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Archive for the ‘history’ Category

Emotion and truth

‘Reality doesn’t interest me,’ said Leni Riefenstahl in a piece in Der Spiegel in August 1997 (Leni Riefenstahl über ihre Filme, ihr Schönheitsideal, ihre NS-Verstrickung und Hitlers Wirkung auf die Menschen Spiegel 18.08.1997).

Hitler’s favourite film-maker died in 2003 aged 101 and this quote, usually lifted out of context, did nothing to mitigate her notoriety. Her statement was an answer to the following question: ‘When you photograph a Greek temple and at the side there is a pile of rubbish, would you leave the rubbish out?’ ‘Definitely, I am not interested in reality,’ Riefenstahl replied.

My immediate reaction is ‘But wouldn’t we all leave the rubbish out?’

It is the sort of self-editing that most of us engage in when we are taking holiday photographs. We compose our shots to leave out the construction site that marrs the view of the old town, the unknown family that spoils our white-sanded beach, the cars that intrude into the sense of loneliness we want to capture on a coastal path.

My second reaction is ‘But what is the purpose of those pictures?’

If I am taking holiday snaps to remind me of how a place resonated with me, that allows me to be transported back there when I look at them, I am looking to take pictures that evoke an emotional response. I want to capture scenes that evoke memories of how beautiful a place was, how bleak it was, how peaceful it was. I am not looking to capture the essential truth of the place except in so far as that emotion is concerned.

Of course, there are other photographs I might be wanting to take – ones that document how disingenuous the holiday brochure was, how crowded the beach was, how the traffic crashed in on you at every moment. These may not evoke the same memories or feelings when I look at them, but they are ‘true’ in a way that those I self-edit aren’t. When we look at photographs in a newspaper, or we watch a documentary film, we place some trust in the film-maker that, whatever our emotional response, what we are seeing is ‘true’.

The power of Riefenstahl’s National Socialist propaganda film-making, as seen in the likes of Triumph of the Will, came from creating images and using soundscapes designed to evoke a powerful emotional response, whilst presenting them as documentary truth – even though some of the scenes were rehearsed fifty times, camera shots were distorted to create senses of scale and it allows a sense of party, state and people being a single united entity to emerge as unchallenged fact, exactly as her Nazi paymasters wanted.

Propaganda as a word is Italian in origin, taken from the modern Latin: ‘Congregatio de Propaganda Fide’ or ‘Congregation for Propagation of the Faith’. This was the committee of cardinals charged by Pope Gregory XV in 1622 with overseeing evangelical foreign missions and ensuring uniformity of teaching and interpretation – of ‘truth’. Its modern political interpretation emerged in the early twentieth century, encapsulating Riefenstahl’s style of film-making perfectly.

Yet bending the truth in film is not the preserve of dictators and repressive regimes.

War and lies

The Battle of San Pietro is a documentary film made by acclaimed director John Huston, apparently showing the Battle of San Pietro Infine as it happens, Huston claiming that the cameramen, who were attached to the U.S. Army’s 143rd Regiment of the 6th Division, filmed alongside soldiers as they fought their way up hill towards San Pietro. Later research by Peter Maslowski, in his book Armed With Cameras, demonstrated that this was false.  Once again, those watching were led to believe that the events recorded were as they happened. And elements of course were true – the body bags, the distraught Italians coming home. However, crucially, large elements were re-enactment. Or, to put it less generously, made-up.

The viewer doesn’t know where truth ends and fiction begins.

More recently, Canadian Michael Jorgensen made the controversial film Unclaimed, seeking to substantiate the oft-repeated claim (reinforced by various Hollywood blockbusters including Rambo: First Blood Part II), that some troops listed by the U.S. government as MIA were actually POWs held long after the cessation of military action.

Jorgensen’s film seeks to tell the story of former Special Forces Green Beret Master Sgt. John Hartley Robertson, who, shot down over Laos and listed as MIA, but who was allegedly actually imprisoned and tortured by the North Vietnamese. After a year, it is claimed, he was released and married a Vietnamese woman, living in a remote village in south-central Vietnam. Robertson forgot how to speak English and forgot the names of his American children.

It is a powerful piece of film-making, including at-first-sight reunions and was intended as a device to reunite Robertson with his family.

Again, however, its central claim had considerable doubt cast upon it. The Independent newspaper carried an extensive report debunking the claims:

‘According to a memo sent to a UK news organisation yesterday evening, the man claiming to be Sgt Robertson is in fact Dang Tan Ngoc – a 76-year-old Vietnamese citizen of French origin who has a history of pretending to be US army veterans.

The memo, taken from a Defense Prisoner of War Missing Personnel Office report in 2009, apparently says Ngoc first came to the attention of the US military in 2006 when he started telling people he was Sgt John Hartley Robertson.

He was apparently questioned about the claims but quickly admitted he had been lying and was in fact Vietnamese.

In 2008 Ngoc apparently began claiming to be Sgt Robertson once again, and he was taken to a US embassy in Cambodia to be fingerprinted. It was quickly established that the fingerprints did not match those of the missing army veteran.’

Later in 2013, a DNA test conducted reluctantly by the family showed that the man who was presented as Robertson was unrelated to Robertson’s nephew.

Of course, questions remain about the story of John Hartley Robertson, and who the man in the jungle is, but the ‘truth’ is certainly not as presented in Jorgensen’s film, just as it may not be as is presented by the Department of Defense (this article explores those questions further).

Modern falsehoods

Jump forward to November 2014.

On Armistice Day, Metro, the free paper handed out on the tube, carried an incredible story entitled ‘Hero Syrian boy ‘braves sniper fire’ to rescue girl in amazing video’. It described how a Syrian boy, under fire from snipers, rescues his friend, a young girl, and pulls her to safety. Incredibly, the whole thing had been captured on film.

It is an extraordinarily powerful piece of film-making.

It was Armistice Day. I had recently written about my great, great uncle. Every morning for a month I had disembarked at Fenchurch Street and seen the crowds building to see the incredible poppy installation at the Tower of London. I remember how I felt reading that story against a backdrop of reflections on war, evil and loss. This small victory of tremendous youthful bravery over evil created a sense of defiant hope. I remember thinking that I should find a moment to blog it.

The trouble is, it has emerged that not a single frame of it is true.

The millions of us who viewed that film, that reacted to it, who wondered on the fate of the two children after they escaped the sniper’s bullets, were duped by Lars Klevberg, a 34 year-old film-maker from Norway. In a piece for the BBC he said:

‘If I could make a film and pretend it was real, people would share it and react with hope,’ he said. ‘We shot it in Malta in May this year on a set that was used for other famous movies like Troy and Gladiator,’ Klevberg said. ‘The little boy and girl are professional actors from Malta. The voices in the background are Syrian refugees living in Malta.’

Were they comfortable making a film that potentially deceived millions of people? ‘I was not uncomfortable,’ Klevberg said. ‘By publishing a clip that could appear to be authentic we hoped to take advantage of a tool that’s often used in war; make a video that claims to be real. We wanted to see if the film would get attention and spur debate, first and foremost about children and war. We also wanted to see how the media would respond to such a video.’

Klevberg’s audacity is breath-taking and his intentions, surely, dubious at best. It is possible to generate a debate about war without faking footage and misleading people.

Zero Dark Thirty is a powerful piece of film-making which purports to show the events that lead up to the killing of Osama Bin Laden. Director Kathryn Bigelow often uses documentary-style camera shots to create a sense of immediacy and reality, reflecting the sorts of camera shots we see in contemporary news reports. At no point, however, does she claim that the film is documentary truth. The viewer is able to make a judgement as to whether or not the events were as depicted because we know this is a Hollywood film.

Klevberg’s clip is particularly insidious. It plays on the emotions that we have about children, especially children in war. It uses the sorts of footage that we have come to associate with documentary film-making and news reports. It depicts scenes that we imagine and that we have read about. Some of us have friends in Syria who are living this hell day in and day out. Yet Klevberg’s footage is entirely fake.

Who had heard of Lars Klevberg outside his native Norway before this emotionally-manipulative stunt? No-one beyond a small group of aficionados. Now he has trended worldwide on social media. For all of his protestations, it is difficult to see this as anything other than a cynical device for self-promotion, to register with a world hungry for some sense of hope in a conflict whose manifestations of evil affect us on a very primal level.

Deception and destabilisation

I think its effect is more dangerous.

It is a deliberate lie that reinforces our scepticism about everything we see. Many will argue that is a good thing. However, at a time when it hard enough to discern truth in the images we are presented with, when videos of IS terrorists committing murder for worldwide audiences of billions have to be ‘verified’, Klevberg’s actions seem utterly irresponsible, even to this liberal who instinctively distrusts power and questions constantly the evidence he is presented with. Scepticism built on a deliberate lie is as misleadingly useless as blind faith in authority.

Klevberg has done nothing to further confidence in documentary film-making and journalism. At best he has cast aspersions on his profession. At worst he has deliberately sought to manipulate emotion, mislead a worldwide public and construct events in a manner that fundamentally undermines trust. In doing so, he reinforces terrorist claims that what we see on our TV screens is nothing but Western propaganda.

We can be forgiven a creeping sense of déjà vu.

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Gravestone - Robert DewarThe Battle of the Somme lasted from the 1st July 1916 until 18th November 1916. To help advance Allied objectives, on the 19th July, having postponed for 24 hours, the Australian 5th Division, under the command of Major General J. W. McCay, began their assault on the ‘Sugerloaf’ at Fromelles, a salient held by German forces. It had been identified as an objective whose capture would divert German attention from Allied troops attacking elsewhere.

Among the soldiers serving in the 5th division was 3047 Private Robert Dewar, my great, great uncle. Assigned to the 55th Battalion, which in turn was assigned to the 14th Brigade, part of the 5th Division, Fromelles was the first engagement of the war for the 55th Battalion and so the first engagement for Robert. When the 14th Brigade attacked at 6pm on the 19th, hundreds of soldiers were mown down by German machine gunners whose commanders had realised the attack was merely intended as a feint.  Robert and his comrades in the 55th Batallion were initially held in reserve, but, as the assault began to go horrifically wrong, they were ordered to provide a rearguard for the initial assault troops. The result was a catastrophic failure.

The Battle of Fromelles as been described ‘the worst 24 hours in Australia’s entire history.’ The 5th Australian Division suffered 5,533 casualties, rendering it unable to engage in offensive operations for many months. 1,717 of those casualties were in the 14th Brigade. Robert was among them.

Identifying the remains of soldiers who died at Fromelles has been a priority for the Australian Army in the guise of The Fromelles Project. So far, 144 soldiers have been identified. Robert, in 2010, was one of the first, with my family providing DNA samples. On the 5th October 2014, just before dusk, Robert’s name was the eighth read out at the Tower of London in the moving Roll of Honour.

Tim Lycett’s book Fromelles: The Final Chapter contains a fascinating few paragraphs about Robert, describing how he came to be at Fromelles as well as his last moments. Over sixteen million people perished in World War One. Lycett reminds us that each one of those deaths was a tragedy, a life ripped out of a fabric of family, friends and ambitions:

Robert Dewar was born in London to a family with a long international maritime history. His father, also called Robert, was a very capable ship’s chief engineer of forty years’ experience and had been fortunate to survive the Volturno disaster in 1913, when a ship caught fire in the middle of a storm as it conveyed passengers – mostly immigrants – from Rotterdam to the United States. (Although several ships came to its rescue, the gale was too fierce and they were helpless to reach the stricken vessel until the sea had calmed. By then, approximately 135 people had died.)

  The young Robert left England for Australia in 1907 as an unassisted immigrant and upon arrival took up a position as a tramway conductor in Sydney. Enlisting in late 1915, he embarked for Egypt just before Christmas. At the same time, Robert’s father was serving on troop transports in the Mediterranean. In June 1916, a few days before Robert sailed for France, father and son had a chance encounter at Port Said. They had not seen each other for nearly nine years, and the surprise reunion may have seemed like a good omen.

  It’s highly likely that Robert Dewar Snr was the last parent of all the Australians killed at Fromelles to see his son alive.

  On the night of 19th July, Private Robert Dewar was attached to the 55th Battalion’s prisoner guard, but when the situation became desperate, he was ordered forward to support the weakening Australian line. As reinforcements for the battered 53rd Battalion, Dewar and the 55th fought hard to repel German counter-attacks, even conducting a bayonet charge. Unfortunately, they were not able to restrain the Germans for long.

  It was approaching morning when they finally realised their position was untenable and that withdrawal was the only option. As Dewar was returning to the Australian line, a shell burst close to him and, according to a witness, he was ‘knocked about a lot’ and killed.

  Identifying Robert’s descendants was astonishingly simple. A Google search of his name yielded a website about the Volturno disaster. At that stage we weren’t sure what we were looking at, but we were delighted to discover it contained a great deal of information about Robert’s father and a relatively detailed biography. All we had to do then was email the website creator, who graciously forwarded our message of introduction, and in no time at all we had made contact with a living descendant in England who was more than happy to help.

  It was our first search, but compared to many searches to come it was also, unfortunately, an exception to the rule.

One man who survived the Battle of Fromelles and indeed the whole war, returning to Australia in 1919, was Herbert Henry Harris, another private in the 55th Battalion. I wonder if Henry and Robert knew each other, perhaps sharing stories of back home, wondering what on earth they were doing in the mud and horror of France. Henry’s diary has been transcribed. His entries for the 17th to 21st July 1916 make for particularly poignant reading for me, knowing that it was when Robert died (the text is as written, the layout edited to make it easier to read and to remove non-chronological entries):

July 17/16
off to night to big battle Trust to God that I come through all right.

have not been paid since last entry so amount owing to me now is £2-9-1 to date with defferred pay 10.7-0. making £12-16.1 all told so I hope the wife gets it if I pass out. It promises to be worse than the other night.

was out there this morning carrying ammunitions. 5 miles out & 5 back & about 1 mile to Trenches did two trips

feel tired & hardly fit for what is in front of us, but its no use not being fit you have just got to do it

Good Bye Nell & Boys, Viv, Jean Syd Arthur Mary & Walter & Kate & all Friends hope it is only Au revoir.

A lot of the Boys have promised to send this diary on if I get knocked, am sure you will get something interesting out of it besides knowing that my thoughts have been with You & the Boys in every situation I have found myself. Write or get Tony to do so to Auntie Lucy & give her a summary of my adventures as well as Vivs, who bye the way has not joined us yet
9. p.m. Flaubeux is the name of the place where we were bombarded.

July 18/16
am writing this not 100 yds from our guns which are shelling the germs. & they are sending them in wholesale, its wonderful how any thing can live under them when the burst.

am on munition carrying again & it is a dangerous game, not knowing any minute when a shell will burst here.

The big thing did not come off last night as expected & dont know when it will.

July 19/16
Got letter from Willie Stewart last night

was out carrying munitions all day 60 lb Bombs etc am now out here again & the shells are flying round like ants its awful this is the big day & God knows how many of us will come out of it alive.

July 20/16
Thank god I am still alive and not wounded except for slight Bang on the finger from splinter of shell. My Steel Helmet saved me five times & how many escapes I had could not be counted
& if any man was thankful for his safety from such a hell I am he.

Nearly all our officers are dead or wounded & the Batallion is about half a company Batallion now.

the sights I saw will never be forgotten it was like a butchers shop the 53rd lost their Colonel, Major & Adjutant nearly all our Lieutenants are gone also our Sergeants & corporals
could you see the remnants of the Brigade eating Bread & cheese etc on the road side it would make you cry

of the 54th Batallion about 200 are left & they died like heroes every one of them. There are some Prisoners but we took about 200 germans so equalised that way.
We look a sorry crowd covered with mud from head to foot arms, legs, eyes, noses, fingers bound up. Yes by hell we caught it & those who think this war is nearly over are in for some surprises I give it another 2 years at the least.

One narrow escape I had. 3 of us were taking shelter from shells with our backs against a Trench island when a shell plumped right into the island shoving the dirt up against our backs but did not explode, if that was not Providence I dont know what is for had it exploded the 3 of us would be just about ready for cemertry by now.

It was a ghastly night stepping over the dead men in the trenches some of them being only half there a lot of my chums are gone & I can only account for 3 out of my section of 12.
We were highly complimented on the way in which we charged & fought & the Colonel said we were magnificent

the General was awfully pleased & said that the attack was done just as it was desired & that it was a feint to draw the Germans from the Somme front.
it succeeded alright & we took 200 Prisoners, some of the Boys got helmets & all sorts of things

We are away from the firing line & all done up & going to bed I dont want such an awful experience again & dread another battle, all our nerves are unstrung & the roar of the guns has deafened a lot of us, again Thanks to God for bringing me threw such a shambles.

We have hardly any officers left so have to be reorganised. I cant help the feeling that mother is interseeding for me, when the shells are bursting all around me & over me I get this thought into my brain, how I wish I could be the man she wanted me to be.

have not been paid yet so they owe me £2-12-1. & the amount to date now with deferred pay is £13-2-1.

July 21/16
7. am. all around me sleeping exhausted men, some moaning & others talking, the events of the last two days seem like some bad nightmare, if it hadn’t been for their marvellous Artillery we would have gone through the huns like a dose of salts when we got amongst them with the Bayonette they threw up their hands & howled for mercy or cleared for their lives & its certain that if we could only get them on the run it would soon be over they had with them 3 regiments of the Prussian guards but that made no difference to us. Our fellows went right through them & had they been supported would now hold their trenches & have taken thousands of prisoners. This is the third time these Trenches have been assaulted. The Tommies & Indians, & the Canadians & New Zers tried to take them but could do nothing

we took them but could not hold them a great feather in our cap.

now that I can calmly look back on the affair it seems simply a miracle that any of us came out of it unwounded.

The huns have been here two years & know our trenches as well as they know their own so could shell us when they liked.

I suppose there is some small report in the papers about it this morning it wont be much I’ll bet.

Just got two letters from Nell & Jack they still think am in Egypt wish I was. Shall answer Nells to day may be the last.

had a Roll call just now. I am the only one in 9 section & there are 9 in the Platoon we muster about ½ of a Company all told in A. the others likewise.

All my chums are dead or wounded & the guns are still Booming about 1 ½ miles away.

We are shifting again this morning farther away

should see Viv today or Tomorrow as the reinforcements are coming up.

Our poor Lieutenant Mendleson must have felt some premonition of being killed so he left a case of comforts to us 3 Platoon in case of his death & they are dividing it out now as we are only a handful & are sharing it with the rest

Just having tea & the shells are flying over our heads you dont know when you are out of danger here, the Planes are flying about & the enemy guns are firing at him, how long I wonder will this continue. A Hun Prisoner says the war will be over in August I hope he is not a liar.

We are all scattered about in little groups discussing the event & telling one another about this one gone and that one wounded its almost unbelievable to think of fellows with us a day ago & now, in the cemetry.

Expect to go back into the firing line Tomorrow night.

Below is a picture of Robert Dewar. His parents were Robert and Kate Dewar, who lived in a very ordinary suburban house at 700 Barking Road, Plaistow, London, England. I imagine Robert growing up there, playing in the garden, dreaming of adventures on the other side of the world. I imagine, too, that neither he nor his parents imagined that one day he would die in France in the most terrifying of circumstances.

Robert Dewar

Triptych

A triptych is a work of art usually divided into three pieces. Typically, in a painting, the central panel is larger and flanked by two smaller, related panels. I wrote the following three poems inspired by the memory of Robert Dewar, those like him who gave their lives – and those they left behind.

The Solider

He left her with a kiss,
Whistling Roses of Picardy,
And telling her he would be
Home by Christmas.
Before he climbed aboard
The clanking train, in
Swirls of coal smoke
And hissing steam,
He damped her eyes, his
Hanky soaked with tears,
Not blood, not yet,
And brushed her hair with
Hands that tilled earth,
That tied corn in sheaves,
That loosed rabbits from
Snares and made bread.
Young love, they agreed,
Proud and defiant,
Would win out and, in
Years to come, they would
tell their children the
Old tales of foreign lands,
Recalling the camaraderie
Of war and the ache
They shared in those
Brief months of parting.

The Fallen

They lie entombed in clay, cold and still,
Six feet under Belgian fields or
Broken-limbed beneath French meadows.
They kept no portrait in the attic,
But the years grind on without them,
Their worm-chewed bones tangled in
The roots of snowdrops and celandine.
They fell and not once since have known
That caress of soft sea breezes, nor
The bright slant of morning light that
Cuts its angles in the dust of books,
Nor the chill kiss of November’s dusk.

They were young men, mostly, fine
Sons and brothers ripped from time,
Dropped with holes in their skulls
In the darkest, loneliest hells.
Butchers, bakers, farmers, teachers,
Doctors, farriers, clerks, sweeps,
Blacksmiths, shipwrights, thieves,
Husbands, lovers, all the same,
Levelled by serge wool tunics and
Brass buttons and puttees strapped
To hobnailed ammunition boots procured
By flat-footed clerks in Woolwich.

Now, still rotting in a foreign soil,
Some as yet unknown or lost,
We remember men who laughed
On Sunday afternoons, who drank
Beer with friends and hoped for
Fine things on their wedding day.
And those we knew who loved them
Now rest, too, in gentler graves,
Freed from their empty years,
From that pain born on the day
That love was stolen with bullets
Made in Essen by girls with dreams.

The Lover

She watched him leave,
Remembering strong arms
That lifted her from
The apple tree and held
Her tight when night
Gnawed her fingers
With cold teeth.
She had never heard of
Picardy, but she knew
Roses and the thorns
Lying hidden beneath
Beauty’s velvet folds,
The prick that draws
A bloody tear and lays
A pain far greater than
Might be thought fair
Or even possible.
The letter came as
He had attested,
Regrets and honour –
The deepest sympathy;
And when his watch and
buttons arrived, she wept,
And left them on the
Mantelpiece: a plain
Memorial to love now lost.

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Back in April, Mervyn King announced that Winston Churchill would be replacing Elizabeth Fry on the £5 note.

There is, I imagine, little argument about the significance of Churchill’s contribution to British history, nor his suitability for a place on one of our bank notes. I am sure, too, that this was meant to be swansong gesture designed to fix King in our memories as the man who put Churchill in our pockets. However, he rather runs the risk of being remembered as the man who sought to remove women from the faces of our bank notes.

Thank goodness for the Canadians (more on that in a moment). Principally, though, thank goodness for Caroline Criado-Perez who, on spotting the implications of what the bank was planning, started an online petition through change.org to force the bank to rethink. Her campaign was featured in The Guardian, on the BBC and in The Telegraph.

Her reasoning was simple and right:

“An all-male line-up on our banknotes sends out the damaging message that no woman has done anything important enough to appear. This is patently untrue. Not only have numerous women emerged as leading figures in their fields, they have done so against the historic odds stacked against them which denied women a public voice and relegated them to the private sphere – making their emergence into public life all the more impressive and worthy of celebration.”

And she has pulled it off.

Today, Mark Carney, the Canadian governor of the Bank of England, announced that Jane Austen would be the face of the new ten pound note.

Why does any of this matter?

Because it does.

Because it is not right for an institution as central to the organisation of our economic and political life as the Bank of England to believe it can operate in its own entitled bubble, failing to recognise that this country has been built on the hard work of men and women, the latter often, as Criado-Perez says, with the historic odds against them. I would go further and say that their hard work has often been in the face of hostility from privileged men who have struggled to reconcile themselves to the reality that politics, the workplace and the economy are as much the domains of women as they are of men.

If you think that such attitudes are a thing of the past, take a moment to think how on earth the Bank of England reach a position where no women were to be recognised on its bank notes? In Mervyn King’s own words at the time of the Churchill announcement: “Our banknotes acknowledge the life and work of great Britons.” It is clear from that the pictures are intended as a statement of significance. In 2010 there were around £48 billion pounds’ worth of notes in circulation. That is a lot of pieces of paper.

So why at no point did anyone appear to say to King: “Er, why are they all men?”

How did the design teams, the PR department, senior management and the Governor’s own office, not to mention King himself, let it happen?

It could, of course, be accident. However, most institutions and companies have strict policies and procedures to avoid such obvious idiocies. Or it could, of course, be a sub-concious, corporate mindset that still downplays the contribution of women in our national life in comparison to the contributions of men.

The sad reality is that entitlement and casual discrimination is still a force to be reckoned with, whether it is on our bank notes or, more banally, on our station platforms. Take a look at Everyday Sexism and its twitter feed to see a depressing stream of witless and offensive behaviour that demonstrates how disrespectful we still are to each other as a society.

Society looks to its leading institutions to lead change. When they fail, it takes the active grass roots of society to put pressure on those institutions.

Thank you Caroline Criado-Perez for saving us from looking like idiots.

And thank you Mark Carney for listening. (Now there’s just the little matter of the Canadian banknotes from which he removed women. Perhaps he was attempting to make amends for that as well as King’s faux pas?)

You can read the Bank of England background note on Jane Austen here.

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Scientists and historians have done their best to debunk the Curse of the Pharaoh, the inspiration for plenty of hammy horror movies and said to be the cause of death of Lord Carnarvon, the sponsor of Howard Carter’s expedition into the tomb of King Tutankhamen. Arguments have been made in the pages of the Lancet for aspergillosis, basically a fungal spore infection. Egyptologist Dominic Montserrat believed that it originated with a very odd 19th Century London twist on the traditional striptease, where actual mummies were unwrapped on stage.

So whilst the world’s finer minds have done their best to banish the spooky imaginings of over-imaginative teenage adventurers, experts are at a loss to satisfactorily explain the strange phenomena of an ancient Egyptian statue that seems to turn all by itself.

The statue of Neb Sanu stands 10″ tall and has been with Manchester Museum for eighty years. Resident Egyptologist Campbell Price noticed one day it had turned round so put it back in its place. The next day it had moved again. Price decided to set up a time lapse camera to record it.

Renown physicist Brian Cox has said it is probably caused by differential friction, the footsteps of visitors causing vibrations that, together with imperfections in the glass and the statue’s inertia, cause it to rotate. Price is quick to remind us that this explanation would make sense if the statue hadn’t sat in the same place for years.

The romantic in me likes the idea of there being some sort of mystical explanation. The rationalist in me accepts it is probably some strange quirk of physics.

Whatever the explanation, it makes for one hell of a time-lapse video.

 

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A few days ago I couldn’t help post up the Horrible Histories take on Vikings and their great soft rock ballad. This time it’s Dick Turpin who gets the rock history treatment – and did you know he was caught out by his handwriting? Nor did I!

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“Bob” Newhart, born George Robert Newhart in Austin, Chicago in 1929, is an American actor and comedian with a fascinating and varied career. I first came across him guesting on Desperate Housewives.

In awarding him a Peabody Award for the Bob Newhart Show in 1961, the board said:

… a person whose gentle satire and wry and irreverent wit waft a breath of fresh and bracing air through the stale and stuffy electronic corridors. A merry marauder, who looks less like St. George than a choirboy, Newhart has wounded, if not slain, many of the dragons that stalk our society. In a troubled and apprehensive world, Newhart has proved once again that laughter is the best medicine.

His routines are characterised by a deadpan delivery and one of his classics is entitled “Introducing Tobacco To Civilisation”, performing a very funny riff on how we started smoking.

Sometimes humour stays fresh across the decades.

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BBC History magazine had an article in its Christmas edition on the dangerous games played by children in Tudor England. With fond recollections of my own childhood games I was curious to see what mischief our ancestors got up.

True enough, some of the stories were very sad, recounting how children had met their unfortunate demise whilst playing, but the games themselves were nothing special or dangerous. Rather, youngsters then, as now, met tragedy in a pond or lake or with an item falling on top of them.

Somehow, on reflection, my own childhood games seem rather more hazardous. Weekends were an adventure playground.

There was “Stick Wars”, where four of us would split into two teams of two and roam the local woods, Coombe Wood, with its “Creepy Copse” or the “Sandy Hills” tucked away in a bushy enclave on Westley Heights and the product of centuries of toil by local badgers. (It was years before it was I realised it was “Creepy Copse” and not “Creepy Cops”, the tall pines giving me small-child nightmare images of evil tree-police ready to snatch us out of the evening gloom). There we would give ourselves a “time out” to gather suitably-sized and suitably-shaped sticks and twigs that could be flung at each other. These turned into mammoth reconnaissance efforts, donning second-hand army fatigues and wellies, buying walkie-talkies, and making clear to families and walkers up from the town and trying to enjoy a little countryside that these were our woods.

What little horrors we were.

My regular partners in games were my brother and two eldest cousins, Matt and Sarah, and we spent virtually every weekend together between the ages of six and sixteen. As the years went by, we added my sister Ellie and odd friends (odd as in random, not odd, though some were certainly quirky – eh, Bob?). It was either Matt and me or Sarah and me, never siblings together, and we could spend a goodly while deciding what mischief to get up to. Back then, 2pm to 5pm was a significant portion of a life-time and seemed to last forever.

We were lucky in that both families had extensive gardens with an adjacent field, very differently shaped, but both sporting a tremendous variety of sheds, trees, nooks, crannies, and hidey-holes.

Sticks were reserved for public spaces. For our own gardens, and depending on the season, we opted for acorns and apples, knowing that one of those catching you on the leg would sting like hell or leave a splendid, thumping bruise. We’d skulk about gathering windfalls and stashing caches of ammunition under bushes and in old coal scuttles. And then we would unleash the pain, always bemused when a glancing blow to the head reduced one of us to tears and drew down the wrath of one or other set of parents.

On one memorable occasion we were joined by Horst, a rather severe and strong German who was the brother of a friend’s friend, who rather missed the point of these games with their stealth and dexterously-flung missiles. Instead, he appeared on the brow of a hill carrying a tree trunk and yelling who-knows-what in German at the top of his voice as he charged us down. Thank goodness for Matthew and his Herculean strength, who managed to flatten him in spectacular style.

Elastic bands – the thicker variety that are rarely seen today – were strung together in threes, fours and even fives to make lethal catapults for firing gravel from the drive or grit from a felt roof. We perfected weapons with ranges of a solid two or three hundred feet, if the trajectory was suitably angled and the bands powerful enough. A careful watch was kept for parents who might not appreciate the stones peppering the lawn and dulling the blades of the Mountfield mower.

Field cricket was a potentially lethal affair. Many lazy days were spent playing cricket in “the field” under sweltering Summer suns, on a full length wicket with a makeshift backing net of fruit bush netting or chicken wire. We played with leather and willow, no fear – and no pads and gloves (except when Brian, my friend and neighbour, invested in them, tired of his bruises and in receipt of more pocket money than the rest of us). But the pitch was uneven and I liked to bowl. Having reached six foot early and being an adept strike bowler, I spent hours learning where the ball bounced best for maximum impact and avoiding the ditch on the run-up. When dusk became twilight and the light impossible for finding balls in bushes or under blackthorn we would retire scratched, exhausted and happy, ready to resume the next day.

Then, finally, there was “That Game”, so infamous we still recall it today with a wistful, evil glint in the eye, which is still spoken of in hushed terms, and which we wonder if even at our age we could perhaps play one last time. Were there any rules? Probably. I recall a violent combination of British Bulldog, the tag variants of off-ground touch and run-outs, and wrestling. It was best played in the dark, outside, torches both a boon and curse. How no-one ended up cracking open a skull on the stone wood bunker which served as a base at Matt and Sarah’s place I have no idea.

So. Sod the Tudors. Langdon Hills in twentieth century Essex is where the dangerous games were at.

We’re just lucky we survived.

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