on the American edition, this is like watching a road show version, with a cast that's not quite ready for prime time yet. ITV lost millions on this series and it was quickly pulled.
The Day Today (5/94)
A news parody that makes KYTV (see separate listing) seem sedate. Anything goes here and FOX would do well to imitate this series when their late-night news parody comes on later this year. Tremendous production values and graphics, and delivered completely with a straight face.
DCI Banks (11/11)
Stephen Tomkinson (Ballykissangel), usually cast as a dim-bulb, gets to play a hard man for a change, a Yorkshire police detective inspector solving grisly two-part mysteries in this ITV1 series. Essentially the series is Inspector Morse but set in the North, with a supporting cast of detectives and Banks' interactions with the suspects and his team. Based on the novels by Peter Robertson, the mysteries are nicely adapted by a broadcaster that is well experienced in these sorts of crime dramas.
Dead Boss (10/12)
Sharon Horgan co-wrote and stars in this series as Helen, a woman wrongly accused of murdering her boss and sent to a women's prison run by a wacky warden (Jennifer Saunders) in this BBC-3 comedy. The premise only sustains itself as long as the entire series is populated by dumb, selfish characters. Don't attempt to apply logic or real-world situations to anything that happens on screen. Told in a serialized format, in addition to prison life we see the machinations at Helen's old company as her co-workers scramble for power, her easily intimidated lawyer, and her sister who isn't especially bothered to work on freeing Helen. A number of big name guest stars turn up including Caroline Quentin and Miranda Richardson.
Dead Man Weds (4/07)
Johnny Vegas stars in this ITV sitcom as a lazy journalist at a small town rag who suddenly has to shape up when a new no-nonsense editor takes over. Conveniently a legitimate scandal appears in the making with a large American conglomerate up to no-good in town and our heroes hot on the story. The title of the series comes from Vegas' best-ever headline.
Dead Ringers (3/03)
Celebrity impersonations are the feature of this sketch comedy series that makes a leap from BBC radio. Most noteworthy is Jon Culshaw, a Tom Baker lookalike dressed like Doctor Who in a furniture store making life hell for unsuspecting salesmen (prank phone calls to celebrities as "The Doctor" was his trademark on the radio).
Dead Set (3/10)
TV critic Charlie Brooker devised this brilliant concept: What if zombies attacked the Big Brother house? And we're off! We get a quick glimpse of the behind-the-scenes personnel (including the fire-breathing producer) before all hell breaks loose and we are given a proper zombie movie with tons of gore, death and destruction. Eventually a few survivors hole up inside the Big Brother house (including a plucky production assistant), but the producer's eventual insistence on doing things his way or the highway spells disaster in this novel E4 mini-series.
Death Comes To Pemberley (2/14)
So do Elizabeth and Mr Darcy live happily ever after in Pemberley after the events of Jane Austin's "Pride and Prejudice"? Not in P.D. James' novel, or in this three-part BBC adaptation starring Anna Maxwell Martin as Lizzy (now a mum), Matthew Rhys as Darcy, Rebecca Front as Mrs Bennet and Jenna Coleman as airhead sister Lydia still married to scuzzy Wickham (Matthew Goode). A murder is committed one night and Wickham is the prime suspect. Darcy must help prove his innocence because apparently having a murderer for a brother-in-law would be social death. But it's up to plucky Elizabeth to save the day and solve the murder before Wickham hangs.
Death In Paradise (11/11)
A BBC-French TV co-production mystery drama set in Saint Marie, a Caribbean island that conveniently has a locked-door murder each week. Brought in to solve them is Detective Inspector Richard Poole (Ben Miller) from the Met, which sets up a classic fish-out-of-water interplay with the more laid-back members of the Saint Marie police force. Miller seems a bit miscast as a crack detective who has no clue about human relations, similar to his uptight character in Primeval. But it's an opportunity to cast many well-known black actors including Danny John-Jules, and with guest appearances by Patterson Joseph, Lenora Crichlow, and Don Warrington. ITV have been doing this genre for so long that you expect a particular style and when the BBC give it a shot, something just seems a bit off. Maybe it's Miller's casting, or the attempt to combine humor and murder, but for fans of whodunnits who enjoy beautiful scenery, you could do a lot worse.
The Debt (5/04)
Warren Clarke plays a reformed safecracker whose witless son-in-law (The Office's Martin Freeman) involves him with a gangster and "one more job." Of course it all goes south but what it fascinating is the movie mainly told in flashbacks that give incredible background and detail to the main characters, particularly the police detective so intent on busting Clarke for the crime. Ironically, Clarke once played The Locksmith on another BBC drama, so now you could say he's seen both sides of the biz.
Dee Construction: The Simon Dee Story (7/04)
Simon Dee was to British 1960s talk shows what Johnny Carson was in the U.S. Jumping from pirate Radio Caroline to the BBC, he quickly got his own series and was arguably one of the most famous people in Britain by the late 1960s (even appearing in the classic "The Italian Job" opposite Michael Caine). And then, when the BBC refused to give him a raise, he went over to David Frosts' rival London Weekend Television, bombed (particularly after an on air incident involving George Lazenby) and was off the air within a year, a pariah on TV for 33 years and a cautionary tale of those who succeed too quickly. Or was he? In this documentary presented by TV critic Victor Lewis-Smith, Dee's rise and fall is chronicled in the context of its time, as well as letting him participate in a round table discussion with various TV producers (including Rumpole creator John Mortimer). Needless to say, 33 year in exile has left Dee a little bit bitter, shall we say? and maybe a lot more paranoid (Lewis-Smith can't resist playing some of the ranting phone messages left by Dee as the show was being put together). Channel 4, which produced the show, even lets Dee back on air for one night only doing his old chat show, although the speed he goes through guests barely leaves any time for chat.
The Deep (10/10)
Remember the James Cameron movie "The Abyss" from 21 years ago? If you liked that, you'll like The Deep, an underwater BBC drama starring James Nesbitt and Minnie Driver as scientists. Tobias Menzies (Rome's Brutus) plays a mysterious military attache who takes charge to go on a recovery mission near thermal vents deep under the ocean. But Something Weird is going on. There are mysterious deaths, international conspiracies, and two characters are having an affair--something that comes a huge shock to rest of the crew but to nobody who has ever seen a drama before. BBC Wales produced this series which has pretty good special effects, although the inside of the submarine seems far too spacious with oddly nondescript corridors. Unlike the Cameron film the aliens are a no-show, but if you aren't interested in seeing pretty good actors trapped underwater for six episodes, maybe this isn't the series for you.
Degrees of Error (3/96)
First of two medical thrillers that ran this month. A female doctor takes a job in a testing lab and becomes aware of a conspiracy to cover up the possible side-effects of a popular drug. A fascinating, if fictional, look at how far the pharmaceutical industry will go to cover their ass when there is big money involved.
Delta Wave (11/96)
Children's SF adventure series (a kind of "Tomorrow People Lite") about two gifted children with psychic powers and the female University professor who takes care of them. A series of two-part adventures has the trio get into all sorts of trouble while traveling around the country in a mobile home. Juvenile but effective, with many familiar faces as guest stars: Graham Crowden, Nickolas Grace, Una Stubbs and Mac MacDonald to name a few.
Demob (5/94)
Griff Rhys-Jones and Martin Clunes star in this 6-part drama about two comedians struggling after the War (to "demob" is to be demobilized--discharged--from the Army in England). Touching and surprising, you really care about these guys and hope they can manage some kind of success. Dramatic and funny. Worth catching.
Demolition Day (11/04)
First we had Scrapheap Challenge (aka "Junkyard Wars") where teams competed to build stuff, now they have to create various items and then attempt to make them survive their opponent's demolition efforts using heavy machinery. The best part of these shows is the near the end as hydraulic hammers and caterpillar tractors wreak havoc on carefully constructed buildings.
The Demon Headmaster (7/96)
Children's drama about a sinister school administrator who has hypnotized his students into being obedient drones. When a gang of children thwart him, he sets his sights on a larger target: the Prime Minister. The kids get into so many dangerous stunts during each episode that a voice-over during the credits continually advises viewers not to try this at home.
(1/97)
The Demon Headmaster returns to again threaten the world, this time from a genetics research center, with only the kids from SPLAT able to stop him in this BBC Children's series.
Dennis Potter--Terminal Cancer (7/94)
An interview conducted with the late television playwright (The Singing Detective, Pennies From Heaven) only two months before he died of liver and pancreatic cancer on June 7th. Conducted in a TV studio by Melvyn Bragg, Potter is only able to keep going by drinking liquid morphine. He talks about his career and his final two plays which have yet to be produced: Karaoke and Cold Lazarus. Even though optioned to two different channels, he hopes they'll be shown consecutively. According to "Anglophile," a dispute between producer Kenith Trodd and director Renny Rye is holding up production of either. This fascinating look at one of the best writers ever in the medium is supposedly going to be shown here in America.
Derek (6/12)
Ricky Gervais starred in this one-off drama for Channel 4 (done in the usual style of a docudrama where he can play to the camera) as a mentally-challenged worker at an old folks home. Heeding the advice of Robert Downey Jr in "Tropic Thunder," Gervais does not go "full retard" in his portrayal, although I'd like to see him get away from the documentary format he favors on TV.
Derren Brown (11/04)
Derren is sort of the Amazing Kreskin of the 21st Century, doing hypnosis, mind-games, and various bits of deception on various members of the public (and we at home). He obviously has studied human behavior quite a bit, and knows someone pliable to suggestion when he sees them. The result is an entertaining Channel 4 series full of "how did he do that" moments, and tricks that rely on observation and people's habits.
Derren Brown: Apocalypse (12/12)
The illusionist really pulls the wool over an unsuspecting slacker in this two-part Channel 4 special by convincing him he's one of the few survivors during a zombie apocalypse. But it's not to prank him or make him look foolish, but rather inspiring him to develop skills (leadership, bravery, empathy) that will prove useful once the experiment is over.
Derren Brown: Fear & Faith (12/12)
In this two-part Channel 4 documentary, Brown first manages to persuade a huge group of people to overcome their phobias using a placebo and an elaborate fake medical company set up complete with doctors and scientists. Secondly, he finds a deliberately agnostic non-religious woman and in just 15 minutes is able to have her believe she's having a religious experience. He is the master of persuasion and fills the hour with examples of how human being's attempts to find patterns in randomness can lead to some thinking there's a divine hand involved. Skeptics should find much to rejoice here as usual.
Derren Brown: The Great Art Robbery (2/14)
Illusionist Brown had a pretty good year, getting a shout-out in "Day of the Doctor" and a cameo in Sherlock, and in this Channel 4 special he informs millionaire collector Ivan Massow exactly which painting of his he's going to steal at an exhibition, as well as the exact day and time. And then we see Brown do it, all under the watchful eyes of guards and security cameras.
Derren Brown: Hero At 30,000 Feet (10/10)
Brown broadcast live from an airplane hanger as he told us we were about to watch Matt, a young man, through a journey from bystander to take-charge hero in 30 days without really knowing he was the subject of the show. The way his introductions were staged, it appeared like events would be happening in real time, although if you thought about it afterwards, you'd realize that the events, including the climax must have been done several days earlier. Matt first is subjected to a fake hold-up at a gas station where actors hold a gun on him and threaten him. Hidden cameras follow his progress as we see his behavior begin to change. He breaks into a policeman's house after finding his wallet, but he also gives a life-changing talk to an actor playing a disgruntled delivery driver. He meets Derren for the first time but thinks he's just being considered for a game show he might be doing and ties Matt up in a straitjacket and leaves him on a railroad with an oncoming train approaching. Finally, fear-of-flying Matt is told he has to fly to Jersey to participate on the program, and in a plane full of actors, an emergency is staged and we find out whether Matt will stand up to help land the airplane. A lot of people like to call BS on all of Derren Brown's stunts, but either you believe what he says he's doing on screen or not. It certainly seems plausible that someone could be nudged ever so slightly to change their core behavior, particularly with the entire resources of a TV production company behind it. I think the suspense in these is really more about whether Brown will fail on nationwide TV rather than about whomever the subject of his program might be.
Desperate Romantics (3/10)
A romp through 19th Century art history and the loosely-adapted story of the Pre-Raphaelite Brotherhood, the angry young men who were shaking up the British art scene in the 1850s including Dante Gabriel Rossetti (Aiden Turner from Being Human), William Holman Hunt (Rafe Spall, Timothy's son), and John Everett Millais (Samuel Barnett). Based on the book by Franny Moyle, adapted by Peter Bowker, this is no stuffy BBC costume drama but a high-energy mix of sex, adultery, nudity and dirty language with a little art appreciation thrown in. If you liked Russell T. Davies version of Casanova, this series is very much in that vein.
The Detectives (3/93)
An expanded version of sketches which originally appeared on Jasper Carrott's variety, Carrott Confidential. Along with Robert Powell ("Jesus of Nazareth"), this spoof of cops shows works best when specificially parodying certain name brand series in the UK (including Bergerac with an appearance by John Nettles himself). On their own though, these two just aren't that funny, and the 25 minute episodes seem padded. Directed by Ed Nye who did early seasons of Red Dwarf.
(5/94)
Another series about the Met's worst coppers as played by comedian Jasper Carrott and Robert Powell. It would be much improved if they got rid of the awful laugh track.
(7/95)
Briggs and Louis (Robert Powell & Jasper Carrott) return in another series as bumbling coppers. Guest appearances this season include Michael Troughton as an aristocratic smuggler whom the detectives mistake for a flasher, and Richard O'Brien ("The Rocky Horror Picture Show") as "Dr. Phibes," a bizarre police coroner who assists our heroes on a case.
(11/96)
Returning for a fourth series, the Met's most incompetent coppers, Briggs and Louie, manage to botch their way through another six cases. The highlight for me was while trying to climb some stairs while hiding in a vaulting horse Briggs observes, "This is what buggered the Daleks you know."
(3/98)
The comedy series is wrapped up in this Christmas special that sends the boys (Jasper Carrott & Robert Powell) to Canada in search of their AWOL boss (George Sewell). Filmed on location with guest appearances by John Ratzenberger and Rory McGrath. The finale would seem to suggest this is the end, but with BBC comedies, who knows?
Detectorists (12/14)
Low-key but charming BBC4 comedy (one of the last original programs for that channel) written, starring and directed by Mackenzie Crook (The Office) as Andy, a sweet but unambitious metal "detectorist" (they are very particular about that word) who is usually found in a field with his best mate Lance (Toby Jones) slowly probing for lost artifacts. Amazingly, Andy has a girlfriend (Rachel Stirling) but maybe not for long when cute perky Sophie (Aimee-Ffion Edwards) turns up to help assist the boys in their search of a farmer's field that might yet yield treasures. Full of eccentric characters (particularly the farmer and his imaginary dogs), maybe most people won't get it, but I really dug it (no pun intended).
The Devil's Whore (10/10)
A Channel 4 period costume drama (words I'm pretty certain I haven't written together often on this site) dramatizing the English Civil War from the point of a view of a woman (the subtitle is "A true account of the life and times of Angelica Fanshawe"). Angelica is orphaned early on when her father dies and her mother goes into a nunnery. She renounces God and begins to see visions of Satan (or some demon). This leads her to a certain amount of self-reliance somewhat like Scarlett O'Hara in "Gone With The Wind." And like Scarlet, Angelica has a number of husbands, each of whom fall afoul of the winds of war. John Simm plays a highwayman and her most loyal follower (and would-be lover), while Dominic West is a very sympathetic Oliver Cromwell, at least until power and a determination that the end justifies the means corrupts him. Peter Capaldi is the doomed Charles II, who never quite comes to the realization that his subject would dare rebel against him.
The Diary of Anne Frank (11/09)
The BBC dramatizes the famous tale in this five episode mini-series that was shot on sets that were exacting recreations of the original building. The series' length allows it to explore story moments that are frequently edited out of most movie versions. It was shown over consecutive nights and allowed the claustrophobia to build up until the tragic conclusion.
Dickens' Secret Lover (7/09)
Charles Dance presents this intriguing look at Charles Dickens and presents some plausible evidence about his affair.
Dick Whittington (1/03)
ITV's annual celebrity Christmas panto this year had Simon Nye (Men Behaving Badly) adapting the story of a young lad who, along with his cat (Julian Clary), eventually becomes mayor of London. Music, men in drag, bad jokes, and audience participation are all part of the fun which included Paul Merton, Richard Wilson, Mark Williams, James Fleet, and Harry Hill.
Dinnerladies (5/99)
Victoria Wood is a household name and institution in Britain, yet is virtually unknown in the US. More's the pity because she is extremely talented, both as a writer and performer (and singer), and you can never get enough of her. In this BBC series, her first sitcom which she also writes and stars in, the focus is on the women who work in a cafeteria of a large Manchester company. Everyone is a "character" but like in all of Wood's work, there is poignancy in the laughs, especially when her mad mother (played by frequent collaborator Julie Walters) occasionally drops in. A nice little workplace comedy, although if it were as easy as it looks, everyone could do it. Read my feature about Victoria Wood.
Director's Commentary (11/04)
It's amazing that in 10 years DVDs have gone from being some futuristic technology my friend Jim used to talk about (before he got rich writing about them), to being so ubiquitous that nearly everyone has heard a director's audio commentary on the DVD soundtrack. So much so that it's now ripe for parodying and Rob Brydon (Marion and Geoff) is the man to do it. Actually getting the rights to old series such as Bonanza and Duchess of Duke Street, Brydon plays an old duffer British director who supposedly worked on the shows and now years later has been commissioned to comment upon the action. At first, you don't realize it's a wind-up but as he goes on about Hoss, Little Joe, and Ben Cartwright, slowly it begins to dawn that he's speaking utter (but hilarious) rubbish. And the fact it is so close to actual commentaries now being foisted on the unsuspecting public by well-meaning but boring speakers, just makes it all that much funnier.
Dirk Gently (3/11)
The popular series of novels by Douglas Adams was adapted as a TV pilot by Howard Overman, the creator and writer of Misfits. Stephen Mangan plays the "holistic detective" who sees the interconnectedness of all things. Or maybe he's just a conman who wants people to support his activities. The novel "Dirk Gently's Holistic Detective Agency" is rather infamous in Doctor Who fan circles because Adams, who wrote and script edited for the series in the late 1970s before "The Hitchhikers Guide to the Galaxy" took off, recycled two of his Doctor Who plots for it. It's Adams' flair for comedy that make his work so memorable regardless of the plots, which are convoluted to say the least. But Overman created his own story for this BBC4 pilot which has resulted in a pushback by fans of the novels. He also altered the back story of what presumably would be two supporting characters if this went to series, Richard McDuff (Darren Boyd), and his girlfriend Susan (Helen Baxendale). I like the way Gently and McDuff always try to go through doors at exactly the same time. The only elements from the first book used in the pilot are the search for a missing cat and the use of time travel. Howard Overman is clearly a talented writer. You only have to watch any episode of Misfits to appreciate his use of dialog and engaging plots. Had he done a verbatim adaption of the first novel, it would have been three hours long to start with, and after they did the sequel "The Long Dark Tea Time of the Soul" they'd have run out original Adams material as he inconveniently died before finishing the third novel. It wouldn't be much of a TV series. Stephen Mangan is an interesting choice as the protagonist. There's always something annoying about his characters whether it's Adrian Mole or Dr. Guy Secretan in Green Wing. He seems to delight in playing people who at first glance are off-putting in their ways but ultimately charm you over. I had one gripe though and that is an iPhone would never hold its charge for 16 years. Heck, you're lucky they last 16 hours. Sorry, Howard.
Dirty Something (7/94)
Young squatters occupy an old man's flat after he dies and end up nearly becoming respectable members of society. A BBC TV movie, it neatly characterizes the feelings of anti-establishmentism and trying to put a roof over your head in modern London.
Dirty Tricks (11/01)
Martin Clunes (Men Behaving Badly) stars in this two-part ITV adaption of a novel about a middle-brow English language teacher who tries to move up the ladder of social respectability by romancing the wife of a friend of his boss. Clunes narrates the story in flashback and with tongue-in-cheek tells us the tale of how he ended up on the run from the police and accused of a double-murder. James Bolam turns up in part two as a detective who isn't exactly hot on his trail, while Lindsay Duncan plays a cool blonde he can't quite impress. Much of the subtext has to do with class distinctions, with a dash of the American perspective, but Clunes keeps the whole enterprise from getting too heavy.
Distant Shores (4/07)
Peter Davison as a former surgeon (wasn't this the plot of Doc Martin as well?), with yet another family moving to a remote island (see Two Thousand Acres of Sky) this time Hildesay Island. His kids hate it, but his wife starts to see the charm of a local fisherman she works with. Davison as usual gets to do his slow burn as the ultimate fish-out-of-water in this ITV drama series.
Distraction (7/04)
An evil and sadistic late night Channel 4 quiz show, nevertheless it's compulsive viewing. Four hapless contestants are tortured through four rounds (at times having electric shocks, being hit by paint balls, or sitting under pooing pigeons) while being asked fairly easy general knowledge questions. The winner then is given either a new car or 5000 pounds but then must answer five final questions or risk having the car systematically destroyed or the money burned. Hosted by Jimmy Carr who never quits making fun of the contestants, you feel dirty after watching each episode but human nature prevents you from looking away at the same time.
DOA (12/10)
Kris Marshall (My Family) plays Tom Lassiter, a surgeon who's lost his medical license because a patient died. Now he's a paramedic working for a surreal ambulance company in this BBC3 comedy pilot. Karen Taylor plays Julie, his co-worker who also sells marital aids when they aren't out on calls. Meanwhile Tom's Doctor girlfriend Lucy takes his loss of status, and possible impending legal problems, to reconsider their relationship. All in all, things aren't going too well. This certainly isn't the first comedy to try to mine laughs from ambulance drivers, and if Tom's choice in lawyers is any sign, perhaps many of the choices that have lead him to this point are his fault. Julie's ongoing battles with their dispatcher over the radio, and the other ambulance crews absurd down-time activities add to the craziness. British TV commissioners are forever searching for the magic bullet work place comedy that will be as successful as The Office was.
Doc Martin (2/06)
Martin Clunes is a posh London surgeon who for reasons we later learn, moves to a small Cornish town to be the local general physician. Of course in this fish-out-of-water ITV drama he has to get used to the local's unusual ways, and perhaps relax a bit instead of being so uptight. Some of the behavior of the villagers is annoying but Clunes' barely controlled rage is what makes it work without too much schmaltz.
Dr Terrible's House of Horrible (11/02)
Steve Coogan stars in this anthology comedy series parodying classic genres with such titles as "Lesbian Vampire Lovers of Lust" and "Frenzy of Tongs" (a Fu Manchu send-up). You have to buy into Coogan's odd brand of deadpan humor as well as recognizing the source material of what he lampoons but I think the combination works well enough. It's definitely BBC-2 material, but since the demise of the Comic Strip, nobody else is doing extended material like this on a regular basis.
Doctor Thorne (9/16)
At the exact same time as he was appearing as the creepy sidekick in The Night Manager, over on ITV Tom Hollander played the nice-as-pie title character in this adaptation of the Anthony Trollope novel by Julian Fellowes. Thorne is raising his "niece" who attracts the attention of the heir of the local estate--much to the horror of his status-conscious parents (Rebecca Front is hilarious as his mum). Can Thorne put all to rights by the end?
Doctor Who Night (9/00)
BBC-2 Theme Nights are great for fans, although they follow a very prescribed ritual: amusing host segments, the obligatory documentary, a look at the fans, and plenty of clips from the most popular episodes. Whether it's Goodness Gracious Me, Monty Python or Doctor Who, that are being celebrated, the formula never varies. That said, for the 36th anniversary last year, Tom Baker was trotted out to introduce the shows, and they even provided him with an elaborate CGI TARDIS to inhabit. Big-name fan Mark Gatiss (now best known for The League of Gentlemen) was enlisted to produce three sketches especially for the night and they are right on the money and classic: the first takes place in 1963 as a producer attempts to pitch the series to the BBC. Full of hilarious in-jokes including the origin of the theme tune, you almost have to wonder if it really happened this way. The second sketch takes place in a quarry with the Doctor (Gatiss) encountering some of the most crap aliens ever, although he tries to be polite to get rid of them. Finally, the night was capped with a sketch in a fan's bedroom as his best friend has just kidnapped the real Peter Davison and brings him in for inspection. The documentaries included "Adventures In Time and Space" narrated by Peter Jones (of The Hitchhiker's Guide To The Galaxy) just before he passed away. There is a look at the various Doctor Who monsters over the years, and even a scientist discussing how you could realistically build a working TARDIS. Now if only the BBC would actually make some new episodes for television!
Does China Exist? (1/98)
Paul Merton hosts this one-off spoof of "reality" shows showcasing various human "talents" and attempting to unravel terrestrial mysteries (such as posed by the title). Merton is perfect for this sort of thing, with his patented ironic detachment "amazed" at every new discovery.
Does Doug Know? (3/03)
Daisy Donovan hosts this Channel 4 comedy quiz show that features teams of two comics who are then "joined" by a member of the public via prerecorded interviews on the street by Donovan herself (a technique she honed during The 11 O'Clock Show). Some of the quizzes like a word association game with missing words are really tough, or trying to guess a current news events based on amateur interpretation are a definitely novelty.
Doggin' Around (3/95)
BBC TV-movie by jazz-fanatic Alan Plater about an aging American piano man (Elliott Gould) who returns to the mid-lands of England after 10 years and must confront his past of gambling debts, police inquiries, and a paternity suit. Minding him is a no-nonsense former singer (Geraldine James). This is good material that is completely ruined by Elliott Gould's inability to act. In a word, he is terrible. Every line comes out like he's doing a Neil Simon comedy on Broadway. It may well be the worst performance I've ever seen in a BBC drama. Shame on him!
Doing Rude Things (11/96)
Angus Deayton (Have I Got News For You) hosts this documentary look at the history of the British sex film. It explores (and shows) early underground efforts, including "naturist" films that featured nudist colonies, and later soft-core films that were permitted under British censorship laws. Deayton sends up the whole "before they were famous" genre with a factitious clip of himself as "Gus Deayton" supposedly appearing in an early 1970s sex film, I guess proving that no one was particularly ashamed by what was going on at the time.
Dominion (11/01)
A series of animated shorts on Channel 4 about a space station that is the last stop for creatures from around the galaxy including a hapless human (voice of Tim McInnerny) who is forced to work in an office he can never escape from with a bunch of aliens (including Hugh Laurie).
Dom Jolly and the Black Island (3/11)
The comedian (Trigger Happy TV) presented this Channel 4 documentary about the popular comic character "Tintin." So well researched were Herge's artwork that Jolly is able to find the actual locations the drawing were based on as he shares his love for the long-running adventure series.
Donovan Quick (3/01)
Hunky Colin Firth (aka "Mr Darcy") stars in this update of Don Quixote as a mysterious stranger who comes to a small Scottish town and does battle with the corporation that runs the local bus service. He encourages the family he boards with to start their own line and manages to outwit the evil corporate stooges for a while before his own tragic past is revealed in this BBC TV movie. Firth, with his baritone voice, is a dominating presence, and apparently this part was a welcome break from the period roles he is often cast in.
Don't Call Us (9/99)
Documentary look back at the era of TV talent shows, for years dominated by Opportunity Knocks, hosted by Canadian Hughie Green. Audience write-in polls would determine who returned the following week, and a number of careers were first launched on this series, many of whom are interviewed here. Usurpers, in the form of New Faces - which introduced judges in person giving their critiques (horribly, right in front of the contestants), and the gimmicky Stars In Their Eyes, eventually killed the golden goose and the whole "amateur hour" variety show concept.
Doors Open (3/13)
Stephen Fry plays an art historian who has curated a vast collection owned by a bank that needs to liquidate. Horrified, he organizes a gang of friends to substitute fakes for the originals before the collection is broken up in this light-hearted ITV TV movie. Many familiar TV faces fill the cast including Douglas Henshall and Lenora Crichlow as former lovers.
Double Exposure (1/97)
A series of one-hour dramas by new writers presents some interesting and varied material. In Out of the Deep Pan, a young couple try to make a go of it in the pizza delivery business. The Golden Collar stars Mark McGann (Paul's brother) as a crooked injury lawyer who meets his match in a young man. A Relative Stranger takes the fascinating premise of what if you went to sleep one night in 1971 as a rebellious young hippie, then woke up and it was suddenly 25 years later and you were a successful, but boring, yuppie - but couldn't remember the intervening years had ever happened? A man discovers he is now married (only not to the girl he was passionately in love with in the past), with two nearly grown children, and a sell-out job he hates. Of course from everyone else's point of view, he's merely amnesic, or crazy, but he tries to find out what caused him to take the paths in life he now finds himself on. Nightlife features Jane Horrocks as a woman who hasn't left her apartment in months, choosing instead to keep surveillance on the park just across the street. When she witnesses a crime she has to do something she hasn't in ages: get involved.
Double Take (3/04)
BBC comedy series that presents mock surveillance footage using celebrity doubles and voice overs with lots of shaky camera work through windows and bushes. More a triumph of style over content, and a segment with "Michael Jackson" visiting a plastic surgeon with his kids just plain creeped me out.
Double Time (1/09)
James Dreyfus plays two parts in this TV movie: a very camp (and not very good) actor, and his lookalike, a ganglord currently serving time in prison. Their paths cross when the actor is hired for a TV re-enactment and the gangster, watching in prison, uses their amazing similarity in order to temporarily swap places so he can stop a book written about him by a sneaky journalist. How much you enjoy this depends on the amount of Dreyfus's swishing around attempting to be "hard" in prison act you can handle, although to be fair, he plays the gangster very convincingly.
Downton Abbey (10/10)
ITV scored huge ratings for this seven part period drama that was written by Julian Fellowes ("Gosford Park," which he won an Oscar for). Fans of it or Upstairs Downstairs should love this new series set in an Edwardian manor house which chronicles the lives of both the servants and the members of the peerage who live there. It opens the day after the Titanic sunk in 1912, which immediately impacts the line of succession for the Earl of Grantham (Hugh Bonneville) and his family. With no male heirs, the estate and title might be lost if the Earl dies. Meanwhile, a new valet, John Bates (Brendan Coyle, Laura's father from Lark Rise to Candleford) comes to work at Downton Abbey. But Bates has a bad leg, and despite being the Earl's batsman during the Boer War, the other staff undermine Bates at every turn. An ambitious footman, Thomas, wants the job although he'll settle for being the very special close friend (nudge nudge, wink wink, say no more) to a visiting Duke. Elizabeth McGovern plays Lady Grantham, an American heiress the Earl married for her money 24 years ago despite the misgivings of his mother, impeccably played by Maggie Smith. I like seeing an old-fashioned period drama like this turn up on ITV. Back in the 1980s Brideshead Revisited and The Jewel in the Crown reigned supreme on the commercial network but they ceded the dramatic high ground to the BBC in recent years except for Agatha Christie mysteries. In fact, I wouldn't be surprised that it wasn't so much competition from the BBC as American co-production money that is the tail wagging the dog here. PBS's "Masterpiece" is a co-producer of Downton Abbey which no doubt eased the worries of ITV executives about such a project.
Down To Earth (11/01)
Warren Clarke (Dalziel and Pascoe) stars as a London flower seller who chucks it all in and moves his family to Devon and start a farm. Needless to say, things don't go quite to plan in this BBC drama series which also stars Pauline Quirk. Despite the title, there is a visual motif that is quite aerial and it seems we are gracefully flying over the characters at times. Clarke is full of fury most of the time, and things usually get pretty grim about 10 minutes before the end of each episode before a happy conclusion is reached.
Downwardly Mobile (1/95)
Sit-com about an 80s Yuppie couple whose 90s lifestyle crashes-and-burns forcing them to move in with relatives. Needless to say, the family doesn't share their attitudes about conspicuous consumption, wherein lies the laughs. Josie Lawrence (Whose Line Is It Anyway) plays the pampered wife forced to face economic reality.
Dracula (4/08)
Marc Warren (Hustle) wouldn't be my first choice to play the legendary vampire, but he pulls it off in this BBC adaptation that also features Sophia Myles (ironically appearing in the vampire drama "Moonlight" in America now).
Dressing For Breakfast (5/96)
A plain girl and her best friend try to survive the nineties while trying to maintain relationships. But poor Louise, when her mother isn't driving her nuts, can't find a boyfriend who isn't a complete flake or already married. The second episode ends with a great scene where the women decide, "All men are Daleks. Inside they have this little creature controlling everything they do." You have to love a series like this.
(7/98)
The third season finds the series moving upmarket with a nice, new apartment for Louise and a potential boyfriend in the form of an old friend of Carla's. But it's hardly smooth sailing for anyone, although the self-deprecating jokes by all the characters make this an enjoyable series to watch.
The Driven Man (1/91)
A funny but insightful documentary documentary by Rowan Atkinson about people's love affair with the automobile. While there are weak moments, it does make some excellent points about the car culture of the late 20th century.
The Driver (12/14)
Transatlantic star David Morrissey plays a working class minicab driver with money problems who gets roped in with a mobster (Colm Meaney--where's he been?) as his driver and finds his conscience (not to mention his freedom) severely tested as he inevitably gets in way over his head in this three-part BBC drama. Morrissey, as ever, delivers the good, nobody plays anguish better than him.
Drop Dead Gorgeous (10/08)
Serialized BBC drama about two sisters, one of whom is plucked from obscurity in working class Manchester, and becomes an overnight sensation as a supermodel. Needless to say, the other one is a bit jealous, and their mother sees this as the family's chance to do some social climbing. Remarkable, in the first season at least, the model modestly keeps her head on her shoulders and some perspective about being suddenly famous, even if while all around her the world is moving much too quickly.
Duck Patrol (1/99)
Richard Wilson (One Foot In the Grave) stars in this ITV riverside comedy/drama about a police unit working the Thames. Though the actors try hard, it's neither very funny nor very dramatic.
Dunrulin' (8/91)
A one-off comedy set a few years in the future, where the Thatcher household has had to respond to private life. Very funny and right on the money. Apparently this had been filmed and was sitting on the shelf waiting for her to leave office before running.
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Written and maintained by Ryan K. Johnson (rkj@eskimo.com).
September 6, 2016
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There was much more to women's work during World War Two than 'Make Do and Mend'.
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http://www.bbc.co.uk/favicon.ico
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Signing up
During World War One, women volunteered for essential work in order to release men to go into the armed forces. Some 25 years later, as World War Two loomed, campaigns emphasised the need for women to volunteer in similar fashion. It was always clear, however, that this time volunteering was not going to meet the demands of wartime production, and in 1940, a secret report by Sir William Beveridge demonstrated that the conscription of women, as well as of men, was unavoidable.
...it was emphasised that women would not be required to bear arms.
From spring 1941, every woman in Britain aged 18-60 had to be registered, and their family occupations were recorded. Each was interviewed, and required to choose from a range of jobs, although it was emphasised that women would not be required to bear arms. Many women, however, were eventually to work - and die - under fire.
In December 1941, the National Service Act (no 2) made the conscription of women legal. At first, only single women aged 20-30 were called up, but by mid-1943, almost 90 per cent of single women and 80 per cent of married women were employed in essential work for the war effort.
In 1944, Olive Owens, aged 17, was working as an air raid warden in Croydon, Surrey.
'One day when I was on duty, a V2 rocket dropped on the corner of Park Road and King's Road. It was complete devastation. We dug and dug until our fingers bled. My most vivid memory is of an arm raised, to call for silence, when someone heard tapping among the ruins... '
'The American Red Cross was very good at keeping us in doughnuts and American coffee and I also remember well the astonishment of one American Sergeant when he realised how young I was to be doing that job and working full-time elsewhere too - but it was nothing in those days. Everyone did it.'
Changing roles
Most women who volunteered before the war went into civil defence or the Women's Land Army. The main civil defence services were Air Raid Precautions (ARP), the fire service and Women's Voluntary Services (WVS). Initially, the women mainly carried out clerical work, but their roles expanded to meet demand, and female pump crews became commonplace.
The WVS was the largest single women's organisation at this time. It was formed to support civil defence and to provide services not provided locally by other organisations, and had over one million members. Typical WVS contributions included organising evacuations, shelters, clothing exchanges and mobile canteens.
Typical WVS contributions included organising evacuations, shelters, clothing exchanges and mobile canteens.
The Women's Land Army/Scottish Land Army was reformed in 1938 so that women could be trained in agricultural work, leaving male workers free to go to war. Most WLA members were young women from the towns and cities. Annice Gibbs, who worked for the WLA Timber Corps, remembers an encounter with Italian prisoners of war (POWs).
'After our training, we soon got used to heavy work, such as lifting pit-props and cutting them into various lengths for the coal mines. There were no mechanical devices used then and every pit-prop was cut by hand.
'... the Italian POWs worked to measure the trees. They were very well looked after and we were amazed to see them erecting field ovens. They cooked bacon and cabbage for their lunch and brewed delicious hot coffee ... and we sat under a tree eating beetroot sandwiches ... We were fortunate - they gave us some of their coffee and food.'
A woman's place
In the 1930s, social roles were clearly defined. A woman's place was in the home, a man's place was out at work. It was acceptable for women to work outside the home if they had no family to look after, but they were paid less than men were - even when doing the same jobs. Before the war, nearly five million women in the United Kingdom had paid employment, but most would have expected to leave as soon as they married, or when they had their first child.
...so mothers often ran the home alone - and had to get used to going out to work, as well.
With the onset of war, everything changed. Fathers perhaps joined the armed forces, or were sent away to do vital civilian work, so mothers often ran the home alone - and had to get used to going out to work, as well. Young single women, often away from home for the first time, might be billeted miles from their families.
Flexible working hours, nurseries and other arrangements soon became commonplace to accommodate the needs of working women with children. Before long, women made up one third of the total workforce in the metal and chemical industries, as well as in ship-building and vehicle manufacture.
They worked on the railways, canals and on buses. Women built Waterloo Bridge in London. Nellie Brook left the munitions factory where she worked due to poor health, and was assigned to aircraft manufacture.
'I was told my services were needed at A V Roe at Yeardon, where they made Lancaster bombers. That was like something out of science fiction. To get there, we were taken out into the country. When you arrived you would never have thought there was a factory there, it was so well camouflaged; great big grass hillocks and once you went inside it was amazing. No windows, all these hundreds of people of both sexes all working away like ants. All doing different jobs that finished up producing one of Britain's finest planes.'
Fashion and freedom
Military styling and lines influenced fashions at the start of the war. Women often wore trousers, or a one-piece siren suit (so-called because it could be pulled on quickly when an air raid warning siren sounded). Headgear became practical, seen as a means of keeping hair out of the way rather than as a fashion statement. Large handbags - to carry all the family's ration books - were also practical rather than fashionable accessories.
Knitting became a national female obsession. Various schemes gave advice on recycling or making clothes last longer, two of these were the Make Do and Mend, and Sew and Save, schemes. Leading designers worked on the Utility scheme, aiming to make the best use of materials to produce functional clothing.
Leading designers worked on the Utility scheme, aiming to make the best use of materials to produce functional clothing.
Hair was worn long, but off the face. As war drew to a close, women adopted the 'Victory Roll', where the hair was rolled up tightly, fixed in place, and topped with a swept-up curl. Longer hair, like red lipstick, was thought to add to a woman's glamour. The popular wisdom was that such feminine touches boosted morale, both for women and for the men around them.
The practical demands of wartime changed social customs beyond all recognition. People enjoyed far greater social freedom than before, with more opportunities for encounters with members of the opposite sex, and a sense that normal rules did not apply in the face of so much imminent danger.
The drawback to such new opportunities was the increase in numbers of people with venereal disease, Being, or having an illegitimate child were socially unacceptable then, but even so, there was a huge increase in the number of children born to single mothers during the war. However, increasingly explicit sex education did mean that people ended the war far better informed about this topic than they might have otherwise have been.
A global response
The Auxiliary Territorial Service (ATS) was formed in 1938. Its initial plan was to recruit 25,000 female volunteers for driving, clerical and general duties. In 1939, however, it was in action in France with the British Expeditionary Force.
Women also came to Britain as members of other Allied forces - such as the Women's Australian Air Force...
The vast majority of women in the ATS served in anti-aircraft command, on searchlights - the 93rd Searchlight Regiment were all female. They also worked in mixed batteries on anti-aircraft guns, but were not officially allowed to fire them.
The Women's Royal Naval Service (WRNS) was reformed in the spring of 1939. Women aged 18-50 and living near naval ports could apply. The WRNS maintained ships of the Royal Navy and were involved in some of the most secret planning for D-Day.
Gwyneth Verdon-Roe was in the WRNS in 1943-7. In her letters home, she often mentions her brother and her father, both serving in the Royal Navy. On 15 June 1944 she wrote:
'You mustn't worry. I am keeping an eye on Daddy and Keith. Daddy should be back soon but he is busy keeping the lanes free from mines and making them broader. They are doing a necessary and wonderful job. I read the newspaper reports and keep cuttings. I am so glad I am a plotter - it is the most exciting job because we are in on everything that is happening. The night of 4th-5th June I was on all night. We worked flat out till dawn and then the whole thing was called off because of bad weather. The disappointment was terrible, the anti-climax after all the stress. We were tearful and tired and had never felt so low in all our lives.'
The Women's Auxiliary Air Force (WAAF) was created in July 1939. Among other duties, they boosted the numbers in the Royal Observer Corps, and in maintaining and flying barrage balloons.
Some, mainly from the voluntary First Aid Nursing Yeomanry, worked with the Special Operations Executive, dropping into enemy territory and working as saboteurs, couriers and radio operators.
Elsewhere overseas, female nurses in military field hospitals worked near the front line of battle, and many served with allied forces such as SHAEF (Supreme Headquarters Allied Expeditionary Forces). Women also came to Britain as members of other Allied forces - such as the Women's Australian Air Force, and its Canadian and American equivalents. Others came from across the then British Empire to serve in the ATS. At its peak the British auxiliary forces consisted of nearly half a million members.
Women in 1945
Recruitment posters showed women as glamorous and independent, and images of women, especially in uniform, were used to sell everything from cigarettes to shoes. In the cinema, women were usually depicted as practical and capable - and those who moaned were usually dead by the end of the film.
"It was an awful and wonderful war. I wouldn't have missed it for anything..."
Women's contributions to the war effort were highlighted in newspapers and magazines, and auxiliary forces paraded regularly through towns. As the war ended, however, printed publications took for granted the return of women to the home.
It was understood throughout the war that what Britain's women were doing was really 'a man's job'. So many of them were dismissed from their work once peace was declared. Government policy encouraged men to return to their pre-war occupations, and wartime nurseries were wound up. In industries that were not heavily unionised, however, some women were kept on - not least because they were cheaper to employ than men.
Trudy Murray served in the Women's Auxiliary Air Force. She remembers mixed feelings at the end of the war.
'Demob was a big disappointment to a lot of us. It was an awful and wonderful war. I wouldn't have missed it for anything; some of the friends we made were forever.'
Recognition of the contribution of the auxiliary forces came quickly, after the war was over, with the creation of permanent women's forces in 1949. And post-war food shortages meant that the Women's Land Army continued until 1950. The WVS proved itself too useful ever to disband and continues today, becoming 'Royal' in 1966.
The wartime achievements of civilian women were less easy to define, however, once normal life was resumed, and there was no obvious immediate change in their circumstances. Nevertheless, by the 1960s the experiences of those who had done 'a man's job' in the war years began to resonate with a new generation. Their stories added weight to the campaign throughout that decade for equal workplace opportunities, and equal pay, for women.
About the author
Carol Harris is a freelance journalist and lecturer, with a special interest in World War Two. She is the author of Women at War 1939-45: the Home Front, and Women at War in Uniform: 1939-45. She co-authored The Wartime House (Sutton, 2000), with Mike Brown, her husband.
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https://finance.yahoo.com/news/centrus-reports-second-quarter-2024-203000283.html
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en
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Centrus Reports Second Quarter 2024 Results
|
https://media.zenfs.com/en/prnewswire.com/e4fc9149a758ca924bec7ef103022506
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https://media.zenfs.com/en/prnewswire.com/e4fc9149a758ca924bec7ef103022506
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2024-08-06T20:30:00+00:00
|
Centrus Energy Corp. (NYSE American: LEU) ("Centrus" or the "Company") today reported second quarter 2024 results. The Company reported net income of $30.6 million for the three months ended June 30, 2024, which is $1.89 (basic and diluted) per common share.
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en
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https://s.yimg.com/rz/l/favicon.ico
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Yahoo Finance
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https://finance.yahoo.com/news/centrus-reports-second-quarter-2024-203000283.html
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Net income of $30.6 million on $189.0 million in revenue, compared to net income of $12.7 million on $98.4 million in revenue in Q2 2023
Consolidated cash balance of $227.0 million as of June 30, 2024
Annuitized $234 million of pension plan obligations for more than 1,000 beneficiaries, resulting in a $16.6 million settlement gain
Secured a U.S. Department of Energy ("DOE") waiver under the Prohibiting Russian Imports Act to cover 2024 and 2025 U.S. customer deliveries under the Russian supply contract
BETHESDA, Md., Aug. 6, 2024 /PRNewswire/ -- Centrus Energy Corp. (NYSE American: LEU) ("Centrus" or the "Company") today reported second quarter 2024 results. The Company reported net income of $30.6 million for the three months ended June 30, 2024, which is $1.89 (basic and diluted) per common share.
"Centrus delivered strong revenues and margins for shareholders this quarter as we continue progressing towards our long-term goal of restoring domestic uranium enrichment capability at scale," said Centrus President and CEO Amir Vexler. "Meanwhile, the U.S. Department of Energy has issued a series of request for proposals ("RFPs") to jump-start domestic nuclear fuel production, backed by more than $3.4 billion in appropriations from Congress – the largest federal investment in uranium enrichment in decades. We are vigorously competing for this funding as we believe it represents a historic opportunity to restore America's nuclear fuel supply chain with U.S. technology built by American workers."
Financial Results
Centrus generated total revenue of $189.0 million and $98.4 million for the three months ended June 30, 2024 and 2023, respectively, an increase of $90.6 million.
Revenue from the LEU segment was $169.6 million and $87.6 million for the three months ended June 30, 2024 and 2023, respectively, an increase of $82.0 million. SWU revenue increased by $91.6 million as a result of an increase in the volume of SWU sold and an increase in the average price of SWU sold. Uranium revenue decreased by $9.6 million as a result of a decrease in the volume of uranium sold, partially offset by an increase in the average price of uranium sold.
Revenue from the Technical Solutions segment was $19.4 million and $10.8 million for the three months ended June 30, 2024 and 2023, respectively, an increase of $8.6 million. Revenue generated under the HALEU Operation Contract between the Company and the DOE signed in 2022 increased $8.4 million due to the transition from Phase 1 to Phase 2 in late 2023, as further described below. The remaining increase was attributable to other contracts.
Cost of sales for the LEU segment was $136.6 million and $60.8 million for the three months ended June 30, 2024 and 2023, respectively, an increase of $75.8 million. SWU costs increased as a result of an increase in the average unit cost of SWU sold and an increase in the volume of SWU sold. Uranium costs decreased as a result of a decrease in the volume of uranium sold, partially offset by an increase in the average unit cost of uranium sold. Cost of sales for the three months ended June 30, 2024 and 2023 included $1.5 million and $0.8 million, respectively, for the revaluation of inventory loans.
Cost of sales for the Technical Solutions segment was $15.9 million and $9.6 million for the three months ended June 30, 2024 and 2023, respectively, an increase of $6.3 million. Costs incurred for the HALEU Operation Contract increased by $6.3 million due to the transition from Phase 1 to Phase 2 in late 2023.
Gross profit for the Company was $36.5 million and $28.0 million for the three months ended June 30, 2024 and 2023, respectively. The increase for the three months ended June 30, 2024 was primarily attributed to the increase in gross profit in the LEU segment and in the Technical Solutions segment, driven by the transition from Phase 1 to Phase 2 of the HALEU Operation Contract in late 2023. LEU customers generally have multi-year contracts that carry annual purchase commitments, not quarterly commitments. The gross profit in our LEU business varies based upon the timing of those contracts. The pricing of those deliveries varies depending upon the market conditions at the time the contract was signed with a portion of our outstanding contracts entered into at historically higher prices. The Company's gross profit in the LEU segment was higher primarily due to the increase in sales volume and composition of contracts in the current quarter, which included higher-priced legacy contracts.
Domestic Enrichment Update
As previously announced, the Company began enrichment operations in October 2023 at its American Centrifuge Plant in Piketon, Ohio, and made its first delivery of 20 kilograms of High Assay Low-Enriched Uranium ("HALEU") uranium hexafluoride ("UF6") in November 2023, completing Phase 1 of the HALEU Operation Contract under budget and ahead of schedule. The DOE is contractually required to provide storage cylinders necessary to collect the HALEU product from the cascade. Using the storage cylinders currently made available by the DOE, Centrus has now achieved cumulative deliveries to the DOE of approximately 179 kilograms of HALEU UF6.
On November 28, 2023 and January 9, 2024, the DOE issued two Requests for Proposal ("RFPs") for the deconversion and enrichment of HALEU, respectively. The Company submitted bids for both RFPs, with the goal of expanding HALEU production capability at the Piketon, Ohio facility. On June 27, 2024, the DOE issued an RFP for production of LEU. Centrus, which has previously successfully demonstrated LEU enrichment capabilities, intends to submit a proposal to incorporate large-scale LEU production alongside HALEU production in Piketon. The total available appropriations to be awarded currently under the RFPs is $3.4 billion which is subject to further appropriations. There can be no assurance that the Company will be successful in obtaining new contracts or funding.
The Prohibiting Russian Imports Act
The Prohibiting Russian Imports Act enacted in May 2024 imposed a ban on imports of uranium products from Russia. The ban which is set to take effect on August 11, 2024, empowers the DOE to issue waivers for certain imports through 2027. On July 18, 2024, the DOE issued the Company a waiver allowing it to import LEU from Russia for deliveries already committed by the Company to its U.S. customers in 2024 and 2025. For the years 2026 and 2027, the DOE deferred its decision to an unspecified date closer in time to the deliveries. The Company is also seeking a waiver to allow for importation of LEU from Russia for processing and reexport to the Company's foreign customers, and also plans to request a waiver covering imports in 2026 and 2027 that Centrus is obligated to purchase but has not yet committed to particular customers. It is uncertain whether any further waivers will be granted to the Company and, if granted, whether any waiver would be granted in a timely manner or will be sufficient in scope to support the Company's intended operations.
Pension Annuitization
On May 28, 2024, the Company entered into an agreement with an insurer ("Insurer") for two of its pension plans to purchase a group annuity contract and transferred approximately $234 million of its pension plan obligations to the Insurer, resulting in a 79% reduction in the Company's pension liabilities. The purchase of the group annuity contract was funded directly by the assets of the pension plan of approximately $224 million. The purchase resulted in a transfer of administrative and benefit paying responsibilities for more than 1,000 beneficiaries to the Insurer. As a result of this annuitization, the Company recognized a gain of $16.6 million in nonoperating components of net periodic benefit loss (income) in its consolidated statements of operations.
This transaction builds upon the previous pension annuitization in the fourth quarter of 2023; the two transactions combined have resulted in transferring a total of approximately $420 million of the Company's pension plan obligations for approximately 2,400 beneficiaries. The annuitization de-risks the Company's balance sheet by reducing its current and future liabilities.
Backlog
The Company's backlog is $2.7 billion as of June 30, 2024 and extends to 2040. Our LEU segment backlog as of June 30, 2024 is approximately $1.7 billion and includes future SWU and uranium deliveries primarily under medium and long-term contracts with fixed commitments and approximately $900 million in contingent LEU sales commitments, subject to entering into definitive agreements, in support of potential construction of LEU production capacity at the Piketon, Ohio facility. Our Technical Solutions segment backlog is approximately $1.0 billion as of June 30, 2024 and includes both funded amounts (services for which funding has been both authorized and appropriated by the customer), unfunded amounts (services for which funding has not been appropriated), and unexercised options.
About Centrus Energy Corp.
Centrus Energy is a trusted supplier of nuclear fuel components and services for the nuclear power industry. Centrus provides value to its utility customers through the reliability and diversity of its supply sources – helping them meet the growing need for clean, affordable, carbon-free electricity. Since 1998, the Company has provided its utility customers with more than 1,750 reactor years of fuel, which is equivalent to 7 billion tons of coal. With world-class technical and engineering capabilities, Centrus is also advancing the next generation of centrifuge technologies so that America can restore its domestic uranium enrichment capability in the future. Find out more at centrusenergy.com.
Forward-Looking Statements:
This news release contains "forward-looking statements" within the meaning of Section 21E of the Securities Exchange Act of 1934, as amended, and the Private Securities Litigation Reform Act of 1995. In this context, forward-looking statements mean statements related to future events, which may impact our expected future business and financial performance, and often contain words such as "expects", "anticipates", "intends", "plans", "believes", "will", "should", "could", "would" or "may" and other words of similar meaning. These forward-looking statements are based on information available to us as of the date of this news release and represent management's current views and assumptions with respect to future events and operational, economic and financial performance. Forward-looking statements are not guarantees of future performance, events or results and involve known and unknown risks, uncertainties and other factors, which may be beyond our control.
For Centrus Energy Corp., particular risks and uncertainties (hereinafter "risks") that could cause our actual future results to differ materially from those expressed in our forward-looking statements and which are, and may be, exacerbated by any worsening of the global business and economic environment include but are not limited to the following: risks related to our potential inability to secure additional waivers or other exceptions from the ban or sanction in a timely manner or at all in order to allow us to continue importing Russian low enriched uranium ("LEU") under the existing supply contract with the Russian government-owned entity, TENEX, Joint-Stock Company ("TENEX") ("TENEX Supply Contract") or otherwise doing business with TENEX or implementing the TENEX Supply Contract; risks related to TENEX's refusal or inability to deliver LEU to us for any reason including because (i) U.S. or foreign government sanctions or bans are imposed on LEU from Russia or on TENEX, (ii) TENEX is unable or unwilling to deliver LEU, receive payments, receive the return of natural uranium hexafluoride, or conduct other activities related to the TENEX Supply Contract, or (iii) TENEX elects, or is directed (including by its owner or the Russian government), to limit or stop transactions with us or with the United States or other countries; risks related to the war in Ukraine and geopolitical conflicts and the imposition of sanctions or other measures, including bans or tariffs by (i) the U.S. or foreign governments and institutions such as the European Union, (ii) organizations (including the United Nations or other international organizations), or (iii) entities (including private entities or persons), that could directly or indirectly impact our ability to obtain, deliver, transport or sell LEU or the Separative Work Units ("SWU") and natural uranium hexafluoride components of LEU delivered to us under our TENEX Supply Contract, or make related payments or deliveries of natural uranium hexafluoride to TENEX; risks related to laws that ban (i) imports of Russian LEU into the United States, including the "Prohibiting Russian Uranium Imports Act" ("Import Ban Act") or (ii) transactions with the Russian State Atomic Energy Corporation ("Rosatom") or its subsidiaries, which includes TENEX; risks related to the increasing quantities of LEU being imported into the U.S. from China and the impact on our ability to make future LEU or SWU sales or ability to finance any buildout of our enrichment capacities; risks related to disputes with third parties, including contractual counterparties, that could result if we cannot receive, or otherwise are unable to receive timely deliveries of LEU under the TENEX Supply Contract; risks related to our dependence on others, such as TENEX, under the TENEX Supply Contract, a subsidiary of Orano Cycle ("Orano"), under our long-term commercial supply agreement with Orano, and other suppliers (including, but not limited to, transporters) who provide, or deliver, us the goods and services we need to conduct our business and any resulting negative impact on our liquidity; risks related to our ability to sell or deliver the LEU we procure pursuant to our purchase obligations under our supply agreements and the impacts of sanctions or limitations on imports of such LEU, including those imposed under the 1992 Russian Suspension Agreement as amended, international trade legislation and other international trade restrictions or the Import Ban Act; risks related to whether or when government funding or demand for high-assay low-enriched uranium ("HALEU") for government or commercial uses will materialize and at what level; risks regarding funding for continuation and deployment of the American Centrifuge technology; risks related to (i) our ability to perform and absorb costs under our agreement with the U.S. Department of Energy ("DOE") to deploy and operate a cascade of centrifuges to demonstrate production of HALEU for advanced reactors (the "HALEU Operation Contract"), (ii) our ability to obtain new contracts and funding to be able to continue operations and (iii) our ability to obtain and/or perform under other agreements; risks that (i) we may not obtain the full benefit of the HALEU Operation Contract and may not be able or allowed to operate the HALEU enrichment facility to produce HALEU after the completion of the HALEU Operation Contract or (ii) the output from the HALEU enrichment facility may not be available to us as a future source of supply; risks related to existing or new trade barriers and to contract terms that limit our ability to procure LEU for, or deliver LEU to, customers; risks related to natural and other disasters, including the continued impact of the March 2011 earthquake and tsunami in Japan on the nuclear industry and on our business, results of operations and prospects; risks related to financial difficulties experienced by customers or suppliers, including possible bankruptcies, insolvencies, or any other situation, event or occurrence that affect the ability of others to pay for our products or services in a timely manner or at all; risks related to pandemics, endemics, and other health crises; risks related to the impact and potential extended duration of a supply/demand imbalance in the market for LEU; risks related to pricing trends and demand in the uranium and enrichment markets and their impact on our profitability; risks related to the movement and timing of customer orders; risks related to the fact that we face significant competition from major LEU producers who may be less cost sensitive or are wholly or partially government owned; risks that our ability to compete in foreign markets may be limited for various reasons, including policies that favor indigenous suppliers over foreign suppliers of goods and services; risks related to the fact that our revenue is largely dependent on our largest customers; risks related to our backlog, including uncertainty concerning customer actions under current contracts and in future contracting due to market conditions, global events or other factors, including our lack of current production capability; risks related to reliance on the only firm that has the necessary permits and capability to transport LEU from Russia to the United States and that firm's ability to maintain those permits and capabilities or secure additional permits; risks related to uncertainty regarding our ability to commercially deploy competitive enrichment technology; risks related to the potential for demobilization or termination of the HALEU Operation Contract; risks that we will not be able to timely complete the work that we are obligated to perform; risks related to the government's inability to satisfy its obligations, including supplying government furnished equipment necessary for us to produce and deliver HALEU under the HALEU Operation Contract and processing security clearance applications due to a government shutdown or other reasons; risks related to our ability to obtain the government's approval to extend the term of, or the scope of permitted activities under, our lease with the DOE in Piketon, Ohio; risks related to cybersecurity incidents that may impact our business operations; risks related to our ability to perform fixed-price and cost-share contracts such as the HALEU Operation Contract, including the risk that costs that we must bear could be higher than expected and the risk related to complying with stringent government contractual requirements; risks related to a government shutdown or lack of funding that could result in program cancellations, disruptions and/or stop work orders and could limit the U.S. government's ability to make timely payments, and our ability to perform our U.S. government contracts and successfully compete for work; risks related to changes to the U.S. government's appropriated funding levels for HALEU Operation Contract due to the upcoming November elections or other reasons; risks related to attracting qualified employees necessary for the potential expansion of our operations; risks related to our long-term liabilities, including material unfunded defined benefit pension plan obligations and postretirement health and life benefit obligations; risks related to our 8.25% Notes maturing in February 2027; risks of revenue and operating results fluctuating significantly from quarter to quarter, and in some cases, year to year; risks related to the impact of financial market conditions on our business, liquidity, prospects, pension assets and insurance facilities; risks related to the Company's capital concentration; risks related to the value of our intangible assets related to LEU's backlog and customer relationships; risks related to the limited trading markets in our securities; risks related to decisions made by our Class B Common Stock stockholders regarding their investment in the Company, including decisions based upon factors that are unrelated to the Company's performance; risks that a small number of holders of our Class A Common Stock (whose interests may not be aligned with other holders of our Class A Common Stock) may exert significant influence over the direction of the Company and may be motivated by interests that are not aligned with the Company's other Class A stockholders; risks related to (i) the use of our net operating losses ("NOLs") carryforwards and net unrealized built-in losses ("NUBILs") to offset future taxable income and the use of the Rights Agreement, dated as of April 6, 2016 to prevent an "ownership change" as defined in Section 382 of the Internal Revenue Code of 1986, as amended (the "Code") and (ii) our ability to generate taxable income to utilize all or a portion of the NOLs prior to the expiration thereof and NUBILs; risks related to failures or security breaches of our information technology systems; risks related to our ability to attract and retain key personnel; risks related to actions, including reviews or audits, that may be taken by the U.S. government, the Russian government, or other governments that could affect our ability to perform under our contractual obligations or the ability of our sources of supply to perform under their contractual obligations to us; risks related to our ability to perform and receive timely payment under our agreements with the DOE or other government agencies, including risks related to the ongoing funding by the government and potential audits; risks related to changes or termination of our agreements with the U.S. government or other counterparties, or the exercise of contract remedies by such counterparties; risks related to the competitive environment for our products and services; risks related to changes in the nuclear energy industry; risks related to the competitive bidding process associated with obtaining contracts, including government contracts; risks that we will be unable to obtain new business opportunities or achieve market acceptance of our products and services or that products or services provided by others will render our products or services obsolete or noncompetitive; risks related to potential strategic transactions that could be difficult to implement, that could disrupt our business or that could change our business profile significantly; risks related to the outcome of legal proceedings and other contingencies (including lawsuits and government investigations or audits); risks related to the impact of government regulation and policies or interpretation of laws or regulations, including by the DOE, the U.S. Department of Commerce and the U.S. Nuclear Regulatory Commission; risks of accidents during the transportation, handling, or processing of toxic hazardous or radioactive material that may pose a health risk to humans or animals, cause property or environmental damage, or result in precautionary evacuations, and lead to claims against the Company; risks associated with claims and litigation arising from past activities at sites we currently operate or past activities at sites we no longer operate, including the Paducah, Kentucky, and Portsmouth, Ohio, gaseous diffusion plants; and other risks discussed in this news release and in our filings with the SEC.
Readers are cautioned not to place undue reliance on these forward-looking statements, which apply only as of the date of this news release. These factors may not constitute all factors that could cause actual results to differ from those discussed in any forward-looking statement. Accordingly, forward-looking statements should not be relied upon as a predictor of actual results. Readers are urged to carefully review and consider the various disclosures made in this news release and in our filings with the SEC, including our Annual Report on Form 10-K for the year ended December 31, 2023, under Part II, Item 1A - "Risk Factors" in our Quarterly Report on Form 10-Q for the quarter ended June 30, 2024, and in our filings with the SEC that attempt to advise interested parties of the risks and factors that may affect our business. We do not undertake to update our forward-looking statements to reflect events or circumstances that may arise after the date of this news release, except as required by law.
Contacts:
Investors: Dan Leistikow at LeistikowD@centrusenergy.com
Media: Lindsey Geisler at GeislerLR@centrusenergy.com
View original content to download multimedia:https://www.prnewswire.com/news-releases/centrus-reports-second-quarter-2024-results-302215938.html
SOURCE Centrus Energy Corp.
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https://graphsearch.epfl.ch/concept/11449377
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Demob (TV series)
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Demob was a short-lived British comedy-drama television series, which screened for one six-episode series in 1993; It was produced by Talkback Productions in association with Yorkshire Television for ITV.
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/favicons/favicon-228.png
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https://graphsearch.epfl.ch/concept/11449377
|
Are you an EPFL student looking for a semester project?
Work with us on data science and visualisation projects, and deploy your project as an app on top of GraphSearch.
Learn more about Graph Apps.
Demob was a short-lived British comedy-drama television series, which screened for one six-episode series in 1993; It was produced by Talkback Productions in association with Yorkshire Television for ITV. The series was set in the late 1940s and early 1950s, and starred Martin Clunes and Griff Rhys Jones as two ex-army friends who decide to try to form an entertainment act, with the aim of getting work on BBC radio. The series also starred Samantha Janus, Amanda Redman and Les Dawson, Dawson posthumously. The series follows the ups and downs of two World War II veterans who decide to form a comedy duo after returning home to England. They experience various personal and professional problems as they strive for success. Ian Deasey (Griff Rhys Jones): A cheerful ex-soldier who struggles to adjust to his dull pre-war life and decides to become a comedy team with his army pal, Dick Dobson. Ian is known for singing humorous songs. Dick Dobson (Martin Clunes): An irresponsible ex-soldier who always gets into scrapes and has to be rescued by Ian. He is an excellent piano player and forms one half of the comedy duo Dobson and Deasey. Janet Deasey (Amanda Redman): Ian's beautiful wife who grows dissatisfied with her husband's desire to become a comedian and begins an affair to stave off boredom. Hedda Kennedy (Samantha Janus): A beautiful dancer, who is desperately searching for her American husband, believed to be missing in action. She works in various establishments of Rudy Lorimer's as a singer and dancer. She later becomes a film actress. She is good friends with Ian and Dick and lives next door to their London rooms. Moreton Stanley (Les Dawson): A corpulent short-tempered comic who makes improper advances to Hedda. Rudy Lorimer (James Faulkner): A disreputable businessman who continually ensnares Dick in his shady business ventures. Lorimer is an alias; his real name is not known. Alan Deasey (Luke Marcel): Ian and Janet's only child, he is a perceptive, sensitive boy vulnerable to teasing.
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https://trakt.tv/shows/demob/seasons/1/episodes/1
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Demob 1x01 "Episode 1"
|
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1993-10-15T20:00:00+00:00
|
With the war over, the two friends go their separate ways--Deasey to his family, and Dobson to some shady new acquaintances. For both men, the lure of the footlights proves impossible to resist.
|
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Trakt
|
https://trakt.tv/shows/demob/seasons/1/episodes/1
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Aired on ITV
Runtime42m
CountryUnited Kingdom
LanguagesEnglish
GenresComedy, Drama
With the war over, the two friends go their separate ways--Deasey to his family, and Dobson to some shady new acquaintances. For both men, the lure of the footlights proves impossible to resist.
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http://185.228.233.162/wiki/George_Sewell
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en
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George Sewell ::: Open WIKI
|
http://185.228.233.162/favicon.ico
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http://185.228.233.162/favicon.ico
|
[
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George Sewell was an English actor, best known for his television roles, but also active on stage and in films. Early life and career. The son of a Hoxton printer and a florist, Sewell left school at the age of 14 and worked briefly in the printing trade before switching to building work, specifi...
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en
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/favicon.ico
|
https://owiki.org/wiki/George_Sewell
|
George Sewell
George Sewell was an English actor, best known for his television roles, but also active on stage and in films.
Early life and career
The son of a Hoxton printer and a florist, Sewell left school at the age of 14 and worked briefly in the printing trade before switching to building work, specifically the repair of bomb-damaged houses. He then trained as a Royal Air Force pilot, though too late to see action during the Second World War.
Following his demob, Sewell joined the Merchant Navy, serving as a steward for the Cunard Line on the and for their Atlantic crossings to New York. He worked as a street photographer, assisted a French roller-skating team, and was drummer and assistant road manager of a rumba band. He also travelled Europe as a motor coach courier for a holiday company.
Acting career
Theatre
Sewell had not considered acting until, aged 35, he met the actor Dudley Sutton by chance in a pub. Sutton recommended that Sewell audition for a production by Joan Littlewood's Theatre Workshop of Fings Ain't Wot They Used T'Be. Sewell did so, and made his acting debut as a policeman in the show both at the Theatre Royal, Stratford East and in the West End. He went on to star in two other Littlewood productions, Sparrers Can't Sing and as Field Marshal Haig in Oh! What a Lovely War, which later opened in Paris and on Broadway. The experience garnered from stage acting led to a long career in both film and television.
Television
For many years, Sewell was the gritty face of crime and law enforcement in a huge array of television series. Amongst his early roles, he was the tallyman in the television play Up The Junction, a criminal who runs off with a teenage girl in Softly, Softly, a hard-nosed building engineer in The Power Game, a cowardly informer in Man in a Suitcase, and a seedy private eye in Spindoe. In 1969 he played an escaped convict called Jansen in the Randall and Hopkirk episode called "Vendetta for a dead man". In 1970, he played Colonel Alec Freeman in Gerry Anderson's live-action science-fiction drama UFO. Also in 1970 he played resistance leader Pierre Allard in three episodes of the ITV series Manhunt – 14, 17 and 22, which were filmed in 1969 and aired in January 1970.
In 1973, Euston Films re-invigorated the TV series Special Branch, formerly a videotaped series starring Derren Nesbitt. Sewell was brought in to play the lead character of DCI Alan Craven. The show ran for two seasons with Sewell, and served as a stylistic forerunner of crime drama The Sweeney. Sewell was to parody this role as Supt Frank Cottam in the Jasper Carrott/Robert Powell comedy, The Detectives.
He also played a Detective Baker who turned out to be a burglar in the Rising Damp episode The Prowler.
Later roles
Later television appearances include Tinker Tailor Soldier Spy, in which he played Mendel, and the Doctor Who story Remembrance of the Daleks, in which he played builder's merchant and fascist leader Ratcliffe. He also appeared frequently in films, notably This Sporting Life, Poor Cow and Get Carter.
He was the subject of This Is Your Life in 1973 when he was surprised by Eamonn Andrews while filming scenes for the TV series Special Branch.
Personal life and death
George Sewell died from cancer on 2 April 2007 at the age of 82. His brother, Danny Sewell, a former boxer, also became an actor.
Filmography
Film
Television
OWIKI.org. Text is available under the Creative Commons Attribution-ShareAlike License.
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https://www.biblio.com/book/demob-harper-kenneth/d/32902574
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en
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Demob by Harper, Kenneth
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1993-08-13T00:00:00
|
Find the best prices on Demob by Harper, Kenneth at BIBLIO | Paperback | Used - Fine | 1993 | Pavilion | 9781857932102
|
en
|
https://www.biblio.com/book/demob-harper-kenneth/d/32902574
|
About William Robertson Lancashire, United Kingdom
Biblio member since 2005
Seller rating: This seller has earned a 5 of 5 Stars rating from Biblio customers.
We are a small family business with constantly changing stock. If you don't see what you're looking for send us your 'wants' list. We aim to provide a fast and friendly service but it will aid us greatly, and prevent delay, if you read our Terms & Conditions of Sale before ordering. Thank you for browsing with us. We look forward to welcoming you as a customer in the near future.
Terms of Sale: GENERAL TERMS OF SALE
All books subject to prior sale. Any book found not to be as described can be returned within 14-days of receipt.
SHIPPING CHARGES
Quoted charges are only an estimate, based on an average weight of 750g. Actual charges may differ, depending on weight and destination. Customers will be informed before shipping if extra charges are required. If in doubt, please email us for an accurate shipping quote.
PAYMENT METHODS
UK Customers: credit/debit cards via PayPal or Biblio.
Non-UK Customers: credit/debit cards via PayPal or Biblio.
|
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https://watch.plex.tv/show/demob/season/1/episode/2
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Demob · Season 1 Episode 2 · Episode 2
|
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Demob · Season 1 Episode 2 · Episode 2 starring Griff Rhys Jones, Martin Clunes.
|
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/icons/favicon.ico
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https://watch.plex.tv/show/demob/season/1/episode/2
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Deasey is burning the candle at both ends. His problem is "solved" when he loses his day job. Now the double act has to decide whether or not to take the ultimate step--risk all and go professional.
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https://finance.yahoo.com/news/diamond-offshore-reports-second-quarter-200500724.html
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en
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Diamond Offshore Reports Second Quarter 2024 Results
|
https://media.zenfs.com/en/prnewswire.com/8592eeb5b8043b0854ac9ad13ea24500
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https://media.zenfs.com/en/prnewswire.com/8592eeb5b8043b0854ac9ad13ea24500
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2024-08-06T20:05:00+00:00
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Diamond Offshore Drilling, Inc. (NYSE: DO) today reported the following results for the second quarter of 2024:
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Yahoo Finance
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https://finance.yahoo.com/news/diamond-offshore-reports-second-quarter-200500724.html
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$350 Million in Contract Awards in Q2; $89 Million in Contract Awards Post-Q2
Q2 Adjusted EBITDA of $58 Million
$8.7 Million in Performance Bonuses Earned during Q2 in Senegal
Ocean GreatWhite Completes Repairs and Resumes Operations
HOUSTON, Aug. 6, 2024 /PRNewswire/ -- Diamond Offshore Drilling, Inc. (NYSE: DO) today reported the following results for the second quarter of 2024:
Bernie Wolford, Jr., President and Chief Executive Officer of Diamond Offshore, stated, "We are pleased with our second quarter results, achieving adjusted EBITDA of $58 million, which is in line with our guided range. Our results for the quarter also include the recognition of $8.7 million in well-performance bonuses in Senegal, reflecting the exceptional performance of our deepwater drillships and the crews that operate them. Additionally, repairs to the Ocean GreatWhite were completed during the quarter, and the rig resumed operations under its contract in the North Sea in early July."
New Contract Awards and Other Updates
As previously disclosed, the Company secured a two-year contract extension for the Ocean Blackhawk, representing $350 million in contract backlog.
In addition, after quarter-end, the Ocean BlackRhino was awarded a contract for work in the U.S. Gulf of Mexico (or USGOM) with a minimum duration of 180 days for a total contract value of approximately $89 million, excluding mobilization and any additional services. The contract also includes two option periods. Following the completion of its Special Periodical Survey and Managed Pressure Drilling upgrade project in Las Palmas, the Ocean BlackRhino is expected to mobilize to the USGOM in late December or early January for contract commencement in the first quarter of 2025. in the first quarter of 2025.
These contract awards, combined with previously announced awards in the first quarter of 2024, total nearly $1.2 billion of contract value secured so far in 2024. The Company's total backlog at July 1, 2024 was in excess of $2.0 billion.
On July 31, 2024, the Company received notice of early termination from its customer related to a previously announced, one-well campaign offshore Ivory Coast for the Ocean BlackRhino. In accordance with the contract, the Company is entitled to retain $8 million in prepaid customer deposits as an early termination fee.
Q2 Financial Results
Revenue for the second quarter of 2024 totaled $253 million compared to $275 million in the prior quarter. The decrease in revenue quarter-over-quarter was primarily driven by the absence of revenues for the West Auriga, which was returned to the rig owner in the first quarter upon termination of the charter for the rig, and the Ocean GreatWhite being off rate for repairs in the quarter. The decrease in revenue was partially offset by the impact of $8.7 million in performance bonuses earned in Senegal during the second quarter.
Contract drilling expense for the second quarter of 2024 was $164 million, representing a $20 million decrease from the prior quarter. The decrease in contract drilling expense was primarily due to lower charter and other operating expenses attributable to the West Auriga, the recovery of operating costs as part of the insurance claim for the Ocean GreatWhite's LMRP equipment incident, as well as the absence of $7.6 million in insurance deductible recorded in contract drilling expense in the first quarter related to the incident. The reduction in contract drilling expense in the second quarter was partially offset by higher overall operating costs across the fleet including repair and maintenance cost, equipment rentals and integrated services.
General and administrative expenses were $23 million in the second quarter of 2024 compared to $19 million in the prior quarter and included approximately $5 million in financial advisor and legal fees associated with the announced merger with Noble Corporation plc.
For the second quarter of 2024, the Company recognized net tax expense of $8 million compared to a net tax benefit of $3 million for the first quarter of 2024. The tax benefit in the first quarter of 2024 includes a $12 million benefit for the remeasurement of uncertain tax positions in Egypt.
Operational Highlights
Operationally, the Company's rigs continued to perform exceptionally well, achieving revenue efficiency of approximately 95% across the fleet for the third successive quarter, excluding the Ocean GreatWhite incident. Including the $8.7 million in well-performance bonuses earned during the quarter, the Ocean BlackHawk and Ocean BlackRhino together have earned a total of $20.5 million in bonuses over the course of the Senegal campaign. The achievement of these well bonuses was a direct result of the efficient and injury-free performance of the Company's rigs and crews in Senegal. Also in the second quarter, the Ocean Apex completed its campaign with Inpex and transitioned to a new contract that will occupy the rig until the first quarter of 2025. In addition, the Ocean Patriot completed its plug & abandonment (or P&A) program with Serica and is on standby until the first quarter of 2025 when the rig will commence an estimated three-year P&A program with another customer.
Ocean GreatWhite
Repairs to the Ocean GreatWhite have been completed and, in early July, the rig resumed operations in the North Sea. The Company continues to anticipate that the repairs and equipment replacement cost associated with the equipment incident in the first quarter will be covered under the Company's hull & machinery insurance policy. The Company currently estimates that all incremental costs, less a $10 million deductible, will be reimbursable under the policy. The Company has so far received insurance proceeds of $20 million.
In addition, the Company carries loss-of-hire insurance on the Ocean GreatWhite. After a 60-day waiting period, the Company's loss-of-hire insurance provides $150,000 per day, for up to 180 days, for each day of lost revenue as a result of a covered property loss claim. The Company currently estimates that it will be entitled to approximately 90 days of loss-of-hire insurance recovery. The Company's second quarter financial results do not reflect the recovery of loss-of-hire insurance proceeds.
CONFERENCE CALL AND 2024 GUIDANCE
Due to the pending merger with Noble Corporation, plc announced on June 10, 2024, Diamond Offshore has discontinued providing quarterly and annual financial guidance. Accordingly, investors should not rely on any previously disclosed financial guidance and are cautioned not to rely on forward-looking statements that were made prior to the merger announcement, as those forward-looking statements were the estimates of management only as of the date provided and were subject to the specific risks and uncertainties that accompanied such forward-looking statements.
Additionally, as a result of the pending merger, Diamond Offshore will not hold a conference call to review the Company's second quarter results.
ABOUT DIAMOND OFFSHORE
Diamond Offshore is a leader in offshore drilling, providing innovation, thought leadership and contract drilling services to solve complex deepwater challenges around the globe. Additional information and access to the Company's SEC filings are available at www.diamondoffshore.com.
FORWARD-LOOKING STATEMENTS
Statements contained in this press release that are not historical facts are "forward-looking statements" within the meaning of Section 27A of the Securities Act of 1933, as amended, and Section 21E of the Securities Exchange Act of 1934, as amended. Such statements include, but are not limited to, statements concerning future contract effectiveness and estimated duration, availability and future revenue, operating costs and performance, rig downtime, equipment recovery and repair cost and efforts, insurance claims and recoveries, utilization, backlog and revenue expected to result from backlog and other statements that are not of historical fact. Forward-looking statements are inherently uncertain and subject to a variety of assumptions, risks and uncertainties that could cause actual results to differ materially from those anticipated or expected by management of the Company. A discussion of certain of the risk factors and other considerations that could materially impact these matters as well as the Company's overall business and financial performance can be found in the Company's reports filed with the Securities and Exchange Commission, and investors and analysts are urged to review those reports carefully when considering these forward-looking statements. Copies of these reports are available through the Company's website at www.diamondoffshore.com. These risk factors include, among others, risks associated with worldwide demand for drilling services, levels of activity in the oil and gas industry, renewing or replacing expired or terminated contracts, contract cancellations and terminations, maintenance and realization of backlog, competition and industry fleet capacity, impairments and retirements, operating and equipment recovery risks, litigation and disputes, permits and approvals for drilling operations, supply chain and normal business operations across sectors and countries, changes in tax laws and rates, regulatory initiatives and compliance with governmental regulations, casualty losses, and various other factors, many of which are beyond the Company's control. Given these risk factors and other considerations, investors and analysts should not place undue reliance on forward-looking statements. Each forward-looking statement speaks only as of the date of such statement, and the Company expressly disclaims any obligation or undertaking to release publicly any updates or revisions to any forward-looking statement to reflect any change in the Company's expectations with regard thereto or any change in events, conditions or circumstances on which any forward-looking statement is based.
In addition, information contained in this press release is as of the date of this press release. There can be no assurance as to future developments, as future events could differ materially from those anticipated. Forward-looking statements are not guarantees of future performance or developments and involve known and unknown risks, uncertainties and other important factors beyond the Company's control that could cause the Company's actual results, performance or achievements to differ materially from any future results, performance or achievements expressed or implied by such statements.
Contact:
Kevin Bordosky
Senior Director, Investor Relations
(281) 647-4035
Non-GAAP Financial Measures (Unaudited)
To supplement the Company's unaudited condensed consolidated financial statements presented on a basis in conformity with generally accepted accounting principles in the United States (GAAP), this press release provides investors with adjusted earnings before interest, taxes, depreciation and amortization, uninsured costs for repairs to the Ocean GreatWhite and transaction costs associated with the pending merger with Noble Corporation, plc, all of which the Company considers to be outside the normal course of operations (or Adjusted EBITDA), which is a non-GAAP financial measure. Management believes that this measure provides meaningful information about the Company's performance by excluding certain items that may not be indicative of the Company's ongoing operating results. This allows investors and others to better compare the Company's financial results across previous and subsequent accounting periods and to those of peer companies and to better understand the long-term performance of the Company. Non-GAAP financial measures should be considered a supplement to, and not as a substitute for, or superior to, contract drilling revenue, contract drilling expense, operating income or loss, cash flows from operations or other measures of financial performance prepared in accordance with GAAP.
View original content to download multimedia:https://www.prnewswire.com/news-releases/diamond-offshore-reports-second-quarter-2024-results-302215928.html
SOURCE Diamond Offshore Drilling, Inc.
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https://fraser.stlouisfed.org/title/demobilization-manpower-1918-19-4260/fulltext
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Full text of Demobilization of Manpower: 1918-19 : Bulletin of the United States Bureau of Labor Statistics, No. 784
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The full text on this page is automatically extracted from the file linked above and may contain errors and inconsistencies.
U N IT E D S T A T E S D E P A R T M E N T OF L A B O R Frances Perkins, Secretary BUREAU OF LABOR STATISTICS Isador Lubin, Commissioner (on leave) A . F. Hinrichs, Acting Commissioner + Demobilization of Manpower, 1918-19 By STELLA STE W ART Bureau o f Labor Statistics B ulletin T^o. 784 Letter o f Transmittal U nited States D epartment of L abor , B ureau of L abor Statistics , Washington , D . C ., M a y 19, 1944• The S ecretary of L abor : I have the honor to transmit herewith a report on demobilization of manpower in 1918 and 1919. The study is in three parts: 1.— Plans for returning soldiers to civil life; 2.—Early phases of demobilization; and 3.—Employment situation in 1919. Part 1 of this study appeared in the March 1944 issue of the Monthly Labor Review, and part 2 in the April 1944 issue. The report was prepared by Stella Stewart of the Bureau’s Division of Historical Studies of Wartime Problems. A. F. H inrichs, Acting Commissioner. Hon. F rances P erkins , Secretary o j Labor. For sale by the Superintendent o f Documents, U. S. Government Printing Office Washington 25, £ )/ C. *• Price 15 cents Contents P age Part 1.— Plans for returning soldiers to civil life------------------------------------Expansion of the Army____________________________________________ Troops eligible for discharge at time of Armistice___________________ Initial steps toward demobilization_________________________________ Proposed methods of demobilization_______________________________ Demobilization by industrial needs or occupation_______________ Demobilization by locality____________________________________ Demobilization by length of service____________________________ Demobilization by military unit_______________________________ Part 2.— Early phases of demobilization________________________________ Civilian proposals for post-war readjustments---------------------------------War Department program_________________________________________ Changes in War Department policy_______________________________ Beginning of unemployment_______________________________________ Employment situation in various industrial areas: Connecticut area______________________________________________ Ohio area_____________________________________________________ Michigan area________________________________________________ New Jersey area____________________________________________ Buffalo, N. Y., area___________________________________________ Conditions in small companies_____________________________________ Public and other reactions and appraisals--------------------------------------Part 3.— Employment situation in 1919: Situation in winter of 1919_________________________________________ Effect of unplanned demobilization upon civilian workers----------------Industry’s problems of reconversion___________________________ Unemployment situation in the spring of 1919--------------------------Regional variations in the post-war patterns of employment____ New England area________________________________________ Middle Atlantic area_____________________________________ South Atlantic and South Central areas----------------------------North Central area_______________________________________ Mountain and Pacific areas_______________________________ Labor situation in May 1919, by regions_______________________ Shifts in labor supply_________________________________________ The upturn in business and employment----------------------------------Special problems of War Department and servicemen______________ Demobilization problems______________________________________ Problems of assistance to returning soldiers____________________ Other problems_______________________________________________ Placements in relation to demobilization_______________________ Administration of war risk insurance___________________________ Conclusion_______________________________________________ (H I) 1 3 4 5 5 6 10 12 12 15 15 18 20 21 22 24 25 25 25 26 26 28 31 31 33 37 38 40 42 46 48 51 54 54 57 58 59 61 62 67 67 Bulletin J^lo. 784 o f the U nited States Bureau o f Labor Statistics Demobilization of Manpower, 1918-19 Part 1.— Plans for Returning Soldiers to Civil Life Until the war is won, the spotlight must be focussed on the process of building, training, and equipping our armed forces. Nothing can be allowed to detract from the concentration of national energy necessary to win a complete victory over the enemy at the earliest possible moment. The army of production takes its place, along with the armed forces, in this concentrated effort. Nevertheless, a knowledge of the relative and absolute magnitudes of the mobiliza tion of manpower and economic forces involved in this war requires that, behind the scenes, serious thought be given to the problems of returning the soldier and the industrial worker to peacetime activities. The same necessity existed in the first World War. Study of the problem of demobilization of the soldiers was not begun until a month before the end of the war, however, and then the need for haste resulted in mistakes that might have been avoided under more leisurely planning and consideration. No program was adopted for the effective passing of the industrial worker to peacetime production. The inevitable appearance of unforeseen problems which arose during demobilization at the close of the first World War will repeat itself at the close of this war. Further, the task will be much greater; the number of men will be three times as large as in 1918-19 and soldiers from the United States will have served longer and in more combat areas, so that the period of their demobilization may be longer than was the case after World War I. The magnitude of current industrial production is a forecast of the problems of transition and contraction. For these reasons it seems probable that that earlier experience may be of value in planning the gigantic task of demobilization that lies ahead. The present article, which relates solely to the demobili zation of the soldiers, reviews the four proposals for the return of servicemen to peacetime pursuits that were advanced in that earlier war period, showing where they originated, who supported them, and their respective merits and disadvantages. When the first World War came to an abrupt end with the signing of the Armistice on November 11, 1918, the armed services of the United States had been expanded from a peacetime force of about 380,000 to almost 5,000,000. About 3,700,000 of these, constituting the “ emergency army” (that is, those enlisted or inducted during the war), were eligible for immediate discharge when the war ended. Official consideration of plans for the discharge and return of these men to civil life had been started a month before the Armistice. (l) 2 This left far too little time for adequate preparations for so compli cated a task. The method finally adopted was the traditional plan for demobilization by military organizations. The military authori ties favored this plan and it was the only one for which regulations and administrative procedures could be quickly developed at so late a date. However, three other plans had been advanced, proposing demobili zation (a) by industrial needs or occupations, (b) by locality, through the use of the local or regional draft boards, and (c) by length of service. (a) The first plan, demobilization by occupation, had been adopted originally by the British, but proved to be so unfeasible that new legislation was passed, allowing the men to be withdrawn on the general basis of length of service. In both Great Britain and the United States it was civilians who proposed and supported the occupational-demobilization plan. The plan’s proponents in the United States recognized that, to be success ful, it must be predicated upon an exhaustive analysis of the indus trial situation of the country, especially if it was to be used for pro viding employment for skilled and unskilled discharged soldiers, many of whom had developed new proficiencies during their service and would not wish to return to their old occupations. Such an analysis had not been made. Another major defect of the plan was its disregard of the instinctive individualism of the average American and of the fact that regimen tation after return to civil life would prove distasteful. This demobil ization system was carefully reviewed by the General Staff but ulti mately rejected. (b) The second method, that of using draft-board machinery for facilitating discharge, was developed by the Provost Marshal General who had been closely connected with the operation of these boards during the war. He argued that the local communities could do more than any other agency to reestablish the released soldier. He insisted that the problem oi “ finding the job for the men and of re plenishing industry and agriculture at the point of depletion” could best be done on a local scale. His plan was favored by many civilian groups who thought that if the men were returned to the communities from which they came they would be more readily drawn into the economic life of these areas and this, in turn, would relieve the situation in the large indus trial cities near debarkation camps, where there would inevitably be a brief period of great unemployment as the munitions plants reverted to peacetime production. The Provost Marshal General’s proposal was forwarded to the Sec retary of War and then to the Chief of Staff. However, the militaryunit demobilization plan had already been adopted and announced, and it was then too late to utilize even the best features of the draftboard plan. The value of many of the aspects of the draft-board plan became apparent during the winter and spring of 1919 when the War Depart ment was besieged by citizens of all classes urging that the released soldiers be withdrawn from the industrial centers which were also faced with the problem of dealing with thousands of unemployed 3 war workers for whom the Federal Government had provided no means of carry-over from wartime to civilian employment. (c) The third method, discharge by length of service, was rejected for valid reasons. The country had been at war for only 18 months, and the majority of the men had been in service a year or less. It was important that the men in France, regardless of period of serv ice, should be returned to this country as soon as possible. Review of these several proposed systems of demobilization leads to the conclusion that it was regrettable that plans could not have been perfected far enough ahead of the need for their application to have incorporated the best and most feasible features of each. This would have required the sympathetic cooperation of the professional soldiers, familiar with military procedure, and the trained civilian groups which were familiar with the industrial and economic needs of the country. Expansion o f the A rm y The story of demobilization of the Army after the first World War cannot be intelligently evaluated without some knowledge of the expansion of the Army to its size at the time of the Armistice. The United States has never maintained a large standing Army, because of its geographical situation and its amicable relations with its neigh bors on the North American continent. For protection from foreign aggression, this country has depended upon a strong Navy. The American people were loath to accept the inevitability of participation in the World War of 1914-18. When the United States entered the war in April 1917, therefore, it was unprepared from both a military and an industrial standpoint. The achieve ments of supply of manpower and material during the following 18 months were striking and at that time unparalleled. On April 1, 1917, just prior to the entrance of this country into the war, the personnel of the armed forces of the United States num bered 378,619. Of these, 291,880 were in the Army. Immediately following the declaration of war on April 6, enlistment was accelerated and was heavy throughout April, May, and June. From the beginning of hostilities the American military experts declared themselves in favor of the “ selective draft” as the only democratic method for increasing the size of the Army. They empha sized that it would distribute the burden of combat equitably through all areas of the population, all social levels, and all occupational groups. A bill to provide for “ selective service” was introduced into Congress almost immediately after the declaration of war. It was not a popular bill, being termed “ the Administration’s program of conscription.” However, it became a law on May 18, 1917. The act called for the registration of all men “ between the ages of 21 and 30 years, both inclusive,” but with the proviso that men should be drafted only if voluntary enlistments did not provide the 500,000 additional men needed immediately. It differed from similar acts of the Civil War in that no bounty could be offered to induce enlist ments. Altogether, 9,780,535 men responded to this .first registration, held on June 5, 1917. This number proved inadequate for the rapidly increasing military demands, partly because of the number of deferments and exemptions which greatly reduced the number 4 of effectives in Class I, available for military service. Another limita tion was the limitation of the age requirements for military service. On M ay 20, 1918, Congress passed a Joint Resolution requiring registration of men reaching the age of 21 after June 5, 1917, and authorizing the President to require further registrations. Under this resolution there were two registrations, totaling 10,679,814. It was from these early registrations that all inductions into active service were made. It became evident by the summer of 1918 that the expanded mili tary campaign proposed for the spring of 1919 would require many more men than were available from the above groups. Therefore Congress in August 1918 extended the age limits for military service' to include men between the ages of 18 and 45, inclusive, but the Armistice came before any of the 13,229,762 men registered under the amendment were inducted. The gradual expansion of the armed forces between April 1, 1917, and the Armistice in November 1918 is shown in the accompanying table. Expansion of the Armed Forces of the United States After April I, 1917, and Total Strength on November 11,1918 1 Item A rm y Total Naval forces Num ber in armed forces, April 1,1917................................ Additions^ Selective Service___________________________________ Enlistments____________________ ______ ___________ Commissions________________ _____________ _______ 378,619 4,412,663 2,810,296 1,371,970 230,287 291,880 3,893,340 2,810,296 879,258 203,786 86,739 519,213 (a) 492,712 26,501 Total strength, Novem ber 11,1918...................................... 4,791,172 4,185,220 605,952 * Report of the Provost Marshal General, December 20,1918 (tables 79 and 80, pp. 223 and 227). * Additions to Naval forces b y induction were negligible. Troops Eligible fo r Discharge at T im e o f A rm istice Only the “ emergency army,” made up of men enlisted or inducted during the war, was eligible for immediate discharge. What is more, some of the inducted men were en route to camp when the fighting ceased and so were little affected by the problems of demobilization. When the Armistice came, this new emergency army was concen trated in two big groups, consisting of the forces still in cantonments in the United States, and the American Expeditionary Force in France. Small numbers were stationed in the insular possessions and in Siberia. The following statement shows the distribution of the “ emergency” troops on November 11, 1918.1 In Europe_______________ At sea en route to Europe In the United States_____ Number 1, 981, 701 22, 234 1, 634, 499 Percent 53. 5 .6 44.1 Total_____________ 3, 638, 434 98. 2 64, 839 1. 8 Others Grand total. Annual Report of tbe Secretary of W ar, 1919, V ol. I, Part I, p. 448. 3, 703, 273 100. 0* 5 Initial Steps Toward Demobilization The Secretary of War commented in his annual report in 1919: “ The problem of demobilization of United States forces was different from that of other countries since its pivotal or key men had not been withdrawn from industry nor had its manpower been drafted to the same extent as those of our Allies.” 2 However, later events indicated that, even so, demobilization could not be satisfactorily accomplished without definite plans developed well ahead of their need. The Secretary himself said, “ The first steps in demobilization were taken while the policy itself was being formulated.” 3 The first move toward demobilization made by the General Staff was on October 8, 1918, just a month before the Armistice. It was then suggested that, because of the enormous expense connected with the military establishment and the desirability of a speedy return to normal economic conditions, repatriation and demobilization of the armed forces should be accomplished with the least practicable delay. At about the same time an informal note was sent to the head of the Army War College: “ There are one or two questions it seems to me should be studied and worked out so that you shall be good and ready for any contingency. The first of these is the plan for demobili zation and musters out. * * * I do not want to advertise it too much at present as it might be thought to be peace propaganda.” 45 The War Plans Division immediately began a study of “ plans.” Expedition was urged, since other divisions would need to review the final report, but even then great secrecy was urged.6 Aside from the development of general policies it was necessary for each branch of the service (motor transport, signal corps, engineers, chemical warfare, services of supply) to make its own specific plans. The formal report to the Chief of Staff analyzing the various pro posals for demobilization and making recommendations as to general procedures was not forwarded until 10 days after the Armistice, but undoubtedly major decisions had been reached earlier. No de mobilization plan adopted would have been universally acceptable, but this lack of preparedness and its results brought continuing criticism from every quarter. Proposed M ethods o f Dem obilization The General Staff reviewed four distinctly different policies for the demobilization of the soldiers at the close of World War I. One was accepted, and three were rejected. The method adopted, that of discharge by military units, is a matter of record. The public is less familiar with the other three plans. They proposed demobilization (a) by industrial needs or occupations, (b) by locality (through the use of the local or regional draft boards), and (c) by length of service. These methods separate themselves into those originating in civilian groups, whether or not they were in the civil establishments of the Federal Government or attached to the War Department; and those * Annual Report of the Secretary of W ar, 1919; Vol. I, Part I, p. 14. * Idem, p. 453. 4 A rm y War College files, Chief of Operations, General Staff, to President, A rm y War College. 5 Idem, Chief of Operations’ Memorandum of October 16,1918. 589966°— 44------2 6 supported by the professional military groups in the offices of the Chief of Staff, the Adjutant General, or the Provost Marshal General. The civilian programs were the result of investigation and careful consideration by two separate but sympathetic groups. The first open approach to the demobilization problem was through the civilian experts who were working with the War Department on personnel classification. This group included outstanding psy chologists and personnel administrators, most of whom were in uniform and working closely with Army officers in the Adjutant GeneraPs office. The second civilian group consisted of economists and executives in the Department of Labor (chiefly in the War Labor Policies Board and the U. S. Employment Service) and in the War Industries Board. There was frequent conference and interchange of ideas among the various civilian groups, but there is little evidence of any genuine effort at mutual understanding between these groups and the military strategists in the War Department. There is, however, considerable evidence that each group pressed its proposals upon the Secretary of War, himself a civilian. DEMOBILIZATION BY INDUSTRIAL NEEDS OR OCCUPATION The civilians, both in the established Government departments and in the emergency war agencies, were deeply conscious of the difficult economic, industrial, and fiscal situation which would con front the country with the cessation of production for war, and the inevitable interval of uncertainty as the industries of the Nation took stock and made their essential readjustments of program, plant, and personnel. There was an undisputed need for an ex tensive and intensive survey of the country’s industries, of their ability to return promptly to peacetime production and so keep to a minimum the unemployment attending the transition period. The civilians’ study of these questions led them to the conclusion that “ the rate of absorption [of labor] into industry is the active and variable factor in the demobilization problem.” 6 It was logical therefore that a proposal for industrial demobilization based upon industrial needs should gain their support. British plan.— The details of such a plan had been worked out and adopted in Great Britain, partly in the War Office but mainly in ac cordance with civilian opinion. Under this plan, men needed for industrial and civil reconstruction would be the first to be released from the Army; and the rate of demobilization would be controlled by industrial needs. A member of the United States Committee on Classification of Personnel of the Army spent some time in England in the spring of 1918. H e studied this plan carefully and came back convinced that some adaptation of the plan to the situation in the United States would greatly facilitate industrial readjustment and would insure “ that the men in the Army shall be so dispersed that skilled and unskilled labor in its many classifications of kind and degree shall be made available for industrial absorption as needed.” 7 8 National Archives. Department of Labor, W ar Labor Policies Board: Memorandum to Chairman of the Board from W alton H . Hamilton, October 28,1918. 7 A rm y W ar College. Report to the Secretary of W ar on British Plans for Demobilization and Recom mendations as to the American Program. 7 An analysis of the British plan, to be used as a basis for approaching the American problem, was prepared and a recommendation for the adoption of this plan was submitted to the Adjutant General and the Secretary of War in the summer of 1918. The two civilian groups were working together and by the fall of 1918 agreed that, should the plan be adopted, some cooperative arrangement should be made with the Employment Service of the Department of Labor in its adminis tration. It is possible that the greater problem of the readjustment of the country’s industries to peacetime conditions, and concern over the effect of the returned servicemen upon a surplus labor market during a period of mounting unemployment, obscured in the minds of these men the fact that the soldier was a citizen with rights and privileges as an individual when he had finally discharged his duties as a soldier. The British plan, as reported, provided that men should be drafted from the Army for service in civil life upon the declaration of peace much as, upon the declaration of war, men were drafted from civil life for service in the Army. Whatever the desirable factors of the plan, it took into little account the instinctive individualism of the average American, and gave scant consideration to the serviceman’s possible negative reaction to further regimentation upon his release from the Army, but provided that he should be moved about as best fitted the success of the scheme. This fact was well stated by a member of the staff of the War Labor Policies Board: “ Any policy of reconstruction is largely dependent upon the spirit with which it is met by the men to be demobilized. No one can say with certainty what the effect of adventures, discipline, physical training, etc., which men have experienced in the Army, and the psychology result ing from the offer of sacrifice, will be.” 8 Attitude of plan’s proponents.—Although the plan for demobilization by industry was ultimately rejected by the Chief of Staff and the Secretary of War, brief consideration should be given to some of its specific details and to the attitudes of some of its supporters. To the Committee on Classifications it was “ obvious that America * * * must demobilize by trades if a disastrous condition of unemployment and unrest is not to ensue. Demobilization by * * * any other schedule is not feasible. * * * The interests of the Army * * * must be subordinated to the civic interests.” 9 Under such procedure the primary factor in the priority of demobili zation would be the individual’s industrial classification, and the first administrative task would be the classification of officers and men by profession, trade, or occupation. This task was already partially done, as the so-called “ qualification cards” of the men were based upon their skills and experience at the time they entered the Army. It was suggested that these cards, which had “ proved effective in taking men from industry and placing them right in the Army,” be used for redrafting them into industry, for, in the opinion of the committee, “ there is just as close a relation between classification and placement in industrial life as there is between classification and Army placement; it is all part of the same problem.” However, there was no record of new skills acquired in the Army, nor of the possible desire for change resulting from the experiences in the Army and in new and •National Archives. Department of Labor, W ar Labor Policies Board: T o Chairman from G. S. Arnold, July 24,1918. • Arm y W ar College. Report to the Secretary of W ar on British Plans for Demobilization and Recom mendations as to the American Program. 8 different surroundings. It was granted that an “ exhaustive analysis of the industrial situation of the country and the preparation of a program of reorganization on a peace basis” was essential to the functioning of the plan, and it was suggested that the Department of Labor should assume this task. Economists on the staff of the War Labor Policies Board were, in the summer of 1918, engaged in analyzing the major problems of industrial readjustment. Elaborate memoranda were prepared but they dealt largely with generalizations and were of necessity specu lative. One member of the staff acknowledged this and urged the substantiation, by fact, of some of the statements made. The follow ing abstract contains the essential statements on the release of the soldier. For this large body to be projected upon the community without provision for immediate employment is unthinkable. And however confident we may be that they can shortly be assimilated there is bound to be an intermediate period of great confusion unless some elastic source of employment is provided— work which may be available for all, but work of such a character that, if the conditions of the country provide occupation more rapidly than is expected, it can be post poned for future completion. Enough of such employment should be provided and it should be so elastic in its nature that it will for a period of 2 or 3 years provide work for the maximum estimate of unemployed men, and yet, in part at least, not be sufficiently pressing or important to offer competition to perma nent necessary employment. It might be advisable to do much of this work before the men are actually discharged from the Army, with the provision, of course, for the payment of industrial as opposed to military wages. (National Archives. Department of Labor, War Labor Policies Board: Memorandum to Chairman from G. S. Arnold, July 24, 1918.) A longer and more comprehensive memorandum “ Upon the Prob lem of Demobilization” discussed in great detail the problem in general and the obstacles which would be encountered, and gave many specific suggestions for carrying out a policy of demobilization by industry. The memorandum stressed the necessity for correlation of military discharge with accessibility to reemployment, without periods of “ idleness and dependency.” This required recognition of the fact that munitions workers, released in large numbers from war plants, would also be seeking employment. Thus, there were “ two comple mentary problems of employment to be solved. To give employment to discharged soldiers by denying it to munitions workers” was to “ solve one problem of unemployment by creating another.” In other words, if the situation was to be met sfquarely, enough jobs must be provided to satisfy both groups, and at a high rate of absorp tion, for it was probable that the release of war workers would not be at the even flow anticipated for the release of soldiers. The key problem of providing a “ mechanism” for discharge was well stated. There was no doubt that failure so to provide would mean failure of the plan as a whole. “ It will probably involve the reorganization of the Army into new units, based upon occupational status, for demobilization purposes. * * * Demobilization will involve not so much legislation as a long series of administrative decisions. Its success depends upon the precision and quickness with which they can be made. This depends upon the range and accuracy of information at hand and upon a mechanism for trans lating judgments into accomplishments.” 10 10 National Archives. W ar Labor Policies Board: Memorandum to the Committee on Classification of Personnel of the W ar Department from W alton H . Hamilton, October 28,1918. 9 The Chairman of the War Labor Policies Board commented to the Secretary of Labor upon the “ comprehensive plan” of the Committee on Classification of Personnel and said: The function of the War Department as the Committee views it, ends with the actual demobilization of the war, but the Committee keenly appreciates the necessity of conducting demobilization in such a way that it shall best meet the industrial requirements of the country, and shall result in a minimum of unneces sary unemployment, and no breaking down of recently established labor standards. * * * It is necessary to determine when and where the industry of the country can re-absorb the men and whether it is possible to stimulate industry to so great a degree that this re-absorption can be effectively accomplished. * * * It is unnecessary to dwell upon the disastrous results to labor which may result from allowing the demobilization to take its course without more definite preparation than the present general speculation on problems of reconstruction. (National Archives. War Labor Policies Board: Memorandum from Chairman Frank furter to Secretary Wilson, October 22, 1918.) After the Armistice and even after the War Department had announced the demobilization policy which it had adopted, sup porters of the industrial plan continued their exchange of views. Some of the salient points of one of these memoranda were as follows: * * * the physical productive capacity of the country is large enough to furnish employment to all discharged soldiers and munitions workers and to spare. But this does not prove that a purely military demobilization will furnish employment to the discharged as they need it. * * * A haphazard discharge of men and cancellation of contracts will not give men and materials in the order in which they are needed to hasten the resumption of business. * * * What ever the ultimate capacity of the system to take labor, there are abundant reasons for thinking that unless extreme care is taken the labor market will be glutted. * * * A word must be added about the possibility of local gluts. * * * Unless the flow is locally controlled, soldiers will be demobilized in such centers as Bridgeport, Pittsburgh, and Detroit, in which most of the work now going on is under Government contract. If this happens, soldiers will be sent into markets disorganized by the involuntary discharge of munitions workers through the cancellation of Government contracts. (National Archives. War Labor Policies Board: Unsigned memorandum to Lieut. Col. Coss, a member of the Committee on Classification of War Department Personnel, November 1918.) All of these statements reveal concern over the inevitable period of unemployment which would accompany contract cancellation, unless the Federal Government made specific provisions for bridging the gap during the months when soldiers would be leaving the Army. Results of industrial demobilization plan in Great Britain.— Since the American proposal for industrial demobilization was premised upon the British plan which had been worked out with great care, it seems desirable to report upon the results of the British effort. At the time of the Armistice, the United States had been in the war about 18 months, as contrasted with more than 4 years for the British. (The British soldier’s length of service therefore parallels the probable ex perience of the American soldier in this war more nearly than in World War I.) The following record of the British experiment comes from Winston Churchill’s story of his participation in demobilization following World War I.11 In January 1919, 2 months after the Armistice, Mr. Churchill had consented to take over administration of the War Office because the “ temper of the Army and the problem of demobilization caused increasing anxiety.” He was “ immediately confronted with conditions of critical emergency.” Under the plan for demobilization by occupation, “ key men” in industry were being hurried back from the front regardless of their length of service, but* n Churchill. W inston S.: The Aftermath—1918-28 (Preface and Chapters I and III). 10 because they were key men many of them had been at the front only a few months. Then, too, the plan lent itself to abuse, and influence released certain men ahead of their comrades without such support but with many months of Army service. The inevitable result was the undermining of Army discipline and the creation of great im patience and resentment on the part of the troops. It was decided that only one remedy would prove effective— a complete change in the scheme for demobilization. The new policy provided that (1) soldiers should, as a general rule, be released from the front in accordance with their length of service and their age, (2) the pay of the Army was to be immediately increased to lessen the gap between the rewards of military and civil employment, and (3) the younger men who had completed training but not yet seen active service were to be sent abroad to serve in the Army of Occupation, in place of the older men and those of long service. Once this new system was understood, the disaffection of the soldiers disappeared and later the men were discharged at an average rate of 10,000 a day. Mr. Churchill himself deprecated the lack of coordination between the plans for meeting industrial and military needs. Possibly the results would have been better if the military group had been willing to give the new plan a sympathetic hearing and if the civilian origina tors of the new and untried procedure had tried to integrate it more closely with the traditional demobilization methods of the Army. DEMOBILIZATION BY LOCALITY A memorandum recommending discharge of the soldiers through the local draft boards was submitted to the Chief of Staff on Novem ber 11, Armistice Day, by the Provost Marshal General, who had been in close association with these boards12 during his administration of the Selective Service Act. His memorandum stated: The economic need of finding the job for the man and of replenishing industry and agriculture at the points of depletion is an obvious one. * * * But its complexities are so vast that any solution on a national scale will be many months incoming. In the meantime, the problem will be more or less a local one. * * * These returned men will be without jobs. There is only one agency most obvi ously fitted to do this [provide jobs]. * * * That agency is the one which in the first place took them out of their jobs. * * * Every local board virtually now knows where every man came from and the opportunities which exist in his community for reemploying him. * * * No measure could be more popular to the responsible interests of this country than the one here men tioned. These boards include representatives of agriculture, banking, manu facturing, commerce, labor, and the professions. They possess the confidence of their own communities in an unexampled degree. To charge them with the proposed task would meet with unanimous popular approval.” (National Archives. War Department, Files of Chief of Staff: Draft Boards.) The Government had already made provision for family allotments, term insurance, Liberty Bond allotments, compensation for dis ability, etc., the carrying out of which would require months of administrative activity at the best. Delays were bound to occur as a result of the difficulties of handling official investigations through a central agency far removed from any intimate knowledge of the individual facts. As the Provost Marshal General saw it, it was “ imperative to employ * * * an agency localized in each 13 There were 4,643 of these boards and, in addition, there were the district boards, all familiar with local and regional conditions. 11 community to serve as the local intermediary between the Govern ment and the soldier.” He also believed that the individual welfare of the soldier would be furthered by the adoption of this method: The returned soldier * * * has in all times been an element of unrest in the community. * * * [He] has just been freed from a rigid system of restraint; he is something of a licensed hero; and however young, he now thinks himself a veteran, and emancipated from control. There ought to be some central agency that is charged to look after him. That agency is the local board. * * * There will be an intense need in most communities, and for a large portion of the returned soldiers in all communities, of some sort of a controlling and supervising influence. This individual welfare of the returned soldier is not exactly his moral welfare, but it is something above and beyond his economic welfare. It is not easy to describe but it is a very real thing. (National Archives. War Department, Files of Chief of Staff: Draft Boards.) The memorandum was forwarded to the Secretary of War and then on November 26 to the Director of Operations for review. It was too late, however, for this memorandum to be considered, as orders had already gone out on November 19 to begin demobilization from camps in the United States by organization or military unit, and the adoption of this traditional method had been announced by the Secretary of War and the Chief of Staff. Among the several groups that were early supporters of the localboard plan was the Vice Chairman of the War Industries Board. In a memorandum to the Chairman of the Board he said that it was his impression that the military demobilization plan just announced by the War Department was. “ one of convenience for the Army rather than one calculated to meet the demands of industry.” It was the declared policy of the War Industries Board to release materials to nonwar industries in order to stimulate peacetime activities. As this would be futile without a supply of skilled labor, the Vice Chairman proposed using the local draft boards in the demobilization of soldiers still within the United States, in accordance with “ the evident needs of industry for the immediate future.” He emphasized the need for skilled workers and recommended that such men “ experienced in food, fuel, mining, or transportation industries” be furloughed, whether here or abroad, on certificate of need from war agencies such as the Food Administration, the Fuel Administration, and the Emergency Fleet Corporation. Furlough, rather than discharge, was proposed to insure that these men would be employed where their skills were most needed. Publicity of this plan was urged “ to prevent dispersion and tend to reconstruct the nonwar industries to their former status. * * * A general plan of completing dis charge of our whole Army at point of origination through local draft boards is favored.” Throughout, the memorandum favored some constructive and expedient method of bringing the soldiers back to their places of pre-war employment and reflected a compromise with the plan for full demobilization by trade or occupation. The members of the draft boards were, of course, in favor of local demobilization. Not only did the communities want their men to come home, but farmers and business and professional men could give employment to large numbers of returned soldiers in their localities. That the proposal received wide publicity is evident from the flood of . letters, received by the War Department in its support after de 12 mobilization was in progress. These letters were forwarded to the Secretary of War from members of Congress; they came from governors and mayors, from State councils of defense, and from citizens’ com mittees. It is probable that propaganda stimulated some of the letters, but they continued to come throughout the winter of 1919, as the problem of unemployment became increasingly acute. There were legal technicalities which made it impossible for the War Department to provide for the discharged soldiers the type of transportation which would insure their movement out of the cities. Legislation passed later only partially solved this difficulty. Then, too, it was stated that the proposal would prove both costly and inexpedient, that the necessary administrative details must be carried out at larger centers. It was conceded that the use of the boards would get the men nearer their homes, but could not keep them there. “ Whether the draft boards would succeed in placing men where they had come from and keeping them there is a matter of considerable doubt. It is believed, in view of the insistent demands that men be released from the camps where the work of demobilization is now concentrated and being done systematically by trained officers and men, that if the draftboard system were considered the largely increased personnel required by dispersing the same work * * * would result in a popular demand for the return to .the system now being used.” 13 DEMOBILIZATION BY LENGTH OF SERVICE The plan of demobilization in accordance with length of service, the system finally used by Great Britain, was considered by the General Staff and rejected for valid reasons. The United States had been at war a relatively short time. Most of the overseas troops had been abroad little more than 6 months. Almost 50 percent of the emergency Army was in camps in the United States, and some of these men had been in camp only a few weeks. Others, chiefly in the Services of Supply and other services needed for the administration of the camps, had served longer than many of the troops abroad. DEMOBILIZATION BY MILITARY UNIT As already noted, the traditional method of discharge by military organization was adopted and announced to the press by the Chief of Staff on November 16— 5 days after the Armistice. This was just a month after the War Plans Division had been directed to develop plans for demobilization, and before the final formal report had been received by the Chief of Staff. There can be no doubt that the plan of discharge by military organ izations was considered by the military authorities as the method best adapted to the immediate problem. “ The decision as to the essential principles under which our Army was to be demobilized was made by the Chief of Staff in person, who determined on demobilization by units. * * * He promptly and unerringly selected from the many plans proposed the one best suited to American conditions.” 14 The 18 National Archives. W ar Department, Files of Chief of Staff: Letter to the Executive Comm ittee of the Independent Citizen’s Committee of Welcome from the Chief of Operations, December 4,191$. 14 W ar Department. Files of General Staff: Lecture on Demobilization, January 2$, 192.1. 13 chief claims made for this method were that it expedited discharge, that it insured the orderly return of troops, that large military units represented a cross section of American industrial life, and that because of its flexibility the rate of discharge could be controlled and provision could be made for special situations and individual cases. Under this method large units of men no longer needed could be dis charged en masse. Other units needed at ports of debarkation, at convalescent centers, and at cantonments, could be retained as a whole. If carried to its logical conclusion it would prevent favoritism in release of certain classes, but it could also provide for the release of certain groups needed to support the civilian economy. Demobilization was scarcely under way before complaints and requests for special treatment of individual or group cases began to pour into the War Department. The flood of discharged servicemen into the large industrial areas brought an avalanche of calls for modi fications in the demobilization program. Most of the letters dealt with one of two problems— the danger to the community of too rapid demobilization, or the need for obtaining the prompt discharge of men needed in specific industries. These complaints and the tenor of the replies reflect the haste with which the reversal from mobilization to de mobilization was undertaken and the desirability of a program from the outset which would have combined the best elements of the several policies proposed. The complaints mounted, most of them suggesting a modification of the system being used, in order to divert the dis charged soldiers away from the large cities. Many of the requests for action to ameliorate conditions came from Congressmen who were besieged by their constituents, sometimes from purely selfish motives, but more often in the interest of the com munity or of the servicemen themselves. The War Department found it difficult to answer these letters meticulously, to be consistent, and to defend the system and the results of its applications. One of its replies contained a carefully worded statement of the efforts being made to overcome the “ local short comings” , of the operations in progress: Such organizations [of citizens] which find in the large cities a congregating of ex-soldiers and other persons without employment, have, it is believed, er roneously become convinced that this crowding to the larger cities is a fault of the War Department’s system of demobilization, and that their proposed scheme of demobilization through the local draft boards would have prevented such crowding. It is believed that this opinion is entirely unjustified. Young men from the farms and rural communities have been taken from their secluded homes and isolated communities and have seen something of the world. The desire of such young men to go to large cities and seek the excitement and dis traction there to be found is a fault of human nature that cannot be overcome by legislation or War Department regulation. The fact that discharged soldiers after their discharge go to the large cities is not a fault of the War Department demobilization but has occurred in spite of careful plans taken by the War De partment to encourage soldiers to return to their homes. This phenomena [sic] of persons crowding to the large cities is not confined to the United States, but is occurring in every country that was in the war. At the completion of wars, the tendency has always been shown for soldiers returning from war to flock into the cities. * * * I have written at this length because I wished to make it clear that demobiliza tion is proceeding in accordance with a very definite and considered policy, and the War Department feels certain that as time passes and the matter is more thoroughly understood and the facts become more completely known, the country will become convinced that the demobilization was conducted in an efficient and 589906°— 44-----3 14 well-planned manner, to the best interests of the greatest number of people of the United States. (National Archives. War Department, Files of Chief of Staff: Letter to Head of the House Military Affairs Committee from Chief of Opera tions, February 25, 1919.) Another reply to a Congressional inquiry contained this under standing paragraph: Demobilization is inevitably an unpopular process, * * * The eyes of soldiers are turned from contemplation of the country's enemy to provision for their own future, and no man with human sympathies "can fail to be moved in their behalf. But for the public official entrusted with the completion of the undertaking it is a time for self-restraint and broad vision, a time to see the larger aspect steadily and to see it whole. (National Archives. War Department, Files of Chief of Staff: Letter to Senator McKellar from Secretary of War, February 3, 1919.) During the winter of 1919 the country was faced with a situation which necessitated many modifications of the original procedures for demobilization by military units. Finally, in March 1919, the War Department published an official statement, entitled “ The Army Demobilization System Reviewed and Analyzed in Order Better to Acquaint the Public with the Many Difficult Problems Arising.” 15 At that time the country was suffering from an unemployment crisis, resulting from the cancellation of war contracts for goods of no peacetime value. The analysis of the demobilization situation at tempted to explain the abrupt discharge of thousands of servicemen in the absence of a well-planned program for their reemployment, in view of the acute industrial situation. This detailed statement is, in the main, a reply to the persistent demand for the use of the draft boards for final discharge of the men. That such a necessity should have arisen leads to the conclusion that from the beginning a system of demobilization could have been used which would have incorporated the most desirable portions of each proposal. A part of this statement is a fitting conclusion to this review of the various plans proposed for demobilization of the soldiers, any one of which would have failed in some degree because of the unexpected Armistice and the delayed preparations for readjustment. This, then, is the tremendous problem that confronts us— to return to a country whose digestion for labor is not now of the best, hundreds of thousands of men without employment, not forgetting that they and their families deserve the grateful thanks of the Nation, and remaining keenly aware that their patriotism and sacrifice demand that they be given every possible recognition and favor. As the welfare of the country demanded our entry into the war, and its vigorous prosecution regardless of sacrifices, so does it seem that the welfare of the country at large demands our first consideration in the matter of demobilization. The absorption by the counlry of these returning men without disorder and without upsetting the economic life of the Nation becomes of paramount importance. The question arises— can the country digest these men best if fed into it in large contingents by discharge in certain restricted areas such as the ports of the Atlantic seaboard, or in small groups, distributed throughout the entire country in such a way that the processes of assimilation can work easily on each small group? The administration of demobilization of the soldiers is a separate story and its results must be integrated with the coordinate problem of the release of thousands of industrial workers. w U . S. Official Bulletin (Washington), March 24,1919 (p. 6). Part 2.— Early Phases o f Dem obilization The national income in 1918 was larger than in any pre-war year. About one-fourth of it went toward the expenses of running the war, but more people had been employed at higher wages than ever before. There was little advance in the incomes of salaried workers in the middle and lower income groups and their standard of living had declined as prices rose and war taxes increased, but wage earners, both skilled and unskilled, had after a lag benefited materially from steadily increasing wage levels and full employment. Wage ad vances resulted from the great demand for workers in the war produc tion areas and from a desire to allow nothing to interfere with the steady output of war goods. These wages were further enhanced by additional pay for overtime work. Aside from savings represented by war savings stamps and Liberty bonds, few of the workers in the low-income groups had made any provision against the time when abnormal wage payments would cease. Many of them had known thrift as a necessity but they had not acquired the saving habits that might have encouraged them to save from their high wartime wages. Furthermore, there was no effort to encourage the workers to save against a day of need, and neither industry nor government had assisted in the accumulation of an emergency fund. The war-making agencies proceeded upon the assumption that the war might last until 1922. Plans had been completed for accelerating the war effort. Hundreds of thousands of men anticipated an early call to the armed forces. Thousands of additional Government contracts had been negotiated. Industries were preparing for more complete conversion to production of war products. The U. S. Employment Service was expanding and making more effective its work of providing the adequate number of workers for the scattered war plants. Government controls over industry and over civilians were to be tightened. The War Labor Administration was busy with wage adjustments and settlement of labor difficulties. This concentration upon the war effort had official approval, and there was no encouragement of discussion of the problems to be faced when the war was over. However, readjustment problems engaged the minds of various groups in Government circles and in industry during the 6 months preceding the Armistice. Civilian Proposals fo r P ost-W a r Readjustments There was full agreement that there could be no return to pre-war levels of production, employment, and wages, and there was no doubt as to the industrial future beyond the months of so-called reconversion. Judgments differed, however, as to the magnitude and precise character of the post-war problems and the time span required for the swing away from production for war, through the inevitable temporary but acute period of low productivity, unemploy ment, uncertainty, and unrest, to the upswing of full production for peacetime requirements. Only a few realized the dangers inherent in short-range planning when industries began to compete for markets ( 15) 16 serving a public with relatively high and widely distributed purchas ing power. It was the immediate and transitory post-war period which provided the basis for most of the pre-Armistice considerations. There is great similarity between these proposals of 1918 and the current “ post-war planning” which has received official commendation during this war. The various proponents of a plan of action discussed different angles of the readjustment problem but there was complete unity on one point— the urgent need for an announced Federal policy supported by constructive legislation and sufficient funds to meet emergencies as they arose. It was generally conceded that the task of developing a flexible program for the employment of men and machinery, during the interim while the Government cancelled war orders and industry equipped itself for peacetime production, should be undertaken by an authoritative governmental agency, nonpartisan in character and entirely free from the pressure of wartime considerations. Without governmental action at both the Federal and State level the cost to the Nation resulting from serious interruption to production and the accompanying unemployment would be greater than the outlay for a well-conducted program for “ buffer” employment. The secretary of the Council of National Defense made the following general observations in August: It is elementary that after the war America will not be the same America. * * * New conditions and relationships create new problems for nations as well as for individuals * * *; the change will be as great in the thought and ideals of the Nation as it will be in its strictly material problems, whether these be military, commercial, or those having to do with labor. (National Archives. War Department, Files of Council of National Defense.) Economists of the War Labor Administration, who argued for the creation of an official agency to act during the readjustment period said: “ Already groups with pecuniary interests at stake are busied in studying the situation with a view of turning it to their own ad vantage.” They contended that, lacking governmental action, there would be compromise between the strongest of these interested groups, with little or no consideration of important but obscure interests. “ Unity of effort cannot be superimposed. * * * If a consistent plan is to come, it must be because those who are responsible for it are animated by a common desire, a common viewpoint, and a common willingness to merge their contributions into a common whole.” 1 With this point of view the board of directors of the United States Chamber of Commerce was in agreement. It urged upon the Presi dent Federal recognition of the problem, in order that all class interests should be subordinated to the interests of the country as a whole. The general acceptance of this proposal led many executives in the emergency war agencies to assume that certain governmental controls and restrictions would be retained during the period of cancellation of war contracts and retooling for ciyilian production. The Secretary of the Capital Issues Committee, in a memorandum of November 9, made the following statement: Industrial reconstruction after the war might be left to take its own course without governmental interference just as industrial preparation for war might have been left free but was not. The free operation of economic laws would result in wide price fluctuations, unemployment, and prolonged business depres sion. * * * There would seem to be no need therefore of any argument to * >National Archives. W ar Labor Policies Board, Keconstruction Files. 17 show that the Government must assist wherever necessary by artificially stimu lating and restraining natural economic forces. (National Archives. War Labor Policies Board, Reconstruction folder.) Another businessman of the staff of the War Labor Policies Board believed that there would be sufficient demand for consumer goods “ for a time at least,” provided there was “ a gradual reduction of war orders and carefully considered arrangement of selling prices for basic commodities. * * * In my judgment there is bound to be a period of confusion at the outset, considerable disorganization and uncertainty and at least temporary unemployment.” He felt that commodity prices which had been at a high wartime level should be decreased, and that profits of the larger organizations had been such as to warrant price reductions without the lowering of wage rates. The method in which this hard piece of work is done will have a most vital effect on the success with which demobilization and the re-introduction of demobilized labor into industry is carried out. The social atmosphere is such that * * * the inevitable reduction of the dollar wage rate should follow and not precede, in a majority of industries, reasonable reductions in market prices. (National Archives. War Labor Policies Board, Memorandum from George W. Perkins to Felix Frankfurter, November 1918.) There was, in addition to these broad approaches to the readjustment problem, considerable discussion as to the rate at which production of war goods should be discontinued. One group argued that the more gradual the rate of contract cancellation, the less critical would be the incidence of unemployment and the more readily could released work ers be reemployed. The other contention was that it would be futile to attempt to postpone the drastic changes resulting from cessation of war orders; that the more promptly contracts were cancelled the more quickly manufacturers could obtain access to raw materials, the speed ier would be the reconversion of plants and therefore the shorter the period of unemployment. There was, however, one grave defect in all of these discussions: they centered in Washington. There was no stimulation of post-war thinking at the local or community level. Although local groups had participated in wartime activities, it was not until after the Armistice that there was open discussion of reconstruction problems. With the Chief Executive engrossed first in winning the war and then in plans for the peace conference, and with little or no pressure upon members of Congress from their constituents, it is not surprising that the legisla tion which was proposed for enabling a smooth transition from war to peace died in committees with little or no public debate. Thus the country faced the post-Armistice period without help from its leaders. The abrupt advent of the Armistice found the country unprepared for the reversal of this huge program. The Federal Government had become the largest employer in the country but it gave less considera tion to the welfare of these workers, both industrial and clerical, than it would have expected from private industry. Neither the Govern ment nor industry had provided machinery for readjustment to peace time employment. Therefore, when the fighting stopped, the country was totally unprepared for the return to peacetime living. The War Department was not ready either for the discharge of the soldiers or for the discontinuance of its huge manufacturing program. The result was that the Armistice ushered in a period of uncertainty, of claims and counterclaims, and of unemployment and tension for tens of thousands of civilian workers. 18 W a r Department Program The majority of all industrial workers were directly or indirectly employed by the War Department which had, during the war, en countered all phases of the labor problem. The selection, training, and movements of about 4,000,000 men in the armed services had also been the exclusive responsibility of the War Department. When the war ended, slightly more than half of these men were in France and about 1,600,000 eligible for immediate discharge were in training camps in this country. Therefore there was centered in the War Department both the authority and the responsibility for two of the major post-Armistice transactions affecting the lives of millions of American citizens—the demobilization of the Army and the cancella tion of war contracts with the subsequent release of thousands of Workers in war plants. This agency was not prepared for either task. While it tardily made plans for the prompt discharge of the soldiers, it disavowed any responsibility for their welfare as private citizens. Later, however, it reversed this policy and cooperated in all efforts to obtain employment for those who needed assistance. During the war the Department had supported the maintenance of such standards for war workers as would aid in the continued and prompt production of supplies for the Army. Conscientious efforts were made to improve living conditions for workers in all war industries. The Secretary of War himself had said, however, that the War Depart ment had no other purpose than to see that the armies received ade quate supplies when and where they needed them. This indicated little thought for post-war adjustments. The method to be used in demobilizing the soldiers was announced soon after the Armistice, but formulation of policy had been so delayed that there was far too little time for selection and training of the administrative force required for the task. The work was ham pered still further because camps in this country were widely scattered. What is more, all early plans had been directed primarily toward the handling of men from overseas. The first order for soldier discharge was ready within a week after the Armistice and called for the release of about 600,000 men, in camps in the United States, who could no longer be of service. Actual discharge moved slowly. During No vember 45,000 men were released, about 90 percent of them during the last week of the month. During this period, the War Department was working upon a pro gram of contract cancellation. It had been agreed that the policy should be developed in consultation with such other agencies as the War Industries Board and the Department of Labor. Each major cancellation was to be reviewed as to its effect upon the industry, the worker, and the geographical location of the plants. In order to have at hand dependable information on industrial conditions and opportunities for reemployment, the U. S. Employment Service made a weekly telegraphic survey to determine the location and amount of labor surpluses or shortages. On November 12 the Secretary of War, Secretary of the Navy, and Chairman of the Shipping Board issued directions to discontinue immediately all Sunday and overtime work on Government construc tion and in Government owned or operated plants. This meant a sharp reduction, frequently as much as 50 percent, in the pay of the 19 workers. This first step in the process of the workers’ adjustment to peacetime conditions was bound to create unrest and uncertainty. Most of the wartime gains of the workers had been long overdue. They were just and right. Now, the certain markets provided by war needs were fast disappearing. However optimistic the long-time industrial future of the country, the immediate future appeared clouded. If Government restrictions were lifted, prices and the cost of living were sure to rise. Surplus workers and released servicemen would compete for available jobs. The result would be industrial strife as workers fought to retain their recent gains. The months immediately following the close of the war were certain to be as ab normal as were the feverish months of preparation for war. No legislation was available for this emergency. An Army officer said in 1921: Throughout the period of demobilization the legislative agencies left entirely to the War Department the solution of problems pertaining to the disbandment of our forces and disposition of surplus munitions. Even industrial demobiliza tion was largely affected by military policy. (Lecture at Army War College on Demobilization of Men of the Emergency Army, 1921, p. 2.) Fortunately for the employment situation, the rate of discharge of the soldiers was initially much slower than anticipated, owing in part to delay in preparation and in part to the lack of sufficient shipping space for returning the men from abroad. By December 1, the U. S. Employment Service had established offices in all camps east of the Mississippi River, to assist the men who were not returning to their old jobs to find employment. This work was hampered in more than one way. One difficulty was that the soldiers' qualification cards were based upon skills which they had when they entered the Army; many of them had received special training while in the service and were fitted for and desirous of obtaining work of a different character from that indicated on their cards. During November there was a policy of gradual tapering off of war production and although workers and employers feared the worst, actually there was little distress. The announced value of cancella tions was high but it included value of contracts on which work had not yet been begun; deliveries of finished goods, valued at about 2 billion dollars, were made in November. Manufacturers of goods suitable for civilian use continued their operations. There was great pressure from Congress upon the War Department for economy and reduction of expenditures. The Secretary of War in a letter to the Chairman of the Senate Military Affairs Committee stated on November 18 that there had already been a saving of $700,000,000 through stop orders on contracts where work had not yet been begun; cancellation of contracts in process of execution had effected a saving of more than $400,000,000; and the stopping of overtune and Sunday work was saving about $2,900,000 a day. This pressure, coupled with advice from certain industry groups and an evident desire for change in procedure on the part of responsible officers of the War Department, resulted in a change of policy and abandonment of the centralized program for tapering off production. Most of the November cancellations were for some percentage of the product rather than the whole, and many of them were for products where not more than 25 percent of the labor in the plants had been diverted to war work. The important items scheduled for early 20 cancellation were confined chiefly to cotton and woolen goods, wood products and hardware, and automotive products. There had as yet been little cancellation of contracts for products where labor was 100 percent on war work. Changes in W ar Department P olicy Events were shaping themselves into a pattern quite different from that indicated by the current public statements of Government offi cials. The judicial review of proposed cancellations delayed action beyond the wishes of the War Department. It had accepted the premise that continuance of war contracts required the use of raw materials better diverted to civilian use either here or abroad; that production of war materials with no peacetime value should be dis continued “ as speedily as is consistent with the primary consideration of labor and the industries.” There was, however, no governmental directive to implement these “ primary considerations.” On November 27 an Advisory Board on Sales and Contract Ter mination was established by the War Department. Immediately there was an abrupt change in cancellation policy, and the War De partment assumed full responsibility for cancellation. The intention was to accelerate cancellation greatly. The administrative functions were transferred to the District Offices of the Ordnance Branch, which would act upon orders from the supply bureaus. The U. S. Employ ment Service hoped that under the new procedures its regional and State directors would be able to obtain adequate information concern ing the numbers and location of workers in the plants where production was to be discontinued. The earlier method had not yielded such information. The cancellation and curtailment schedules gave no indication of the way in which labor would be affected. Schedules relating to the same class of commodity frequently lacked any state ment of labor conditions in the particular plant, the industry as a whole, or in the communities affected. Under the new plan the War Department, at the urgent request of the U. S. Employment Service, ordered its regional cancellation officers to consult with local represent atives of the Employment Service “ so that these matters of labor dislocation may be considered before the trouble is caused.” Speedy cancellation was now the order of the day; and it was comparatively easy to handle cancellation orders with expedition. However, the reconversion of plants and the reemployment of workers could not keep pace. During the first week in December thousands of curtailment and cancellation orders went out. Many* of them in cluded the phrase, “ Incur no further expense.” By December 9 these recent cancellations totaled more than 2 billion dollars. The geo graphical distribution of this slow-down in war production was approx imately as follows: Middle Atlantic States______________________________________ North Central States_____ ______ ______ ______________ ______ New England__________________ South Atlantic andSouth Central States_____________________ Western States___________________________________ Percent 38 27 21 13 1 It must be remembered that the Government’s shipbuilding program was not affected by these cancellations. 21 B e g in n in g o f Unem ployment The policy-making officers in the War Department seem to have been skeptical from the beginning concerning the seriousness of pend ing unemployment. The following statement, dated December 5, 1918, was made in a memorandum to the Chief of Staff: It is believed there is nothing to justify the prediction of hard times, industrial depression, lack of employment of large numbers of soldiers on account of the rate of discharge. * * * By the time immediate labor needs are satisfied, new construction will require the service of discharged soldiers. * * * The esti mates that there may be considerable unemployment in the future are pure guess work and there are many indications that there will be ample employment for all. It is believed the energy and resources of manufacturers and urgent need of the world for American raw materials and manufactured articles and the spirit of helpfulness displayed by the entire country will solve the question of unem ployment for discharged soldiers and other war workers without any period of extended hard times or lack of employment. (National Archives. War Depart ment, Files of the Chief of Staff: Demobilization.) This note of optimism was reflected in most of the official statements of December, and even in the President's message to Congress. The Secretary of Labor, in a press conference as late as December 17, stated that thus far there was nothing in the weekly reports on indus trial conditions “ to indicate there is any difficulty in absorbing those who are being released from military forces and war emergency institutions." It was the immediate problem of the transitionaPperiod which was the concern of those closest to the labor situation. With the cooper ation of citizens and civilian organizations including the Red Cross, and men's and women's local clubs, the U. S. Employment Service proceeded to establish in communities throughout the country offices which would provide jobs for men returning from war and from the areas where there had been emergency war work. These offices were organized and managed by local committees. The U. S. Em ployment Service acted as a clearing house, keeping the records of jobs and of men, and directing the men sent to them by local bureaus. In the meantime production under contract with the Government was being stopped so rapidly that the Employment Service, which had agreed to the decentralized control of the entire project of can cellation, complained to the War Department that its own explicit instructions to its district officers were being ignored in some areas. No advance notice of cancellations was being sent to the labor rep resentatives, and in the Ohio area laborers were being released by hundreds. Private organizations in areas where this situation existed were protesting or making suggestions for easing off army orders. One such suggestion was for converting orders for army shoes and clothing into manufacture for the civilian market, so far as materials on hand would permit. “ Thousands of firms would thus be enabled not only to keep their present labor forces over the winter but would have a definite time in which to reconstruct their commercial organi zations." In this case the records indicate some official concern, a courteous reply, but no action. In some instances, particularly in the manufacture of subsistence supplies, there was definitely a gradual transfer over from war orders to civilian production. However, it was in the plants operating entirely on munitions and war materials that there was the greatest need for some program, 589966°— 44------4 22 sponsored jointly by Government and industry, for providing em ployment for idle workers. By December 28, surpluses of labor Were mounting daily in the cities where war industries were closing down. The immediate situation was most critical in Ohio and Michigan. The South was the only section of the country where there was an increasing demand for labor resulting in large part from the continued expansion in shipbuilding. Day by day the industrial situation grew more dis tressing. All munitions centers were affected. The area of surplus labor comprised in general the States of Massachusetts, Connecticut, New York, Ohio, Michigan, and Indiana. The number of workers out of employment was increasing in these areas. Although the program for the demobilization of the soldiers was still in its formative stage, more than 600,000 men were released during December, of whom only 70,000 were men returned from overseas. About 30 percent of those released in December were demobilized in areas where workers were rapidly being released from war plants. There can be little doubt that the majority of these men returned promptly to their homes. They had not been subjected to experiences which alienated them from their environment, as had the men in the American Expeditionary Force. It was the minority which drifted aimlessly about the big cities. Although these men were not representative of the whole they did constitute a restless, roving group. Idle, and joined with unemployed and disaffected war workers, they formed a potentially dangerous element in the Nation’s life. Wise, courageous, and sympathetic solution of their problems could not result from expedient decisions of the moment; it could come only from mature consideration of operating procedures worked out well ahead of their use, with sub sidiary plans for meeting inevitable unforeseen emergencies. E m ploym ent Situation in Various Industrial A reas CONNECTICUT AREA The Bridgeport, Conn., Local Board of Mediation and Cancel lation, composed of representatives of employers and employees, appealed to the National War Labor Board on December 18 for some modification of cancellations to correct the rapid release of workers, and to “ assure a graduated decrease in the number of munitions workers employed m Bridgeport.” Connecticut was a crucial area for war production, and the abrupt cancellation of the ordnance program therefore created alarm in all business and labor groups. Great quantities of small arms and ammunition had been produced in this area which already had plants producing such materials when the United States went into the war. The Connecticut post-Armistice situation had been a matter of continual concern. The Chief of the Small Arms and Ammunition Section of the War Industries Board had submitted a memorandum on November 23 to the Director of Purchase, Storage and Traffic, the controlling cancellation agency of the War Department, in which he carefully enumerated the problems of certain localities upon cessation of war work, including the Connecticut area. He urged cooperation between the regional representatives of the Army and the industries, 23 with a view to reducing the rate of deliveries and thus maintaining employment while contractors returned to “ normal industry.” The War Department felt that industry should itself take some initiative, since it was plain that war production must cease. There is every evidence that the contractors in the Connecticut areas had been given the option to taper production gradually from January 1, 1919, to May 1,1919, giving ample opportunity for gradual release of workers. The appeal from the Connecticut Board of Media tion and Cancellation was immediately followed by a long and urgent telegram to the Secretary of War from the Governor of Connecticut stating that— War-contract suspensions are proceeding in Connecticut in an unreasonable manner and at an alarming rate which jeopardizes our whole industrial organiza tion affecting labor and capital alike. * * * Council of Defense and Employ ment Service unite in recommending first that recent large cancellations * * * be revoked for further consideration; second, that the curtailment program be modified to extend over a longer period; third, in the case of important contracts, manufacturers and Employment Service be given reasonable notice of proposed suspensions to determine effect and make readjustment; fourth, that materials under suspensions be released for commercial work and that future curtailments be made after due consideration of possible effect. The day following the release of this telegram the Clearance Officer of the U. S. Employment Service made a separate presentation to the War Department in which he stated that the Federal Employment Director for Connecticut reported that: “ Accumulated cancellations and suspensions, concerning which the Employment Service had no advance notification, have thrown out of employment more than 4,000 persons in New Haven.” Further evidence of the lack of real coopera tion between representatives of the War Department and those of the Employment Service during this period is contained in the following paragraph of this memorandum: It was the understanding that the Employment Service would be kept imme diately in touch with cancellations or curtailment. It was also the understanding that cancellations or curtailment would be made with consideration of cancella tions and curtailment already made in that district. This intent clearly is not carried out if a large number of cancellations involving the release of a great number of laborers are issued from the District Office at one time and without notification to the Employment Service. (National Archives. War Department, Purchase, Storage and Traffic File 164—Labor; from Sanford Freund to Assistant Director, Dec. 20, 1918.) These protests from various sources were passed along to cancella tion officials in the War Department. One result was a memorandum from the Chief of the Procurement Division, who admitted that there were no statistics as to the number employed on war work in Bridge port, and no information concerning the number who would be thrown out of work through suspension of contracts. He stated that the Ordnance Department was kept advised of labor conditions through out the country and considered as carefully as possible the effect of suspensions upon employment. He then said: It has been forcibly suggested to the Department by Members of Congress and Senators, that a good deal of the agitation in favor of continuing contracts on account of the labor situation was clever propaganda on the part of the con tractors who wish to continue to manufacture materials which the Government does not need, simply for profit, and considerable pressure has been exerted to force the suspension of contracts as rapidly as possible. 24 It was his judgment that it “ would have been greatly to the advan tage of the Government if it had been possible to stop the work immediately and to pay off the men, giving them 30 or 60 days7 extra wages * * * for in this way the Government would have lost only the cost of labor and would have saved vast quantities of good material.” He drew attention to the abnormally increased popula tion of Bridgeport, and stated that many of the workers would have to leave the congested area and in many cases have to accept lower wages.2 A few days later, the Assistant Secretary of War (the Director of Munitions) wrote to General Goethals, the ranking cancellation officer, urging that his office support the district offices in ascertaining the degree to which manufacturers who had been allowed to spread pro duction over a considerable period were adopting procedures which “ would best serve the interests of all concerned. The question has been raised, however, in some instances as to whether manufacturers are in fact using this discretion in a way to secure the least possible dislocation and hardship to labor.” He repeated his earlier urgent recommendation that close cooperation with the Employment Service be maintained “ so that the necessary steps can be taken for the ab sorption of the labor employed.” 3 OHIO AREA Ohio, too, was in difficulty. Cleveland, Toledo, and Dayton all were receiving orders for ordnance cancellations or curtailment. In addition, winter would bring seasonal idleness to many other workers. There was a prospect that plants might remain closed for “ at least 2 months because of lack of confidence in price of raw material and lack of commercial orders and inability to procure raw material.” Decrease in the rate of cancellation was urged. It was certain that this Ohio area was due for serious unemployment. Cancellation of contracts in many instances involved large labor forces and millions of dollars on a single contract with a single firm. Such situations are typified in the following telegram of December 19, 1918, from the Ohio office.of the Federal Employment Service regard ing the unemployment imminent in that State. We have received notice this week Cleveland ordnance division of cancellations affecting 60 firms in Cleveland. We have 6 representatives interviewing firms to ascertain number of employees that will be released. The following firms claim that if work on contracts is stopped at once, that will make releases as follows: Cleveland Steel Products, 475 men, 60 women; Cleveland Hardware, 1,000 men, 200 women; Teplar Motor, 900 men, 100 women; Brown Hoisting Machine, 1,000 men; American Multigraph, 1,000 men, 1,400 women; McMyler Interstate, 1,400 men; Winton Motor, 1,200 men, 200 women; Cleveland Variety Iron Works, 250 men: Cleveland Tannery, 125 men; Browning Co., 100 men* Hydraulic Pressed Steel, 650 men; McKinney Steel, 150 men; Cleveland Crane Engineering, 100 men; Cuyahoga Stamping, 200 men, 100 women; Cleveland Brass & Copper, 450 men; Damascus Brake Beam, 150 men; Ohio Trailer, 100 men; Lee C. Melville, 50 men. A number of other firms interviewed will continue with present force on com mercial work. Twenty-two firms, not yet interviewed, it is reported, will release approximately 5,000 men. In addition to men released by cancellation of con tracts, there are large numbers idle due to close of lake navigation season, and about 2,000 men in building trades idle. Employment officers, despite careful * National Archives. W ar Department, Purchase, Storage and Traffic File 164r—Connecticut: M em o randum from Chief of Procurement Division, N ov. 21,1918. * Idem , W ar Department, Purchase, Storage and Traffic File 164—Labor: M emorandum to General Goethals from Benedict Crowell, Dec. 26,1918. 25 Inquiry, every day are unable to secure orders for any considerable number of these unemployed workers, and report that large numbers are being turned away from the plants. Majority of these thrown out through cancellation of war con tracts from present prospects must remain unemployed for at least 2 months because of lack of confidence in price of raw material, and lack of commercial orders, and inability to procure material. Would suggest that you urge slowing down of cancellation program. Any necessary investigation should be made promptly as firms have been notified by Ordnance Department and are now start ing to release men. MICHIGAN AREA The situation was similar in Michigan. There the district ordnance branch informed the regional director of the Employment Service “ that as their orders to cancel were final they could not see any reason for discussing with us the advisability of cancelling or not cancelling orders.” Possibly the district ordnance officers gave less consideration to the labor situations arising from shut-down of plants than had been contemplated by their superiors in Washington. N E W JERSEY AREA Organized labor and organized industry of the State of New Jersey sent a joint appeal for modification of stoppage orders. They pro posed the completion of all contracts where materials had already been obtained unless the materials could be “ profitably diverted to other immediate industrial use.” They referred to “ the order re cently issued by the Government that manufacture of war supplies must cease on January 31, 1919.” The War Department replied: “ While it is necessary to discontinue the manufacture of war supplies no longer needed and absolutely useless, every effort has been made in directing such continuance to taper off in production activity to the end that labor and industry may gradually shift from war to a peace basis and unnecessary unemployment be avoided.” BUFFALO, N. Y ., AREA The effect of contract cancellations and the resulting threat of attend ant unemployment are illustrated by the experience of the Curtis Air plane Co. of Buffalo, which was one of the outstanding producers of airplanes during that period. Up to the cessation of hostilities this company, like thousands of others, was concentrating all of its energies upon increasing output. After months of expanding effort, of in creasing plant and equipment, and of meeting the problems of man power shortage, the whole program collapsed almost overnight. The Army, within 4 days after the Armistice, cancelled contracts for planes valued at approximately 50 million dollars. The indica tions were that the Navy and the Bureau of Aircraft Production would also cancel or curtail, to the amount of 13 million dollars. The company had, by November 15, dismissed about 7,000 women and it was inevitable that a large number of other employees would be dropped. These early cancellations were for the finished product. During December 1918 the company received almost 100 telegrams cancelling or limiting production on parts such as bolts, nuts, screws, gaskets, etc. In almost every case the telegram included the phrase, “ Incur no further expense.” The resulting confusion and concern can be imagined. Many of these cancellations affected the work of sub contractors, many of them outside of the immediate Buffalo district. 26 During the last week in December the U. S. Employment Service reported 10,000 unemployed in Buffalo, not including those laid off for inventory. By the middle of January this number had increased to 12,000 and the end was not yet in sight. Conditions in Small Companies It must not be forgotten that there were little firms, working on subcontracts, that were scattered about the country in places where, even though a comparatively small number of persons were thrown out of work, the whole community suffered. A typical case was that of a firm in Yonkers, N. Y., which had a prime contract with the Signal Corps for 5,000 miles of outpost wire. A Boston firm had been given a subcontract for making the cotton insulation tubes for this wire. This Boston firm then subcontracted again for cotton braiding for this insulation. What happened? On November 27 the War Department received a telegram from the Liberty Cotton Mills in Dallas, Ga., alarmed because of the cancella tion of the Boston contract. Dallas is a small town not far from Atlanta. The Liberty Cotton Mills provided employment for prac tically all the industrial workers in the town. The telegram said, “ Entire mill on this contract, and will throw 100 employees out of work. There is no other work in this town they can do. Advise if you cannot allow us to continue on this contract until we can secure other business.” The War Department asked the U. S. Employment Service to in vestigate the labor situation at the Georgia plant, and sent the follow ing telegram to the Liberty Cotton Mills: Your telegram received. In connection with War Department contracts we are doing our best to taper off production with due regard to the interests of industry and. labor and in this connection are receiving the advice and assistance of the War Industries Board and the Department of Labor. You will recognize it is impossible for us to intervene in connection with subcontracts and subcon tractors. The gist of the War Department’s telegram was really contained in the last sentence. The prime contractor m Yonkers had been notified earlier to discontinue production after “ working up goods in process.” What happened to the various subcontractors was his responsibility, and the Government was relieved of all obligation for payment on outstanding subcontracts or for the welfare of the workers.4 These situations, occurring in widely separated areas, have been told in considerable detail since they are typical of the cross currents, the misunderstandings, the honest efforts, and the various interests which must be considered in any report of the situations which existed in the crowded weeks following the Armistice. P ublic and Other Reactions and Appraisals In a guarded but fairly optimistic analysis of the business and financial situation for December 1918, the Federal Reserve Board said, in part: In general, the transition from the war to the peace basis has thus far proceeded with very considerable smoothness and with decided lack of friction. Such 4 National Archives. W ar Department, Purchase, Storage and Traffic File 164. 27 slackening of business as has occurred is described as due to conservatism and hesitation, the outcome of a desire on the part of producers to know more of public policies and the probable trend of business. Thus far the process of readjusting labor to the new conditions has caused but little inconvenience or difficulty. Labor set free in war industries has been steadily absorbed by general business, so that the principal effect thus far of the increasing free supply has been merely that of relieving a previously existing shortage. There is still an excess of demand at many points. In some places considerable numbers of employees have been dropped, but of these a part were temporary workers who had taken employment partly in order to aid war production, while many others have been promptly reemployed. Costs have altered but little, and the high expense of living has made employers feel that it was incumbent upon them to maintain wages, so far as practicable, pending distinct revision of prices for necessaries. In some cases it is reported that there is a tendency to a "settling down” upon " a higher level of prices and a higher average of wages than prevailed from some time preceding the war.” In this connection it may be noted that the combined wholesaleprice indexes of the U. S. Bureau of Labor Statistics remained un changed throughout the last quarter of 1918. However, the retail prices of cost-of-living items, which had moved steadily upward throughout the year, advancing almost 12 percent between January and December, continued their upward movement after the Armistice. The Christian Science Monitor on December 2,1918, drew attention to the profits which industrial companies had “ piled up” during the war period and stated that these profits “ should enable them to go through any ordinary period of depression.” It listed a range of earnings per share for the 4 years ending December 31, for six of the largest industrial companies. These ranged from $71.80 for General Electric to $214.35 for General Chemical. Although Congress was doing little to provide legislative authority for aiding prospective unemployment, there was almost daily debate on some phase of demobilization. Senator Chamberlain, a strong supporter of the Administration, and Chairman of the Senate Military Affairs Committee throughout the war, openly criticised the War Department for its seeming lack of policy in the demobilization of the Army and for inadequate publicity. He said that they “ had no policy and they have not let the American people know what plans, if any, they have, so that they may know how to govern themselves.” As demobilization of the troops proceeded, the lack of authority to expedite the transfer of the released servicemen out of the demobi lization centers became an increasing problem. One expedient after another was tried and the results received considerable publicity. Soldiers were given in money the cost of transportation to their homes, free to buy tickets wherever they pleased. Already they were arriving in the cities, improvident, “ broke,” away from home without work, applicants for civilian relief. It was not until February 1919— too late to avoid an unfortunate situation— that the law providing for travel allowance was changed to provide “ 5 cents per mile from place of discharge to his actual bona fide home or residence, or original muster into the service.” So the year 1918 ended on a note of uncertainty, criticism, and concern. The early months of 1919 were to be a difficult period for the American people. Part 3.— Employment Situation in 1919 Situation in W inter o f 1919 As the year 1919 opened, a sense of confusion and uncertainty per vaded the country. The strong leadership that was needed was lacking. The President was in Paris. He had delegated none of his powers. His Cabinet, which had remained unchanged throughout the war, was undergoing reorganization. The War Congress was now in “ short session.” Its members were weary. Their wartime ac complishments were almost obscured by the weight of post-war problems, to the solution of which they had contributed little or nothing. The emergency war agencies were disintegrating. The War Indus tries Board was already out of existence. In its last days it had recommended the final withdrawal of industry from war contracts not later than January 11, and announced as a policy of the Board that there would be no further effort toward price control “ unless extraordinary circumstances should arise.” The Price Fixing Com mittee continued its activities where price agreements had not yet expired. Most of the restrictions upon the prices and distribution of food had been discontinued, and the Food Administrator was in Europe organizing the work of the American Relief Administration. More than 1,000,000 soldiers had been discharged, the majority of whom had never left this country. The return of men from abroad was not yet well under way. The aftermath of curtailment and can cellation of war contracts was already in evidence. More than 6,000 firms scattered throughout the country were reporting labor conditions each week to the Department of Labor. Employment, which had been comparatively stable early in December, was now shifting toward an oversupply of labor. Labor conditions as reported to the U. S. Employment Service from 122 cities showed, for the first week in January, that 22 percent of those cities still needed additional workers, 39 percent reported an oversupply, and the employment situation was fairly well balanced in another 39 percent. During the war the incomes of many wage-earner families had doubled, tripled, and even quadrupled. Higher wage rates, longer hours, extra pay for overtime, and a greater number of earners per family had contributed to greatly increased purchasing power and led to a false sense of security. Curtailment and suspension of Govern ment work had meant an inevitable reduction in the working forces. Immediately after the Armistice the Government
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https://www.comedy.co.uk/tv/demob/cast_crew/
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en
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Demob cast and crew credits
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"Cast Crew Credits Casting List Of Actors Writer Director Producer Production Team Demob"
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[
"British Comedy Guide"
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A credits list of the actors, writers, producers, directors and other cast and crew involved in ITV1's Demob.
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en
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British Comedy Guide
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https://www.comedy.co.uk/tv/demob/cast_crew/
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Demob
TV comedy drama
ITV1
1993
6 episodes (1 series)
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3360
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https://austerityfashion.wordpress.com/2016/01/04/drab-and-ill-fitting-or-black-market-gold-how-classism-infected-our-perception-of-the-demob-suit/
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en
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Drab and ill-fitting or black market gold? How classism infected our perception of the Demob suit.
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2016-01-04T00:00:00
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Few post-war garments are more ubiquitous than the British Demob suit. The ambitious brainchild of Major-General W.W. Richards, the War Office’s Director of Clothing and Stores, Demob suits were produced to ensure returning servicemen would begin their peacetime lives well dressed. This waistcoat from the Museum of London would have formed part of a double-breasted…
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en
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https://secure.gravatar.com/blavatar/b380ed67cc6db51e0c654b87b3b5bdce37a6d01314d666f004f253d76dbb3d3e?s=32
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austerityfashion
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https://austerityfashion.wordpress.com/2016/01/04/drab-and-ill-fitting-or-black-market-gold-how-classism-infected-our-perception-of-the-demob-suit/
|
Few post-war garments are more ubiquitous than the British Demob suit. The ambitious brainchild of Major-General W.W. Richards, the War Office’s Director of Clothing and Stores, Demob suits were produced to ensure returning servicemen would begin their peacetime lives well dressed.
This waistcoat from the Museum of London would have formed part of a double-breasted three-piece suit, which was one of two available choices, the other being a single-breasted jacket with flannel trousers. Although Demob clothes do not feature manufacturer’s labels (only a label reading ‘Discharged or Demobbed Soldiers & Airmen’ and stating the size), these suits were commonly made by one of Leeds’ multiple tailoring firms, such as Burtons, although a small number were made by higher-end menswear specialists, including Simpsons. The quality of this waistcoat’s construction is clear in its fine stitching and full lining in heavy stripped cotton, comparing favourably to cheaper wholesale suits from this period that also feature in the Museum of London’s collections.
In contrast to contemporary perceptions about the uniformity of the Demob suit, the bold pink pinstripe running through the navy wool of this waistcoat exemplifies the variety of fabric choices available. Crucially, Demob suits were exempt from wartime austerity restrictions, and as such were among the first high quality men’s clothes made on a large scale since the early years of the war, something reflected in the high volume of subsequent black market Demob suits sales. Unlike earlier Utility waistcoats, this example features an extravagant four pockets rather than two, although it still omits other traditional features such as an extra buttonhole to accommodate a watchstrap. Although the production of Demob suits came at the expense of civilian clothes, the production of which had to be scaled down to save materials for Demob, their design triggered the relaxation of many austerity regulations for civilian menswear.
Government photographs of Demob processing centres reveal the surprising breadth of sartorial choice available to men. From shoes to ties, the range of goods to choose from, so says the narrator of a British Pathe newsreel on the subject, beats that to be found in ‘most civvie stores’. In contrast, there was no female version of the Demob suit. Instead, women were given cash and coupons to procure clothes. A woman discharged from the ATS, WRNS or WAAF received £12 10 shillings in cash, as well 56 clothing coupons from their unit and another 90 from the Board of Trade. Many department stores, such as Selfridges, staged Demob fashion shows for servicewomen, but with no official assistance as to where or how to obtain good quality items during a period of intense shortages, the success of the Demob clothing process for women was largely a matter of luck.
In spite of its instant familiarity, the Demob suit currently suffers from something of an unfair reputation considering its quality. While the majority of those writing critically about the suit in the contemporary press came from privileged backgrounds and were familiar with bespoke tailoring, for many working class servicemen, the Demob suit was a revelation. As such, it is little surprise that J.B. Priestly described the Demobbed man as quite literally ‘a cut above the rest of us’.
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https://karensbooksandchocolate.blogspot.com/2015/01/demobbed-coming-home-after-second-world.html
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Books and Chocolate: Demobbed: Coming Home After the Second World War by Alan Allport
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The other day, I was working at the circulation desk at the library, and a patron returned a book that I really want to read, River of ...
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https://karensbooksandchocolate.blogspot.com/favicon.ico
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https://karensbooksandchocolate.blogspot.com/2015/01/demobbed-coming-home-after-second-world.html
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https://encyclopedia.1914-1918-online.net/article/demobilization/
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en
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Demobilization
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2024-07-02T21:37:59+00:00
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The end of fighting in 1918 raised hopes for swift and equitable military demobilization amongst soldiers and civilians. The timing and nature of demobilization varied greatly, though, due to practical constraints. Colonial soldiers came last in this waiting game. Wars after the war remobilized others. Demobilization – a massive logistical process – had social, economic, and cultural dimensions. The crystallization of myths within “cultures of defeat” perpetuated wartime enmity or recast it as hatred of the treacherous “enemy within”. The 1920s, in contrast, also saw the gradual emergence of cultural demobilization and internationalism as alternative validations of wartime sacrifice and the weight of mourning.
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en
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/wp-content/themes/encyclopedia19141918/assets/img/favicon.ico
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1914-1918-Online (WW1) Encyclopedia
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https://encyclopedia.1914-1918-online.net/article/demobilization/
|
By Gearóid Barry
The end of fighting in 1918 raised hopes for swift and equitable military demobilization amongst soldiers and civilians. The timing and nature of demobilization varied greatly, though, due to practical constraints. Colonial soldiers came last in this waiting game. Wars after the war remobilized others. Demobilization – a massive logistical process – had social, economic, and cultural dimensions. The crystallization of myths within “cultures of defeat” perpetuated wartime enmity or recast it as hatred of the treacherous “enemy within”. The 1920s, in contrast, also saw the gradual emergence of cultural demobilization and internationalism as alternative validations of wartime sacrifice and the weight of mourning.
Introduction
The process of demobilization, of converting armies, societies, and nations, from a war footing to peacetime conditions, was a massive undertaking that concerned all countries that had engaged in the First World War, be they victors, vanquished, or the successor states of empires that ceased to exist as a result of the First World War. Military demobilization was itself a complex logistical task and politicized process, balancing security with the semblance of fairness in the context of an armistice in November 1918. The end of fighting remained provisional until the signature of peace treaties. This article considers demobilization in its various guises – military, social, economic, political, and cultural – and shows how contrasting contemporary priorities influenced the various forms it took. Providing an overarching interpretative framework, part 2 offers a multidimensional definition of demobilization, including how welfare policies, provision for disability, and veterans’ movements were constitutive of demobilization and of the reorientation of national life towards the post-war era in the decade that followed 1918. It also elucidates some of the commonalities and differences in the demobilization process for different belligerents and in different parts of the world. Parts 3 and 4 survey the practical realities of military demobilization for the war’s defeated and victorious sides respectively. This transversal approach, drawing on a country-by-country analysis, places military demobilization firmly in the context of the social and economic demobilizations that ran in parallel to it. An intrinsic element of demobilization in the years 1918-20 considered in this section was the simultaneous crystallization of politically-charged myths which, even if not universally shared within these nations, reflected how many returnees from war rationalized the dislocation of defeat or their frustration at an apparently hollow or dishonoured victory. Demobilization, meanwhile, was an even more ambiguous phenomenon in the “shatterzones” of European land empires where borders were in flux and “wars after the war” beckoned. Part 5 considers how applicable demobilization is as a description in these new nations, citing some suggestive cases from central and eastern Europe. The global impact of demobilization on Europe’s overseas empires is covered in part 6. Parts 5 and 6, taken together, complement the previous focus on major European states and the USA. The seventh and final part broadens the timeframe to consider the much slower process of cultural demobilization primarily through the prism of the personal itineraries of Marc Sangnier (1873-1950) and Vera Brittain (1893-1970) setting hopes for a peaceful future, which were often bound up with the new League of Nations, in the context of the 1920s.
The Multiple Definitions of Demobilization and its Chronology
In his analysis of the immediate aftermath of the war, Bruno Cabanes considers that “1919 constitutes at most a step – but only a step – in what historians now call the transition from war to peace, in French la sortie de guerre [exit from war]”. Alongside the major peace treaties and victory parades in home capitals like Paris, this transition period was also marked by waiting, grieving, and disillusionment. Referring to the impact on daily life of the state’s special powers, such as rationing and continued military service, Adam Seipp reminds us that
the apparatus of mobilization did not end with the war; it had to be dismantled over time…the machinery that sustained the war effort played a role in the lives of ordinary Europeans for a long time to come.
The chronology of demobilization is indeed variable not least as different armies allowed men go home at different speeds with knock-on effects for social and economic demobilizations. However, it is cultural demobilization – the process of unplugging men and women from the violence of war – that would in some way prove the most challenging aspect. In most cases, the war’s end acted as the high-water mark of a “war culture” based on violent hatred of the enemy. In 1920, grief was such that ideas of rehumanizing the enemy had to lie in the future, as we shall see in part 7.
The most tangible and immediate manifestation of the end of wartime was military demobilization. This was not a politically neutral technocratic exercise: even though basic logistical considerations weighed on authorities’ choices, it was also a process fraught with competing priorities and political, economic and social imperatives. The process of military demobilization took different forms in different national or imperial contexts. More detailed national cases are examined in parts 4 and 5. Some general considerations apply across the board however. Firstly, governments were not always neatly in charge: retreating armies began to disaggregate in the last stages of the war when men saw defeat as imminent. In the cases of the Russian Empire in 1917-18 and the Central Powers in 1918, soldiers themselves were the drastic agents in their own demobilization as demobilization plans were often superseded by events on the ground. State authority fell apart in dynastic empires like Austria-Hungary, blurring further the lines of legitimate authority that might supervise demobilization. Where governments were in charge, several possibilities lay open. The French and Italian armies, for example, were demobilized by age, with length of service acting as principal determinants of how quickly a worker, peasant, or bourgeois was reunited with his family. In the British case, initially at least, labour market needs took priority in the order of release of soldiers. The US army, facing the added challenge of transatlantic transportation, released men by army unit thereby prioritizing the army’s need for coherence.
In most armies, demobilization included a series of bureaucratic steps before, during, and after the transportation of men (on overcrowded trains) to clearing centres, closer to or most likely in the home country. This required quite literally re-clothing the male body with a new modest suit of clothes (save where these were rejected as too ungainly). Colonial troops of the Entente empires were made to wait longer. Everywhere, men grumbled at repetitive and delaying checks as well as at what they considered meagre demobilization allowances. Festive rituals accompanied the official return home. In the home, families tiptoed around returning husbands and fathers unsure if the war had changed them or if they were just as kind (or unkind) as before. In the moral economy of demobilization, returning soldiers were given guarantees, officially at least, that they would not be economically disadvantaged by their service to the nation, a promise that had implications for women who had taken up traditionally male employment during the war.
“Decontrol” of the economy – the relaxation of a wartime command economy – was the order of the day for liberal capitalist nations even if demobilization engendered an expansion of the welfare policies that had already begun in wartime. From unemployment to disability, Pierluigi Pironti writes, “mass society held the state responsible for the social question and the accomplishment of extensive social reforms.” From France to Poland to Portugal, securing the eight hour day was emblematic of such reform in 1918-19. Soviets aside, the major European combatant powers underwent processes of economic demobilization along capitalist lines, reversing some of the wartime erosion of the distinction between private and public economies. The United States, as the exemplary capitalist economy, experienced an abrupt economic transition in 1919 in which labour radicalism was crushed. For Germany, Gerald Feldman argues that decontrol meant opting consistently for free market economics: the Arbeitsgemeinschaft or “working partnership” model of the nascent German Republic set up a corporatist arrangement where business and organized labour cut deals in order to stabilize the capitalist system. Charles S. Maier argues that that conservative elites actually recast bourgeois Europe in the period 1919-1924, conceding just enough to organized labour to ensure its acquiescence. More recently, Adam Tooze has referred to the demobilization period as a “great deflation.” Britain and France followed the lead of the United States, their major creditor, by following a deflationary wave, cutting expenditure as much as was politically feasible in order to balance budgets. The experience was particularly drastic in Great Britain whose economy slumped in 1921: the Lloyd George government jettisoned more costly parts of its “homes fit for heroes” programme leaving voters feeling cheated. This strict retrenchment was the main driver of the restoration of a type of bourgeois economic order in 1920s Europe. Equally, beginning the decade-long reconstruction process in French and Belgian sectors of the Western Front in 1919-20 – a period of clearing and assessing damage – was integral to demobilization.
Whilst financial orthodoxy reigned supreme, economic demobilization still had to reflect the shared sacrifices of wartime so that expanded welfare programmes became integral to demobilization as a social project: the rapidly-emerging veterans’ movements demanded no less. Veterans were, in the words of French Prime Minister Aristide Briand () in 1921, “the first creditors of the nation.” With advocates like wounded veteran and lawyer René Cassin (1887-1976) and the Union Fédérale des mutilés (UF), amongst other organizations, French veterans won the “right to reparation” (“droit à réparation”) in a pensions law passed by parliament on 31 March 1919. Two purpose-designed agencies (Offices), established in 1916-17, for the care of war wounded and dependent children, co-opted recipients – veterans themselves – into state administration of its programmes. This system of rights was particularly French but the nexus between the warfare state and the welfare state was a common transnational feature of the demobilization process. Indeed, the new International Labour Organization, established in 1919, explicitly linked social justice and lasting peace.
The rehabilitation of war-related disability was a particularly sensitive issue: here were citizens whose bodies (or, in some cases, whose minds) could never fully demobilize. In the German case, the war disabled felt obliged to embarrass governments into giving them more help in achieving dignity. 2.7 million Germans had been left with some sort of permanent disability by the end of the war. The biggest new group representing German veterans was the socialist-oriented Reichsbund des Kriegsbeschädigten und ehemaligen Kriegsteilnehmer (RKK) [Reichsbund for War Wounded and Former War Combattants] founded in 1917. In December 1918 it brought Berliners face to face with the human costs of war by staging a rally of 10,000 disabled veterans and calling for better pensions which they wanted to be financed by means of taxes on war profits. Though Italy had led the way by establishing an agency for war disabled relief in 1917, it also experienced a considerable amount of left-wing veterans’ protest during demobilization with sit-ins in public buildings by disabled soldiers. Deborah Cohen’s comparative study of German and British war disabled welfare shows how the Weimar Republic conducted a much more interventionist welfare policy, in part as a legitimizing project for the new regime. However, German disabled veterans were collectively much more critical of government provision whereas the charitable model at work in Britain acted as a buffer against robust criticism of considerable state neglect.
Nor were soldiers the only group who desired to return home and get their due. Soldiers in captivity as prisoners of war (POWs) also hoped to do so. Those in German captivity benefitted from armistice terms which provided for their rapid release, prompting another rush to transport large amounts of men home, in some cases through Switzerland. German POWs sometimes waited for years to get home. Refugees and displaced people were also on the move in 1919, some never seeing home. Finally, civilian internees ceased to be “enemy aliens” but waited patiently for release. On Malta, for instance, at the British-run St. Clement’s Camp for Ottoman civilian internees, the slow process of repatriation dragged on into the early 1920s lengthening family separation to up to six years in cases. The early stages of demobilization – 1918-19, in particular – coincided with waves of public apprehension on numerous fronts over and above those previously stated. The most lethal of these challenges was the global influenza pandemic commonly referred to as the Spanish Flu. At the same time, for conservatives, another virus – Communism, as inspired by the ongoing Russian Revolution – was on the march. The French parliamentary elections of November 1919 featured a lurid anti-Communist campaign that helped to elect a centre-right Bloc National majority. Xenophobia directed at black residents informed riots in British port cities in mid-1919. The USA experienced both an anti-Communist “red scare” in 1919 but also a “Red Summer” that year when race riots swept northern cities as part of a backlash against the Great Migration of African Americans northwards, where wartime employment opportunities beckoned. Worldwide dislocation existed alongside exaltation: on the broad left, and beyond, the establishment of the new League of Nations at Geneva in 1920 held the promise of making demobilization into a prelude to permanent peace.
Demobilization Amongst the Defeated Powers
Germany
In Germany, as in other defeated powers, the process of demobilization involved most tangibly the return “home” of combatants. This coincided with (an initially bloodless) political revolution in a pattern that had parallels elsewhere amongst the Central Powers. When the armistice came into effect on 11 November 1918, it fell to the German authorities to supervise, in Richard Bessel’s words, the “demobilization of an army which had largely disintegrated.” About 1 million men had walked home in autumn 1918. For the 6 million Germans who remained under arms by early November, the armistice agreement itself accelerated the pace of demobilization in such a manner as to maximize the advantage of the Allied and Associated Powers over Germany in advance of a peace settlement. Though the official order to demobilize was not issued until 13 December 1918, Germany demobilized its army within four months of the Armistice. By mid-January all Western Front soldiers were back within the borders of Germany while the return of men from the Eastern Front took longer owing to transport problems. The men were officially demobbed by age once they reached home garrisons even if the reality was somewhat more haphazard. Unsurprisingly, thousands of weapons went missing, boding ill for the peace of the home front. With official encouragement, towns and villages decorated railway stations and streets with garlands to celebrate the return to the Heimat of an allegedly undefeated army. This fiction of being undefeated was cultivated by the military and famously repeated by Friedrich Ebert (1871-1925), the moderate socialist head of the transitional government, when he welcomed returning German troops at Berlin’s Brandenburg Gate on 10 December 1918. The self-deception, intended by Ebert to salve the wounds of defeat and to co-opt soldiers’ support for the new republic, had toxic after-effects as it lent credence to the counter-revolutionary myth of the “stab in the back” by strikers on the home front.
Meanwhile, economic realities rapidly intruded on Germans’ festive reunions. On 19 November, Joseph Koeth (1870-1936), the former War Materials Ministry official promoted to head a new Reich Bureau for Economic Demobilization issued a message to returning soldiers pleading with them to have realistic expectations about the availability of provisions when they got home. Persisting in regional guises up until 1922, the apparatus of economic demobilization in Germany made a virtue of “wriggling through”, mollifying key interest groups and thus averting social revolution. Remarkably, while Germany had to find employment for some 6 million soldiers and the 3 million employed in armaments production, a total economic disaster was averted in the short term by means of pragmatic co-operation locally and nationally between labour, business, and the state. The Stinnes-Legien agreement of 15 November 1918, a pragmatic deal between industrialists and the major trade unions, was an element of this. Unemployment spiked briefly before falling. The process of capitalist restoration and “decontrol” came at the price of conceding a key labour demand – the eight hour day, also achieved in France – and the exclusion of women workers. Peace was bought by the government, however, at the price of funding production at any cost, which contributed to the worsening deficit in German state finances.
A series of left-wing revolts marked the 1918-19 period in Germany and, when coupled with persistent misinformation from the generals and the dashing of unrealistic expectations about the peace settlement in May 1919, all these factors combined to crystallize a [“stab-in-the-back legend”] amongst a large body of German nationalist opinion. Freikorps, originally often formed out of defunct imperial units in November 1918, rose to prominence as bands of irregular soldiers, made up both of veterans and of angry younger men. Repressing left-wing violence in 1919 whilst also engaging in “small wars” on Germany’s eastern frontiers, these “non-demobilized” veterans – whose importance dwindled from March 1920 once state toleration of them ended – acted as vectors of hatred of the “enemy within”.
Austria-Hungary
The exodus of uncaptured Austro-Hungarian imperial soldiers north from the Italian front after an armistice took effect there on 4 November 1918 was chaotic rather than an orderly official demobilization. The dramatic collapse of state power in October and early November 1918 saw the Dual Monarchy dissolved into new states reflecting its variety of national groups. The Empire’s Imperial and Royal Army (k.u.k. Armee) had been composed, since 1867, of a common army along with the separate Austrian Landwehr, Hungarian Honvéd and the common imperial navy (k.u.k. Kriegsmarine). These now fractured along national lines. A crucial moment arrived when, on 24 October, Hungarian leaders appealed to Honvéd soldiers to lay down their arms and return home, effectively ending the army as a common institution of the empire. On 31 October, Charles I, Emperor of Austria (1887-1922) admitted his powerlessness by permitting all former imperial officers to accept employment from emerging nation states. Self-demobilization was the logical corollary of this turn of events. Even before the signature of the armistice with the Italians, many units of the diminished imperial army were in open revolt. Up to 400,000 fleeing imperial troops were taken prisoner in the last hours of the Italian offensive at Vittorio Veneto; 30,000 of these never saw home, dying in captivity in harsh Italian-run camps. Train transport had an anarchic air as overcrowding made for lethal accidents on the railways. Supply stores were looted while men waited. The remnant armies ran a large number of trains – taking back some 1.6 million men by mid-November even if another 460,000 Austrian troops simply walked home. Their welfare and allowances, and those of their dependents, immediately became the responsibility of the new nation-states they returned to. By 1920, food shortages, especially in Vienna, were the most dramatic expression of the economic dislocation of demobilization in the core of the former empire. International aid through the new League of Nations would help stabilize the new Austrian Republic by 1923.
Germany, Austria, and Hungary also shared a common transnational experience of paramilitary units, bent on counter-revolution through the use of redemptive violence against perceived political enemies. However, the official Austrian military history of the war did not subscribe to a Dolchstoß myth, stressing instead the tragic nobility of a doomed army in a doomed empire. Besides, the ethnic groups most resented by Austrian loyalists for alleged treachery – such as the Czechs – were gone from the national polity due to the empire’s collapse. For Austrian veterans of a German-national persuasion, the alleged culprits in internal subversion were the striking workers of “red Vienna” and Austria’s Jewish population. The Soviet Hungarian Republic of March to August 1919, meanwhile, divided Hungarians into warring Reds and Whites. The reactionary National Army under Admiral Miklós Horthy (1868-1957), which ousted the Communists, scapegoated and executed Jews. The Treaty of Trianon, signed in June 1920, reduced Hungary to about one-third of its pre-war territory and only about one-quarter of its previous population. In consequence, Hungarian nationalist grievances (common to both right and left) were projected outwards towards Romania and Czechoslovakia, and the fate of their Hungarian nationals living there, leaving little room for political or cultural demobilization.
Demobilization amongst the Entente Nations
Great Britain
The Armistice of 11 November 1918 gave Britons a moment of public jubilation, yet the first stage of demobilization at the end of 1918 – devised by the Secretary for War, Lord Alfred Milner (1854-1925) – had to be rapidly revised such was the public frustration with it. By putting industry’s needs first, Milner’s scheme prioritized some of the men who, by economic necessity, had been amongst the last to be called up. Disturbances within the British army camps at Calais and Folkestone, as well as a major demonstration drawing a crowd of 3,000 in London, ensued. After the first post-war election in December 1918, Winston S. Churchill (1874-1965) became the new Secretary for War in January 1919. Churchill reversed course and implemented a more acceptable demobilization scheme which factored in, most of all, length of service and number of wounds sustained. British forces shrank from about 3.8 million at the Armistice to around 900,000 in late 1919 and down to 230,000 by 1922. Britain enjoyed a brief period of economic buoyancy after the Armistice. Decanting so many men into the labour market increased unemployment markedly, from just 1 percent of the labour force in May 1920 to 23 percent by May 1921. Part of the social dividend of demobilization, therefore, had to be a considerable expansion of benefits for the unemployed such as “out of work donations” for soldiers and civilians. Women workers, so prized in wartime, fared less well: by May 1919, they made up around three-quarters of the unemployed. Demobilization also occasioned anxieties that the war had “brutalized” British society in general and ex-servicemen in particular. The Irish War of Independence tarnished Britain’s self-image as a peaceable nation presiding over a contented United Kingdom. The notorious “Black and Tans” auxiliary police force were seen on the British left as “a potential ‘White Guard’ or ‘Freikorps’ ready to shoot the workers, as they now shot down the Irish.” Such millenarian fears were indeed plausible but the balm of victory meant that they did not become reality within Britain itself.
France
The protracted demobilization of 5 million Frenchmen over two years from 1918-20, was part of what Bruno Cabanes calls a “mournful victory”, where the dead and the weight of loss lay heavily upon the living, both soldiers and civilians. At the level of the Council of Ministers, an Under-Secretary for Demobilization, Louis Deschamps (1878-1925), sat in government from early December 1918 to November 1919 at which point the post was abolished. By November 1919, two major phases of demobilization in the French army, the first between November 1918 and April 1919 and the second from July to September 1919, had reduced the amount of men in uniform by 2.5 million and 2 million respectively. Demobilization was halted in April 1919 in response to tensions over the final peace. The republic’s citizen-soldiers returned home on the egalitarian basis of length of service tempered by some special consideration for the fathers of larger families. The final demobilization took place in March 1921 when the youngest wartime class, that of 1919, was sent home, the men coming from the Salonika front being, for strategic reasons, amongst the last to get home. Men were regrouped by their original army and home destinations, a laborious task considering how units had been atomized by a long war. Impatient men cramped onto train wagons without straw reacted with a splurge of petty vandalism. Barring being sent to the wrong demobilization depot back in France, men were finally discharged after a last identity check, payment of allowances owed and receipt of marching orders just in case war came again to a victorious but insecure nation.
A moral economy or “economy of gratitude” operated in connection with the reintegration of soldiers into French civilian life. Symbolic compensation could include a unit being honoured before demobilization by carrying out the official liberations of villages of Alsace-Lorraine or the march into Koblenz in the Rhineland after the Armistice. A national victory parade in Paris on 14 July 1919 (though a surrogate for such a French parade in Berlin), matched with multiple local regimental homecomings, also served integrative purposes. A new law obliged employers to give returnees their old jobs back, provided they had notified their employer in writing within two weeks of demobilization. Many soldiers failed to do so. Moreover, the French economy in 1919 was itself a mutilé de guerre. The process of economic demobilization had begun in late November 1918 when the wartime Ministry of Armaments had been repurposed as the new Ministry of Industrial Reconstruction, with Louis Loucheur (1872-1931) as minister. The French state could not shrink back to the liberal economic status quo ante precisely because of the costs of reconstruction. Taxes rose at a time of inflation and currency troubles. Labour won, as elsewhere, the eight hour day in 1919 but this did not head off a large railway strike that year. Fears of internal subversion by “red” forces were particularly acute during the major strike waves of 1920: civic unions drawn from the middle classes (and especially veterans) assisted the public authorities in keeping essential services open. Prime Minister Alexandre Millerand (1859-1943) pointedly recalled 1914 by terming the new crisis a “civic battle of the Marne”. Veterans who were members of the centre-right Union National des Combattants answered the call but eschewed any drift towards paramilitary violence.
Italy
As the smallest of the so-called Great Powers on the Entente side, Italy after the war was indeed victorious though the war’s aftermath was experienced as something akin to defeat by many Italian nationalists. This highly politicized reading has tended to obscure the extent of demobilization in Italy. The process of military demobilization, which was initially chaotic, with many unfortunate soldiers not being issued with proper pension papers, began to improve in efficiency once General Enrico Caviglia (1862-1945), a commander popular with the men, became war minister in January 1919. Caviglia created a special demobilization office within the war ministry. Already, in November-December 1918, the army in the field had been reduced from 2.15 to 1.6 million men, released in four blocks. Complicating factors affecting the pace of demobilization in the Italian case included requirements that officers with civilian expertise in the domestic economy be released first. Add to that the fact that Italy had not one, but two, armies to demobilize: the field army under the high command and the territorial military under the jurisdiction of the war minister. Italy, short of money and uncertain of its new borders, resumed demobilization in June 1919. Not completed until 1921 – some men had been in uniform since the Libyan war of 1911 – overall demobilization was equitable and parting allowances were paid promptly in this second stage.
On the economic front, in 1919, both Italian industry and organized labour welcomed the dismantling of state economic controls and militarized discipline they termed the “bradature di guerra“” (“trappings of war”). The Interministerial Committee for the Resolution of the War Industries gave industrialists a generous settlement to offset incomplete war contracts. As part of a demobilization dividend, Francesco Nitti (1868-1953) – prime minister from June 1919 to June 1920 – extended social insurance against accidents and unemployment whilst also telling Italians to “consume less and produce more.” During his final term as prime minister from June 1920 to June 1921, Giovanni Giolitti (1842-1928) abolished the fixed price of bread, a policy change which marked a real watershed between war and post-war periods for ordinary Italians. Economic demobilization was marred therefore by the perception and reality of inequality. A wave of factory occupations in September 1920 and the rise of rural socialist leagues in turn encouraged the possessing classes to recruit fascist squads to restore “order”.
The crystallization of myths and of frustrations was particularly complicated in the Italian case. The Versailles treaty was taken in nationalist quarters in particular as a radical disappointment helping to feed the powerful myth of a “mutilated peace”. Already, in December 1917, veteran, journalist, and socialist turned nationalist Benito Mussolini (1883-1945) had suggested that the future of Italy lay with the aristocracy of the trenches (Trincerocrazia). By 1919, the crack-troops of the elite Arditi provided a model leadership cadre. “Arditismo Civile” was proposed in 1919 by one of its exponents, Ferruccio Vecchi (1894-1957), as a programme which would convert peacetime society to a warrior code. The rapid polarization of Italian politics in the biennio rosso normalized a cult of violence. Early fascism indeed owed as much to the mythology of the Arditi as it did to the bombastic street theatre of the occupation of Fiume, led by nationalist poet Gabriele D’Annunzio (1863-1938) in defiance of the League of Nations and the government in Rome in 1919-20.
Russian Empire/Soviet Russia
In the period of contested “dual power” between the Provisional Government and the Petrograd Soviet from February to October 1917, the determination of the Provisional Government to fight on in the war in the name of democracy ultimately helped to delegitimize it, especially after the failure of the Kerensky Offensive of June 1917. By late summer 1917, soldiers issued demands to the government for speedy demobilization. With growing violent protest in cities and on the land, discipline on the frontline broke down and Russian soldiers began to “demobilize” themselves. The rapid publication of Vladimir Ilyich Lenin (1870-1924) Decree on Peace after the Bolsheviks seized power in October 1917 led to the self-demobilization of even more units. A Congress on Demobilization sponsored by the new regime met early in 1918 after former tsarist generals were enrolled to help manage the mammoth task of demobilizing 5 million men. Yet even before the costly peace treaty dictated by Germany at Brest-Litovsk in March 1918, Soviet Russia began, on 28 January 1918, to organise a new reliable mass army of workers – the Red Army – to defend the revolution. In May-June 1918, conscription into the Red Army was introduced demonstrating the new Communist regime’s “surprising ability to re-mobilize war weary solider, workers and other supporters into large scale military forces.” Thus, fitful military demobilization could be experienced twice, in 1917-18 and in 1920-21.
In the case of Soviet Russia, economic demobilization was attempted before being reversed on account of the Civil War. On 9 December 1917, the Soviet government issued a decree for the conversion of wartime enterprises to peacetime production which resulted in job losses at defence plants in Petrograd and Moscow. In 1918, the pre-existing apparatus of wartime regulation became, in Peter Gatrell’s words, a tool for the Soviets “to appropriate and bend” to their own wishes. War Industry Committees became People’s Industrial Committees. Sovietized raw material committees (glavki) regulated inputs to factories. Alongside violent attacks on rural grain-producers, the establishment in August 1918 of the Extraordinary Commission for Supplying the Red Army ushered in the policy of War Communism. Strikingly, the First World War practice of granting exemptions from military service for skilled workers was restored. In the social realm, with the creation of the Soviet Union in 1922, veterans’ organizations for World War veterans were outlawed. Red Army veterans were the heroes. Nonetheless, as Karen Petrone argues, “throughout the entire interwar period [in the Soviet Union], World War I was de-centered rather than forgotten.” As a submerged memory, one of its limited expressions was found in early Soviet cinema, which revisited the First World War repeatedly. Victims of imperialism, disabled Russian veterans of the World War were depicted sympathetically, but were also presented as passive passengers of history, unlike the fighting proletariat who had changed its course by making the revolution triumph.
USA
With roughly 4.4 million men in uniform at the end of the war, and about 2 million of these overseas in the expeditionary force, the US government faced a logistical nightmare in organizing their return home in the face of the ravaging influenza pandemic and the requirements for ship transport. The first and comparatively easy part of demobilization had been discharging the 1.5 million men in training camps by February 1919. Relatively unprepared for demobilization, the US army adopted a policy of demobilization by unit beginning with “casuals” not attached to a particular post. Troops in England and Italy headed across the Atlantic before the main body of infantry from France did. In the meantime, men were held at hastily-constructed debarkation centres near French ports like Brest. At first, there was a strict regime of drills and target practice whilst medical checks and paperwork filled spare time. The miseries of crowded debarkation camps prompted protests and petitions from soldiers still in France such that, from February 1919, General John J. Pershing (1860-1948) followed advice to increase recreation and had special honours laid on for American units by French towns and cities. Unruly US servicemen wore out their welcome in cities like Paris, however. On 1 September 1919 the last American combat unit left France followed by the last American troops on 3 January 1920, with those from the US intervention in Northern Russia following in April 1920. The wave of unrest on the American home front in 1919 was associated in particular with labour disturbances and race riots. American veterans, such as those of the American Legion, held the government to account for veterans’ welfare, prompting Congress to pass a post-dated bonus bond to servicemen in 1924. Veterans’ consciousness also lay behind the Depression-era Bonus March in Washington, D.C. in the summer of 1932.
Successor States and Peripheries of Former Dynastic Empires
In the “shatterzones” of European dynastic empires, demobilization in fact created opportunities for returning nationalist veterans to hold onto their arms and attempt to seize as much territory as possible for their new state, or to fight for an ideological project such as Communism. A crucial practical factor was the ready availability of surplus arms in a time of rapid demobilization. In the Polish case, for example, such access to arms, augmented by the disarming of German soldiers by demobilized Polish soldiers and dedicated nationalist militias, contributed mightily to the success of the six-month Poznanian or Greater Poland Uprising of 1918-1919 which took territory off the German Reich. In Ireland and Poland, moreover, 1918-19 marked both the end and the beginning of armed conflict and transition to wars of independence, albeit ones different in nature. New mobilizations could supersede the First World War and demobilization itself. Poland fought a series of border wars up until 1921. When Poland officially completed demobilization in 1922, some 800,000 had fought in the Polish army whose nucleus came from the Polish Legion that had fought with the Central Powers for part of the war until the Oath Crisis of 1917. Larger still, however, was the number of Poles who had remained in the Russian, Austro-Hungarian, and German armies.
New nation states from Poland to Czechoslovakia to Yugoslavia valorised the role of volunteer armies who had defied the imperial overlord in wartime (just as independent Ireland would do with its founders). Nevertheless, the stark fact remained that many (often more) of their co-nationals had dutifully served and suffered in the old imperial armies of the previous regime. Central European nationalist elites deferred to volunteers such as the Czech Legion as emblematic national heroes yet practical concerns brought veterans of both types together on bread-and-butter issues of welfare. Thus, in Poland, the ZIWRP movement advocated for all Polish war invalids. Similar shared interests prevailed in the Yugoslav Association of War Invalids.
Demobilization in the Overseas Empires
Demobilization was not just a series of national experiences, but also a global phenomenon. As Robert Gerwarth and Erez Manela point out in their influential collection of essays Empires at War (2014), the war itself can only be properly understood by integrating its imperial dimension, both dynastic land-based empires in Europe and European “blue water” empires, as vital parts of a transnational history of the conflict. Gerwarth and Manela, emphasising the massive involvement of colonial troops and labour both in Europe and in colonial theatres of war, especially in Africa, cite the examples of India and Egypt in 1919, as well as the brutal repression of colonial revolts by both the French and British in the 1920s to show how demobilization challenged empires’ security and legitimacy. The infamous Amritsar massacre of 1919 in the Punjab was occasioned by defiance of curfew regulations that were still in force, precisely because the British had refused to demobilize the colonial home front and suspend special powers such as the curfew. Colonial soldiers themselves however, once home, were plunged back into “a social and political hierarchy that was profoundly more racist and rigid than that of the metropole or the army.”
Richard S. Fogarty and David Killingray, in contrast, consider unproven the case that demobilization upset the political landscape of British and French Africa and seriously undermined white prestige. The very nature of demobilization itself was unequal. French colonial troops were often paid a bonus precisely to dispel notions of equality as citizen-soldiers. Their terms of engagement meant they were committed to fighting until peace plus six months. This allowed military authorities to demobilize Frenchmen first. It also helps explain the noteworthy presence of African soldiers in the French occupation forces in the Rhineland from 1919. For Fogarty and Killingray, demobilization in British and French Africa did not produce brutalization akin to Italy and Germany precisely because the state monopoly on violence was confirmed by the war. Emblematically some (perhaps fortunate) veterans became policemen and were even more attached to the established imperial power as a result of the status, and limited material advantages, foreign service conferred upon them within their own communities. Recent in-depth case studies of political activism in French North Africa, however, have shown how demobilization contributed directly to interwar anti-imperial discontent. In the case of Algeria, a territory long integrated into France but with an unequal ranking of citizens and subjects, Dónal Hassett shows how Algerian Muslims “recognized the potential to negotiate a new form of imperial citizenship” as a concomitant of demobilization and as a dividend of wartime service. In the case of the wartime volunteer soldier-turned-Communist and Tunisian nationalist Muhktar al-Ayari (1889-1960), Chris Rominger discerns the more general emergence of radical dissenters who, disgusted at the poor recompense for their service, “expressed a profound sense of betrayal” at the hands of the French and of his more moderate countrymen. On balance, demobilization was more subtly disruptive of empire than Fogarty and Killingray consider it to have been.
Cultural Demobilization
Cultural demobilization was not alone the cooling of passions but also the inversion of the war culture. John Horne has described it as akin to “demobilizing the mind” and argues that if other types of demobilization were necessary preconditions of peace, then “cultural demobilization (or its absence) determined what type of peace it would be.” It needed time and came in fits and starts. “Sacrifice” would have to be rehabilitated so as not to be the pretext for perpetual enmity. “Cultural demobilizers” had been “mobilized” in the first place: wartime pacifists were in a somewhat different category even if, as attitudes evolved in the 1920s, the odium that had surrounded not serving in wartime declined. Pacifists could gain a more respectful hearing, if not a mass following, from their peers. In the international academic sphere, university scholars gradually and sometime painfully restored transnational networks between the previously warring camps, broken in 1914.
Horne’s chronology of cultural demobilization pivots around the Franco-German détente of the mid-1920s, though it has wider applications. In the Locarno Treaty process of 1925, French and German Foreign Ministers Aristide Briand and Gustav Stresemann (1878-1929) tried to turn the page on the bitter reparations disputes of the early 1920s and proposed reconciliation based on hard-headed realism and a heartfelt desire not to repeat the horror of war. War veteran Marc Sangnier, a French Catholic activist and Christian Democrat politician, had been out of sync with public opinion in France in January 1921 when he advocated “the disarmament of hatred” between the two nations. His Democratic International for Peace was in vogue by mid-1920s. Consciously copying German models so as to provide affordable places for French and German youths to meet, Sangnier opened the Épi d’Or youth hostel, France’s first, at Bierville outside Paris in 1929 as part of a Foyer de la Paix. Erich Maria Remarque (1898-1970) novel All Quiet on the Western Front (1928), and its 1930 Hollywood movie adaptation directed by Lewis Milestone (1895-1980) – both runaway successes – presented war as a betrayal of the young. Some, but not all, parts of public opinion (in the Anglophone world especially) came to consider the war dead as victims of war itself, rather than of the erstwhile enemy.
In her influential pacifist memoir Testament of Youth (1933), Vera Brittain, a former frontline nurse, gave a visceral evocation of personal loss in wartime. The writer spent evenings in the early 1920s engaged in League of Nations Union activism in draughty municipal halls across Britain. Reporting on her first League of Nations Assembly in Geneva in September 1923, Brittain wrote how she was “indescribably moved by a sense of a common purpose which had given its deceptive glamour to the War, and now, struggling through the anti-social hostilities of competitive nationalism, seemed almost to have reached a point where it could be mobilised in the cause of peace.” In 1936, Brittain later renounced her support for collective security – with its threat of military sanctions – in favour of the integral pacifism of the Peace Pledge Union, putting herself at odds with public opinion again during the Second World War. Many other “demobilizers”, however, ultimately supported resisting fascism with force.
Conclusion
Demobilization after the First World War involved first and foremost the massive logistical undertaking of military demobilization involving millions of soldiers, prisoners, and civilian internees. It was not only that, however. A multidimensional definition of demobilization integrating the social, economic, and cultural processes shows how the reinsertion of millions of former combatants into civilian societies was bound up with a moral economy. An “economy of gratitude” meant that issues such as welfare, regulation of the labour market, and the roles to be played by veterans as a major new social group in peacetime society were prominent. Pensions and the care of disabled soldiers formed key parts of the agenda for new veterans’ movements which prompted governments to expand and extend the wartime welfare programmes whilst removing other wartime economic controls. Military demobilization itself was not a politically neutral exercise but depended on political priorities and security needs. Whereas Entente powers demobilized over a number of years, precisely because they required the threat of force to the defeated powers to remain, the Central Powers demobilized in a matter of months in accordance with the armistice agreements. German and Austro-Hungarian demobilizations were largely improvised for this reason, coinciding with political revolutions. The protracted demobilizations of Britain, France, Italy, and the USA produced considerable impatience amongst men and their families. Soldiers from the Entente’s overseas empires returned home later than European soldiers, the whole experience capable of generating as much alienation as attachment to the imperial power. The Russian case and those of successor states of former dynastic empires such as Poland were much more ambiguous as new conflicts superseded the old. Demobilization did not become irrevocable until the signature of peace treaties. Political myths and scapegoating also crystallized in this period, especially on the defeated side. Cultural demobilization – the cultural shift to making war itself the true enemy whilst honouring the war dead – operated over a longer chronology still, being frequently contested as treasonable. The political détente between France and Germany occasioned by the Locarno Treaty of 1925 was reflected in exchanges and congresses initiated by internationalist, religious, and feminist groups. Demobilization could inculcate grievance as well as gratitude, however. Even when it disarmed soldiers, it did not always demobilize minds.
Gearóid Barry, National University of Ireland
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https://www.theskinny.co.uk/music/live-music/reviews/sxsw-music-diary-sugarmen-fizzy-blood-demob-happy
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SxSW Music Diary: Sugarmen, Fizzy Blood & Demob Happy
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Sugarmen impress and Fizzy Blood deliver a manic set that will stand out as a high point of the conference, but Demob Happy underwhelm. The Roots jam session turns away hundreds of hopefuls, highlighting the problems of Sx's unchecked growth.
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/favicon.ico
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https://www.theskinny.co.uk/music/live-music/reviews/sxsw-music-diary-sugarmen-fizzy-blood-demob-happy
|
Friday’s storm brought a chill that endures through most of Saturday, cutting down San Jacinto Boulevard and Brazos in sudden gusts, the bitterest of which we endure between 10 and 11 pm, waiting to be turned away from The Roots’ jam session at The Bud Light Factory, one of the most buzzed about shows of the week. The same sentiment runs in mumbles up and down the line: the exponential growth of the festival that started on 6th Street 29 years ago is causing problems that organisers can’t continue to ignore.
Four days of Sx have left us unevenly sunburned, scarred from a motorscooter racing mishap, and having all the spiritual wherewithal of a scooped-out cup of food truck mac and cheese – despite the residual thrill of having seen so many surprising new acts. Still, we need a generous helping of antelope and venison sausage at Banger’s on Rainey, as well as coffee served in a cup that looks like it could give us tetanus, to sally forth into Saturday. The music’s started already: the patrons of this venerable beer hall’s packed yard are entertained by local country and bluegrass acts The Boxcar Preachers and then The Cover Letter.
We spend most of my day at The British Music Embassy’s showcase at Latitude, though not before bumping into WOMPS in the Registrant’s Lounge, a small beer tent near the Austin Convention Center. We chat for a few minutes – highlights of their week, like ours, include Wednesday’s phenomenal Iggy Pop show and the frenetic Yonatan Gat.
At Latitude we're in time to catch much of Sugarmen. These Liverpudlians play songs like Plastic Ocean and It’s My Life, It’s Alright, with a sound leaning toward The Clash (they’ve worked with producer Mick Jones) and The Strokes. Their songs are simple and full of heart, and something about them reminds us of what Elvis Costello said about his crowd in the 70s: “We were just trying to play 50s music and were really bad at it.” That formula still works, and produces something new with each generation that tries it (whether they know they’re trying it or not).
Fizzy Blood’s set is the high point of the day. On at 4:40pm, these hard rockers are even more evidently looking backward while moving forward. Their buzzing guitars jostle our tonsils while frontman Benji Inkley unleashes a classic metal yowl. They cite Queens of the Stone Age and Pulled Apart By Horses as influences, but it's difficult to trace either. Fizzy Blood can pray at whatever temples they choose, but right now we're standing front and center at their (quite literally) whiskey soaked altar. So close, in fact, that one of Inkley’s kicks almost sends the notebook flying.
It’s soon evident that their antics are an organic part of their live act – they inhabit, with British punk-rock panache, the mentality that Austin band Duncan Fellows recommended yesterday. Guitarist Paul Howells stands on the sound equipment, jumps off, and crashes into bassist Ciaran Scanlon, who in turn crashes into the drums. Luckily Jake Greenway can find a pocket of relative calm in one of their versatile songs to fix his toms.
This leaves Howells with a broken string by the third tune – “typical,” he says, and Inkley lends the man his axe and directs his full attention to the mic, like a lover. Something goes wrong with his pedal board and he disconnects and plugs straight into the amp without missing a step; they chew their way through I’m No Good and Queen of Hearts the way five rock-loving wolverines would tear through the annual Nugget World Rib Eating Championship.
They’re delivered double-shots of whiskey that must be laced with adrenochrome; now drummer Greenway and bassist Scanlon have fixed their faces into ferocious open-mouthed grimaces, looking like skeleton-pale Ndeemba masks. Howells he finishes their set from on top of the bar, roadies rushing to make sure his cord doesn’t cause a glass catastrophe, while Inkley frisbees records out into the crowd.
Demob Happy, the Brighton/Newcastle quartet, have a tough act to follow, even tougher when one of the guitarists’ pedalboards conks out. But they go on gamely and replace the batteries – after all, as the guitarist’s arm tattoo reads, “It could be worse. We could be dead.” But they’re not exactly demob happy once they start – the stumble has shaken them.
Inkley, in the crowd now, is quietly singing along to most of the band’s songs, a fine endorsement but they've left us indifferent. With yellow backlights making messy coronas of their grungey mops, they’re intermittently engaging but need to move beyond the training wheels of influences that are all to obvious.
Still with a bit of a thrill in our veins from Fizzy Blood’s unexpected transfusion, we take a pleasant bike ride across the Colorado River, passing through different zones of sound – a dance party above Shiner’s, indie rock on the Handlebar’s balcony, and the Caribbean Systema Solar at the Outdoor Stage at Lady Bird Lake – ending up at the New York Times-hyped Tatsu-Ya, which justifies its reputation with some incredibly unctuous ramen.
Then, of course, we enter the valley of SxSorrow. The badges queue for The Roots’ jam was “insane” and the wristbands queue “impossible,” according to one staffer, but we take a spot in a line that folds thrice on itself in front of the venue on 4th St, before stretching down Brazos almost to 5th. The Roots’ soundcheck rattles a window next to where we're queueing; we lean in to hear ?uestlove fool around for a while. His snare sound would be distinguishable anywhere. An hour later we’ve moved from Brazos to 4th St., in front of the venue, and can hear a cover of Express Yourself, and a hot trumpet solo from David Guy. Guests (we learn over Twitter) include X Ambassadors, Tish Hyman, Marc E Bassy, Emily King, and Too Short, culminating in Big Grams – Big Boi and Phantogram.
Meanwhile fans further up fool around with an interactive Bud Light soundboard set up along the wall – amusing them but making the rest of us even less patient. I give up after about an hour into the jam – we’re waiting, we learn, not to get into the show, but to get into an overflow room where we can watch the jam on a smallish TV screen and sip one complimentary can of a brew most of us would only drink when attending a superbowl party at the house of an uncle stuck in his outdated bevvying ways – and then only to be polite, kicking ourselves for not bringing a six of a better craft brew.
The Roots jam typifies the problems with the 30 year-old Sx: it tries to be all things for all people. Badge-holders and artists alone numbered 30,208 at last year’s conference. This doesn’t include those who buy only wristbands, or hope to get into unofficial showcases, and this year’s conference was even bigger. Of 30,000 attendees, how many will want to get into a Roots jam session on a Saturday night? More than the few hundred – a paltry handful – that the Brazos Hall could hold.
Organisers need to get better at picking venues – and need to expand many of their showcases to much larger venues – while clearing up the confusion caused by badges and wristbands, VIPs, and the ability to RSVP directly to showcase-organizer months in advance. The saddest thing about missing The Roots' show was that it really wasn’t a case of old timers cruising in to steal thunder.
Big Grams came on late and only after a deluge of other acts (so many that some found them at once over- and underwhelming): this was a revolving door-show of relative unknowns, acts The Roots thought could use the exposure in front of this audience of tastemakers. That fits the original spirit of Sx, but it doesn’t fit the reality of Sx today: metastasised and many-headed. You might expect some soul-searching from the conference organisers: the key will be keeping the creative chaos but cutting down on the wait times, miscommunications, and disappointments like this.
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https://genome.ch.bbc.co.uk/schedules/service_bbc_four/2007-12-12
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en
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BBC Programme Index
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https://genome.ch.bbc.co.uk/favicon.ico
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https://genome.ch.bbc.co.uk/favicon.ico
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2007-12-12T00:00:00
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About BBC Four
BBC Four reflects arts, music and culture with an ambitious range of intellectually and culturally enriching programmes, taking an expert and in-depth approach to its subjects.
About this data
This data is drawn from the data stream that informs BBC's iPlayer and Sounds. The information shows what was scheduled to be broadcast, meaning it was/is subject to change and may not be accurate. More
About this data
This data is drawn from the Radio Times magazine between 1923 and 2009. It shows what was scheduled to be broadcast, meaning it was subject to change and may not be accurate. More
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3360
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2
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https://dbpedia.org/page/Demob_(TV_series)
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en
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About: Demob (TV series)
|
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Demob was a short-lived British comedy-drama television series, which screened for one six-episode series in 1993; It was produced by Talkback Productions in association with Yorkshire Television for ITV. The series was set in the late 1940s and early 1950s, and starred Martin Clunes and Griff Rhys Jones as two ex-army friends who decide to try to form an entertainment act, with the aim of getting work on BBC radio. The series also starred Samantha Janus, Amanda Redman and Les Dawson, Dawson posthumously.
|
DBpedia
|
http://dbpedia.org/resource/Demob_(TV_series)
|
dbo:abstract
Demob was a short-lived British comedy-drama television series, which screened for one six-episode series in 1993; It was produced by Talkback Productions in association with Yorkshire Television for ITV. The series was set in the late 1940s and early 1950s, and starred Martin Clunes and Griff Rhys Jones as two ex-army friends who decide to try to form an entertainment act, with the aim of getting work on BBC radio. The series also starred Samantha Janus, Amanda Redman and Les Dawson, Dawson posthumously. (en)
dbp:shortsummary
Disgusted with his behaviour, Janet kicks her husband out of the house and decides to take a job at the surgery working for Dr. Pollock. Hedda and Ian try to form an act without Dick, but it ends in disaster. An opportunity for Ian and Dick to earn cash by helping Lorimer with a summer camp goes awry when they meet and try to help some fellow veterans. (en)
Ian is sacked after too many late nights performing as one half of his new comedy partnership. Ian and Dick befriend beautiful dancer Hedda who is looking for her husband. Meanwhile, Dick assists shady businessman Rudy Lormier with his dealings and becomes the manager of The Blue Parrot nightclub. (en)
Deasey and Dobson get a three-week booking in Liverpool opening for comedy legend Moreton Stanley . When their routine arouses audience hatred they must enlist Hedda to assist them. Janet grows increasingly frustrated with her husband's absence when Alan comes down with chicken pox. (en)
Things heat up between Janet and her boss. Ian and Dick find a job working on a BBC Radio children's radio programme opposite a neurotic ventriloquist. While singing in a swanky new nightclub, Hedda receives some devastating news. (en)
Ian decides to stand by Dick when he discovers a shocking secret and Hedda becomes a film actress. Moreton Stanley offers Ian a job and he and Janet make a decision concerning their marriage. (en)
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https://www.comedy.co.uk/tv/demob/
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en
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British Comedy Guide
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A guide to Demob, the 1993 ITV1 TV comedy drama. Comedy drama following the attempts of two demobbed soldiers to start a new career in the theatre.
|
en
|
British Comedy Guide
|
https://www.comedy.co.uk/tv/demob/
|
Demob
TV comedy drama
ITV1
1993
6 episodes (1 series)
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0
| 11
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http://legendsmanagement.co.uk/we-represent/les-dawson/
|
en
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Legends Management
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2019-05-15T23:11:20+00:00
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Les Dawson was a much-loved English comedian, writer, musician, gameshow host and actor who is fondly remembered as the king of deadpan comedy and master of “gurning”.
|
en
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http://legendsmanagement.co.uk/wp-content/themes/legendstheme-2019/favicon/apple-touch-icon.png
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Legends Management
|
http://legendsmanagement.co.uk/we-represent/les-dawson/
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Les Dawson OBE
1931 – 1993
Les Dawson was a much-loved English comedian, writer, musician, gameshow host and actor who is fondly remembered as the king of deadpan comedy and master of “gurning”. His ‘mother in law’ jokes and seemingly effortless off-key piano playing were all part of his remarkable comedic talents.
Born in Collyhurst, Manchester to Julie and Leslie Dawson, Les was the son of a building labourer, who harboured proud ambitions for Les to pursue a career as a boxer. Les had other ideas, and on leaving school at just 14 with a love of the English language, particularly prose, he wished to be a journalist and writer.
Les was not afraid of hard work and had a varied early career. His first job was with the Co-op – first in the drapery department and then as an apprentice electrician, followed by his National Service at Catterick, Yorkshire in 1949, before embarking for Germany with the Queen’s Bay 2nd Dragoon Guards. On being demobbed, he moved to Paris, to pursue his writing career, but found himself providing entertainment playing piano in a somewhat questionable night club! Making a living as a pianist evolved into comedy when he succeeded in generating laughter by cleverly playing the wrong notes to great comic effect. On return to England, Les became an insurance salesman, and later as a door to door salesman for Hoover, selling hoovers and washing machines.
At 23 Les happened across a billboard asking for acts to audition for Max Wall at the Manchester Hippodrome. He passed the audition and moved to London to be promoted by Max, but after failing to get a strong enough foothold in the profession there, he returned to Manchester, and began tirelessly to work the Northern club circuit and engaged the audience in his unique woeful manner.
Whilst Les became rightly regarded as one of England’s funniest comics, he wasn’t an overnight success. Despite appearing on radio shows such as “Workers’ Playtime” and “Midday Music Hall”, and television appearances with Mike & Bernie Winters for ABC Television and “Comedy Bandbox”, Les, aged 36 was disillusioned. With a family to support, he was on the verge of leaving showbusiness, when he was persuaded by his wife, Meg, to audition for Hughie Green’s popular television talent show “Opportunity Knocks”. Chosen for the show, his performance was a huge hit with the studio audience and this televised appearance really kick started his career. He was then asked to appear on the ITV entertainment show “Blackpool Night Out” and he brought the house down with a storm of applause.
Following this success, with ever increasing popularity, Les appeared on numerous television and radio variety shows receiving offers for Summer Season and his first pantomime in Doncaster. In 1969 Les starred in his own television series “Sez Les”; a sketch show produced by Yorkshire Television for ITV which ran for eleven series and was a huge hit, firmly establishing Les’ reputation as a house-hold name. As part of this series Les introduced new characters; first ‘Cosmo Smallpiece’ whose catchphrase was ‘Knickers, Knackers, Knockers’ and the debut of ‘Cissie’ (played by Roy Barraclough) and ‘Ada’; inspired by the millworkers, who had a talent to lip read over the noise of the looms. ‘Cissie’ & ‘Ada’ remain affectionately and warmly remembered for adjusting their ample bosom whilst silently mouthing slightly risqué subjects, with Cissie correcting Ada’s many malapropisms.
Another legendary comedian/actor John Cleese also joined Les in ‘Sez Les’ and he and Les were often seen corpsing throughout increasingly hilarious sketches.
During this period Les was also a Team Captain on Barry Cryer’s panel show “Jokers Wild” as well as making guest appearances on “The Syd Lawrence Orchestra”, “The Golden Shot”, “Celebrity Squares”, “The Generation Game” and “The Good Old Days”.
1978 saw a move to the BBC with Les starring in the first series of “The Les Dawson Show”, the long running BBC sketch show which also saw the popular introduction of Mo Moreland (The Mighty Atom) and the Roly Polys, and also “The Dawson Watch” a spoof investigative series from its own fictional HQ providing humorous advice to the general public on various topical domestic issues. “The Dawson Watch” ran for three series between 1979 and 1980.
In addition to his prolific comedy talents, Les was a highly entertaining programme host and took over from Terry Wogan presenting the top-rated entertainment gameshow “Blankety Blank” for a successful 7 series on BBC1 and a revival of “Opportunity Knocks” in 1990.
Les had equal success on the radio and over this same period recorded his own sketch show series “Listen to Les” for BBC Radio 2.
As an actor Les starred in a series of comedy plays written by Ray Galton and Alan Simpson “Dawson’s Weekly” and was proud to appear as a ‘100-year-old grandmother’ in the Argentinian play by Roberto Cossa “La Nona”, screened on BBC2 in 1991. He subsequently went on to play ‘Moreton Stanley’ in “Demob” – a six-part drama starring Griff Rhys Jones and Martin Clunes which aired posthumously.
Les continued to appear with enormous popularity in pantomime and Summer Season throughout his career. He had great success playing the Dame – ‘Nurse Ada’ – in “Babes in the Wood” alongside John Nettles breaking box office records during its ten-week run in Manchester. He had a similar success in “Dick Whittington” in Wimbledon and Leeds.
On stage, Les played ‘Stanley Gardner’ in the Ray Cooney farce “Run For Your Wife” alongside Eric Sykes, both in the West End and during the National Tour.
Les was honoured to make a number of appearances in the “The Royal Variety Performance” shows collecting rave reviews on each appearance, and was the subject of “This is Your Life” twice (1971 and 1992). In 1992 he won the prestigious British Comedy Award for Best Variety Performer.
He fulfilled his ambition to be a published writer, and in addition to his radio, screen and stage work, produced twelve books including “Well Fared, My Lovely” and his autobiographies “A Clown Too Many”, and “No Tears for the Clown”.
Les’ life was not without sadness, no more so when he lost his first wife, Meg, in 1986 after a long battle with cancer. Together with Meg, Les had had three children, Julie, Stuart and Pamela.
Les found happiness again with new love Tracy whom he married in 1989. They were blessed with a daughter, Charlotte, in 1992, but sadly Les lost his life when Charlotte was just 8 months old following a massive heart attack – he was just 62. In the weeks leading up to his death, Les made his final appearances on “In the Psychiatrists Chair” for BBC Radio 4 and a guest television appearance on Cilla Black’s “Surprise Surprise” singing ‘I’ve Got You Babe’ with a karaoke super fan.
On 24th February 1994, friends, family, celebrities and fellow comedians gathered to honour Les’ life at a memorial service held at Westminster Abbey.
In celebrating Les’ memory the legacy lives on and many programmes have been produced posthumously including “Heroes of Comedy” and “The Unforgettable Les Dawson” for ITV, “The Many Faces of Les Dawson” for the BBC, “The Interviews” (for UKTV), “Les Dawson Forever” for ITV3, “Les Dawson: In His Own Words” for Channel 5 and most recently “Urban Myths – Les, Miserable”, a comedy special inspired by Les’ time in Paris in the 1950’s (Red Production Company for Sky Arts), “Les Dawson – The Lost Tapes” (Title Role Productions for ITV) and “Les Dawson’s Funniest Moments” (Studio Crook for Channel 5).
Perhaps one of the most notable is “Les Dawson : An Audience With That Never Was”. This one-off special was made for ITV as a fitting tribute to mark the 20th Anniversary of Les’ death using 3D hologram technology bringing his much loved life back into the studio in front of an appreciative audience.
Last year impressionist Jon Culshaw took on the role of Les Dawson in a one man play “Les Dawson – Flying High”. The play from BAFTA and Olivier Award winning writer Tim Whitnall and director Bob Golding premiered at the Edinburgh Fringe Festival before embarking on a UK Tour ending in Les’ home town of Lytham St. Annes at the Lowther Pavilion in December 2022.
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https://peaceaccords.nd.edu/accord/framework-for-a-comprehensive-political-settlement-of-the-cambodia-conflict
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en
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Framework for a Comprehensive Political Settlement of the Cambodia Conflict
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2019-08-15T19:27:12+00:00
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en
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https://peaceaccords.nd.edu/wp-content/uploads/2019/10/favicon.ico
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Peace Accords Matrix
|
https://peaceaccords.nd.edu/accord/framework-for-a-comprehensive-political-settlement-of-the-cambodia-conflict
|
1991
Minimum Implementation
“On 27 November 1991, the Party of Democratic Kampuchea (PDK) delegation arrived in Phnom Penh. It was forced to flee, however, after demonstrations against the delegation became violent, and its members were attacked” (United Nations). Despite the cease-fire agreement, opposing armies sought control over territory and rural populations before the deployment of UN peacekeepers.
According to the Cambodian Defense Ministry, Pol Pot’s army strived to extend their control over areas by attacking the position of the Cambodian army. The ministry’s press release states that at dawn on November 11, 1991, “between 200 and 300 army men of Pol Pot’s Division 785 and Son Sann faction launched an offensive against three positions of the Cambodian army in the region of Kouk Rovieng, between 9 and 12 kilometres north-west of the district seat of Stoung, Kompong Thom Province.” This suggests that a breach of the ceasefire agreement occurred. From November 10 – 14, Pol Pot’s troops (between 70 to 80 infantrymen with artillery support) attacked three positions of a garrison at Puok district in Siem Reap-Oddar Meanchey Province. These three assaults were repelled by the local irregular forces.
1992
Minimum Implementation
The cessation of hostilities did not hold. On February 28, 1992, the UN Security Council passed a resolution that strongly urged the “Cambodian parties to agree to the complete demobilization of their military forces prior to the end of the process of registration of the elections as well as to the destruction of the weapons and ammunitions deposied (sic) into the Authoriy’s custody in excess of those, if any, which may be deemed necessary by the Authority for the maintenance of civil order and national defense, or which may be required by the new Cambodian Government” (United Nations, 1992).
On May 9, 1992, the United Nations Transitional Authority in Cambodia (UNTAC) announced phase II of the ceasefire – the cantonment, disarming, and demobilization phase. UNTAC did not receive cooperation from PDK.
“In June, the Khmer Rouge refused to disarm or allow UN peacekeeping troops on the territory they controlled. KR argued that they did not want to disarm because there still were Vietnamese forces in the country. In mid-July the KR seized six villages and attacked UN helicopters. The UN Security Council at several occasions (S/RES/766 in July, S/RES/783 in October) demanded that KR comply with phase II of the Paris Agreement. On November 30th, the Security Council adopted resolution S/RES/792 imposing a trade embargo on areas under KR control. On 2 December six UN soldiers were held capture for two days by KR accused of spying” (The New York Times, 1992).
Using quotes from the Voice of the People of Cambodia, the BBC reported that ”between 23rd October 1991 and 23rd October 1992, the Khmer Rouge launched 244 shellings and 124 attacks on SOC (State of Cambodia) positions” (BBC Summary of World Broadcasts, 1992). The breaches ”resulted in 79 people and a Buddhist monk being killed and 140 others wounded” (BBC Summary of World Broadcasts, 1992). “The radio also reported that, according to sources at the SOC’s military coordination committee with the United Nations, the Khmer Rouge recently engaged in activities that violated the SOC sovereignty through their troopsÕ infiltration of zones under SOC control.”
1993
Minimum Implementation
On January 4, Prince Sihanouk, Chairman of the Supreme National Council (SNC), declared his withdrawal from the peace process and cooperation with UNTAC. He claimed that the increasing political violence against his party, FUNCINPEC (a French acronym that translates into the ‘National United Front for an Independent, Neutral, Peaceful, and Cooperative CambodiaÕ), and the failure of UNTAC to curtail this violence were main reasons for his withdrawal. After meetings with UNTAC officials, Sihanouk agreed to return to the peace process a week later. In late January, the transitional government forces launched a large-scale military offensive against the Khmer Rouge.
One of the UN Chief Administrators in Cambodia, Gerard Porcell, threatened to resign, citing the reasons for resignation as the UN’s failure to stop the violence and intimidation allegedly carried out by the Khmer Rouge and the CPP (the former government), which is short for the Cambodian People’s Party. Porcell stayed until the May 1993 election. According to the Sydney Morning Herald report from March 31, 1993, “the Khmer Rouge has refused to disarm, which has forced the UN to stop disarming other factions. Cease-fire violations occur almost daily, threatening a key stipulation of the accords that the election be politically neutral and free of intimidation and violence” (Sydney Morning Herald, 1993).
1994
Minimum Implementation
On May 28, 1994, the National Assembly delegation and the Royal Government of Cambodia issued a statement in Pyongyang that top representatives of the KOC, namely the National Assembly and the Royal Government, fully accepted the king’s proposal for a cease-fire. However, the ceasefire proposal was rejected by the Khmer Rouge.
“The Cambodian parliament adopted legislation here Thursday to outlaw the Khmer Rouge after including amendments to safeguard against human rights abuses. Interior Minister You Hokry said here Tuesday (July 5, 1994) that the authorities were still holding 14 Thai citizens in connection with a failed coup bid during the last weekend. This included the arrest of former Interior Minister Sing Song, Interior Secretary of State Sin Sen and Senior Police Officer Tes Choy. However, the alleged coup plot co-leader Prince Norodom Chakrapong, half brother of Prince Ranariddh, was allowed, through the intervention of his father, the king, to leave the country for Malaysia. The government is currently hunting two interior minister generals and an Undersecretary of State Defense Chhay Sang Yung, all three of whom may have fled to Vietnam.”
It was reported that the Khmer Rouge had committed atrocities against civilians in the last three months of the year, as part of their campaign against the government. From April through June attempts to begin peace talks were made, but they fail due to the Khmer Rouge refusal to agree to a ceasefire.
1995
Minimum Implementation
The Cambodian government had offered amnesty to members of the Khmer Rouge, which expired on January 15, 1995. According to government figures, almost 2,000 fighters had surrendered in the month prior to January. The government estimated the current strength of the Khmer Rouge was between 5,000 and 10,000 hard-core troops. There were some positive developments in August: members of the Khmer Rouge were reported to have said that they would go to Phnom Penh to lay the groundwork for negotiations with the Cambodian Government in order to end the country’s long-running civil war. The rebels, however, “agreed to the talks once the government dropped demands that a ceasefire be signed before negotiations.” A ceasefire agreement was not reached.
1996
Minimum Implementation
On August 20, a breakaway faction of the Khmer Rouge, which was based in Pailin and led by Pol Pot’s former deputy Ieng Sary, and the Cambodian army agreed to a ceasefire in territories under the rebels’ control. After some political maneuvering, the king signed a royal degree granting amnesty to the defector, Mr. Ieng, on September 16.
Though the Khmer Rouge still controlled areas of Cambodia, particularly in the north near Anlong Veng, it had lost more than half of its military strength and the area around Pailin, which was rich in natural resources, including gems and logs.
1997
Minimum Implementation
In 1997, the conflict between the
government and the Khmer Rouge continued, even though clashes became less
intense due to the fact that many KR members had defected.
There were also clashes between the two government coalition parties, the Cambodian People’s Party (CPP) government and the main faction of the FUNCINPEC. On July 7, 1997, Hun Sen, the leader of the CPP, overthrew Prime Minister Norodom Ranariddh in a brutal, bloody coup. Two days of fighting left at least 58 people dead and hundreds wounded. Ranariddh’s forces were overwhelmed. In the days following Ranariddh’s overthrow, Hun Sen’s soldiers hunted down supporters of Ranariddh’s FUNCINPEC party. Several of the victims were apparently tortured before being murdered; four of the bodyguards of Nhiek Bun Chhay, Ranariddh’s top military commander, were found with their eyes gouged out. Nhiek Bun Chhay narrowly escaped. Former Interior Minister, Ho Sok, was shot in the head while in the custody of Hun Sen’s military. In late August, “King Sihanouk joined the Association of Southeast Asian Nations (ASEAN) and Prince Ranariddh in calling for peace talks and a mutual ceasefire. Hun Sen refused, claiming the resistance fighters are law-breakers who ought to give up or be apprehended.”
1998
Intermediate Implementation
On February 27, Cambodia’s warring factions agreed to a ceasefire, ending months of fighting between Phnom Penh’s troops and the deposed co-premier Prince Norodom Ranariddh’s resistance army. This ceasefire agreement completed the first of a four step Japanese peace plan aimed at enabling the exiled prince to return to Cambodia and participate in July’s scheduled elections.
The Khmer Rouge guerrilla movement broke the ceasefire agreement between Cambodia’s two main warring political factions on Sunday, March 1, 1998, and vowed to keep fighting the Phnom Penh government. Many KR fighters that had come over to the government with the KR leadership, including Khiev Samphan, defected in December 1998. The last armed resistance ended with the capture of the last remaining KR soldiers, led by Ta Mok in December 1999.
1999
Full Implementation
In the 1997 coup, the leader of the royalist faction, Prince Norodom Ranariddh, was effectively ousted from his position as co-prime minister by rival Cambodian leader Hun Sen; also, several leaders of the royalist faction, including their military leaders, were executed. More than 5,000 of the royalist fighters who fought against Cambodian armed forces loyal to the CPP during the bloody 1997 coup officially rejoined a united military during a ceremony on Friday, February 26, 1999. The ceremony marked the final integration of the remaining royalist forces into the army. Thousands of Khmer Rouge fighters were also integrated as the guerrilla movement collapsed from mass defections. The ceasefire was finally holding.
2000
Full Implementation
The ceasefire was maintained.
1991
Intermediate Implementation
The informal meeting of the parties to the conflict took place in Jakarta on September 10, 1990. In this meeting the composition of the Supreme National Council (SNC) was finalized. The Cambodian parties present in the informal meeting agreed that the 12 member SNC would be comprised in the following way: Samdech Preah Norodom Sihanouk as President; six members from the State of Cambodia; 2 members from the Khmer People’s National Liberation Front (KPNLF); 1 member from the National United Front for an Independent, Neutral, Peaceful, and Cooperative Cambodia (FUNCINPEC); and 2 members from the Democratic Kampuchea or Khmer Rouge. Throughout the transitional period, the SNC was the legitimate body and source of authority in which the sovereignty, independence, and unity of Cambodia were enshrined.
On 20 November 1991, Hun Sen — leader of the Cambodian People’s Party (CPP) and Chairman of the State of Cambodia’s Council of Ministers — and Prince Norodom Ranariddh — Secretary-General of FUNCINPEC — signed a memorandum establishing an alliance between the CPP and FUNCINPEC, as did members of the Supreme National Council of Cambodia.
1992
Intermediate Implementation
Throughout the transitional period, the SNC continued to work as the legitimate governing body and source of authority in which the sovereignty, independence, and unity of Cambodia were enshrined.
1993
Full Implementation
Elections took place from May 23 to 28, 1993. FUNCINPEC won 58 seats in the Constituent Assembly, CPP won 51, the Buddhist Liberal Democratic Party (BLDP) won 10, and a fourth political party, the National Movement for the Liberation of Kampuchea (MOLINAKA), won 1. At the June 10 meeting of the SNC, which was presided over by Prince Norodom Sihanouk, the Special Representative of the Secretary-General issued a statement on behalf of the Secretary-General and the United Nations declaring that the elections as a whole had been free and fair. The Security Council endorsed the results of the elections with resolution 840 (1993) of June 15. However, the CPP began to make numerous allegations that electoral irregularities had occurred as the counting proceeded. It also requested that the United Nations Transitional Authority in Cambodia (UNTAC) hold new elections in seven provinces. At the June 10 meeting of the SNC, the CPP announced that it could not recognize the results of the elections and demanded an investigation of the irregularities.
Over time, the CPP softened its position. The duly elected Constituent Assembly began work on June 14, 1993. At the inaugural session, it adopted a resolution to make Prince Sihanouk Head of State retroactive to 1970, thus making the coup d’état of March 18, 1970 null and void. The Assembly gave the Prince full powers as Head of State. The following day, Prince Sihanouk proposed the formation of an Interim Joint Administration (GNPC) with Prince Ranariddh and Mr. Hun Sen as Co-Chairmen. This occurrence indicated a degree of confidence between FUNCINPEC and the CPP.
On June 16, FUNCINPEC and the CPP agreed to interim power sharing — an agreement brokered by Sihanouk. As per this agreement, all four political parties that had won representation in the Constituent Assembly would be represented in the Provisional National Government of Cambodia (PNGC). FUNCINPEC and the CPP would divide control of the major ministries, and Ranariddh and Hun Sen would serve as Co-Chairs of the PNGC and as Co-Ministers of Defense, Interior, and Public Security.
Ranariddh and Hun Sen met on June 24 to discuss the formation of the PNGC. Although they reached an agreement on the composition of the government, this agreement had not been introduced to the Assembly as of early July. FUNCINPEC, in the Council of Ministers, shared power with the CPP. Given that this was a unique circumstance it can be coded as continuation of power-sharing deals – perhaps of a different nature. (With a resolution adopted by the Constituent Assembly on June 14, 1993 to restore monarchy by making the coup of March 18, 1970 null and void, and with the departure of UNTAC on September 21, 1993, the power-sharing agreement between warring parties can be coded as “ended” in Cambodia. Since the SNC was still in place as of June 14, 1993, 1993 can be coded as a year where there was national power-sharing.)
1994
Full Implementation
Sihanouk’s proposed formation of an Interim Joint Administration (GNPC), with Prince Ranariddh and Mr. Hun Sen as Co-Chairmen of the Council of Ministers, continued into 1994.
1995
Full Implementation
Sihanouk’s proposed formation of an Interim Joint Administration (GNPC), with Prince Ranariddh and Mr. Hun Sen as Co-Chairmen of the Council of Ministers, continued into 1995.
1996
Full Implementation
Joint leadership of the government continued between FUNCINPEC and the CCP (both signatories of the Paris agreement). Power-sharing shifted dramatically in the new coalition government. The CPP never really shared power in the coalition government, but obstructed all efforts by FUNCINPEC to govern. FUNCINPEC, for its part, lacked qualified administrators. The coalition never functioned well, and over the course of the three years, it descended in an ever-worsening spiral.
1997
Full Implementation
Power-sharing between FUNCINPEC and the CPP collapsed during the July 7, 1997 coup. Hun Sen, the leader of the Cambodian People’s Party (CPP), overthrew Prime Minister Norodom Ranariddh in a brutal, bloody coup. This formally brought about the termination of the power-sharing deals, which had extended beyond 1993 — the year when the Constituent Assembly restored the monarch and UNTAC concluded its mission in Cambodia.
1998
Intermediate Implementation
In a July election, Hun Sen’s ruling Cambodian People’s Party (CPP) won 64 of parliament’s 122 seats, but was short of the number required to form a new government alone. The CPP and FUNCINPEC formed a coalition government. The CPP received 12 ministries, FUNCINPEC took 11, and two were shared, while each party appointed a deputy premier. The new government was not evenly split in terms of power; the FUNCINPEC ministries were those that largely provided social services, like education, health, culture, and women’s affairs, while the CPP ministries were those with real power, including defense, interior, finance, and information. In this new arrangement, the CPP secured control over state power. As a matter of fact, this coalition government was formed not because of provisions in the peace agreement but because of the electoral outcome.
1999
Intermediate Implementation
Multiparty elections took place in 1998. A coalition government was formed, which was different from the power-sharing provisions in the Paris Agreement.
2000
Intermediate Implementation
Multiparty elections took place in 1998. A coalition government was formed, which was different from the power-sharing provisions in the Paris Agreement.
1991
No Implementation
The United Nations Advance Mission in Cambodia (UNAMIC) became operational as soon as the Paris Agreement was signed in October 1991. Brigadier-General Michel Loridon (France), Senior Military Liaison Officer, assumed command of the military elements of UNAMIC on November 12, 1991. As agreed upon in the Paris Agreement, the involved parties had to demobilize 70 percent of their rival armies. However, as of December 1991, the UN had failed to approve a budget or decide on the strength of the force it would send to Cambodia to monitor the ceasefire and demobilization of 70 percent of the rival armies and help run the country before the UN-supervised elections.
1992
No Implementation
Demobilization was several months behind schedule. Military reform had yet to begin.
1993
No Implementation
After the May 1993 election, the new Army brought together forces previously under the control of former Prime Minister Hun Sen (i.e., the Cambodian People’s Party (CPP)), the National United Front for an Independent, Neutral, Peaceful, and Cooperative Cambodia (FUNCINPEC), and the Khmer People’s National Liberation Front (KPNLF). The Khmer Rouge fighters were not part of the new armed force, which started offensive attacks against the Khmers. The army remained unreformed and military brutality continued in secret military camps.
1994
Minimum Implementation
The Cambodian military remained the most unorganized armed force. In October 1994, Lieutenant General Proche Bunthol, a spokesman for the general staff, highlighted three main problems with regards to the importance of military reform: “The first problem we have to solve is corruption. Second, we must (be able to) give the real number of soldiers. Third, the military must work to increase security in the country” (Deutsche Presse-Agentur, 1994). In order to reform the national armed force, the government initiated a new bill to reform the army in October 1994.
1995
Intermediate Implementation
A major military reform took place in Cambodia during March 1995. The Cambodian Defense Ministry announced major cuts in its officer corps, with the number of generals slashed from around 2,000 to a number less than 200. Similarly, the number of colonels after the cuts went down from over 10,000 to 307. All 199 of the one-, two-, and three-star generals survived the reform. The reform was intended to please the major donor countries in order to spur military support.
1996
Intermediate Implementation
In June 1996, new legislation was passed that related to the neutralization of the Cambodian military. It prohibited members of political factions from holding positions in the armed forces and required that the armed forces choose between their political and military posts. It also required that the armed forces personnel give up their party positions and their seats in the National Assembly. The bill effectively neutralized the armed forces. The government was also planning on scaling down its military from about 130,000 troops to about 70,000.
1997
Intermediate Implementation
No developments observed this year.
1998
Intermediate Implementation
The new elements of the demobilization process were designed to be part of broader military reform. The demobilization process began after a pause of some years. In December 1998, Tea Banh, Co-Defence Minister, said that the government had formulated a plan to demobilize up to tens of thousands of soldiers each year.
A new integrated armed force was formed. The new integrated armed forces fought amongst themselves for two days of clashes in Phnom Penh. FUNCINPEC military leaders were executed in extrajudicial killings.
1999
Intermediate Implementation
The demobilization process was a part of broader military reform initiatives. On January 15, 1999, “the Royal Government of Cambodia announced that it would demobilize 79,000 troops – 55,000 soldiers in the Cambodian Royal Armed Forces and 24,000 policemen – over a five-year period. According to a press communiqué from the Information Ministry dated 15th January 15, 1999, Samdech Prime Minister Hun Sen submitted this proposal to the Council of Ministers’ session on the morning of January 15. The proposal was adopted at the meeting. The communiqué further said that, in order to facilitate this demobilization process, the Royal Government planned to set aside a budget to provide 1,200 dollars currency not further specified each to the demobilized personnel who would also be given vocational training in enterprises and guidance to get a job to earn a living.”
On 25 February 1999, the Cambodian government appealed to “donor countries and international financial institutions to provide 104m dollars in financial, technical and material support over the next five years for demobilizing 55,000 soldiers. Sok An, senior minister in charge of the office of the council of ministers, made the request in a statement on the opening day of a two-day donor conference in Tokyo. He also disclosed a timetable for downsizing the army, saying 11,500 soldiers would be cut in 2000, 11,000 in 2001, 20,500 in 2002 and the remaining 12,000 in 2003” (BBC, 1999). The government estimated that there were 148,000 soldiers. However, this figure was widely disputed. Upon completion of the program, the government estimated the share of defense in recurrent expenditure would be reduced from the 1998 figure of 35.8 percent to about 20 percent.
As part of the reform program, 14 military officials were promoted to the rank of brigadier-general and 23 others to the rank of major-general. The promotions were “part of the army restructuring and demobilization efforts to divert the budget from this sector to the social services.”
At a donor conference, Cambodia stated that it had discovered 15,551 “ghost” soldiers and 159,587 dependents. However, purging these individuals from the payroll has been a slow process. It was also reported that, at the end of September 1999, the number of illegal weapons confiscated consisted of 16,412 rifles, 11 land mines, and 345 hand grenades.
At a conference, it was reported that people had voluntarily turned in 5,655 rifles, 190 hand grenades, and 332 land mines, and that the government had destroyed 20,112 rifles.
More than 5,000 royalist fighters, who had broken away from the Cambodian armed forces following a bloody 1997 coup, officially rejoined the military during a ceremony held on Friday, February 26, 1999. These troops had rebelled after their leader, Prince Norodom Ranariddh, was effectively ousted as co-prime minister by rival Cambodian leader Hun Sen. The ceremony marked the final integration of rebel forces into the army. However, there was a dispute on how many royalist soldiers were integrated. Prince Ranariddh claimed to have 10,000 troops, while Hun Sen’s government claimed to have 5,011. The sides were expected to hold further talks to resolve the dispute. Thousands of Khmer Rouge fighters were integrated into the army in recent months due to the collapse of the guerrilla movement from mass defections.
2000
Intermediate Implementation
Military reform continued along with the demobilization process. “The last experimental demobilization was held in Battambang Province involving 421 troops starting from 11th July, 2000.” The World Bank was also involved in the demobilization process — it provided 15 million dollars for military demobilization in Cambodia in 2001. The World Food Program (WFP) also promised to provide rice for demobilized soldiers. “In a pilot project, the government had cut off 1,500 soldiers from government’s pay rolls while WFP had assisted. 150 kilograms of rice to each demobilized soldier.” This process was plagued by corruption, so much so that the funders decided to withhold funds.
NOTE: The World Bank awarded Cambodia a loan of 18.4 million dollars in 2001 to be used towards achieving the objective of military reform. The program would involve the demobilization of some 30,000 soldiers. “This DDR process only affects people who have already been integrated into the armed forces, and is aimed at leaving troop numbers at between 70,000 and 80,000. Reform of the armed forces has been delayed by mistakes committed during the DDR process and by a lack of sufficient funding. The reforms that remain to be implemented will have to deal with the demobilization of a number of inactive troops and a larger number of officers. The World Bank calculated in 1991 that DDR would lead to a saving of 10.3 million dollars a year in military spending. However, in October 2006, Government approved the compulsory military service, against the Armed Forces reduction plans, justified by the high unemployment level of young people in the country.” By 2006, Cambodia still had 110,000 soldiers, which were expected to be downsized to 70,000 in the future.
1991
No Implementation
The United Nations Advance Mission in Cambodia (UNAMIC) became operational as soon as the Paris Agreement was signed in October 1991. Brigadier-General Michel Loridon (France), Senior Military Liaison Officer, assumed command of the military elements of the United Nations Advance Mission in Cambodia (UNAMIC) on November 12, 1991. As agreed on in the Paris agreement, parties had to demobilize 70 percent of the rival armies. But as of December 1991, the UN had failed to approve a budget or decide on the strength of the force it would send to Cambodia to monitor the ceasefire and demobilization of 70 percent of the rival armies and to help run the country before the UN-supervised elections.
1992
Minimum Implementation
The UN force was carrying out reconnaissance throughout the country to prepare for the containment of those troops who would not be demobilized. Containment was expected to take place in early June and demobilization shortly thereafter. As of September 1992, the Khmer armed group remained intact while the rival armies of the two non-communist factions had broken up in anticipation of UN-supervised demobilization. The demobilization was several months behind schedule.
Following the beginning of phase II on June 13, 1992, the United Nations Transitional Authority in Cambodia (UNTAC) was to have completed the regrouping and cantonment process within four weeks — that is, by July 11. The process was expected to disarm and demobilize 70% of the country’s estimated 200,000 soldiers. As of July 10, of the estimated 200,000 troops, the numbers of cantoned troops were as follows: CPAF, 9,003; ANKI, 3,187; KPNLAF, 1,322 [G1] . However, reflecting the PDK’s position of non-cooperation, no NADK troops were cantoned. “As for the cantonment process, which had begun in June with the declaration of phase II, some 55,000 troops of the three participating factions, or approximately a quarter of the estimated total number of troops, entered the cantonment sites and handed over their weapons. This process, however, had to be suspended, due to the non-compliance by PDK and the deterioration of the military situation. Some 40,000 cantoned troops were subsequently released on agricultural leave, subject to recall by UNTAC” (United Nations).
1993
Minimum Implementation
The demobilization and disarmament process was suspended. With the Khmer Rouge’s refusal to respect the terms of “Phase Two,” the other factions stopped disarming and, in most cases, called their demobilized men back into service. A new Cambodian armed force comprised of the CPP, FUNCINPEC, and KPNLF armies was formed. The demobilization process was terminated without implementation.
1994
Minimum Implementation
With the formation of a new armed force, the demobilization process terminated without implementation.
1995
Minimum Implementation
No developments observed this year.
1996
Minimum Implementation
No developments observed this year.
1997
Minimum Implementation
No developments observed this year.
1998
Minimum Implementation
The demobilization process began after a pause of some years. In December 1998, Tie Banh, co-defense minister, said that the governments had formulated a plan to demobilize up to tens of thousands of soldiers each year.
1999
Minimum Implementation
The demobilization process began gradually. On January 15, 1999, “the Royal Government of Cambodia announced that it would demobilize 79,000 troops – 55,000 soldiers in the Cambodian Royal Armed Forces and 24,000 policemen – over a five-year period. According to a press communiqué from the Information Ministry dated 15th January (1999), Samdech Prime Minister Hun Sen submitted this proposal to the Council of Ministers’ session on the morning of 15th January. The proposal was adopted at the meeting. The communiqué further said that, in order to facilitate this demobilization process, the Royal Government planned to set aside a budget to provide 1,200 dollars currency not further specified each (sic) to the demobilized personnel who would also be given vocational training in enterprises and guidance to get a job to earn a living” (BBC, 1999).
On February 25, 1999, the Cambodian government “appealed donor countries and international financial institutions to provide 104m dollars in financial, technical and material support over the next five years for demobilizing 55,000 soldiers. Sok An, senior minister in charge of the office of the council of ministers, made the request in a statement on the opening day of a two-day donor conference in Tokyo. He also disclosed a timetable for downsizing the army, saying 11,500 soldiers would be cut in 2000, 11,000 in 2001, 20,500 in 2002 and the remaining 12,000 in 2003” (BBC, 1999). The government estimated that there were 148,000 soldiers. However, this figure was widely disputed. Upon completion of the program, the government estimated that the share of defense in recurrent expenditure would be reduced from the 1998 figure of 35.8 percent to about 20 percent.
As part of the reform program, 14 military officials were promoted to the rank of brigadier-general and 23 others to the rank of major-general. The promotions were “part of the army restructuring and demobilization efforts to divert the budget from this sector to the social services” (BBC, 1999).
At a donor conference, the Cambodian government stated that it had discovered 15,551 “ghost” soldiers and 159,587 dependents. However, purging these individuals from the payroll has been a slow process. It was also reported that, at the end of September 1999, the number of illegal weapons confiscated consisted of 16,412 rifles, 11 land mines, and 345 hand grenades. In a conference it was stated that people had voluntarily turned in 5,655 rifles, 190 hand grenades, and 332 land mines, and that the government had destroyed 20,112 rifles.
2000
Minimum Implementation
“The last experimental demobilization was held in Battambang Province. It involved 421 troops and began on the 11th of July, 2000” (BBC, 2000). The World Bank was also involved in the demobilization process. It provided $15 million dollars for military demobilization in Cambodia in 2001. The World Food Program (WFP) had also promised to provide rice for demobilized soldiers. “In a pilot project, the government had cut off 1,500 soldiers from government’s pay rolls while WFP had assisted 150 kilograms of rice to each demobilized soldier” (Xinhua, 2000). Even if the experimental demobilization ended, there were efforts to demobilize soldiers from the Royal Cambodian Army and downsize the armed force.
NOTE: The World Bank awarded Cambodia a loan of 18.4 million in 2001 to be put toward achieving the objective of military reform in Cambodia. The program would involve the demobilization of some 30,000 soldiers. “This DDR process only affects people who have already been integrated into the armed forces, and is aimed at leaving troop numbers at between 70,000 and 80,000. Reform of the armed forces has been delayed by mistakes committed during the DDR process and by a lack of sufficient funding. The reforms that remain to be implemented will have to deal with the demobilization of a number of inactive troops and a larger number of officers. The World Bank calculated in 1991 that DDR would lead to a saving of 10.3 million dollars a year in military spending. However, in October 2006, Government approved the compulsory military service, against the Armed Forces reduction plans, justified by the high unemployment level of young people in the country” (ECP). By 2006, Cambodia still had 110,000 soldiers, which someone said would be downsized to 70,000 in month or year.
1991
Minimum Implementation
Just before the signing of the agreement, “the Hun Sen government released 1,034 prisoners, including what the Cambodian government news agency described as 442 political prisoners and 483 prisoners-of-war in early October. Cambodia’s most prominent political prisoner, Ung Phan, Cambodia’s former minister of transport who was detained in May 1990 for trying to form a new political party, was released on October 17” (Human Rights Watch, 1992).
After the signing of the peace agreement on October 23, 1991, the political situation improved but the State of Cambodia (SOC) did not stop holding political prisoners. The Cambodian Deputy Interior Minister, Sin Sen, said on November 13 that the government in Phnom Penh was holding close to 1,000 political prisoners. AFP cited the minister as saying that political prisoners would be released “soon”, as long as they “did not create any loss or destruction against the people.” However, it was hinted that POWs might not be freed.
1992
Intermediate Implementation
“In late 1991, the Phnom Penh government began releasing hundreds of political prisoners, even though it resisted supervision by the International Committee of the Red Cross until January 1992. UNTAC has now established access to both civilian and military prisons, and a Prison Control Commission has been established on UNTAC’s recommendation to oversee prison conditions and review the basis for detention of all prisoners in government custody. The government has also agreed to end abusive practices such as prolonged shackling and dark cells, and the World Food Program is preparing to provide emergency subsistence rations to all prisoners in Phnom Penh jails. However, the discovery of several clandestine SOC detention centers in and around Battambang in mid-1992 raised concerns about the SOC’s commitment to these reforms” (Human Rights Watch, 1993).
“UNTAC had no regular access to prisons maintained by the other Cambodian factions. There were widespread reports of summary executions of prisoners in the custody of the various military factions, including the KPNLF and FUNCINPEC. The Khmer Rouge claimed to maintain no prisons, and instead turned its prisoners over to Thai authorities, but lack of access to Khmer Rouge areas made that claim impossible to verify” (Human Rights Watch, 1993).
1993
Full Implementation
“In the latter half of 1993, for the first time in decades, there were no political prisoners being held in Cambodia, except possibly persons detained in Khmer Rouge areas” (U.S. Department of State, 1994). “Cambodia Human Rights Practices, 1993,” U.S. Department of State, January 31, 1994, accessed July 30, 2010, http://dosfan.lib.uic.edu/ERC/democracy/1994_hrp_report/94hrp_report_eap…
1994
Full Implementation
“Although the practice of holding political prisoners, common under the SOC, has all but disappeared, there were a few cases in which persons were detained for political reasons. Newspaper editor Nguon Non was detained in July on national security charges and released in August pending trial; there is widespread speculation that he was arrested because the Government disapproved of his coverage of the July coup attempt (see Section 2.a.). A human rights worker for the NGO Adhoc in Prey Veng province was detained from November 1993 to February 1994 under an antiterrorism law; his alleged act of ‘terrorÔ was that he created instability and chaos by encouraging villagers to reclaim their property. Human rights groups believe his detention was an act of retaliation on the part of local authorities who suspected him of being the source of a news article describing the corrupt handling of land disputes by officials. Human rights observers also believe that several prisoners held in various areas on suspicion of being Khmer Rouge members were detained for political reasons” (U.S. Department of State, 1995). “Cambodia Human Rights Practices, 1994,” U.S. Department of State, February 1995, accessed July 30, 2010, http://dosfan.lib.uic.edu/ERC/democracy/1994_hrp_report/94hrp_report_eap…
1995
Full Implementation
According to the US State Department’s country report on human rights practices, there was no report of political prisoners in 1996. “Cambodia Human Rights Practices, 1995,” U.S. Department of State, March 1996, accessed July 30, 2010, http://dosfan.lib.uic.edu/ERC/democracy/1995_hrp_report/95hrp_report_eap…
1996
Full Implementation
According to the US State Department’s country report on human rights practices, the Cambodian “government often arrests persons on questionable criminal charges, usually drug trafficking or espionage, when their actual ‘offensesÕ are political” (U.S. Department of State, 1997). “Cambodia Report on Human Rights Practices for 1996,” U.S. Department of State, January 30, 1997, accessed July 30, 2010, http://www.state.gov/www/global/human_rights/1996_hrp_report/cambodia.ht…
1997
Full Implementation
According to the US State Department’s country report on human rights practices, in 1997 “there was at least one political prisoner. In a flawed September trial, Khmer Nation Party official Srun Vong Vannak and two others were sentenced to prison for their alleged roles in the November 1996 murder of Kov Samuth, the brother-in-law of Mrs. Hun Sen” (U.S. Department of State, 1998). “Cambodia Report on Human Rights Practices for 1997,” U.S. Department of State, January 30, 1998, accessed July 30, 2010, http://www.state.gov/www/global/human_rights/1997_hrp_report/cambodia.ht…
1998
Full Implementation
According to the US State Department’s country report on human rights practices, there was no report of political prisoners in 1998. “Cambodia Report on Human Rights Practices for 1998,” U.S. Department of State, February 26, 1999, accessed July 30, 2010, http://www.state.gov/www/global/human_rights/1998_hrp_report/cambodia.ht…
1999
Full Implementation
According to the US State Department’s country report on human rights practices, there was no report of political prisoners in 1999.
2000
Full Implementation
According to the US State Department’s country report on human rights practices, there was no report of political prisoners in 2000.
1991
No Implementation
With the signing of the Paris Agreement in October 1991, restrictions on freedom of association were lifted and it became possible to establish human rights monitoring organizations. Other human rights components were not implemented in 1991 due to the fact that the United Nations Transitional Authority in Cambodia (UNTAC) was yet to be established in Cambodia. UNTAC would have the responsibility of fostering an environment in which respect for human rights and fundamental freedoms were ensured and where free and fair elections might take place during the transitional period.
On November 21, 1991, a tripartite memorandum of understanding was reached between the Thai government, the Supreme National Council (SNC), and the United Nations High Commissioner for Refugees (UNHCR). This memorandum related to the repatriation of Cambodian refugees and displaced persons from Thailand. Thailand’s cooperation was essential in the safe and orderly return of all Cambodian refugees and displaced persons to their homeland. The return of refugees and displaced persons was perceived as an essential element of the peace process. It was essential that these Cambodians be given the opportunity to take part in the Constituent Assembly election and in the building of the Cambodian nation.
1992
Intermediate Implementation
On April 20, 1992, the Khmer Rouge, together with the leaders of Cambodia’s three other mutually hostile factions, signed two international covenants that committed them to far-reaching respect for human rights. The Supreme National Council then ratified the International Covenant on Civil and Political Rights and on Economic, Social and Cultural Rights. On September 10, the SNC agreed to accede to the Convention against Torture and Other Cruel, Inhuman or Degrading Treatment or Punishment; the International Convention on the Elimination of All Forms of Discrimination against Women; the Convention on the Rights of the Child; and the Convention and Protocol relating to the Status of Refugees.
“The Paris Agreements gave UNTAC the responsibility during the transitional period for fostering an environment in which respect for human rights and fundamental freedoms were ensured and where free and fair elections might take place” (United Nations).
“The UNTAC human rights component was active in three broad areas. First, it encouraged SNC to adhere to relevant international human rights instruments and undertook a review of the existing judicial and penal systems in the light of international provisions. Secondly, it conducted an extensive human rights information and education campaign in close cooperation with the Information/Education Division of UNTAC. Thirdly, it investigated human rights-related complaints and took corrective measures where necessary. Human rights officers were progressively deployed in all 21 provinces in Cambodia, including in the zones controlled by FUNCINPEC and KPNLF. However, the component had no access to the zones controlled by PDK” (United Nations).
“UNTAC developed a human rights education programme with particular reference to teacher training, dissemination of relevant international instruments, education of health professionals, training of public and political officials and support for local human rights organizations. Educational materials, posters, leaflets, stickers and other printed materials were disseminated throughout the country. Human rights training was introduced into the Cambodian education system, and human rights studies were incorporated in the curriculum of Phnom Penh University’s Law School and Medical Faculty. Collaboration with local human rights organizations was an important aspect of UNTAC’s work. UNTAC provided them with materials, training and expertise as well as small grants for basic office expenses. It organized an International Symposium on Human Rights in Cambodia from 30 November to 2 December 1992, and conducted a special course for human rights advocates, including a training programme on United Nations human rights procedures and a special training programme dealing with human rights issues in the electoral process. One of the most important things that happened during this time period was the growth of civil society organizations like Cambodian League for the Promotion and Defense of Human Rights (Licado), Cambodia Human Rights and Development Association (Adhoc) and center for Human Rights. These civil society organizations, however, were largely funded by international actors” (United Nations).
“As part of the effort to promote the development of an independent judiciary, a major programme of training for judges, defence lawyers and public defenders was initiated. Training sessions for officials of the existing administrative structures and professional or activist groups were undertaken in almost every province. Participants included representatives of political parties, members of human rights associations, teacher trainees, justice officials and police. UNTAC closely monitored conditions of detention in civil prisons throughout Cambodia and pressed local authorities to improve the situation to the extent possible within the means available to the prison administration. It investigated all cases of prisoners whose detention might be politically motivated” (United Nations).
1993
Intermediate Implementation
As the Khmer Rouge resumed the guerilla insurgency, the human rights situation became worse. Ethnic Vietnamese in Cambodia were frequently targeted by the Khmer. Regarding violence against ethnic Vietnamese in Cambodia, UNTAC and the person in charge of human rights in Cambodia said that the Cambodian government was responsible for the protection of Vietnamese residents and that the United National could only observe the situation and adopt a wait-and-see policy. UNTAC’s stance on this, however, was rejected by the Vietnamese government because the Paris Agreement clearly pointed out that the UN was responsible for acting as the guarantor of human rights during the transitional period.
In May 1993, more than four million Cambodians went to the polls to vote in their first free election since the 1950s, even though the UN-administered elections were held amid much fear and uncertainty due to the outbreak of fighting around the country.
Repatriated refugees and displaced persons were ensured voting rights in the post-conflict Constituent Assembly election. After the Constituent Assembly election, UNTAC initiated a vigorous debate in the General Assembly over the creation of a national human rights commission.
“The U.N. Centre for Human Rights opened its first field office in Phnom Penh in late 1993, and the U.N. Secretary-General appointed a special representative for human rights in Cambodia, whose mandate was due to be reviewed in March 1995” (Human Rights Watch, 1995).
1994
Intermediate Implementation
After the completion of the UNTAC mandate, the UN continuously monitored the human rights situation in Cambodia through its recently established UN Center for Human Rights. The UN Human Rights Center provided educational services and legal advice, and investigated military abuses and prison conditions. The U.N.’s Special Representative, Justice Michael Kirby, visited three times since the field office’s establishment in late 1993, raising a wide range of human rights concerns with the Cambodian government and publishing comprehensive reports on the human rights situation.
The human rights situation remained very poor. According to a UN Report, Cambodian military authorities in the northwest had been abducting people for ransom, executing them and then eating their livers in a gruesome ritual thought to imbue them with power. An investigation by the Ministry of Defense corroborated most details of the U.N. Centre’s reports, but investigators from the Prime Ministers’ office initially denied the findings. Cambodia’s Co-Premiers Prince Norodom Ranariddh and Hun Sen then ordered a second investigation, but its findings, published on July 22, were inconclusive about the existence of the Cheu Kmau detention center. It did not deny the existence of the secret prison, but said that Khmer Rouge activity in the area made further inquiries too dangerous.
1995
Intermediate Implementation
The Human Rights situation continued to deteriorate.
In May 1995, the Cambodian government said that constitutional guarantees to ensure human rights were in place, and asked the UN Human Rights Center to leave Cambodia. The international human rights organization, however, called the decision premature.
On May 4, 1995, the Cambodian government agreed to a continued U.N. human rights presence in Cambodia but called for amendments to the mandate of the U.N. Centre for Human Rights (UNMCHR).
In a meeting held on May 4, 1995, the first and second prime ministers of the Kingdom of Cambodia said that the Royal Government of Cambodia [RGC] would willingly accept the five-point proposal of the United Nations because it was very applicable. These five points were:
(a) regular consultations be held unofficially every three months between the RGC and the UN Human Rights Office in Cambodia; (b) a meeting be held every year, two months before the annual meeting of the UN Human Rights Office, between the RGC and the UN to enable the UN to understand Cambodia’s difficulties; (c) consultations be held before any report is sent to Geneva; (d) the RGC should allow the UN Human Rights Office to arrange seminars on human rights for administrative personnel; and (e) if the RGC accepts the four aforementioned points, the UN Human Rights Office will invite the RGC to Geneva to gain experience on human rights activities to be utilized in Cambodia.
1996
Intermediate Implementation
According to the Human Rights Watch World Report of 1996, “political tensions rose between the two partners in the coalition government; political violence increased, as did restrictions on freedom of the press; and a pattern of impunity continued to favor those responsible for human rights abuses, including former Khmer Rouge officials” (Human Rights Watch, 1997). In the report it was noted that the “U.N. Commission on Human Rights passed a resolution expressing concern over continuing abuses, including violence and intimidation directed at political parties and the press” (Human Rights Watch, 1997). Never…, the report suggested that the UN Human Rights Center in Phnom Penh was able to carry out its activities without threats from the government. During this period, UN and other human right workers were routinely harassed, including the kidnapping of the son of one member of the UNCHR staff.
1997
Intermediate Implementation
According to the Human Rights Watch World Report of 1998, “in February 1997,factional fighting erupted in Battambang province between FUNCINPEC and CPP forces, with human rights workers reporting as many as twenty soldiers killed during the armed clashes. On March 30 (1997), a grenade attack on a peaceful rally in front of the National Assembly led by KNP President Sam Rainsy left at least sixteen dead and more than one hundred wounded. The two prime ministers continued to build up their personal arsenals and private armies, with Hun Sen’s security forces numbering at least 1,500 and Ranariddh’s approaching 1,000. Tensions continued to escalate as the two factions competed to recruit defecting Khmer Rouge units, as well as to build new rival political alliances, which led to virtual paralysis of the fragile coalition. The beginning of the National Assembly’s planned three-month session, slated originally for April 21, was postponed after divisions broke out within FUNCINPEC, with a renegade faction led by Minister of State Ung Phan and Siem Reap Governor Toan Chay announcing their intention to oust Ranariddh. During the ensuing political stalemate, the National Assembly failed to convene for nearly six months, holding up passage of crucial legislation regulating the upcoming elections, nongovernmental organization (NGO) activity, political parties, and access to broadcasting frequencies” (Human Rights Watch, 1998).
“When military authorities in late May seized a shipment of weapons and ammunition, addressed to Ranariddh and marked ‘spare parts,Õ the first prime minister said he ‘did not have any choiceÔ but to procure weapons in order to protect himself from CPP forces. On June 17 (1997), fighting broke out in the streets of Phnom Penh for several hours between Ranariddh’s personal security unit and troops under CPP loyalist National Police Chief Hok Lundy, in which several people were killed” (Human Rights Watch, 1998). Hun Sen gradually consolidated his power by neutralizing the opposition parties.
1998
Intermediate Implementation
The human rights situation was worse in 1998. Amid the preparation for general elections, UN Officials came to Cambodia to assess the human rights situation. After visiting for four days, the U.N. High Commissioner for Human Rights, Mary Robinson, said that there were very serious issues that needed to be resolved. She suggested that the government had a responsibility to bring about an environment that would facilitate a free and fair election.
According to the 1999 Human Rights Watch World Report, “A pattern of violence against opposition party workers continued late into the year. Prior to Ranariddh’s return on March 3, several high-ranking FUNCINPEC officials were assassinated in Phnom Penh, including Lt. Col. Moung Sameth on March 3, Gen. Thach Kim Sang on March 4, and Lt. Col. Chea Vutha on March 28. Local activists in the countryside were also targeted, as for example in the April 26 grenade attack against Son Sann Party members in Takeo, in which two people were killed”. The government crackdown continued after a grenade attack on Hun Sen’s residence occurred on September 7. A Human Rights Watch Report stated that, “the government banned sixty-eight opposition politicians from leaving the country and threatened that some would be arrested. While the travel ban was effectively lifted on September 24 for most opposition leaders, Son Sann Party candidate Kem Sokha, the former chairman of the National Assembly’s Human Rights Commission, continued to be barred from leaving the country. In late September he went into hiding after a court summons was issued in connection with his role in the September demonstrations” (Human Rights Watch, 1999).
1999
Intermediate Implementation
“Impunity for human rights abusers, however, continued largely unabated. By October, none of the surviving Khmer Rouge leadership had been brought to justice, and throughout the year many civilian and military authorities continued to commit crimes with impunity. Human rights monitoring continued to be a risky profession, with the unsolved killing of an activist member of the Cambodian Human Rights and Development Association (ADHOC) and the arrest and trial of two workers from the Cambodian League for the Promotion and Defense of Human Rights (known by its acronym LICADHO), on spurious charges of having incited a demonstration against toxic waste. The two were later acquitted. Torture by police of detainees, undue use of lethal force by police in apprehending suspects, complicity of military and police in trafficking of women and children for sexual exploitation, and excessive pretrial detention periods were endemic problems, as was confiscation of land by military personnel and local officials. The judiciary was far from independent, and numerous court decisions were influenced by corruption or political dictates” (Human Rights Watch, 2000).
Despite these issues, there were some positive developments. Cambodia’s main political parties agreed to delay the trial of captured Khmer Rouge military chief Ta Mok until he could be charged with genocide. After the Cambodian government rejected an earlier proposal to try Pol Pot’s former associates in a fully independent international tribunal, the UN developed detailed plans for a joint war crimes tribunal. This tribunal would be held in Cambodia and presided over by Cambodian and foreign judges. It was suggested that these judges try the former political and military leaders of the Khmer Rouge in a single trial.
2000
Intermediate Implementation
“After more than two years of negotiations, Cambodia and the United Nations tentatively reached agreement in July to establish a national tribunal with international participation to bring former Khmer Rouge leaders to justice for genocide, crimes against humanity, and war crimes committed between April 1975 and January 1979. As of October, however, the government had yet to submit revised legislation establishing the tribunal to the National Assembly, casting doubt on the government’s resolve. Although the high level of political strife that had plagued Cambodia in recent years receded, serious human rights violations continued, including political killings and torture, attacks on opposition leaders, human trafficking, substandard prison conditions, and violations associated with labor and land conflicts” (Human Rights Watch, 2001).
1991
Minimum Implementation
Post-war reconstruction of Cambodia began immediately after the signing of the Paris Accord. The initiatives, however, were largely led by the international community. It was reported that the Foreign Ministry of Japan was sending a team to Cambodia to study the reconstruction of the war-torn country.
1992
Minimum Implementation
In a donor conference in Tokyo, Cambodian leader Prince Norodom Sihanouk emphasized the need to assist the agricultural sector and rural peasants. Besides clearing mines, he highlighted the urgency of coming up with an expedient way of providing water to rural peasants, utilizing hand drills to dig wells in sufficient quantities, utilizing bulldozers and other machines to dig water reservoirs in large numbers, and building as many dams as possible. He prioritized the need to rehabilitate agriculture. He asked that diversified aid be given to the majority of the population in order that they would be able to deal with different reconstruction and rehabilitation issues.
Cambodia received tremendous international support in its various initiatives, including the reconstruction of infrastructure and rehabilitation of those displaced during the war. At the Tokyo donor conference held on June 21-22, 1992, the donor community pledged $880 million in aid. The conference concluded with the Tokyo Declaration.
1993
Minimum Implementation
On July 20, 1993, the Cambodian and Japanese governments agreed to cooperate on the construction and restoration of 37 km of roads and 14 bridges.
On August 19, 1993, the Japan International Cooperation Agency (JICA) said it would strengthen its cooperation on Cambodia’s postwar reconstruction ahead of the establishment of a JICA office in Cambodia in September. The United Nations Transitional Authority in Cambodia (UNTAC) had been the life-support system for the Cambodian economy, which was in critical condition. As the removal of UNTAC drew near, Sam Rainsy, Finance Minister of UNTAC, issued calls for continued international aid to assist in repairing and building up Cambodia’s infrastructure. Cambodia had prioritized agriculture as the centerpiece of its economic reconstruction. More than 80% of the population was engaged in farming and agriculture contributed to about 45% of the nation’s GDP. Cambodia exported rice in the 1960s, but in 1993 was unable even to meet the annual demand for domestic consumption (2.5 million tons) and had to rely on foreign donations of about 200,000 tons. Inadequate irrigation facilities and insufficient use of agrochemicals had caused the per-hectare harvest to fall to 1.2-1.4 tons, a quarter of the Japanese standard. Cambodia aimed to become a rice exporter by the end of 1995 by increasing the amount of land cultivated.
1994
Minimum Implementation
At a donor’s conference in Tokyo in March 1993, Cambodia secured 773 million US dollars for reconstruction projects. But reconstruction remained a daunting project due to the elusive political stability in post-UNTAC Cambodia. To reform and restructure the economy, on December 16, 1994, Cambodia signed loan agreements worth 44 million dollars with the World Bank and the Asian Development Bank.
1995
Minimum Implementation
It was reported that the first prime minister of the Royal Cambodian Government suggested that Japan choose their own projects and pay for them themselves without giving financial aid to the Cambodian government. There was growing concern regarding the corruption in the government agency.
After nearly 25 years of war, the path of Cambodia’s reconstruction and economic development was long and difficult. The real problem facing Cambodia was poverty. The people in the countryside lacked food and water. According to the Christian Science Monitor report, the Cambodian economy as a whole was expanding – investment was up and inflation was down – but major foreign-backed projects were under scrutiny and ordinary people were complaining more loudly than ever about their prospects. During the donor’s conference, Cambodia received $1.35 billion in commitments from the international community. “Japan, ASEAN countries, and Cambodia had initiated their tripartite cooperation to help the reconstruction of Cambodia with the emphasis on communities. The tripartite cooperation programme is regarded as a model for Cambodia’s rural development centre to be set up” (BBC, 1995).
1996
Minimum Implementation
According to an E.U. statement, between 1992 and August 1996 the European community had committed over 200 million dollars to Cambodia in the fields of demining, rural development, human resources development, health, and environment. Special attention was given to rural development in Cambodia’s post-war reconstruction and development process. Hun Sen, the second prime minister of Cambodia, said that socio-economic development in rural areas was a powerful way to improve the livelihood of the people and thwart the influence of the Khmer Rouge.
1997
Minimum Implementation
Another conference of donor countries met in Paris on July 1-2, 1997. In the multilateral donor meeting, Cambodia was expected to win international aid commitments of about 449 million dollars. In the conference, Cambodia was told to put its house in order or face dwindling support. Donor countries also criticized Cambodia for spending too much money on its security forces. On July 7, 1997, Hun Sen, the leader of the Cambodian People’s Party (CPP), overthrew Prime Minister Norodom Ranariddh in a brutal, bloody coup, which created resentment in the donor community. This impacted economic and infrastructure reconstruction efforts.
1998
Minimum Implementation
Notwithstanding the political instability or uncertainty after the coup, Cambodia’s strongman vowed to continue with economic and infrastructure development efforts. He proposed measures to bring back foreign investors, including eliminating illegal tax collections, cracking down on kidnappings of businessmen, and the implementation of new infrastructure projects and judicial reform.
1999
Minimum Implementation
In a donor conference held on Feb 25-27, 1999, Cambodia received pledge support of $470 million from the international community.
The Malaysian Prime Minister and Cambodian Prime Minister held a talk on the possibility of Cambodia’s entry into ASEAN. In the meeting, the Malaysian Prime Minister pledged that Malaysia would look into Cambodia’s request for training in industry, foreign policy, oil, and gas, as well as agriculture. This training included establishing water resources and building dams and water catchment areas. The Cambodian Prime Minister also asked for credit to finance such endeavors. Despite the economic downturn in the region, Malaysia continued to invest in the Cambodian project, with 31% of its total foreign direct investment going to Cambodia.
2000
Minimum Implementation
After attaining political stability, Cambodia continued to receive external support of its efforts to rebuild its economy and infrastructure. Ariston Sdn Bhd, a Malaysian-based multi-national corporation, has revived its massive 1.3 billion US dollar (S$ 2.2 billion) infrastructure project in Cambodia, the biggest source of foreign investment in the country. In September 2000, the Asian Development Bank had approved a 16 million dollar loan for a package of infrastructure and training programs to help farmers in the Cambodian province of Kompong Thom increase their incomes by 40 percent. Cambodia received support from the United States to rebuild its health infrastructure.
Note: The information above gives the amount of money pledged at the donor conferences, but not the amounts that were actually spent. On the topic of socio-economic development, the boom of the garment and tourism industries that had been taking place in Cambodia since 1993 is also worth mentioning.
1991
Intermediate Implementation
After the signing of the peace agreement, large amounts of aid were predicted to come into the country, but details of this aid were still unknown.
At a news conference on the 16th of December, Senator Evans from Australia announced that the Australian government had decided to grant Vietnam and Cambodia 4.4m Australian dollars as supplementary aid for development projects. Of the sum, 2m dollars would go to Vietnam. Japan was also considering drawing up a plan to extend its financial aid, including official development assistance to Cambodia. Japan also planned to host a Tokyo conference to discuss the reconstruction of Cambodia.
1992
Intermediate Implementation
The International Ministerial Conference on Rebuilding Cambodia, (also referred to as the Tokyo Conference), was concluded on June 22, 1992. In a press conference, UNTAC president, Yasushi Akashi, remarked that the conference was ”an unqualified and spectacular success.” In the conference, $880 Million was pledged, which exceeded the UN Secretary-General’s request. This was due ”to the fact that some needs identified by donors go beyond the minimum needs that were included in the appeal of the Secretary-General.” Japan was the largest contributor — donating 150 to 200m dollars and they were followed by the United States who donated 135m dollars. France and the UN Development Programme were the third largest contributor, giving 57m dollars each.
1993
Intermediate Implementation
“The rehabilitation aid was meant to support everything from road and bridge repair to well-digging and the purchase of school books and essential medicines. But of the $800 million pledged by donor nations at a conference in Tokyo in June, only about $95 million has been disbursed. According to figures compiled by the United Nations, the United States, the largest donor at the Tokyo conference, has come up with only $14 million of the $145 million it pledged. Japan, the second-largest donor, has turned over only about $9 million of the $135 million it promised.” According to the UN transitional authority in Cambodia’s rehabilitation program director, “donor nations had held back hundreds of millions of dollars in promised reconstruction aid out of a fear that the peace process will collapse”. In International Committee on the Reconstruction of Cambodia held on 10 Sept. 1993 in Paris, donor community had pledged $119 Million.
1994
Intermediate Implementation
A two day international meeting on the reconstruction of Cambodia was held in Tokyo on March 10-11, 1994. It was generally believed that Cambodia would receive $773 million in aid and loans from 20 nations, the European Union and 9 international organizations. According to the Foreign Ministry Office of the Government of Japan, most of the assistance pledged at the second meeting of the International Committee on the Reconstruction of Cambodia, was in addition to another $880 million pledged at the 1992 Tokyo conference and the $119 million pledged at the first ICORC meeting held in Paris last September (1993).
According to the Straits Time Report, half of the 880 million aid pledged during the 1992 Tokyo conference was paid out.
In order to reform and restructure the economy, on December 16, 1994, Cambodia signed a set of loan agreements worth 44 million dollars with the World Bank and Asian Development Bank.
1995
Intermediate Implementation
A two-day international conference on aid to Cambodia opened in Paris on March 14, 1995 with representatives from some 40 countries and international organizations in attendance. This was the third international conference regarding aid to Cambodia. During the conference, donor countries agreed on a total of 473 million dollars to be given during1995 and 877 million dollars to be given during 1996.
1996
Intermediate Implementation
Following the three donor conferences, there was no major support pledged in the year 1996. However, the Cambodian dissidents called on Australia and other western governments to tie future aid to Cambodia to its agreement to continued free elections.
1997
Intermediate Implementation
Another conference of donor countries met in Paris on July 1-2, 1997 (three days before the coup). In the multilateral donor meeting, Cambodia was expected to win international aid commitments of about 500 million dollars. In the conference, Cambodia was told to put its house in order or face dwindling support. Donor countries also criticized Cambodia for spending too much money on its security forces.
1998
There were no major donor support activities reported in 1998, except aid given to hold elections. It was reported that Japan would expand economic development aid to Cambodia if the elections were found to have been free and fair.
1999
Intermediate Implementation
During the Tokyo donor conference held on Feb 25-27, 1999, 16 donor nations and international organizations approved a $470 million aid package to Cambodia. On Feb 25, Cambodia and the International aid organizations and donor countries decided to set up a monitoring body that would hold quarterly meetings to assess Cambodia’s progress in implementing the reforms that were a condition for continued economic assistance.
2000
Intermediate Implementation
The Consultative Group (CG) meeting between the countries and communities on aid for our Kingdom of Cambodia was held in Paris on 25-26th May. At the CG meeting, 16 countries and seven international institutions pledged 603 million dollars in development aid for Cambodia for the year 2000.
The World Bank also pledged 15 million dollars to assist Cambodia in the demobilization of its army.
1991
Intermediate Implementation
The Secretary-General recommended that the Security Council authorize the United Nations Advance Mission in Cambodia (UNAMIC), to become operational as soon as the Paris Agreement was signed in October 1991. The Security Council, in its resolution 717 (1991) of 16 October 1991, authorized UNAMIC as recommended by the Secretary-General. UNAMIC became operational on 9 November 1991 when Mr. A.H.S. Ataul Karim (Bangladesh) assumed his role as Chief Liaison Officer of UNAMIC in Phnom Penh. Brigadier-General Michel Loridon (France), Senior Military Liaison Officer, assumed command of the military elements of UNAMIC on 12 November and, on the same day, an air operations unit contributed by France arrived in Phnom Penh. UNAMIC was designed to be absorbed into the United Nations Transitional Authority in Cambodia (UNTAC) once UNTAC was established. Strength Initial authorization: 116 military personnel (50 military liaison officers, 20 mine-awareness personnel, 40 military support personnel); there was also provision for approximately 75 international and 75 local civilian support staff.
1992
Intermediate Implementation
Once the mission began, however, it quickly became apparent that there was an urgent need for a major de-mining effort. To this end the Security Council passed Resolution 728(1992) on January 8, 1992. This resolution expanded the size of the military personnel to 1,090.
On February 19, 1992, the Secretary-General submitted the implementation plan for UNTAC as well as an indication of administrative and financial aspects to the Security Council. By resolution 745 (1992) of 28 February, the Security Council established UNTAC for a period not to exceed 18 months. All the responsibilities of UNAMIC were resumed by UNTAC.
Civil administration component: The civil administration functions envisioned in the Paris Agreements provided for UNTAC to exercise control over existing administrative structures that would have an impact on the outcome of the elections. As provided by the UNTAC plan, special representative of the UN secretary-general in Cambodia, Mr. Yasushi Akashi, stated at a 26th June (1992) press conference that the UNTAC would start taking control of the civil administration of all factions on July 1, 1992. “Mr Yasushi Akashi said that the control of the civil administration was a most necessary factor leading towards the creation of a neutral ambience for free and fair elections in Cambodia. He said that according to the Paris accords, the four Cambodian factions agreed to let the UNTAC control five ministries, namely the Ministries of National Defense, Finance, Information, Foreign Affairs and Public Security.”
Civilian police component: The Paris Agreement had the provision of UNTAC supervision and control of a civilian police force in Cambodia.
On March 18, 1992, Gen Klass Roos, chief of the civilian police of the UN Transitional Authority in Cambodia met with Vice-Chairman of the State of Cambodia’s Council of Ministers and Interior Minister to seek mutual understanding on a number of issues relating to the UNTAC operations in Cambodia.
The Secretary-General recommended a total of some 3,600 UNTAC civilian police monitors. With this number, and based on UNTAC’s preliminary estimate of a 50,000 strong Cambodian civil police, there would be one UNTAC monitor for every 15 individual local civil policemen. The structure of this component would include a policy and management unit at headquarters, 21 units at the provincial level and 200 district-level units. The main function of the UNTAC police monitors would be to supervise or control the local civil police in order to ensure that law and order were maintained effectively and impartially, and that human rights and fundamental freedoms were fully protected. To assist the monitors, codes of conduct and other operational guidelines were developed and implemented by the UN. Monitors would also assume other responsibilities relating to the elections and to security requirements within UNTAC itself. The UN Security Council had authorized for the deployment of 3,500 civilian police, out of which 3,359 were deployed as of June 1992.
Military Component: the military component had four main functions: (1) to verify the withdrawal and non-return of all categories of foreign forces and their arms and equipment; (2) to supervise the ceasefire and related measures including regrouping, cantonment, disarming and demobilization; (3) to control weapons, including monitoring the cessation of outside military assistance; and (4) to assist in mine-clearing, including training and mine awareness programs. The Secretary-General recommended that the military component be fully deployed by the end of May 1992 and that the regrouping and cantonment process, as well as demobilization of at least 70 per cent of the cantoned forces, be achieved by the end of September 1992.
Including military observers, 15,991 troops and observers were deployed in 1992.The UN Security Council had authorized for the maximum deployment of 15,547 toops and 893 military observers.
Electoral component: “The Paris Agreement entrusted UNTAC with organizing and carrying out free and fair elections in Cambodia. The Special Representative would be assisted in these responsibilities by a Chief Electoral Officer. Other personnel needs included 198 international staff operating from headquarters and from 21 provincial and municipal centers, and some 400 United Nations Volunteers operating from each of 200 districts. These personnel would undertake duties related to electoral operations, information, training, communications, compliance and complaints, and coordination. They would be supplemented by some 4,000 Cambodian personnel during the registration process, and, during the polling process, by 1,000 international supervisors and 56,000 Cambodian personnel organized into 8,000 polling teams. To maximize efficiency and minimize costs, the electoral process would be computerized. The Secretary-General recommended that registration of voters begin in October 1992 and proceed for three months, discretion being allowed to the Special Representative to extend that period if necessary.”
Parties to the conflict did not agree on the electoral law during the August 5, 1992 meeting of the SNC. Yasushi Akashi, special representative of the UN Secretary-General in Cambodia, used his power as stated in Annex 1, Part D, Paragraph 3A and adopted the law. The electoral law adopted a formula to provide voting rights to Cambodians as had been stipulated in the 1954 Cambodian Civil Code. The law required that the UNTAC would prepare elections for Cambodians living abroad, prohibited the use of HRH Prince Norodom Sihanouk’s picture as the symbol of a party on the ballots, as well as permitted amendments of the bill in accordance with the situation. The PDK opposed the draft law on the grounds that it would give voting rights to the Vietnamese. This can be coded as “reform in electoral law.” The registration of voters started on October 5, 1992, and 16 parties are expected to be provisionally registered. The UNTAC also had a human rights component, Repatriation, and Rehabilitation components.
1993
Full Implementation
The electoral campaign officially began on April 7, and the 20 political parties participated actively. The election took place from May 23-28, 1993. In the 120 seat Constituent Assembly, FUNCINPEC won 58 seats, CPP won 51, BLDP won 10 and MOLINAKA won one seat. At a meeting of the SNC, held on 10 June and presided over by Prince Norodom Sihanouk, the Special Representative of the Secretary-General issued a statement declaring, on behalf of the Secretary-General and the United Nations, that the elections as a whole had been free and fair. The Security Council endorsed the results of the elections by Resolution 840 (1993) on June 15. However, during the June 10 meeting of the SNC, the CPP announced that it could not recognize the results of the elections and demanded an investigation of the irregularities that had occurred. Over time, the CPP softened its position. The duly elected Constituent Assembly began work on June 14, 1993.
Debate over the draft constitution began in the Constituent Assembly on 15 of September, 1993. On September 21, 1993, the Constituent Assembly of Cambodia adopted a new constitution. This new constitution formally adopted a constitutional monarch.
Nearly all of the United Nations military force, police and civilians had left Cambodia by November 15, 1993. This was after the UN had completed its mandate. The estimated costs of the operation were $1.6 billion.
1994
Full Implementation
No further developments observed.
1995
Full Implementation
No further developments observed.
1996
Full Implementation
No further developments observed.
1997
Full Implementation
No further developments observed.
1998
Full Implementation
No further developments observed.
1999
Full Implementation
No further developments observed.
2000
Full Implementation
No further developments observed.
1991
Full Implementation
The military invasion of Cambodia by the Vietnamese troops resulted in the removal of Khmer Rouge regime in Cambodia. After their defeat, the Khmer started a guerilla insurgency. In this context, the 1991 Paris agreement called for the withdrawal of foreign forces, advisers, and military personnel remaining in Cambodia.
In a news conference, Hun Sen, who was the Chairman of the Council of Ministers and a member of Supreme National Council, addressed the questions related to Vietnamese residents in Cambodia and Vietnamese troops referring statistics on ethnic minorities. He informed SNC that “Vietnamese residents in the country before 1970 under Samdech Norodom Sihanouk’s rule numbered from 400,000 to 500,000. They were mostly rubber plantation workers; some lived along the Mekong River and the Tonle Sap. Under Lon Nol’s repression, a number of them fled to Vietnam. Under Pol Pot’s repression, some fled to Vietnam along with a number of Cambodians. According to the 1987 statistics, there were 130,000. Thus, compared to the 500,000 residents in 1970, it is very different. Following the withdrawal of Vietnamese troops from Cambodia, a number of Vietnamese residents, afraid that Pol Pot might be back, returned to Vietnam. There are now over 90,000 Vietnamese residents in Cambodia.” This statement can be taken as a verification of the withdrawal of Vietnamese troops from Cambodia.
A complete withdrawal of Vietnamese troops, however, was contested by the Khmer Rouge.
(Note: According to a Khmer Rouge Radio (the Great National Union Front of Cambodia radio) report, “the National Army of Democratic Kampuchea had captured a two- star Vietnamese officer around O Ta Sek along the Stoeng Sen river below Kompong Thom provincial town.” The captured officer was said to have disguised himself as a Cambodian civilian and led the lead Vietnamese forces. Khmer Rouge Radio cannot be taken as authentic information provider.)
1992
Full Implementation
The Khmer were not convinced that the UNTAC and the government of Cambodia did enough to make sure the infiltration of Vietnamese troops did not occur along the Vietnam-Cambodia border. The Khmer demanded UNTAC deploy its troops along the border.
On June 5, 1992, the Voice of Vietnam external service reported that the Vietnamese Foreign Ministry sent two notes confirming that no Vietnamese troops were left in Cambodia and that the Vietnamese military aid to Cambodia had been cut out. The notes added that by the end of 1989, Vietnam had completed the withdrawal of its troops, weapons, and military equipment from Cambodia. This confirmation had made an important contribution to the signing of the Paris agreement in Cambodia. Since the signing of the peace accord on Cambodia, Vietnam has consistently implemented the agreement. Now, as in the past, Vietnam has not infiltrated its troops and equipment into Cambodia. Prince Sihanouk himself has affirmed this fact. The head of the UN office in Cambodia also pointed out that there was no evidence of the Vietnamese military presence in Cambodia.
In the SNC meeting held on July 23, 1992, the UNTAC chief recalled the Vietnamese government’s statement that “all Vietnamese troops left Cambodia between 17th July 1982 and 26th September 1989. This statement named the divisions, regiments and battalions involved; the places from where those troops were withdrawn; the types of materiel; the dates; numbers of troops; and the roads they took to return to Vietnam. That statement emphasized that Vietnam no longer had any troops, weapons or materiel left on Cambodian soil, and that Vietnam has not sent troops, weapons or materiel back to Cambodia.” In the same meeting, the UNTAC chief told SNC that the UNTAC had personally supervised Cambodia’s national defense institution and arranged a number of measures to verify that all foreign troops, advisers and military personnel had left Cambodia and would not be able to return absolutely. Checkpoints had been set up along the borders between Cambodia and its three neighboring countries. Mobile military units had also been employed to monitor and investigate whether foreign troops remained in Cambodia.
In the SNC meeting on December 10, 1992, Tran Huy Chuong, a Vietnamese ambassador accredited to the SNC, affirmed that Vietnam had withdrawn all its volunteer troops from Cambodia in September 1989. Because there were no Vietnamese troops in Cambodia, Australia and Japan lifted the trade sanctions on Vietnam. As of 1992, there were no Vietnamese troops in Cambodia.
1993
Full Implementation
Foreign troops withdrawn in 1992 or before.
1994
Full Implementation
No further developments observed.
1995
Full Implementation
No further developments observed.
1996
Full Implementation
No further developments observed.
1997
Full Implementation
No further developments observed.
1998
Full Implementation
No further developments observed.
1999
Full Implementation
No further developments observed.
2000
Full Implementation
No further developments observed.
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Demob Happy Had Me At Hello At Webster
|
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"Diandra Reviews"
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2019-09-18T10:28:19+00:00
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Honestly, if someone had told me they just drank some Kentucky Ayahuasca for the set, I would believe them. #diandrareviews
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en
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Diandra Reviews It All
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https://diandrareviewsitall.com/concert-review-demob-happy/
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I laugh when I think about Demob Happy because I, literally, heard 30 seconds of a song and was like, “Yup, I love you!” That was it! Simple! I felt like Renee Zellweger telling her Tom Cruise, “You had me at Hello!” or, in Demob Happy’s case, they had asked me can I “Be Your Man.” At Webster Hall, the trio revived that old rocker mindset of “IDGAF” that permeated through The Rolling Stones or Jimi Hendrix while keeping a Radiohead/ White Stripes sense of social commentary.
With new music on hand, like “Less Is More,” Demob Happy’s sound felt as tight as a planned acid trip, which I loved. They were a band understanding and growing their sonic vision like a man embracing psychedelics rather than fighting them. Each member bashed their instrument with succinct tension; understanding that, in their brief set, their journey was to leave everything on the stage. Honestly, if someone had told me they just drank some Kentucky Ayahuasca for the set, I would believe them because, for Demob Happy, music is colorfully medicinal. Hence, my Jimi Hendrix/ White Stripes reference.
Demob Happy – Be Your Man (Official Video)
They are as cool-headed as Jimi in how they invest in their sound, but cool hearted and electric as Jack White in showing love, life, and anarchy are, technically, philosophies. Yup! Even the choice to believe in nothing is a choice to believe. We all believe in something, and lead singer Matthew Marcantonio’s voice feels leveled and steady among the sweet chaos bred from drummer Thomas Armstrong and guitarist Adam Godfrey. He is the soulful consistency, while he bandmates understand music is noise and lyrics are like the hidden messages you plug amongst their rhythms.
Demob Happy – Less is More
It is kind of weird to have combustive sounds with lyrics, technically, telling you to be keep calm, quiet, and pensively alert. It is like Fire deciding to speak on the importance of water, but, perhaps, our opposites describe us better than our similars. For them, hypocrites and liars are like spiritually thieves, and it takes rock n’ roll badasses to, legitimately, call out actual bad asses. (lol!) For More Information On Demob Happy.
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Oxford Advanced Learner's Dictionary at OxfordLearnersDictionaries.com
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https://www.oxfordlearnersdictionaries.com/us/external/images/favicon.ico?version=2.3.61
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Definition of demobilize verb in Oxford Advanced Learner's Dictionary. Meaning, pronunciation, picture, example sentences, grammar, usage notes, synonyms and more.
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https://www.oxfordlearnersdictionaries.com/us/external/images/favicon.ico?version=2.3.61
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https://en.wikipedia.org/wiki/Demob_(TV_series)
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Demob (TV series)
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https://en.wikipedia.org/wiki/Demob_(TV_series)
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1993 British television series
DemobGenreComedy dramaWritten byDean Lemmon
Andrew MontgomeryDirected byRobert KnightsStarringGriff Rhys Jones
Martin Clunes
Amanda Redman
Samantha Janus
Les DawsonComposerPeter MartinCountry of originUnited KingdomOriginal languageEnglishNo. of series1No. of episodes6ProductionExecutive producersPeter Fincham
David ReynoldsProducerAdrian BateRunning time51 minutes (including adverts)Production companiesTalkback Productions
Yorkshire TelevisionOriginal releaseNetworkITVRelease15 October ( ) –
19 November 1993 (1993-11-19)
Demob was a short-lived British comedy-drama television series, which screened for one six-episode series in 1993; It was produced by Talkback Productions in association with Yorkshire Television for ITV.
The series was set in the late 1940s and early 1950s, and starred Martin Clunes and Griff Rhys Jones as two ex-army friends who try to form an entertainment act, with the aim of getting work on BBC radio. The series also starred Samantha Janus, Amanda Redman and Les Dawson, Dawson posthumously.
Plot
[edit]
The series follows the ups and downs of two World War II veterans who decide to form a comedy duo after returning home to England. They experience various personal and professional problems as they strive for success.
Characters
[edit]
Lead characters
[edit]
Ian Deasey (Griff Rhys Jones): A cheerful ex-soldier who struggles to adjust to his dull pre-war life and forms a comedy team with his army pal, Dick Dobson. Ian is known for singing humorous songs.
Dick Dobson (Martin Clunes): An irresponsible ex-soldier who always gets into scrapes and has to be rescued by Ian. He is an excellent piano player and forms one half of the comedy duo Dobson and Deasey.
Janet Deasey (Amanda Redman): Ian's beautiful wife who grows dissatisfied with her husband's desire to become a comedian and begins an affair to stave off boredom.
Hedda Kennedy (Samantha Janus): A beautiful dancer, who is desperately searching for her American husband, believed to be missing in action. She works in various establishments of Rudy Lorimer's as a singer and dancer. She later becomes a film actress. She is good friends with Ian and Dick and lives next door to their London rooms.
Moreton Stanley (Les Dawson): A corpulent short-tempered comic who makes improper advances to Hedda.
Rudy Lorimer (James Faulkner): A disreputable businessman who continually ensnares Dick in his shady business ventures. Lorimer is an alias; his real name is not known.
Supporting characters
[edit]
Alan Deasey (Luke Marcel): Ian and Janet's only child, he is a perceptive, sensitive boy vulnerable to teasing. When his father returns from the war he hardly recognises him.
Annabel (Tilly Blackwood): Janet's best friend, Annabel is engaged to be married to Dr. Pollock.
Edith (Liz Fraser): Janet's mother who dispenses advice freely.
Dr. Jeremy Pollock (Harry Burton): Annabel's fiancé who develops an interest in Janet. He has a fondness for Gilbert and Sullivan musicals.
Oliver Lee (Don Gilet): Hedda's American GI friend who assists her in her search for her missing husband. Oliver plays the saxophone at a London jazz club.
Frank Parsons: (Tony Melody) Ian's boss at the council.
Ottie Pond (Roberta Taylor): The producer of "Radio Playtime", a BBC Radio children's programme.
Keith Koster (Jeremy Child): The notoriously difficult ventriloquist star of "Radio Playtime", Koster seems to believe that his dummy is actually sentient.
Claudette (Colleen Passard): Dick's wife who he marries only to help her gain entry into the UK. Originally from France, she is a prostitute who works for Rudy Lorimer.
Moira Stanley (Pat Keen): Moreton Stanley's wife who also serves as his manager.
Mrs. O'Callagan (Barbara Ashcroft): The duo's Liverpool landlady who takes a shine to Dick much to his horror.
Morton Stanley (Les Dawson)
June (Cinnamon Bone)
Inspector Wareham (Richard Cubison)
Camera (John Clegg)
Ralph (Richard Lintern)
Roy (Timothy Knightley)
Walter (Peter J. Morton)
Episode list
[edit]
# Title Directed by Written by Original air date 1"Episode 1"Robert KnightsDean Lemmon and Andrew Montgomery15 October 1993 ( )
Veterans of the African campaign and Army mates Ian Deasey (Griff Rhys Jones) and Dick Dobson (Martin Clunes) are demobilised at the close of World War II. Ian returns to his wife Janet (Amanda Redman) and his young son Alan and his boring pre-war job at the local council. Dick poses as a flight squadron leader so he can live in style at the Allied Officer's Club. He convinces Ian to perform a two man comedy routine with him in Soho.
2"Episode 2"Robert KnightsDean Lemmon and Andrew Montgomery22 October 1993 ( )
Ian is sacked after too many late nights performing as one half of his new comedy partnership. Ian and Dick befriend beautiful dancer Hedda (Samantha Womack) who is looking for her husband. Meanwhile, Dick assists shady businessman Rudy Lormier with his dealings and becomes the manager of The Blue Parrot nightclub.
3"Episode 3"Robert KnightsDean Lemmon and Andrew Montgomery29 October 1993 ( )
Deasey and Dobson get a three-week booking in Liverpool opening for comedy legend Moreton Stanley (Les Dawson). When their routine arouses audience hatred they must enlist Hedda to assist them. Janet grows increasingly frustrated with her husband's absence when Alan comes down with chicken pox.
4"Episode 4"Robert KnightsDean Lemmon and Andrew Montgomery5 November 1993 ( )
Disgusted with his behaviour, Janet kicks her husband out of the house and decides to take a job at the surgery working for Dr. Pollock. Hedda and Ian try to form an act without Dick, but it ends in disaster. An opportunity for Ian and Dick to earn cash by helping Lorimer with a summer camp goes awry when they meet and try to help some fellow veterans.
5"Episode 5"Robert KnightsDean Lemmon and Andrew Montgomery12 November 1993 ( )
Things heat up between Janet and her boss. Ian and Dick find a job working on a BBC Radio children's radio programme opposite a neurotic ventriloquist. While singing in a swanky new nightclub, Hedda receives some devastating news.
6"Episode 6"Robert KnightsDean Lemmon and Andrew Montgomery19 November 1993 ( )
Ian decides to stand by Dick when he discovers a shocking secret and Hedda becomes a film actress. Moreton Stanley offers Ian a job and he and Janet make a decision concerning their marriage.
Home media
[edit]
Demob was first released on DVD by BFS Entertainment on 10 September 2002. It was re-released by Acorn Media on Region 1 and Region 4 DVD on 26 April 2011.[1]
References
[edit]
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https://evilseries.fandom.com/wiki/Evil
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Evil
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Evil is an American supernatural drama series created by Robert and Michelle King that premiered on CBS on September 26, 2019, and concluded on January 30, 2020, before moving to Paramount+ on June 20, 2021, and has concluded on August 22, 2024. The series was renewed for a second season on...
|
en
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https://static.wikia.nocookie.net/cbs-evil/images/4/4a/Site-favicon.ico/revision/latest?cb=20210616073903
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Evil Wiki
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https://evilseries.fandom.com/wiki/Evil
|
Evil is an American supernatural drama series created by Robert and Michelle King that premiered on CBS on September 26, 2019, and concluded on January 30, 2020, before moving to Paramount+ on June 20, 2021, and has concluded on August 22, 2024.
The series was renewed for a second season on October 22, 2019.[1] In May 2021, it was confirmed that the series would move from CBS to Paramount+.[2] The second season premiered on June 20, 2021 and concluded on October 10, 2021. The series was renewed for a third season on July 8, 2021.[3] The third season premiered on June 12, 2022 and concluded on August 14, 2022.[4] on February 15, 2024, the series was renewed for a fourth season, was scheduled to premiere on May 23, 2024, and that it would be followed by a shortened, four-episode fifth and final season, which premiered the week after the end of season 4.
Synopsis[]
Skeptical psychologist Kristen Bouchard joins David Acosta, who is training to be a Catholic priest, and a blue-collar contractor as they investigate the church's backlog of unexplained mysteries, including supposed miracles, demonic possessions and other extraordinary occurrences. Their job is to assess if there's a logical explanation or if something truly supernatural is at work, examining the origins of evil along the dividing line between science and religion.
Episodes[]
Main article: List of Evil episodes
Season Episodes Originally aired (U.S. dates) Season premiere Season finale Network 1 13 September 26, 2019 January 30, 2020 CBS 2 13 June 20, 2021 October 10, 2021 Paramount+ 3 10 June 12, 2022 August 14, 2022 4 14 May 23, 2024 August 22, 2024
Cast[]
Main Cast[]
Katja Herbers as Kristen Bouchard
Mike Colter as Father David Acosta
Aasif Mandvi as Ben Shakir
Michael Emerson as Dr. Leland Townsend
Christine Lahti as Sheryl Luria
Kurt Fuller as Dr. Kurt Boggs
Brooklyn Shuck as Lynn Bouchard
Skylar Gray as Lila Bouchard
Maddy Crocco as Lexis Bouchard
Dalya Knapp as Laura Bouchard
Marti Matulis as George
Ashley Edner as Abbey (season 2; guest season 3)
Ciara Renée as voices of Abbey
Andrea Martin as Sister Andrea (season 3–4; recurring season 2)
Recurring Cast[]
Patrick Brammall as Andy Bouchard (seasons 1–4)
Darren Pettie as Orson LeRoux (seasons 1–2)
Brooke Bloom as Emily LeRoux (seasons 1, 3)
Boris McGiver as Monsignor Matthew Korecki (seasons 1/3; guest season 2)
Sohina Sidhu as Karima Shakir (season 3; guest season 1–2)
Euan Morton as the voice of George (seasons 1–3)
Kristen Connolly as Mira Byrd (season 1; guest season 2)
Clark Johnson as Father Amara (season 1)
Danny Burstein as D.A. Lewis Cormier (season 1)
Noah Robbins as Sebastian Lewin (season 1)
Nora Murphy as Rose390 (season 1)
Karen Pittman as Caroline Hopkins (season 1)
Nicole Shalhoub as Vanessa Dudley (seasons 1–2)
Peter Scolari as Bishop Thomas Marx (seasons 1–2)
Renée Elise Goldsberry as Renée Harris (seasons 1–2)
Taylor Louderman as Malindaz
Dylan Baker as Father Kay (season 2)
Brian Stokes Mitchell as Father Joe Mulvehill (season 2)
Ciara Renée as the voice of Abbey (season 2; guest season 3)
Brian d'Arcy James as Victor Leconte (season 3)
Li Jun Li as Grace Ling (season 3; guest season 1)
Anthony DeSando as Father Rodrigo Katagas (seasons 2–3)
Tim Matheson as Edward Tragoren (seasons 2–3)
Chukwudi Iwuji as Father Dominic Kabiru (seasons -)
Production[]
CBS ordered a pilot for the potential series in January 2019, created by the writing team Robert and Michelle King. Katja Herbers and Mike Colter were cast in February, with Michael Emerson and Aasif Mandvi cast in March. A series order was officially made in May 2019. A day after that, it was announced that the series would premiere in the fall of 2019 and air on Thursday nights at 10:00 p.m. during the 2019–2020 television season.
The series debuted on September 26, 2019. On July 18, 2019, Christine Lahti was cast as Sheryl Luria, replacing Deirdre O'Connell who was in the original pilot. On July 25, 2019, it was announced that Kurt Fuller, who guest starred in the pilot, had been promoted to a series regular. On October 22, 2019, CBS renewed the series for a second season. The filming of the second season was delayed due to the COVID-19 pandemic in the United States, but later began in October 2020 and was rerouted into a more "character-focused season." Filming concluded in June 2021.
On May 18, 2021, it reported that the series would move to Paramount+ for the second season. On May 23, 2021, it was announced that the second season would premiere on June 20, 2021.
On July 8, 2021, Paramount+ renewed the series for a third season which ran from June 12, 2022, to August 14, 2022. Filming for this season started on November 15, 2021, and was completed in May 2022. It consisted of 10 episodes.
On July 5, 2022, Paramount+ renewed the series for a fourth season. Filming for the season started in December 2022, and was forced to stop earlier than expected in May 2023 due to the Writers' Strike. The episode that was being filmed was the tenth and last of the season, and filming resumed on it in December.
On February 15, 2024, it was announced that the fourth season will be the final season and set to premiere on May 23, 2024. The extra four episodes started shooting at the end of March 2024, and were later described by showrunners Robert and Michelle King, and star Katja Herbers as a mini-fifth season.
Release[]
Marketing[]
On May 15, 2019, CBS released the first official trailer for the series. In September 2020, CBS announced that the first season would be made available on Netflix in October 2020 in order to generate attention for the upcoming second season. Evil left Netflix on October 1, 2021, due to becoming a Paramount+ exclusive. The first two seasons returned to Netflix on April 30, 2024.
International broadcast[]
Evil premiered in Canada on Global TV on September 26, 2019. CBS Studios International announced on October 22, 2019 that Evil would air in Spain on Syfy in January 2020. On October 29, CBS announced Evil would be available on Globo play in Brazil on November 1. Evil premiered in Latin America on October 31 on Universal TV through an exclusive licensing agreement between CBS Studios International and NBCUniversal International Networks.
CBS Studios International has also signed a licensing agreement with French broadcaster TF1 Group for Evil to air in France, where it premiered on May 19, 2021. In India, Evil initially premiered on the streaming service Voot Select in April 2020, followed by a network television premiere on June 23, 2020, on Zee Café. In July 2020, the British pay television channel Alibi announced that they had bought the British rights to Evil, and the show premiered in the United Kingdom on September 21, 2020. In Germany, the show first premiered on the pay-tv channel ProSieben Fun on August 7, 2020, followed by a free-TV premiere on February 17, 2021, on ProSieben. In The Netherlands, series 1 premiered on SBS9 on November 11, 2022.
Reception[]
Critical response[]
The review aggregation website Rotten Tomatoes reported a "certified fresh" 90% approval rating based on 39 reviews. The website's critical consensus states, "Smartly-written and effectively unsettling, Evil works best when it dares to delve into the depths of the uncomfortable questions it poses." Metacritic, which uses a weighted average, assigned a score of 76 out of 100 based on 14 critics, indicating "generally favorable reviews". The first season was named as one of the best television shows of 2019 by The New Yorker]], NPR, and TVLine. In 2021, the show was named the best show on television by TV Guide]].
At the 1st Critics' Choice Super Awards, the series received four nominations: Best Horror Series, Best Actor in a Horror Series (Colter, Emerson) and Best Actress in a Horror Series (Herbers).
The second season has a 95% approval rating on Rotten Tomatoes, based on 20 reviews, with an average rating of 8.80/10. The website's critical consensus reads, "Evil successfully slips into the streaming world with a spooky second season that doubles down on the scares without losing its sense of humor." On Metacritic, the second season received a score of 84 based on reviews from 10 critics, indicating "universal acclaim".
The third season has a 100% approval rating on Rotten Tomatoes, based on 10 reviews, with an average rating of 8.50/10. On Metacritic, the third season received a score of 92 based on reviews from 7 critics, indicating "universal acclaim".
Home media[]
CBS Home Entertainment released the complete first season on DVD on June 30, 2020. The complete second season was released on DVD-R on June 7, 2022. Season 3 was released in December 2022 on DVD and Blu-ray.
Trailer[]
References[]
[]
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https://www.nationalarchives.gov.uk/education/resources/attlees-britain/demobilisation/
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The National Archives
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General War Pictures: The British Scene: London railway terminus, 1939-1946, by Grace Golden (INF...
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The National Archives
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https://www.demobjob.co.uk/about/our-company/
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About Our Company – Demob Job
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Learn more about Demob Job, the preferred ex military recruitment company. We support employers in the UK hire the best.
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Demob Job
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“After having served 8 years in the Royal Navy as a Marine Engineer, on starting my transition to civvy street I was contacted by Demob Job to help me find my new career. Kelly was my point of contact throughout, and she was brilliant from start to finish. She noted all my previous skills and experience and used them to match jobs that were in my preferred field. She filtered jobs for me that were within my preferred commutable area, working routines, and the salary range I was looking for. I was matched with a job that best suited everything that I was looking for. Kelly kept me well-informed throughout the selection and interview process. She even phoned me the Friday before I was due to start my new job to wish me good luck. I would not hesitate to recommend Demob Job to any member of the Armed Forces looking to take their next step”. Nathan is now employed as an Electrical Maintenance Engineer in Manchester.
I was contacted by Emma having just left the Royal Navy about helping to find me work. After discussing my background and experience she spoke to me in detail about a role which she thought was a strong fit. I consequently applied and was invited for an interview. Within hours of attending the interview Emma contacted me and told me I had been successful. Throughout the whole process she kept me informed of my progress and gave me advice on how to prepare for the interview. Most importantly I felt like she treated me as a person and not just another case. Highly professional and polite, I couldn’t recommend them enough to any Ex-Forces personnel. Thank you Emma and thank you Demob Job! Project Engineer, Tyne and Wear
I recently left the Royal Navy after 5 years’ service and I was struggling to find a job that suited my skillset. Joanne contacted me about a vacancy that she thought would match up with my previous military role. She was with me every step of the way always willing to advise me and she was a great liaison between the company and myself. With Joanne's help, I secured a job in an industry that will only expand in the future. I’d like to thank Joanne and the Demob Job team for helping me on my journey to a new career. Now a Field Service Engineer covering the North East
“I contacted Demob Job after seeing a job advert on LinkedIn. Joanne Foster was extremely responsive and arranged a telephone call to discuss the job and check my suitability for the role, an important step in preventing both me and the employer from wasting time. Joanne spent time compiling an accurate and suitable application with me and presented it to the employer on my behalf. Interviews were arranged, taking into consideration my current employment, and regular updates were provided. This all resulted in a job offer. A huge thanks to Joanne at Demob job, you’re a huge asset to the service leaver community.” Andrew is now employed as a Senior Aviation Engineer in Hertfordshire.
After being made redundant from my previous employer due to being furloughed for over 3 months, I was contacted by Joanne Foster at Demob Job, and was quickly offered the chance of an interview. Within 48 hours of being contacted, I attended an interview and I was offered employment. I was really impressed with the help and information that was available to me. Joanne even followed up after my employment was finalised and made sure I was ready to start my new job the following week. I would highly recommend Demob Job to anyone leaving their military career. Roger is now employed as a Service Repair Technician in Warwickshire.
I left the RAF and began the laborious and slightly soul destroying task of searching for a job appropriate to my skill set. I was in contact with an old colleague who linked me to the advertisement posted on Demob Job by Joanne. I carefully read the criteria requested and contacted Joanne who promptly arranged a chat with me via telephone the next day. Joanne advised me of what the job entailed and after a brief informal Q&A, proposed to put me forward for the role of Field Service Engineer at a Marine company. I was thrilled to hear back that the company were interested in speaking to me via web interview initially and I was coached on some salient points to assist me with techniques and common questions. That interview was completed and Joanne kept in touch between myself and the company for feedback. I was then contacted back by Kim as Joanne had a holiday but I was made aware of this well in advance and Kim became my contact. I was delighted to hear that I was invited to the company HQ on Friday for a face to face interview after being shortlisted. I was delighted to be contacted by Kim to give me the good news that I had been offered the job. Joanne and Kim have been amazing throughout and I cannot thank them enough. I would describe Joanne and Kim as dynamic, highly professional, very supportive and confidence inspiring. I would recommend Demob Job to any service leaver be it imminent or out of the services for some time. Field Service Engineer, Durham
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https://forums.vintagefashionguild.org/threads/when-is-a-demob-suit-not-a-demob-suit.20255/
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when is a demob suit not a demob suit?
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ok i know i am confusing..lol..
yesturday when i had my ton of clothes from the local landfil there was a lovely brown suit, typical demob signs of...
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Vintage Fashion Guild Forums
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https://forums.vintagefashionguild.org/threads/when-is-a-demob-suit-not-a-demob-suit.20255/
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ok i know i am confusing..lol..
yesturday when i had my ton of clothes from the local landfil there was a lovely brown suit, typical demob signs of button holes on each lapel etc..
inside there is a label with the gentleman's name a presume is rank no.
plus the date which is 18.2.52
why i am asking, is that most of the pictures of demob suits i have seen have the 'gangster' stripe so to speak and are from mid to late 40's, nothing early 50's
or would it be just a normal suit issue for someone that left the forces ?
will get some picks done and post later..
i must admit i am on cloud nine, as i very rarely get any vintage men's clothes in and not in bad nick either...
The buttonholes on each lapel is, I thought, a sure sign of an ENglish demob suit -- so that war medals can be worn on the civilian suit. However, maybe that wasn't the purpose after all...
The suit is obviously made to order for the man in 1952 so that is too new for a demob suit as they were distributed to the demobilized soldiers for about a year starting in the of summer of 1945. The true demob suits looks very much like prewar suits, with turn-ups and narrow waist and tight fitting jacket. Striped suits remained in fashion into the early 1950s, so you can't go by that as much, but the jacket and pants should get much fuller in cut after 1947.
That looks pretty classic late 40s - early 50s to me. The brown colour, the wide lapels, wide legs. Its a bit narrow through the body but its not on a proper size form, so its hard to tell. The number on the label is not a military number --its just a model number for the suit. Demob suits weren't custom tailored, they were off the rack and adjusted to fit. With the last name of Davies it looks like you have a Welshman's suit there! Its a great suit - you will do well with it. I have seen similar suits sell for 200 pounds or thereabouts. Depends on size and condition.
thanks jonathan....it must have belonged to someone local to me, it looks as though the gentleman must have died and had his belongings cleared out and basically put into the local amenity skip...
which to be honest breaks my heart as obviously this guy loved his old suit...but at the end this is happening all over the world not only in my local area.....( thats why i went into being a rag merchant )
the suit is on the small side so the guy must have been quite small
so would have the no. been a design no or maybe a ref no.. to mr davies's order ?
has anyone heard of willerby & co of london ?
condition....... there is a very small hole/break in the fibre near the elbow, and a very small hole type blip near the bottom of one of the trs... apart from that( well what i have seen at mo) its in pretty good condition....
was going to take it to the dry cleaners next week before i put it onto ebay....
Yes, demob suits were given to British servicemen when WW11 ended in 1945. They came in limited sizes and choice of suiting fabric. If the full suit, including waistcoat and other items such as shoes and hat, were purchased, the customer had bought the 'Full Monty'; a term derived from the owner of the Burtons clothing store. Montagu Burton won the government contract for manufacturing the suits. The twin buttonhole isn't typical for a demob suit. A chalk grey pin-stripe suit was one of the styles produced. Interestingly, Burtons are currently selling men's trousers described as 'demob.'
The company Willerby & Co. Ltd. were on Tottenham Court Road in London and had several London and provincial branches. They sold made to measure suits.
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We talk about Demob on Roster Con. News, events, photos... Find everything related to Demob.
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What's a TV show / movie convention ?
A convention is an event that usually takes place during two or three days and is dedicated to one or more anime, TV show(s), comics or movie(s).
Organized mainly by fans associations, conventions give fans the opportunity to participate in Q&A with the actors, take pictures with them, get autographs or spend a moment with them during a Meet & Greet.
A TV show, anime, comics or movie convention, is also the opportunity to participate to many activities during the event : quizz, lottery, karaoke... while meeting new people.
They also allow fans to chat with one another about a same center of interest and to return home with a lot of unforgettable memories.
How to participate in a convention ?
To attend a convention, you must purchase a pass from the convention organizer's ticketing website. Passes can give you access to one or more days, depending on which one you choose.
It's important to remember that you can't enter the convention without a pass.
In addition to passes, organizers sell extras for activities with guests. These may include photo ops, autograph sessions, meet and greets, and so on. These must be purchased in addition to the pass. If you bought extras without a pass, you won't be able to do them, and you've wasted money.
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Posts about Demob Happy written by andrewdavidhughes
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Tell you what, Saturday afternoon was all about discoveries ahead of the Demob Happy rock and roll extravaganza in the evening. Not only would Brighton lot Congratulations be supporting (a new discovery for us having ripped it at 2000 Trees this summer), but it would all be kicking off just after 7PM! As someone who is partial to an early finish, this was music to my ears, so skates were appropriately put on to make it into town on time.
Off the back of releasing their debut EP this month (the ‘Woo Hoo EP‘, out via Bella Union), the flamboyant, jump-suited Congratulations killed it in Manchester, the perfect support for the noisiness we’d soon be encountering from the headliners. With punters taking tentative steps at first, everyone was urged to move forward ahead of a riffy mega bop (of which they have loads).
“Why aren’t they all pink?” Asked the drummer of venues up and down the land, suggesting YES is the coolest venue they’ve ever played, this being only their second time in Manchester. Soon after, he’s pulling out a massive ear-splitting drum solo, coincidentally just after I’d said to someone at the Turnstile show the other week that you rarely see drum solos anymore… With a sound that dips collective toes into Weaves and Deerhoof territory, I love how they have proper heavy chops on occasion (speaking of heavy, a foot on the monitor highlighted just how MASSIVE the vocalists shoes were!)
They all looked the tops, but the guitarist was a total retro vision, shredding it in the direction of the drummer, as his man behind the kit hammered way. On ‘Kryptonite‘, the guitarist was running on the spot as the vocalist shouted encouragement in his face. Whilst the boys all raised their guitars to the ceiling signalling a wig-out ending, the vocalist was up front pulling great faces before they chipped off to much applause. Charming lot!
With it being the first sold out show of the tour, it’s understandable that Demob Happy bassist Matthew Marcantonio would want to look smart for the occasion, but a leather jack in this heat?! In fairness, the trio are always the sharpest lads in town whenever they’re in Manchester, arriving on stage Saturday night to truly haunting intro music, guitarist Adam Godfrey wide-eyed in theatrical fashion.
Drummer Thomas Armstrong is on his feet from the off, screaming the chorus on opener ‘Voodoo Science‘. I can’t imagine him ever half-arsing it. He hardly stopped all night, jumping to his feet on just about every song, yelling into the back of the room. At one point he hilariously pinged a drum stick right off the back of Marcantonio’s head, intending for it to go out to a crazed punter on the floor below. Not to be outdone by the Congratulations drummer, he too took off on a drum solo (second of the night!) on the gnarly ‘Haat De Stank‘ from their 2015 debut, ‘Dream Soda‘.
I loved the lad with the mullet documenting their every move on a handheld home video camera, moving throughout the crowd and around the stage all night. He wasn’t the only new face joining the trio, as there was a fourth, equally smart looking chap backing them up on stage. Earning his keep on ‘Loosen It‘, he shook a tambourine in one hand and played a cowbell with the other, later picking up guitar and bass duties.
It’s easy to forget just how many bangers the trio have got – guitarist Godfrey nailing it on the mega-catchy ‘Autoportrait‘, one of a few standalone singles alongside ‘Mother Machine‘ and latest single ‘Sweet & Sour America‘, all of which were more than welcome jams. On the latter, the trio channelled ‘Songs For The Deaf‘ era Queens of the Stone Age, their latest being a ripper of that vintage, and I was whipped relentlessly by the long-haired lad behind me.
This year saw the release of their third studio album, ‘Divine Machines‘ – one the crowd knew all too well, coming unglued for just about everything from it. ‘Run Baby Run‘ sounded gigantic, with its glimmers of The Beatles on the chorus, whilst Marcantonio downed tools for a song or three, taking on the microphone wielding frontman across ‘Earth Mover‘ and the smooth vibe of ‘Muscular Reflex‘, gripping the pipe above the stage as he howled against the flashing lights.
From where we were stood, the crowd applause was genuinely almost as loud as the band themselves. It’s a big night – I caught an older couple at the bar slamming shots of rum, then a few songs after that, a young couple were grinding down the front (the pair legit wearing the same outfit), whilst a lass to my right cut some proper shapes, getting into the groove. A lighter was even lit (which got a big grin from Marcantonio) and it was singalong central on the fully Beatles leaning ‘She’s As Happy As A Man Can Be‘. “Glastonbury Pyramid stage 2033…” He wagered to an up-for-it crowd. Judging by the reaction at YES, I wouldn’t say it was out of the question…
Like what you see? Why not stick around and check out the other articles and interviews!
Don’t forget to follow Birthday Cake For Breakfast on Facebook, Instagram and Twitter
For goodness sake it’s October… You might find yourself waiting to buy fuel for your car right now and in need of something to listen to in the queue. Or maybe you’re rubbing sticks together as your energy provider’s gone bust and you’re in desperate need of a soundtrack.
As reliable as those at Number 10 fucking us inhabitants of this tiny island, Birthday Cake For Breakfast returns for your monthly dose of ear-candy. 20 tunes, old and new – you know the drill.
Anz – You Could Be
(All Hours)
Manchester based artist Anz follows up the wonderfully hypnotic ‘Unravel in the Designated Zone‘ with the first single from her new EP, the unbelievable pop bopper that is ‘You Could Be‘. From an EP that promises to pay ‘homage to the many faces and seminal eras of electronic music‘, the single is ludicrously catchy.
Demob Happy – Junk DNA
(Dream Soda)
September kicked off with a bang at Deaf Institute in Manchester with a visit from Geordie lot Demob Happy, very much knocking about on stage like no time had passed over the past 12+ months. Cycling to the show mid-week, I couldn’t get early single ‘Junk DNA‘ out of my head – raging, stoner-rock-esque head-spinner with a chorus that just won’t quit.
Folly Group – Sand Fight
(Awake and Hungry)
From an EP that gets better and better the more you hear it, ‘Sand Fight‘ is very much the essence of everything that’s so exciting about Londoner’s Folly Group and their live set up – rapid-fire, energising post-punk destined for sweaty rooms and big smiles. Love this.
Ibibio Sound Machine – Tell Me (Doko Mien)
(Doko Mien)
A proper dance-floor ripper, ‘Tell Me (Doko Mien)‘ has the knack of sounding both box-fresh and like it belongs in a dimly lit club in the 80s, capturing the band’s inspirations in West African funk, disco, post-punk and electro. Sure to brighten up the forthcoming gloomy October days.
The Cribs – Swinging At Shadows
(Sonic Blew Singles Club)
From the lovely sounding ‘Sonic Blew Singles Club‘, Wakefield lads The Cribs once again strike gold with the heart-swelling ‘Swinging At Shadows‘, a previously unheard take from the ‘Night Network’ album sessions, recorded at yer man from the Foo Fighters studio. We were lucky enough to catch the trio early September at the wonderful Piece Hall in Halifax – an unforgettable night.
PLOSIVS – Hit the Breaks
John Reis let’s go! The Hot Snakes and Rocket From the Crypt leg-end has hooked up with Rob Crow (Pinback) and Atom Willard (Against Me!, the Offspring) as well as bassist Jordan Clark (Mrs. Magician) to form PLOSIVS, their first single ‘Hit the Breaks‘ seeing them hit the ground running. Not unusual given the team involved!
Wet Leg – Chaise Longue
Likely a mega hit by the time you’re reading this, ‘Chaise Longue‘ is the debut offering from Isle of Wight formed duo Wet Leg. Cucumber cool and sounding like an instant classic, it’s an arse-shaker no doubt and will surely be topping many an EOY list come December.
Squid – Paddling
(Bright Green Field)
It’s early September and we’re upstairs at Manchester’s incredible Albert Hall, having our minds altered by Southern lot Squid, the quintet totally making the most of their biggest Manc outing to date. Having been all over their debut album mid-year, following that particular September evening we’re once again bang on it, loving the rapid ‘Paddling‘. ‘Don’t Push Me In!‘
Metronomy x Brian Nasty x Folly Group – Monday
(Posse EP Volume 1)
Breaking the rules by letting Folly Group in twice, but they get a pass as they’ve snuck in with Joseph Mount and Brian Nasty for this unreal collab. From the latest Metronomy release (the wicked five track ‘Posse EP Volume 1‘), closing track ‘Monday‘ is a wonk-pop delight that we’ve not gone a day without listening to of late. ‘I guess you’re what they call Mondaaaay‘
Flavien Berger – Bleu sous-marin
(Léviathan)
Bouncy, bouncy, bouncy little number from long-haired Parisian vibe-creator Flavien Berger. Driving along in hypnotic fashion, this is destined to get stuck in your head, so why not let it? Eyes closed, brain off, let go.
Wipers – Taking Too Long
(Youth of America)
From their second record ‘Youth of America‘, the influential Portland, Oregon formed Wipers seem to have inspired every band going as each time ‘Taking Too Long‘ comes on I assume it’s a new cut from the latest spoken-word-stylee up and coming punk band. As fresh now as it surely was in 1981, this is a proper treat.
Yard Act – The Overload
(The Overload)
Bloody hell, these lads know how to write a catchy tune eh? Injecting a large fuck off dose of Mad-chester stylings into the BIG chorus, Leeds lot Yard Act once again knock it out the park with their latest single – the first from debut album ‘The Overload‘. Another bowl of fast-paced word soup to hungrily slurp up. “Now then“.
Opus Kink – This Train
Drums please! Funky little number this from the band whose name I’m worried about sticking in my work search engine. Having listened to a lot of ‘Sandinista!‘ of late, this really reminds me of its better moments, a proper great sprint with brass bursts to keep you awake.
Audiobooks – LaLaLa It’s The Good Life
(Astro Tough)
Dance banger from the pairing of Evangeline Ling and David Wrench, keen to avoid people intent on killing the vibes. From an album out – well, today – ‘LaLaLa It’s The Good Life‘ bounces around your bonce good and proper.
Gnod – Pink Champagne Blues
(La Mort Du Sens)
JUST SAY YES TO MORE NEW GNOD! Fuzzy and noisy and brutal, ‘Pink Champagne Blues‘ does what it says on the tin. The newest single from Salford lot Gnod is a proper head cracker, getting right tucked in with its rumbling rhythm build before unloading on you in crushing fashion.
Pozi – Detainer Man
(Typing EP)
Sounding like the theme to some tweaked cartoon detective show, Pozi offer up more excitement from their forthcoming ‘Typing EP‘. With the haunting strings we’ve come to know and love from Rosa Brook, she’s backed up by the frantic rhythm section of Toby Burroughs and ‘Green Green Grass of Home‘ Tom Jones on yet another intriguing cut.
Mort Garson – Swingin’ Spathiphyllums
(Mother Earth’s Plantasia)
Leave it to Garson and his ‘Swingin’ Spathiphyllums‘ to add a bit of cheer to the month. ‘Mother Earth’s Plantasia‘ comes out on the sunny days and late September probably saw the last of these – This synth odyssey is such a delight.
Macie Stewart – Finally
(Mouth Full of Glass)
One half of OHMME goes it alone for her debut album ‘Mouth Full of Glass‘, Macie Stewart writing and recording the forthcoming record during the alone time forced upon us by lockdown. A beautifully captivating piece, one lives for the lush strings.
Public Service Broadcasting – Lichtspiel III: Symphonie Diagonale
(Bright Magic)
J. Willgoose, Esq and his mates lean heavily into the inspiring city of Berlin on the latest Public Service Broadcasting record ‘Bright Magic‘. Of the singles out in the run up to its release, ‘Lichtspiel III: Symphonie Diagonale‘ caught our attention immediately – a dreamy, glittering instrumental that really takes over your entire being for its near four minute duration.
Tricot – Dogs and Ducks
(Jodeki)
‘Dogs and Ducks, Dogs and Ducks, Dogs and Ducks, Dogs and Ducks…‘ More loveliness on offer from Japanese math-rockers Tricot, keen to follow up 2020’s output with this ace little number from their forthcoming new record. UK dates announced for next year too!
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Having previously shared stages with the likes of Jack White and Frank Carter & The Rattlesnakes, when we last caught Demob Happy live in Manchester, we quite rightly predicted the trio would be “setting themselves up for a big year“. Sure enough, it took a year for the world to hit standstill following their big showing at Soup Kitchen in February 2019, so the next twelve months saw them on the road throughout Europe, Canada and the states, racking up further support slots for the likes of Royal Blood and Band of Skulls.
2020 then? Fucked it. Not their fault mind, and a UK tour was squeezed in for Independent Venue Week at the start of the year, but other than that the Demob Happy trio were, for the most part, holed up at home like the rest of us schmucks. Until now!
Having just finished off a weekend of Reading and Leeds festivities, Demob Happy returned to the live circuit this past week, bright eyed and bushy tailed, ready to kick the arse of Covid-19 and its social distancing. Recent photographic evidence identifies that Demob Happy dress just as well as they ever have in a live setting, suited and booted more often than not. In Manchester last night however they’d dialled it down ever so slightly, only bassist Matthew Marcantonio sporting a sharp blazer. Even still, they all looked like a 1000 quid right enough.
What they haven’t dialled down is just how LOUD they are and a massive drum intro from Thomas Armstrong offered a glimpse of what was to come over the next 60 minutes. Hammering away at the kit like it’s the last song of the night, it kicked off 2019 single ‘Autoportrait‘ in explosive fashion and the crowd were mega into it from note one.
Every introduction was greeted with an eruption of noise from the punters – ‘Loosen It‘ seeing everyone up front bouncing, whilst ‘Liar in your Head‘ had a proper pit open up (albeit a friendly looking one!) Soon after the old gig staples were in full force, as guitarist Adam Godfrey and Armstrong got the crowd clapping along and it was a joy to get back to some form of normality.
“You all just look like a big blur to me…” Says Marcantonio a few songs in, acknowledging he couldn’t make out just who’s in the room through the smoke in his eyes. Later he asked if we’ve missed getting in amongst it, having spent the pandemic stuck dancing in our living rooms awaiting this moment.
Having suggested their sound drifts between ‘Era Vulgaris‘ Queens of the Stone Age and The Beatles later works, first listen of new single ‘Sympathy Boy‘ suggested they were offering up something more akin to The Strokes. Fair enough – any reservations about a slight change in direction were put to bed early on, with their latest release sounding gigantic live, Godfrey laying down some tasty guitar work.
You can tell drummer Armstrong loves playing live and he’s long been one of our favourite parts of their shows – head back, eyes closed singing one minute to standing up off the stool and screaming into the back row the next. An utter powerhouse behind the kit, he led the way on building ‘Fake Satan‘ to stadium rock heights.
The undeniably catchy ‘Junk DNA‘ – an early QOTSA style rager – was a proper highlight and this time around, the lead stayed in Godfrey’s guitar (!) leaving Marcantonio to accidentally smash his microphone stand into the crowd. Luckily its caught by an out stretched hand as the bassist looked on in delight and carried on.
They let on that they would play us a few new ones – including their collective favourite – all of which we’ll have never heard (“you’re not gonna know, unless ya hacked us“). A trio of never before heard tracks are greeted with much favour and sound promising, the third particularly – a stonker of ‘Holy Doom‘ proportions. The new album is apparently coming on well but, as they jokingly tell us, the pandemic has well and truly fucked them release wise and they’re desperate to get it out.
They were able to get something together for new single ‘Hades, Baby‘ however, recently putting out a live recording at Abbey Road Studios with a full orchestra backing. Sadly we’re told there’s no orchestra on the night, but they’ll play it anyway. Hands in the air and the crowd are on every chorus for this cinematic Beatles-esque number and it sounded perfect in The Deaf Institute. I’ve never heard so many people singing ‘Tetrahedron‘…
Marcantonio was thankful for everyone making the trip out, admitting he’s felt like half a person for the past year. Sadly there’s no Smiths cover to follow his ‘Half A Person‘ announcement (even in Manchester!), instead we’re hit with another recent single via the glam stomp of ‘Mother Machine‘.
‘Be Your Man‘ finished it off – we’re told it’s definitely their last song (no mucking about), but they’re happy to jump behind the merch desk immediately afterward. The crowd almost became one with the early rumble of the closer, becoming unglued for the final time in the evening. “Get those fucking hands in the air Manchester!” Screamed Armstrong as a lad surfed triumphantly over the punters.
Following 12+ months of no shows, we’ve so far managed to get out to a sit down affair and a bit of an experimental outing. This felt more like it, a right fucking go of it with all the hallmarks of live shows on offer. Judging by the queue for the merch desk, Demob Happy most certainly did the job tonight. Top marks.
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As pitched by our Ben Forrester earlier this week, “Thank fuck for new music“. Our monthly playlist this time around came about between being free as a bird to being confined with the lockdown (kinda), finding musical inspirations from old favourites and new discoveries. A lot of it was enjoyed during government assigned exercise, getting out and about in nature and topping up ones Vitamin D.
If you’re finding it a struggle during these particularly tough times, i’d suggest getting out and about whenever you can and getting your head in order (maybe with help from the below playlist eh?)
*UPDATE – Our playlist only sticks about for ONE MONTH before we move on. No regrets. You can listen to the latest playlist below!*
Rolling Blackouts Coastal Fever – Cars In Space
(Sideways To New Italy)
More sun-soaked jams from one of our favourite Aussie outfits (what else!) Rolling Blackouts Coastal Fever are experts in picking really long band names and knowing how to hit all the right spots and the first single from their forthcoming album is a mega jam. Love how their big singles seem to move at a right pace, propelling you through in heart-racing fashion.
Disq – Daily Routine
(Collector)
A tip off from our Ben Forrester, Disq were a new one to me with the release of their new record ‘Collector‘. The undeniable hit that is ‘Daily Routine‘ has slacker pop and ‘the 90s’ written all over it and there’s even glimmers of Demob Happy towards the middle there. A total ripper on the quiet.
Pottery – Take Your Time
(Welcome to Bobby’s Motel)
Fairly certain this was a “new one” from a session they did a while back. On hearing it, I was hypnotised. A frantic, revved up two parter of a song that is – yes, still hypnotic – I heard it again properly when I was cycling back from the dentist (how retro). From their proper debut album ‘Welcome to Bobby’s Motel‘, out this June (or even later, as it’s already been pushed back once…), it’s always good to hear something new from Pottery. The next single is even better than this one – more on that next month.
LA Priest – What Moves
(GENE)
What better place to start than with a second album? Proper wonky-pop from LA Priest here (my introduction), from an album that came together whilst the LA Priest himself was working in isolation for more than two years between California, Wales and England’s south coast – like Cate Le Bon when she made ‘Reward‘ and a load of chairs at the same time. It got her a Mercury nom, so why not him?
Real Estate – Paper Cup
(The Main Thing)
Full disclosure – I had it in my mind that Real Estate were a hardcore band, so it surprised me to see they’d had Sylvan Esso guest on their new record. ‘Paper Cup‘ is understandably not hardcore at all, instead it’s a super heart-swelling pop jam. I’ve just discovered the video too which has to be seen to be believed – The tale of Chipper, a giant animatronic squirrel during his last ever performance…
Viagra Boys – Common Sense
(Common Sense)
Who’da thunk it eh? That band that we once described as sounding like “an easier to digest Pissed Jeans” have popped out an anthemic 80’s sounding pop jam, the title track from a surprise EP that dropped a few weeks back. Not a change in sound entirely, as track two on the EP is a rough punk song about caning the dregs of a bag of the happy stuff (we’ve all been there…)
Sleaford Mods – Jobseeker
(All That Glue)
From their forthcoming greatest hits comp, ‘Jobseeker’ is the one that put their name on a lot of radars. Love the fury and the bite – “I suck on a rollup, pull your jeans up – fuck off!” The Jools Holland clip is here, obviously.
Talking Heads – This Must Be The Place
(Stop Making Sense)
Was rushing out of work a few weeks back (before we were locked in our houses – what a thrill it would be to rush out of work again!) when I decided to stick this album on for the journey and all the stress seemed to melt away. Pop smasher from the best live album going.
Prettiest Eyes – It Cost’s To Be Austere
(Volume 3)
2020 started off really slowly for us gigs wise. Now it’s screeched to a disappointing halt. Instagram live shows just don’t cut it… The last show I personally attended was back at the start of March, c/o Castle Face Records lot Prettiest Eyes. Leading up to the show and for a number of weeks afterwards, ‘It Cost’s To Be Austere‘ was firmly planted in my nut. Proper catchy.
Harkin – Up To Speed
(Harkin)
One of those that sounds like a classic radio pop smasher from the off, it’s no surprise given Katie Harkin (a.k.a. Harkin) has been rubbing shoulders/playing with the likes of Warpaint, Sleater-Kinney, Wild Beasts and Kurt Vile for years. First single ‘Up To Speed’, from her self-titled debut album as a solo entity, is a real gem.
Katie recently talked to us all about inspirations, which you can read about here – from Texas hardcore to the late Bill Withers.
Protomartyr – Processed By The Boys
(Ultimate Success Today)
2017’s critically acclaimed ‘Relatives In Descent’ took hold of us on release and we’ve been bitten by the Protomartyr bug ever since, beavering away through their back catalogue real horroshow. 2020 sees their return good and proper, with a full length scheduled for release once all this COVID-19 palaver is done with. ‘Processed By The Boys‘ is more stream of consciousness from vocalist Joe Casey, whilst the other lads play their nails blend of post-punk.
Girl Band – Lawman
(The Early Years)
This came on shuffle a few weeks back and almost knocked me out for its six minute duration. Something about Girl Band that just burrows inside you and really takes hold, leaving you either fist pumping the air or delirious and on your back.
Mayors Of Miyazaki – Your Street Team
From a 7″ that arrived free with a recent USA Nails purchase, Mayors Of Miyazaki is a name i’ve seen referenced again and again but a band i’ve never listened to. I remember having to put the needle back on this one again and again, it’s so fucking good! Unsurprisingly a touch of of-its-time genius from – who else – USA Nails’ guitarist Gareth Thomas, who’s a dab hand at that sort of thing.
Menace Beach – Tennis Court
(Ratworld)
Given i’m having to spend a lot more time in the house, i’ve been rifling through records i’ve not listened to for a while. This has lead to getting bang into Menace Beach again, working backwards from later albums ‘Lemon Memory‘ and ‘Black Rainbow Sound‘ and into their past. ‘Tennis Court‘ was my first favourite Menace Beach number and that probably remains the case today. Love ’em.
Robin Richards – Haga
(The Earth Asleep)
Having been a massive Dutch Uncles fan for a number of years, I was eager to tuck into the solo output from bassist Robin Richards. A composer in his own right, he’s recently worked on the soundtrack to ‘The Earth Asleep’, a film about the 2011 Japanese Tsunami, drafting in Chris Illingworth of GoGo Penguin (on piano) and Michael Spearman of Everything Everything (on drums/percussion) for this particular number. End result? It definitely sounds like a Dutch Uncles b-side, which we’re more than up for!
Dinosaur Jr. – Feel The Pain
(Without A Sound)
An old favourite, we had this come on via some other not-as-good playlist whilst sat in the living room as we were “working from home” a week into isolation. It perfectly soundtracked the sun-soaked afternoon, though I think I might’ve fucked my knuckles drumming away on the table…
POZI – Whitewashing
(176)
Sleaford Mods posted about this lot the other day and I was chuffed – fingers crossed it gets more ears pricked up! It won’t have harmed them going on tour with Dry Cleaning at the start of the year either, and we were lucky enough to catch both bands a few months back before lockdown kicked off. A foot-shuffling, eerie sounding post-punk number, it tells tale of being stuck on a motorway journey with someone chipping away at you with their bigoted views.
Home Counties – Redevelopment
A bit of razor sharp yet wonky post-punk from the South, Home Counties evolved out of up and comers Haze and with debut single ‘Redevelopment‘ they spark off something that reminds us of DUDS and SQUID. A track to stick on again and again. Then once more before bed. Dead good.
Flat Worms – The Aughts
(Antarctica)
NAILS new single from Flat Worms, taken from their latest album ‘Antarctica‘ – one which we suggested “isn’t just a flash in the pan punk set, it’s a fully formed rock record.” Building expertly to walls of fuzz and screeching guitar, it’s what got us hooked on this LA three-piece from the off.
Once and Future Band – Andromeda
(Deleted Scenes)
Bloody love Once and Future Band – More poppy stadium-prog, please! ‘Andromeda‘ is an absolute delight and I dare any listener to not crack a smile during its four minute duration. We recently interviewed the quartet – get your chops round that here.
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2019 eh? You’d laugh if you weren’t too busy crying… Bloody good year for music though.
Throughout the past 12 months we’ve been cracking on with uncovering new music, a keen ear amongst our contributors for anything and everything new and exciting. From a personal standpoint, I’ve probably purchased more new vinyl this year than any other (just the ticket when you’re about to move house…)
With it being the end of the year, we’ve joined the long list of your other favourite websites to compile the best songs released this year. 50 songs sounds like a lot to work with until you have to compile said list. With that in mind, honourable mentions and shout outs must go to a number of artists and singles that have been on our radar and in our playlists throughout the year.
From the METZ reissue of ‘Pure Auto‘ to various songs from Mac DeMarco’s latest album ‘Here Comes The Cowboy‘, Show Me The Body’s raging ‘Camp Orchestra‘ to the mega dance number from Stealing Sheep in ‘Jokin’ Me‘. Then there’s Demob Happy’s ‘Less Is More’, False Advertising’s ‘You Won’t Feel Love‘, Grey Hairs‘ ‘Hydropona‘, Claw The Thin Ice’s ‘Tropic of Cancer‘ and ‘Looking For The Cure‘ from William The Conqueror. All great tunes, not enough space.
Here’s the first of two parts featuring a list of the 50 best songs released this year – in my personal opinion, the person who puts all this together. In alphabetical order mind you, as things are complicated enough as it is don’t you think?
Aiming For Enrike – Hard Dance Brainia
(Music For Working Out)
Where else to start than with experimental instrumental duo Aiming For Enrike out of Norway. An invigorating burst of dance-floor ready math-rock that builds and builds to a joyful climax. Almost as good as their live show.
Aiming For Enrike talked us through their 2019 musical highlights as part of our What’s On Michael Portillo’s iPod feature – Check out their picks here.
B Boys – Pressure Inside
(Dudu)
A song that’s been on constant rotation from an album that has been listened to at least once a week since release (and then a month or two prior to that thanks to our review stream!) This trio of New Yorkers gripped me like no others this year – potential contender for best single of 2019!
Bike Thiefs – Hockey Dad
Toronto trio Bike Thiefs came new to us this year with the captivating ‘Hockey Dad‘ and its stream of consciousness vocals against scrappy instrumentation. At the time we suggested it’s in the ballpark of Flat Worms and Parquet Courts and we’re still feeling that comparison.
Blood Wizard – Carcrash
The solo project of Cai from Kagoule, it’s no surprise that he hits the ground running with a song that already sounds like a bit of a classic. A sun-soaked jam out in November, but still one to enjoy in the colder months.
BODEGA – Domesticated Animal
(Shiny New Model)
Another cucumber cool bopper from NY art-punks BODEGA. A chorus that reminds me of the sort of team spirit mantra you might hear from a cheerleader outfit, it continues the great BODEGA tradition of being ludicrously catchy (as is everything else this lot put out).
Vocalist Ben talked us through his 2019 musical highlights as part of our What’s On Michael Portillo’s iPod feature – Check out his picks here.
Alex Cameron – Stepdad
(Miami Memory)
There were shades of it on last album ‘Forced Witness‘ and now with ‘Miami Memory’, Aussie songwriter Alex Cameron is blurring the line of comedic artist who pens a good tune to bona fide pop star. ‘Stepdad‘ is bleak at times but the bombastic instrumentation and Cameron’s knack for an earworm chorus mean it’s one to triumphantly sing along to.
We had the pleasure of interviewing Alex Cameron earlier this year – Check it out for yourself here.
The Chats – Pub Feed
“MEDIUM WELL!” Snotty Aussie punk that’s as catchy as it is daft. A song about smashing your tea at the local pub, what’s wrong with that?
Corridor – Domino
(Junior)
From their Sub Pop debut (the first francophone act for the prestigious label), Montreal outfit Corridor put out this sun-soaked 60’s sounding jam in the second half of the year and we’ve been hooked ever since. Following a lengthy hypnotising stretch in the middle, they expertly drop you back in with that swell hook in head-spinning fashion.
Crack Cloud – The Next Fix
(Pain Olympics)
In typical Crack Cloud fashion, fuck knows what’s happening with this (is it on an album coming out?!) They get weirder and more engaging as they go on and latest single ‘The Next Fix‘ is no exception. Follow up, Part Two of the Pain Olympics series (‘Crackin Up‘) is just as brilliant; the Canadian ‘multimedia collective’ remain one of the most exciting acts knocking about today.
Richard Dawson – Two Halves
(2020)
‘Jogging‘ first grabbed our attention back in August, a hilariously bleak lengthy saga of someone struggling with anxiety from the little moments in life. It would have been included here had it not been for follow up single ‘Two Halves‘. A wonderfully captivating tale of what one assumes is a children’s football match and all its highs and lows and levels of incompetence. I laugh every time I hear a defeated Dawson sing “I am inconsolable” but the line “Stop fannying around, keep it nice and simple. You’re not Lionel Messi, just pass the bloody ball” is one of the best from an album full of terrific lines.
Deliluh – Lickspittle (A Nut In The Paste)
(Beneath The Floors)
I’ve been listening to this record a lot while walking round the local park – big fan. First single ‘Lickspittle (A Nut In The Paste)‘ packs in a lot of influences but all at once sounds fresh and new.
Vocalist Kyle talked us through his 2019 musical highlights as part of our What’s On Michael Portillo’s iPod feature – Check out his picks here.
Die! Die! Die! – Casualties of Decades
(O)
Crunchy as hell new single out mid-year from New Zealand punk leg-ends Die! Die! Die! From a new four-track EP, the first new material written with returning bassist Lachlan Anderson, ‘Casualties of Decades‘ is absolutely pummelling and the band sound as vital now as they might have ten years ago.
We spoke with 2/3 of Die! Die! Die! around the release of their new EP, which you can read here and here.
Dinosaur Pile-Up – Thrash Metal Cassette
(Celebrity Mansions)
Dinosaur Pile-Up sure know how to write a raging lead single don’t they? A few year’s back they did it via the crushing ‘11:11‘ for the album (get this) ‘Eleven Eleven‘ and in 2019 they’ve once again knocked it out of the park with ‘Celebrity Mansions‘ lead single ‘Thrash Metal Cassette‘. Bigland and co. give a nod to their thrash heroes in throat-shredding fashion whilst still sticking to the DPU hallmarks of a dynamite singalong chorus.
Baxter Dury – Slumlord
(The Night Chancers)
Very much a continuation of the sounds heard on last album ‘Prince of Tears‘ (a firm favourite following its 2017 release), Dury thrives in his character based showboating, bigging ones self up with a horrid, dingy undercurrent. As ever, the female vocal is the key here and sounds splendid in contrast to the crumbling bravado of Baxter.
Field Music – Money Is A Memory
(Making A New World)
From the album ‘Making A New World’ due out in early January – one which evolved from two very special live performances at Imperial War Museum’s Salford and London – ‘Money Is A Memory‘ is a funky romp that tells the tale of an office worker in the German Treasury working on the final instalment of reparation debts made in 2010, some 91 years after the Treaty of Versailles was signed… The brothers Brewis strike gold once again.
Flat Worms – Into The Iris
(Into The Iris)
Fuzz attack from California trio Flat Worms – That deadpan vocal still tickles our fancy and the raging closing stretch is perfect. What else would you expect from these three?
The Futureheads – Electric Shock
(Powers)
A favourite band returned in 2019, recharged and revitalised following a hiatus. A new album followed and was everything we’d hoped for, with ‘Electric Shock‘ being a delight tucked into the middle of the record. I’m a huge Barry Hyde fan and his vocal performance here is superb – filled with such emotion (for what was apparently a mishap in the kitchen!) The shouts of bassist Jaff and guitarist Ross in the chorus get the hairs standing to attention every time it’s played. Rager!
We had the pleasure of interviewing The Futureheads after all these years away – read that here.
Gauche – Flash
(A People’s History of Gauche)
Genius move from Gauche – combining my favourite aspects from two great post-punk bands (Daniele Yandel of Priests and Mary Jane Regalado of Downtown Boys) and forming a DC supergroup of sorts. In ‘Flash‘ we have a really vibrant, groovy dance-a-thon with arse-shaking in mind.
Girl Band – Shoulderblades
(The Talkies)
I remember hearing this for the first time and being completely stuck to the spot for its six minute duration. I then had it on whilst I was cycling and was so hypnotised I’m surprised I didn’t come off… An incredibly energising yet unsettling piece of music from Irish noise outfit Girl Band.
Grotbags – Big Baby
(Grotbags)
From the best Manchester boy band (with a female member), ‘Big Baby‘ tells the tale of a black pudding eating, triple-XL sized infant and is absolutely hilarious. The only issue is that i’ve lisened to it so much that it’s almost gone past the point of ‘hahaha, this is dead funny, this‘ to unconsciously singing it during the day. The new album is a peach and is already my favourite album of 2020.
Guest Singer – New Experience
(I’m Irrelevant Now)
Guest Singer a.k.a. Jake Cope really reminds me of Alex Cameron. Not so much in appearance or the Aussie’s treading the ‘is this a piss-take?’ line, more-so in producing moody 80’s sounding synth-pop ragers that sound timeless. ‘New Experience‘ was the debut Guest Singer single released at the start of the year and was very much a hit the ground running moment for Jake and co.
Guest Singer answered a host of daft questions for us as part of our a/s/l feature – Get your chops round that here!
The Hecks – Flash
(My Star)
More 80’s vibes from Chicago outfit The Hecks, a band whose new album ‘My Star‘ has wormed its way into one of our favourites released this year. At the time of first hearing them, we described The Hecks sound as “quirky pop in an accessible, ludicrously catchy way similar to the likes of Flasher and Trouble In Mind alumni OMNI“. Listen to the closing stretch of ‘Flash‘ – A stroke of throwback, prog-y genius.
International Teachers of Pop – I Stole Yer Plimsoles
Featuring the great Jason Williamson of Sleaford Mods, ‘I Stole Yer Plimsoles‘ is the latest arse-shaker from International Teachers of Pop, following the release of their debut album earlier this year. A massive pop tune, it sounds like the sort of thing you might have heard on the radio between the likes of ‘I’m Horny‘ or something from Madison Avenue back in the day.
ITOP Button-presser and knob-twitcher Adrian Flanagan talked us through his 2019 musical highlights as part of our What’s On Michael Portillo’s iPod feature – Check out his picks here.
Julia Jacklin – Pressure To Party
(Crushing)
Australian artist Julia Jacklin captured my heart earlier this year with the release of the wonderful ‘Pressure To Party‘ and the album that followed is a delight. Joyous instrumentation contrasts an almost cracking vocal as she sings of things one might be forced to do post-break up.
KAPUTT – Accordion
(Carnage Hall)
In our End of Year ‘What’s on Michael Portillo’s iPod‘ feature, Freddy of Leeds noise outfit THANK mentioned David Byrne when talking about Glaswegian outfit KAPUTT and I’ve not been able to shift it when listening to them. “FORWARD, FORWARD, I’m always looking FORWARD” sounds like something you might’ve heard during any Talking Heads period. ‘Accordion‘ is a banging little post-punk number from their debut on tastemaking label Upset The Rhythm.
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For those sorts who don’t read, you can listen to all of the above (and the forthcoming PART TWO) in our handy Spotify playlist here!
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When news first broke of Demob Happy supporting Jack White on a number of shows across the UK, I was genuinely chuffed for them. A huge name, one who’d apparently picked them personally, with Demob Happy providing a sound that compliments his style/audience perfectly. The tour would even finish up with the trio joining White on stage at Edinburgh’s Usher Hall for an unplanned run through of The Dead Weather’s ‘I Cut Like A Buffalo’.
Cut to Sunday night just gone and Demob Happy are in Manchester, the first in a small run of headline shows throughout the UK. Sold out, naturally, their jaunt with Jack White late last year (and prior tours with Nothing But Thieves and Frank Carter & The Rattlesnakes throughout America and Europe) has clearly put the word out – Demob Happy bring the goods, even on a Sunday evening.
The wall behind the stage at Soup Kitchen is covered by a giant velvet backdrop, with the band’s name lovingly stitched in huge white letters. A premature whoop is called out as bassist Matthew Marcantonio climbs onto stage, the vocalist quickly mouthing ‘Not yet’ as he pops his setlist down before disappearing backstage.
If there’s one thing that Demob Happy have in abundance, it’s riffs. Giant, meaty riffs. When it is time for them to take the stage, ’Succubus’ opens up the show – guitarist Adam Godfrey doing the honours and smashing it out of the gate with an instant face-melter. The crowd are on every word, whipped into a frenzy from the off and carrying it through into early single ‘Haat De Stank’. Vocalist Marcantonio is all smiles as the crowd sing back to him, drummer Thomas Armstrong on the other hand wild eyed, shouting like fuck on the chorus.
Marcantonio recalls their history with Manchester, playing here previously and having only four people turn up – “…only about three weeks ago…”
A different story tonight, clearly, and the crowd up front act accordingly on the arse-shaking, fuzzy ‘Loosen It’, looking lively and opening up the pit on ‘Spinning Out’ – a frantic cut from their last album, packing a proper wallop and calling to mind the gnarliness of ‘Songs For The Deaf’ era Queens of the Stone Age. The pit opens up again on ‘Junk DNA’, unfortunately losing some of its impact as the lead flies out of Godfrey’s guitar just as the intro boils over! He more than makes up for it though, nailing the blistering guitar part throughout and blessing my ear plugs with a crunching breakdown.
At one stage, drummer Armstrong plugs in his own guitar whilst bassist Marcantonio drops down to keys on ‘Holy Doom’, for a hushed version of their last album’s title track.
“That was fucking awkward…” He says, telling us that when Demob Happy was starting out, he used to play piano on stage but this was the first time in yonks. ‘Fresh Outta Luck’ follows in a similar hushed style and whilst I don’t dislike it, it personally takes me out of it a bit. it seems like it would be more impactful on a larger stage and in the context of the tour – working out stuff on smaller stages, seeing what works – it makes sense. The crowd are into it too.
“We’ve been doing this for ten years, this is nice to see.” Announces Marcantonio, gesturing to the packed out room before them. The high praise is enough to have the crowd go batty on the storming ‘Be Your Man’ and some lad is turned thoroughly upside down and inside out as he surfs above the crowd. With Beatles-esque harmonies littered throughout the set, the blitz through of ‘Helter Skelter’ in the middle of ‘Be Your Man’ is a neat nod of the head before a crushing close. Security come in to take down crowd surfers toward the end but it’s too little too late as Godfrey himself throws himself off stage, becoming one with the sweaty revellers in the front row, flying above heads as fuzz permeates the room.
Since the release of ‘Holy Doom’, Demob Happy have looked like the real deal, absolutely cementing this in Manchester with banger after banger laid on thick to a devoted, riff-hungry audience. With new material sounding just as gnarly as their first two records – their massive new single ‘Less Is More’ flying the flag – it feels like they’re setting themselves up for a big year.
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Following on from our Top 50 list released earlier this year, we’ve had our thinking caps on and put together another 50 favourites that have had us hooked for the remainder of 2018!
Don’t be daft – Keep an eye on our lists to come and make sure you don’t miss out on some of the year’s biggest bangers!
Demob Happy – ‘Loosen It’ (Holy Doom, SO Recordings)
A proper sexy affair this – from their latest record ‘Holy Doom’, a comparison I once heard put it that they’re full on ‘Era Vulgaris’ Queens of the Stone Age, which I think gets you in the right frame of mind. Dirt riffs and a whopper of a chorus – The latter half of the year since its release has seen Demob Happy out on tour with that lad out of The White Stripes (!) and it’s 100% deserved. Massive fan.
Sleaford Mods – ‘Stick In A Five and Go’ (Sleaford Mods, Rough Trade)
Very much the Sleaford Mods blueprint (no bad thing), this packs stellar beats from Andrew Fearn (him behind the laptop) and a piss-funny, sing-song tale from vocalist Jason Williamson (him up front). Humorous little tale about Twitter beefs (with someone he doesn’t know – from Leeds) and confrontations thereafter – in disguise as a postman.
International Teachers Of Pop – ‘Age of the Train’
Debut single from new (self-described) ‘Nerd Disco’ project, featuring Adrian Flanagan + Dean Honer (The Moonlandingz, Eccentronic Research Council) and Leonore Wheatley (Whyte Horses), which brings to mind than Indian ‘Thriller’ knockoff from the 80’s in terms of that hard hitting, punchy beat.
Bas Jan – ‘Instant Nostalgia’ (Instant Nostalgia EP, Lost Map)
Love the quirks of Bas Jan – Offbeat pop coupled with the captivating and often anxious vocal of multi-instrumentalist and composer Serafina Steer, seemingly mostly off the cuff and improvised. Elsewhere the EP humorously deals in the horrors of acceptance through social media in ‘Profile Picture’, which is well worth a listen.
Ty Segall – ‘I’m A Man’ (Fudge Sandwich, In the Red Records)
Trust Ty to never, ever stop. One of his many releases this year, this time he’s got an LP full of covers but boy – doesn’t he just make them his own? The first single from ‘Fudge Sandwich’ is a ripping cover of The Spencer Davis Group staple ‘I’m A Man’. Groovy as you like.
Terry – ‘Carpe Diem’ (I’m Terry, Upset The Rhythm)
‘C’est la vie, don’t I know it’
Described by our lass as having an intro that sounds like ‘the theme tune for a podcast’ (harsh), I had a minor obsession with this a few months back following a minor obsession with Australian comedy shows Dreamland and Kath & Kim. Oddball pop – C’est la vie, don’t I know it.
Black Midi – ‘Bmbmbm‘ (speedywunderground)
The talk of London town this year (at least that’s what we’ve heard from up here in the North), Black Midi have built up a bit of a reputation through word of mouth via blistering live shows. Their first single is this driving, head-fuck of a single with a frantic, gibberish vocal that makes you feel like you’re stuck in a toilet cubicle with someone off their nut. Big things expected.
Drahla – ‘Twelve Divisions of the Day’
(Captured Tracks)
Big year for Drahla, who’ve just signed to Brooklyn based tastemaker label Captured Tracks. ‘Twelve Divisions Of The Day’ follows a number of single releases they’ve had these past few years, bringing out more of their frantic, teetering on a knife-edge, post-punk sound.
TVAM – ‘Psychic Data’ (Psychic Data)
Local lad TVAM has been doing the rounds with many an End of Year list on debut LP ‘Psychic Data’ and it’s the title track from said album that gripped us when putting this list together. With a little help in the mixing department from Dean Honer (The Moonlandingz, Eccentronic Research Council), the opener from his impressive debut is a throbbing, shoegaze-y thrill.
Sauna Youth – ‘Unreal City’ (Deaths, Upset The Rhythm)
Two minutes of riveting, head-nodding punk from cucumber cool LDN quartet Sauna Youth. From their latest record ‘Deaths’, the last in a trilogy of albums, the dual deadpan vocals really hit the spot.
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“We’re Turbowolf, we came here to have a good time.”
Our first band of the afternoon and choice of kick-off band for this year’s 2000 Trees came from riff-heavy, mind-bogglers Turbowolf. There had been a few bands prior, sure, but our time up until their mid-afternoon arrival was spent struggling with an incredibly confusing three-man tent set up and preparing Bloody Mary’s…
The perfect festival band for getting the mood right up, the last time we’d caught them was a bit closer to home at a bar on Liverpool’s Smithdown Road. The energy that night matched the energy dished out on the Trees main stage, with the quartet well up for it regardless of location and crowd size. The crowd too were mega responsive, especially so on ‘Two Hands’ mega-hits ‘Solid Gold’ and ‘Rabbits Foot’ – bouncing as high as possible throughout the mighty choruses.
From the fist-pumping energy of the main stage to up-in-your-face intensity across the site at The Cave, frantic, shouty hardcore-punk face-shifters Turnstile were our first surprise of the weekend.
“Let’s shake this whole place up!” called out frontman Brendan Yates, opening up the congregation before them to scramble on top of one another as bodies littered the landscape in front of the stage. This Yates character is easy to love – chucking out cartwheel kicks and hurling the microphone into the crowd at one point. Passionate as fuck and built like a shithouse, he lead the rest of the band into really getting the crowd alive.
Thursday headliners came bigger than ever in the form of El Paso’s own At The Drive-In – A band who’ve been eagerly anticipated at 2000 Trees for a number of years within our camp. It was straight to the front for us too as no one else had seemingly gotten the memo. Obviously this soon changed however when the stirring beginnings of ‘Arcarsenal’ kicked everything off. Vocalist Cedric Bixler-Zavala is all over the shop in classic fashion, exactly what you want of a headliner – launching himself off speakers and twirling his mic stand around his head. He would jump into incomprehensible introductions prior to a number of tunes, all of which we couldn’t quite decipher (apart from “Cut your nails, wash your ass…” prior to ‘One Armed Scissor’…)
Omar Rodríguez-López doesn’t look 100% arsed it must be said, but fellow guitarist Keeley Davis shines through on ‘Governed By Contagions’. A mid-set reveal of a different backdrop was a fancy addition and for the most part, the Thursday night headline slot was made up of a lot of smashers, though peppered with a fair few not-so smashers (and some middling bits). Still though, At The Drive-In playing to a massive audience in a field in Cheltenham? Worth it.
Late Friday morning and it’s Bloody Mary’s for breakfast – A new festival tradition for certain (and probably the liquid based highlight of the weekend!) Following on from Turnstile’s introduction the afternoon before, a new discovery was had early on Friday via the aptly named Neu Stage in the form of No Violet. Making their 2000 Trees debut, the four-piece out of Bristol quickly whipped up a growing, appreciative audience through a number of tightly played, fuzzy head-bobbers.
Highlights came out of vocalist Ellie putting in a right shift, dipping between howls and delicate phases whilst bassist Kerry put out some stonking bass action, later switching instruments with Ellie and shredding like mad at the set’s heavy conclusion.
Elsewhere, it was heartwarming to see the Forest so rammed for the Scott Hutchison tribute. A special place in its own right, the intimate space tucked away past all the main stages played host to a notable afternoon in Frightened Rabbit history.
Back at The Axiom, the Manchester representation was on show through PINS who rocked the 100% sunglasses indoors vibe. An absolute belter of a double drumming kick off made way for a right big fuck off riff from guitarist Lois and lead to a set full of arse-shakers. Nice to see a fashionable band knocking about a festival site rather than the usual crop and it was also a minor relief for a spot of rain during their set, especially given the heatwave. Bringing that Mancunian weather with them, PINS were a welcome change amongst the line-up.
Then the rain stopped and out came And So I Watch You From Afar and Ho99o9 to play. Two different beasts entirely, both outfits got the crowd going ecstatic. Whilst the front of stage crowd at ASIWYFA bumped into each other and held inflatable bananas aloft, the congregation within The Cave were full on going mad inside the tent to the powerhouse drumming and unpredictability of Messrs Eaddy and theOGM.
The passion shown by both ASIWYFA and Ho99o9 is undeniable, with the former always looking like just crafting these songs is really taking it out of them, whilst the latter hit every point on the stage, leaving no stone unturned in their quest to put on a head-exploding live show. theOGM, seen earlier that day knocking about the backstage area in a bloody Blade Trinity leather jacket (!) took out his phone and began documenting the manic conclusion of the Ho99o9 set, concluding in Eaddy popping a backflip as the cherry on top. What A Rush!
Saturday morning and having woken up in an actual oven, we moved through tired bodies and coffee-perked-punters to The Axiom for Croydon duo Frauds. Riffs were on the breakfast menu (as we’d run out of tomato juice at this point), with Frauds providing gnarly noise in the form of ‘Sandwiches’ to open up their noise heavy set. Beardy, shouty and noisy, we’re told by drummer Chris that 2000 Trees is “…better than my bedroom”, and the pummelling ‘Suck Jobs’, a song about hen’s and stag’s, was a headache reducing highlight.
On it continued with more Southerners on the same stage – Swedish Death Candy – chucking out a right load of riffs, filling the Ty Segall/Oh Sees sized gap in the Trees line-up/my heart. Fast and loud, I got completely lost at one stage in a lengthy, wigging out stoner-slog, spat out the other end in satisfying style. Another stomping discovery throughout the weekend.
Big Scary Monsters were showcased throughout the afternoon in spectacular fashion through Gender Roles and Chicago’s brilliant Meat Wave. Brighton’s Gender Roles provided piss funny “banter” (coupled with some astonishing facts about trees across the globe) inbetween some cracking, fist-pumping tunes, whilst Meat Wave highlighted why they’re one of the most exciting bands knocking about today. Whilst they might not be great at pouring pints (as evidenced by their brief stint behind the bar for Signature Brew), their wall-to-wall array of bangers more than made up for it.
‘Delusion Moon’ howled out as we smashed through the remainder of our Bloody Mary stock for the weekend and eased into the early evening. A major highlight from their latest record ‘The Incessant’,‘Leopard Print Jet Ski’, has the daftest of riffs creating a dance-a-thon amongst a group of kids at the front, straight into the crushing stomp of ‘Bad Man’. A mid-set gift of Buckfast for frontman Chris Sutter was more than deserved.
Elsewhere, early Saturday evening highlights were on offer from Demob Happy and GALLOPS, the latter dishing up dance-y gems from their latest record ‘Bronze Mystic’ whilst the former were on fuzz-soaked form. Demob Happy emerged from rumbling beginnings and hip swinging boogie-woogie, with absolute ragers from the word go. There’s talk of hangovers and getting over them. I felt that. Some utter chunky riffs here – the lad’s full of them, particularly on the dirty groove of ‘Loosen It’. Drummer Tom Armstrong’s hilarious guttural shouts throughout were a notable highlight amongst ‘Era Vulgaris’-esque floor-fillers.
“It’s weird they don’t sing, innit?” said someone during GALLOPS, which made me smile almost as much as their mind-melting closer ‘Darkjewel’ – A heavy electronic head-fuck across 7+ minutes.
Whilst it only comes but once a year, 2000 Trees really is a special occasion and a notable must-do when it comes to festival season. A lot of the joy comes through discovery and much like Refused before them a few years back, Enter Shikari – a band I’d never really paid much attention to – were a terrific closer. Never been? Why not give it a try – you might come away with some new favourites.
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Remember the days of the old schoolyard? Remember when Myspace was a thing? Remember those time-wasting, laborious quizzes that everyone used to love so much? Birthday Cake For Breakfast is bringing them back!
Every couple of weeks, an unsuspecting band will be subject to the same old questions about dead bodies, Hitler, crying and crushes.
This week: With 2000 Trees Festival almost upon us, we’ve asked a number of our top picks to answer these solid questions. Take it away, Tom Armstrong of Demob Happy!
a/s/l?
26/M/Flying through middle England in a metal tube that belongs to Richard Branson.
Have you ever seen a dead body?
Yeah 3. 4 if you include my dog.
Who is your favourite Simpsons character?
Comic book guy. My kind of hero.
What T-Shirt are you wearing?
A dirty ringer.
What did your last text message say?
It actually said- ‘Sooo. Fancy driving us to 2000 trees? Xx’ (Sounds familiar… – Ed)
What’s the last song you listened to?
The Ducktales theme tune. In an attempt to get it out of my head.
How did you meet the people in your band?
The planets of rock aligned.
What’s the first record you bought?
Think it was Will Smith – ‘Big Willie Style’. So many bangers on that one.
What was your favourite VHS growing up?
The Blues Brothers. Everyday.
When was the last time you cried?
Definitely a wee bit during ‘My Hero’ at a Foo Fighters show a few weeks ago. So fucking what?
Have you ever kissed someone & regretted it?
Nope. I think ‘no regrets’ is an unreasonable mantra but it is a pretty fucking useless emotion so I try to at least avoid regrets.
Best Physical Feature?
What is this, cosmo?
Worst physical feature?
What is this, cosmo?
Reasonably ok/not bad feature that you’re not fussed about?
Scar on my ass cheek.
Do you have any pets?
1) Rufus back home in Newcastle. Dog.
2) Hénri in Brighton. Immortal fish.
Ever picked up any injuries on tour?
Yeah. Plenty. I still owe the Swedish gov money for x-rays and ice-crutches.
What did you do for your last birthday?
Desperately tried to get drunk after 3 days of drinking at Great Escape Festival. Finally achieved this in a karaoke booth in early hours of the next morning.
Name something you CANNOT wait for?
Our first American tour in September.
Do you have a crush on someone?
Damn straight.
What’s the shittest experience you’ve had as a musician?
Too dark to say man. I haven’t loved carrying drums around for like 10 years though.
If you could go back in time, how far would you go?
Gotta be BC. Kick about in Ancient Greece.
How do you want to die?
In a freak time-travelling accident.
What’s your favourite thing about pizza?
Remembering there’s left-over pizza.
What are you craving right now?
I actually haven’t played drums in a week or so and I get pretty itchy to play.
Have you ever been on a horse?
Yes. Bareback way too fast through the countryside. I got on the horse and the person I was with slapped his ass hard and he shot off. I shat a brick.
What did you dream about last night?
Visa-immigration applications. Riveting.
If you could go back in time and kill the baby Hitler, would you?
Sure thing. Or maybe take him to the woods to be raised by wolves. Little Mowgli-Hitler.
Do you like Chinese food?
Yeah. But. Japanese food.
Have you ever been on TV?
Nope. Our music has had a mingle though.
Ever meet someone famous?
Once or twice. Tony Robinson – Baldrick – bought me my first pint. Think it was a shandy. That rocked my little world.
What do you want to be when you grow up?
I just hope I’m not a not miserable old asshat like the guy beside me on this train.
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Following on from our Top 50 songs of 2K17 earlier this year (which you can view here, here, here, here and… here), we decided to have a look back throughout the year to put together another Top 50 tracks that we’ve been salivating over. Don’t say we don’t spoil you.
Baxter Dury – ‘Oi’ (Prince Of Tears, Heavenly Recordings)
‘You borrowed my bike forever’
Harking back to a challenging childhood friendship, this blinding ditty from the latest Baxter Dury record excels in its imagery. Hilarious lyrically, the drawl of Baxter captivates.
Frauds – ‘Suck Jobs‘ (With Morning Toast & Jam & Juice, Till Deaf Do Us Party)
Absolute stonker of a riff, huge chorus and a piss-funny vocal delivery. This absolute beast comes as part of Frauds’ brutal debut LP ‘With Morning Toast & Jam & Juice’.
Duds – ‘Elastic Feel’’ (Of A Nature Or Degree, Castle Face Records)
Another appearance from Duds, this time the first single announced from their debut album ‘Of A Nature Or Degree’. Being the first UK band to join the Castle Face Records family, the tightrope-tense ‘Elastic Feel’ opened up Duds to a wider audience. Lucky then that they knocked it out of the park. Vital.
LCD Soundsystem – ‘how do you sleep?’ (American Dream, DFA Records)
The perfect LCD Soundsystem jam, this. On a recent holiday in Munich, this became a bit of an anthem. An unreal build throughout its 9 minutes.
Daniele Luppi & Parquet Courts – ‘Pretty Prizes’ (Milano, Columbia)
You’ve got to quench that Parquet Courts thirst somehow, right? Chuck Karen O into the mix and you’ve got this delightful little back and forth under Italian composer Daniele Luppi (he of Gnarls Barkley ‘Crazy’ fame).
Demob Happy – ‘Be Your Man’ (Holy Doom, SO Recordings)
Very much channelling mid-noughties Queens of the Stone Age and – dare I say it, The Beatles – Demob Happy bring out all the swagger on ‘Be Your Man’. Packed full of gnarly riffs this one.
METZ – ‘Cellophane’ (Strange Peace, Sub Pop Records)
Proper catchy bit of pulverising noize from usual suspects METZ. Taken from their new record ‘Strange Peace’, the New Yorker’s hooked up with Albini on this one to capture their raucous sound as it should be.
Mush – ‘Luxury Animals’ (Art Is Hard Records)
Soon to become a household name, Leeds quartet Mush add a little dash of Britpop flavouring into their garage-rock sound on latest single ‘Luxury Animals’. This builds into a total ripper, believe me!
And So I Watch You From Afar – ‘A Slow Unfolding Of Wings’ (The Endless Shimmering, Sargent House)
An absolute stonker of a tune from Northern Ireland’s And So I Watch You From Afar, ‘‘A Slow Unfolding Of Wings’ captures the quartet at their most epic. Joyous and uplifting, it’s an instant hit from their latest record ‘The Endless Shimmering’.
JOHN – ‘Local Blood Sport’ (Too Pure Singles Club)
Carrying on the tradition of really horrid, loud bands on the Too Pure Singles Club, ‘Local Blood Sport’ is a super distorted assault from JOHN, our favourite duo from Crystal Palace. A perfect accompaniment to their debut album ‘God Speed In The National Limit’ (which also came out this year).
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I always love walking into a venue to see a band in full swing, with a crowd absolutely gagging for it. Last night at Sound Control in Manchester, Demob Happy had this nailed on. More like a perfectly choreographed scene from a film than a room full of people escaping a piss-wet Saturday night, the massive crowd had already gathered up front to witness this Brighton based trio bash out an assortment of grungey numbers soaked in sleaze. Looking every bit a rock and roll band, but with a catalogue full of roaring belters to back it up.
New single ‘Be Your Man’, which recently had its premiere on Huw Stephens’ BBC Radio 1 show, was one of the many on show last night taken from their impending new album out next year. Bringing with it all the swagger of Queens Of The Stone Age in their more psychedelic moments, the supremely catchy single had the kids up front bouncing, pure loving it.
I bumped into Josh of False Advertising during their set (because I can’t take credit), who likened Demob Happy to a British ‘Lullabies To Paralyse’, which is possibly the highest praise i’d say you can receive!
There were rumblings of a ‘DPU’ chant as Dinosaur Pile-Up set up on stage, with this soon being elevated to heavy chanting just moments prior to their proper arrival. With their 2014 LP ‘Nature Nurture’ recently getting the vinyl re-release treatment, it was expected that the set would be littered with songs from their sophomore album. What we were surprisingly treated to was not only the expected Nature Nurture numbers, but also a whole host of nostalgic cuts from their oeuvre. Saturday night in Manchester was hit central; a setlist of champions.
‘Birds & Planes’ was quite the surprising intro for everyone in the room, so much so that an elated group couldn’t contain themselves and took it upon themselves to get the circle pit going real horror show. It was soon followed up in quick fashion by ‘My Rock ‘n’ Roll’ in all its head-banging glory, the second of the evening already to be taken from their debut LP ‘Growing Pains’.
Frontman Matt Bigland announced that Saturday night in Manchester “…isn’t a show, it’s a fucking party” and sure enough, the crowd were fully up for everything dished out throughout the evening. ‘Red and Purple’, from their latest LP ‘Eleven Eleven’, sounded nearly arena ready, with the place going off like a rocket. Also from the album, ‘Friend Of Mine’ and ‘Anxiety Trip’ had an outing, the former bringing out the mass singalongs, with the brutal noise of the latter causing mass pitting.
Elsewhere, it was mainly all about that sweet nostalgia, with particular highlights in the anthemic ‘Arizona Waiting’ (more mass singalongs), ‘Peninsula‘ (complete with that spectacular little Top Gear riff), ‘White T-Shirt and Jeans’ and ‘Mona Lisa’. Prior to the arrival of the monumental ’11:11’, ‘Nature Nurture’ used to be the go home song, so it was cool to hear it tucked into the set, but still sounding just as raucous as ever. The crowd still sang out the chorus long after it had finished.
In a slightly terrifying state of affairs, people began to sing the opening of ‘Summer Of 69’ during what turned out to be the solo intro of ‘Derail’. An odd moment indeed, mainly due to the recent spate of celebrity deaths and the possibility that Bryan Adams had croaked it!
With the early days very much being the theme of the evening, ‘Beach Bug’, from their debut ‘The Most Powerful E.P in the Universe!!’, was a welcome surprise. Matt joked that it had to be a team effort, being unlikely to remember the words if the crowd didn’t help sing along. Thankfully for the trio on stage, the mere mention of the track had the room going wild, with participation off the charts. Similarly, having returned for an encore, it was the turn of ‘Hey You’ from Growing Pains that had hands in the crowd high in the air, some brandishing flickering lighters.
Having put on a succession of super hits, it was during the encore that Dinosaur Pile-Up decided to mix it up and jump straight into a completely unexpected cover of ‘Say It Ain’t So’, a nod to their garage rock roots and their support slots for Weezer in recent years. This was easily one of the main highlights, being most unexpected from an evening full of surprises. It was soon followed by the least surprising song choice of the night, but quite rightly so – 11:11 had the room descending into utter chaos. Mass pitting, folk crowd surfing and Bigland screaming his heid aff. A perfect finale.
Matt made a comment at one stage about their time away and seemingly never-ending tour of the states, bringing it all back home and suggesting how thankful they are to be able to return to the UK and especially Manchester (keen to highlight that this was not just your every night show patter!) With last night’s performance being possibly the best I’ve ever witnessed from them, here’s hoping we see a lot more of Dinosaur Pile-Up in future!
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How Clothes Rationing Affected Fashion In The Second World War
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How clothes rationing affected fashion in WW2. Clothes were rationed in Britain from 1 June 1941. This limited the amount of new garments people could buy
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Clothes were rationed in Britain from 1 June 1941. This limited the amount of new garments people could buy until 1949, four years after the war's end.
Despite the limitations imposed by rationing, clothing retailers sought to retain and even expand their customer base during the Second World War. Britain's high street adapted in response to wartime conditions, and this was reflected in their retail ranges. The government intervened in the mass manufacture of high street fashions with the arrival of the Utility clothing scheme in 1942.
Shoppers carefully spent their precious clothing coupons and money on new clothes to make sure their purchases would be suitable across spring, summer and autumn and winter. Despite the restrictions, the war and civilian austerity did not put an end to creative design, commercial opportunism or fashionable trends on the British home front.
War didn't mean the end of fashion
When Britain went to war in 1939 it seemingly spelt an end for fashion. The people of Britain now had more pressing concerns, such as widely expected air raids and possible German invasion. In many ways war did disrupt and dislocate fashion in Britain. Resources and raw materials for civilian clothing were limited. Prices rose and fashion staples such as silk were no longer available. Purchase tax and clothes rationing were introduced. But fashion survived and even flourished in wartime, often in unexpected ways.
Functional fashions for wartime life
For men and women not in uniform, the war changed how they dressed both at work and at home. It became important for civilian clothes to be practical as well as stylish. Clothing and accessories manufacturers were quick to see commercial potential in some of the war's greatest dangers. By the outbreak of war in September 1939, over 40 million respirators had been distributed in Britain as a result of the potential threat of gas warfare. Although not compulsory, people were advised to carry their gas masks with them at all times. Usually they were issued in a cardboard box with a string threaded through so it could be carried over the shoulder. Retailers were quick to spot a gap in the market for a more attractive solution. The handbag seen here, like many others specially produced, has a compartment for a gas mask.
Blackout restrictions sparked a bright trend
A 'blackout' was enforced in Britain before the war had even begun on 1 September 1939 to make it harder for much-feared German bombers to find their targets. Street lighting and illuminated signs were extinguished and all vehicles had to put caps over their lights to dim them. The blackout caused a rise in collisions. A government campaign urged people to wear white clothes to make them more visible to fellow pedestrians and drivers. The blackout and its dangers provided an unexpected commercial opportunity. A range of luminous accessories, from pin-on flowers to handbags, were produced that would reflect light and help make their wearers more visible. These also included the buttons seen here in normal conditions and when aglow in the dark.
Wartime 'onesies' for the air raid shelter
The 'siren suit' was an all-in-one garment which could be pulled on quickly over night clothes if the wearer had to escape to an outdoor air raid shelter. Some suits had a stylish twist - this woman's siren suit has puffed shoulders, bell-bottom cuffs to the legs and a fitted hood. It also has a detachable belt and piping decoration. A more practical drop down panel is attached to the rear so the wearer could visit the lavatory without removing the whole garment. Siren suits were a popular wartime trend with many retailers advertising their ranges. Prime Minister Winston Churchill was often photographed in his own tailor-made siren suits.
Utility fashions hit the high street
In 1942, the first 'Utility' clothes went on sale on the British high street as part of a government scheme. These clothes were made from a limited range of quality controlled fabrics. The Utility scheme developed out of a need to make production of civilian clothing in British factories more efficient and to provide price-regulated better quality clothing. Until Utility clothing was introduced, the less well-off had to use the same number of coupons for cheaper garments that might wear out in half the time. Utility fabrics - and clothes made from these materials - gave the public a guarantee of quality and value for their money and coupons.
In autumn 1941 it became compulsory for all Utility cloths and garments to be marked 'CC41'. The distinctive logo - often likened to two cheeses - stood for 'Civilian Clothing 1941' and was designed by Reginald Shipp. It is seen here printed onto a pair of men's socks
Strict rules for fashion: Austerity restrictions
Utility clothing came in a limited range of garments, styles and fabrics. In 1942 and 1943, the Board of Trade introduced the Making-up of Civilian Clothing (Restrictions) Orders to make further savings of labour and materials and minimise manufacturing costs. These orders, often known as the 'austerity regulations', applied to the production of both Utility and non-Utility clothing.
Some of the most unpopular austerity regulations were those that applied to men's clothing. Single-breasted suits replaced double-breasted. Lapels had to be within a certain size. The number of pockets was restricted and trouser turn-ups were abolished. The ban on turn-ups was particularly unpopular, and many men circumvented this regulation by buying trousers that were too long and having them altered at home. The length of men's shirts was restricted and double cuffs were banned.
It is estimated that these measures saved about 4 million square yards (approximately 5 million square metres) of cotton per year. Braces would have been a vital element of a man's outfit as both zip fasteners and elastic waistbands were banned under the austerity regulations. Elastic was in very short supply throughout the war, and women's knickers were one of only a small number of garments where the use of elastic was permitted.
Designer wartime fashion
There were worries that Utility clothing meant 'standard' clothing, with people dressed too similarly. The government was at pains to reassure the public that 'the Board of Trade have no wish to adopt the role of fashion dictator'. It brought in leading fashion designers to design a prototype range of Utility clothing which were attractive, stylish and very varied.
The Incorporated Society of London Fashion Designers (IncSoc) was founded in 1942 to represent the collective interests of the fashion industry in Britain, promote exports and develop standards of design. There were originally eight members: Peter Russell, Norman Hartnell (pictured here), Bianca Mosca, Digby Morton, Victor Stiebel, Elspeth Champcommunal and Hardy Amies. Edward Molyneux and Charles Creed joined soon after. They were commissioned by the Board of Trade to produce designs for stylish yet economical outfits that could be produced under the Utility scheme. As well as using Utility materials, the designers also had to work within the austerity regulations.
The end of war and peacetime style
By 1945 British people had grown tired of rationing, restrictions, and calls to 'Make Do and Mend'. Advertisements promised new styles but often shops lacked many new offerings. Production of clothes and other civilian goods did increase after the war, but most of what was made was exported. Clothes rationing - albeit in a reduced form - continued until 1949.
The best-dressed were those leaving the military services. Demobilised men were issued with a full set of clothes, known as the 'demob suit'. Reactions varied - although there was some degree of choice, and quality could be very good, many simply felt that they had swapped one uniform for another. Women leaving the military services were given an allocation of coupons rather than a new outfit. The coupons gave women more freedom to choose what clothes they wanted, but they were still limited by what was available in the shops.
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https://tv.apple.com/us/person/martin-clunes/umc.cpc.2ygkz7vchtgn29e3fonqgqxvn
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en
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Martin Clunes Movies and Shows
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Learn about Martin Clunes on Apple TV. Browse shows and movies that feature Martin Clunes including Doc Martin, Kipper, and more.
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https://tv.apple.com/us/person/martin-clunes/umc.cpc.2ygkz7vchtgn29e3fonqgqxvn
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He was born Alexander Martin Clunes in Wimbledon, London, U.K., the son of two generations British stage mainstays. His father, Alec Clunes, was a renowned actor of Shakespearean fare and British film, while his mother, Daphne, was an aficionado of the craft who encouraged Martin to follow in his father's footsteps and later sat on the board of the London Academy of Music and Dramatic Art. The Clunes patriarch was often on the road for his work, and Martin and sister Amanda only found out years later that his father and mother were estranged when the former died of cancer in 1970. Martin was sent to boarding school at the Royal Russell School in Croydon, a traumatic period in which he suffered both physically and psychologically from the school's draconian disciplinary codes. He honed his own burgeoning talents at The Arts Educational Schools in Chiswick, London, developing a sense of humor, he later said, to cope with school bullies. With the mentoring of his mother's cousin Jeremy Brett, a prolific actor who later gained fame in the 1980s as Britain's latest Sherlock Holmes, Martin decided try his hand at show business. Brett, he later said, even offered to pay for surgery to pin Clunes' prominent ears back. With all this assistance, Clunes won his first paying job as a member of the repertory of the Mercury Theatre in Colchester and spent much of his early career as a stage actor.He made his television debut in 1982 as a cocky young ally of the U.K.'s long-running sci-fi hero in a brief arc on "Dr. Who" (BBC, 1963-1989), and he would periodically return to the medium in ensuing years on short-lived situation comedies "No Place Like Home" (BBC, 1983) and "All at No. 20" (ITV, 1986-87). In 1987, he landed in auspicious company, doing a run of Shakespearean works for the English Shakespeare Company at London's venerable Old Vic Theatre, and the next year snared a role opposite Edward Fox and Rex Harrison in a revival of the Brit comedy classic "The Admirable Crichton" at the Theatre Royal Haymarket. In 1990 he married fellow actor Lucy Aston. Television kept calling, often with series one-off roles, but that same year, Clunes kicked off what would become a prolific decade of television work when comedian Harry Enfield tapped him for the ensemble of his BBC sketch show, "Harry Enfield's Television Programme" (1990-92) He and Enfield worked together again, alongside Jim Broadbent, on the short comedy series "Gone to the Dogs" for ITV in 1991, and again in the 1994 update of the sketch comedy series "Harry Enfield and Chums." Also in 1991, he joined Hugh Laurie and Stephen Fry for the second season of their the dimwits-in-high-places comedy "Jeeves and Wooster" (ITV, 1990-93), with Clunes doing a four-episode turn as upper-class twit Cyril "Barmy" Fotheringay Phipps.Meanwhile, Enfield was contacted by TV producer Beryl Vertue about starring in a new sitcom for ITV based on Simon Nye's novel about beer-swilling slackers, Men Behaving Badly. Enfield, taking the role of Dermot, lured Clunes along to play his roommate Gary, a desk jockey who after work indulges a rampant Peter Pan-complex by way of boozing, vegetating, ogling and sundry hijinks. After the first six-episode season, however, Enfield felt uncomfortable in a sitcom format and Dermot was written out in favor of a new flatmate, Tony, played by Neil Morrissey. The show rated poorly during its second season and, with Enfield no longer its tentpole, ITV decided to axe it. The BBC picked it up and gave it a later-evening time slot, loosing writers to create a racier show, and "MBB" found a groove, drawing bigger audiences and a raft of awards, including a Best Comedy Actor BAFTA win for Clunes in 1996 and nomination in 1997. He veered into more dramatic fare off-season, starring in the miniseries "Demob" (1993), the tale of two onetime musical comedians (Clunes and Griff Rhys-Jones) who, after service in World War II, go to extraordinary lengths to reestablish their careers in a much-changed Britain.In 1994, he garnered the lead in the feature "Staggered," and when two directors dropped off the project, Clunes stepped up and took the helm of the project. In the film, he played a man waking up naked in Scotland and embarking on an odyssey to traverse the length of Britain to make it to his wedding in London. With his own marriage to XXX crumbling, Clunes began a relationship with "Staggered" producer, Philippa Braithwaite, with the couple marrying in 1997 in the wake of his and Aston's divorce. By this time, he became much in-demand for TV movies and as a feature film supporting player, including a small turn in the Oscar-winning "Shakespeare In Love" (1998) and picked up a voiceover job as the title cartoon dog on the children's series "Kipper" (ITV, 1997). After "Men Behaving Badly" shuttered in 1999, Braithwaite produced a little film that would give birth to another long-lived, multi-layered project for the both of them. "Saving Grace," co-scripted by Scottish-born comedian Craig Ferguson, starred Brenda Blethyn as a woman whose recently deceased husband leaves her with nothing but her green thumb, while her inept gardener (Ferguson) helps her raise a crop of marijuana in a small Cornwall town. Clunes took third billing as Dr. Martin Bamford, the town doctor, buddy of Ferguson and partaker of the weed.One of the bankrollers of the film, Sky Pictures, expressed interest in doing a pseudo spin-off of the show starring Clunes, initially a prequel concept telling the story of how Dr. Bamford came to reside in the remote town. Braithwaite and Clunes' Buffalo Pictures put in motion "Doc Martin" (Sky TV, 2001), which saw Clunes rendering the character as a successful London obstetrician whose life falls apart when he discovers his wife has cheated on him, prompting him to seek a kind of walkabout in a Cornwall town he visited as a child and finding a more blue-collar groove among its eccentric, simpler folk. He kept up his bona fides as comic leading man in whacky-caper ITV movies such as "Hunting Venus" (1999), which Clunes also directed, reuniting him with "MBB" co-star Morrissey; "Dirty Tricks" (2000) and "The Booze Cruise" (2003). He also tapped into more dramatic work, playing the swaggering agent of the king in an updated film adaptation of "Lorna Doone" (BBC/A&E, 2000); the eerily charming 1940s serial killer John George Haigh in "A is for Acid" (ITV, 2002); and the titular, big-hearted boarding school teacher in a remake of "Goodbye, Mr. Chips."He reprised his Doc Martin character for Sky in 2003 in "Doc Martin and the Legend of the Cloutie," which saw the doc scheming to keep the area around the village pristine by convincing some citified land developers that the land they purchased is haunted. That year, he returned to series television for ITV's "William and Mary," with him playing an amiable but unsatisfied undertaker embarking on a rollercoaster of a relationship with a professional midwife (Julie Graham). "William and Mary" ran three seasons, but even before it concluded, Clunes, Braithwaite and writer-producer Dominic Minghella had taken the Doc Martin franchise to another level. ITV commissioned it as a series, and they began tinkering with the concept. When it debuted in 2004, the sympathetic, well-meant Dr. Martin had (presumably for copyright reasons) a new surname, Ellingham, and a radically altered disposition, reintroduced to the quirky fishing village as a surly, antisocial London surgeon who, having developed an aversion to blood, seeks work as a general practitioner. Even more of a fish-out-of-water tale, the show became a monumental hit, often topping 10 million viewers per episode, as it followed his alienation from and grudging acceptance by the local townsfolk.The show proved such a phenomenon, its concept and storylines were licensed for adaptations for Greek, German, Spanish and French television, while PBS aired the original in the States. Yet after the third season, and in the wake of his mother's death in 2007, Clunes decided to take a break from acting. He penned a book bespeaking his love of dogs, A Dog's Life, in 2008, which culled memories of his own family's pets and delved deeper into the history of dogs. He would eventually semi-adapt the book for a documentary for ITV. In 2009, "Doc Martin" resumed production to great fanfare. Though it became a rare long-running drama in the U.K., Clunes supplemented his schedule in 2009 with Simon Nye's ballyhooed remake of the BBC classic comedy "The Fall and Rise of Reginald Perrin" (1976-79), simply redubbed "Reggie Perrin." He played the title character, a man in the midst of a midlife crisis who seeks respite in fantasy and plots to fake his own death. Though not well-rated, the show lasted two seasons on the BBC. By Matthew Grimm
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Ian and Dick are two soldiers returning to peacetime Britain from WW2. They struggle to fit back into society, and get involved in various shady schemes.
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en
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/favicon.ico
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TV Time
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https://www.tvtime.com/show/273010
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Demob
1 season • 1993 • Ended
Drama , Comedy
Ian and Dick are two soldiers returning to peacetime Britain from WW2. They struggle to fit back into society, and get involved in various shady schemes.
Ian and Dick are two soldiers returning to peacetime Britain from WW2. They struggle to fit back into society, and get involved in various shady schemes.
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3360
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dbpedia
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1
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https://www.business-live.co.uk/retail-consumer/demob-misery-many-second-world-3938036
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en
|
Demob misery of many Second World War heroes revealed in new book
|
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] |
[] |
[] |
[
"Retail & Consumer"
] | null |
[] |
2009-10-08T23:00:00+00:00
|
A new book reveals the sad reality that faced soldiers when they returned home in 1945.
|
en
|
https://s2-prod.business-live.co.uk/@trinitymirrordigital/chameleon-branding/publications/birminghampost/img/favicon.9b7adaf81d10eaf7.ico
|
Business Live
|
https://www.business-live.co.uk/retail-consumer/demob-misery-many-second-world-3938036
|
A new book reveals the sad reality that faced soldiers when they returned home in 1945. Richard Edmonds reports
Horrors of home
Demobbed – Coming Home Again after the Second World War by Allan Allport (Yale, £20.00).
After Belsen and Hiroshima silenced the world, the bells began to ring again. Suddenly it was summer in England and millions of ex-servicemen who had been uprooted from their lives and families to serve their governments in war were demobbed and returned home.
They wore demob suits given to them by the Government, often ill-fitting and rarely smart, but the men were back, the smiling heroes of a thousand street parties, cheered by family, friends and neighbours. Publicly they were riding in triumph, but these often disillusioned veterans came home to a sad Britain of ration books and a medical profession strapped for cash.
On the surface it was Blackpool every day, but scratch the surface and you would find marital infidelity, social disorder, deep disillusion and stringent austerity and poverty.
In this deeply sensitive account of what it was like to be a returning serviceman in 1945, Allan Allport turns back a disturbing page in this country’s history and makes us consider today’s young serving men returning from Afghanistan, frequently maimed and disabled, to an insufficient pension and insufficient medical treatment. Seventy-odd years ago it was much the same.
Using letters, diaries, reports, army data, law reports, criminal proceedings, as well as film and radio references, the author pens a many faceted, highly sensitive picture of a country exhausted by its war effort, crippled by war borrowing and in debt therefore to America, but above all, a country struggling to absorb its military survivors back into so-called normal civilian society.
Few, who had lived through the war at home could truly comprehend what it meant to be a serving man in a horrendous war. Some couldn’t even wait at home to find out.
When Eighth Army driver Maurice Merritt arrived home after six years abroad, notes Allport, no one was at home. Even the cat “couldn’t wait to get outside for a wee”, Merritt recalled years later:
“There was a short note on the kitchen table. ‘Make a cup of cocoa if you like – bloody cocoa, after all that time in the desert – and there’s a tin of pilchards in the larder if you feel peckish. Joan’. Pilchards! Ask any man who’s been in the army what he thinks of pilchards and see what reply you get...”
Many women had let their figures go while their men were at the front. The sylph a man had said goodbye to on the station had disappeared and he found a human barrage balloon waiting to say hello.
The agony aunts, such as Ann Temple in the Daily Mail dished out a quick crash course in grooming for wives. This included skin and hair care, advice on manicuring, etc, and it all went along with a faux happiness which had to be faked at the great reunion on the station with neither side knowing quite what to say.
Allport challenges in a crucial way conventional myths about the ease of transition to peace-time life signified by the comfortable nostalgia of political victory speeches and the celebratory and ever- present street parties.
Here is a book which brings individual stories to the fore and shows how many British families struggled, some times hopelessly, with the very real problems of assimilation after many years spent apart.
And it wasn’t only the domestic scene which was being torn apart. Many men came back to dull, routine jobs they had held before the war, and those who employed them found they were giving trivial instructions to decorated heroes short on patience and goodwill.
Other forms of stress in this area included humble, working-class families welcoming back a son who had suddenly gone up the social ladder and become ex-officer class. Mutual embarrassment set in on all sides.
One young officer, who had endured military rank and prestige, reported that he found his wife “rather common”. His language, like many another ex-officer now included words and phrases like “I say”, “actually” and “rather”.
In the curious post-war years, some men became tramps subsisting on meths and getting a lift here or there, often to a religious community who took them in temporarily.
Others took a chance on Group Captain Leonard Cheshire’s self-sustaining farm communes of ex-servicemen. But Cheshire’s vision of a quasi-religious utopia crumbled into vicious bickering between the utopians themselves and the Cheshire homes eventually became hospitals for sick men.
A darker psychotic element dogged many of the ex-soldiers.
The mental hospitals administered electric shock treatment to those who had slipped pitifully into physical breakdown. Once a week, generally on Thursdays, young wives waited with their husbands at the local bus stop in their town for the hospital bus.
The electric shock was administered to the patient often without quite knowing what the final effect would be. Later, the patient would stand in total silence with his wife who took him home until the next appointment a week later.
Gay men were given violent aversion therapy, with the same vague unconcern about the outcome. Shock treatment was again involved and drugs.
Some ex-servicemen died after the treatment, while others suffered dementia. It was the brave new world for heroes promised by Churchill.
Some unfaithful wives were divorced or even murdered by their demobilised husbands, other ex-servicemen turned to gambling, drink or crime, but many wandered the streets as homelessness figures soared.
Many civilians could not understand it and displayed indifference or hostility to the returning soldiers, while a number of politically disillusioned veterans carried out strikes and other acts of insubordination in protest at the slowness and inadequacy of the whole demobilisation process.
In this very fine and very moving book, Allan Allport concludes that despite the comparative wealth of 21st century Britain, we still do a disgracefully inadequate job of demobilising our young men and women from war and he suggests that the lessons that should have been learned from the experiences of veterans following the Second World War have been ignored. Few surprises there.
|
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https://www.avclub.com/film/reviews/demob-happy-how-tv-conquered-britain-2007
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] |
[] |
[] |
[
""
] | null |
[
"Brianna Zigler",
"Jarrod Jones",
"Katie Rife",
"Leigh Monson",
"Brent Simon",
"Jesse Hassenger",
"Ignatiy Vishnevetsky",
"Matthew Jackson",
"Jacob Oller",
"Cindy White"
] | null |
The A.V. Club covers film, TV, music, games, books and more — pop culture obsessives writing for the pop culture obsessed.
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en
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AV Club
|
https://www.avclub.com/article-category/film
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3360
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http://www.tvcream.co.uk/telly/your-friday-night-in/your-friday-night-in-november-1993/
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en
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Your Friday Night In… November 1993 – TV Cream
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http://www.tvcream.co.uk/wp-content/uploads/2017/11/demob.jpg
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] |
[] |
[] |
[
""
] | null |
[
"TV Cream"
] |
2017-11-17T00:00:00
|
Friday, 19th November 1993 PICK OF THE DAY 9pm DEMOB, ITV Hyped up as the next big hit comedy drama that wasn’t – and there were millions of them around that time, and none of them were either – and starring Griff Rhys Jones and Martin Clunes as two ex-forces types in the 1940s with […]
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en
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http://www.tvcream.co.uk/wp-content/uploads/2016/11/cropped-tvcidentonblue-32x32.png
|
http://www.tvcream.co.uk/telly/your-friday-night-in/your-friday-night-in-november-1993/
|
Share
Tweet
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Friday, 19th November 1993
PICK OF THE DAY
9pm DEMOB, ITV
Hyped up as the next big hit comedy drama that wasn’t – and there were millions of them around that time, and none of them were either – and starring Griff Rhys Jones and Martin Clunes as two ex-forces types in the 1940s with a dream of becoming a top radio comedy double-act. Amanda Redman and Samantha Janus did the eye-candy-with-a-mean-left-hook honours, while Les Dawson appeared in one of his last screen roles as, you guessed it, a world-weary club comic. Almost entirely forgotten now, but for the fact that there is one copy of the tie-in novel, with a faded back cover, in every single charity shop in the land.
ALSO SHOWING:
9pm NAKED VIDEO 2½, BBC2
BBC Scotland’s premier sketch show where you couldn’t work out whether you liked it, or not nor indeed which of those three bits of music was the actual theme tune, went on for terrifyingly longer than anyone remembers – and even then they kept trying to revive it in new guises. Here’s one of the 10 billion Best Of compilations that they flung out during that time. Doubtless featured Rab, Siadwell, Lizzie, The Baldy Man, Thingy in the wine bar, the Outer Hebrides Broadcasting Corporation, and loads of other unfunny ones about being a delivery driver and falling in a sewage trough or something.
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1
| 76
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https://newsoundsmag.co.uk/2019/07/24/demob-happy-release-new-single-autoportrait/
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en
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Demob Happy Release New Single 'Autoportrait'
|
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[] |
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[
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[
"New Sounds Magazine"
] |
2019-07-24T00:00:00
|
+TOUR DATES ANNOUNCED WITH ROYAL BLOOD & BAND OF SKULLS LISTEN TO AUTOPORTRAIT HERE Demob Happy On Spotify Demob Happy have released their brand new single, ‘Autoportrait’, and announced extensive tour dates including shows with Royal Blood through Europe and Band Of Skulls across North America. ‘Autoportrait’ sees the Brighton via Newcastle trio kinetically charged. A wide-eyed joyride into fearless sonic territories anew, remoulding their anthemic, dynamic garage rock with startling effect. Speaking of the track, frontman Matt Marcantonio says: […]
|
en
|
New Sounds
|
https://newsoundsmag.co.uk/2019/07/24/demob-happy-release-new-single-autoportrait/
|
+TOUR DATES ANNOUNCED WITH ROYAL BLOOD & BAND OF SKULLS
LISTEN TO AUTOPORTRAIT HERE
Demob Happy On Spotify
Demob Happy have released their brand new single, ‘Autoportrait’, and announced extensive tour dates including shows with Royal Blood through Europe and Band Of Skulls across North America.
‘Autoportrait’ sees the Brighton via Newcastle trio kinetically charged. A wide-eyed joyride into fearless sonic territories anew, remoulding their anthemic, dynamic garage rock with startling effect.
Speaking of the track, frontman Matt Marcantonio says: “I had the title before I’d written a word, but it forced my hand into writing something more honest than I ever would, like coercing a confession out of myself over insecurities I’d rather deny”.
‘Autoportrait’ follows an appearance opening the main stage at London’s All Points East, dubbed “confident, assured and massive, a long way from the impromptu shows the trio used to play out of the back of their van”, by DIY Magazine.
Alongside the release of previous single ‘Less Is More’, which has received over 3.5m plays on Spotify, Spring 2019 saw Demob Happy complete their biggest UK headline tour to date, including sold out shows at London’s The Garage and Brighton’s Concorde 2. This year has also seen Demob Happy perform at Mad Cool festival, Shaky Knees, Sonic Temple and US tours with Graveyard and Uncle Acid & The Deadbeats.
‘Autoportrait’ is out now via SO Recordings. See Demob Happy live at the dates below with Royal Blood and Band Of Skulls. Tickets are available here – http://demob-happy.com/.
Tour Dates
July
23 – Schlachthof – Wiesbaden – Germany (w/ Royal Blood)
24 – Gross Frieheit 36 – Hamburg – Germany (w/ Royal Blood)
26 – Palladiam – Warsaw – Poland (w/ Royal Blood)
28 – University Botanical Garden – Vilinus – Lithuania (w/ Royal Blood)
30 – House Of Culture – Helsinki – Finland (w/ Royal Blood)
August
03 – Laryrock Festival – Chevanceaux – France
05 – Art-Zavod Platforma – Kiev – Ukraine (w/ Royal Blood)
17 – Porão Fstvl – Brasília – Brazil
18 – Venue TBA – Jundiaí – Brazil
22 – Venue TBA – São Paulo – Brazil
September
01 – Nashville – TN – The Basement East (w/ Band Of Skulls)
04 – Santa Fe – NM – Meow Wolf (w/ Band Of Skulls)
06 – Solana Beach – CA – Belly Up (w/ Band Of Skulls)
07 – Phoenix – AZ – The Crescent Ballroom (w/ Band Of Skulls)
09 – Dallas – TX – Trees Dallas (w/ Band Of Skulls)
10 – Austin – TX – Mohawk (w/ Band Of Skulls)
11 – New Orleans – LA – Tipitina’s (w/ Band Of Skulls)
12 – Pensacola – FL – Vinyl Music Hall (w/ Band Of Skulls)
12 – Birmingham – AL – Saturn (w/ Band Of Skulls)
16 – New York – NY – Webster Hall (w/ Band Of Skulls)
18 – Philadelphia – PA – Union Transfer (w/ Band Of Skulls)
19 – Washington – D.C. – 9:30 Club (w/ Band Of Skulls)
20 – Cleveland – OH – Beachland Ballroom and Tavern (w/ Band Of Skulls)
21 – Toronto – ON – Mod Club Theatre (w/ Band Of Skulls)
23 – Detroit – MI – El Club (w/ Band Of Skulls)
24 – Chicago – IL – Thalia Hall (w/ Band Of Skulls)
25 – Minneapolis – MN – Fine Line Music Café (w/ Band Of Skulls)
27 – Denver – CO – Marquis Theater (w/ Band Of Skulls)
28 – Salt Lake City – UT – Urban Lounge (w/ Band Of Skulls)
30 – Vancouver – BC – Venue Nightclub (w/ Band Of Skulls)
October
01 – Seattle – WA – Neumos (w/ Band Of Skulls)
02 – Portland – OR – Wonder Ballroom (w/ Band Of Skulls)
04 – San Francisco – CA – August Hall (w/ Band Of Skulls)
05 – Santa Ana – CA – La Santa (w/ Band Of Skulls)
06 – Los Angeles – CA – The Mayan (w/ Band Of Skulls)
Demob Happy are: Matthew Marcantonio – vocals, bass, Adam Godfrey – guitar, vocals & Thomas Armstrong – drums, vocals
|
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https://time.com/archive/6791944/great-britain-over-to-peace/
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en
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GREAT BRITAIN: Over to Peace
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https://time.com/favicon.ico
|
https://time.com/favicon.ico
|
[] |
[] |
[] |
[
""
] | null |
[
"TIME"
] |
1945-09-17T04:00:00+00:00
|
Industrialists, bogged down with orders, begged for manpower. Servicemen, eager to work, begged to be demobilized. To bosses and workers it seemed a simple issue: Britain needed the goods and they...
|
en
|
/favicon.ico
|
TIME
|
https://time.com/archive/6791944/great-britain-over-to-peace/
|
Industrialists, bogged down with orders, begged for manpower. Servicemen, eager to work, begged to be demobilized. To bosses and workers it seemed a simple issue: Britain needed the goods and they were ready to make them. Then why the delays? This week the thorny, interlocking problems of reconversion and demobilization confronted the new British Government with its first real home-front crisis.
The biggest blast came from the five million men in uniform. Most of them had voted Labor, all of them expected to go home as fast as possible after V-J day. The headlines made their pulses race: “Millions of Orders Pour Into Britain,” “Britain Enters Great Enterprise of Peace.” There would be good jobs and good pay for all.
The Government’s dampening answer to the “demob” cry came from pale-eyed, mild-mannered Minister of Labor George Isaacs. The Government, he said, would stick to a modified version of the plan drafted by his potent predecessor, Ernest Bevin, six months ago: 1,110,000 men would be released this year, “specialist workers” could go at once. The rest would have to wait.
“The Great Letdown.” From the forces came a full-throated roar of anger. Protests began to deluge M.P.s and party organizers. Wrote a sergeant from Germany: “This demob news shook the boys more than anything.” Embittered Tommies, watching boatloads of G.I.s heading home each week, took to advertising in their home papers for jobs. The Government was likened to Ethelred the Unready (see cut). Stocky, quick-firing Garry Allighan, Labor M.P. for the blitzed Gravesend dock area, staggered out from under 2,000 demobilization letters a day to cry: “You must solve this—or have revolution. It’s serious.”
It was indeed. To the microphone went Prime Minister Clement Attlee himself. But he had only cold comfort to give. Said he: Britain cannot shirk her obligation to maintain forces in Europe, the Middle East, the Far East; hence the Bevin plan for gradual demobilization must stand. Two days later, Isaacs again endorsed the plan. “Hell,” said a colonel over from Germany, “these aren’t the men we voted for.”
Nor could employers understand why economic interests should not be paramount now. The war had ended like the fall of a guillotine blade; let reconversion come as speedily. Already the dammed-up orders from a goods-starved world were flowing in.
Bombers to Beds. The famed Mosquito bomber plant had begun producing utility furniture for newlyweds. Austin and Morris, Britain’s top two car makers, were pouring out a stream of shiny new automobiles. The Sunbeam Co. had started on three great fleets of busses for South Africa. Tractors and cars were to go to Turkey and the Middle East. Several aircraft plants had swiftly switched to making prefabricated houses and car parts. A sprawling airplane equipment factory in Speke was turning out children’s pumps and women’s corsets.
Amid the tall chimneys of Lancashire a score or more cotton mills had reopened. The radio industry bulged with orders. Shipyards boomed under six-year backlogs. Through the foggy mists of Liverpool rose a forest of cranes, “demobbing” big liners from war to peace.
For the present, most of this business was headed overseas. More than ever now, Britain must export or die. Thus, for a time, there would still be queues and shortages at home. Dresses were still scarce, tailors still took six months to deliver suits. Soap was still short, shoes still sold out inside an hour. Newlyweds still had to wait weeks for beds and tables.
Guns to Go-Carts. But it was not all gloom. The pubs were reconverting fast to real beer, suburban gardens to flower bulbs from drumhead cabbages and King Edward potatoes. Cosmetic shops were selling out of evening rouges and eyeshadows. In tony Mayfair a great West End mansion, Lord Kemsley’s Chandos House in Queen Anne Street, was first to reconvert, in a blaze of lighted windows. In the country, reconversion glided in so smoothly that the strapping, brush-loving Duke of Beaufort would be able to hunt four days a week this winter. Already the Crawley and Horsham are cub hunting for the new season.
Brightest reconversion item came from Sir Stafford Cripps, President of the Board of Trade. Said the solemn, long-faced Minister, in words that stirred every mother’s heart: London’s famed Woolwich Arsenal, which has equipped British armies for centuries, will henceforth make perambulators, go-carts, playpens, kitchen utensils. Explained Sir Stafford dryly: “I take advice from my wife, Isobel.”
|
||
3360
|
dbpedia
|
2
| 19
|
https://m.imdb.com/title/tt0105985/episodes
|
en
|
Demob (TV Series 1993)
|
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[
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[] | null |
Demob (TV Series 1993) - Movies, TV, Celebs, and more...
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en
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IMDb
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https://www.imdb.com/title/tt0105985/episodes?season=1
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Top-rated
Thu, Oct 14, 1993
Ian Deasey and Richard "Dick" Dobson are two soldiers and army entertainers who are demobbed after four years in the war. The plan is for both to return to their families and resume their previous lives, but will they be able to adjust?
7.3/ 10 ( 9 )
Top-rated
Thu, Oct 21, 1993
Ian and Dick have resurrected their cabaret act, but the strain of performing at night while also holding down regular work is beginning to tell. Fate conspires towards forcing them to make a decision: give up comedy or turn professional.
7.4/ 10 ( 8 )
Top-rated
Thu, Oct 28, 1993
Ian and Dick begin a run in Liverpool, performing low down on a bill for variety entertainer Morton Stanley (Les Dawson). Yet Morton and his wife are more interested in the appeal of their fan dancer Hedda - but for very different reasons.
7.3/ 10 ( 6 )
Top-rated
Thu, Nov 4, 1993
After Hedda stood in for an unwell Dick, Ian decides to try and make the most of his new comic partnership. His only problems are that Hedda got them fired from their last job, his wife isn't happy, and Dick wants to get back together.
7.2/ 10 ( 6 )
Top-rated
Thu, Nov 11, 1993
Ian and Dick are finally back together as a double act, with an opportunity to work for the BBC. But even success has its many problems, and Ian's neglected wife has turned to the local doctor for affection in his absence.
7.4/ 10 ( 7 )
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https://www.themoviedb.org/tv/58413-demob%3Flanguage%3Den-US
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Demob
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Demob was a short-lived British comedy-drama television series, which screened for one six-episode series in 1993 on ITV.
The series was set in the late 1940s and early 1950s, and starred Martin Clunes and Griff Rhys Jones as two ex-army friends who decide to try to form an entertainment act, with the aim of getting work on BBC radio. The series also starred Samantha Womack, Amanda Redman and Les Dawson.
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de
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/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png
|
The Movie Database
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https://www.themoviedb.org/tv/58413-demob
|
Demob was a short-lived British comedy-drama television series, which screened for one six-episode series in 1993 on ITV.
The series was set in the late 1940s and early 1950s, and starred Martin Clunes and Griff Rhys Jones as two ex-army friends who decide to try to form an entertainment act, with the aim of getting work on BBC radio. The series also starred Samantha Womack, Amanda Redman and Les Dawson.
|