E01   1 <#FLOB:E01\><h_><p_>Basic Techniques: Knotted Balls<p/>
E01   2 <p_>Pamela Watts<p/><h/>
E01   3 <p_>One of the many delights of embroidery is piecing together the 
E01   4 history of a technique, and the insight this gives into the 
E01   5 lifestyle of the women who practised it. An understanding of our 
E01   6 heritage of embroidery can enrich the creative interpretations we 
E01   7 all seek in our own embroidery today.<p/>
E01   8 <p_>The only mention I have been able to find of knotted balls is 
E01   9 in the <tf_>Encyclopedia of Needlework<tf/> by 
E01  10 Th<*_>e-acute<*/>r<*_>e-grave<*/>se de Dillmont. This book was 
E01  11 first published for the Great Exhibition of 1851, becoming the 
E01  12 standard reference book on needlework until the end of the century. 
E01  13 In the introduction it states that <quote_>"needlework is a restful 
E01  14 pastime for women whose nerves have become taut under the stresses 
E01  15 and strains of modern life".<quote/> It would appear, therefore, 
E01  16 that 'taut nerves' are not a twentieth-century invention.<p/>
E01  17 <p_>The basic technique for knotted balls as described by 
E01  18 Th<*_>e-acute<*/>r<*_>e-grave<*/>se de Dillmont is to make knots 
E01  19 along a length of thread, which is then cut into small pieces and 
E01  20 threaded like beads to make round, tufted balls. These balls must 
E01  21 surely be an example of Victorian creativity, a development of the 
E01  22 much earlier knotting technique which became a craze in the 
E01  23 seventeenth and eighteenth centuries. For this a shuttle -rather 
E01  24 like a tatting shuttle but larger -was used to make knots along a 
E01  25 length of thread. The thread was made into fringing or couched 
E01  26 down, between the knots, onto a fabric ground. It is easy to 
E01  27 overlook the practical difficulties of embroiderers in the 
E01  28 seventeenth century. For some, poor lighting often made simple 
E01  29 repetitive work a necessity. Lettice Legh of Lyme, writing to her 
E01  30 sister in 1690, said that her embroidery was <quote_>"knotted 
E01  31 fringes or any other worke that may be done by candlelight with 
E01  32 ease to the eyes".<quote/><p/>
E01  33 <p_>There are several examples of this type of work to be found, 
E01  34 dating from different periods. At Cotehele House, near Plymouth, 
E01  35 for example, there is a set of upholstered chairs dated around 
E01  36 1725, which feature knotted wool couched so closely that the fabric 
E01  37 cannot be seen. In the Victoria and Albert Museum there is a white 
E01  38 coverlet dated 1738, which was made by two Irish sisters, Elizabeth 
E01  39 and Isabel Foster. It shows the family coat-of-arms with an 
E01  40 elaborate border of formalised leaves and flowers, all worked in 
E01  41 couched white knotted thread onto white linen.<p/>
E01  42 <p_>Knotting gained royal patronage through Princess Amelia, the 
E01  43 daughter of George II. A panel in Birmingham Museum worked by the 
E01  44 Princess shows a design of leaves and strapwork in ivory thread 
E01  45 applied to brown linen. Perhaps the most famous 'knotter' was Queen 
E01  46 Mary, wife of William III. It is reputed that she hated being idle 
E01  47 and, in the words of Sir Charles Sedley,<p/>
E01  48 <p_><quote_>"For here's a Queen now thanks to God!<p/>
E01  49 <p_>Who when she rides in a coach abroad<p/>
E01  50 <p_>Is always knotting threads."<quote/><p/>
E01  51 <p_>There is no mention in the early accounts that the knotted 
E01  52 thread was cut into short lengths to make balls. It was left to the 
E01  53 imagination of some unknown Victorian who had obviously tired of 
E01  54 couching down vast lengths and cut it up instead.<p/>
E01  55 <h_><p_>The basic technique<p/><h/>
E01  56 <p_>Take a length of thread such as Perle No. 5, approximately 45 
E01  57 cm (18in.) long. Make a single knot in the centre and continue to 
E01  58 knot the thread to the end, spacing the knots 6 mm (1/4in.) apart. 
E01  59 Work from the centre to the other end of the thread in the same 
E01  60 way. It is much easier and quicker to knot short lengths of thread. 
E01  61 With just a little practice, it becomes a simple matter to slide 
E01  62 the knots along to the correct position as you work. The distance 
E01  63 between the knots depends to an extent on the thickness of the 
E01  64 thread used: with a thicker thread the knots can be further apart, 
E01  65 while a finer thread requires closer spacing. Cut the knotted 
E01  66 thread between pairs of knots as shown in the diagram, placing the 
E01  67 pieces ('beads') on a soft surface. Thread a needle with the same 
E01  68 thread, making a firm knot at one end. Pierce the centre of each 
E01  69 'bead', between two knots, sliding them onto the needle and along 
E01  70 the thread. About 20 'beads' will give a nicely rounded ball. 
E01  71 Always make a sample ball with any thread you are intending to use, 
E01  72 to make sure that the knot holds firmly, and to gauge the right 
E01  73 distance between the knots.<p/>
E01  74 <h|>Variations
E01  75 <p_>The vast range of threads available to the present-day 
E01  76 embroiderer makes for exciting variations on the basic theme. Try 
E01  77 using narrow strips of chamois leather, chenille or fine ribbons. 
E01  78 Ribbon yarn, sold for knitting, can be used with the loose ends 
E01  79 unravelled to give a soft, crinkly tassel. Use strips of tights or 
E01  80 stockings, cutting round and round a leg section, knotted and 
E01  81 threaded as described above. The balls do not have to be a single 
E01  82 colour, so try using various shades together, or use variegated or 
E01  83 space-dyed threads. Whatever thread you choose, experiment by 
E01  84 working knots at different spaces -this can completely alter the 
E01  85 finished effect.<p/>
E01  86 <p_>It is tempting to use the shiny metallic threads and braids 
E01  87 that are now available. However, many of these will not hold a knot 
E01  88 securely, and tend to work loose, whereupon the whole ball falls 
E01  89 apart. If this is the case, knot the threads as firmly as you can, 
E01  90 but do not cut between the knots. Pick up the space between pairs 
E01  91 of knots with a needle, making the resulting loops of thread part 
E01  92 of the ball. A similar variation is to use many strands of a fine 
E01  93 thread together -perhaps fine rayon or metallic machine embroidery 
E01  94 threads. Knot along the length but, again, do not cut. In this 
E01  95 instance you pick up the knots on the point of the needle, not the 
E01  96 space between the knots, leaving most attractive loops of thread. 
E01  97 Pick up every knot for a tight ball, or every other knot for a 
E01  98 looser, flower-like effect.<p/>
E01  99 <h|>Uses
E01 100 <p_>Although Th<*_>e-acute<*/>r<*_>e-grave<*/>se de Dillmont 
E01 101 describes knotted balls as a fringing technique, so beloved by the 
E01 102 Victorians, their uses today can be far more varied. A number of 
E01 103 balls, grouped together, make an interesting alternative to a 
E01 104 tassel, or use a knotted ball as the round head attached to a 
E01 105 traditional tassel. These can be used to embellish home 
E01 106 furnishings, curtain tie-backs, cushions, lampshades, and so on. 
E01 107 Groups of different-sized balls could provide a texture focal point 
E01 108 in panels and hangings. Jewellery -ear-rings perhaps -or fashion 
E01 109 accessories are possible starting points for their use.<p/>
E01 110 <p_>It may appear from the early accounts of knotted balls that 
E01 111 these were techniques developed to suit conditions of poor lighting 
E01 112 and long hours of idleness. However, perhaps they still have a 
E01 113 place in today's very different way of life: waiting at airports, 
E01 114 train journeys, watching television -aren't these ideal moments to 
E01 115 knot a thread?<p/>
E01 116 
E01 117 <h_><p_>Starting Points on Design-Borders<p/>
E01 118 <p_>Gillian Hulse<p/><h/>
E01 119 <p_>For <}_><-|>hundred<+|>hundreds<}/> of years people have been 
E01 120 inspired to adorn their homes, places of worship and books with 
E01 121 that most attractive of art forms -the decorative border. Examples 
E01 122 of beautiful border designs can be found all over the world, on 
E01 123 painted murals, in churches, on palace floors and ceilings. Anyone 
E01 124 looking for inspiration can learn much by looking at the many 
E01 125 lavishly illustrated books on the subject. Themes for designs range 
E01 126 from the simplest of geometric forms to complex stylised flower 
E01 127 patterns. Virtually any subject can be made into a border 
E01 128 design.<p/>
E01 129 <p_>Before embarking on a border design of your own, give a thought 
E01 130 to how your design will repeat. Nearly all borders incorporate the 
E01 131 repetition of that basic design or motif, so it is important to 
E01 132 understand how the repeat device works. Another consideration is 
E01 133 how wide the border is going to be. This is a matter of trial and 
E01 134 error, and you will have to try various widths to see what looks 
E01 135 balanced. Finally there is the question of the choice of colours. 
E01 136 Is your border going to have a background colour that is different 
E01 137 from the main picture? Are you going to choose colours that blend 
E01 138 in with the main work, or are they going to be in contrast to it? 
E01 139 It can be effective to pick out two or three colours from the main 
E01 140 subject and then to use muted or darker tones of those colours.<p/>
E01 141 <p_>Once you have considered these points, you can get started on 
E01 142 your design. The best way to begin is to do rough drawings using 
E01 143 felt pens or coloured pencils. If you find you are stuck for 
E01 144 inspiration, try using some simple geometric shapes and see how 
E01 145 they look in different arrangements or colour groupings.<p/>
E01 146 <p_>When you have decided on your theme, and have worked out some 
E01 147 rough ideas, then you can start on a more finished design. Find out 
E01 148 the area of your border by measuring the length and width of your 
E01 149 piece of work. You can then work out suitable dimensions for the 
E01 150 repeat of your motif. For example, if your picture is 20 x 24 cm 
E01 151 and you choose a motif measuring 2 cm then you will have:<p/>
E01 152 <p_>20/2=10 repeats on the short side<p/>
E01 153 <p_>24/2=12 repeats on the long side<p/>
E01 154 <p_>The next step is to draw out your basic motif onto squared 
E01 155 paper (1cm square is a useful size), and then trace it to make a 
E01 156 repeat pattern.<p/>
E01 157 
E01 158 <h_><p_>The Art of Kurenai-Kai<p/>
E01 159 <p_>Mary-Dick Digges<p/><h/>
E01 160 <p_>More than a thousand years ago the Japanese people were 
E01 161 introduced to the art of Kurenai-Kai. It was brought to them, hand 
E01 162 in hand with Buddhism, through the kingdom of Kudara (modern-day 
E01 163 Korea), from China. The oldest existing embroidered pieces are in 
E01 164 the <tf_>Tenjukoku Mandala Shuchitsu (Tenjukoku Mandala Embroidery 
E01 165 Album)<tf/>, which was made in the Asuka era (late sixth century to 
E01 166 710). There is no older extant work in China, in Korea or even in 
E01 167 India, where Buddhism originated. Although a great part of this 
E01 168 embroidery album has been lost, the fragments can be found in 
E01 169 Chugu-ji Temple in Nara, Japan.<p/>
E01 170 <p_>Japanese embroidery received its impetus from religious 
E01 171 devotion and the desire of the faithful to create representations 
E01 172 of the Buddha. <tf_>The Chronicles of Japan<tf/> refers to an 
E01 173 embroidered Buddha made as early as <tf|>AD 604. These works were 
E01 174 not made as objects of veneration, as were the statues of gold, 
E01 175 copper or wood, but were used to show the teachings of the Buddha 
E01 176 in a way that could be easily understood by the masses, just as 
E01 177 cathedral carvings served to instruct the illiterate in the West. 
E01 178 The earliest works were stitched in knots, chain stitch, and back 
E01 179 stitch. The chain stitch was used in much the same way that split 
E01 180 stitch was used in <tf_>Opus Anglicanum<tf/>, to create contours in 
E01 181 facial features. Knots were used on parts of the embroidery where 
E01 182 it was too difficult to use split stitch.<p/>
E01 183 <p_>By the latter half of the tenth century, court dress for both 
E01 184 men and women had acquired a distinctively Japanese character. The 
E01 185 most elevated form of clothing for women of the nobility was the 
E01 186 <foreign_>juni hitoe<foreign/> or twelve-layer dress. This costume 
E01 187 consisted of from twelve to twenty layers of unlined kimono, worn 
E01 188 in such a way that small amounts of each layer showed at the front 
E01 189 opening, hem and cuffs. Themes, such as the turning of maple 
E01 190 leaves, could be suggested by the juxtaposition of colours. The 
E01 191 colour combinations were recognised by all of the courtly class, 
E01 192 and one would lose face if an error was made in the order of 
E01 193 layering. These kimono were not embroidered, but the colour 
E01 194 combinations devised at that period remain part of the tradition in 
E01 195 Japanese embroidery today.<p/>
E01 196 <p_>In the Momoyama era (1568-1603) embroidered costumes began to 
E01 197 be made for use in the Noh plays (classical Japanese drama in which 
E01 198 the performers are masked and dressed in beautiful costumes). The 
E01 199 embroidery style established at that time has changed little and, 
E01 200 indeed, is often deliberately imitated today. By the late sixteenth 
E01 201 century people of wealth had begun to wear embroidered kimono known 
E01 202 as <foreign|>kosode, or 'small-sleeved garments'.
E01 203 
E02   1 <#FLOB:E02\><h_><p_>Wall Flowers<p/>
E02   2 <p_>Daphne Vagg<p/><h/>
E02   3 <p_>The revived interest in styles of the 1930s means that wall 
E02   4 vases for fresh flowers and foliage are set to make a comeback. 
E02   5 What could be more appropriate in modern homes where rooms are 
E02   6 smaller, hallways narrower, and moves to flats and retirement homes 
E02   7 make space for flower arrangements doubly precious.<p/>
E02   8 <p_>Wall vases, or pockets as they are often called, were popular 
E02   9 from the thirties to the mid-fifties. Anne Lamplugh, writing in 
E02  10 1937, says that <quote_>"big sweeping curves of rhododendrons are 
E02  11 lovely (and safe!) in a wall-pocket vase"<quote/>. Constance Spry's 
E02  12 books written in the same period, show several wall arrangements: 
E02  13 one of mixed ivies in a pottery vase; a period vase of old roses 
E02  14 and a gilded head container holding purple colchicums with vine 
E02  15 leaves and peony foliage. Julia Clements' books of the 1950s show 
E02  16 several wall decorations of gladioli, golden rod and dahlias in a 
E02  17 copper warming pan and an oil-funnel, painted cream, filled with 
E02  18 chrysanthemums. Then, in the mid-fifties, wall vases went out of 
E02  19 fashion.<p/>
E02  20 <p_>Now they are coming back, so if you have not kept mother's or 
E02  21 grandmother's wall pockets look out for similar ones in car-boot 
E02  22 sales and junk shops or jumble sales. For present-day versions, 
E02  23 garden centres are often happy hunting grounds. Most of them have 
E02  24 china and pottery sections and here you may find flat-backed blue 
E02  25 and white imported oriental ware or black and white Art Deco 
E02  26 copies. Half-baskets are there too, but these will need careful 
E02  27 lining. This is not too difficult as one can usually find a plastic 
E02  28 carton, basin or beaker to fit. For some types of interior decor a 
E02  29 terracotta wall vase (intended for garden use) is suitable and 
E02  30 large enough to hold growing plants or a <foreign|>pot-et-fleur. 
E02  31 Being porous, it will need sealing or lining for indoor use. 
E02  32 Painting the inside and the back with several coats of polyurethane 
E02  33 varnish will make it waterproof. Wrought iron, or similar, wall 
E02  34 brackets made to hold flowerpots, or gilded cherubs holding up a 
E02  35 half-round shelf can also be used.<p/>
E02  36 <p_>Obviously most wall arrangements have to be done in situ and 
E02  37 this helps greatly in getting the arrangement the right size for 
E02  38 the space, and fitting in with the style of the room. If you are 
E02  39 careful there is no need to fear marking the wall, but extra care 
E02  40 is needed with topping-up, especially if the pocket hangs by a 
E02  41 small hole over a nail or screw in the wall. Do not fill up with 
E02  42 water above the hole! Mist spraying is usually not possible unless 
E02  43 you can wipe the wall and protect any furniture underneath. Keep 
E02  44 the arrangement fairly flat where there is constant through-traffic 
E02  45 in a hall, or on the stairs or landing. If possible avoid a 
E02  46 position over a radiator in winter, but if that really is the best 
E02  47 place, you may have to resort to dried and preserved plant material 
E02  48 and perhaps fake flowers.<p/>
E02  49 <p_>The 1930's shell wall vase was recently found in a secondhand 
E02  50 shop and has been arranged in the style of the era with crocosmia, 
E02  51 marigolds, nasturtiums, hypericum and rowan berries in the orange 
E02  52 colourings so popular at that time. Inevitably the arrangement is 
E02  53 fan-shaped because the vase opening is barely two inches wide at 
E02  54 the widest central part. For speed and convenience a wedge of Oasis 
E02  55 was used to hold the stems, but a little crumpled wire mesh, or no 
E02  56 mechanics at all, would have been more in period. On the desk below 
E02  57 a copy of a Clarice Cliff plate accentuates the period style and 
E02  58 repeats the other triangular shapes. There is no need, of course, 
E02  59 to stick to this century for wall decoration ideas. The Victorian 
E02  60 style 'cornet' was inspired by the 1900 catalogue of a Parisian 
E02  61 florist who showed several such wall arrangements in cone-shaped 
E02  62 basket holders. This one was made from a woven Malaysian fan soaked 
E02  63 in water for several hours, then moulded and wired into a cornet 
E02  64 shape. It is lined with a beaker to hold water and fitted with a 
E02  65 piece of Oasis. Ferns and variegated snowberry foliage are arranged 
E02  66 with late summer garden flowers in a fuller arrangement with more 
E02  67 depth and flow.<p/>
E02  68 <p_>The holder of the third arrangement in greens and white is a 
E02  69 homemade wall sconce in a Georgian style. The back is a piece of 
E02  70 hardboard with stick-on decoration and fine cord to make an edging 
E02  71 and a wooden shelf about 4'' x3'' is screwed to the bottom. On it 
E02  72 stands a shallow tin. Everything is gilded to look like an 18th 
E02  73 century brass candle sconce. A pair of these on either side of a 
E02  74 mantelpiece or mirror is an inexpensive, but effective wall 
E02  75 decoration.<p/>
E02  76 
E02  77 <h_><p_>Fruit and Veg<p/>
E02  78 <p_>Natalie Wheatley<p/><h/>
E02  79 <p_>Town and city dwellers may find it difficult and expensive to 
E02  80 have a constant supply of fresh flowers in the house. Arrangements 
E02  81 of fruit and vegetables can provide the perfect answer - delightful 
E02  82 to look at, and delicious to eat once they have served their 
E02  83 purpose as an appendage to a lunch or dinner party, or provide a 
E02  84 pretty storage arrangement on the kitchen worktop.<p/>
E02  85 <p_>Today's supermarket fruits and vegetables are available year 
E02  86 round, we have returned to the delights of the Victorian era when 
E02  87 the cook of a large household could command the head gardener to 
E02  88 produce strawberries and salads in winter, figs in February and 
E02  89 melons at a whim. Gardens were huge, flowers plentiful and 
E02  90 hothouses groaning with orchids and other exotic plants. Despite 
E02  91 this, Mrs Beeton in her book 'All About Cookery', which should have 
E02  92 been entitled 'All About Entertaining' as she was full of ideas for 
E02  93 table decorations, enjoyed using produce from the kitchen garden - 
E02  94 berries, sheaves of corn, and other non-floral items. Not satisfied 
E02  95 with one arrangement in the centre of the table, she suggested 
E02  96 matching smaller ones at the corners and the sides. In the centre 
E02  97 would be a tall slender grass-like plant set in the midst of 
E02  98 coloured autumn foliage, varying from white or palest yellow to 
E02  99 dark red at the base. The table was then strewn with flowing lines 
E02 100 of berberis, red and green myrtle and brown ivy mingled with 
E02 101 mountain ash and ivy berries. Tomatoes were mixed with white 
E02 102 chysanthemums and poppies mingled with corncobs.<p/>
E02 103 <p_>Fruit and vegetables have been used as an art medium for 
E02 104 centuries. Just as in a flower arrangement where shape, form and 
E02 105 colour is of importance, the same goes for fruit and vegetables. 
E02 106 There should be a dominating colour, be it red (peppers), green 
E02 107 (apples) or cream (cauliflower), and the other fruits and 
E02 108 vegetables used in the next stage should be in smaller quantities. 
E02 109 Cylindrical and pointed shapes give height and width, and round 
E02 110 shapes give weight towards the centre. Small vegetables and fruits 
E02 111 can be bunched together, posies of flowers can be added for extra 
E02 112 interest. Leaves, grasses, bracken, fennel and cones all give an 
E02 113 extra dimension and blend well with the chunky shapes.<p/>
E02 114 <p_>Fruit tends to have a more formal air about it, grapes and 
E02 115 plums with their silvery bloom, nectarines and peaches with their 
E02 116 soft, velvety skins, and the interesting insides of kiwi fruits and 
E02 117 melons. Vegetables are more raunchy, shiny, nobbly and tough - but 
E02 118 one can complement the other if well blended: cucumbers and 
E02 119 crabapples, cut melon and shiny green peppers, green bananas and 
E02 120 courgettes, always remembering to use different sizes of the same 
E02 121 variety. Floral foam is suitable to use as the 'mechanics' with 
E02 122 items attached by wooden skewers or cocktail sticks, depending on 
E02 123 weight. (Wire will damage fruit and vegetables and render them 
E02 124 inedible.) Containers for such arrangements should be fitting - 
E02 125 wood, basketware or pottery and, if flowers are used, lighter 
E02 126 containers such as metal, china or glass can be considered.<p/>
E02 127 
E02 128 <h_><p_>Covent Garden - Old and New<p/>
E02 129 <p_>Diana Joyce<p/><h/>
E02 130 <p_><quote_>Buy a flower kind gentleman, I'm a good girl I 
E02 131 am"<quote/>. So cries Eliza Doolittle, the Covent Garden Flower 
E02 132 Seller immortalized in Bernhard Shaw's 'Pygmalion', as she stands 
E02 133 in the porticoes of St. Paul's Church during the opening scenes of 
E02 134 the play, and latterly the hugely popular musical 'My Fair 
E02 135 Lady'.<p/>
E02 136 <p_>But the history of Covent Garden goes back over 700 years to 
E02 137 when the Abbots of Westminster owned 7 acres of land situated 
E02 138 between the Abbey and the City of London. Part of this land they 
E02 139 used as burial ground for the Convent, another area they cultivated 
E02 140 as a kitchen garden, where they sold their produce to the citizens 
E02 141 of London.<p/>
E02 142 <p_>Following the dissolution of the monasteries in 1536 the land 
E02 143 became the property of the Russell family, but the old gardeners 
E02 144 still tended the orchards and vegetable plots and marketed their 
E02 145 produce. Over the years neighbouring villagers got to know about 
E02 146 the market and would bring their own produce to sell at the old 
E02 147 Convent Garden, thereby creating for themselves an unauthorised but 
E02 148 highly convenient market place.<p/>
E02 149 <p_>Eventually the architect Inigo Jones was commissioned to lay 
E02 150 out the site for a new residential area. It was modelled on a 
E02 151 spacious and airy Italian Piazza with the small parish church of 
E02 152 St. Paul's on the western side, where we remembered Eliza, earlier, 
E02 153 sitting on the steps, making her bunches of flowers.<p/>
E02 154 <p_>By 1645 Convent Garden had become Covent Garden and the area 
E02 155 had mushroomed into a teeming environment of theatres, coffee 
E02 156 houses, taverns and squalid cellars. No-one who valued his life 
E02 157 would walk through the streets and alley<?_>-<?/>ways after 
E02 158 dark.<p/>
E02 159 <p_>Often 'the garden' was the scene of nightly brawls and revelry. 
E02 160 The night-life over-flowed into day as the revellers from the 
E02 161 taverns mingled with stone cold sober mortals arriving to sell 
E02 162 their produce in the market. Old women would sit on the kerb 
E02 163 shelling peas and peeling potatoes, and the area was rife with 
E02 164 pick-pockets and thieves.<p/>
E02 165 <p_>At Christmas time the women would sell ever-green foliage of 
E02 166 all kinds. Merry faced farmers would arrive from the shires with 
E02 167 their Christmas trees, and bribe someone in the market to sell 
E02 168 them, then all would adjourn to the nearest tavern to drink away 
E02 169 the profit. The flower sellers became very adept in making bouquets 
E02 170 for the stars of the Opera House and Drury Lane theatre. Throughout 
E02 171 it all the market prospered and grew.<p/>
E02 172 <p_>It was about 1900 when barrows arrived on the scene. They were 
E02 173 originally called Coster mongers barrows because the first type of 
E02 174 apples to be sold in the market were Costards or Custard apples. 
E02 175 Market Porters could balance several baskets on their heads at any 
E02 176 one time. They developed their own Cockney rhyming slang, and still 
E02 177 to be heard in the market today are phrases such as 'April Showers' 
E02 178 for flowers and 'Gypsy Warning' for early morning, together with 
E02 179 'plates of meat' for feet, and 'trouble and strife' for wife.<p/>
E02 180 <p_>In the subsequent years dramatic changes took place. Lorries 
E02 181 replaced horses and because of something in excess of 1000 lorries 
E02 182 arriving in the early hours to unload their produce the market 
E02 183 traffic ground to a halt. The congestion made it impossible for the 
E02 184 market to operate efficiently and after much argument it was 
E02 185 decided to abandon the idea of re-building Old Covent Garden and to 
E02 186 look for another site. Eventually Nine Elms, south of the river at 
E02 187 Vauxhall was agreed upon and in 1971 work commenced on the 68 acre 
E02 188 site.<p/>
E02 189 <p_>Today, new Covent Garden Flower Market comprises 70.000 square 
E02 190 feet of trading area. First impressions are of huge, gaunt, 
E02 191 electrically operated, see<?_>-<?/>through plastic doors, 
E02 192 impersonally numbered and identically positioned around the four 
E02 193 walls of the building. No barrows and head-balancing acts here, but 
E02 194 fork-lift trucks and stern security men in uniform with 
E02 195 walkie-talkies at the ready. But once inside, the cold, external 
E02 196 identity of New Covent Garden is forgotten, for here is another 
E02 197 world, and no disappointment in the comparison to the old. A vast 
E02 198 riot of colour in massed profusion greets the visitor. Stalls 
E02 199 abound with exotic blooms, rare and wonderful flowers and plants 
E02 200 from all corners of the world, and the heady scent of lilies and 
E02 201 roses fills the air. And yes, the friendly market porters and 
E02 202 familiar names remain.<p/>
E02 203 
E03   1 <#FLOB:E03\><h_><p_>Life as a DOLL MAKER<p/>
E03   2 <p_>by Patrica Younger<p/><h/>
E03   3 <p_>The first doll I remember making was at the age of four, when, 
E03   4 helped by my mother, I padded an army button of my father's with 
E03   5 cotton wool, covered it with a piece of silk stocking and joined it 
E03   6 to a padded, pipe-cleaner body. My mother embroidered her face and 
E03   7 rouged her cheeks; her hair was made from loops of flaxen 
E03   8 embroidery silk. She had a nightie fashioned from a 
E03   9 lace<?_>-<?/>edged handkerchief and a dress in pink silk 
E03  10 embroidered silk with tiny daisies and leaves. I took her 
E03  11 everywhere in my pocket and loved her dearly. She was last seen on 
E03  12 Blandford Forum's High Street in June, 1947 ... I cried for days 
E03  13 mourning my loss. Over the years my doll family grew. My aunt sent 
E03  14 a life<?_>-<?/>size baby in composition - her lovely face had been 
E03  15 cracked on her journey from Canada, but I didn't care, to me she 
E03  16 was the most beautiful doll in the world. <p/>
E03  17 <h_><p_>A Perfect Dollshouse?<p/><h/>
E03  18 <p_>When I was seven, my parents had a large dollshouse made by a 
E03  19 carpenter, and various craftspeople in Blandford made items for it; 
E03  20 a padded settee and chairs covered in tiny, floral print; 
E03  21 needlepoint carpets, a mahogany dining table inlaid with satin wood 
E03  22 crossbanding and tiny, shield-back chairs with petit point seats. 
E03  23 There were hand<?->-<?/>painted vases and pictures with 
E03  24 minutely-carved gold frames and a tiny black cat curled up in a 
E03  25 basket by the fire. The brass coal <}_><-|>scutle<+|>scuttle<}/> 
E03  26 was full of real bits of coal and orangey-crackled 'flames' leapt 
E03  27 from tiny logs. The main bedroom had a beautiful four-poster bed 
E03  28 with reeded columns and silk drapes and cover. Lavinia (just 2" 
E03  29 tall!) slept there, her blonde mohair curls spread out on a real 
E03  30 down-filled pillow. The kitchen was fitted with every imaginable 
E03  31 item; tiny baskets of fruit moulded from clay and painted, and the 
E03  32 Cook had her scales, mixing bowl and utensils on her pine table. A 
E03  33 line of miniature clothes was pegged out in the garden.<p/>
E03  34 <p_>I remember that Christmas Eve vividly. It was very late and 
E03  35 there was a party. I was woken up and taken into the drawing room 
E03  36 to see the house for the first time, whilst all the very kind 
E03  37 people stood waiting for my reaction after all their hard work. I 
E03  38 was apparently overjoyed - but overwhelmed! Perhaps its sheer 
E03  39 perfection was simply too much ... a while later, my mother found 
E03  40 me curled up on a window seat playing with some balloons - such 
E03  41 exquisite creations are wasted on the young, unfortunately. Sad to 
E03  42 say, it had to stay in Blandford when we left England.<p/>
E03  43 <h_><p_>Life in Canada<p/><h/>
E03  44 <p_>When I married, and had our first child, we all went to Toronto 
E03  45 to be near my mother who was ill. She was, like my grandmother, a 
E03  46 very accomplished needlewoman, and encouraged me to go back to my 
E03  47 craftwork. I made patch<?_>-<?/>work quilts, needlepoint cushions 
E03  48 and all Caroline's clothes. I started contacting 'soulmates' in 
E03  49 America and exchanged dolls clothes and then dolls and animals. I 
E03  50 was approached by a number of craft and toys shops, and ended 
E03  51 sitting up most nights sewing all the tiny clothes onto Bristol 
E03  52 board and covering them in cling film tightly to make them look 
E03  53 professional!<p/>
E03  54 <p_>Every Saturday morning my mother and I would watch the Jane 
E03  55 Gray show. She was a lover of all crafts, who emigrated from 
E03  56 Newcastle many years before and, after being widowed with children 
E03  57 to support, started a toy shop in Hamilton, Ontario. She and her 
E03  58 daughter, Dorothy, would create all sorts of dolls and animals, and 
E03  59 offer the patterns at fifty cents each. We used to send for almost 
E03  60 every one. She was then in her sixties and confined to a 
E03  61 wheelchair, but so full of life!<p/>
E03  62 <h_><p_>Return to England<p/><h/>
E03  63 <p_>Crafts took a back seat to looking after our three children, 
E03  64 but I fitted in loads of stuffed animals, peg dolls dressed in 
E03  65 historical costume, rag dolls and quilted cushions, which all 
E03  66 helped raise funds for hospitals, schools and other charities; as 
E03  67 we all know, half the joy of creating something is giving it to 
E03  68 others. Five years ago, I experienced that 
E03  69 <}_><-|>enexplicable<+|>inexplicable<}/> hollowness left by the 
E03  70 loss of my mother. The repercussions were serious and long-lasting, 
E03  71 but we survived.<p/>
E03  72 <h_><p_>A Very Special Gift<p/><h/>
E03  73 <p_>One gloomy day, my daughter Caroline brought me a long, red 
E03  74 box, inside of which lay a dear, little doll with blonde ringlets, 
E03  75 blue eyes and blue and white 'shepherdess'' dress. I was entranced! 
E03  76 She then gathered many 'sisters' and I started buying doll books 
E03  77 again. I began to search for good reproductions of antique dolls, 
E03  78 but had little luck and a couple of disastrous encounters. I had 
E03  79 taken 'Workbox' since its first issue, and saw various doll 
E03  80 articles of interest. My husband bought me a kiln and two moulds 
E03  81 for Christmas, and before I knew it, the doll-making had begun. 
E03  82 Customers who come to us now for Starter Kits ask me what it is 
E03  83 like to make one's first doll. Any of you who have done it will 
E03  84 know, of course ... that first incredible excitement when the first 
E03  85 pouring is opened. I say it is really quite akin to childbirth ... 
E03  86 from a few cups of porcelain slip, there emerges something quite 
E03  87 wonderful ... no matter how modest the first attempts, the 
E03  88 satisfaction and sheer wonder is still there!<p/>
E03  89 <p_>My husband has always been immensely encouraging and 
E03  90 supportive, making me feel that nothing was impossible. I would 
E03  91 re-do a face many times, if necessary, until I felt it was the best 
E03  92 I could achieve. I fell in love with the exquisite creations of 
E03  93 Frances Lynne. I couldn't find the moulds here, so I started to 
E03  94 explore American sources. Before long, eight cases of Frances' 
E03  95 moulds arrived, followed by those from two other artists, and we 
E03  96 were 'in business.'<p/>
E03  97 <p_>I placed an advertisement in 'Workbox' and got a wonderful 
E03  98 response; orders for our first, 12 page Catalogue came by every 
E03  99 post, and overnight a 4 page colour one was added. We have now 
E03 100 added a 44 page 'Crafty Corner' where we do updates of latest doll 
E03 101 designs, fabrics, patterns and other products, along with other 
E03 102 items of interest to dollmakers. Many of our customers have become 
E03 103 friends, and our business, Classic Dolls & Crafts, has taken over 
E03 104 our lives. It involves the whole family, and Caroline now devotes a 
E03 105 good part of each week dealing with customers who visit our home 
E03 106 studio, and filling our mail orders. None of us realised when she 
E03 107 bought me that long, red box, how it would transform our lives.<p/>
E03 108 <p_>For catalogue send pounds2 to: Classic Dolls and Crafts, 
E03 109 Elmfield Lodge, 35 Elmfield Road, Newcastle-upon-Tyne NE3 4BA.<p/>
E03 110 
E03 111 <h_><p_>QUILTS<p/>
E03 112 <p_>Kits or Ready Made<p/><h/>
E03 113 <p_>Jean Butler and her husband specialise in providing quilts in 
E03 114 kit form or ready made. The quilts are made to a traditional Irish 
E03 115 pattern, and are constructed of only the finest cotton prints in 
E03 116 very pretty toning shades. They contain a very warm but soft 
E03 117 polyester wadding filling with a cream backing. Both kits and ready 
E03 118 mades are approximately 74 1/2 x 99 1/2 inches. Kits contain 
E03 119 everything needed to produce your own quilt. Both kits and ready 
E03 120 mades come in three different shades of either pastel peach pink or 
E03 121 blue.<p/>
E03 122 <p_>The kits only need basic machine skills and are very easy to 
E03 123 put together. Kits are pounds85 and ready mades are pounds185 each, 
E03 124 both include postage and packing. I am sure you will agree that 
E03 125 these are outstanding value.<p/>
E03 126 <p_>Details (SAE): Exclusive Patchwork (WBX), 80 Princetown Road, 
E03 127 Bangor, Co. Down, N. Ireland BT20 3TD.<p/>
E03 128 
E03 129 <h_><p_>PRE-CUT WADDING<p/><h/>
E03 130 <p_>To cater for the growing demand from quilt makers, Beckfoot 
E03 131 Mill can now supply pre-cut pieces of light weight Bonded 
E03 132 Polyester. These are available in 2oz weight in four sizes:- 
E03 133 96"x60", 96"x80", 108"x86", 108"x102".<p/>
E03 134 <p_>The four sizes offered correspond to single, double, queen and 
E03 135 king size quilts, but can of course be used for other purposes, 
E03 136 such as upholstery and clothing. They are packed in a handy 
E03 137 carry-bag, and conform to the Fire Safety regulations. They are 
E03 138 available from some needlecraft shops or by mail order.<p/>
E03 139 <p_>Details (SAE) Mrs Crossley (WBX), Beckfoot Mill, Clock Mill, 
E03 140 Denholme, Bradford, West Yorks BD13 4DN.<p/>
E03 141 
E03 142 <h_><p_>PATCHWORK PACKS<p/><h/>
E03 143 <p_>Fabric packs of pre-cut squares for patchwork are very popular. 
E03 144 'Patchwork and Quilts' offer an interesting range, including a new 
E03 145 pack of eleven inch squares. If you want to make a Charm quilt 
E03 146 (where <tf|>every piece of fabric has to be different) they have a 
E03 147 starter pack consisting of fifty 4" squares, for pounds4. There is 
E03 148 also a Lucky Dip pack, consisting of one and half metres of fabric 
E03 149 in total, in a variety of colours and patterns, including some 
E03 150 plains, for pounds7 including postage.<p/>
E03 151 <p_>Details (SAE): Patchworks and Quilts, (WBX), 9 West Place, 
E03 152 Wimbledon, London SW19 4UH.<p/>
E03 153 
E03 154 <h_><p_>Antique Dolls<p/><h/>
E03 155 <p_>If you are interested in collecting old dolls, look out for 
E03 156 English cloth dolls made during this century - they can still be 
E03 157 acquired at reasonable prices. Foreign dolls often fetch higher 
E03 158 prices, especially those made by K<*_>a-umlaut<*/>the Kruse, a 
E03 159 German lady, in the early 1900's. Bisque dolls always fetch high 
E03 160 prices - one sold earlier this year, which had been given to the 
E03 161 vendor's mother, as a child to console her after falling off her 
E03 162 perch of a pile of hymn books, went for pounds850.<p/>
E03 163 <p_>French and German dolls are highly regarded, especially those 
E03 164 from the middle of the 19th century. French fashion dolls, and 
E03 165 German Jameau or Bru dolls - the latter complete with 'trousseau', 
E03 166 fetched pounds8,000, not long ago. These prices are paid for dolls 
E03 167 in near-mint condition, and attract buyers of all nationalities. 
E03 168 Many have a mould number, which is invaluable to date them, and 
E03 169 identify the maker.<p/>
E03 170 <p_>Moulded china dolls, and paper<?_>-<?/>mache type are still 
E03 171 reasonably priced, partly because of the large numbers coming onto 
E03 172 the market - many are found in attics, long ago discarded by their 
E03 173 owners.<p/>
E03 174 <p_>Wax dolls could be bought quite cheaply a few years ago, but 
E03 175 are now fetching higher prices.<p/>
E03 176 <p_>If you buy an old doll, or own one, don't be tempted to 
E03 177 refurbish it, if it is dressed in its original clothes - it's worth 
E03 178 much more if you leave them on!<p/>
E03 179 <p_><tf_>Seventeenth century dolls<tf/> carved from wood fetch very 
E03 180 high prices, particularly when they are dressed in their original 
E03 181 clothes. Even a one-armed doll, dated about 1800, was sold for 
E03 182 pounds1,300. A world record price was paid recently - 
E03 183 pounds71,000.<p/>
E03 184 <p_>The sales of toys and dolls at auctions, include many of the 
E03 185 most desirable examples, presented in profusely illustrated 
E03 186 catalogues, which are now widely used by collectors as reference 
E03 187 books on the subject.<p/>
E03 188 <p_>For further information on forthcoming sales contact:-<p/>
E03 189 <p_><*_>bullet<*/>Sotheby's, 34/35 New Bond Street, London W1A 
E03 190 2AA.<p/>
E03 191 <p_><*_>bullet<*/>Christies, (WBX) 8, King Street, St. James's, 
E03 192 London SW1Y 6QT.<p/>
E03 193 <p_><*_>bullet<*/>Phillips, (WBX) 7 Blenheim Street, New Bond 
E03 194 Street, London W1Y 0AS.<p/>
E03 195 
E03 196 <h_><p_>TREASURES AND TRINKETS<p/><h/>
E03 197 <p_>A jewellery exhibition at the London Museum (until January 
E03 198 26th, 1992) entitled 'Trinkets and Treasures', is a visual delight. 
E03 199 Over 500 pieces have been selected from the Museum's astounding 
E03 200 collection of bequeathed, donated and excavated jewellery spanning 
E03 201 1900 years of personal adornment.<p/>
E03 202 <p_>It places special emphasis on the significance of jewellery as 
E03 203 social symbols. The association of jewellery with love has been 
E03 204 recurrent throughout history, and many pieces in the exhibition 
E03 205 represent this; there are medieval posy rings bearing love 
E03 206 inscriptions, rubies worn as symbols of exalted brooches in the 
E03 207 shape of true lovers' knots.<p/>
E03 208 <p_>Royal associations are particularly strong in the exhibition, 
E03 209 and include the magnificent jewelled parasol presented to Queen 
E03 210 Victoria at the 1851 Great Exhibition and a ring given to her as a 
E03 211 child by her mother, the Duchess of Kent. Sumptuously displayed and 
E03 212 thoroughly documented, Treasures and Trinkets, explores the 
E03 213 symbolism of jewellery through the ages.<p/>
E03 214 <p_>*NB. The Museum has received a special award for providing 
E03 215 outstanding facilities and services for disabled people.<p/>
E03 216 <p_>Individual disabled visitors should telephone Public Relations 
E03 217 Office (Tel: 071 600 3699 Ext 240) in advance of visit to reserve 
E03 218 car park space.<p/>
E03 219 
E04   1 <#FLOB:E04\><h_><p_>HOW TO CREATE THOSE Nighttime Dazzlers<p/><h/>
E04   2 <p_>The prettiest evening fashions are simple styles with 
E04   3 delightfully feminine touches - lace, pearls, dazzling buttons, 
E04   4 suits with dressmaker details and dresses with off-the-shoulder 
E04   5 necklines.<p/>
E04   6 <h_><p_>LATE-DAY LOVELIES<p/><h/>
E04   7 <p_>For after-five, show-stopping entrances, the look is a 
E04   8 body-shaping princess style, flared or straight, in a knee or 
E04   9 above-knee length. The shoulder-baring bodice 
E04  10 <}_><-|>enchanced<+|>enhanced<}/> by soft draping, a sweetheart 
E04  11 neckline or a delicate frosting of lace. Inner construction details 
E04  12 include boning, underlining and some clever magic with elastic to 
E04  13 keep everything comfortable and in place.<p/>
E04  14 <p_>For those with a more conservative bent, the cocktail suit is a 
E04  15 wonderful, fashionable alternative. These beauties feature slim 
E04  16 skirts and gently shaped, princess-seamed jackets that flare out 
E04  17 below the waist, creating a peplum effect. Buttons are either 
E04  18 elegantly matched to the fabric or have a jewel-like quality. The 
E04  19 latter, paired with the simplest of jewellery, is all the 
E04  20 accessorizing you'll need. An equally smart alternative to the 
E04  21 suit, but with all the same exquisite touches, is the coat 
E04  22 dress.<p/>
E04  23 <p_>Fabrics for both looks are soft, but slightly crisp. Look for a 
E04  24 bevy of beautiful silks, moir<*_>e-acute<*/>s, taffetas, failles, 
E04  25 damasks and subtle brocades.<p/>
E04  26 <h_><p_>GUIDELINES FOR GOOD FIT<p/>
E04  27 <p_>Start at the Top<p/><h/>
E04  28 <p_>For off-shoulder looks, the fitting focus is on the upper body. 
E04  29 Since adjustments in this area are much more complicated than 
E04  30 adjustments at the waist or hip, it is important to choose the 
E04  31 pattern size that corresponds to your upper body measurements.<p/>
E04  32 <p_>To do that, you will need to compare your bust and chest 
E04  33 measurements.<p/>
E04  34 <p_><*_>bullet<*/>Take the BUST measurement around the fullest part 
E04  35 of the bust. Make sure that the tape measure is straight across the 
E04  36 back.<p/>
E04  37 <p_><*_>bullet<*/>Take the CHEST measurement around the body, at 
E04  38 the underarm (A).<p/>
E04  39 <p_>Now subtract the chest measurement from the bust measurement. 
E04  40 If the difference is 2'' (5cm) or less, select your pattern size 
E04  41 according to your bust measurement. If the difference is more than 
E04  42 2'' (5cm), select the size by your chest measurement. Use the chart 
E04  43 below to determine your size.<p/>
E04  44 <h|><tf_>TIP
E04  45 <p_>If your measurements fall between two sizes, let your bone 
E04  46 structure be your guide. If you are small-boned, select the smaller 
E04  47 size pattern; if you are medium or large-boned, then select the 
E04  48 larger size pattern.<tf/><p/>
E04  49 <h_><p_>Consider Waist and Hips<p/><h/>
E04  50 <p_>Now locate your waist and hip measurements on the chart. Do 
E04  51 they match the ones given for your pattern (bust or chest) size? If 
E04  52 not, you - like many other people - are really a combination of 
E04  53 sizes.<p/>
E04  54 <p_>If that is the case, then multi-size patterns are an easy way 
E04  55 to circumvent the need for time-consuming adjustments. As you move 
E04  56 from bust to waist to hip, simply use the cutting line that matches 
E04  57 your pattern size. Taper the lines gradually as you go from one 
E04  58 size to the another<&_>sic!<&/> (B).<p/>
E04  59 <p_>If the pattern you choose is not available in multi-sizes, then 
E04  60 adjust the waist and/or hip measurement by increasing or decreasing 
E04  61 the necessary amount.<p/>
E04  62 <p_>Note that the vast majority of evening dresses and suits 
E04  63 (primarily the newest off-the-shoulder fashions) achieve their 
E04  64 shapely fit through the use of princess seaming. Therefore, all of 
E04  65 the fitting adjustments that follow will be shown for princess 
E04  66 seamed garments. When adjusting a princess seam garment, consider 
E04  67 whether you are making a major circumference adjustment or a minor 
E04  68 one. Minor adjustments of 1'' (2.5cm) or less can be accomplished 
E04  69 by adding or subtracting the necessary amount at the side seams 
E04  70 (C). Major adjustments of up to 2'' (5cm) should be divided between 
E04  71 the side seams AND the front and back princess seams (D).<p/>
E04  72 <h_><p_>Adjust for a Large Bust<p/><h/>
E04  73 <p_>A 2'' plus (5cm plus) difference between bust and chest 
E04  74 indicates that you are larger than a B cup. Since most Butterick 
E04  75 patterns are designed for the B cup figure, you will probably want 
E04  76 to increase the cup size on your tissue pattern. Doing this will 
E04  77 improve the look and fit of your garments<p/>
E04  78 <h|><tf_>TIP
E04  79 <p_>If your garment has a waistline seam, and you do not anticipate 
E04  80 any waistline or hipline adjustments, save time by 
E04  81 test<?_>-<?/>fitting only the bodice in muslin.<tf/><p/>
E04  82 <p_>Use the Bust Adjustment Chart to determine your cup size and 
E04  83 the amount you will need to add to the pattern.<p/><O_>chart<O/>
E04  84 <p_>For a C cup adjustment, you can divide the total amount of the 
E04  85 increase by the number of seams, and then by 2. The resulting 
E04  86 amount can be added to each seam at the bust level - indicated by 
E04  87 the printed bust symbol. When adjusting a princess seamed garment, 
E04  88 the amount added to each seam will be relatively small. You can 
E04  89 decide whether most of the amount should be added to the bodice 
E04  90 front or equally to all the seams, based on your body shape. Make a 
E04  91 mark the distance required outside the cut edge and draw a new 
E04  92 cutting line, tapering the line back to the original (E). Or, if 
E04  93 you feel you want to fine<?_>-<?/>tune the fit, make a muslin and 
E04  94 use the 'slash and spread' method of fitting described below.<p/>
E04  95 <p_>For a D cup or larger, the only way to make a bust adjustment 
E04  96 and achieve a good fit, is by making a muslin and using the 'slash 
E04  97 and spread' method of fitting. Start by doing the following on your 
E04  98 pattern tissue:<p/>
E04  99 <p_><*_>bullet<*/>On the side front pattern piece, extend the 
E04 100 lengthwise grainline the length of the pattern.<p/>
E04 101 <p_><*_>bullet<*/>On the front pattern piece, draw a line across 
E04 102 the pattern piece that is perpendicular to the center front 
E04 103 grainline or foldline and intersecting the bust point. This is your 
E04 104 crosswise grainline. Draw another line at the same level on the 
E04 105 side front pattern piece (F). Draw a vertical line, parallel to the 
E04 106 center front and running from top to bottom.<p/>
E04 107 <p_>Cut out your bodice sections. Transfer the markings for 
E04 108 grainlines (including center front) and bust point so they are 
E04 109 clearly visible on the outside of the muslin. Machine<?_>-<?/>baste 
E04 110 the muslin together.<p/>
E04 111 <p_>Try on the muslin. Be sure you are wearing the same 
E04 112 undergarments that you plan to wear with the finished garment. A 
E04 113 leotard, worn over your undergarments, will provide you with a 
E04 114 surface for anchoring the sections of the muslin as you 'slash and 
E04 115 spread.' For the sake of accuracy, ask a friend to help you, as it 
E04 116 will be awkward to pin and fit yourself.<p/>
E04 117 <h|><tf_>TIP
E04 118 <p_>For off-the-shoulder styles, boning usually provides the 
E04 119 necessary inner support to hold it up. Since there is no boning in 
E04 120 your muslin, you may want to temporarily pin it to your leotard 
E04 121 along the side seams. Also anchor the muslin to the leotard at 
E04 122 center front, below the crosswise grainline.<tf/><p/>
E04 123 <p_><*_>bullet<*/>Make lengthwise slashes from the top of the 
E04 124 muslin, as indicated, on both the front and the side front. Spread 
E04 125 the muslin sections until you have achieved the necessary fullness 
E04 126 across the bust. Next, slash across the front of the garment, along 
E04 127 the crosswise grain. Extend the slash across the side front, just 
E04 128 to, but not through, the side seam. Spread the slashed edges, 
E04 129 adding enough length to accommodate the bust. Use the Bust 
E04 130 Adjustment Chart as a guideline for how much to spread. KEEP YOUR 
E04 131 EYE ON THOSE GRAINLINES. The lengthwise grainlines should be 
E04 132 perpendicular to the floor; the crosswise grainline should be 
E04 133 parallel to the floor. Be sure the bust point stays where it 
E04 134 belongs - at your bust point (G).<p/>
E04 135 <p_><*_>bullet<*/>When you are happy with the fit, and all the 
E04 136 grainlines are in the correct position, insert strips of muslin 
E04 137 under the slashes, then pin or baste the cut edges to the 
E04 138 strips.<p/>
E04 139 <p_><*_>bullet<*/>Disassemble the muslin. Transfer the adjustments 
E04 140 from muslin to pattern tissue before cutting out the garment 
E04 141 (H).<p/>
E04 142 <h|><tf_>TIP
E04 143 <p_>Avoid the tendency to over fit. If you are making a dressmaker 
E04 144 suit, the fit should be easy, not tight. If you are making an 
E04 145 off-the-shoulder style, remember that you need to save room for the 
E04 146 lining, underlining and boning. Some or all of these components 
E04 147 will be part of the finished garment.<p/>
E04 148 <h|>TIP
E04 149 <p_>If your shoulder-baring garment gaps slightly across the back, 
E04 150 a bit of elastic will provide a secure, comfortable fit. If 
E04 151 instructions are not included in your pattern, here's how to add an 
E04 152 elastic stay.<p/>
E04 153 <p_><*_>bullet<*/>If your garment has a center back seam/zipper, 
E04 154 cut two lengths of 1/4'' (6mm) wide elastic equal to your back 
E04 155 measurement between the underarm seam and the center back. If your 
E04 156 garment does not have a center back seam (side zipper), cut one 
E04 157 length of elastic equal to your back measurement between the 
E04 158 underarm seams.<p/>
E04 159 <p_><*_>bullet<*/>Before joining the lining to the bodice, 
E04 160 construct a casing for the elastic on the lining, just below the 
E04 161 seam<?_>-<?/>line at the upper edge. To do this, edgestitch 1/2'' 
E04 162 (13mm) wide single fold bias tape to the lining along the stitching 
E04 163 line (I).<p/>
E04 164 <p_><*_>bullet<*/>Join the lining to the bodice along the upper 
E04 165 edge of the garment. Insert the elastic into the casing. Match the 
E04 166 ends of the elastic to the raw edges of the garment. Stitch across 
E04 167 the ends of the casing along the seamlines, (J).<p/>
E04 168 <p_><*_>bullet<*/>Continue, completing the lining and 
E04 169 off-the-shoulder details of the garment according to your pattern 
E04 170 instructions (K).<p/>
E04 171 <h|>TIP
E04 172 <p_>To provide extra stability across the front neckline of an 
E04 173 off-the-shoulder garment, consider Stay-Tape, a lightweight 
E04 174 alternative to twill tape (L). Made from 100% stabilized nylon, 
E04 175 this 1/2'' (13mm) wide white tape is easy to use and requires no 
E04 176 pre-shrinking. For narrower widths, trim the tape - it will not 
E04 177 fray!<p/>
E04 178 <h|>TIP
E04 179 <p_>Stop frequently during the construction process to try on and 
E04 180 fine-tune the fit of your garment. If upper bodice adjustments are 
E04 181 required, do them at the princess seams. Do not make any 
E04 182 alterations at the armhole seam. If you do, you may distort the 
E04 183 arm<?_>-<?/>hole, thus restricting your ability to move in the 
E04 184 finished garment. Remember, too, that these off-the-shoulder 
E04 185 designs usually have elastic that is concealed inside the sleeve or 
E04 186 in the neckline treatment. Because the elastic is attached to the 
E04 187 garment only at the armhole seam, it helps anchor the garment to 
E04 188 the body but does not interfere with the drape of the fabric or 
E04 189 restrict your movements (M).<tf/><p/>
E04 190 <h_><p_>THE SHAPE MAKERS<p/><h/>
E04 191 <p_>Inner construction is what gives off-the-shoulder garments the 
E04 192 necessary support. Anyone who has made a wedding 
E04 193 <}_><-|>grown<+|>gown<}/> will probably find some of these shaping 
E04 194 details familiar. They've been long favoured techniques in the 
E04 195 bridal market.<p/>
E04 196 <p_>UNDERLINING helps provide the sculptured look that these 
E04 197 garments call for. It helps reduce wrinkling and provides a 
E04 198 foundation so that interfacings, facings, boning and hems can be 
E04 199 sewn without stitches or ridges appearing on the outside of the 
E04 200 garment. Underlining also helps expand your fabric options. With 
E04 201 softer fabrics, it can add the body that the fabric may lack, but 
E04 202 that the silhouette craves.<p/>
E04 203 <p_>In general, the underlining should be lighter in weight and as 
E04 204 soft, or softer than, the outer fabric. When selecting an 
E04 205 underlining, drape the fashion fabric and the underlining together 
E04 206 over your arm and observe how they interact. The two should drape 
E04 207 as one.<p/>
E04 208 <p_>Good choices for underlining include light and medium weight 
E04 209 fabrics such as batiste, China silk, marquisette, organdy and 
E04 210 organza. Several interfacings, sew-in varieties, are also designed 
E04 211 to be used as an underlining.<p/>
E04 212 <p_>Sometimes, more than one type of underlining is required in a 
E04 213 garment. Many fashion designers are using a slightly crisp woven 
E04 214 fabric to underline the body of the dress. The off-the-shoulder 
E04 215 sleeves are underlined, too, but with a softer fabric. Often the 
E04 216 choice is a fusible knit interfacing. As with any fusible, be sure 
E04 217 to test-fuse on a scrap of the fashion fabric before applying it to 
E04 218 the garment. If the fusible is not suitable for the fabric, use a 
E04 219 plain, lightweight tricot.<p/>
E04 220 <p_>Cut out the underlining using your main pattern pieces. 
E04 221 Transfer all the pattern markings to the underlining. Then:<p/>
E04 222 <p_><*_>bullet<*/>If your pattern calls for boning, apply it, as 
E04 223 instructed, to the underlining. Boning is usually applied so that, 
E04 224 on the finished garment, it will be sandwiched between the 
E04 225 underlining and the lining. The underlining acts as a buffer to 
E04 226 prevent the boning from making a ridge on the outside of the 
E04 227 garment: the lining acts as a cushion of comfort against your skin.
E04 228 
E05   1 <#FLOB:E05\><h_><p_>Unknown talent<p/>
E05   2 <p_>In the first of an occasional series on favourite books, Roger 
E05   3 White chooses James Randall's 1806 volume of fanciful designs for 
E05   4 houses<p/><h/>
E05   5 <p_>Although the protagonists of the Modern Movement, who still 
E05   6 very much rule the roost in the architectural profession and the 
E05   7 schools, would have us believe that the practice of classicism 
E05   8 imposes an intolerable strait-jacket on the creative imagination, 
E05   9 practitioners of the eighteenth and early-nineteenth centuries 
E05  10 thought otherwise. In the preface to his collection of <tf_>Designs 
E05  11 for Mansions, Casinos, Villas, Lodges and Cottages in the Grecian, 
E05  12 Gothic and Castle Styles<tf/> (published in 1806), the talented but 
E05  13 almost totally unknown architect, James Randall, asserted: 
E05  14 <quote_>"It is not necessary that chastity of taste be confined to 
E05  15 the rigid rules of the school: fancy may surly be allowed to play, 
E05  16 if kept within proper bounds! Architecture, like music, is 
E05  17 susceptible of innumerable combinations, which, if properly united, 
E05  18 although very dissimilar, may possess real beauties and produce 
E05  19 pleasing emotions on the mind."<quote/><p/>
E05  20 <p_>Randall's book, a handsome folio volume which is now very rare, 
E05  21 combines plans, elevations and perspectives of his designs for 
E05  22 houses in a characteristically Regency variety of styles - not just 
E05  23 the 'Grecian Gothic and Castle Styles' of the title but also, for 
E05  24 instance, designs for a mansion in the Egyptian style lately made 
E05  25 fashionable by Napoleon's campaigns. Perhaps most interesting, 
E05  26 because most potentially relevant for today's reader, is Randall's 
E05  27 concentration on smaller houses or 'compact' villas 
E05  28 <quote_>"suitable to persons of moderate fortune".<quote/><p/>
E05  29 <p_>These compact dwellings, some of them referred to as casinos, 
E05  30 bring together a number of late Georgian preoccupations and 
E05  31 influences, notably the Greek Revival and the work of Sir Robert 
E05  32 Taylor and James Wyatt. His debt to the Revival is openly 
E05  33 acknowledged by Randall, and is perfectly clear in the forms and 
E05  34 detail of the two designs for 'Casinos in the Grecian Style'. One 
E05  35 of these has four single-storey wings arranged in a Greek-cross 
E05  36 plan around an octagonal centre, derived from the Tower of the 
E05  37 Winds in Athens. This had been recorded by Stuart and Bevett in the 
E05  38 1750s and subsequently adapted for use by a number of English 
E05  39 architects, notably Wyatt in his Radcliffe Observatory at Oxford. 
E05  40 Within this unusual plan, Randall shuffles the rooms required by a 
E05  41 well-to-do bachelor into an ingenious arrangement of different 
E05  42 shapes.<p/>
E05  43 <p_>In other designs, notably the other 'Casino in the Grecian 
E05  44 style' and a single-storey casino <quote_>"composed at the desire 
E05  45 of an Invalid"<quote/>, the influence is that of Sir Robert Taylor. 
E05  46 Taylor had died in 1788 and Randall, who seems to have been born 
E05  47 around 1778, was too young to have been his pupil. But the source 
E05  48 for Randall's fascination with geometrically intricate plans, 
E05  49 canted bays and far-projecting Tuscan eaves, is unmistakably such 
E05  50 Taylor buildings of the early 1760s as Asgill House at Richmond and 
E05  51 the fishing temple at Tendring in Suffolk.<p/>
E05  52 <p_>Randall died in 1820, still a relatively young man, and with 
E05  53 his designs still, as far as we can tell, on the drawing-board. It 
E05  54 is sad and perhaps surprising that they failed to exert a stronger 
E05  55 appeal and that potential clients were not convinced that (to quote 
E05  56 the motto that appeared on Randall's title page) <quote_>"Taste 
E05  57 ...saves Expence [sic]"<quote/>. How nice it would be if discerning 
E05  58 patrons of today were to be sufficiently intrigued to want to 
E05  59 translate some of them belatedly into reality!<p/>
E05  60 
E05  61 <h_><p_>Home truths<p/>
E05  62 <p_>Sophisticated commercial operation or cottage industry?<p/>
E05  63 <p_>Anthony Rose explodes a few myths about English wine<p/><h/>
E05  64 <p_>English wine? Pull the other one. If not the butt of a joke or 
E05  65 to be pooh-poohed altogether in polite society, English wine is as 
E05  66 often as not damned with faint praise. How many times have I head 
E05  67 <quote_>"not bad for an English wine"<quote/>, as in an apologetic 
E05  68 end-of-term report on poor little Johnny's terminal inability to do 
E05  69 better? But watch out, the secateurs are out. A growing band of 
E05  70 iconoclasts and entre<?_>-<?/>preneurs is quietly snipping away at 
E05  71 the cottage industry image of English viticulture. Even the rest of 
E05  72 Europe is sitting up and taking note. From the 1991 vintage, 
E05  73 English wine is to have its own quality control scheme.<p/>
E05  74 <p_>I first met David and Fiona Ealand on the morning of the 
E05  75 hurricane back in October 1987. Neither high winds nor fallen oaks 
E05  76 were going to keep them from a triumph they had been working for 
E05  77 since planting three acres of vineyard at Hambleden in the 
E05  78 Chilterns in 1982. The first commercial vintage of their Old 
E05  79 Luxters Reserve had just won a silver medal in the eighteenth 
E05  80 International Wine and Spirit Competition, which also voted it best 
E05  81 English wine of the year. The wine was a revelation. How on earth 
E05  82 had they managed to produce such an aromatic, deliciously fresh and 
E05  83 fruity wine in such a dreadful summer?<p/>
E05  84 <p_>The Ealands came to wine-making almost by accident. After 
E05  85 falling in love with Old Luxters Farm, they bought it on impulse in 
E05  86 1980. They then planned how to turn their three acres of land to 
E05  87 profitable use, while David continued to work as a maritime lawyer. 
E05  88 Livestock, rhubarb and tulips were all rejected. The more they went 
E05  89 into it, the more the idea of a vineyard seemed feasible. Sitting 
E05  90 six hundred feet up in the Chilterns, their east-facing site, with 
E05  91 its well-drained, chalky soil, was ideal, according to professors 
E05  92 at wine schools in California, Germany and Bordeaux.<p/>
E05  93 <p_>In order to be sure of getting a crop each year, they planted 
E05  94 early-ripening grapes: Madeleine Angevine, Bacchus and 
E05  95 Reichensteiner. <quote_>"People who got to hear about us would walk 
E05  96 past, giggle and sometimes sneer,"<quote/> recalls David Ealand. 
E05  97 (Since then, they have helped set up some twenty-three vineyards in 
E05  98 the Chilterns, amounting to over one hundred acres of vines.) What 
E05  99 was originally a sideline soon expanded into a profitable business. 
E05 100 The Ealands invested pounds150,000 converting farm buildings into 
E05 101 an ultra-modern winery. They took on an estate manager and 
E05 102 wine-maker to help run the business. Even four dire summers in a 
E05 103 row failed to dent the Ealands' unshakeable belief in the temperate 
E05 104 English climate.<p/>
E05 105 <p_>Tragically, Fiona Ealand died of a brain tumour last year just 
E05 106 as their labours had really begun to bear fruit. Before her death 
E05 107 however, the Ealands were rewarded for their perseverance with two 
E05 108 fine summers in 1989 and 1990. David Ealand has left his job in the 
E05 109 City to concentrate full-time on the wine-making business, while 
E05 110 the seventeenth-century barn has now been converted into an art 
E05 111 gallery and micro-brewery. And, with their startlingly rich, 
E05 112 luscious Chiltern Valley Noble Bacchus, the Ealands have made 
E05 113 perhaps the country's most successful sweet wine to date. It 
E05 114 received a silver medal at the International Wine and Spirit 
E05 115 Competition in 1990, proving its quality against contenders from 
E05 116 thirty-five wine<?_>-<?/>producing countries. In the last five 
E05 117 years, Chiltern Valley Wines have won twenty such awards, 
E05 118 establishing their status on the national and international 
E05 119 stage.<p/>
E05 120 <p_>Kit Lindlar has never been a member of the 'English wine as a 
E05 121 hobby for retired rear admirals and eccentric wing commanders' 
E05 122 tendency either. When I first spoke to him five years ago, he told 
E05 123 me that <quote_>"things are taking off"<quote/>. He said then that 
E05 124 <quote_>"English wine can be produced to a high standard to compete 
E05 125 with wine made anywhere in the world"<quote/>. Though England has 
E05 126 no native grape varieties, Lindlar was convinced that crossings 
E05 127 such as Huxelrebe and Schnburger, developed for cool climates at 
E05 128 the Geisenheim Institute in Germany, could do well in England. At 
E05 129 the northern limit for grape growing, he felt that England's 
E05 130 relative lack of sun was more than compensated for by the long 
E05 131 daylight hours and the moderating influence of the Gulf Stream.<p/>
E05 132 <p_>As well as owning two acres of vineyard at Berwick Glebe in 
E05 133 East Sussex, Lindlar runs a contract wine-making service at High 
E05 134 Weald Winery in Kent. Here, he makes wine for some thirty to 
E05 135 thirty-five English vineyards who send him their grapes. At the 
E05 136 same time, he advises on the suitability of creating a vineyard, 
E05 137 bearing in mind the soil, altitude and exposure of a site; on the 
E05 138 choice of vines and setting up costs (roughly pounds5,000 per 
E05 139 acre); and the day-to-day management.<p/>
E05 140 <p_>Kit Lindlar has made quite a splash with a wine he calls, 
E05 141 simply, English Vineyard. This wine, made from a blend of eight 
E05 142 grape varieties, Huxelrebe and Mller-Thurgau predominating, comes 
E05 143 in a white burgundy bottle instead of the more traditional tall 
E05 144 Germanic bottle. With its gooseberryish aromas and dry, 
E05 145 grapefruity, citrus-fruit tang, the feel of the wine, served to 
E05 146 approving foreign tastebuds at last year's Master of Wine Symposium 
E05 147 in Cambridge, is not million miles in style from a Loire white such 
E05 148 as Sancerre.<p/>
E05 149 <p_>The most ambitious venture in English viticulture to date is 
E05 150 that of Denbies Estate in Surrey. Denbies was conceived by Adrian 
E05 151 and Jeremy White as a full-scale commercial vineyard right from the 
E05 152 start in 1984. They took advice on the suitability of the flint and 
E05 153 chalk of the Mole Valley for vine<?_>-<?/>growing from Professor 
E05 154 Selley, a geologist resident in Dorking. They then planted 250 
E05 155 acres of vineyard on their 650-acre estate at Ranmore Common, 
E05 156 convinced that a combination of quality and the right presentation 
E05 157 was needed to demonstrate to a disbelieving public that English 
E05 158 wine could be far better than was supposed.<p/>
E05 159 <p_>The site, opposite Box Hill, was planted with eight main 
E05 160 varieties, including Chardonnay and Pinot Noir - the classic 
E05 161 champagne grapes - for the production of a champagne-method 
E05 162 sparkling wine. Five million pounds was spent developing the 
E05 163 vineyards and installing an ultra<?_>-<?/>modern winery and cellar. 
E05 164 A third partner, Michael Trull, whose family own the La Bri 
E05 165 vineyard in South Africa, joined the White brothers. Even by 
E05 166 Californian standards, this is no small-scale operation. In common 
E05 167 with Ealand and Lindlar, the Denbies trio are out to demolish the 
E05 168 myth that English wine can only be a cottage industry because of 
E05 169 poor weather. <quote_>"The climate is not suitable for 
E05 170 high<?_>-<?/>volume, low-cost wine,"<quote/> says Michael Trull. 
E05 171 <quote_>"But the long growing season creates thin grapeskins which 
E05 172 impart delicacy and complexity of flavour to a wine, while slow 
E05 173 ripening means that the subleties are not bleached out by heat. And 
E05 174 low yields result in concentration of flavour and naturally high 
E05 175 acids which are good for ageing potential."<quote/> Denbies have 
E05 176 worked out their sums carefully, calculating that they will need to 
E05 177 achieve a minimum yield of two tons per acre and a price of roughly 
E05 178 pounds5.00 per bottle to be profitable.<p/>
E05 179 <p_>Quality apart, Denbies are aiming at escaping from the hitherto 
E05 180 Germanic-English style of wine sweetened by grape juice concentrate 
E05 181 to mask an over<?_>-<?/>sharp acidity. <quote_>"We are looking for 
E05 182 wines with a winey character,"<quote/> says Michael Trull, 
E05 183 <quote_>"wines that are good with food and not excessively floral; 
E05 184 more French than German."<quote/> To this end, Trull believes in 
E05 185 the importance of blending to produce a consistent style, neither 
E05 186 overly Germanic, nor slavishly following the New World cult of the 
E05 187 grape variety. This year, Denbies release their first commercial 
E05 188 wines. And next, if all goes according to plan, we will be raising 
E05 189 a glass of sparkling Denbies to a new phase in English 
E05 190 viticulture.<p/>
E05 191 
E05 192 <h_><p_>Attention seekers<p/>
E05 193 <p_>Susan Chivers and Suzanne Woloszynska put garden ornaments in 
E05 194 their place. Photographs by Peter Woloszynski<p/><h/>
E05 195 <p_>No one knows when the human race first discovered the joys to 
E05 196 be had in growing plants solely for their beauty and not merely for 
E05 197 food or medicine. What <tf|>is certain, however, is that once man's 
E05 198 imagination was awakened, the early gardeners set about creating 
E05 199 private domains, where their vision of an earthly paradise could be 
E05 200 fulfilled. The word 'paradise' is derived from the Persian for an 
E05 201 enclosure or park, and illustrations of ancient Persian gardens 
E05 202 reveal that, even then, men were aware of the importance of adding 
E05 203 ornament to their gardens with artefacts as well as plants.<p/>
E05 204 <p_>In Europe, the Renaissance marked the introduction of a 
E05 205 proliferation of statuary and architectural objects into garden 
E05 206 settings. Italian, and later French, garden makers adopted this 
E05 207 practice to such an extend that, by the time Le N<*_>o-circ<*/>tre 
E05 208 laid out the garden at Versailles in the mid<?_>-<?/>seventeenth 
E05 209 century, no amount of statuary was considered too much for the 
E05 210 design of a grand French garden.
E05 211 
E06   1 <#FLOB:E06\><h_><p_>DR JAMESON'S RAID TURNED INTO TEARS<p/>
E06   2 <p_>They waved a servant girl's pinnie to surrender to the 
E06   3 commandos<p/>
E06   4 <p_>by John Billot<p/><h/>
E06   5 <p_>Dr Jameson was the first man to have his name in the title on 
E06   6 the box cover of a William Britain set of toy soldiers - and the 
E06   7 company famed for its hollow<?_>-<?/>cast figures quickly renamed 
E06   8 the set when the impetuous doctor's venture ended in disaster in 
E06   9 December 1895.<p/>
E06  10 <p_>The Jameson Raid, intended to sweep secretly and swiftly to 
E06  11 reinforce a pro-British uprising in Johannesburg against President 
E06  12 Kruger's Afrikaner republic; but the Jo'burg plotters developed 
E06  13 cold feet and the Boers were alerted to the intruders in the 
E06  14 Transvaal.<p/>
E06  15 <p_>For two days, Dr Leander Starr Jameson and his Rhodesian 
E06  16 Mounted Police, fought running battles with the sniping Boer 
E06  17 commandos before the raiders raised a makeshift white flag, an 
E06  18 African servant girl's pinnie.<p/>
E06  19 <p_>The doctor and the 600 men of his raiding party were carted off 
E06  20 to a Pretoria prison, their leader in tears, and handed back to the 
E06  21 British for trial - the price of failure without Government 
E06  22 backing.<p/>
E06  23 <p_>So Dr Jameson and the African Mounted Infantry, Set 38, 
E06  24 suddenly became South African Mounted Infantry and the doomed 
E06  25 doctor was discarded as a miscreant to history.<p/>
E06  26 <p_>But Britains 'cashed in' very nicely, thank you, on the Boer 
E06  27 War with numerous sets of both sides. All these figures now fetch 
E06  28 high prices and the ill<?_>-<?/>starred Jameson Raid excites 
E06  29 collectors if the rare box title emerges as an auction-room 
E06  30 item.<p/>
E06  31 <p_>Peter Turner, of Monmouth Metal Toys, Retreat House, Dorchester 
E06  32 Road, Broadway, Weymouth, Dorset DT3 5LN is a specialist in 
E06  33 reproduction figures with a variety of conversions that supplement 
E06  34 the Britains range.<p/>
E06  35 <p_>He supplies most of the Britains Boer War figures, as 
E06  36 illustrated on pages 54/55 in Andrew Rose's <tf_>The Collector's 
E06  37 All-Colour Guide to Toy Soldiers<tf/>. (Salamander/Tiger).<p/>
E06  38 <p_>These include marching at the slope and trail, the on guard 
E06  39 figure, which became a classical pose with a number of 
E06  40 manufacturers for many regiments, and the officer firing a pistol, 
E06  41 an especially sought-after item.<p/>
E06  42 <p_>The pose that attracts me most is the Boer at shoulder arms, a 
E06  43 figure that Britains repeated for their RNVR Set 151, first issued 
E06  44 in 1908, and a great favourite with Britains buffs.<p/>
E06  45 <p_>Especially interesting is Mr Turner's 
E06  46 <}_><-|>versions<+|>version<}/> of the Inniskilling Dragoons in 
E06  47 khaki active service dress on the stub<?_>-<?/>tailed horse, which 
E06  48 was used only for this Set 108 and Set 105 the Imperial 
E06  49 Yeomanry.<p/>
E06  50 <p_>The Yeomanry, in slouch hats and bandoliers, were London's 
E06  51 volunteer cavalry and it was the first time such units were 
E06  52 involved in action overseas. The Boer War, of course, was the first 
E06  53 major conflict that saw British troops adopt khaki. The days of the 
E06  54 scarlet tunic and bearskins on the battlefield were over.<p/>
E06  55 <p_>Modern toy soldier makers prefer the colour of the traditional 
E06  56 regimental uniforms, but no collection is complete without a 
E06  57 contingent or two of khaki-clad figures and the Boer War, a 
E06  58 collector's subject in its own right, has many adherents.<p/>
E06  59 <p_>Trophy Miniatures, of South Wales, one of the world's major 
E06  60 manufacturers, recently announced an expansion of their Boer War 
E06  61 range.<p/>
E06  62 <p_>Experience brought about the introduction of protective shields 
E06  63 on field guns. Boer marksmen with their mausers enjoyed picking off 
E06  64 gunners toiling to reload. There would not be anyone to load the 
E06  65 guns unless something was done!<p/>
E06  66 <p_>Len Taylor, boss of Trophy and a gunner during his Service 
E06  67 days, has an impressive Royal Artillery heavy mobile gun in his 
E06  68 range with four-man crew servicing it behind sandbag emplacement 
E06  69 with ammunition box handy to keep the rounds coming.<p/>
E06  70 <p_>Sir Redvers Buller worked out the first systematic creeping 
E06  71 barrage with his advisers to keep Boer heads down in their 
E06  72 entrenchments while his infantry advanced. It was much appreciated 
E06  73 by the PBI!<p/>
E06  74 <p_>The British always had more guns, but they were inferior to the 
E06  75 modern German and French field pieces of the Boers. Home-made guns 
E06  76 made an appearance and the defenders of Mafeking used a 4.5in 
E06  77 howitzer with a barrel made from a drainpipe!<p/>
E06  78 <p_>Trophy Miniatures don't have to improvise in producing their 
E06  79 high quality figures and we have some finely detailed sets of 
E06  80 troops on the march, including the Highland Brigade with a couple 
E06  81 of men shouldering their rifles butt-ends up, as shown in 
E06  82 illustrations in the two-volume <tf_>With the Flag to 
E06  83 Pretoria<tf/>.<p/>
E06  84 <p_>It is such little extra touches that make Trophy so distinctive 
E06  85 in their production and their Boer War ox-cart is a typical 
E06  86 example; a little gem with one of the Naval Brigade seated on the 
E06  87 wagon taking a gulp from his water-bottle (note the tatoo on his 
E06  88 arms) while another figure sits, legs dangling from the 
E06  89 tail<?_>-<?/>board. The native drover in wide-brimmed sun-hat 
E06  90 cracks his whip.<p/>
E06  91 <p_>The gun team at the halt is another exotic item and is a 
E06  92 pre<?_>-<?/>production mock-up <}_><-|>especailly<+|>especially<}/> 
E06  93 for <tf_>Military Hobbies<tf/> to show collectors what creative Len 
E06  94 has lined up for release shortly.<p/>
E06  95 <p_>A subject for one of the series of valour by new toy soldier 
E06  96 makers could be Colonel John Chisholme, leading the dismounted 
E06  97 Imperial Light Horse up the ridge against the murderous magazine 
E06  98 fire of the Johannesburg Commando at Elandslaagte.<p/>
E06  99 <p_>The <}_><-|>gallent<+|>gallant<}/> colonel tied the red silk 
E06 100 scarf of his old lancer regiment to his walking stick and, waving 
E06 101 it inspiringly, climbed steadily until he fell riddled with 
E06 102 bullets.<p/>
E06 103 <p_>Fixing their bayonets as they ran the Devons made the frontal 
E06 104 attack, a thunderstorm shielding them somewhat from the hail of 
E06 105 rifle-fire.<p/>
E06 106 <p_>The Boers offered a white flag and then suddenly launched a 
E06 107 savage counter<?_>-<?/>attack, led by General Kock, in stove hat 
E06 108 and black frock coat. It was quickly repulsed and the cavalry went 
E06 109 in pursuit.<p/>
E06 110 <p_>Because of that white flag betrayal, the order was given: No 
E06 111 prisoners. So three times the 5th Lancers and 5th Dragoon Guards 
E06 112 crashed their bloody path through the crumbling commando. Two Boers 
E06 113 on one pony were impaled by the same lance thrust. General Kock 
E06 114 died of his wounds.<p/>
E06 115 <p_>Yet there were moments of chivalry in this war, for all that if 
E06 116 a blackman were caught carrying a message for British troops he was 
E06 117 lucky to escape with being flogged within <}_><-|>a<+|>an<}/> inch 
E06 118 of his life. And the Boers had no qualms about using expanding 
E06 119 bullets.<p/>
E06 120 <p_>The Devonshire Regiment was issued by Britains as Set 110, 
E06 121 marching, unusually with rifles on the right shoulder, and 
E06 122 Lieutenant J E Masterson won the regiment's first VC in the defence 
E06 123 of Wagon Hill. This action, during the defence of Ladysmith, is 
E06 124 celebrated as a regimental anniversary.<p/>
E06 125 <p_>David Drennan, of Yorvic Figurines, 6 Lingcroft Close, 
E06 126 Camblesforth, near Selby, Yorkshire YO8 8JT issues a small range of 
E06 127 Boer War sets, including five pieces of the Imperial Light 
E06 128 Horse.<p/>
E06 129 <p_>His Boers are the Mounted Sharpshooters and the Transvaal 
E06 130 Mounted. There is a nine-figure set of CIV supply wagon with 
E06 131 mounted and foot escort, a six-figure set of CIV in khaki, and 
E06 132 Lancers in field service order.<p/>
E06 133 <p_>Giles Brown, of Dorset Soldiers, Latimer House, Castle Street, 
E06 134 Mere, Wiltshire BA12 6JE has a nice figure of General Louis Botha 
E06 135 astride a handsome white standing horse in his Set 312, three 
E06 136 figures including a colour bearer and guard on galloping mounts.<p/>
E06 137 <p_>Boer commandos wore their farm clothes and Mr Brown reflects 
E06 138 this in his eight-figure set of dismounted fighters, although his 
E06 139 four Staats gatling gun crew wear uniform.<p/>
E06 140 <p_>The Gordon Highlanders, in khaki tunics and clan kilts are 
E06 141 forming a square in Set 310 and there is a particularly attractive 
E06 142 Maxim machine gun unit of the CIV.<p/>
E06 143 <p_>The Field Artillery set with gun and limber drawn by six 
E06 144 bullocks with three native drivers and seven gunners is an 
E06 145 impressive major piece, a classic among modern toy soldier items 
E06 146 and a substantial centrepiece for any display.<p/>
E06 147 <p_>There is a traditional charging figure in the Cornish Light 
E06 148 Infantry set of an officer, pistol raised in readiness, and seven 
E06 149 men in action. The bugler sounds the alarm.<p/>
E06 150 <p_>On their trotting horses, the Imperial Yeomanry make pleasing 
E06 151 sets of three figures while there is the ever-popular mountain 
E06 152 artillery with four mules carrying the dismembered gun and 
E06 153 ammunition boxes, a mounted officer and six gunners after the 
E06 154 original Britains style.<p/>
E06 155 <p_>In the Dorset Soldiers Wessex Range, designed by Andrew Rose, 
E06 156 there is one of the most evocative sets of eight Boer figures in 
E06 157 assorted poses and individual dress, including a characteristic 
E06 158 frock-coated burgher and a nicely-modelled young drummer. Top marks 
E06 159 for this issue.<p/>
E06 160 <p_>The renowned Gloucestershire Regiment, engaged in the defence 
E06 161 of Ladysmith, were depicted as standing firing figures by Britains, 
E06 162 who later redesigned the uncomfortable marching Devonshires with a 
E06 163 pleasing, relaxed figure, at the trail.<p/>
E06 164 <p_>Now the Glorious Glosters, one of the very few remaining county 
E06 165 regiments, have lost the identity granted them 110 years ago and 
E06 166 been amalgamated with the Duke of Edinburgh's Royal Regiment, which 
E06 167 was formed in 1959 by the merger of the Royal Berkshire Regiment 
E06 168 and the Wiltshire Regiment.<p/>
E06 169 <p_>So collectors will want some of the figures from the past of 
E06 170 their favourite regiments, 'wiped out' by their own Government, who 
E06 171 have accomplished what the Chinese army just failed to do in the 
E06 172 Korean War.<p/>
E06 173 <p_>For three days in 1951, the Glorious Glosters held back the 
E06 174 Chinese hordes; some 650 heroes battling against 30,000 
E06 175 well-equipped attackers. The men who had fought back-to-back at 
E06 176 Alexandria in 1801 to earn the right to wear two cap badges, one 
E06 177 smaller badge at the back of their headdress, had worthy successors 
E06 178 in Korea.<p/>
E06 179 <p_>Amalgamation is a fate worse than anything they suffered on the 
E06 180 battlefield for their country.<p/>
E06 181 <p_>There were suggestions that the Royal Welch Fusiliers merge 
E06 182 with the Cheshire Regiment. That would have been more of a disaster 
E06 183 than the Jameson Raid! They'll be thinking of amalgamating the 
E06 184 Black Watch with the Queen's Lancashire Regiment next...<p/>
E06 185 <p_>The Black Watch, of course, were there in the Highland Brigade 
E06 186 at the Magersfontein hills, advancing with khaki aprons covering 
E06 187 the front of their kilts, no sporrans, bayonets fixed.<p/>
E06 188 <p_>But Boer bullets pinned them down under merciless fire and in 
E06 189 the retreat they left their brigade commander, Major-General 
E06 190 Wauchope, dead within two hundred yards of Cronje's trenches.<p/>
E06 191 <p_>British artillery saved the infantry from total destruction, 
E06 192 the Royal Navy's 4.7in guns proving the answer to the Boers' Long 
E06 193 Toms. Trophy Miniatures issue a splendid 4.7 with shafted limber, 
E06 194 drawn by six yoked oxen, flanked by three native drovers. Two 
E06 195 gunners are seated on the carriage while three gunners march 
E06 196 alongside. A splendid piece, costing pounds190.<p/>
E06 197 <p_>Derek Cross, of All the Queen's Men, The Old Cottage, 
E06 198 Gilmorton, Lutterworth, Leicestershire LE17 says he is expanding 
E06 199 their Boer War range. They have issued three limited editions in 
E06 200 action poses relating to the Australian Light Horse, South African 
E06 201 Light Horse and a Boer Commando.<p/>
E06 202 <p_>AQM also produce a Boer sentinel, standing guard, and a Boer 
E06 203 Kommando on galloping horse, two outstanding single figure 
E06 204 units.<p/>
E06 205 <p_>British forces are well represented with Guards Brigade, 
E06 206 Highland Brigade and Line infantry in khaki. The Highland Brigade, 
E06 207 displaying the khaki aprons, wear slouch hats instead of foreign 
E06 208 service helmets.<p/>
E06 209 <p_>These are available in various poses, the kneeling loading 
E06 210 figures particularly attractive, while officers with drawn sword 
E06 211 and pistol advancing at the head of their men and Line sergeants 
E06 212 waving their hats to encourage the advance also merit a place in a 
E06 213 collection.<p/>
E06 214 <p_>The Grenadier Guards suffered a terrible ordeal during the 
E06 215 battle at Biddulphsberg, in the Orange Free State, on May 25th, 
E06 216 1900, not only losing men to the rapid sharp-shooters, but having 
E06 217 comrades burned to death as fierce grass fires trapped them.<p/>
E06 218 <p_>Andrew Rose, who issues his Bastion range through P&B England, 
E06 219 49 Curling Vale, Onslow Village, Guildford, Surrey GU2 5PH, has 
E06 220 designed a pleasing set of the Suffolk Regiment in action in the 
E06 221 Boer War, eight figures in khaki with Slade Wallace equipment.<p/>
E06 222 <p_>The officer with bandaged head holds his pistol steady and the 
E06 223 bugler boy sounds stand-to, as if surprised by Christiaan de Wet's 
E06 224 guerrilla tactics.<p/>
E06 225 <p_>The daring de Wet ambushed the ox-wagon convoy at Waterval 
E06 226 Drift with a raiding party, stampeded 3,000 oxen and stranded the 
E06 227 British transport for the advance on Bloemfontein.<p/>
E06 228 
E07   1 <#FLOB:E07\><h_><p_>A perfect Knight and his Lady<p/>
E07   2 <p_>by John Wright, FACI<p/><h/>
E07   3 <p_>I WAS a schoolboy when I first met John Mills, and it was at 
E07   4 the old Empire Cinema in Edmonton, North London. John was already 
E07   5 set on his brilliant career with films like <tf_>Forever England, 
E07   6 OHMS, Car of Dreams<tf/>, etc.<p/>
E07   7 <p_>The strange thing is, I remember the thrill of that meeting in 
E07   8 the Thirties like yesterday, but he was forced to admit he 
E07   9 remembered me not at all!<p/>
E07  10 <p_>One thing for sure, I never thought that in 1991 my wife and I 
E07  11 would be invited to his Golden Wedding Anniversary Celebrations at 
E07  12 the St. James's Club, London, as friends of the family.<p/>
E07  13 <p_>I've been fortunate enough to have met, interviewed and written 
E07  14 about some of the biggest names in showbiz, but neither 
E07  15 D<*_>e-acute<*/>d<*_>e-acute<*/> nor I could recall seeing so many 
E07  16 <tf|>names at one anniversary.<p/>
E07  17 <p_>Sir Richard and Lady Attenborough, fondly remembered by buffs 
E07  18 as Sheila Sim, and of the same vintage Michael Denison and Dulcie 
E07  19 Gray. Simon MacCorkindale and Susan George made a handsome couple, 
E07  20 as indeed did Bryan Forbes and Nanette Newman.<p/>
E07  21 <p_>Michael Caine was much taller than I remembered him from an 
E07  22 early meeting in his career, and Dame Judi Dench even smaller. It 
E07  23 was good to see Doreen Hawkins, widow of Jack, still keeping in 
E07  24 frame, and Robin De'Ath of Legend Television of Pinewood quietly 
E07  25 watching his crew make a professional memento of the event.<p/>
E07  26 <p_>It was while we were chatting with Hayley Mills that the most 
E07  27 poignant moment of the evening occurred. John and Mary Mills had 
E07  28 told us earlier that daughter Juliet couldn't get away from Los 
E07  29 Angeles, but in true <tf_>This is Your Life<tf/> style, she burst 
E07  30 in with husband Maxwell Caulfield (of <tf|>Colbys fame) and her 
E07  31 family.<p/>
E07  32 <p_>I was able to admit to both Hayley and Juliet that 
E07  33 D<*_>e-acute<*/>d<*_>e-acute<*/> and I were indeed the old geezers 
E07  34 who arranged for Mum and Dad to be on the <tf|>Photo-Movie Cruise. 
E07  35 But I suggested watching the <tf|>old bit since I am also the 
E07  36 geezer charged with preparing Dad's home movies for video, which 
E07  37 contain some early shots of both girls ... and how would they fancy 
E07  38 appearing in the <tf|>Sun!!<p/>
E07  39 <p_>But the real stars of the evening were the Knight and his Lady. 
E07  40 Two delightful people who have shared years at the top yet somehow 
E07  41 managed - as the 1990 <tf|>Photo-Movie team can testify - to keep 
E07  42 both feet on the ground and keep in touch with the front row of the 
E07  43 stalls.<p/>
E07  44 <p_>Sir John and Lady Mills - God bless you both. You are an 
E07  45 example of what heads of dynasties, ordinary or famous, should 
E07  46 really be.<p/>
E07  47 
E07  48 <h_><p_>DORSET DISCOVERY - THE TRIPS<p/>
E07  49 <p_>Philip Marshman<p/><h/>
E07  50 <p_>WE at SoCo have not called the National AGM Weekend 'Dorset 
E07  51 Discovery' without good reason. Dorset is a beautiful county 
E07  52 whatever the season and there are plenty of interesting places to 
E07  53 visit. We have organised some wonderful trips to get you out and 
E07  54 about and to discover some of the delights that Dorset has to 
E07  55 offer.<p/>
E07  56 <p_>Dorset is Hardy Country. His stories were of country people and 
E07  57 can be found at the furthest corners of the globe, but it was in 
E07  58 Dorset, which he always liked to refer to as Wessex, that he lived 
E07  59 and worked for the greatest part of his life.<p/>
E07  60 <p_>Our Thomas Hardy tour will take in some of the places 
E07  61 associated with him. See where he was born and lived, and visit the 
E07  62 locations of some of his stories. SoCo's Anne Vincent, our very own 
E07  63 Hardy expert, will be along to help you discover Thomas Hardy on 
E07  64 this most memorable day out.<p/>
E07  65 <p_>I once saw a film that had a wonderful line of narration: 
E07  66 <quote_>"This 15th-century church was believed to have been built 
E07  67 in the 15th century"<quote/>! Sherborne Abbey could hardly be 
E07  68 described as a 15th-century church, but it was then that the first 
E07  69 efforts were made to rebuild it. You'll be able to see how they got 
E07  70 on, on our day tour to Sherborne and Montacute House. The Abbey is 
E07  71 full of history and architectural splendour and one cannot fail to 
E07  72 enjoy a truly-delightful visit.<p/>
E07  73 <p_>Great Elizabethan houses were not meant to melt inconspicuously 
E07  74 into the landscape, but to stand out from it, and be as impressive 
E07  75 and remarkable as possible. These qualities can certainly be found 
E07  76 at Montacute House on the second half of our tour into history. The 
E07  77 house has fine paintings, furniture, ceramics and magnificent 
E07  78 tapestries, and the gardens are a delight to wander in, with 
E07  79 curious follys and water fountain, and a large variety of trees and 
E07  80 shrubs.<p/>
E07  81 <p_>Many of you will be bringing your camera along to record the 
E07  82 weekend. Unfortunately, cameras (or flash) are not permitted in 
E07  83 Montacute House, and at Sherborne Abbey a small fee is payable for 
E07  84 the privilege, but there are no restrictions on our other trips at 
E07  85 the time of writing.<p/>
E07  86 <p_>We have two half-day trips to offer you. One is a Mystery Trip 
E07  87 and they're keeping the details from me so that I won't spill the 
E07  88 beans - as if I would!<p/>
E07  89 <p_>The half-day trip I <tf|>can tell you about is to Poole 
E07  90 Pottery, the South's most famous Pottery. Ceramics have been made 
E07  91 there since 1873. This centre of craftmanship now plays host to 
E07  92 another: Dartington Crystal, Britain's leading manufacturer of 
E07  93 plain crystal glassware. Products of the centre are on sale on site 
E07  94 at very reasonable prices.<p/>
E07  95 <p_>All of our trips will have a tour guide, but to be able to 
E07  96 enjoy all the delights we have to offer you'll need to know how to 
E07  97 get to the Riviera Hotel. For those who are coming by car, just 
E07  98 look for Bowleaze Cove, near Weymouth, on the map, but make sure 
E07  99 it's up-to-date as the road system in the area has been altered 
E07 100 extensively recently. We can provide you with a route on 
E07 101 request.<p/>
E07 102 <p_>British Rail offers a fast, regular, direct service from 
E07 103 Waterloo using the Wessex Electric trains. These trains are very 
E07 104 similar to the High Speed 125 diesel trains in use on Inter-City 
E07 105 services from the North, via Birmingham and Reading, to Bournemouth 
E07 106 to connect with the Wessex Electrics. The Regional Railways 
E07 107 division of BR also provides connecting services into Southampton. 
E07 108 Details from any British Rail Station or appointed Travel Agent.<p/>
E07 109 <p_>Weymouth is on several National Express coach routes. Any 
E07 110 National Express office or approved Travel Agent, such as W.H. 
E07 111 Smith Travel, will give you all the details.<p/>
E07 112 <p_>On arrival in Weymouth, the coach and railway stations are in 
E07 113 the same street, and we've arranged transport for you to the 
E07 114 Riviera.<p/>
E07 115 <p_>You don't <tf|>have to go on our trips - you can explore on 
E07 116 your own - but do come, especially if you've not attended before. 
E07 117 You'll have a marvellous weekend, but we need you there to make it 
E07 118 so.<p/>
E07 119 
E07 120 <h_><p_>LIGHTWEIGHTS AND TRAVEL<p/>
E07 121 <p_>by IAC Video Adviser, David Whittet<p/><h/>
E07 122 <p_>IN THE last issue, we looked at travelling with a video camera 
E07 123 and some of the problems that arise when you want to video holidays 
E07 124 abroad.<p/>
E07 125 <p_>If travelling will encompass a large proportion of our video 
E07 126 usage, it is well worth considering this as a major factor when 
E07 127 purchasing your equipment and I would advise a very careful study 
E07 128 of the new range of ultra-compact camcorders now available.<p/>
E07 129 <p_>A few weekends ago I was at the <tf_>What Video/Camcorder 
E07 130 User's<tf/> The Video Show at the Business Design Centre in London 
E07 131 and was most impressed at the range of truly pocket-size hand 
E07 132 camcorders available. Incidentally, I am very pleased to report 
E07 133 that the IAC stand at The Video Show attracted a great deal of 
E07 134 interest and a large number of both potential and actual new 
E07 135 members for the IAC. This is a particular tribute to my colleagues 
E07 136 on the North Thames Region Council who put so much time and 
E07 137 enthusiasm into manning the stand so effectively throughout the 
E07 138 show.<p/>
E07 139 <p_>Perhaps one of the most significant developments for the 
E07 140 camcorder owner who does a lot of travelling is the Panasonic 
E07 141 <tf|>Palmcorder- the NV-SIB. This camcorder is the first video 
E07 142 movie camera to feature a <tf_>Digital Image Stabiliser<tf/> which 
E07 143 goes a long way to eliminating camera shake, always a problem with 
E07 144 a hand-held camera, and often even more pronounced with extremely 
E07 145 small compact cameras.<p/>
E07 146 <p_>For the technically minded, the camera converts the video 
E07 147 signal picked up from the CCD into a digital signal and detects the 
E07 148 amount of camera shake. By clever electronic circuitry, the degree 
E07 149 of camera shake detected causes image frames of your subject to be 
E07 150 stored in the camera's memory and automatically shifted to prevent 
E07 151 movement and electronically-zoomed to full screen size - 
E07 152 non-technically, this means that the Palmcorder automatically 
E07 153 compensates for camera shake and assures stable images.<p/>
E07 154 <p_>Panasonic's <tf|>Palmcorder works extremely well. It was 
E07 155 cleverly demonstrated at The Video Show by placing a Palmcorder on 
E07 156 a <}_><-|>shakey<+|>shaky<}/> ripple bed and showing just how 
E07 157 stable its images were. It was very interesting to see the 
E07 158 difference between switching the Image Stabiliser on and off. Using 
E07 159 the Palmcorder hand held, I was able to achieve almost 
E07 160 Steadicam-like effects.<p/>
E07 161 <p_>The Palmcorder, then, is obviously worth looking at if you do a 
E07 162 lot of travel<&|>sic! and want steady pictures without the 
E07 163 inconvenience of a tripod, an important consideration for air 
E07 164 travellers.<p/>
E07 165 <p_>I have one niggle with Panasonic's Palmcorder - which in fact 
E07 166 currently applies to all the ultra-small camcorders - while the 
E07 167 Palmcorder uses VHS-c, it does <tf|>NOT use Super VHS-c. Likewise, 
E07 168 Sony produce an <tf|>incredibly small hand camera, the Sony TR45. 
E07 169 While this camcorder does not offer an Image Stabiliser, it is 
E07 170 <tf|>so small that it literally fits into the palm of your hand and 
E07 171 it is hardly noticeable to anyone else that you are using a video 
E07 172 camera. Although this has a tremendous advantage for getting 
E07 173 natural shots in public, and may be very helpful in shooting in 
E07 174 sensitive areas, again I would reiterate my advice from last time: 
E07 175 do not shoot on locations where it is clearly not allowed. It is 
E07 176 just not worth the risk.<p/>
E07 177 <p_>Disappointingly, the Sony TR45 is only available in standard 
E07 178 Video-8; as yet there is no Hi-8 camcorder available, either, in 
E07 179 this size.<p/>
E07 180 <p_>If you want the advantages of Super VHS or Hi-8 - and if you 
E07 181 are editing and making copies, you really do require these more 
E07 182 advanced formats - the smallest and most suitable camcorder for 
E07 183 travel, using either Super VHS or Hi-8, which I could find at the 
E07 184 Video Show was the JVC GR-S70 or JVC GR-S77 camcorders which offer 
E07 185 the truly-excellent possibilities of the Super VHS format in an 
E07 186 amazingly small and compact camcorder (weighing only 1.2Kg, 
E07 187 although obviously substantially more than the 0.4Kg of the 
E07 188 Panasonic <tf|>Palmcorder).<p/>
E07 189 <h_><p_>A FEW MORE WORDS ABOUT TRAVEL ...<p/><h/>
E07 190 <p_>Last issue I gave you some general advice regarding 
E07 191 restrictions on video photography abroad. Perhaps some specific 
E07 192 points I encountered on a recent project may prove useful to 
E07 193 illustrate the extend of planning and hard work necessary prior to 
E07 194 departure.<p/>
E07 195 <p_>I have been working on a long-cherished movie about trains in 
E07 196 India.<p/>
E07 197 <p_>Now you might think it would be 
E07 198 straightforward trip<&|>sic! to arrange but it has proved a nightmare of 
E07 199 organisation and hard work. Reading the small print in Guide Books 
E07 200 (and sometimes <tf|>very small print!), I discovered that you 
E07 201 cannot photograph any railway property in India, including trains, 
E07 202 stations and engines, without prior permission from the Indian 
E07 203 Government. Unfortunately, the High Commission for India in London 
E07 204 did not have the authority to issue a permit, which resulted in 
E07 205 many letters to the Department of Railways in New Delhi. As you can 
E07 206 imagine, this has taken a great deal of time, so it is vital to 
E07 207 find out about restrictions <tf|>well in advance to allow yourself 
E07 208 time to get the necessary permit; it is no use requesting a permit 
E07 209 a few days prior to travel - it will be too late.<p/>
E07 210 <p_>Likewise, many letters have been necessary to obtain permits to 
E07 211 shoot at monuments, and, as I said last time, video photography of 
E07 212 the Taj Mahal is expressly forbidden without prior written 
E07 213 permission.
E07 214 
E08   1 <#FLOB:E08\><h_><p_>A VERY GOOD WINDSOR<p/>
E08   2 <p_>says Dennis Gander<p/><h/>
E08   3 <p_>THE September Windsor meeting at the Montem Centre was, I 
E08   4 thought, a very good swapmeet. With the array of diecast being as 
E08   5 usual, enormous! And without taking that branch of the hobby for 
E08   6 granted, Windsor this time produced, perhaps, an extra amount of 
E08   7 very fine tin toys.<p/>
E08   8 <p_>There was a veritable flotilla of water craft, waterline 
E08   9 diecast ships, and a more than usual number of tin motor launches, 
E08  10 many by Hornby and by Sutcliffe, with a fast looking Bluebird II by 
E08  11 the latter firm. One table had a fine show of 1200th scale warships 
E08  12 by Tremo, all boxed.<p/>
E08  13 <p_> Like the railway collectors who can 'work' their models, the 
E08  14 slot car collectors too are well established in toy collecting, 
E08  15 although my memory goes back to the very early days of this hobby, 
E08  16 when the gimballed circuit pushers were not looked upon as 
E08  17 collectable toys, as now they are. Here at Windsor the track racers 
E08  18 are part of the normal scene.<p/>
E08  19 <p_>I found great pleasure at this Windsor, to 'ferret' around the 
E08  20 tables sniffing out the classic British cars from the 'sixties; 
E08  21 Austin, Sunbeam, Jaguar, Vauxhall, all those magic marques, the 
E08  22 classic collectables. The Triang Victory series could be seen on 
E08  23 the stalls at Windsor, vehicles now pure nostalgia, but I could not 
E08  24 find an example of the Morris Minor, perhaps the most elusive of 
E08  25 this fine series.<p/>
E08  26 <p_>If Windsor has a gap it is perhaps a lack of antique dolls, 
E08  27 though I doubt whether there is room for them! Maybe tables 
E08  28 organiser John Moore could entice a dolly dealer! John was as usual 
E08  29 very busy during the day, but I always get a smile and a cheery 
E08  30 greeting from him -  wouldn't do his job if they paid me!<p/>
E08  31 <p_>As ever, the September meeting brought in many overseas 
E08  32 visitors, many regulars from abroad; from the USA Gates Willard (of 
E08  33 course!) keeping a sharp eye on Minics, and the older Tootsie Toys. 
E08  34 And a touch of class on novelty toys was provided by Tim Turner, 
E08  35 the American based purveyor of timeless pieces.<p/>
E08  36 <p_>The pulling power of Windsor gained interest from as far away 
E08  37 as Italy, Japan and Australia, but in reporting that, we must not 
E08  38 leave out the very many British regulars who unfailingly attend 
E08  39 every swapmeet organised by the Maidenhead Club. It was good to see 
E08  40 Sally Armstrong and her son there, too, Sally remarking that since 
E08  41 the passing of Anthony, the dealers had really made her feel 
E08  42 welcomed and at home.<p/>
E08  43 <p_>That's one of the many nice things at Windsor. It is one big 
E08  44 happy family meeting, in the sense that many of the visitors are 
E08  45 known to each other -  indeed there are a number that only visit 
E08  46 this longest established swapmeet.<p/>
E08  47 <p_>Although from time to time I have mentioned the prices on toys 
E08  48 displayed at Windsor, look hard enough and you will find a wide 
E08  49 range of prices asked, and you will also find many people willing 
E08  50 to swap or part exchange -  a tradition from the early days that, 
E08  51 thankfully, is still believed in among the tables at the Montem 
E08  52 Centre.<p/>
E08  53 <p_>I hope the accompanying photographs will give those who did not 
E08  54 go a reflection of what they missed. They are but a tiny fraction 
E08  55 of the wonderful toys on show. I left the hall at Slough at the end 
E08  56 of a happy day, reflecting that meetings don't have to get bigger 
E08  57 and bigger; the quality and choice was certainly here at 
E08  58 Windsor.<p/>
E08  59 
E08  60 <h_><p_>WORLD OF BYGONE BUSES<p/>
E08  61 <p_>Manchester Museum of Transport<p/>
E08  62 <p_>by Jack Tempest<p/><h/>
E08  63 <p_>Bus enthusiasts are innumerable in the collecting world and it 
E08  64 is fairly safe to believe that the majority of them are to be found 
E08  65 circulating around the swapmeets whenever they can, seeking new 
E08  66 additions to their ever increasing collections.<p/>
E08  67 <p_>Collecting the real thing is obviously out of the question for 
E08  68 many bus fanatics, storage space being a leading problem. Those who 
E08  69 have invested in such a relic of bygone public transport are often 
E08  70 grateful when storage is made available in a handy museum with 
E08  71 space to spare, a situation which also permits the vehicle's 
E08  72 greater exposure to the admiration of fellow bus buffs.<p/>
E08  73 <p_>At the Museum of Transport in Manchester there may be seen one 
E08  74 of the country's largest accumulations of buses, with examples 
E08  75 dating right back to the horse drawn days. It is a fabulous 
E08  76 collection made up of some seventy vehicles owned by the Executive 
E08  77 Body, the Greater Manchester Passenger Transport Authority: the 
E08  78 Greater Manchester Transport Society and by Museum volunteers.<p/>
E08  79 <p_>As may be expected, the Museum is generally biased towards the 
E08  80 history of public transport in what is the extensive area nowadays 
E08  81 known as Greater Manchester. The first recorded public 'omnibus' 
E08  82 service relates that a Pendleton toll keeper named John Greenwood 
E08  83 commenced running a three times a day horse bus between his Toll 
E08  84 Gate and the centre of Manchester. This is believed to have been 
E08  85 the very first true bus service to appear in the country -  
E08  86 possibly even the world!<p/>
E08  87 <p_>Greenwood's idea caught on and by 1850 there were over 60 horse 
E08  88 buses plying for business in Manchester alone. Horse trams, giving 
E08  89 smoother rides on steel rails and calling for the use of fewer 
E08  90 horses to haul them, were to follow. The Museum has many early 
E08  91 photographs of these vehicles and their proudest possession is an 
E08  92 actual horse bus built by the old Manchester Carriage & Tramways 
E08  93 Company in 1890.<p/>
E08  94 <p_>This type of horse bus, immaculately restored, was replaced by 
E08  95 motor buses in 1906 and, with great foresight, was fortunately 
E08  96 retained by Manchester Corporation for preservation as a museum 
E08  97 piece. On special occasions it is often taken out through the city 
E08  98 where it obviously causes a great deal of attention and provides an 
E08  99 excellent advertisement for the Museum of Transport.<p/>
E08 100 <p_>Amongst the display of buses, trams and trolley buses, there 
E08 101 are many other associated vehicles and artefacts to be seen in the 
E08 102 Museum, which is ideally situated in a spacious section of the 
E08 103 city's Queen's Road Bus Depot. Some of these, such as the old 
E08 104 Lancashire United Tow Vehicle, have seen service with bus 
E08 105 companies; others, like the early Lacre street-cleansing vehicle 
E08 106 originally operated by the Manchester Cleansing Department, which 
E08 107 was rescued for preservation from Manchester Airport where it had 
E08 108 been given the job of clearing snow from the runways!<p/>
E08 109 <p_>There are also a few interesting non-bus associated commercial 
E08 110 vehicles on display including a Ford Model 'A' Van manufactured at 
E08 111 the Henry Ford plant which existed in nearby Trafford Park from 
E08 112 1919 to 1931, when it was closed in favour of the move to 
E08 113 Dagenham.<p/>
E08 114 <p_>The Museum has a well equipped department dedicated to the 
E08 115 restoration of old vehicles which is also responsible for the 
E08 116 maintenance of the Museum's exhibits. Every effort is made by the 
E08 117 voluntary workers to ensure that the majority of the vehicles are 
E08 118 kept in full working order. Here a great deal of time and effort is 
E08 119 spent in returning neglected buses, trams, trolley buses and 
E08 120 commercial vehicles of all kinds, back to their original 
E08 121 condition.<p/>
E08 122 <p_>Visitors can often watch restoration work in progress, an 
E08 123 activity that adds to the nostalgic atmosphere, bringing a little 
E08 124 realism to the museum display presented in authentic 'garage' 
E08 125 surroundings. They may also sample the working environment of the 
E08 126 Museum's ticket machine repair shop, the destination blind 
E08 127 manufacturing area, and the signwriting department!<p/>
E08 128 <p_>As for the buses on display, there is a fine example of a 
E08 129 single deck 1930 Leyland Tiger TS2 specially created as an express 
E08 130 bus designed to beat the competition from the 'pirate' operators 
E08 131 then in operation on the city's roads. That same year the 
E08 132 Government introduced a Transport Act which led to the eventual 
E08 133 ousting of the 'pirates'.<p/>
E08 134 <p_>Nineteen years on Manchester was ridding itself of its tramway 
E08 135 system and a 1949 Leyland PD 1/3 double decker in the collection 
E08 136 commemorates the fleet of buses acquired to replace the trams. The 
E08 137 last of Manchester's newer trams were Pilcher cars, named after the 
E08 138 city's General Manager who actually preferred buses and was hoping 
E08 139 to rid the city of its tramway system as soon as he could! It was 
E08 140 1949 when the last trams ran and several of the 'Pilchers' were 
E08 141 sold for service in Aberdeen and Leeds.<p/>
E08 142 <p_>Crossley motor-buses and trolley-buses were bought by 
E08 143 Manchester, and a batch of the company's six-wheel vehicles were 
E08 144 delivered in 1951. An example of the latter was saved for the 
E08 145 Museum when such forms of transport were discontinued in the city 
E08 146 in 1966. Ramsbottom was the first town to run trolley buses in the 
E08 147 district just before the out<?_>-<?/>break of the first World War. 
E08 148 These vehicles began to take over from trams in Wigan, Ashton, and 
E08 149 Oldham from 1925 and came to Manchester in 1938.<p/>
E08 150 <p_>Manchester is shortly to return to tramway transport, as every 
E08 151 enthusiast will know well, but the vehicles are of foreign 
E08 152 manufacture -  in the old days it was unheard of for Britain to buy 
E08 153 foreign vehicles and northern transport was usually provided by 
E08 154 north-western manufacturers such as Crossley and Leyland. Salford 
E08 155 preferred Daimlers powered by locally made Gardner engines, and so 
E08 156 did Rochdale, though they also operated AEC types.<p/>
E08 157 <p_>The Atlantean bus, from Leyland of 1958, saw a big change in 
E08 158 bus design with its rear engine and the placing of its door next to 
E08 159 the driver. This made one<?_>-<?/>man operation possible, a 
E08 160 necessity resulting from the ever increasing demand for higher 
E08 161 wages, and with the doors driver operated, helped reduce passenger 
E08 162 accidents.<p/>
E08 163 <p_>A visit to the Manchester Museum of Transport is well 
E08 164 worthwhile for all bus fanatics, whether they like the 'real thing' 
E08 165 or are content to collect diecast models. For the latter a 
E08 166 specially good time to drop in is over the weekend of the 16th/17th 
E08 167 November from 10 a.m. to 4 p.m. when a Two Day Toy Fair will be 
E08 168 taking place with hundreds of collectable models being offered by 
E08 169 stallholders from a wide area.<p/>
E08 170 <p_>A highlight of the weekend will be Saturday's Toy & Transport 
E08 171 Auction Sale taking place on the Saturday when, in keeping with the 
E08 172 fact that it will be only so many shopping days to Christmas, Santa 
E08 173 Claus will be paying a special visit. Other special attractions 
E08 174 will be a fairground organ, a brass band recital, miniature 
E08 175 railways, and other special attractions. For more information on 
E08 176 this event phone 061-430-4827.<p/>
E08 177 <p_>The Museum of Transport is situated on Boyle Street, off 
E08 178 Queen's Road (Ring Road) about one mile north of the City Centre, 
E08 179 and is open Wednesdays, Saturdays, Sundays and Bank Holidays from 
E08 180 10a.m. to 5p.m. (Christmas excepted). Free on-street parking at the 
E08 181 Museum. Further information on 061-205-2122.<p/>
E08 182 
E08 183 <h_><p_>WORLD'S LARGEST COLLECTION<p/>
E08 184 <p_>by Jack Tempest<p/><h/>
E08 185 <p_>A collection with a difference can be visited at the Midlands 
E08 186 car-racing centre of Donington Park, situated almost next door to 
E08 187 the East Midlands Airport. Inside the specially designed building, 
E08 188 its layout planned in the form of a crank-shaft to permit the best 
E08 189 possible use of the site on which the museum stands, the visitor is 
E08 190 able to inspect over one hundred and fifty immaculately preserved 
E08 191 examples of single-seat racing cars.<p/>
E08 192 <p_>Owner Tom Wheatcroft, a car racing enthusiast since the 1930's 
E08 193 began collecting his cars, representing some eighty years of the 
E08 194 motor sport, only as recently as 1964 when he purchased an ex-Peter 
E08 195 Whitehead 1951 Ferrari. This car he bought as a 'one-off', for his 
E08 196 personal amusement only, with no idea in his mind of starting to 
E08 197 collect at the time. The thrill of the sport was Tom's main 
E08 198 interest, and had been since the Donington Grand Prix was 
E08 199 attracting contestants from all over the world to Britain's first 
E08 200 true road course in the mid-1930's.<p/>
E08 201 <p_>Tom found himself buying more vehicles and, in 1971, he 
E08 202 purchased Donington Park with the intention of reviving 
E08 203 international motor racing there. By now his collection had grown 
E08 204 so much that its owner decided that it was time that suitable 
E08 205 accommodation be found to put it on public display. Tom now had the 
E08 206 space available at Donington Park and, by 1973, the brand new 
E08 207 permanent home for his racers was declared open to the public.<p/>
E08 208 
E09   1 <#FLOB:E09\><h_><p_><quote_>"Editing is an Art Form"<quote/><p/>
E09   2 <p_><tf_>The Baton:<tf/> the magazine of the Philatelic Music 
E09   3 Circle. ISSN 0951-9951. Published three times a year. Editor: Mrs. 
E09   4 Irene Lawford, 22 Bouverie Gardens, Kenton, Middlesex HA3 0RQ. 
E09   5 Annual membership subscription: pounds6. Back numbers of the 
E09   6 magazine: pounds1.50 ($3)<p/><h/>
E09   7 <p_>Not often do we have the chance of reviewing a Presidential 
E09   8 Editorial: but then Mrs. Lawford is an unusual and distinguished 
E09   9 president and editor. Her little history, in No. 67, of how 
E09  10 <tf_>The Baton<tf/> has undergone changes of production method, how 
E09  11 it virtually rules the life of its editor, and how an autonomous 
E09  12 non<?_>-<?/>professional (her words, not ours) copes with the 
E09  13 demands of producing a good society journal, is tremendously 
E09  14 impressive. Neither of us is especially attracted towards thematic 
E09  15 philately, yet we have always enjoyed the care, skill and learning 
E09  16 which are so evident in the Philatelic Music Circle's magazine. 
E09  17 Irene Lawford probably speaks for more philatelic editors than she 
E09  18 realises. We know she is a member of the Philatelic Writers' 
E09  19 Society, and we hope that <tf|>Quill might reprint her message as a 
E09  20 piece of general interest to philatelic writers and editors.<p/>
E09  21 <p_>It ought to go without saying, though we say it just the same, 
E09  22 that any collector who enjoys indulging, even on a part-time basis, 
E09  23 in the musical theme, should join the Circle and experience the 
E09  24 benefits of its editor's erudition and sheer <tf|>joie-de-vivre. 
E09  25 Selecting two or three items from such a wealth of stimulating 
E09  26 material is quite a task. In the two numbers we have picked for 
E09  27 comment we found the recent G.B. Thomas Hardy stamps charmingly set 
E09  28 to music by David Rye. We are familiar enough with <tf_>The 
E09  29 Mellstock Quire<tf/>, for we are Dorset folk and proud of it, but 
E09  30 it came as an unexpected bonus to learn that it was Hardy's 
E09  31 grandfather, disguised as <quote_>"neighbour Yeobright"<quote/> in 
E09  32 <tf_>The Return<tf/>, whose playing made the church windows rattle 
E09  33 <quote_>"as if 'twere a thunderstorm"<quote/>.<p/>
E09  34 <p_>Keeping up with new issues is admirably done, though of course 
E09  35 for this year there seems to be a surfeit of Mozart, but Bryan 
E09  36 Hunt, that Hampshireman of so many philatelic parts, has translated 
E09  37 and edited a fascinating article from Germany about Bach as 
E09  38 organist. Reinkin said of Bach, after hearing his improvisations 
E09  39 for thirty minutes, <quote_>"I thought that art had died, but I see 
E09  40 it lives on in you"<quote/>; and Irene Lawford remarks in her 
E09  41 'Presidential' that <quote_>"editing is definitely an art 
E09  42 form!"<quote/> Sherlock Holmes, who played a Stradivarius, and who 
E09  43 has also been depicted on stamps, once declared that <quote_>"Art 
E09  44 in the blood is liable to take the strangest forms".<quote/> Art in 
E09  45 <tf_>The Baton<tf/> is liable to produce many lovely surprises, 
E09  46 too.<p/>
E09  47 
E09  48 <h_><p_>'State-of-the-Art Journal'<p/>
E09  49 <p_><tf|>Medi-Theme: the Quarterly Bulletin of the Medical 
E09  50 Philately Study Group. Editor: Tom Wilson, 162 Canterbury Road, 
E09  51 Kennington, Ashford, Kent TN24 9QD. Annual membership subscription: 
E09  52 pounds5 (pounds7.50 overseas). Back numbers: pounds1 each.<p/><h/>
E09  53 <p_>Aim of <tf|>Medi-Theme editor Tom Wilson is to keep his 
E09  54 magazine the 'state-of-the-art' journal! Our only petty quibble 
E09  55 with this idea is that upon looking at Volume 9, the four issues 
E09  56 for 1990, the contents appear to cover numerous states of a vast 
E09  57 array of medical arts. But if 'state-of-the-art' means that we 
E09  58 enjoyed them all, and felt in better health and better informed 
E09  59 when we finished than before we began, then the editor has got it 
E09  60 absolutely right.<p/>
E09  61 <p_><tf|>Medi-Theme is very useful for its reviews of a wide 
E09  62 variety of publications which have relevance to the medical theme, 
E09  63 and this latest volume contains several ampoules of pharmaceutical 
E09  64 philately. There is also an excellent article by George 
E09  65 Griffenhagen on <tf_>Pharmacy in Australia<tf/>. A feature on 
E09  66 British stamps revealed the interesting information that Benjamin 
E09  67 Franklin, first Postmaster of the United States, and John Keats, 
E09  68 the English poet, were both apothecaries. Keats appears again as a 
E09  69 victim of syphilis in a splendid piece by Professor Alfred Jay 
E09  70 Bottet of Yale on <tf_>The Great Pox<tf/>. The philatelic 
E09  71 connections are not far removed (!), and we were especially taken 
E09  72 by some of the many names given to this disease which presuppose 
E09  73 that somebody else must have been to blame for it; for example, the 
E09  74 French Disease, the Spanish Disease, the Chinese Pleasure Disease, 
E09  75 the European Illness, the West Indies Disease, the Portuguese Sore, 
E09  76 the Neapolitan Disease and the French Pox! Did nobody ever hold the 
E09  77 British responsible?<p/>
E09  78 <p_>Nowadays, to judge from the frequency of recent stamps and 
E09  79 postmarks, AIDS is thought to be the chief enemy, though Tom Wilson 
E09  80 presents a paper about <tf_>Deafness on Stamps<tf/>, and Oku Ampofo 
E09  81 reviews herbal remedies in <tf_>Plants that Heal<tf/>. We learn 
E09  82 also that American bulk-rate postal markings, and even Agatha 
E09  83 Christie, have their medical connotations, and Dr. Allan Hall has 
E09  84 begun a series about <tf_>Physicians on U.S. Stamps and First Day 
E09  85 Covers<tf/>. Those of us who are frightened of doctors can take 
E09  86 comfort in the fact that the only one to become President of the 
E09  87 U.S.A. died within a month of his inauguration.<p/>
E09  88 
E09  89 <h_><p_>Cock-Ups, According to Coqk<p/><h/>
E09  90 <p_><tf_>Captain Coqk<tf/> provides a lot of very good reading, 
E09  91 even if sometimes for the wrong reasons. For it is a relatively 
E09  92 simple publication, issued monthly, by a smallish society operating 
E09  93 in a smallish but internationally distinguished city. And it caters 
E09  94 not so much for the learned expert but more for the ordinary 
E09  95 members who form the bulk of the stamp collecting community 
E09  96 anywhere. It does contain some excellent specialist articles, but 
E09  97 its chief interest to us lies in its role as forum for the opinions 
E09  98 of average collectors, opinions which are often overlooked. It 
E09  99 would be both unkind and misleading to regard <tf_>Captain 
E09 100 Coqk<tf/> as a repository for gripes and groans, but since it 
E09 101 performs this function so well, let us look at a few of the 
E09 102 comments which appeared during last year, which saw NZ 1990 in 
E09 103 Auckland, as well as Stamp World 90 in London.<p/>
E09 104 <p_>Several readers complain that the new issues of NZ Post are too 
E09 105 numerous, often irrelevant to postal rates, and far too expensive 
E09 106 for many collectors. This is an age-old grumble the world over, 
E09 107 with which we have considerable sympathy. The president's advice is 
E09 108 admirable: cancel the standing order and fill some older gaps. It 
E09 109 can be more fun collecting used stamps, even if, as one 
E09 110 illustration showed, they have been ruined by three cancellations 
E09 111 because the first try, with light, circular datestamps, didn't 
E09 112 obliterate them sufficiently. (By the way, New Zealand no longer 
E09 113 has post offices; they are now called <tf_>Post Shops<tf/>.)<p/>
E09 114 <p_>Others grumble about exhibitions, and we enjoyed one 
E09 115 suggestion, that the organisers should pay the exhibitors, rather 
E09 116 than the other way round, especially if there were no medals being 
E09 117 awarded. The plethora of exhibition souvenirs came in for 
E09 118 criticism: and who can honestly deny that there are far too many of 
E09 119 them, designed only to extract cash from collectors which would be 
E09 120 better spent on the purchase of some real stamps? New Zealanders 
E09 121 complained of biased Australian judging; well, the simple remedy is 
E09 122 to stick to cricket and hope the umpire never raises his finger at 
E09 123 your efforts. In contrast, New Zealanders seem to like their idea 
E09 124 of perfinning current and old demonetised stamps as exhibition 
E09 125 souvenirs, and hope others may follow their lead. Well, we don't, 
E09 126 for real perfins are seriously studied nowadays, and it scarcely 
E09 127 helps for a responsible philatelic body to create rubbish which may 
E09 128 confuse collectors of the future. We are told that they are eagerly 
E09 129 bought, errors and all, though probably not by the same people who 
E09 130 say they cannot afford all the new issues. It all shows you cannot 
E09 131 please everyone, and this is one of the aspects which makes 
E09 132 <tf_>Captain Coqk<tf/> such a pleasure to read.<p/>
E09 133 <p_>Among the more serious pieces -sorry if we have rather 
E09 134 neglected them -were a most instructive technical explanation about 
E09 135 O.C.R. and F.S.M. (Optical Character Readers and Flat Sorting 
E09 136 Machines currently being introduced), an account of the Victoria 
E09 137 Naval Contingent in the Boxer Rebellion, the 40 cents postal 
E09 138 stationery envelopes (varieties of the old type, and then new ones 
E09 139 sold and used several days before the official first day of issue), 
E09 140 the Edward VII 1/2d Official with inverted overprint, New Zealand 
E09 141 telegraphic cancels, and a report about philately in China.<p/>
E09 142 <p_>The November 1990 issue saw the Captain reach his double 
E09 143 century, even against some fast Australian bowling, but he has 
E09 144 taken a fresh guard and is batting on.<p/>
E09 145 <p_><tf_>Captain Coqk<tf/> is printed and published by the 
E09 146 Christchurch (N.Z.) Philatelic Society Inc., 27 Worchester Street 
E09 147 (P.O. Box 29), Christchurch, New Zealand, at an annual subscription 
E09 148 of NZ$18, plus postage overseas.<p/>
E09 149 
E09 150 <h_><p_>Good News from Italy<p/><h/>
E09 151 <p_>In our comments about <tf|>Fil-Italia, the Journal of the Italy 
E09 152 & Colonies Study Circle (see <tf_>The Philatelist<tf/> for 
E09 153 March-April 1991, page 76) we mentioned the excellent articles 
E09 154 which appeared in Volume 16 during 1990, but we regretted that the 
E09 155 magazine arrived as a bundle of loose sheets, without binding, or 
E09 156 even a staple. By the time our review was published, but 
E09 157 unfortunately not soon enough to amend our text, the first number 
E09 158 of <tf|>Fil-Italia Volume 17 had arrived. The Journal is now being 
E09 159 produced on new desktop publishing equipment and arrives with a 
E09 160 splendid plastic binder. Cover price is now pounds4 per copy, but 
E09 161 the improvements are well worth the modest increase from the 
E09 162 previous pounds3. We congratulate the editor and all concerned.<p/>
E09 163 <p_>This new number includes excellent articles on the postal 
E09 164 services of the Papal States, the postal markings of Somalia, the 
E09 165 Chiasso-Sofia-Jerusalem Mail Route 1942-43, and the Italian Post 
E09 166 Office in Janina 1902-17, and updates on ship postmarks, 
E09 167 censorship, and perfins. Collectors of the Italian area who do not 
E09 168 belong to the study circle are strongly advised to join. 
E09 169 Incidentally, the annual membership is less than the cost of the 
E09 170 magazines.<p/>
E09 171 
E09 172 <h_><p_>James Chalmers and the London Mail<p/><h/>
E09 173 <p_>Dundee and Tayside Chamber of Commerce and Industry have 
E09 174 produced a limited number of unique booklets as part of their 
E09 175 contribution to the Dundee Octocentenary celebrations. The booklet 
E09 176 contains extracts from the original Minute Books of the Chamber 
E09 177 covering the period 1820-1850 -a most interesting time in 
E09 178 philatelic history. Postal services were crucial to the merchants 
E09 179 involved in the linen trade which dominated the economy of Dundee 
E09 180 in the first half of the 19th century. Any measure that speeded up 
E09 181 the receipt of orders was of vital importance -especially if their 
E09 182 competitors in other parts of Britain benefited from any 
E09 183 improvement in their mail service.<p/>
E09 184 <p_>The extracts from the Minute books of the Forfarshire Chamber 
E09 185 of Commerce and Manufacturers and its successor, the Dundee Chamber 
E09 186 of Commerce, provide a fascinating record of the mail service as 
E09 187 transport moved from the stagecoach to the railways. References to 
E09 188 highwaymen, William Gladstone and Falmouth are reminders of 
E09 189 historical events, personalities and places.<p/>
E09 190 <p_>James Chalmers, inventor of the adhesive postage stamp, played 
E09 191 a leading role in the Forfarshire Chamber and drafted several 
E09 192 detailed reports explaining how the mail service between London and 
E09 193 Dundee could be improved, while continuing to link with the various 
E09 194 branch services of which that to the ports of Liverpool and 
E09 195 Manchester was of special importance. Around 1825, after extensive 
E09 196 campaigning, James Chalmers succeeded in reducing, by one day, the 
E09 197 time for mail to reach Edinburgh from London. Chalmers was very 
E09 198 active during the time of the postal reforms around 1840 and copies 
E09 199 of correspondence with Rowland Hill are included in the booklet.<p/>
E09 200 <p_>Dundee Chamber admired the work of Rowland Hill in introducing 
E09 201 the Penny Post and set up a committee to raise subscriptions to his 
E09 202 Memorial Fund. Criticism of the local post office and a plan for a 
E09 203 new Post Office in part of the Exchange Coffee House is to be found 
E09 204 in the extracts.<p/>
E09 205 <p_>Each of the 1000 limited edition copies of the booklet will be 
E09 206 numbered individually. A limited number of these will be posted on 
E09 207 the first day of Expo 800 -an international trade fair to be held 
E09 208 in Dundee from 3 to 6 July 1991 -which Her Majesty the Queen will 
E09 209 open on 3rd July.
E09 210 
E10   1 <#FLOB:E10\><h_><p_>What are words worth?<p/>
E10   2 <p_>Gordon Wells gets out his typewriter to explain how an article 
E10   3 will help sell your photographs<p/><h/>
E10   4 <p_>You're a good photographer. You enjoy seeing your pictures in 
E10   5 print, but you don't have much success at selling them. You hanker 
E10   6 after selling more. Let me show you how ...<p/>
E10   7 <p_>Look at all those general (ie not photography magazines on the 
E10   8 newsagents' shelves. They contain a lot of pictures - illustrating 
E10   9 general-interest articles. Many of those shots are sold to the 
E10  10 magazine as part of a 'package' of words and pictures. You'll sell 
E10  11 more of your photographs if they are submitted with a feature 
E10  12 article.<p/>
E10  13 <p_>Maybe you don't feel confident about writing articles. You 
E10  14 haven't written much - apart from letters - since you left 
E10  15 school.<p/>
E10  16 <p_>Don't worry. Editors don't want school <tf|>compositions or 
E10  17 <tf|>essays. All you need do is <tf_>tell it like it is,<tf/> write 
E10  18 as though you were talking to your neighbour over the garden fence. 
E10  19 The more simply you write, the better it is. It just requires 
E10  20 application (and perseverance), something to write about, some good 
E10  21 photographs ... and luck!<p/>
E10  22 <p_>We'll come back to <tf|>how you write later, but let's think 
E10  23 about the photographs first. What photographs are you trying to 
E10  24 sell? Initially, you will find it easier to sell black and white 
E10  25 photographs than colour.<p/>
E10  26 <p_>Go back, look again at those magazines in the newsagents: those 
E10  27 which concern your other-than-photography hobby such as gardening, 
E10  28 fishing, motoring, etc. Look at the women's magazines too. Forget 
E10  29 the lead features - look at the articles further back in the 
E10  30 magazines. Most have black and white illustrations.<p/>
E10  31 <p_>While you're looking at these magazines, watch out too for the 
E10  32 'Letters to the Editor' page. You will often find the letters 
E10  33 accompanied by photographs - also black and white - and they are 
E10  34 often paid for.<p/>
E10  35 <p_>Notice particularly <tf_>Country Life<tf/> and <tf|>Field. Both 
E10  36 pay for any photographs accompanying the letters - about pounds12 
E10  37 per picture used - and a 7x5in print is big enough.<p/>
E10  38 <p_>All you need is a photograph of something interesting (and 
E10  39 relevant to that magazine) and you can write something like this: 
E10  40 'Your readers will be interested in the enclosed photograph of ... 
E10  41 an unusual inn-sign which I noticed while on holiday in Antarctica. 
E10  42 I wonder whether Lord Lucan knows this hostelry is named after 
E10  43 him?' All you have to write is about 100 words and ... you've got a 
E10  44 picture published and paid for.<p/>
E10  45 <p_>But let's progress beyond letters to the editor. You will 
E10  46 probably find it easiest to sell a short article with a set of 
E10  47 <tf|>linked photographs. Say you have half a dozen pictures of 
E10  48 items in your antique collection, or of different types of church 
E10  49 weather vanes, or lych-gates, or whatever. The fact that you have a 
E10  50 set of pictures makes it easier for you to write an article around 
E10  51 them. Just explain their provenance. Or tell a little of the 
E10  52 history of weather vanes, or whatever.<p/>
E10  53 <p_>The most important requirement for a writer-photographer is the 
E10  54 <tf|>idea for the article. You need to think how you can make your 
E10  55 subject interesting to the casual reader. It's seldom any good 
E10  56 merely writing about weather vanes; you've got to have a slant to 
E10  57 make the topic interesting.<p/>
E10  58 <p_>You can sometimes get ideas from looking at other people's 
E10  59 articles and often you can lift both idea and subject matter from a 
E10  60 defunct, jumble-sale magazine - and update it.<p/>
E10  61 <p_>When all else fails, maybe you can get an idea for a 
E10  62 general-interest article by picking some photogenic object at 
E10  63 random - street lights, coins, sundials - and asking yourself the 
E10  64 usual Who? What? Why? Where? When? and How? questions about them. 
E10  65 Seek out the answers, take some photographs, and write your 
E10  66 article.<p/>
E10  67 <p_>You also need to know which magazine to write these articles 
E10  68 for. You cannot write first and then think about the market 
E10  69 afterwards. The standard publications (<tf_>The Writers' &Artists' 
E10  70 Yearbook<tf/> or <tf_>The Writers' Handbook<tf/>) will help as will 
E10  71 my own, detailed study of 70 - odd relevant magazines in 
E10  72 <tf_>Photography for Article-writers<tf/>, published by Allison 
E10  73 &Busby. But irrespective of reference books, you need to study the 
E10  74 target magazines yourself. Try to picture the average reader - the 
E10  75 advertisements and the letters page will help in this exercise. 
E10  76 That is who your illustrated article has to interest; there's no 
E10  77 such thing as a captive readership.<p/>
E10  78 <p_>Check the length of the illustrated articles in your target 
E10  79 magazine. It's pointless writing a 2500-word article for a magazine 
E10  80 that never uses anything longer than 800 words - and vice-versa. 
E10  81 Check also the type of feature the magazine uses: <tf_>The 
E10  82 Lady<tf/> wouldn't use a feature on 'Victorian sex-aids' - 
E10  83 <tf|>Cosmopolitan might.<p/>
E10  84 <p_>Now the actual writing. The basic rule is to write concisely 
E10  85 and simply. Don't waste words; don't use a long word when a short 
E10  86 one will do and don't try to be 'literary.' Write the way you talk. 
E10  87 Use varied, but fairly short, sentence-lengths: and keep the 
E10  88 paragraphs short - maybe 50-60 words, three or four sentences 
E10  89 only.<p/>
E10  90 <p_>Grab your reader's attention quickly. Make your opening 
E10  91 paragraph short and snappy. If your opening paragraph bores the 
E10  92 reader, he'll never reach the second one.<p/>
E10  93 <p_>Your last paragraph should also be strong. It helps too, if you 
E10  94 can round off the article neatly - by coming back to a point that 
E10  95 was mentioned in the first paragraph. And because your objective is 
E10  96 to get your photographs into print too, mention them in the 
E10  97 article. Take care though: don't let your words commit an editor to 
E10  98 using a specific picture, which he may not like.<p/>
E10  99 <p_>When your article is finished, reading it aloud helps you 
E10 100 notice the uncomfortable phrases, the pomposities, the waffle and 
E10 101 the repetitions. Delete them all. Tighten up your writing; it can 
E10 102 only be better.<p/>
E10 103 <p_>Finally, type your article and the associated captions sheet, 
E10 104 double-spaced (type a line, miss a line) on white A4 paper, leaving 
E10 105 wide margins (say 1 1/2 in). Type your name and address on the last 
E10 106 page. Ensure your name and address - and a key word linking the 
E10 107 pictures to the article - is on the back of each photograph.<p/>
E10 108 <p_>Provide a cover sheet for your article; on it, give the title, 
E10 109 the length and how many pictures accompany it - and repeat your 
E10 110 name and address. Provide a card to protect the pictures, and a 
E10 111 stamped addressed envelope big enough for the return of the 
E10 112 photographs (and the manuscript if rejected). Post it off - and 
E10 113 forget it. You may not hear anything for a month, even longer with 
E10 114 some editors. Don't worry. Get on with the next feature.<p/>
E10 115 <p_>You may not sell your first illustrated article, but don't let 
E10 116 it put you off. If you work at it, you will sell something soon. 
E10 117 You'll have got your pictures into print, and you'll get paid for 
E10 118 the words too. That's how I got started!<p/>
E10 119 
E10 120 <h_><p_>Small is BEAUTIFUL<p/>
E10 121 <p_>Minolta has launched two tiny AF SLRs which pack a huge array 
E10 122 of features into their diminutive bodies<p/><h/>
E10 123 <p_>When Minolta grabbed the flagging SLR market by the scruff of 
E10 124 the neck, shook it around a bit and launched the 7000, the company 
E10 125 clearly established a lead. Only Canon followed it with any vigour, 
E10 126 and its low-priced EOS 1000F looked as if it were likely to steal 
E10 127 the whole lower sector of the market.<p/>
E10 128 <p_>Minolta's response to this threat comes in two forms: the Dynax 
E10 129 3xi and SPxi.<p/>
E10 130 <p_>The price of the two cameras leaves no-one in any doubt that in 
E10 131 addition to simply replacing the 5000i in terms of specification, 
E10 132 the two cameras can match the 3000i for both size and price.<p/>
E10 133 <h|>Twins
E10 134 <p_>While SPxi and 3xi are not identical twins, there are more 
E10 135 similarities than differences, so unless otherwise indicated, any 
E10 136 mention of the 3xi refers also to the SPxi.<p/>
E10 137 <p_>Both cameras, as their suffixes suggest, are based around 
E10 138 Minolta's new expert intelligence concept and have improved 
E10 139 focusing and metering (compared to the previous generation of 
E10 140 Dynaxes), as well as the eye-start facility first seen on an SLR 
E10 141 with the 7xi.<p/>
E10 142 <p_>Eye-start sets the camera functions in motion when the camera 
E10 143 is brought to the eye. Two contacts in the handgrip activate the 
E10 144 infrared emitter and receiver which calculate whether the camera is 
E10 145 being held next to the eye. In theory, the eye-start system gives 
E10 146 the photographer a far better chance of obtaining a correctly 
E10 147 focused and exposed grab<?_>-<?/>shot, activating the focusing, the 
E10 148 exposure, and with some lenses, of which more later, the 
E10 149 auto-standby zoom.<p/>
E10 150 <p_>There are four exposure modes available to the user, with the 
E10 151 usual combination of manual, aperture priority, shutter priority 
E10 152 and expert program.<p/>
E10 153 <p_>The distinguishing feature of this expert program is its use of 
E10 154 a program area rather than a program line. Instead of simply being 
E10 155 an exposure equation that is weighted to either small apertures for 
E10 156 depth of field or fast shutter speeds to reduce image blur, the 
E10 157 expert program uses an area (rather than a line), which gives the 
E10 158 camera a bit more flexibility in its choice of exposure 
E10 159 parameters.<p/>
E10 160 <p_>Metering is achieved with a trimmed down version of the 
E10 161 honeycomb system seen on the 7xi; with eight segments rather than 
E10 162 14.<p/>
E10 163 <p_>The honeycomb system, like other matrix-based systems, uses the 
E10 164 different readings to determine where the main subject lies, and to 
E10 165 thus calculate the correct exposure by weighting different segments 
E10 166 of the honeycomb appropriately. If the prevailing lighting 
E10 167 conditions change, the system recalculates the exposure 
E10 168 concentrating on the segment where the subject is to be found, even 
E10 169 if it is not in the centre of the frame. For shots with the 
E10 170 built-in flash (3xi only), or with a dedicated flash, there is a 
E10 171 second silicon photocell in the camera to give off the film TTL 
E10 172 flash metering.<p/>
E10 173 <h_><p_>Expert focusing<p/><h/>
E10 174 <p_>Using a larger area than the 5000i and 3000i, the 3xi goes 
E10 175 directly into continuous focusing mode when the camera is brought 
E10 176 to the eye. If the subject in the focus frame is moving, the camera 
E10 177 stays in continuous mode and calculates the degree of subject 
E10 178 movement that will take place between the shutter release being 
E10 179 depressed fully and the time of exposure, and adjust the lens 
E10 180 accordingly to give a perfectly focused shot.<p/>
E10 181 <p_>The sensitivity of the AF system is such that it can (with 
E10 182 sufficient contrast) focus on subjects in light levels as low as 
E10 183 EV-1 (which would require a four second exposure at f/1.4), and (in 
E10 184 the case of the 3xi) the built-in flash gives a series of low power 
E10 185 pulses to illuminate the subject in low<?_>-<?/>light or low 
E10 186 contrast situations.<p/>
E10 187 <p_>In fact the camera's metering system is not as sensitive to low 
E10 188 light as the AF system, with the honeycomb matrix going down to EV1 
E10 189 and the spotmetering (SPxi only) down to EV4, but it can cope with 
E10 190 brighter lights up to EV20, as opposed to the AF's EV18.<p/>
E10 191 <p_>The power zoom xi lenses launched with the 7xi and the latest 
E10 192 power zoom 35-80mm f/4-5.6, like the previous Dynax lenses, bear no 
E10 193 aperture ring or markings. Aperture and shutter speeds are 
E10 194 controlled by two sliding switches; one by the lens throat, the 
E10 195 other just ahead of the shutter release on the top<?_>-<?/>plate of 
E10 196 the camera.<p/>
E10 197 <p_>Given that the expert exposure and focus system preclude the 
E10 198 need for many of the creative expansion cards used with previous 
E10 199 range of Dynax cameras, there is no expansion port. The camera is 
E10 200 otherwise little disturbed by buttons: with one on the back of the 
E10 201 3xi to raise the flash manually (it pops up automatically in 
E10 202 program mode whenever it is required) or, on the SPxi, to bring the 
E10 203 spotmetering into operation.<p/>
E10 204 <h_><p_>Fuzzy logic<p/><h/>
E10 205 <p_>While the phrase 'fuzzy logic' is getting to be as overworked 
E10 206 by camera manufacturers' marketing departments as 'ergonomic 
E10 207 styling' was a couple of years ago, it is still a reasonably 
E10 208 accurate description of the method that the 3xi and SPxi use to 
E10 209 determine the correct exposure.<p/>
E10 210 <p_>Getting to the right place in the program area using such 
E10 211 criteria as focal length of the lens in use, the distance of 
E10 212 subject and, if any, the motion of the subject, the camera gets 
E10 213 what it considers the ideal exposure for the subject.<p/>
E10 214 
E11   1 <#FLOB:E11\><h_><p_>CAUGHT IN THE ACT<p/>
E11   2 <p_>INTERNATIONAL FESTIVAL OF COUNTRY MUSIC<p/>
E11   3 <p_>Wembley Arena<p/>
E11   4 <p_>March 3-31<p/>
E11   5 <p_>Steve Morewood<p/><h/>
E11   6 <p_>SATURDAY - Amid rumours that this might be the final Wembley 
E11   7 Festival, it is clear that even if it isn't the event isn't what it 
E11   8 used to be. I well remember the bustle, excitement and sense of 
E11   9 anticipation of my own first Wembley (1984) when an appearance at 
E11  10 the Festival was coveted and seen as a good career move.<p/>
E11  11 <p_>How things have changed! This year there were no exciting new 
E11  12 acts, only a few faithful headliners making yet another appearance 
E11  13 before an audience that has aged with them and which is guaranteed 
E11  14 to revere their performance.<p/>
E11  15 <p_>With no sponsor, no TV, no radio, no major record label 
E11  16 interest and a sparcity of paying booths, economy was clearly the 
E11  17 order of the day. Gone too was the lavish stage backdrop and the PA 
E11  18 system was smaller - though from my vantage point this wasn't 
E11  19 noticeable.<p/>
E11  20 <p_>Once, British acts performed at the Conference Centre where the 
E11  21 odd exceptional band, having impressed Mervyn Conn, might hope to 
E11  22 earn a spot on the main arena stage. Now it's a piece of cake to 
E11  23 appear at the latter as 'The Best Of British' and the other acts 
E11  24 are compressed together to form one show.<p/>
E11  25 <p_>The effect is both to dilute the quality and make for an 
E11  26 exceptionally long show - no wonder Crystal Gayle enquired whether 
E11  27 the seats had cushions! An unfortunate consequence of the 
E11  28 arrangement was that, by the time we had got into the acts everyone 
E11  29 had come to see, the late running meant that most had to abbreviate 
E11  30 their performances.<p/>
E11  31 <p_>What then of the performances? The assortment of British acts 
E11  32 reminded me of George Michael's 'Cover To Cover' tour which had 
E11  33 graced Wembley the previous week. But where Michael brought 
E11  34 original interpretation to standards, most of the homegrown artists 
E11  35 were simply intent on emulating their American peers.<p/>
E11  36 <p_>I won't waste time in cataloguing all the covers that were 
E11  37 trotted out - and some of them, like 'Don't Close Your Eyes', more 
E11  38 than once. I quite liked veteran <tf_>Jon Derek'<tf/>s version of 
E11  39 'Till The Rivers All Run Dry' which is less pedestrian than Don 
E11  40 Williams' cut and whose Mediterranean flavour made it a No.1 in 
E11  41 Malta (1979).<p/>
E11  42 <p_>Too many of the British groups, like <tf_>West Coast<tf/> and 
E11  43 <tf|>Gambler, sounded the same and suffered from the lack of an 
E11  44 exciting and individual lead vocalist. Somehow the Irish, perhaps 
E11  45 because of their pronounced accents, come over as much more 
E11  46 authentic and genuine. <tf_>Bredan Quinn<tf/>, with his more 
E11  47 balanced sound, raised the quality of the proceedings and 
E11  48 deservedly took a second bow. <tf_>Matt Leavy<tf/>, though, gave 
E11  49 the impression of trying to sound like someone else, offering 
E11  50 material from George Strait, Buck Owens and current rage Clint 
E11  51 Black.<p/>
E11  52 <p_>The American visitors came in with the oddly named <tf_>Big 
E11  53 Guitarists From Memphis<tf/> (though they're from all over the 
E11  54 States). Long-haired and youthful, their heavy, driving sound 
E11  55 seemed out of place for me (though it did at least break the 
E11  56 monotony). Much of their material didn't quite come off but with 
E11  57 more polish they could yet succeed.<p/>
E11  58 <p_>I have never been enthralled by Switzerland's <tf_>George 
E11  59 Hug.<tf/> Making his 3rd Wembley appearance, his pidgin English 
E11  60 remains a handicap, making him sound funny without meaning to. At 
E11  61 lest this time he had the assistance of ex-Nitty Gritty Dirty Band 
E11  62 stalwart <tf_>John McEuen,<tf/> an able compere, on 'I Want To Go 
E11  63 To Nashville'.<p/>
E11  64 <p_>A revitalised <tf_>Crystal Gayle<tf/> provided the superior 
E11  65 voice of the evening - rich in tone, immaculately phrased and 
E11  66 possessing a power that doesn't come over on her recordings. 
E11  67 Crystal's last album, 'Ain't Gonna Worry', marked her return to the 
E11  68 Allen Reynolds camp and she has had the good sense to also make her 
E11  69 stage act more simple and pure. Gone are the plush arrangements of 
E11  70 old in favour of neat intrusions here and there. <tf_>Jay 
E11  71 Patton,<tf/> for instance, excelled on saxophone while 'When I 
E11  72 Dream' featured a deftly played mandolin and tinkling piano.<p/>
E11  73 <p_>All the old favourites were in Crystal's set - 'River Road, 
E11  74 'Half The Way', 'Don't It Make My Brown Eyes Blue', to name a few. 
E11  75 Less familiar were the recently revived 'Oh Lonesome Me' as well as 
E11  76 'Never Ending Song Of Love'. John McEuen was brought on for 'Rocky 
E11  77 Top' before which Crystal duetted with sister <tf_>Peggy Sue<tf/> 
E11  78 (putting on a brave face after the recent loss of their daughter) 
E11  79 on an Everly Brothers medley. Underlining the family ties, Crystal 
E11  80 found a receptive welcome for her other sister's 'Don't Come Home 
E11  81 A-Drinkin'.<p/>
E11  82 <p_><tf_>Susan McCann<tf/> is Ireland's female equivalent to Daniel 
E11  83 O'Donnell, confirmation of which came when Mervyn Conn presented 
E11  84 her with an award for sales of her first UK album release. She has 
E11  85 a singalong style, reminiscent of Billie Jo Spears, and gave the 
E11  86 audience plenty of familiar tunes.<p/>
E11  87 <p_>Even though Crystal received the first encore of the evening, 
E11  88 earlier acts had taken so long that the show was now way over 
E11  89 schedule. It was still to finish at 11pm but only through later 
E11  90 acts considerably tailoring their sets.<p/>
E11  91 <p_>The main sufferers were the Opry veterans. Their voices might 
E11  92 be faded, they may no longer be with major labels, but at least 
E11  93 they perform original hits. And none more so than <tf_>Charlie 
E11  94 Louvin<tf/> whose fetching blonde sidekick <tf|>Debbie played the 
E11  95 role of late brother Ira. Especially emotive were 'Every Time You 
E11  96 Leave' and 'When I Stop Dreaming'. Charlie was obviously annoyed, 
E11  97 however, to have his prepared 30 minute slot slashed by a third 
E11  98 (leaving out the much loved 'Precious Jewel').<p/>
E11  99 <p_>Today, <tf_>David Houston<tf/> sounds croaky and is often off 
E11 100 key. Fortunately, he has a bubbly wife, <tf_>Kathy Raye 
E11 101 Houston,<tf/> who can not only sing well but also tells a good 
E11 102 joke. She was very much the dominant partner, though Houston 
E11 103 acquitted himself to some extent with a maudlin 'Blue Eyes Crying 
E11 104 In the Rain'.<p/>
E11 105 <p_><tf_>Jean Shepard'<tf/>s voice has held up better with the 
E11 106 result that she can still perform solo effectively. After running 
E11 107 through her hits, Jean was denied an encore by time 
E11 108 restrictions.<p/>
E11 109 <p_>Mellow-voiced Canadian <tf_>Stu Phillips<tf/> was once marketed 
E11 110 as 'The New Jim Reeves', and astutely slipped in a tribute to 
E11 111 <quote_>"a very dear friend of mine"<quote/> in the form of 'He'll 
E11 112 Have To Go', following a Jim Reeves style spot. Afterwards, 
E11 113 Phillips was the hottest selling act on CMP's stand. He also chose 
E11 114 to reveal that the Grand Ole Opry veterans wanted to close together 
E11 115 with 'The Old Rugged Cross' but there was no time. Such honesty 
E11 116 could have prompted audience unrest. The fact that it didn't was 
E11 117 probably symptomatic of the fading popularity of the old stars and 
E11 118 the still potent drawing power of Johnny Cash, who was to 
E11 119 follow.<p/>
E11 120 <p_>One imagines <tf_>Johnny Cash<tf/> to be as solid as Mount 
E11 121 Rushmore, immune to all afflictions, but, as John Kennedy once 
E11 122 said, <quote_>"We're all mortal",<quote/> and Cash's voice has 
E11 123 clearly been adversely affected by the recent problems with his 
E11 124 jaw. Throughout his show, Cash paid frequent visits to the back of 
E11 125 the stage to use a throat spray.<p/>
E11 126 <p_>But even a half fit Johnny Cash is better than most and he gave 
E11 127 his all to put on an entertaining spot. Indeed, a few of his 
E11 128 numbers like 'Sunday Morning Comin' Down' probably gained from his 
E11 129 unusually soft vocal treatment.<p/>
E11 130 <p_>More so even than Crystal, Johnny has returned to basics, 
E11 131 dispensing with his brass section and looking to recreate his 
E11 132 original sound on songs like 'Get Rhythm' and 'Big River'. At other 
E11 133 times, Cash called in old faithful <tf_>Earl Ball<tf/> to add some 
E11 134 softer effects, while off stage <tf_>Anita Carter<tf/> provided 
E11 135 some high voice cushioning, as on 'Suppertime'.<p/>
E11 136 <p_>I was taken with Cash's 'Train Medley' which started with 'Ride 
E11 137 This Train'. I had expected 'Orange Blossom Special', 'Casey Jones' 
E11 138 and other steam classics. Instead there was an interesting 
E11 139 excursion into Cash's past - linked by drumming suggestive of the 
E11 140 sound of a train.<p/>
E11 141 <p_>A surprise came when Cash brought on the Irish singer 
E11 142 <tf_>Sandy Kelly.<tf/> Together, they had a recent No.1 in Ireland 
E11 143 with 'Woodcarver' which they performed. After justly singing the 
E11 144 praises of his female partner, Johnny invited Sandy to sing the 
E11 145 song which first brought her to his attention, 'Crazy', which she 
E11 146 sang with a rare passion.<p/>
E11 147 <p_>The <tf|>Carters familiar look into their history was cut short 
E11 148 to three songs. <tf_>June Carter<tf/> half apologised, <quote_>"We 
E11 149 play a lot of things actually. We just don't have the 
E11 150 time."<quote/> Ending with 'A Boy Named Sue', Cash received a 
E11 151 standing ovation which prompted a response to the audience, 
E11 152 <quote_>"Thanks for sticking with us tonight."<quote/> As long as 
E11 153 there's country music, there will always be a place for John R. 
E11 154 Cash.<p/>
E11 155 
E11 156 <h_><p_>NEW FACES '91<p/>
E11 157 <p_>Steve Morewood<p/><h/>
E11 158 <p_>Having visited Nashville over the last three years during Fan 
E11 159 Fair, I've come away with a good impression of the changing scene. 
E11 160 Change being the operative word. On each visit there are more new 
E11 161 stars to interview, but by the next trip many have disappeared. 
E11 162 Success had not come as easily as they had hoped or as their record 
E11 163 company demanded.<p/>
E11 164 <p_>Thankfully, RONNA REEVES, whom I first met at Fan Fair 1990, 
E11 165 has not fallen by the way and is in the process of compiling her 
E11 166 first album. Petite and attractive, with a warm bubbly personality, 
E11 167 she's beginning to make her mark on the country scene.<p/>
E11 168 <p_>Being knowledgeable about Jim Reeves, I knew that Ronna was not 
E11 169 related to the late singer, so avoided the first question she 
E11 170 normally gets asked. However, like Gentleman Jim, whom she 
E11 171 considers to have been <quote_>"a wonderful singer"<quote/>, Ronna 
E11 172 hails from the Lone Star State - in her case, being brought up in 
E11 173 Big Spring, a small town in the western part of Texas.<p/>
E11 174 <p_>Ronna cites her influences as Linda Ronstadt, Patsy Cline and 
E11 175 Emmylou Harris, tinges of whom can be traced in her recordings. 
E11 176 <quote_>"They all sing with emotion and I love that. That's what I 
E11 177 try to do also."<quote/> Exposed to rock'n'roll and blues besides 
E11 178 country, she found that she had a natural affinity for the latter 
E11 179 <quote_>"so that's what I went for"<quote/>.<p/>
E11 180 <p_>Attending high school in Odessa, Ronna began public 
E11 181 performances early in the form of public recitals at the tender age 
E11 182 of 9. For a while, she sang and won at pageants, sufficient 
E11 183 encouragement for her to put her own band together and play the 
E11 184 local club circuit.<p/>
E11 185 <p_>Ronna was only about 11 at the time and the eldest member of 
E11 186 her band was just 17. To form the band she had put up notices at 
E11 187 music stores: <quote_>"it's amazing how many musicians you can get 
E11 188 by putting a piece of paper on the wall."<quote/><p/>
E11 189 <p_>Having played a mixture of music in college towns, Ronna, now 
E11 190 15, decided to move to Nashville. Music City wasn't as welcoming as 
E11 191 she had expected. She stayed for just a year, but gained an insight 
E11 192 into what was required, including recording techniques. <quote_>"I 
E11 193 kinda had the idea that I was just going to get up here, get a 
E11 194 record deal, and everything was going to be marvellous. It didn't 
E11 195 work out that way. I got a lot of doors slammed in my 
E11 196 face."<quote/><p/>
E11 197 <p_>Realising she wasn't yet ready, Ronna moved back to Texas to 
E11 198 hone her talents. It was there that she got what she considers to 
E11 199 be her big break - a chance meeting with Waco-based promoters Ron 
E11 200 and Joy Cotton who put on a lot of big shows in Texas, New Mexico 
E11 201 and Oklahoma.<p/>
E11 202 <p_>When Ronna met the Cottons in 1983 they were working with 
E11 203 George Strait who was just taking off. <quote_>"Lucky for me, they 
E11 204 put me on as his opening act."<quote/> For 18 months Ronna played 
E11 205 to ever growing audiences, gaining exposure and experience. By the 
E11 206 end, she and Strait were playing to crowds of 10,000. <quote_>"I 
E11 207 was out of my mind with nerves but it turned out 
E11 208 wonderfully".<quote/><p/>
E11 209 <p_>Ronna went on to open for other acts, among them the Judds, 
E11 210 Reba McEntire and Randy Travis, always taking the opportunity to 
E11 211 learn from them.
E11 212 
E12   1 <#FLOB:E12\><h_><p_>Poster power<p/>
E12   2 <p_>Image and information are what your band need to promote, and 
E12   3 the best solution may often be a poster. But what makes a good one? 
E12   4 Steve Xerri draws on his experiences.<p/><h/>
E12   5 <p_>FEW BANDS that take their music seriously would step on to a 
E12   6 stage and play a set that was drastically under<?_>-<?/>rehearsed. 
E12   7 And as for appearing in public without the correct style of 
E12   8 trousers and/or haircut - perish the thought! But all too often the 
E12   9 concern for presentation doesn't extend to publicity material. You 
E12  10 see gigs announced in wonky felt-tip on grotty scraps of paper - 
E12  11 hardly calculated to catch the eye of any passer-by, let alone put 
E12  12 across an impressive band<?_>-<?/>image. The obvious excuses for 
E12  13 this state of affairs are that printing is expensive and that 
E12  14 musicians aren't necessarily good at drawing and lettering. But if 
E12  15 feeble posters are letting your band down, the good news is that 
E12  16 you can quickly achieve great improvements without taking a 
E12  17 graphics course at night<?_>-<?/>school, or diverting too much 
E12  18 kitty-money from important costs like strings and hair-gel.<p/>
E12  19 <h_><p_>CUT IT OUT<p/><h/>
E12  20 <p_>A point worth making at the outset is that keeping things 
E12  21 simple often works best; not just because it's easier to do, but 
E12  22 because your poster will still be legible from a distance, whereas 
E12  23 intricate designs frequently look cluttered and distracting. You 
E12  24 don't need complexity to make your work look professional: a quick 
E12  25 glance at the record company fly-posters that appear in most towns 
E12  26 will show you that big, bold and blocky designs are favoured 
E12  27 because they drive their message home with a great deal more 
E12  28 punch.<p/>
E12  29 <p_>You will probably be thinking of smaller-scale posters: A4 
E12  30 (normal magazine size), or possibly A3 (<tf_>Making Music<tf/> 
E12  31 size) for use on pub or college notice-boards. Whatever the 
E12  32 dimensions - and you may later want to design artwork for badges, 
E12  33 demo<?_>-<?/>cassette inlays, even record sleeves or t-shirts - the 
E12  34 problems and solutions will be the same.<p/>
E12  35 <p_>Take the question of lettering: in order to present your 
E12  36 information authoritatively you should steer clear of handwriting 
E12  37 because, even if your script doesn't resemble the tracks of the 
E12  38 archetypal dying spider, it can't really rival the clean look of 
E12  39 print. But if typesetting costs a packet, and even good old 
E12  40 Letraset-style sheets come a bit pricey in the bigger sizes: then 
E12  41 you have to rub it down very carefully to prevent naff cracks and 
E12  42 tears (and tears).<p/>
E12  43 <p_>There are two ways round this difficulty: the first is to 
E12  44 emphasise scruffiness, make a style feature of it. You don't have 
E12  45 to go so far as punk's ripped-newsprint graphics, but you can get a 
E12  46 nicely informal look from combining letters in different typefaces, 
E12  47 snipped from magazines. Dead cheap, too. If you don't sit your 
E12  48 letters on a straight line, exaggerate the effect enough to let 
E12  49 your reader known it's deliberate.<p/>
E12  50 <p_>If your image demands a smoother touch, the second method may 
E12  51 be for you. This simply involves blowing up type<?_>-<?/>written 
E12  52 information on a photocopier (if you've got access to a decent word 
E12  53 processor to provide the text, so much the better), and re-pasting 
E12  54 it on your artwork. You'll need a copier that can handle large 
E12  55 areas of black without fogging, or your full, bold capitals will 
E12  56 appear as hollow outlines; most modern machines used in copy-shops 
E12  57 are up to the task. Just keep repeating the enlargement, in 
E12  58 sections if need be (most copiers can't enlarge more than double), 
E12  59 till you are satisfied. This process may reveal blemishes that 
E12  60 weren't apparent when the letters were small: this effect can be 
E12  61 pleasing in itself, creating a more personalised typeface. But if 
E12  62 you can't live with it, corrections can be made using black ink and 
E12  63 tippex or white acrylic paint, or by trimming and re-mounting 
E12  64 individual letters. It's a good idea to make several copies of the 
E12  65 final enlargement, both for future use and in case your touching-up 
E12  66 goes wrong.<p/>
E12  67 <h_><p_>SPLASH IT ON<p/><h/>
E12  68 <p_>When it comes to laying out your poster, you will probably find 
E12  69 that a plain background sets the lettering off best, but you 
E12  70 needn't stick to white - go for blocks of grey (making sure there's 
E12  71 enough contrast with your letters), or even use white letters on 
E12  72 black paper. Try out different arrangements until your eye tells 
E12  73 you what looks best: eccentric layouts are generally obstructive - 
E12  74 if in doubt, put the band's name big at the top of the page, with 
E12  75 all other information along the bottom and an attention-grabbing 
E12  76 picture sandwiched between. Don't cram too many words on a line, go 
E12  77 easy on fussy borders and underlinings, and make sure the lettering 
E12  78 takes up a good proportion of the page. Using double-sided 
E12  79 repositionable Sellotape (from your local stationer) allows you to 
E12  80 revise your opinion before you go for the final format. If you 
E12  81 really want to be clever, get the copy-shop to print your design 
E12  82 elements on to clear acetate (about 50p per A4 sheet), then you can 
E12  83 re-use them later in different configurations and on new 
E12  84 backgrounds.<p/>
E12  85 <p_>Once you've got the hang of lettering, you'll probably want to 
E12  86 add impact to your posters by using an illustration of some kind: 
E12  87 here again the photocopier liberates you since you can produce very 
E12  88 impressive images without needing to be able to draw or even use 
E12  89 tracing paper. Choose strongly-contrasted pictures for the best 
E12  90 results, remembering that coloured ones may look sludgy in 
E12  91 black-and-white. Photos, unfortunately, can present a problem 
E12  92 because they tend to contain a lot of middle tones that will 
E12  93 unfortunately reproduce as muddy grey.<p/>
E12  94 <p_>But there are plenty of other sources for arresting images - 
E12  95 newspapers, magazines, old books (especially those containing 
E12  96 engravings, which photo<?_>-<?/>copy really crisply), bits of your 
E12  97 own doodling, and even the print-out from a computer. Spend some 
E12  98 time browsing in the oversize books section of your local library, 
E12  99 and check the secondhand bookshops for old scientific or medical 
E12 100 manuals - always good for a line-drawing or two. The beauty of this 
E12 101 method is that you don't have to scissor up precious originals, and 
E12 102 can either use an engagingly bizarre picture (e.g. an old piece of 
E12 103 machinery) as it stands, or splice together original compositions 
E12 104 from whatever odds and ends take your fancy. Again, don't worry if 
E12 105 you haven't done anything arty since primary school: you'll be 
E12 106 amazed how quickly you can achieve a very decent result simply by 
E12 107 cutting out and experimenting with a handful of images. The more 
E12 108 unlikely the combinations of objects, the more surreal the 
E12 109 result.<p/>
E12 110 <h_><p_>STICK IT UP<p/><h/>
E12 111 <p_>When you've arrived at a sufficiently thrilling design, a 
E12 112 copy<?_>-<?/>shop will reproduce the desired number of prints at a 
E12 113 fraction of the cost charged by a conventional printer; a 
E12 114 printing-press will not normally be able to run off less than 50 
E12 115 copies. Photo<?_>-<?/>copying also scores by doing away with the 
E12 116 advance notice that printers tend to require. Admittedly, basic 
E12 117 Xeroxing restricts you to black-on-white posters, but that's good 
E12 118 for legibility. Colour, if you simply must have it, can be added by 
E12 119 hand in the form of small areas of felt-tip (try fluorescent 
E12 120 highlighters) or metallic-ink marker.<p/>
E12 121 <p_>At the very least, if this snip-and-paste lark draws your next 
E12 122 gig to the attention of a few more people, you'll be getting more 
E12 123 return for all the care you've already invested in your riffs and 
E12 124 your quiffs ...<p/>
E12 125 
E12 126 <h_><p_>second hand WOES<p/>
E12 127 <p_>If you can't buy it new, well perhaps you can find it 
E12 128 second-hand. Paul Quinn looks at how, why and where bargains 
E12 129 appear, and problems to avoid.<p/><h/>
E12 130 <p_>EVERYTHING YOU own is second-hand. It's true. The minute you 
E12 131 buy something, it becomes 'used', and its value drops dramatically 
E12 132 - even if you never take it out of its box - it has the stigma of 
E12 133 being 'not new'.<p/>
E12 134 <p_>Ever since the post-rationing consumer boom of the 1950s, the 
E12 135 popular trend has been to acquire the shiniest, latest thing, which 
E12 136 you then part with in favour of the next nice new model as quickly 
E12 137 as financially possible. But second-hand doesn't have to mean old 
E12 138 and unwanted - I mean, some people seem quite happy to pay several 
E12 139 million pounds for a used footballer, don't they?<p/>
E12 140 <p_>Now it's a good time to buy second-hand, with lots of stuff 
E12 141 being traded in and not so much being sold. Of course, the 
E12 142 recession also means reductions on new gear, so it's worth shopping 
E12 143 around, especially if the manufacturer has just released an 
E12 144 up<?_>-<?/>dated model. But let's assume you can only afford your 
E12 145 dream instrument second-hand. Suffice<&|>sic! to say that all tests 
E12 146 you'd perform on a new instrument should be performed even more 
E12 147 thoroughly on a used one, taking particular care not to confuse 
E12 148 superficial marking with structural damage.<p/>
E12 149 <p_>A decent dealer should offer a guarantee - anything from one 
E12 150 month to a year - try for three months minimum. It obviously 
E12 151 depends on the condition of the gear and the price. Ignore shop 
E12 152 signs which say, <quote_>"No Refunds"<quote/>. It's actually 
E12 153 against the law for a dealer to deny any of your consumer rights. 
E12 154 If the goods are faulty, you can get your money back; you don't 
E12 155 even have to accept a credit note. Nor is it necessary to produce a 
E12 156 receipt, though it can help to jog an evasive memory.<p/>
E12 157 <p_>A licensed trader is legally obliged to sell you something that 
E12 158 does what you expect it to do (the 1979 Sale Of Goods Act calls 
E12 159 this 'merchantable quality'); but the law is a bit looser on 
E12 160 private sales - the seller has to actually say something 
E12 161 deliberately misleading before you have any recourse. And then you 
E12 162 have to prove it. It's always best to take a friend along. The 
E12 163 upside of private transactions, of course, is a good price, 
E12 164 possibly after a good haggle.<p/>
E12 165 <p_>Now is not such a great time if you're the one trying to sell 
E12 166 the gear - unless it's particularly hip or collectable. Again, 
E12 167 going private will almost certainly raise the best price, if you 
E12 168 can stand the hassle. The amount that a shop offers you can vary 
E12 169 from one third to two thirds of the item's worth (make sure you 
E12 170 know roughly what that worth is.) It might sound like a raw deal, 
E12 171 but, to be fair, if a dealer wants to make a profit, he/she has 
E12 172 several factors to take into account; like lost VAT, possible 
E12 173 repair costs, and even the amount of space the item will occupy in 
E12 174 the shop. Depends<&|>sic! on the gear, too. They'd be more inclined 
E12 175 to let a nice pounds1200 Gretsch Country Gent hang on the wall for 
E12 176 a year, until the right customer comes along, than clutter the shop 
E12 177 with a dozen cheapies. Dealers are also often wary of part-exchange 
E12 178 deals, where they could be left with an unsaleable product rather 
E12 179 than desired hard cash.<p/>
E12 180 <p_>Profit margins are generally greater in big cities, like 
E12 181 London, where you can expect to be paid less and charged more for 
E12 182 used gear. If you've got transport, a trip out to the suburbs, or 
E12 183 even to smaller town, may turn up the odd bargain.<p/>
E12 184 <p_>Things notoriously difficult to re-sell include the more 
E12 185 bizarre, customized items, or expensive, hand-made jobs with 
E12 186 obscure names on. In other words, the stuff which you think must be 
E12 187 worth a lot because, <quote_>"no-one else will have anything like 
E12 188 it."<quote/> Doesn't<&|>sic! usually work that way, 
E12 189 unfortunately.<p/>
E12 190 <h|>Guitars
E12 191 <p_>One mistake made by over-eager buyers at the moment is thinking 
E12 192 that all old Strats are collectors' items. Similarly, some people 
E12 193 see names like ESP or BC Rich on a headstock, and think, <quote_>"I 
E12 194 know that name, they're good,"<quote/> and they pay through the 
E12 195 nose for a bottom of the range model ... As with new gear, the 
E12 196 second-hand market is very regional: one Yorkshire shop complained 
E12 197 about not being able to shift three nice Gibson SGs, but knew that 
E12 198 if they sent them down to their Midlands branch, they'd soon 
E12 199 disappear off the wall.<p/>
E12 200 <h|>Amps
E12 201 <p_>Some of the most popular second-hand buys are amps that, 
E12 202 surprise surprise, have recently appeared in re-issued form: Fender 
E12 203 Twins, Vox AC30s, valve Marshalls, Hi-Watts - all the sort of stuff 
E12 204 you'd have found in clapped out rehearsal rooms ten years ago.
E12 205 
E13   1 <#FLOB:E13\><h_><p_>A Real Royal Ballet<p/>
E13   2 <p_>A Folk Tale in Copenhagen<p/>
E13   3 <p_>By Mary Clarke<p/><h/>
E13   4 <p_>In preparation for the Bournonville Festival in the spring, the 
E13   5 Royal Danish Ballet is gradually bringing into its repertory all 
E13   6 the surviving works by its great choreographer and ballet master. 
E13   7 Many of them have been in and out of the repertory since the 
E13   8 Bournonville centenary festival of 1979 (reviewed in our January 
E13   9 1980 issue) but some are being re-staged and the reconstructions of 
E13  10 <tf|>Abdallah and <tf_>The Lay of Thrym<tf/> will be added to the 
E13  11 surviving ballets.<p/>
E13  12 <p_>The first major new production of the season, and a sell-out 
E13  13 success for artistic director Frank Andersen, was <tf_>A Folk 
E13  14 Tale<tf/> which was given on September 20, staged by Anne Marie 
E13  15 Vessel and Frank Andersen and in new scenery and costumes by Her 
E13  16 Majesty Queen Margrethe II of Denmark, no less. Queen Margrethe, 
E13  17 like her father King Frederick IX, is a keen ballet goer and takes 
E13  18 a very personal interest in her Royal Ballet. She is also a gifted 
E13  19 designer of children's books and fairy tales and was therefore a 
E13  20 very appropriate choice. The Danes consider <tf_>A Folk Tale<tf/> 
E13  21 to be the most completely Danish of all Bournonville's works, as it 
E13  22 draws on Danish legends for its theme, and it is therefore 
E13  23 essential that the designer is someone immersed in Danish history 
E13  24 and folklore, as Her Majesty unquestionably is. Once she had agreed 
E13  25 to provide the designs, Queen Margrethe immersed herself in their 
E13  26 realisation and when she could spare time worked in all departments 
E13  27 of the theatre, supervising the making of costumes and the painting 
E13  28 of scenery. So unobtrusively did she go about her task that the 
E13  29 children from the ballet school, who enjoy themselves so much as 
E13  30 little trolls in the ballet, were hardly aware of her presence. 
E13  31 Indeed, two small boys were overheard to say to each other the day 
E13  32 before the premiere <quote_>"Tomorrow will be really exciting 
E13  33 because the Queen is coming!"<quote/>.<p/>
E13  34 <p_>The need to re-design <tf_>A Folk Tale<tf/> was because the 
E13  35 previous production, shown in 1979, had been designed for the 
E13  36 Tivoli stage during the period when the Royal Theatre was closed 
E13  37 for the rebuilding of the backstage area, and was, consequently, 
E13  38 very lightweight. I remember, in 1979, mourning the older 
E13  39 production which the Royal Danes brought to London on their one and 
E13  40 only visit to Covent Garden in 1953. Old fashioned designs suit 
E13  41 Bournonville, and for this staging Queen Margrethe has provided 
E13  42 settings and formal costuming which place it clearly in 16th 
E13  43 century Denmark and thereby capture the period charm of the piece. 
E13  44 When following traditional designs she is entirely happy. Where her 
E13  45 imagination and love of fantasy tip the scale a little too far are 
E13  46 in the costumes for the visiting trolls who take part in the 
E13  47 drunken orgy at the end of the second act. So far as I remember, 
E13  48 they were much like the troll characters of the story in earlier 
E13  49 versions. Now they have been differentiated as all kinds of trolls 
E13  50 - bird trolls, river trolls, witches, giant trolls, trolls with 
E13  51 enormous tails - and these monster figures (their inspiration 
E13  52 doubtless clearer to a Danish audience than to foreigners) dominate 
E13  53 far too strongly as they make their several entrances and detract 
E13  54 from what is happening around them - events which are integral to 
E13  55 the story.<p/>
E13  56 <p_>The story, so ideally suited to Bournonville's moral stance and 
E13  57 his desire to show the triumph of good over evil, concerns a 
E13  58 changeling child. The beautiful Hilda has been stolen from her 
E13  59 cradle by the trolls, who leave one of their own babies in her 
E13  60 place. While Hilda grows up in the subterranean world of the 
E13  61 trolls, Birthe, unaware like everyone else of her troll blood, 
E13  62 grows up in a country manor house where her inexplicable outbursts 
E13  63 of bad temper are vented on all and sundry.<p/>
E13  64 <p_>The ballet opens with an alfresco luncheon party beneath an old 
E13  65 oak tree and near to the hill where the trolls are believed to 
E13  66 live. There is a delightful peasant dance, and then a more sedate 
E13  67 one for the nobility, but Birthe's capricious tantrums are the 
E13  68 despair of Junker (Squire) Ove to whom she is betrothed. The party 
E13  69 return to the manor but Junker Ove stays behind. The hill opens and 
E13  70 he sees Hilda with the witch Muri and the other trolls. She comes 
E13  71 out from the hill and gives him a goblet. He pours off the drink, 
E13  72 which is dangerous, but keeps the goblet. The hill closes on Hilda 
E13  73 and the trolls but the furious Muri causes 'elfin girls' to dance, 
E13  74 Wili-fashion, round Ove until he collapses with exhaustion.<p/>
E13  75 <p_>The next act takes place inside the troll house where the 
E13  76 little trolls hammer away while Muri's two sons, Diderik and 
E13  77 Viderik, quarrel over Hilda. She spurns them both and then in a 
E13  78 dream sees how a child was stolen from a cradle. (Together with the 
E13  79 baby, the trolls stole the goblet which she had given to Ove.) 
E13  80 Diderik is the eldest son and claims his right to Hilda's hand but 
E13  81 Viderik is gentle and kind-hearted and when neighbouring trolls 
E13  82 arrive for a drunken orgy he helps Hilda to escape.<p/>
E13  83 <p_>In the last scene, Viderik and Hilda arrive in the grounds of 
E13  84 the manor, near a healing spring. Ove staggers in and collapses but 
E13  85 Hilda recognises him and restores him with spring water which she 
E13  86 fetches in the goblet. A Master Mogens, who has been seeking to 
E13  87 marry Birthe for her wealth, gives chase to the strangers but 
E13  88 Hilda, still holding her goblet, eventually stumbles into Birthe's 
E13  89 room at the manor (where she has been giving hell to the servants) 
E13  90 and by the goblet and a birthmark is recognised by her old nurse as 
E13  91 the true heir. Birthe is banished and Mogens, seduced by the gold 
E13  92 of the trolls, goes with her.<p/>
E13  93 <p_>Hilda and Ove are united and the ballet ends with the wedding 
E13  94 dance - the music for which is traditionally now played at all 
E13  95 Danish weddings.<p/>
E13  96 <p_>As always happens when a Bournonville ballet is re-staged there 
E13  97 were strong differences of opinion, among the experts, as to how 
E13  98 true to Bournonville's wishes that staging may be. There was 
E13  99 criticism of the flimsy garments for the elfin girls <quote_>"which 
E13 100 Bournonville never would have allowed"<quote/> and of various 
E13 101 details of production. The most serious mistake, almost everyone 
E13 102 agreed, was the casting of a woman in the role of Viderik. Sorella 
E13 103 Englund is a magnificent witch in <tf_>La Sylphide<tf/> and she 
E13 104 played Viderik very much in the manner established by that great 
E13 105 artist Fredbjorn Bjornsson but to make any sense of the story 
E13 106 Viderik must be a man. Unhappily, too, Niels Kehlet has given up 
E13 107 the role of Diderik and Michael Bastian carries nothing like the 
E13 108 same conviction.<p/>
E13 109 <p_>Jette Buchwald, however, was as good as a Muri as I have seen 
E13 110 and the Danish tradition of mime was safe in the warm, womanly 
E13 111 performance of Kirsten Simone as the nurse (she was my first Hilda 
E13 112 and has now played no fewer than four roles in the ballet). Silja 
E13 113 Schandorff, enchantingly pretty, played Hilda just for sweetness 
E13 114 and Peter Bo Bendixen made very little of the role of Ove - 
E13 115 paradoxically when Erik Bruhn took this part it contained no 
E13 116 dancing whatsoever!<p/>
E13 117 <p_>There was also an astonishing performance 
E13 118 <}_><-|>fom<+|>from<}/> Lis Jeppesen as Birthe, culminating in a 
E13 119 paroxysm of rage against her servants in the last act when the 
E13 120 troll character possesses her. Incredibly that this fiery creature 
E13 121 should also be one of the loveliest protagonists of <tf_>La 
E13 122 Sylphide<tf/>!<p/>
E13 123 <p_>The pas de sept, which is the highspot of the wedding 
E13 124 celebrations, contained some fine dancing by Alexander Kolpin, 
E13 125 Lloyd Riggins and Petrusjka Broholm but needs more polishing. By 
E13 126 the spring, no doubt Frank Andersen will have everything shining. 
E13 127 And <tf_>A Folk Tale<tf/> will be seen in the context of the whole 
E13 128 Bournonville repertory.<p/>
E13 129 
E13 130 <h_><p_>The Shin Splints Epidemic<p/>
E13 131 <p_>An all too common injury now affecting dancers<p/>
E13 132 <p_>By Joan Lawson<p/><h/>
E13 133 <p_>The present epidemic of 'Shin Splints' or stress fractures in 
E13 134 the lower legs of many dancers is world-wide and is not being taken 
E13 135 seriously even though such injuries are leading to some 
E13 136 professionals taking early retirement and some students withdrawing 
E13 137 even before reaching professional status. There are several reasons 
E13 138 for this epidemic, despite the efforts of many organisations 
E13 139 encouraging their teachers to make a proper study of anatomy. This 
E13 140 should ensure the correct placing of weight and the limits of each 
E13 141 individual's turn-out when adapting the body to achieve correct 
E13 142 stance. Instead, too much concentration is now being placed on the 
E13 143 180<*_>degree<*/> turn-out of the feet and little or no attention 
E13 144 being paid to the individual's ability to turn the upper legs out 
E13 145 in their sockets to the same degree.<p/>
E13 146 <p_>At a recent seminar I encountered three victims of this 
E13 147 epidemic. One was, and still is, a chronic sufferer of 'shin 
E13 148 splints'. I quickly noted that his feet were turned-out well beyond 
E13 149 the 180<*_>degree<*/> stipulated by Blasis, while that of his upper 
E13 150 legs was no more than 130<*_>degree<*/>. To achieve correct stance 
E13 151 he had to 'tuck his tail in' instead of pulling it downwards. This 
E13 152 meant that he pushed his weight too far backwards on his heels. His 
E13 153 spine then arched, instead of being stretched upwards and downwards 
E13 154 from the waist. Like the other two boys, he was suffering from a 
E13 155 constant demand for 'turn out those feet' regardless of what was 
E13 156 happening to the rest of the legs, body, arms and head.<p/>
E13 157 <p_>Why has this epidemic spread world-wide and not only among 
E13 158 classical dancers? I am not alone in despairing of finding a cure 
E13 159 to this ill. However, to my delight, I found a most illuminating 
E13 160 article about the remarkable Chinese teacher Wang Jia-Hong in 
E13 161 <tf_>Dance Australia<tf/>. In it he warns against the excesses of 
E13 162 certain Russian teachers and their followers with their 
E13 163 <quote_>"Overtilted hips and exaggerated Back bends"<quote/>. Like 
E13 164 myself, a pupil of the Vaganova system, he was taught by her great 
E13 165 pupils Gusev the classical dancer and teacher and Serrebrennikov, 
E13 166 whose book on pas de deux is a must. Like myself he also studied 
E13 167 the Cecchetti syllabus when working with Celia Franca in Canada, 
E13 168 Bournonville with Erik Bruhn, and RAD with the late Alan Hooper 
E13 169 with its strong links with the work of Dame Ninette and her rules. 
E13 170 With such a background he has the widest knowledge of the varying 
E13 171 methods and their effect on dancers' bodies if too much reliance is 
E13 172 placed on one particular style to the exclusion 
E13 173 <}_><-|>if<+|>of<}/> all others.<p/>
E13 174 <p_>I agree, and would like to remind teachers of what was perhaps 
E13 175 the vital feature of Vaganova's own teaching. Yes! Russians do have 
E13 176 flexible spines. But they are extremely strong because they are 
E13 177 taught from their first lessons, as children, to allow their spines 
E13 178 to react to any demand for movement. Vaganova and, later, all her 
E13 179 own and their students working at the school in Rossi Street insist 
E13 180 that the spine is never held rigidly; the shoulder-blades are never 
E13 181 pressed down on the rib-cage; the head has to move independently on 
E13 182 its axis so that it leads every movement; the arms must be opened 
E13 183 away from the body so that the central line of balance runs 
E13 184 straight down from the crown of the head through the spine to the 
E13 185 tail. The weight is then held firmly balanced over the two feet. If 
E13 186 standing on one foot, then that centre line must be shifted so that 
E13 187 the weight is held firmly over the supporting leg.<p/>
E13 188 <p_>Too many teachers do not insist on that slight change being 
E13 189 made. Thus many children, teenagers in particular, sink on to the 
E13 190 supporting hip whenever the working leg moves away from one of the 
E13 191 five positions. Thus, if the hips have been over-tilted, the spine 
E13 192 arched and the feet over-turned the weight is thrust forward on to 
E13 193 the lower legs and the toes will be cramped to hold balance. 
E13 194 Because of the enormous strain this places on all the bones of the 
E13 195 lower leg and calf, something has to give.
E13 196 
E14   1 <#FLOB:E14\><h_><p_>Yes sir, Yes sir<p/>
E14   2 <p_>Women are taking on the men in the dyed-in-the-wool art of 
E14   3 shepherding. Will they win? It's still trial and error<p/>
E14   4 <p_>BEVERLEY CUDDY<p/><h/>
E14   5 <p_>Men obviously unused to wearing suits filled the hotel foyer. 
E14   6 Scores of ruddy, wind<?_>-<?/>blasted faces cracked with shy smiles 
E14   7 as old acquaintances were renewed.<p/>
E14   8 <p_>I was sitting in the lounge of a hotel used by all the top 
E14   9 competitors at the International Sheepdog Trials.<p/>
E14  10 <p_>Tomorrow, they'd be relieved to revert to comfortable tweed 
E14  11 caps and stout brown boots. All, that is, except one. I had 
E14  12 travelled to Lanark to meet the Scottish team captain Julie 
E14  13 Deptford - the only woman in the competition.<p/>
E14  14 <p_>Earlier in the day, I'd made an unscheduled trip to the 
E14  15 showground. My simple but bright skirt suit wouldn't have warranted 
E14  16 a second glance in the city. The two PR girls with me from trial 
E14  17 sponsors Pedigree Petfoods were more aptly dressed in Barbour coats 
E14  18 and wellies.<p/>
E14  19 <p_>When a group of grinning Welsh shepherds passed by and chorused 
E14  20 <quote_>"Hello, ladies"<quote/>, we couldn't have felt more 
E14  21 ridiculously feminine had we been wearing six-inch stilettos and 
E14  22 bikinis!<p/>
E14  23 <p_>Julie, a frail, blonde 28-year-old, couldn't help but stand out 
E14  24 among her male colleagues. Rather than attempt to blend in, she 
E14  25 wears her blue jeans extremely tight, a short suede jacket instead 
E14  26 of <tf_>de rigueur<tf/> tweed, and covers her head with a stylish 
E14  27 and expensive Akubra Stockman hat.<p/>
E14  28 <p_>How did these most traditional of men accept her into their 
E14  29 flock? Not only is she younger than most of them and unashamedly 
E14  30 feminine, she's an extremely good shepherdess - surely a bit much 
E14  31 for some men of the old school to take. <p/>
E14  32 <p_><quote_>"They've been great. But you need the temperament to 
E14  33 mix in and put up with their jokes. They've taught me all I 
E14  34 know."<quote/><p/>
E14  35 <p_>Julie was a hot favourite for the international title. Her name 
E14  36 was on everyone's lips. She earned the team captaincy by winning 
E14  37 the Scottish national trial.<p/>
E14  38 <p_>Add to Julie's record the <tf_>One Man And His Dog<tf/> success 
E14  39 of shepherdess Katy Cropper, and it would be easy to conclude that 
E14  40 women are better at this shepherding lark than the men who have 
E14  41 traditionally dominated it. Is it due to women being better at 
E14  42 understanding their dogs?<p/>
E14  43 <p_>Julie wouldn't hear of it. <quote_>"Women can be too soppy. 
E14  44 Maybe that's why there aren't more of us competing. Dogs tend to 
E14  45 take advantage - you have to show them who's boss."<quote/><p/>
E14  46 <p_>I witnessed Julie's sternest gaze. It was impressive. The 
E14  47 <tf_>Daily Record<tf/> photographer who asked if she and her dog 
E14  48 would pose in a Tam O'Shanter regretted it. Nevertheless, her 
E14  49 collie Gwen has been known to try it on.<p/>
E14  50 <p_><quote_>"She can lull you into a false sense of security. If 
E14  51 you fuss her too much, she gets the impression she's in 
E14  52 charge!"<quote/> Julie says.<p/>
E14  53 <p_><quote_>"Gwen's a fat little pig and she takes a lot to keep in 
E14  54 shape. At a trial a few years ago, she squeezed out of the car and 
E14  55 ate nine ham rolls! It was a long hilly course and there was no way 
E14  56 she'd have got around with her belly touching the ground."<quote/> 
E14  57 The vet administered soda but Gwen was still reluctant to give up 
E14  58 her picnic!<p/>
E14  59 <p_>The setting for the championships was stunning, but there were 
E14  60 plenty of sights to see on the showground.<p/>
E14  61 <p_>A battered old van advertised hand-painted 'Mollie the Collie' 
E14  62 plates and clocks. But where was Mollie? A jolly man enlightened me 
E14  63 furtively: <quote_>"Don't mention Mollie - I sold her to a farmer 
E14  64 in Wales and my daughter still hasn't forgiven me!"<quote/><p/>
E14  65 <p_>I was encouraged to buy a pounds1 plastic dog whistle. It 
E14  66 remains stubbornly mute. The tweed hats in all shapes and sizes 
E14  67 were slow to move. Every head I could see was already well covered. 
E14  68 <p/>
E14  69 <p_>People were flocking to the Sheep Shop to buy 'Ewe's not fat - 
E14  70 Ewe's just fluffy' sweat shirts.<p/>
E14  71 <p_>I didn't tell the crook salesman that you just couldn't get 
E14  72 good staffs these days, even though I was tempted. He proudly 
E14  73 showed me his most expensive stick.<p/>
E14  74 <p_><quote_>"You wouldn't want to go around whacking cattle with 
E14  75 this one,"<quote/> he told me. He was right.<p/>
E14  76 <p_>There was even a stand called the Shepherds' Friendly Society 
E14  77 selling pensions and savings plans. As the man on the stall had the 
E14  78 only working mobile phone for miles, it soon turned into the 
E14  79 Journalists' Friendly Society, as depressed <tf_>Daily Record<tf/> 
E14  80 staff phoned their newsdesk with the bad news that Julie and Gwen 
E14  81 wouldn't wear the tartan berets.<p/>
E14  82 <p_>Did Julie win the international title? Did she get even close? 
E14  83 No. Despite the press and PR girls willing her on, she had a 
E14  84 dreadful round. Obstinate sheep were blamed. <p/>
E14  85 <p_>Gwen still picked up a free tray of Pedigree Chum for her 
E14  86 efforts. Lamb variety was <}_><-|>conspicious<+|>conspicuous<}/> by 
E14  87 its absence.<p/>
E14  88 
E14  89 <h_><p_>Slimline Tonic!<p/>
E14  90 <p_>Christmas is traditionally a time for wicked extravagances, 
E14  91 when those extra inches creep onto the hips. However, new 
E14  92 motivation now comes in the form of the Slimmer of the Year 
E14  93 awards...<p/>
E14  94 <p_>BRIAN KELLY<p/><h/>
E14  95 <p_>Dogs don't feel guilty. It's our little human foibles about 
E14  96 what's right and wrong that make them wag or cower. Similarly, dogs 
E14  97 don't pick up the Sunday newspapers after a binge, read the 
E14  98 fat-phobic, lose-20kg-by-Wednesday ads and think <quote_>"ooh, I'll 
E14  99 never get a boyfriend looking like this; I'd better bow to social 
E14 100 pressure, send pounds30 and await my free dumb-bells"<quote/>.<p/>
E14 101 <p_>Still, it's all the more reason why owners, ultimate 
E14 102 controllers of what passes canine lips, should take care. <p/>
E14 103 <p_>Len Bowden smiled as he said it, but it still sounded 
E14 104 confessional. Ultimately, it was. He is owner of Lucky, a Springer 
E14 105 Spaniel who lost 23 kilos, to become runner-up in this year's 
E14 106 Hill's Pet Slimmer Of The Year contest. Len, a retired council 
E14 107 worker from Dagenham, simply said: <quote_>"I thought I was being 
E14 108 kind."<quote/><p/>
E14 109 <p_>Exactly. What loving, caring pet owner can resist the little 
E14 110 learnt signals that beg 'feed me'? What owner doesn't want to spoil 
E14 111 and fuss? By its very nature, Lucky's success in the contest 
E14 112 involved more than a little 'coming forward' on Len's part. Rather 
E14 113 than ignoring the problem for fear of revealing his own weakness, 
E14 114 he cared enough for his dog to seek help. Fourteen months ago, 
E14 115 Lucky didn't even look like a Springer. Before being taken to vet 
E14 116 Denise Lambert, she couldn't climb stairs, could barely stand, and 
E14 117 would collapse on walks. She <}_><-|>weighted<+|>weighed<}/> 43kg - 
E14 118 as much as a Rottweiler and almost twice as much as she should have 
E14 119 done.<p/>
E14 120 <p_>Titbits had to go for a start. Lucky went onto a Hill's 
E14 121 balanced diet specially formulated for dog obesity. Had she not 
E14 122 started her diet, last year's scorching summer may have been too 
E14 123 much for her already-pressured heart. Slow and steady won the race. 
E14 124 As Lucky lost weight gradually, Len upped the exercise, and this 
E14 125 year's model was a proudly revealed, inquisitive little soul at the 
E14 126 recent ceremony in London.<p/>
E14 127 <p_>She still has about four kilos to go and by that time, will 
E14 128 have lost more than four stone - not bad for a human, let alone a 
E14 129 dog.<p/>
E14 130 <p_>Apart from endangering its health, overfeeding a dog takes the 
E14 131 shine off a big part of the joy of ownership. So says behaviourist 
E14 132 Peter Neville, still breathless after charging across half of 
E14 133 Wiltshire in an attempt to keep up with two of his more frenetic 
E14 134 dogs.<p/>
E14 135 <p_><quote_>"Fat dogs don't play,"<quote/> he says. 
E14 136 <quote_>"Because they're obese, they don't tend to move much. Their 
E14 137 activity demand gets replaced by cyclical things like lots of 
E14 138 feet-licking. The pleasure of playing with your dog is lost.<p/>
E14 139 <p_>"Dogs are more prone to obesity than cats because they are 
E14 140 programmed to scavenge and take advantage of anything going, 
E14 141 whereas cats can regulate their energy intake more closely.<p/>
E14 142 <p_>"Because giving titbits is an easy and intense point of 
E14 143 short<?_>-<?/>term contact between dog and owner, many people begin 
E14 144 to make a habit of it."<quote/> If you must do it, he says, make it 
E14 145 something like a carrot stick.<p/>
E14 146 <p_>Slimmer of the Year is not an owners' contest. It's for vets, 
E14 147 and this year's winner, Ian McAllister, won a trip to the World 
E14 148 Small Animal Veterinary Association Congress in Vienna, in October. 
E14 149 Winning owner Carol Collidge received an automatic camera and a 
E14 150 year's supply of Hill's product best suited for her pet.<p/>
E14 151 <p_>Hill's winner was Sacha, a cat, who, being diabetic, was not 
E14 152 brought to the ceremony as the stress could have played havoc with 
E14 153 already touchy blood-sugar levels. And stressful it was, indeed, 
E14 154 what with such a lavish spread. All this talk of dieting certainly 
E14 155 rumbled a tummy or two. Lucky stood by bravely and behaved - 
E14 156 looking, but not drooling.<p/>
E14 157 <p_>Other dogs to do well included Jack, a formerly huge Labrador, 
E14 158 and Bullseye, a Jack Russell who managed to halve his weight.<p/>
E14 159 <p_>Jack weighed 48kg, was grumpy and very lethargic. Post-diet, he 
E14 160 was 16kg lighter, and neighbours thought it was another dog. His 
E14 161 arthritis has eased and his heart rate has slowed.<p/>
E14 162 <p_>Bullseye slept like Rip Van Winkle and ate like a horse. Now a 
E14 163 trim 6.8kg, he enjoys running along the backs of chairs.<p/>
E14 164 <p_>Meanwhile, Lucky misses her choc drops, but is happier to enjoy 
E14 165 what appears to be a second puppyhood instead. She dashes about, 
E14 166 and is curious and keen on her walks with Len. Apart from that, she 
E14 167 no longer impersonates a throw rug.<p/>
E14 168 
E14 169 <h_><p_>Quick Bites<p/>
E14 170 <p_>by David Appleby<p/>
E14 171 <p_>FEEDING RITUALS<p/><h/>
E14 172 <p_>Today somewhere in the Arctic Tundra the breath of a wolf pack 
E14 173 will be billowing like smoke in the near frozen air, half held as 
E14 174 they stealthily approach their prey, their eyes searching for clues 
E14 175 that will tell them which of the Musk Oxen is the easiest to catch 
E14 176 - a limp, or signs of lethargy will give the game away. In a final 
E14 177 rush the wolves will stampede the herd and, if lucky, they will 
E14 178 succeed in bringing down the food they need to survive.<p/>
E14 179 <p_>If what has gone before would leave an observer perhaps 
E14 180 slightly revolted but spellbound, what comes next has the 
E14 181 fascination of some ancient ritual.<p/>
E14 182 <p_>The dominant male and female take over the carcass and defend 
E14 183 it from the rest of the pack. Body language plays an important role 
E14 184 in preventing actual aggression. The pack slink submissively around 
E14 185 the carcass until the dominant pair have had their fill. <p/>
E14 186 <p_>Meanwhile, at home Jason keeps on barking at the cupboard where 
E14 187 the food is kept because it is time to be fed. Co-operatively Mum 
E14 188 opens a tin, placing it and some mixer in a bowl and puts it down 
E14 189 for him.<p/>
E14 190 <p_>As he finishes he settles on his bed and she serves up the 
E14 191 family's meal. Jason sleeps, content in the knowledge that he's 
E14 192 'boss around here'. After all, he knows the importance of who eats 
E14 193 first, even if his owners don't.<p/>
E14 194 
E14 195 <h_><p_>The joy of sitting<p/>
E14 196 'Sit!' - Not only the best place to begin, but also the most useful 
E14 197 of commands for every sit-uation<p/>
E14 198 <p_>BY DR: IAN DUNBAR & DR MICHAEL STRONG<h/>
E14 199 <p_>Over the years, dogs have been trained to perform an 
E14 200 astonishing variety of acts. Some will readily fetch objects like 
E14 201 dead birds or the <tf_>Daily Mail<tf/> without eating them. Others 
E14 202 will roll over and 'die for the Queen', sniff out drugs, catch a 
E14 203 flying frisbee, leap through a firey hoop, rescue a lost child, or 
E14 204 salivate at the sound of a bell. But of all the things that dogs 
E14 205 have been trained to do, the sweetest, most important, and 
E14 206 certainly the most useful is also the most commonplace: to sit.<p/>
E14 207 <p_>Of course, dogs will sit of their own free will, and that is 
E14 208 part of the beauty of it. 'Sit' is usually the first, and sometimes 
E14 209 the only command an owner successfully teaches his or her young 
E14 210 puppy. There is a good reason for this. After a few times of being 
E14 211 rewarded for sitting when it was going to sit anyway, a puppy will 
E14 212 readily do so more often and especially, whenever its owner issues 
E14 213 the order.<p/>
E14 214 <p_>All other commands are more difficult, and owners often lose 
E14 215 interest or patience at this point, and give up.
E14 216 
E15   1 <#FLOB:E15\><h_><p_>PRINCE OF PAIN<p/><h/>
E15   2 <p_>IN THE adjacent blank space we intended to reproduce a 
E15   3 photograph of Prince Charles ill-treating his polo pony. The 
E15   4 campaigning Sunday Mirror had shown the full colour picture to the 
E15   5 League Against Cruel Sports and RSPCA before publishing it under 
E15   6 the headline 'Rein of Terror'. It showed Prince Charles, teeth 
E15   7 gritted, brutally wrenching the head of the pony back over its 
E15   8 shoulders as he tried to force the animal to come to a shuddering 
E15   9 halt and change direction to chase a polo ball. The pony was 
E15  10 lathered with white sweat and its eyes were rolling as the Prince 
E15  11 tried to use its sensitive mouth like a stock-car racing driver 
E15  12 uses a steering wheel.<p/>
E15  13 <p_>We felt that in view of Prince Charles' love of killing wild 
E15  14 animals and birds, it was right to further expose the fact that his 
E15  15 callousness extends towards domestic animals too. We contacted the 
E15  16 Sunday Mirror who passed us on to the free-lance photographer who 
E15  17 captured the Prince's shame. He reluctantly declined to give us 
E15  18 permission to reproduce the picture and of course we must respect 
E15  19 his wishes. But it was clear from his telephone conversation that 
E15  20 the Sunday Mirror's exposure of the royal cruelty had seriously 
E15  21 rebounded on him and that any further exposure of the picture might 
E15  22 have an affect<&|>sic! on his professional career. In short, although he 
E15  23 did not use such words, he had been 'leaned on.'<p/>
E15  24 <p_>Other animal experts were shocked by the picture - one vet 
E15  25 making the understatement, <quote_>"There appears to be excessive 
E15  26 use of the reins."<quote/> The Sunday Mirror reported the following 
E15  27 week that thousands of readers had responded to a phone-in poll - 
E15  28 voting by 12 to 1 in favour of the Prince giving up the 'sport'.<p/>
E15  29 <p_>Following the story many Sunday Mirror readers contacted the 
E15  30 League to protest at the Prince's abuse of his pony - one 
E15  31 experienced horse-woman writing, <quote_>"If I rode in a gag, 
E15  32 standing martingale, cavesson noseband, drop noseband and used the 
E15  33 horse's mouth as a handbrake, I would hate to imagine what other 
E15  34 riders would think."<quote/> She went on to state that she had 
E15  35 watched polo and that <quote_>"all too often spur marks are in 
E15  36 evidence after a match"<quote/> and that it was about time the 
E15  37 sport was investigated in detail.<p/>
E15  38 <p_>It is clear that the photographer merely captured a moment of 
E15  39 abuse which many polo ponies suffer. It is also clear that despite 
E15  40 the fact that the royal family have not constitutional rights, 
E15  41 someone at the palace still wields enough clout to put the 
E15  42 frighteners on any individual who crosses them!<p/>
E15  43 
E15  44 <h_><p_>League calls for the abolition of falconry<p/>
E15  45 <p_>Expert's report highlights abuses<p/><h/>
E15  46 <p_>THE LEAGUE AGAINST CRUEL SPORTS has called for the ancient 
E15  47 bloodsport of falconry to be outlawed following publication of a 
E15  48 report commissioned by the League and written by former Senior 
E15  49 Investigations Officer of the Royal Society for the Protection of 
E15  50 Birds, Peter Robinson.<p/>
E15  51 <p_>The twenty-five page report reveals that falconry is Britain's 
E15  52 fastest growing bloodsport. Although not all keepers of birds of 
E15  53 prey fly their birds to kill other birds and animals, there are, 
E15  54 according to Government figures, some 10,000 people registered as 
E15  55 keeping 13,000 daylight hunting (diurnal) birds of prey. This 
E15  56 figure does not include owls and vultures. Peter Robinson points 
E15  57 out that falconry is probably illegal under the 1979 European 
E15  58 Directive on the Conservation of Wild Birds which prohibits keeping 
E15  59 and trading in wild birds and which gives no express authority for 
E15  60 participation in falconry. The Directive does not allow derogations 
E15  61 by EC member states but in such cases imposes strict rules such as 
E15  62 insisting on reports of numbers of birds of prey involved in trade. 
E15  63 According to the report the UK Government is failing to abide by 
E15  64 such rules.<p/>
E15  65 <p_>The report also highlights the fact that the popularity and 
E15  66 lack of Government control of falconry and the trade in birds, is 
E15  67 responsible for the continuing theft of eggs and chicks from the 
E15  68 nests of British rare birds of prey (raptors) and the smuggling, 
E15  69 both in and out of the country, of wild-bred birds of prey. The 
E15  70 author claims that some of these stolen or smuggled birds are 
E15  71 finding their way into the DoE's Bird of Prey Registration 
E15  72 Scheme.<p/>
E15  73 <p_>A major area of concern is the Department of the Environment's 
E15  74 handling of the bird registration procedure. Some licences are 
E15  75 given without the birds bearing identification markers whilst most 
E15  76 birds of prey breeders receive their markers for their birds 
E15  77 through the post without any DoE inspection.<p/>
E15  78 <p_>Despite a general prohibition on the sale of wild birds, a 
E15  79 minimum of 3,735 live birds of prey and owls were sold openly 
E15  80 between the years 1980 and 1987 at a combined value of 
E15  81 <}_><-|>amost<+|>almost<}/> pounds700,000. This was made possible 
E15  82 by open general licences as well as some specific licences, issued 
E15  83 by the DoE.<p/>
E15  84 <p_>Peter Robinson is highly critical of the Department of the 
E15  85 Environment's administration of the Bird of Prey Registration 
E15  86 Scheme - the first of his thirteen 'Recommendations' being a call 
E15  87 for <quote_>"an immediate full and public review"<quote/> of the 
E15  88 DoE's handling of the Scheme.<p/>
E15  89 <p_>Another worrying aspect of keeping falcons is the welfare of 
E15  90 captive birds, transported in vans around the country, to be 
E15  91 tethered to posts all day at country shows and game fairs. Peter 
E15  92 Robinson says that many members of the public are offended by such 
E15  93 sights. He says that the birds are often ill at ease in the 
E15  94 proximity of crowds of people. He reports that at some flying 
E15  95 displays at country shows the birds attempt to fly from the 
E15  96 handler's fist, and hang upside down by the jesses (leather thongs) 
E15  97 trashing their wings wildly. The report also tells of cases of 
E15  98 cruelty where illegally held birds have been found restrained 
E15  99 inside socks, bound with tape, shut in dark cupboards, poorly fed, 
E15 100 suffering from wounds and even dying.<p/>
E15 101 <p_>Peter Robinson's report also exposes the little known fact, 
E15 102 that the Government issues permits to falconers to use their birds 
E15 103 to kill otherwise totally protected birds such as thrushes, 
E15 104 blackbirds, meadow pipits, redwings and even skylarks - all in the 
E15 105 name of sport. In 1988 for instance 46 licences were granted for 
E15 106 the killing of 1,773 protected birds from the following species; 
E15 107 Blackbird, Song Trush, Black-headed Gull, Fieldfare, Redwing, 
E15 108 Meadow Pipit, Mistle Trush and Skylark. The falconers are required 
E15 109 to send back returns on how many actual birds they have killed but 
E15 110 there is no way of checking the veracity of the figures returned by 
E15 111 falconers. Licences were issued for the killing with falcons of 
E15 112 1,773 protected birds in the single year of 1988, and yet the 
E15 113 falconers themselves claimed they only killed 1,290 such birds in 
E15 114 four years!<p/>
E15 115 <p_>As well as British and European Members of Parliament, the 
E15 116 League has sent the Report to the European Commission itself 
E15 117 requesting an investigation and if necessary as prosecution of the 
E15 118 UK over its failure to comply with the EC Birds Directive.<p/>
E15 119 
E15 120 <h_><p_>WEST SUSSEX BANS WILDFOWLING<p/>
E15 121 <p_>by Simon Wild,<p/>
E15 122 <p_>Bognor and Chichester Action for Animals<p/><h/>
E15 123 <p_>CONSERVATIVE CONTROLLED West Sussex County Council has banned 
E15 124 wildfowling at Pagham Habour, a 700 acre local nature reserve in 
E15 125 West Sussex.<p/>
E15 126 <p_>In one of the closest votes ever, councillors voted by 30 to 28 
E15 127 not to renew the wildfowlers' lease, which was the successful 
E15 128 culmination of a four year campaign by Bognor and Chichester Action 
E15 129 for Animals to stop the shooting.<p/>
E15 130 <p_>The decision is a big blow for the British Association for 
E15 131 Shooting and Conservation which campaigned hard to assist the 60 
E15 132 member Pagham and West Sussex Wildfowling and Conservation 
E15 133 Association, who have shot over the harbour since their association 
E15 134 was formed in 1951. B.A.S.C. magazine <tf_>Shooting Times<tf/> 
E15 135 described the decision as, <quote_>"Casting a black shadow over the 
E15 136 future of wildfowling in Britain."<quote/> And at the B.A.S.C. 
E15 137 wildfowling conference held in Chester in August, the 'key issue' 
E15 138 was the <quote_>"public image of wildfowling in the light of West 
E15 139 Sussex County Council's decision to ban wildfowling at Pagham 
E15 140 Harbour."<quote/><p/>
E15 141 <p_>The move to get wildfowling banned began in Oct. 87, and was 
E15 142 spurred on by Gosport borough council's decision in 1986 not to 
E15 143 renew a shooting lease wildfowlers had at the Wildgrounds nature 
E15 144 reserve in Gosport, Hants. We began with a leaflet and petition 
E15 145 campaign in advance of the wildfowlers' lease, which was up for 
E15 146 renewal in June 88 and every effort was made to get maximum 
E15 147 publicity; a <tf_>Shooting Times<tf/> columnist stated at the time, 
E15 148 <quote_>"On the whole the press relished the opportunity to 
E15 149 publicize opposition to shooting."<quote/><p/>
E15 150 <p_>We are aware that wildfowl are being poisoned nationally as a 
E15 151 result of wildfowlers' spent shot, and the League Against Cruel 
E15 152 Sports kindly gave financial assistance to have the mud at Pagham 
E15 153 Habour analysed for spent shot by Portsmouth Polytechnic. However, 
E15 154 difficulties in knowing where the shot was landing proved a problem 
E15 155 as the scientists were unsure of where best to take intensive core 
E15 156 samples; and the random samples they did take failed to show 
E15 157 sufficient spent shot for us to make use of the results. More 
E15 158 intensive sampling was recommended, but we felt the very high cost 
E15 159 of this did not merit further sampling.<p/>
E15 160 <p_>Our petition and letter writing campaign soon had an effect, 
E15 161 and the county council's Director of Property made a recommendation 
E15 162 that was accepted by the nature reserve's advisory committee that, 
E15 163 <quote_>"Shooting should be allowed for three years with no 
E15 164 commitment to a further renewal."<quote/> Ostensibly this was to 
E15 165 allow councillors to react to the outcome of the shooting 
E15 166 disturbance project being coordinated by the Wildfowl and Wetlands 
E15 167 Trust which was due out in 1991; although it was clear the writing 
E15 168 was on the wall for wildfowlers should councillors accept the 
E15 169 recommendations.<p/>
E15 170 <p_>The B.A.S.C. mounted a counter campaign opposing the 
E15 171 recommendations and shooting people sent in over 140 letters to the 
E15 172 Coast and Countryside Committee begging councillors not to reduce 
E15 173 the lease. We intensified our campaign and engaged actress 
E15 174 Alexandre Bastedo to hand over our 5300 signature petitions on the 
E15 175 steps of county hall and in front of press and T.V. This extra 
E15 176 effort must have had an effect because the vote to reduce the lease 
E15 177 was carried on the casting vote of the Chairman of the Committee, 
E15 178 who had previously been strongly defending wildfowling.<p/>
E15 179 <p_>During the last three years we changed our public campaign 
E15 180 image so that we were known as the Campaign for a Real Nature 
E15 181 Reserve. We tailor made leaflets for the local council elections 
E15 182 and engaged in petition collecting in areas close to Pagham Habour, 
E15 183 as well as a letter writing campaign to the press and county 
E15 184 council.<p/>
E15 185 <p_>Early in our campaign we had received assistance from one or 
E15 186 two prominent members of an important voluntary group called the 
E15 187 Friends of Pagham Harbour, although as a group the 'Friends' had 
E15 188 been neutral on the wildfowling issue. However this year they held 
E15 189 a referendum on wildfowling and came out strongly against the 
E15 190 shooting; they were also able to show they could warden the harbour 
E15 191 against poaching should wildfowling be banned. This strengthened 
E15 192 our hand considerably and the harbour's advisory committee 
E15 193 recommended wildfowling be banned. This was accepted by 7 votes to 
E15 194 4 by the coast and countryside committee of the county council. 
E15 195 Normally the committee's decision would be rubber stamped by the 
E15 196 full council, but they voted by 27 to 25 to refer the matter back 
E15 197 to the committee with a recommendation to renew the lease.<p/>
E15 198 <p_>The whole thing was becoming as one county councillor described 
E15 199 it: <quote_>"The most controversial issue to come before the county 
E15 200 council in recent years."<quote/> B.B.C. Countryfile devoted half 
E15 201 their programme to the attempts to ban wildfowling at Pagham 
E15 202 Harbour, and whether this had any effect or not I don't know, but 
E15 203 committee councillors when reconsidering, strengthened their 
E15 204 position by voting 12 to 4 against renewing the lease. This then 
E15 205 went back to the full council who voted 30 to 28 against, finally 
E15 206 banning wildfowling.<p/>
E15 207 <p_>Nearly 5000 ducks of nine different species and a few dozen 
E15 208 geese have been shot at Pagham Harbour in the last ten years alone.
E15 209 
E16   1 <#FLOB:E16\><h_><p_>COASTAL ANCHORAGES<p/>
E16   2 <p_>HARTY FERRY<p/>
E16   3 <p_>Harty Ferry is one of the few remaining places on the East 
E16   4 Coast that can still offer real peace and quiet, as JACK COOTE 
E16   5 discovered<p/><h/>
E16   6 <p_>Frank Cowper, in the second volume of his <tf_>Sailing 
E16   7 Tours<tf/>, tells us that <quote_>"the Swale used to be far more 
E16   8 important, being part of the highway to the Thames. When vessels 
E16   9 could sail through the Wantsum, between Thanet and Kent, they 
E16  10 avoided the Thames Estuary, and passed up a series of straits to 
E16  11 the Thames, opposite Canvey Island."<quote/><p/>
E16  12 <p_>Today, most yachts on the Swale are gathered either near 
E16  13 Queenborough, at its western end, or at Harty Ferry, to the east. 
E16  14 Despite its convenience, few people would describe Queenborough as 
E16  15 attractive, whereas Harty Ferry is one of the few remaining places 
E16  16 on the East Coast that can still offer real peace and quiet. It is 
E16  17 also a very useful spot in which to await a tide or shelter from 
E16  18 bad weather, provided it is not coming from the east or 
E16  19 north-east.<p/>
E16  20 <p_>Since the ferry no longer operates, very few people visit this 
E16  21 isolated and sparsely populated part of the island, and yachtsmen 
E16  22 have it pretty much to themselves.<p/>
E16  23 <p_>Harty is not even a village as such and there are really only 
E16  24 two buildings to visit. The first to be reached after landing is 
E16  25 the Ferry Inn, whence a fine view over the anchorage can be enjoyed 
E16  26 while pausing for refreshment. Then, no more than a mile away to 
E16  27 the east is the church of St Thomas, next to Sayes Court Farm. This 
E16  28 tiny church is one of the oldest in the country, probably dating 
E16  29 back to the Norman Conquest. There is a famous early 15th century 
E16  30 chest in the chapel bearing a carved scene of two jousters in 
E16  31 action. It is said that the chest, which has been stolen and 
E16  32 recovered, was originally found floating down the Swale before 
E16  33 being saved by a beachcomber.<p/>
E16  34 <p_>The quiet is so intense inside this remote building that 
E16  35 someone has been prompted to leave a notice reading . 
E16  36 <quote_>"Stand and listen to the silence."<quote/><p/>
E16  37 <p_>There are no facilities on the south shore, except an emergency 
E16  38 telephone near the top of the ferry hard and a freshwater spring. 
E16  39 The surprising thing about the spring is that its water is quite 
E16  40 untainted, despite its close proximity to the salt water of the 
E16  41 Swale.<p/>
E16  42 <p_>For services and stores it is a walk of rather more than a mile 
E16  43 to the village of Oare.<p/>
E16  44 <h_><p_>Hazards and marks<p/><h/>
E16  45 <p_>As with almost any anchorage in the Thames Estuary, the 
E16  46 principal hazards are surrounding shoals. Whether approaching Harty 
E16  47 Ferry from the west, along the north side of the island of Sheppey, 
E16  48 from the Essex shore or from the east, via the Overland Passage, 
E16  49 there are few landmarks, apart from the tall granary building near 
E16  50 the quay at Whitstable and the small group of houses on Shell 
E16  51 Ness.<p/>
E16  52 <p_>There are two shoals to avoid at the East Swale entrance; the 
E16  53 Columbine Spit, extending for two miles to the north-east of Shell 
E16  54 Ness, and the Polard Spit, extending for a similar distance off the 
E16  55 Whitstable shore. <p/>
E16  56 <p_>When approaching the anchorage itself, care must be taken to 
E16  57 keep off the Horse Shoal, which reaches out half a mile from the 
E16  58 north shore with its western end almost abreast the ferry 
E16  59 landing.<p/>
E16  60 <h|>Anchoring
E16  61 <p_>Anchor just to the west of the ferry landing on the north shore 
E16  62 in a spot that will leave you 2-3m and be out of the strongest flow 
E16  63 of tide. Shallow draught craft may be able to find enough water 
E16  64 between the Horse Sand and the shore, just east of the landing.<p/>
E16  65 <p_>The bottom hereabouts is a mixture of sand and mud that 
E16  66 provides good holding.<p/>
E16  67 <h|>Tides
E16  68 <p_>Swale tides must be taken seriously. At times they run very 
E16  69 strongly, reaching 3.5 knots during the early flood or ebb at 
E16  70 springs. As might be expected of a watercourse with two entrances, 
E16  71 the behaviour of the tides in some parts of the East and West Swale 
E16  72 is complex, the point of division moving as the tide rises or 
E16  73 falls. However, off Harty the streams behave normally in relation 
E16  74 to High and Low Water.<p/>
E16  75 <h_><p_>Winds and swell<p/><h/>
E16  76 <p_>The Harty anchorage is well protected, except in strong winds 
E16  77 from the east or north-east, when wind over tide conditions can 
E16  78 make things very uncomfortable and dinghy work inadvisable or even 
E16  79 dangerous. It can also be bumpy with westerly winds over tide.<p/>
E16  80 <h|>Approach
E16  81 <p_>In order to clear the outlying shoals, it is necessary to 
E16  82 commence an entrance to the East Swale from the Columbine Spit buoy 
E16  83 (Con G) situated 2 1/2 miles NNW of Whitstable and about a mile to 
E16  84 the west of Whitstable Street buoy (N Card VQ). An entrance gate is 
E16  85 formed by two buoys; the Ham Gat (Con G) marking the eastern edge 
E16  86 of the Columbine Spit and the Pollard Spit buoy (Can R QR) off the 
E16  87 end of that spit. From this position it will be difficult for the 
E16  88 newcomer to make anything of the entrance, except that a course of 
E16  89 230<*_>degree<*/>M will take him close to Shell Ness before leading 
E16  90 to the Sand End buoy (Con G FIG 5s).<p/>
E16  91 <p_>Although narrow, there is plenty of water in the channel; as 
E16  92 much as 7m, compared with only 2m out near the Columbine buoy.<p/>
E16  93 <p_>It will usually be possible to see the next pair of buoys from 
E16  94 abreast the Sand End, but they should not be approached directly; 
E16  95 instead the same course should be held until a buoy marking the 
E16  96 Horse Shoal (Con G) bears about 260<*_>degree<*/>M. After that, 
E16  97 course can be changed to pass between that buoy and the north 
E16  98 cardinal buoy off Faversham Spit.<p/>
E16  99 <p_>The line of moorings off the south shore and the hard on the 
E16 100 north shore will now be in sight.<p/>
E16 101 <h|>Leaving
E16 102 <p_>The best time to leave the anchorage will depend upon whether 
E16 103 you are bound west into the Thames, north over to the Essex shore, 
E16 104 or east along the Kent coast to the North Foreland.<p/>
E16 105 <p_>It is High Water at Harty Ferry 1 1/2 hours after Dover. When 
E16 106 bound westward, the last hour or two of an ebb should be taken so 
E16 107 as to be clear of the off-lying shoals before the flood starts into 
E16 108 the river. If the wind happens to be fresh from the north-east, be 
E16 109 prepared for a bumpy five miles or so. When bound to the north or 
E16 110 east, a start can be made on the first of the ebb, remembering not 
E16 111 to cut corners while passing through the Gore Channel on the 
E16 112 falling tide.<p/>
E16 113 <h_><p_>If anchorage is untenable<p/><h/>
E16 114 <p_>In strong easterly or northeasterly winds a nasty sea builds up 
E16 115 at Harty Ferry and during a spring ebb it may prove impossible to 
E16 116 get out into the Thames Estuary. Under such conditions it will be 
E16 117 best to move a couple of miles to the west into the protection of 
E16 118 South Deep, between Fowley Island and the mainland shore just east 
E16 119 of Conyer Creek.<p/>
E16 120 <p_>The entrance to South Deep is close south of an unlit east 
E16 121 cardinal buoy and the run of the channel will be seen from the 
E16 122 moorings. If bad weather persists and it becomes necessary to leave 
E16 123 the yacht, a mooring and a rail connection could be found at 
E16 124 Queenborough, about eight miles away at the other end of the 
E16 125 Swale.<p/>
E16 126 
E16 127 <h_><p_>ONE MAN AND HIS BOAT<p/><h/>
E16 128 <p_>If there's living proof that sailing keeps you young in mind 
E16 129 and body, it comes in the form of octogenarian Harold Hone. The 
E16 130 maxim might equally apply to his boat, <tf|>Wren, a comparatively 
E16 131 youthful Deben 4-Tonner built in 1947. Together, they have cruised 
E16 132 the waters of the Solent for thirty-three seasons.<p/>
E16 133 <p_>Harold and his wife Rita were weekend refugees from London when 
E16 134 they first began sailing out of Lymington in 1948. After working 
E16 135 12-hour days at their East End furniture factory during the week, 
E16 136 they found peace from the stresses of business life by exploring 
E16 137 the creeks and harbours of the Solent in their first boat, a 2 
E16 138 1/2-tonner. Even to<?_>-<?/>day, long retired and now living in 
E16 139 Lymington, they know no greater pleasure than a sunny day's sailing 
E16 140 on their beloved Solent.<p/>
E16 141 <p_><tf|>Wren came into their lives in 1958, when the Hones, tiring 
E16 142 of the cramped accommodation of their 2 1/2-tonner, decided that a 
E16 143 boat with standing headroom and a little more interior space would 
E16 144 be a good thing to have.<p/>
E16 145 <p_>The search for the right boat, constrained by their budget of 
E16 146 pounds1,000, occupied most of a pleasant summer. After visiting 
E16 147 almost every yard on the South and East Coasts, claims Harold, they 
E16 148 found <tf|>Wren at Sparkes Boatyard on Hayling Island. Compact, at 
E16 149 22ft overall and 19ft on the waterline, and with a shoal draught of 
E16 150 3ft 6in, she was perfect . and the standing headroom under the 
E16 151 doghouse was the deciding factor. Harold recalls the bitter 
E16 152 disappointment the couple felt when they learned that the boat had 
E16 153 been sold, for pounds800, only an hour before they first set eyes 
E16 154 on her.<p/>
E16 155 <p_>Three weeks later, still no closer to finding a boat, Harold 
E16 156 heard from the yard that <tf|>Wren was back on the market. The 
E16 157 following weekend, the boat was theirs for pounds720, and 
E16 158 <tf|>Wren's interesting history began to unfold. She was one of a 
E16 159 long line . sixty-four all told . built to a design by W M Blake at 
E16 160 Whisstocks in Woodbridge, Suffolk. The first of these was built in 
E16 161 1931, and the last in 1955; <tf|>Wren was one of the early post-war 
E16 162 boats. Her first owner, Percy Woodcock, was a regular contributor 
E16 163 to <tf_>Yachting Monthly<tf/>, and in the January 1948 issue he 
E16 164 told how he came to buy her. Woodcock had definite ideas, having 
E16 165 had most of the war to contemplate his ideal 4-tonner, which would 
E16 166 be used <quote_>"mainly as a day-boat, but with enough 
E16 167 accommodation for a few nights on board when I feel like 
E16 168 it".<quote/><p/>
E16 169 <p_>This was certainly achieved. With only 7ft of beam <tf|>Wren is 
E16 170 on the compact side throughout, yet her accommodation is 
E16 171 comfortable and inviting. There is standing headroom under the 
E16 172 doghouse by the split galley, with a gimballed two-burner stove 
E16 173 facing the sink and small locker space across the companionway.<p/>
E16 174 <p_>At some stage before the Hones bought her, <tf|>Wren was fitted 
E16 175 with the doghouse which transformed both the appearance of the boat 
E16 176 and her accommodation. In her original form she would have been a 
E16 177 bit cramped, though Woodcock professed himself well pleased with 
E16 178 the raised decks. <quote_>"There is full sitting headroom over the 
E16 179 whole of the seats, and one can lean back with no neck bending to 
E16 180 avoid a crack on the head from the coamings"<quote/>, he wrote. 
E16 181 Now, two people can stand under the well finished doghouse, which 
E16 182 also lets in considerably more light. With the removable table in 
E16 183 place below decks, the snug saloon seats four adults 
E16 184 comfortably.<p/>
E16 185 <p_>Harold's first voyage in <tf|>Wren, the delivery from 
E16 186 Chichester to Lymington, was a rude introduction to a new boat. He 
E16 187 and a friend met a westerly Force 6, gusting 8, while trying to 
E16 188 stem the Solent tide. The Stuart Turner petrol engine packed up, 
E16 189 and only after hours of beating into the chop did the drenched duo 
E16 190 limp into Lymington.<p/>
E16 191 <p_><quote_>"I learnt that day that the boat could take it if I 
E16 192 could. Next morning we took my wife for a sail and we met the ferry 
E16 193 coming up the river at low tide, with no place to go except on the 
E16 194 mud. I asked my friend what a good yachtsman would do in that 
E16 195 position, and he replied that a good yachtsman wouldn't be in that 
E16 196 position.<p/>
E16 197 <p_>'So I learned two lessons, and in 33 years of sailing <tf|>Wren 
E16 198 I have never forgotten them."<quote/><p/>
E16 199 <p_>While Percy Woodcock was forever popping across the Channel in 
E16 200 <tf|>Wren, the borders of the Hones' cruising grounds were defined 
E16 201 by Chichester and Swanage. They would arrive on Friday night, 
E16 202 exhausted from the week's graft, and sail across to the Isle of 
E16 203 Wight, where their favourite anchorage was, and still is, Newtown.
E16 204 
E17   1 <#FLOB:E17\><h_><p_>MUDDY FOX<p/>
E17   2 <p_>SORCERER MEGA<p/>
E17   3 <p_>Call a bike a Sorcerer and what do you get - 'Hubble, bubble, 
E17   4 toil and trouble' or a potent off-road brew? Test: Trevor Rankin. 
E17   5 Photography: Dave Smith.<p/><h/>
E17   6 <p_>When I started mountain biking the choice of machine was more 
E17   7 or less limited to either a Muddy Fox or a Specialized. Since then 
E17   8 both the market and choice have grown enormously, and being trendy 
E17   9 dictated that good old Muddy Fox Couriers were no longer seen as 
E17  10 being the best MTBs around. <quote_>"You're not testing a Muddy Fox 
E17  11 are you?"<quote/> has been a common cry this month. Well I'm sorry 
E17  12 trendies, but the Sorcerer Mega is a very attractive bike, and at 
E17  13 pounds499 has many good features to offer.<p/>
E17  14 <p_>The off-road scene is full of hype, catchy names for pretty 
E17  15 ordinary components, wading through the jargon takes a strong head. 
E17  16 So what are the Sorcerer's main features? Outer butted, cuboid, 
E17  17 ovalised, cro-mo mega tubing, with SLR, HG, STI, SIS, SG 
E17  18 components. See what I mean?<p/>
E17  19 <p_>The frame is unique in that the tubing changes from a round to 
E17  20 square cross-section where the top tube and down tube meet the head 
E17  21 tube, and at the down tube to bottom bracket joint. Muddy Fox call 
E17  22 it <quote|>"cuboid" tubing, I prefer to describe it as 
E17  23 <quote|>"squarecular". Anyway, the idea is that the square tubing 
E17  24 increases the frame's stiffness at these points.<p/>
E17  25 <p_>Another unusual feature is that the tubing is outer butted. 
E17  26 Normally the change in tubing thickness - butting - is invisible as 
E17  27 it occurs inside the tube while the outside diameter remains 
E17  28 constant. However the seat tube butting on the Sorcerer is plainly 
E17  29 visible. It may not really achieve anything in terms of 
E17  30 performance, but it does look 'different'.<p/>
E17  31 <p_>The rear triangle follows a wishbone design because - yes, 
E17  32 you've guessed it - stiffness is the aim. Finally, the seat tube is 
E17  33 ovalised at the bottom bracket, again to increase stiffness and 
E17  34 prevent loss of pedalling power. It takes a keen eye to detect the 
E17  35 ovalisation, I'm sure the advantage is minimal.<p/>
E17  36 <p_>The frame finish is an attractive deep metallic, blue-black 
E17  37 blotchy coat, a similar look to oil on water, which seems quite 
E17  38 durable. Little gold stickers on the main tubes ensure that you 
E17  39 don't forget all the frame's special tubing features and add to the 
E17  40 bike's <}_><-|>overal<+|>overall<}/> impressive appearance.<p/>
E17  41 <p_>Forks are of the beefy persuasion. Constant taper cro-mo forks, 
E17  42 <*_>a-acute<*/> la Tange 'Big Forks', are of good quality on a bike 
E17  43 at this price. There's nothing unusual about the frame geometry, 71 
E17  44 degree head angle, 73,5 degree seat angle, 22.28 inch sloping top 
E17  45 tube and 16.73 inch chainstays, all safe, sensible and functional, 
E17  46 except perhaps for the shortish top tube. The marked slope of the 
E17  47 top tube allows for the seat quick release to be mounted on the 
E17  48 front of the seat tube, well away from flying mud and water - a 
E17  49 nice touch.<p/>
E17  50 <p_>Shimano provide the cryptically initialled gear and brake 
E17  51 systems, all Deore LX (does 'Deore' actually mean anything?). 
E17  52 Cables run through slotted stops, with the rear brake cable routed 
E17  53 along the top of the top tube. Gear indexing was flawless. Internal 
E17  54 changes have been made to STI levers this year, so hopefully the LX 
E17  55 units on the Sorcerer will prove more durable than last year's LX 
E17  56 STI kit, which didn't handle sustained, regular off-road use all 
E17  57 that well. The gearing matches 24/36/46 chainrings to a 13-30 
E17  58 cassette cluster, low enough for climbing trees and high enough to 
E17  59 scare yourself on a downhill.<p/>
E17  60 <p_>Full marks to Muddy Fox for a non<?_>-<?/>lycra covered saddle, 
E17  61 which has one very unusual feature - or 'feet'ure. It looks like 
E17  62 loads of furry little beasties have walked 
E17  63 <}_><-|>though<+|>through<}/> grey dye and left their footprints on 
E17  64 it, very distinctive, and comfortable to boot (or paw rather). The 
E17  65 narrow design wasn't appreciated by women MTBers who tried it, 
E17  66 though a good dealer should change a saddle to suit a purchaser's 
E17  67 bum needs.<p/>
E17  68 <p_>This record of British wildlife is clamped to a black Kalloy 
E17  69 300mm seat post. The stem on the test bike was a 135mm internal 
E17  70 roller type, which seemed OK, but the design tends to put the cable 
E17  71 out of sight and out of mind in terms of maintenance. You can't 
E17  72 really see what sort of state your cable is in and it's easy to 
E17  73 overlook parts that can't be seen when it comes to 
E17  74 <}_><-|>talking<+|>taking<}/> care of MTBs. Taking this point up 
E17  75 with Muddy Fox, they told me that the stem has been changed to a 
E17  76 different design for production models and this potential minus 
E17  77 point is no longer a problem. But the handlebars are graced with 
E17  78 hard rubber grips, similar to some recently discovered on stone age 
E17  79 cave paintings, i.e. they're dated and uncomfortable.<p/>
E17  80 <p_>The wheel package consists of 36 hole Araya RX7 rims fondled by 
E17  81 Muddy Fox Grip Trax 2.0 tyres, more than adequate for off-road use. 
E17  82 The metal and resin Wellgo pedals were equipped with toe clips and 
E17  83 straps, something to be expected on this level of bike.<p/>
E17  84 <p_>Out on the trail the Sorcerer showed its stiff frame by 
E17  85 responding quickly to pedal pressure, bottom bracket flex was 
E17  86 undetectable - if you enjoy fast forest track and gravel pit 
E17  87 sprinting you'll enjoy the Sorcerer. Sluggish it isn't. On climbs 
E17  88 it performs well, the tyres are fairly good on most surfaces, and 
E17  89 you aren't too cramped in the cockpit.<p/>
E17  90 <p_>Slow technical riding is no problem, the bike feels lighter 
E17  91 than it is, and is easy to flick around. However when it comes to 
E17  92 high speed descending the Sorcerer casts a nasty spell on novices, 
E17  93 its high speed handling is as sharp as an expert would want. This 
E17  94 is most likely due to a combination of the shortish top tube, and 
E17  95 steep seat tube angle. A 22.28 inch top tube is not a lot on a 19 
E17  96 inch bike. Another half inch would help to cool it down a touch. As 
E17  97 it is though, it just feels unstable and very twitchy at high 
E17  98 speeds. Either exciting or scary, depending on your outlook on 
E17  99 life. Inexperienced riders should take care on the downhills.<p/>
E17 100 <p_>Overall, the Sorcerer Mega is an attractive machine which shows 
E17 101 that Muddy Fox are still turning out good bikes despite the 
E17 102 desertion of trendies to other makes. However, the potential of a 
E17 103 very good frame and component set is let down slightly by the frame 
E17 104 geometry. Its downhilling performance is a little bit on the lively 
E17 105 side for most riders let alone novices, unless they rarely venture 
E17 106 onto extreme off-road descents. Half an inch more top tube, that's 
E17 107 all it needs. As a city MTB its good sprinting and slow speed 
E17 108 flickability would be an asset for keeping one step ahead of the 
E17 109 traffic.<p/>
E17 110 
E17 111 <h_><p_>CROSS OVER<p/>
E17 112 <p_>As part of her preparations for the long, hot summer ahead, 
E17 113 this winter Deb Murrell kept racing - local cyclo<?_>-<?/>cross 
E17 114 events on her MTB<p/><h/>
E17 115 <p_>For the first time since I began mountain biking I supplemented 
E17 116 my winter training this year with the odd race or two. Not mountain 
E17 117 bike races, but cyclo-cross races.<p/>
E17 118 <p_>I am not sure how I came to the decision. Cyclo-cross has long 
E17 119 been a dirty word in some MTB circles, where it stands for boring, 
E17 120 lots of running, tons of mud and the development of a bike that 
E17 121 teeters precariously on the edge of being suitable for real 
E17 122 off-road riding.<p/>
E17 123 <p_>In part, the decision came from a realisation that most of the 
E17 124 top male mountain bikers in this country are very accomplished at 
E17 125 'cross - many riders devoting their winters to it. The other reason 
E17 126 for having a go was plain curiosity.<p/>
E17 127 <p_>I must admit I had a few prejudices - particularly about the 
E17 128 courses and the length of the races. But, quite simply my first 
E17 129 outing, at a race in Liverpool, was a shock.<p/>
E17 130 <p_>To say the pace off the start was fast is an understatement. It 
E17 131 is extremely easy to get caught napping on the line.<p/>
E17 132 <p_>The short, sharp nature of cyclo<?_>-<?/>cross courses doesn't 
E17 133 favour mountain bikes. With one, you are at an immediate 
E17 134 disadvantage, since 'cross bikes are often lighter and riders may 
E17 135 have a spare, clean bike just waiting to be picked up. However 
E17 136 mountain bikers can still gain a lot from a tough race in such 
E17 137 adverse conditions. I saw it as training, rode hard and had a good 
E17 138 time.<p/>
E17 139 <p_>As far as I can gather, there is a swing to more rideable 
E17 140 courses, but many still include some running and an almost 
E17 141 compulsory pile of logs to jump over. Many of the courses would be 
E17 142 practically one hundred percent rideable in dry conditions, but 
E17 143 unless there had been a heavy frost we were unlikely to find them 
E17 144 like that during the past winter.<p/>
E17 145 <p_>Most 'cross races use a circuit between one and two miles, 
E17 146 often in parks and rough ground in towns and cities. This means 
E17 147 that in the Seniors, Junior and Veterans race, which lasts an hour, 
E17 148 riders can complete anything between eight and thirteen laps. All 
E17 149 the cyclo-cross events in which I competed featured extremely 
E17 150 technical sections, certainly hard enough to keep any mountain 
E17 151 biker amused, and, because of this, they were an excellent way to 
E17 152 practise technical skills.<p/>
E17 153 <p_>The high number of laps gives plenty of time to experiment with 
E17 154 these sections, with loads of chances to try different approaches. 
E17 155 I was amazed how much I learned.<p/>
E17 156 <p_>In a race, it is highly likely you will get lapped and it soon 
E17 157 becomes difficult to tell who is where, as riders become spread out 
E17 158 all around the course. Getting lapped provides you with another 
E17 159 chance to learn. Watching the best riders carefully as they passed 
E17 160 me I sometimes found they took a line that had not occurred to 
E17 161 me.<p/>
E17 162 <p_>All the courses I rode were a varied mix of tricky descents, 
E17 163 steep climbs, awkward off-cambers and tight corners. Only if you 
E17 164 counted the laps did tedium set in.<p/>
E17 165 <p_>The technique was to think of each race in terms of time to go. 
E17 166 How long an hour can seem when you are riding hard, in tough 
E17 167 conditions in the middle of winter!<p/>
E17 168 <p_>Mentally, cyclo-cross is tiring. I found it difficult to find a 
E17 169 rhythm in the short laps. Add to that the speed of other riders, 
E17 170 the curt time-scale of the race and it becomes impossible to pace 
E17 171 yourself.<p/>
E17 172 <p_>By far the most rewarding way to ride was with a go-for-it 
E17 173 attitude. You thrash as hard as you can for the full hour. If you 
E17 174 blow up before the end then you know you have at least had a good 
E17 175 work out. If you don't, then you know your fitness is coming along 
E17 176 nicely.<p/>
E17 177 <p_>Next year, if you intend using 'cross either as training for 
E17 178 mountain bike racing in the summer, or just for fun, then do it on 
E17 179 your mountain bike. There is no need to pay extra money kitting out 
E17 180 a cyclo-cross bike since most race organisers are happy to see 
E17 181 mountain bikers race.<p/>
E17 182 <p_>If you can get hold of any decent 1.5" knobblies then use them. 
E17 183 The reason cyclo-crossers pick narrow tyres is to cut through the 
E17 184 mud. Fat mountain bike tyres possessed an amazing ability for 
E17 185 turning into mud balloons, slipping, sliding and adding half a ton 
E17 186 to the weight of the bike. A shoulder-pad for the bike was also 
E17 187 useful. Even if there was only one slope which forced riders to 
E17 188 carry their bikes, it could be repeated up to twelve times in the 
E17 189 course of a race.<p/>
E17 190 <p_>The mountain bike has some advantages in cyclo<?_>-<?/>cross, 
E17 191 particularly on descents, and in its durability. In the five races 
E17 192 I attended, there were nearly as many broken 'cross bike frames.<p/>
E17 193 <p_>Finally, I basked in the luxury of not needing to travel far 
E17 194 for a race. Cross events tend to be small-scale, local and with a 
E17 195 very relaxed atmosphere ... well, at least until the starter yells 
E17 196 <quote|>"Go!"<p/>
E17 197 <p_>Cyclo-cross is without doubt a completely different sport to 
E17 198 mountain biking. It is short, sharp, fast and - apart from the 
E17 199 National Trophy - quite low key.
E17 200 
E18   1 <#FLOB:E18\><h_><p_>Sparkman & Stephens<p/>
E18   2 <p_>Olin & Rod Stephens had a stronger influence on contemporary 
E18   3 yacht design than any other team. We look at S&S and their 
E18   4 achievements<p/>
E18   5 <p_>Geoff Pack<p/><h/>
E18   6 <p_>When, in 1929, the American father of two boat<?_>-<?/>loving 
E18   7 boys, Olin and Rod Jnr, both of whom had abandoned their college 
E18   8 careers, agreed to have built one of their yacht designs, he 
E18   9 couldn't have known that he was backing a team, Sparkman &Stephens, 
E18  10 which was to become the greatest influence in yacht design this 
E18  11 century.<p/>
E18  12 <p_>As he watched his slim new 52ft yawl <tf|>Dorade sliding into 
E18  13 the waters of City Island, New York, Rod Stephens Snr couldn't have 
E18  14 imagined that she would re-write the rules of yacht design, and be 
E18  15 the inspiration for new boats for a further three decades. The days 
E18  16 of ocean racing being dominated by souped up workboats such as 
E18  17 <tf_>Jolie Brise<tf/> and Alden's hefty <tf|>Malabar schooners were 
E18  18 over.<p/>
E18  19 <p_>Olin Stephens was one of the first designers to concentrate on 
E18  20 distributing weight to maximise performance, and although 
E18  21 <tf|>Dorade was disappointingly heavy (due to a surfeit of frames), 
E18  22 she was built with a lightweight interior. Another component of her 
E18  23 success was the fact that she rated well under both the RORC and 
E18  24 American CCA rules of the time.<p/>
E18  25 <p_><tf|>Dorade possessed the rare combination of being both 
E18  26 beautiful and radical. Twenty-year-old Olin had drawn the hull 
E18  27 using his recent experience of designing some 6-Metres. Rod had 
E18  28 been responsible for her deck layout, bermudian rig and the 
E18  29 supervision of her building in the Minneford Yacht Yard. She 
E18  30 entered the following year's Bermuda Race and was pipped at the 
E18  31 post when a badly calibrated sextant put them a shade too far est, 
E18  32 resulting in her coming second in her class, third overall.<p/>
E18  33 <p_>The following year, 1931, <tf|>Dorade entered the ten-boat 
E18  34 Transatlantic Race from Newport to Plymouth skippered by Olin. She 
E18  35 was the third smallest boat and arrived after 16 days, two days 
E18  36 ahead of the next competitor, and four days ahead on handicap. 
E18  37 Apart from their father (who was also paying the bills) she was 
E18  38 crewed by Rod and friends whose average age was just 22. She went 
E18  39 on to win that year's Fastnet Race before the crew returned home to 
E18  40 a ticker-tape parade up New York's Broadway.<p/>
E18  41 <p_>The partnership of Drake Sparkman, a New York yacht and 
E18  42 insurance broker and Olin Stephens was formed in 1928. Sparkman 
E18  43 quickly recognised the 19-year-old's brilliance and they 
E18  44 immediately started designing dayboats and 6-Metres. Sparkman 
E18  45 &Stephens was formally incorporated a year later and, in spite of 
E18  46 the Great Recession, kept very busy as word spread.<p/>
E18  47 <p_>After her success in 1931, <tf|>Dorade went on to win her class 
E18  48 in the Bermuda Race the following year. In 1933 she headed back 
E18  49 across the Atlantic, with Rod as skipper this time, to take on the 
E18  50 Brits in the Fastnet. She was away from New York for three months, 
E18  51 a period that took in a cruise through Norway (she was engineless) 
E18  52 before crossing the Fastnet Race start line in Cowes. She won, 
E18  53 again, and then headed back, along the Northern route, to New York, 
E18  54 arriving in 26 days.<p/>
E18  55 <p_>For his three-month, 8,000-mile cruise, Rod was awarded the 
E18  56 coveted Cruising Club of America Blue Water Medal. Nod bad for a 
E18  57 24-year-old who already had five Atlantic crossings under his 
E18  58 belt.<p/>
E18  59 <p_>Rod joined S&S full-time in 1933 as an associate designer and 
E18  60 chief inspector. One of his first projects was <tf_>Stormy 
E18  61 Weather<tf/>, the successor to <tf|>Dorade. Olin had always 
E18  62 believed that, at 10ft 3in, <tf|>Dorade was too narrow and 
E18  63 <tf_>Stormy Weather<tf/>, launched in 1934 for owner Philip Le 
E18  64 Boutillier, was drawn with 12ft 6in beam on a similar length. She 
E18  65 was faster and more powerful as a result. She won her first outing, 
E18  66 the 1935 Transatlantic Race (skippered by Rod), and then the 
E18  67 subsequent Fastnet before returning to New York.<p/>
E18  68 <p_><tf|>Dorade was sold in 1936, taken down through the Panama 
E18  69 Canal and up to California to compete in, and win, the Honolulu 
E18  70 Trans-Pacific Race of that year.<p/>
E18  71 <p_>Sparkman & Stephens's work was nothing if not varied in the 
E18  72 early days, their commissions including dayboats, <tf|>Conewago, 
E18  73 the 8-Metre Canada's Cup winner of 1932 and 1934, and the 61ft 
E18  74 schooner Brilliant (still working today as a training ship out of 
E18  75 Mystic Seaport, Connecticut).<p/>
E18  76 <p_>Olin Stephens's big break came in August 1936, when Henry 
E18  77 Vanderbilt 'phoned him and asked if he would collaborate with 
E18  78 Starling Burgess to design a defender for the 1937 America's Cup. 
E18  79 Although he was quoted as saying that <quote_>"the feel for the 
E18  80 reality of performance is rarely seduced by mere tank 
E18  81 statistics"<quote/>, Olin had gathered much skill in the use and 
E18  82 interpretation of tank testing. If the 137ft Ranger was an ugly 
E18  83 <}_><-|>ducking<+|>duckling<}/>, with a snub nose and long flat 
E18  84 sections (dictated by the tests), she was unbeatable. She defeated 
E18  85 all thirteen challenging American Js, trounced Stopwith's 
E18  86 <tf_>Endeavour II<tf/> 4-0 (with Olin on the helm half the time), 
E18  87 and finished her racing days having never lost one of her 
E18  88 thirty-seven matches.<p/>
E18  89 <p_>S&S went on to dominate the design of America's Cup boats until 
E18  90 Olin retired in the 1980s and the Cup was lost. With only one 
E18  91 exception they designed every successful defender between 1937 and 
E18  92 1980 (many of which Rod and Olin also crewed in).<p/>
E18  93 <p_>By the outbreak of war the S&S company had expanded to employ 
E18  94 forty to fifty people. Rod, against a tide of military opposition, 
E18  95 designed and campaigned the introduction of the DUKW amphibian. It 
E18  96 was eventually accepted after rescuing the crew of a grounded ship 
E18  97 in the height of a gale. By the end of the war 25,000 had been 
E18  98 built which, at General Patton's personal recommendation, earned 
E18  99 Rod America's most prestigious civilian award, the Medal of 
E18 100 Freedom.<p/>
E18 101 <p_>During the wartime years the S&S design office worked on 
E18 102 everything from pontoon bridges and submarines chasers (more than 
E18 103 400 were built) to mini-submarines, tugs and tankers.<p/>
E18 104 <p_>None of this commercial work interfered with their continuing 
E18 105 achievements in both cruising and racing yachts. By 1957, with 150 
E18 106 staff now on the payroll, Sparkman & Stephens were still firm 
E18 107 favourites in the racing field. In the 1956 Bermuda Race, for 
E18 108 example, with twenty-seven S&S designs entered, thirteen of the 
E18 109 twenty-one trophies (including the winner) went to their boats.<p/>
E18 110 <p_>One of the more notable designs of that period was 
E18 111 <tf|>Finisterre, a 38ft yawl commissioned by American Carleton 
E18 112 Mitchell. She was a tubby centreboarder intended more for 
E18 113 long<?_>-<?/>distance cruising than racing. Mitchell reckoned to 
E18 114 cruise 10 miles for every one he raced, and said, <quote_>"Never 
E18 115 once during the design discussions with Olin was the rule 
E18 116 considered."<quote/><p/>
E18 117 <p_>One could argue that those were the days when a cruising boat 
E18 118 could win races, or that Mitchell was well endowed with both skill 
E18 119 and good luck. Indisputable is the fact that <tf|>Finisterre won 
E18 120 three consecutive Bermuda Races in 1956, 1958 and 1960.<p/>
E18 121 <p_>It was during the 1960s and 70s that S&S reached their height 
E18 122 of popularity and success. Although other designers, including 
E18 123 Carter and Giles, were using the new fin and skeg configuration, 
E18 124 S&S designs like <tf|>Roundabout and <tf|>Clarion consigned the 
E18 125 long keel and attached rudder to oblivion. Although <tf|>Dorade had 
E18 126 been such a strong influence until this time, the growing trust in 
E18 127 the fin and skeg arrangement (Herreshoff had used it in the last 
E18 128 century, but no one believed it safe for offshore work) allowed 
E18 129 yacht design to take a completely new avenue.<p/>
E18 130 <p_>This was a period of great change in yachting, with the 
E18 131 introduction of vastly improved materials for the building and 
E18 132 equipping of yachts. In the racing field, S&S rode the crest of the 
E18 133 wave and numbered the top yachtsmen, from both sides of the 
E18 134 Atlantic, as their clients. The likes of Arthur Slater coming back 
E18 135 for a succession of five <tf_>Prospect of Whitbys<tf/>, and Edward 
E18 136 Heath's four <tf_>Morning Clouds<tf/> did the S&S reputation no 
E18 137 harm.<p/>
E18 138 <p_>Genuine production-built yachts were also coming on the scene 
E18 139 and comprising an important element of S&S's work. The Tartan 
E18 140 Company in the USA used S&S designs, as did a new yard in Finland 
E18 141 called Nautor.<p/>
E18 142 <p_>Olin Stephens was always a committee man and omnipresent, as 
E18 143 well as a strong influence, in the rule-making bodies. There had 
E18 144 always been a perennial problem with the conflict in American and 
E18 145 British yacht racing rules. In 1967 the Offshore Rules Coordinating 
E18 146 Committee formed an International Technical Division under Olin's 
E18 147 chairmanship to merge the two rules taking the best from each. Out 
E18 148 of this was born the IOR, which came into effect on 1 January, 
E18 149 1971.<p/>
E18 150 <p_>Progress through the 1970s continued apace. As well as 
E18 151 dominating events like the America's Cup and the Fastnet (of the 
E18 152 thirty-two races up to 1987, S&S designs had won ten times), the 
E18 153 Madison Avenue, New York, design office also left its mark on the 
E18 154 new Whitbread Round the World Race, producing winners for the first 
E18 155 two events (<tf_>Sayula II<tf/> and <tf|>Flyer).<p/>
E18 156 <p_>The mid-70s saw a decline in S&S popularity and activity in the 
E18 157 racing field, partly because of fashion and equally due to 
E18 158 designers such as Holland and Petersen offering strong competition. 
E18 159 Production boat design also diminished as Nautor moved to German 
E18 160 Frers as their principal designer.<p/>
E18 161 <p_>It can only be conjecture whether the brothers' semi-retirement 
E18 162 during the 1980s influenced the direction of the company, and how 
E18 163 much is due to the changing nature of the yachting market, but 
E18 164 today the staff is down to twenty-two. The Madison Avenue office 
E18 165 concentrates on bigger (50-90ft) custom yachts, as well as a 
E18 166 flourishing brokerage and insurance business. Olin now enjoys his 
E18 167 retirement in Vermont, still active in rule-making work although 
E18 168 not going afloat. Rod retired 2 1/2 years ago after a stroke, from 
E18 169 which he is steadily recovering.<p/>
E18 170 <p_>If S&S have lost the dominance position they held for decades 
E18 171 on the race course, their modern large custom yachts are held in 
E18 172 esteem. Whether it is statistics like their designs winning nearly 
E18 173 one third of all the Fastnet Races, or producing approaching 3,000 
E18 174 designs, or creating a ventilator 60 years ago which, to this day, 
E18 175 has yet to be bettered, the S&S marque has left an indelible 
E18 176 impression on the world of yachting.<p/>
E18 177 
E18 178 <h_><p_>Santana<p/>
E18 179 <p_>A dedicated cruising yacht from Alan Buchanan<p/>
E18 180 <p_>Peter Nielsen<p/><h/>
E18 181 <p_>Compared to most of the boats seen at past <tf_>Yachting 
E18 182 Monthly<tf/> Classic Yacht Rallies, <tf|>Santana is a mere 
E18 183 stripling. When she came off the slip at Priors, Burnham on Crouch, 
E18 184 in 1973, the golden days of wooden boatbuilding were already gone, 
E18 185 and her low, elegant silhouette belonged to another decade.<p/>
E18 186 <p_>Her lines were drawn by Alan Buchanan and partner Peter 
E18 187 Williams to a commission for a pure cruising boat, although her 
E18 188 owners also specified full spinnaker handling gear, leading one to 
E18 189 surmise that they also had club racing in mind.<p/>
E18 190 <p_>She is an interesting boat, not merely because she was built 
E18 191 when glassfibre series boats were already dominating the industry, 
E18 192 but because she gives the lie to the theory that a traditionally 
E18 193 constructed wooden boat will have less interior volume than a GRP 
E18 194 vessel of the same size.<p/>
E18 195 <p_>In common with other Buchanan boats built at Priors, with whom 
E18 196 the designer had a long association, she was built to Lloyd's A1 
E18 197 specifications (although no longer kept in class), with carvel 
E18 198 Honduras mahogany planking on rock elm frames. The ballast keel is 
E18 199 lead and in line with Buchanan's <}_><-|>wariness<+|>weariness<}/> 
E18 200 of electrolytic corrosion, which can lead to nail sickness in 
E18 201 wooden boats, the floors are bronze and there are no ferrous 
E18 202 fastenings; her planking is as sound as when it was first fastened 
E18 203 to the frames. As far as her owner David Colquhoun knows, the seams 
E18 204 have needed no attention since she was launched. Her decks, 
E18 205 coachroof, coamings and trim are also of teak.<p/>
E18 206 <p_>The hull is very fair, and it is not obvious from looking over 
E18 207 <tf|>Santana that she was the first wooden boat built at Priors in 
E18 208 several years. In common with many other yards, they had turned to 
E18 209 fitting out glassfibre hulls at the tail end of the 60s, and Alan 
E18 210 Buchanan remembers (somewhat harshly) that when he saw the finished 
E18 211 boat, <quote_>"I thought she was bent in the middle.
E18 212 
E19   1 <#FLOB:E19\><h_><p_>Crispy Cheese Pancakes with Courgette 
E19   2 Sauce<p/><h/>
E19   3 <p_><tf_>Beth Barker from Kendal, Cumbria, has created a pancake 
E19   4 recipe with a difference. These delicious pancakes stuffed with 
E19   5 three cheeses are coated in breadcrumbs and deep fried!<tf/><p/>
E19   6 <tf_><p_>Serves: 4-8<p/>
E19   7 <p_>Prep: 30 mins<p/>
E19   8 <p_>Cook: 20 mins<p/><tf/>
E19   9 <p_><tf_>for pancakes:<tf/><p/>
E19  10 <p_>4 oz/125 g plain flour<p/>
E19  11 <p_>pinch salt<p/>
E19  12 <p_>4 eggs<p/>
E19  13 <p_>2 tbsp/30 ml oil<p/>
E19  14 <p_>7 fl oz/200 ml milk<p/>
E19  15 <p_>oil for deep frying<p/>
E19  16 <p_><tf_>for filling:<tf/><p/>
E19  17 <p_>2 tbsp/30 ml pine nuts<p/>
E19  18 <p_>2 tbsp/30 ml olive oil<p/>
E19  19 <p_>6 oz/175 g button mushrooms, finely chopped<p/>
E19  20 <p_>6 oz/175 g Ricotta cheese<p/>
E19  21 <p_>4 oz/125 g Mozzarella cheese, grated<p/>
E19  22 <p_>2 tbsp/30 ml Parmesan cheese, grated<p/>
E19  23 <p_>4 oz/125 g breadcrumbs<p/>
E19  24 <p_>To make the pancakes, sift the flour and salt into a bowl and 
E19  25 add the 4 eggs and oil. Beat until the mixture is smooth and 
E19  26 gradually add milk to form a smooth batter.<p/>
E19  27 <p_>To cook the pancakes heat a little oil in a small frying pan. 
E19  28 Add 2-3 tbsp/30-45 ml of batter and swirl evenly around the pan. 
E19  29 Cook over a medium heat until golden brown. Toss or turn the 
E19  30 pancake and cook other side. Repeat with the remaining batter to 
E19  31 make 8 pancakes. Reserve 2 tbsp/30 ml of the batter for sealing.<p/>
E19  32 <p_>For the filling, put the pine nuts into a dry pan and shake 
E19  33 over heat until golden, remove from pan. In another pan, heat the 
E19  34 olive oil and saut<*_>e-acute<*/> mushrooms until soft. Mix 
E19  35 together with the pine nuts and three cheeses. Divide this filling 
E19  36 between the pancakes and brush the edges of the pancakes with a 
E19  37 little of the reserved batter. Fold each pancake in half. Brush the 
E19  38 rounded edge of the folded pancake with rest of reserved batter 
E19  39 then fold the pancake in half again, pressing edges to seal in the 
E19  40 filling. Brush each pancake with lightly beaten egg then cover with 
E19  41 breadcrumbs. Deep fry in hot oil for about 5 minutes until golden 
E19  42 brown. Serve with courgette sauce.<p/>
E19  43 <p_><tf_>Courgette sauce:<tf/><p/>
E19  44 <p_>1/2 oz/15 g butter<p/>
E19  45 <p_>4 shallots<p/>
E19  46 <p_>6 oz/175 g courgettes, sliced<p/>
E19  47 <p_>salt and pepper to taste<p/>
E19  48 <p_>To make the sauce melt the butter in a saucepan and cook the 
E19  49 shallots for 1 minute. Add the sliced courgette and cook for a 
E19  50 further 2 minutes, stirring occasionally. Add 1/4 pint/150 ml water 
E19  51 and bring to the boil. Reduce heat and cook uncovered for 15 
E19  52 minutes. Cool slightly, then pur<*_>e-acute<*/>e in a liquidiser or 
E19  53 blender. Return to the saucepan, season with salt and pepper and 
E19  54 stir and heat through. Serve poured over pancakes and accompanied 
E19  55 with brown rice.<p/>
E19  56 
E19  57 <h_><p_>Savoury Parsnip Scones<p/><h/>
E19  58 <p_><tf_>Tofu is so versatile it can be used in sweet or savoury 
E19  59 dishes. Barbara Marshall from Birmingham uses it in these 
E19  60 mouthwatering scones.<tf/><p/>
E19  61 <tf_><p_>Serves: 4<p/>
E19  62 <p_>Prep: 15 mins plus 30 mins chilling<p/>
E19  63 <p_>Cook: 10 mins<p/><tf/>
E19  64 <p_>1 lb/450 g parsnips<p/>
E19  65 <p_>10 oz/275 g plain tofu<p/>
E19  66 <p_>2 tbsp/30 ml fresh chives, chopped<p/>
E19  67 <p_>salt and pepper<p/>
E19  68 <p_>wholemeal flour for coating<p/>
E19  69 <p_>2 tbsp/30 ml oil<p/>
E19  70 <p_>Peel and cut the parsnips into small pieces. Simmer for 15-20 
E19  71 minutes until just tender. Cool slightly, then mash with a fork. 
E19  72 Mash the tofu with a fork and mix thoroughly with the mashed 
E19  73 parsnips. Season with salt and pepper and chopped chives.<p/>
E19  74 <p_>Divide the mixture into 8 balls, flatten to make scone shapes 
E19  75 and roll in flour. Chill in the fridge for 30 minutes.<p/>
E19  76 <p_>Heat the oil in a frying pan and cook scones for 10 minutes on 
E19  77 each side until golden brown. Serve hot with mixed salad and jacket 
E19  78 potatoes for a main meal.<p/>
E19  79 
E19  80 <h_><p_>Aduki Bean Moussaka<p/><h/>
E19  81 <p_><tf_>This robust, hearty moussaka-style dish from C. Downton of 
E19  82 Melksham, Wiltshire, is a marvellous winter warmer and one the 
E19  83 whole family will love.<tf/><p/>
E19  84 <tf_><p_>Serves: 4-6<p/>
E19  85 <p_>Prep: 15 mins<p/>
E19  86 <p_>Cook: 1 hour 40 mins<p/><tf/>
E19  87 <p_><tf_>cheese sauce:<tf/><p/>
E19  88 <p_>1 oz/25 g butter<p/>
E19  89 <p_>1 oz/ 25g cornflour<p/>
E19  90 <p_>3/4 pint/450 ml milk<p/>
E19  91 <p_>4 oz/125 g Cheddar cheese, grated<p/>
E19  92 <p_><tf_>moussaka filling:<tf/><p/>
E19  93 <p_>2 tbsp/30 ml oil<p/>
E19  94 <p_>2 potatoes, thinly sliced<p/>
E19  95 <p_>2 medium onions<p/>
E19  96 <p_>2 courgettes<p/>
E19  97 <p_>6 oz/175 g mushrooms, chopped<p/>
E19  98 <p_>2 cloves garlic<p/>
E19  99 <p_>4 oz/125 g aduki beans<p/>
E19 100 <p_>15 oz/425 g can tomatoes<p/>
E19 101 <p_>1/4 pint/150 ml vegetable stock<p/>
E19 102 <p_>2 tbsp/30 ml tomato pur<*_>e-acute<*/>e<p/>
E19 103 <p_>2 tbsp/30 ml soy sauce<p/>
E19 104 <p_>1/2 tsp/2.5 ml oregano<p/>
E19 105 <p_>salt and pepper to taste<p/>
E19 106 <p_>Soak the aduki beans in boiling water for 1 hour, bring to the 
E19 107 boil and simmer for 1 hour. Preheat the oven to Gas Mark 
E19 108 6/400F/200C.<p/>
E19 109 <p_>Make up the sauce by melting the butter in a saucepan. Remove 
E19 110 from the heat and stir in cornflour. Gradually add the milk, 
E19 111 stirring continuously, then return to heat. Continue stirring until 
E19 112 the sauce begins to thicken. Remove from the heat and mix in the 
E19 113 cheese and leave to cool.<p/>
E19 114 <p_>Heat half the oil in a frying pan and fry the potatoes until 
E19 115 lightly browned. Drain on kitchen paper then line the sides and 
E19 116 base of a casserole dish with the potatoes.<p/>
E19 117 <p_>To make the filling chop the vegetables, heat the remaining oil 
E19 118 in a large pan and fry the onions, courgettes, mushrooms and garlic 
E19 119 for 2 minutes. Add the drained aduki beans and cook for a further 3 
E19 120 minutes. Pour in the tomatoes, stock, tomato pur<*_>e-acute<*/>e 
E19 121 and soy sauce. Season with oregano, salt and pepper. Simmer for 10 
E19 122 minutes. Spoon the mixture over the potatoes and then pour the 
E19 123 cheese sauce over the top. Cook in the oven for 20 minutes then 
E19 124 serve with crusty bread.<p/>
E19 125 
E19 126 <h_><p_>Stuffed Aubergines<p/><h/>
E19 127 <p_><tf_>Claire de Carle of Amersham, Buckinghamshire, suggests you 
E19 128 serve these golden cheese-topped stuffed aubergines with salad for 
E19 129 lunch or rice for a more substantial vegetarian dinner.<tf/><p/>
E19 130 <tf_><p_>Serves: 4<p/>
E19 131 <p_>Prep: 45 mins<p/>
E19 132 <p_>Cook: 40 mins<p/><tf/>
E19 133 <p_>2 medium aubergines<p/>
E19 134 <p_>salt<p/>
E19 135 <p_>4 fl oz/100 ml olive oil<p/>
E19 136 <p_>1 onion, chopped<p/>
E19 137 <p_>8 oz/225 g mushrooms, chopped<p/>
E19 138 <p_>3 tbsp/45 ml fresh parsley, chopped<p/>
E19 139 <p_>4 oz/125 g low-fat soft cheese<p/>
E19 140 <p_>2 oz/50 g breadcrumbs<p/>
E19 141 <p_>2 oz/50 g vegetarian Cheddar cheese, grated<p/>
E19 142 <p_>salt and pepper<p/>
E19 143 <p_>Preheat the oven to Gas Mark 4/350F/180C.<p/>
E19 144 <p_>Cut the aubergines in half lengthways and scoop out the flesh 
E19 145 with a spoon, taking care to leave the skin and some flesh intact. 
E19 146 Sprinkle each half generously with salt. Leave for 30 minutes. 
E19 147 Rinse the aubergine skins thoroughly and dry on kitchen paper.<p/>
E19 148 <p_>Heat half the oil in a large frying pan and fry the skins for 
E19 149 approximately 2 minutes on each side. Remove and place in an 
E19 150 ovenproof dish.<p/>
E19 151 <p_>Chop the flesh from the aubergine into small pieces. Heat the 
E19 152 other half of the oil and fry the onion with the aubergine flesh 
E19 153 for 4 minutes. Add the mushrooms and continue cooking for a further 
E19 154 3 minutes. Remove from the heat and add the remaining ingredients 
E19 155 except the grated cheese and mix together. Pile the stuffing into 
E19 156 the aubergine skins. Sprinkle with grated cheese and bread crumbs 
E19 157 and place in the oven for 20 minutes until cheese turns golden 
E19 158 brown.<p/>
E19 159 <p_>This is delicious served with a spicy tomato sauce and crusty 
E19 160 rolls as a snack or as a main course with rice and sweetcorn.<p/>
E19 161 <p_><tf|>Tip: If you haven't time to make your own sauce, buy one 
E19 162 of the ready-made tomato sauces now available.<p/>
E19 163 
E19 164 <h_><p_>Rabbit Casserole<p/><h/>
E19 165 <p_><tf_>This delicious meat is available in supermarkets 
E19 166 everywhere and makes a tempting and delicious casserole. Margaret 
E19 167 Lipke-Coates from Appledore, Devon, cooks rabbit in white wine for 
E19 168 extra flavour.<tf/><p/>
E19 169 <tf_><p_>Serves: 4-6<p/>
E19 170 <p_>Prep: 10 mins<p/>
E19 171 <p_>Cook: 1 1/2 hours<p/><tf/>
E19 172 <p_>1 savoy cabbage, shredded<p/>
E19 173 <p_>2 tbsp/30 ml oil<p/>
E19 174 <p_>1 oz/25 g butter<p/>
E19 175 <p_>1 lb/450 g rabbit pieces or 1 rabbit, jointed<p/>
E19 176 <p_>1 tbsp/15 ml parsley, chopped<p/>
E19 177 <p_>2 cloves garlic, thinly sliced<p/>
E19 178 <p_>1/4 pint/150 ml dry white wine (Muscadet)<p/>
E19 179 <p_>4-6 rashers bacon<p/>
E19 180 <p_>Preheat the oven to Gas Mark 4/350F/180C.<p/>
E19 181 <p_>Place the cabbage in the base of a greased casserole dish.<p/>
E19 182 <p_>Heat the oil and butter in a large frying pan and fry the 
E19 183 rabbit pieces until golden. Arrange rabbit on top of cabbage and 
E19 184 sprinkle over parsley and garlic.<p/>
E19 185 <p_>Add 4 tbsp/60ml water to the frying pan with the wine, bring to 
E19 186 the boil, then pour over rabbit. The liquid should just cover the 
E19 187 cabbage, add more wine if necessary. Cover with bacon rashers. 
E19 188 Replace lid and bake for 1 hour.<p/>
E19 189 <p_>Remove lid and cook for another 1/2 hour to crisp bacon. Serve 
E19 190 with baked potatoes, glazed carrots and seasonal salad.<p/>
E19 191 <p_><tf|>Tip: To make easy glazed carrots, place 1 lb/450 g sliced 
E19 192 carrots in a large saucepan and just cover with water. Add a pinch 
E19 193 of salt, 1 tsp/5ml brown sugar and 1 tsp/5ml butter. Bring to the 
E19 194 boil, uncovered, and simmer until the liquid has reduced. The 
E19 195 remaining sugar and butter mixture will start to brown the carrots. 
E19 196 Toss the carrots in this mixture until evenly coated, just browned 
E19 197 but not burnt.<p/>
E19 198 
E19 199 <h_><p_>Salmon Surprise<p/><h/>
E19 200 <p_><tf_>This recipe looks very classy and tastes it too. Mrs 
E19 201 Hester Wood from Nercwys, Clwyd, makes it economical by using a 
E19 202 salmon tail piece.<tf/><p/>
E19 203 <tf_><p_>Serves: 4-6<p/>
E19 204 <p_>Prep: 30 mins<p/>
E19 205 <p_>Cook: 40 mins<p/><tf/>
E19 206 <p_>2 oz/50 g butter<p/>
E19 207 <p_>2 oz/50 g raisins<p/>
E19 208 <p_>2 oz/50g blanched almonds<p/>
E19 209 <p_>4 pieces stem ginger<p/>
E19 210 <p_>10 asparagus spears<p/>
E19 211 <p_>2 1/2 lb/1.1 kg salmon<p/>
E19 212 <p_>salt and black pepper<p/>
E19 213 <p_>1 lb/450 g shortcrust pastry<p/>
E19 214 <p_>beaten egg, to glaze<p/>
E19 215 <p_><tf_>herb & lemon sauce:<tf/><p/>
E19 216 <p_>2 oz/50 g butter<p/>
E19 217 <p_>2 shallots<p/>
E19 218 <p_>1 tsp/5 ml chervil<p/>
E19 219 <p_>1 tsp/5 ml tarragon<p/>
E19 220 <p_>1 tsp/5 ml parsley<p/>
E19 221 <p_>1 tsp/5 ml plain flour<p/>
E19 222 <p_>1/2 pint/300 ml single cream<p/>
E19 223 <p_>1 tsp/5 ml Dijon mustard<p/>
E19 224 <p_>2 egg yolks<p/>
E19 225 <p_>juice of one lemon<p/>
E19 226 <p_>salt and pepper<p/>
E19 227 <p_>Preheat the oven to Gas Mark 4/350F/180C.<p/>
E19 228 <p_>Chop the almonds and ginger and blanch the asparagus.<p/>
E19 229 <p_>Mix together the butter, raisins, almonds and ginger, and 
E19 230 spread half the mixture on to a skinned and boned salmon fillet. 
E19 231 Sandwich together with the other fillet. Spread the remaining 
E19 232 mixture on top. Top with asparagus spears and season well.<p/>
E19 233 <p_>Divide the pastry in two and roll out on a floured surface, to 
E19 234 make two 8 x 6 in/20 x 15 cm rectangles, large enough to enclose 
E19 235 the salmon. Place the salmon on the centre of pastry and brush 
E19 236 pastry edge with glaze. Top with the remaining pastry. Press edges 
E19 237 together to seal firmly. Trim parcel into oval shape and crimp the 
E19 238 edges. Re-roll trimmings and cut out fish shapes to decorate 
E19 239 pastry. Make a few slashes in the pastry, brush with remaining egg 
E19 240 glaze and bake for 30-35 minutes until well risen and brown.<p/>
E19 241 <p_>Meanwhile make the sauce. Melt the butter in a pan, add the 
E19 242 finely chopped shallots and herbs and lightly fry until soft. Stir 
E19 243 in the flour, cream and seasoning. Simmer for 10 minutes and then 
E19 244 cool. Add the egg yolk to the cream mixture. Simmer over a low heat 
E19 245 until ready to serve. Do not boil. Add lemon juice to taste.<p/>
E19 246 <p_>Serve the salmon with the sauce and garnish with fennel leaves 
E19 247 and lemon twists.<p/>
E19 248 
E19 249 <h_><p_>Profiteroles with Banana Cream<p/><h/>
E19 250 <p_><tf_>Simply the most sensational profiteroles you will have 
E19 251 ever tasted. A clever idea from Angie Anthony of St Martin, 
E19 252 Jersey.<tf/><p/>
E19 253 <tf_><p_>Serves: 4-6<p/>
E19 254 <p_>Prep: 20 mins<p/>
E19 255 <p_>Cook: 15 mins<p/><tf/>
E19 256 <p_><tf_>choux pastry:<tf/><p/>
E19 257 <p_>2 1/2 oz/65 g plain flour<p/>
E19 258 <p_>1/2 tsp/2.5 ml salt<p/>
E19 259 <p_>2 oz/50 g butter, cut into small pieces<p/>
E19 260 <p_>2 eggs, well beaten<p/>
E19 261 <p_><tf|>filling:<p/>
E19 262 <p_>1/4 pint/5 fl oz/142 ml carton double cream<p/>
E19 263 <p_>large banana, mashed<p/>
E19 264 <p_>1 tbsp/15 ml icing sugar<p/>
E19 265 <p_>1 tbsp/15 ml Tia Maria (optional)<p/>
E19 266 <p_><tf|>sauce:<p/>
E19 267 <p_>2 Mars bars<p/>
E19 268 <p_>2 tbsp/30 ml milk<p/>
E19 269 <p_>Preheat the oven to Gas Mark 7/425F/220C.<p/>
E19 270 <p_>To make the choux pastry, sift the flour and salt on to a piece 
E19 271 of greaseproof paper.<p/>
E19 272 <p_>Heat the butter and 1/4 pint/150 ml cold water in a pan. When 
E19 273 the butter has melted, bring to the boil. Remove from heat 
E19 274 immediately and tip in the flour. Beat well with a wooden spoon 
E19 275 until the paste is smooth and a ball forms leaving the sides of the 
E19 276 pan clean. Return to heat and cook for 1 minute. Remove from heat 
E19 277 and allow to cool a little, then gradually beat in the eggs until 
E19 278 the mixture resembles a stiff paste. Place spoonfuls of the mixture 
E19 279 the size of a large walnut on to 2 greased baking sheets. Cook 
E19 280 immediately for 15-20 minutes until light and golden brown. Pierce 
E19 281 the sides of each choux bun with a sharp pointed knife to let the 
E19 282 steam out.
E19 283 
E19 284 
E19 285 
E20   1 <#FLOB:E20\><h_><p_>One potato, two ...<p/>
E20   2 <p_>In praise of the potato - Linda Fraser takes a look at one of 
E20   3 our most popular and versatile vegetables<p/><h/>
E20   4 <p_><tf_>If flavour is<tf/> what you are after, choose 
E20   5 <tf|>potatoes that are sold loose and unwashed. Bags of washed 
E20   6 potatoes are fine if you want convenience, but they do seem to lose 
E20   7 some of their taste along with the soil.<p/>
E20   8 <h|>Varieties
E20   9 <p_>There are many excellent potato varieties, each with a slightly 
E20  10 different taste and texture. New potatoes and some of the other 
E20  11 waxy salad varieties are seasonal, but most of the old potatoes are 
E20  12 available from store throughout the year. If you want a floury 
E20  13 potato for boiling and mashing, choose <tf_>Kind Edward, Arran 
E20  14 Chief, Kerr's Pink<tf/> or <tf_>Maris Piper,<tf/> which with 
E20  15 <tf_>Golden Wonder, Desir<*_>e-acute<*/>e<tf/>and <tf|>Redskin, are 
E20  16 also best for baking, roasting and saut<*_>e-acute<*/>eing. Waxy 
E20  17 varieties such as new potatoes and the unusual <tf_>Pink Fir Apple, 
E20  18 Charlotte<tf/> and <tf|>Cornichon are ideal for slicing or using 
E20  19 cold in salads. For frying, choose the <tf_>Croft, Maris Piper<tf/> 
E20  20 or <tf|>Majestic varieties.<p/>
E20  21 <p_>Store potatoes at home in a cool, dark place - old potatoes 
E20  22 tend to keep well while new potatoes are best bought in small 
E20  23 quantities.<p/>
E20  24 <h|>Cooking
E20  25 <p_>Potatoes can be cooked in an amazing number of ways, not least 
E20  26 as the ubiquitous chip. They can be baked whole; sliced or diced 
E20  27 and added to soups and casseroles; mashed and used as a topping for 
E20  28 fish or meat pies; and steamed, fried or boiled. They are delicious 
E20  29 on their own or flavoured with herbs, <tf|>onion, garlic or spices 
E20  30 - both nutmeg and cumin go particularly well with potato. Potatoes 
E20  31 are delicious with eggs (see page 24 for Antonio Carluccio's 
E20  32 Spanish tortilla), cheese and nuts, and they complement other 
E20  33 vegetables - with <tf|>leeks in soup, mashed with <tf|>turnips, or 
E20  34 fried with <tf|>cabbage for a good old bubble-and-squeak. Many of 
E20  35 our traditional recipes depend on them - such as Irish stew, 
E20  36 shepherd's pie, pan haggerty and stovies - as well as potato scones 
E20  37 and cakes. In fact, far too many recipes to mention, so here 
E20  38 follows<&|>sic! some very basic methods of cooking.<p/>
E20  39 <h|>Saut<*_>e-acute<*/>eing
E20  40 <p_>Saut<*_>e-acute<*/>ed potatoes are best boiled in their skins 
E20  41 for about 15 minutes, then sliced thickly. Fry in a mixture of 
E20  42 sunflower oil and butter until golden brown. Drain and sprinkle 
E20  43 with salt. Or fry sliced onion and garlic, lift out with a draining 
E20  44 spoon while you cook the potatoes, then return them and mix 
E20  45 together.<p/>
E20  46 <h|>Roasting
E20  47 <p_>Cut potatoes into large chunks and place in a pan of cold, 
E20  48 salted water. Bring to the boil and boil for 10 minutes. Drain 
E20  49 well, then shake the pan so as to roughen the outsides. Heat three 
E20  50 tablespoons of oil in a roasting tray in the oven at 200C/425F/Gas 
E20  51 7. Add the potatoes (and some chopped fresh herbs or garlic, if you 
E20  52 like) and roast for 40-50 minutes, turning occasionally until they 
E20  53 have turned crispy and golden. If you are cooking a roast, place 
E20  54 the meat on a rack over the potatoes so the cooking juices can drip 
E20  55 over them below.<p/>
E20  56 <h|>Mashing
E20  57 <p_>Boil potatoes until soft, then mash, beat in a little butter or 
E20  58 olive oil and pepper or add a spoonful or two of cream, if you 
E20  59 like. Serve piles of mashed potato in crispy, golden stacks. 
E20  60 Preheat the oven to 220C/425F/Gas 7. Beat in an egg, spoon into 
E20  61 rough heaps on a greased baking sheet and bake for about 20 
E20  62 minutes.<p/>
E20  63 <h|>Baking
E20  64 <p_>Microwave potatoes (if you need them fast) for 5-7 minutes each 
E20  65 depending on size. Prick them well all over and wrap in kitchen 
E20  66 paper (see November issue) or preheat the oven to 190C/375F/Gas 5. 
E20  67 Scrub the potatoes well and bake on a rack for about an hour. Cut a 
E20  68 cross in the top and add a knob of butter or a dollop of soured 
E20  69 cream.<p/>
E20  70 <h_><p_>New potatoes<p/><h/>
E20  71 <p_>New potatoes are perhaps at their best steamed in a basket over 
E20  72 boiling water, or simply boiled. Cook in boiling water (old 
E20  73 potatoes go into cold) until tender, then drain and toss in butter 
E20  74 and chopped fresh mint, or add olive oil and shredded fresh 
E20  75 basil.<p/>
E20  76 <p_>British crops of potatoes that are produced and marketed 
E20  77 <}_><-|>pecifically<+|>specifically<}/> for salads are all but 
E20  78 finished now. Look for out-of-season new potatoes - <tf_>Maris 
E20  79 Peer<tf/> or <tf_>Maris Bard,<tf/> for instance, make excellent 
E20  80 salads. Serve warm, tossed in French dressing or a light 
E20  81 mayonnaise.<p/>
E20  82 <h_><p_>Anna potatoes<p/><h/>
E20  83 <p_>If you have more time for preparation, try Anna potatoes. For 
E20  84 four, thinly slice about 750g/ 1 1/2lb waxy potatoes. There's no 
E20  85 need to peel them and they are easily sliced if you have a 
E20  86 processor, or use a mandolin (a specially made wooden board with a 
E20  87 sharp blade). Wash the slices to remove excess starch and dry in a 
E20  88 clean tea towel.<p/>
E20  89 <p_>Thickly butter a shallow ovenproof dish and arrange the slices 
E20  90 in layers, dotting with more butter and sprinkling with seasoning 
E20  91 as you go. Cover with buttered paper and foil and bake at 
E20  92 160C/325F/Gas 3 for 1 hour. Or sprinkle the top with cheese or pour 
E20  93 over a small tub of cream before cooking.<p/>
E20  94 
E20  95 <h_><p_>Bitter sweet<p/><h/>
E20  96 <p_>Bitter oranges are usually known as <tf_>Seville oranges,<tf/> 
E20  97 although nowadays they come from Malaga and Sicily as well - but 
E20  98 they are grown almost exclusively for the British marmalade market. 
E20  99 Seville oranges have a very short season, arriving in the shops 
E20 100 just after Christmas and are at their cheapest and most plentiful 
E20 101 at the end of January.<p/>
E20 102 <p_>Their extra aromatic peel and wonderfully strong flavour makes 
E20 103 them ideal for savoury sauces as well as orange ices, fools and 
E20 104 custards. They also freeze very well, so you can use them 
E20 105 throughout the year.<p/>
E20 106 <h_><p_>Orange saucery<p/><h/>
E20 107 <p_>The classic orange sauce to serve with roast duck, Sauce 
E20 108 Bigarade, has to be made with Seville oranges and it is very 
E20 109 simple. Heat 25g/1oz butter until it turns nut brown, then stir in 
E20 110 three tablespoons of plain flour and cook until lightly browned. 
E20 111 Stir in 150ml/1/4 pint dry white wine and 450ml/3/4 pint of duck or 
E20 112 chicken stock. Cook, stirring until thickened, then simmer until it 
E20 113 has reduced slightly.<p/>
E20 114 <p_>Peel three Seville oranges and cut the peel into thin strips. 
E20 115 Cook in a little boiling water for 3-5 minutes until tender. 
E20 116 Squeeze the juice from the oranges into the sauce, season, add a 
E20 117 knob of butter, a spoonful of orange liqueur and the strips of 
E20 118 orange peel. Heat through gently and serve immediately.<p/>
E20 119 <h|>Marmalade
E20 120 <p_>To make marmalade, cook the oranges whole. If they are frozen, 
E20 121 cook from frozen to preserve the natural colour. Put 1.5kg/3lb 
E20 122 Seville oranges in a large preserving pan with 3.5 litres/6 pints 
E20 123 of water and bring to the boil. Turn down the heat and simmer for 1 
E20 124 1/2-2 hours until the skin is very tender and the water has 
E20 125 reduced. Lift out the oranges and leave to cool. Halve, remove the 
E20 126 pips and tie them in a muslin bag with a long string which you can 
E20 127 tie to the pan handle. Cut the oranges into strips or whizz in a 
E20 128 blender or processor until chunky. Return the fruit to the pan of 
E20 129 water with the bag of pips and add 2.75kg/6lb of preserving or 
E20 130 granulated sugar that has been warmed in the oven. Stir until the 
E20 131 sugar dissolves, then bring to the boil. Boil rapidly for about 10 
E20 132 minutes, then test setting point by pouring a teaspoon of the 
E20 133 marmalade on to a chilled saucer. It should wrinkle when pushed 
E20 134 with a finger - if not, boil for a few more minutes and test again. 
E20 135 Turn off the heat and leave to settle for 10 minutes. Remove the 
E20 136 bag of pips and pot in sterilised jars. Seal and label.<p/>
E20 137 
E20 138 <h_><p_>brave new SPAIN<p/>
E20 139 <p_>In a country that boasts the world's largest vineyard area, 
E20 140 Jill Goolden admires a new generation of wine-makers<p/><h/>
E20 141 <p_><tf_>I bet the<tf/> first things to enter your mind at the 
E20 142 mention of Spanish wine are rough, cheap plonk and Rioja - in fact, 
E20 143 the two extremes of the business. But there is a great deal more 
E20 144 besides, as we are beginning to discover. Spain has a larger 
E20 145 vineyard area than any other country in the world and it produces 
E20 146 an awful lot of wine. But until recently, much of its vinous 
E20 147 produce hadn't travelled very well; to be blunt, apart from Rioja, 
E20 148 it simply didn't appeal to British tastes.<p/>
E20 149 <p_>We had never really become accustomed to the typically 
E20 150 rough-and-ready peasant plonk which has historically been the 
E20 151 Mediterranean staple drink; and it then emerged that the 
E20 152 Mediterraneans were showing a declining appetite for it. So 
E20 153 something had to be done; either new markets had to be found for 
E20 154 the gut rot wines, or the outmoded wine-making traditions had to be 
E20 155 overturned to make room for 'new style' wines to develop - wines 
E20 156 capable of holding their own in the international market.<p/>
E20 157 <p_>So all over the country, brows were furrowed, international 
E20 158 know-how sought and millions of pesetas ploughed into the vineyards 
E20 159 and wineries, and - hey presto - a host of latterday miracles have 
E20 160 been wrought. Look closely at the Spanish section in your local 
E20 161 wine shop and you will see that although Rioja still dominates, and 
E20 162 the cheap and cheerful plonks still exist, there are all sorts of 
E20 163 new names for you to try; wines hailing from alternative 
E20 164 wine<?_>-<?/>producing areas that you may only dimly recognise.<p/>
E20 165 <p_>There's an admirable, born again zeal to modern Spanish wine 
E20 166 production. While working on a film for <tf_>Food and Drink<tf/>, I 
E20 167 visited Navarra, north of Rioja, where they boast one of the most 
E20 168 advanced wine research institutes in Europe. Navarra wines have 
E20 169 not, in the past, made a big impression, historically having been 
E20 170 rather nondescript. So Evena, the oenological research station, is 
E20 171 looking at new grape varieties and new methods of injecting quality 
E20 172 and local identity into the region's wines - with some success. I 
E20 173 tasted some delicious grape blends, which included a fair old 
E20 174 proportion of the fashionable Chardonnay, Cabernet Sauvignon and 
E20 175 Merlot varieties.<p/>
E20 176 <p_>But here you have the dilemma. If the international 'classic' 
E20 177 grape varieties are allowed to dominate, the wines themselves lose 
E20 178 their national identity and become similar to (and have to compete 
E20 179 with) every other 'new world' wine. Spain has an ancient 
E20 180 wine-making tradition and there is a reluctance to jettison it and 
E20 181 supplant it with any anonymous international wines. While in Rioja, 
E20 182 it is forbidden to plant imported grape varieties, in Navarra, they 
E20 183 are being used to bolster the native types. But in 
E20 184 Pened<*_>e-acute<*/>s, under the aegis of the Torres family, and in 
E20 185 Costers del Segre, which is under the Raimat name, imported grapes 
E20 186 are used solely for 'new style' wines.<p/>
E20 187 <p_>Miguel Torres, now at the helm of the Torres company, sees 
E20 188 Pened<*_>e-acute<*/>s as one of the last wine-producing areas with 
E20 189 a no-holds-barred attitude to experimentation. He returned from 
E20 190 studying in France in the early '60s with a fiery desire to produce 
E20 191 wines fit to compete with the best in the world. And so he imported 
E20 192 foreign grapes, initially the Bordeaux classics, and started 
E20 193 producing a number of thoroughly atypical, un-Spanish wines. In 
E20 194 1979, his Gran Coronas Black Label '70 (which is 100 per cent 
E20 195 Cabernet Sauvignon) won the top prize in the Paris Wine Olympics, 
E20 196 confirming that he was on the right track.<p/>
E20 197 <p_>Following this success, he identified the perfect hillside 
E20 198 vineyards for Sauvignon Blanc grapes (used in Gran 
E20 199 Vi<*_>n-tilde<*/>a Sol Castell de Fransola); Chardonnay 
E20 200 (representing 55 per cent of Gran Vi<*_>n-tilde<*/>a Sol and 100 
E20 201 per cent of Milmanda); Merlot (producing the excellent 
E20 202 Vi<*_>n-tilde<*/>a las Torres); and even the tricky Pinot Noir 
E20 203 (which injects great flair into Vi<*_>n-tilde<*/>a Magdala). Still, 
E20 204 along with the fashionable new varieties, the best of the local 
E20 205 grapes operate just as well, leading to Miguel Torres' claim that 
E20 206 his wine style is purely Mediterranean, whereas he believes that 
E20 207 Raimat's is positively Californian.<p/>
E20 208 <h_><p_>Desert vats<p/><h/>
E20 209 <p_>It is a little perplexing to find that, despite the threat of a 
E20 210 European wine lake, a multi<?_>-<?/>million scheme should have been 
E20 211 devised to make an abandoned Spanish desert bear fruit, or more 
E20 212 specifically, grapes. At Costers del Segre, 200 kilometres inland 
E20 213 from Barcelona, a rich man invested his reputation and reversed the 
E20 214 course of nature on the Raimat estate.
E20 215 
E21   1 <#FLOB:E21\><h_><p_>You either love 'em or loathe 'em<p/><h/>
E21   2 <p_>The last day of <tf_>World Travel Market,<tf/> the stands are 
E21   3 starting to look wobbly, the piles of glossy brochures are depleted 
E21   4 and the smiles are looking a bit tight.<p/>
E21   5 <p_>The <tf_>Travel Weekly<tf/> team, which has walked the length 
E21   6 and breadth of Olympia all this week, searching out stories and 
E21   7 free drink, has found likely candidates for globes and gongs.<p/>
E21   8 <p_>The honours, awarded in no particular order, go to:<p/>
E21   9 <p_>Most unpopular <tf|>WTM attendees: Anyone who turned up at 
E21  10 Olympia tube station with only a zone-one ticket so everybody has 
E21  11 to wait while they fish out the extra coins in excess fares.<p/>
E21  12 <p_>Most obstructive people: The guards at the turnstile of Olympia 
E21  13 station who insisted on scrutinising every ticket and who helped 
E21  14 create huge bottlenecks every morning and evening.<p/>
E21  15 <p_>Best on-stand hospitality: Dubai for the canapes.<p/>
E21  16 <p_>The over-developed sense of humour award: Dubai, again, for 
E21  17 thinking our reporter was joking when she asked for a doggy bag.<p/>
E21  18 <p_>The linguistic challenge interpreter achievement award: Brazil, 
E21  19 for fielding a five<?_>-<?/>strong team of non-English speakers for 
E21  20 an interview.<p/>
E21  21 <p_>Linguistic endurance award: All those who attended the lunch 
E21  22 hosted by Sandals and who had to sit through 25 speeches.<p/>
E21  23 
E21  24 <h_><p_>Body language and business<p/><h/>
E21  25 <p_>There's a fascination about the different styles and 
E21  26 presentation at <tf|>WTM, a kind of unconscious ethnic body 
E21  27 language.<p/>
E21  28 <p_>At the Chinese stand it is all quiet smiles and gentle nods of 
E21  29 the head, hands clasped on the counter top.<p/>
E21  30 <p_>The Americans are here for Business with a capital B, so 
E21  31 hustling is a way of life. If you're passing by, you're fair game. 
E21  32 And if eye contact is made you are captured. They are universally 
E21  33 great spielers. A simple question evokes a set piece reply that is 
E21  34 uninterruptible.<p/>
E21  35 <p_>Unlike most Brits who seem a bit embarrassed, as if it's 
E21  36 showing off to be here. Try to make eye contact and chances are 
E21  37 they'll look away. But open a conversation and they're endlessly 
E21  38 helpful.<p/>
E21  39 <p_>Spain is enveloped in a fug of Ducados smoke. There are huge 
E21  40 hugs, mucho back<?_>-<?/>slapping and shouting voices, many using 
E21  41 just one word <foreign|>'hombre'.<p/>
E21  42 <p_>In France the greeting is more subdued and there is almost a 
E21  43 monastic approach as the delegates beaver away in their tiny 
E21  44 regional cells, pouring over rate cards and brochures.<p/>
E21  45 <p_>For the South Americans there's an influx of informality. 
E21  46 Courtesy is stood on its head as it would be rude not to interrupt 
E21  47 a conversation and shout to a passing friend in the aisle. And the 
E21  48 offer of a drink is distended into an event by various 
E21  49 introductions and peripheral chats.<p/>
E21  50 <p_>Sometimes it transcends the countries and the common currency 
E21  51 is the business you're in. The major hotel chains, for example, 
E21  52 have an almost clone-like patina of smoothness, with everyone 
E21  53 oozing charm and exuding expertise.<p/>
E21  54 <p_>It's a delightful patchwork of physical signatures which help 
E21  55 to spell out in shorthand who and what we are. A world of 
E21  56 differences that binds us together.<p/>
E21  57 
E21  58 <h_><p_>Virgin Islands aim to reverse slump<p/><h/>
E21  59 <p_>The US Virgin Islands are to rebuild tourism business from the 
E21  60 UK and Europe following three years of falling sales.<p/>
E21  61 <p_>Unveiling a range of new hotels, new air capacity and plans for 
E21  62 the Caribbean's first theme park, the islands' assistant 
E21  63 commissioner for tourism Leona Bryant said: <quote_>"Our tourism is 
E21  64 like a roller coaster - for the past few years we have been rolling 
E21  65 down. Now we are beginning to climb."<quote/><p/>
E21  66 <p_>She said new properties and air services were likely to have an 
E21  67 immediate impact on the popularity of the islands by providing 
E21  68 easier access and higher quality accommodation. The theme park, due 
E21  69 to open in two years, will be a mini version of the Caribbean with 
E21  70 music, arts, culture and cuisine of all the Caribbean destinations 
E21  71 represented.<p/>
E21  72 <p_>Bryant said: <quote_>"I have no doubt that the demand is there 
E21  73 for our product and it is simply a case of putting in a lot of hard 
E21  74 work and marketing to convert interest into bookings."<quote/><p/>
E21  75 <p_>She believes the European and UK markets will be particularly 
E21  76 vital. They currently account for 12-15% of the islands' sales but 
E21  77 Bryant hopes to see this increase to 25% in the next five years.<p/>
E21  78 <p_>She said the signs were good. Trade familiarisation trips were 
E21  79 already winning enthusiasm for the destination and cruise lines 
E21  80 were increasingly including the islands on their itineraries.<p/>
E21  81 <p_>St Croix is set to benefit from cruise interest. Last year no 
E21  82 ships stopped at its shores but in 1992 there will be 127 ship 
E21  83 calls.<p/>
E21  84 <p_>Bryant said: <quote_>"Cruise ship passengers are very important 
E21  85 to us, not only because they account for a large percentage of the 
E21  86 visitor spending we receive, but also because a very high 
E21  87 percentage of them come back for a stay-put holiday on the islands 
E21  88 within two years."<quote/><p/>
E21  89 <p_>Bryant is confident that visitor numbers will increase in 
E21  90 1992.<p/>
E21  91 
E21  92 <h_><p_>Colorado going for Gold trade<p/><h/>
E21  93 <p_>Colorado is mounting a trade initiative to boost summer 
E21  94 business from the UK and be seen as a sun as well as a ski 
E21  95 destination.<p/>
E21  96 <p_>Industry chiefs will be invited to Colorado Gold, a conference 
E21  97 schedule to be held at a resort in the state next year.<p/>
E21  98 <p_>A travel trade advertising campaign between the state and an 
E21  99 airline is planned, as well as trips for agents.<p/>
E21 100 <p_>Blaine Henry, UK representative for the Colorado Tourism Board, 
E21 101 said: <quote_>"Our goal is to develop equal business from the UK 
E21 102 between the summer and the winter. A year ago only 15% of business 
E21 103 came during the peak holiday season, but we have increased it to 
E21 104 25%.<p/>
E21 105 <p_>"Domestically we do twice as much business in the summer - even 
E21 106 though we have 12 of the best ski resorts in the world."<quote/><p/>
E21 107 <p_>Henry said he hoped operators would develop programmes using 
E21 108 the Denver gate<?_>-<?/>way. After its relocation in October 1993, 
E21 109 the city's airport will become the world's largest.<p/>
E21 110 <p_>According to Henry, a new niche for summer product is family 
E21 111 ranch holidays, where UK specialists are offering more capacity in 
E21 112 Colorado.<p/>
E21 113 <p_>A new operator to feature the region is Discovery Tours, formed 
E21 114 by ex-ILG executives Lucian Bartosik and Peter Brennen.<p/>
E21 115 <p_>Large summer programmes from operators such as Cosmos, Saga and 
E21 116 even winter specialist Crystal have helped boost the trend towards 
E21 117 year-round products.<p/>
E21 118 
E21 119 <h_><p_>Package changes sought<p/><h/>
E21 120 <p_>ABTA is close to achieving three more amendments to the EC 
E21 121 directive on package holidays.<p/>
E21 122 <p_>Following its success in persuading the Department of Trade and 
E21 123 Industry to remove the clause which would have made retailers 
E21 124 criminally liable for incorrect brochures, ABTA president John 
E21 125 Dunscombe said he was confident more changes would follow.<p/>
E21 126 <p_><quote_>"It has been made clear to us that we are pushing at an 
E21 127 open door, which is very encouraging,"<quote/> he said at 
E21 128 <tf|>WTM.<p/>
E21 129 <p_>ABTA wants the directive changed to give operators strict 
E21 130 guidelines about surcharges and force them to take out liability 
E21 131 insurance. It also wants tailor-made packages to be included in the 
E21 132 directive.<p/>
E21 133 <p_><quote_>"We have strict rules about surcharges and without them 
E21 134 we could see a return to the bad old days of the 1980s when 
E21 135 operators used surcharges to bump up prices,"<quote/> said ABTA 
E21 136 head of legal services Alan Bowen.<p/>
E21 137 <p_><quote_>"Also tailor-made packages make up about 20-30% of all 
E21 138 packages, which is something the DTI obviously didn't realise. We 
E21 139 want them included in the directive."<quote/><p/>
E21 140 <p_>But ABTA is unlikely to achieve all the changes to the 
E21 141 directive it would like.<p/>
E21 142 <p_><quote_>"The directive includes words like 'significantly' 
E21 143 'occasionally' and 'prompt' without explaining what they 
E21 144 mean,"<quote/> said Bowen.<p/>
E21 145 <p_><quote_>"For example, it says tour operators must make prompt 
E21 146 responses to complaints. But one man's promptness is another man's 
E21 147 delay.<p/>
E21 148 <p_>"We have asked for strict guidelines but it now seems 
E21 149 unlikely."<quote/><p/>
E21 150 
E21 151 <h_><p_>TRADE PLEA TO PROTECT RAINFOREST<p/><h/>
E21 152 <p_>Brazil's tourist industry has called on the world's travel 
E21 153 trade to send them clients to help save rainforests from 
E21 154 destruction.<p/>
E21 155 <p_>Brazil believes tourism offers its best hope for economic 
E21 156 development without destroying the environment.<p/>
E21 157 <p_>Tourism authority deputy marketing director Aristides de la 
E21 158 Plata Cury said: <quote_>"Brazil has to find ways to develop its 
E21 159 economy and tourism is environmentally friendly. It must be 
E21 160 strictly controlled but, if it is not encouraged, alternatives will 
E21 161 be far more damaging."<quote/><p/>
E21 162 <p_>He said the eyes of the world were on the nation's every move 
E21 163 and added: <quote_>"We believe tourism and preservation of the 
E21 164 rainforests are compatible and would encourage those people 
E21 165 concerned with the environment to come and take their holidays in 
E21 166 Brazil and make a positive contribution to conserving these 
E21 167 areas."<quote/><p/>
E21 168 <p_>Brazil will next year play host to 130 countries at a United 
E21 169 Nations conference on the environment.<p/>
E21 170 <p_>More than 4000 delegates had already requested tours into 
E21 171 Brazil's heartland.<p/>
E21 172 <p_>Plata Cury said: <quote_>"We have no doubt these people will go 
E21 173 back to their own countries to become ambassadors for our form of 
E21 174 environmental tourism."<quote/><p/>
E21 175 <p_>Brazil has revamped its marketing and promotions image to 
E21 176 highlight its wildlife and turn the focus away from the traditional 
E21 177 Rio and beach image.<p/>
E21 178 <p_>President of the Rio Hotel Association and general manager of 
E21 179 the Orient Express Hotel's Copacabana property, Philip Carruthers, 
E21 180 said: <quote_>"For 20 years Brazil has sold itself on the image of 
E21 181 beautiful women in tiny bikinis on beautiful beaches - it is time 
E21 182 to move away from that."<quote/><p/>
E21 183 
E21 184 <h_><p_>Airtours' refunds in resorts move<p/><h/>
E21 185 <p_>Airtours is giving holidaymakers cash refunds in resorts in a 
E21 186 drive to improve its handling of customer complaints.<p/>
E21 187 <p_>The scheme was introduced this month in three destinations and, 
E21 188 if successful, will be rolled out across the Airtours programme for 
E21 189 the summer.<p/>
E21 190 <p_>Chairman David Crossland said a budget has been set aside and 
E21 191 he promised there would be sufficient money to keep people 
E21 192 happy.<p/>
E21 193 <p_>He declined to say where the scheme is in operation or what 
E21 194 level of refunds are offered for fear of people taking advantage of 
E21 195 it.<p/>
E21 196 <p_>But he said: <quote_>"We have increased the authorisation of 
E21 197 managers and staff in those areas. There is a check-list of things 
E21 198 which are matter-of-fact and subjective."<quote/><p/>
E21 199 <p_>He spoke as agents at a <tf|>WTM conference attacked Airtours 
E21 200 for its after-service capabilities. David Whitmill of Accent Travel 
E21 201 in Bristol said he had 27 outstanding customer complaints out of 
E21 202 500-700 Airtours bookings.<p/>
E21 203 <p_>Crossland acknowledged the problems Airtours had with the 
E21 204 Flying Pig - a leased 747 - three years ago but claimed people 
E21 205 wouldn't buy his holidays if they weren't happy.<p/>
E21 206 <p_><quote_>"We are happy with the quality we deliver,"<quote/> he 
E21 207 said.<p/>
E21 208 <p_>The new initiative stemmed from problems which followed the 
E21 209 civil war in Yugoslavia, he added, which forced operators to sell 
E21 210 elsewhere.<p/>
E21 211 <p_><quote_>"People going to Yugoslavia were moved en masse to the 
E21 212 Mediterranean. Most operators found the alternative accommodation 
E21 213 came under immense pressure for six weeks."<quote/><p/>
E21 214 <p_>The resulting problems prompted a six-month evaluation of how 
E21 215 to pre-empt complaints from returning holidaymakers, said 
E21 216 Crossland.<p/>
E21 217 <p_>The cash-back scheme is designed to reflect problems such as 
E21 218 wrong brochure descriptions or subjective complaints such as 
E21 219 quality of food.<p/>
E21 220 <p_>He estimated the industry complaint rate as 4% - or 400,000 
E21 221 holidays. He declined to give Airtours' rate.<p/>
E21 222 
E21 223 <h_><p_>Tunnel boss hints at higher charges<p/>
E21 224 <p_>By Jeremy Skidmore<p/><h/>
E21 225 <p_>Eurotunnel has given the strongest hint yet that it may charge 
E21 226 more to cross the Channel than the ferry companies when it opens 
E21 227 for business in June 1993.<p/>
E21 228 <p_>The Channel Tunnel operator's chief executive Sir Alastair 
E21 229 Morton said people were prepared to pay a premium for speed and his 
E21 230 company would not be dragged into a price war with its rivals.<p/>
E21 231 <p_><quote_>"Crafts which are currently crossing the Channel 
E21 232 quicker than the ferries have had all sorts of problems and yet 
E21 233 people still pay that extra for speed,"<quote/> he said.<p/>
E21 234 <p_><quote_>"I'm not prepared to say yet what our fares will be but 
E21 235 I do not envisage we will be in a price war with any ferry 
E21 236 company,"<quote/> he added.<p/>
E21 237 <p_><quote_>"The route has proved itself not to be price elastic 
E21 238 and we are offering a different service to the ferries.<p/>
E21 239 <p_>"Some people will pay to get across the Channel quickly and 
E21 240 some will pay for a leisurely crossing."<quote/><p/>
E21 241 <p_>Sir Alastair said it was in everybody's best interest for 
E21 242 Eurotunnel to co-exist with ferry operators.<p/>
E21 243 <p_><quote_>"P&O European Ferries is the big daddy and it would not 
E21 244 be in our interests to price them out because we would then be a 
E21 245 monopoly.
E21 246 
E22   1 <#FLOB:E22\><h_><p_>AFRICAN JEWEL<p/>
E22   2 <p_>Dervla Murphy encounters the simple delights of rural 
E22   3 Cameroon.<p/><h/>
E22   4 <p_>In 1907 large areas of Cameroon had a more efficient postal and 
E22   5 telegraphic service than was to be found in any area in 1987. The 
E22   6 German exploiters who had taken over in 1885 needed a reliable 
E22   7 communications system; today's Cameroonian peasants don't need one 
E22   8 - though I daresay urban businessmen would find it quite useful.<p/>
E22   9 <p_>To the traveller this change seems not a deterioration but a 
E22  10 comfortable settling back into pre-colonial ways. Granted it's 
E22  11 tough on isolated missionaries and aid personnel who long to be 
E22  12 able to contact friends and colleagues. But most of those I met 
E22  13 were so enchanted by Cameroon that its technological limitations 
E22  14 left them only mildly irritated.<p/>
E22  15 <p_>Nature, like the people, quickly reclaimed Cameroon. Coming to 
E22  16 a river crossing in the middle of nowhere one may see, near the 
E22  17 ford, traces of a massive bridge. Plainly the structures once had 
E22  18 roads to match but of these no vestige remains. The jungle has long 
E22  19 since restored the landscape to normal. In this corner of Africa 
E22  20 the colonists (German, French, British) had come and gone within 
E22  21 less than eight decades, a mere historical blip. However, the 
E22  22 damage they did to the fabric of local society was, as usual, 
E22  23 devastating and irreparable.<p/>
E22  24 <p_>The forced migration of thousands of highland men to work on 
E22  25 the coastal plantations, and the recruitment of women and children 
E22  26 to load-carry, undermined scores of regional cultures. Often the 
E22  27 starving carriers had to raid villages for food and huge areas were 
E22  28 reduced to chronic civil disorder. Not surprisingly, many non-elite 
E22  29 Cameroonians still sound sceptical about the benefits of 
E22  30 Westernization.<p/>
E22  31 <p_>Cameroon's juxtaposed topographical contrasts make it a 
E22  32 trekkers' paradise. My daughter and I covered only 1100 miles yet 
E22  33 our journey took us from the high green Grasslands, freezing cold 
E22  34 at night, to low, parched, grey-brown plains where we sweated at 
E22  35 all hours. And in between were eerie narrow river gorges lined with 
E22  36 semi-rain forest, where one walks for hours under the tallest trees 
E22  37 I have ever seen, through a moist, green<?_>-<?/>tinged twilight. 
E22  38 Here everything looks and smells unfamiliar: berries, nuts, ferns, 
E22  39 fungi, vines, mosses. These forests are uninhabited but one 
E22  40 sometimes meets a solitary hunter, carrying a spear longer than 
E22  41 himself and followed by a few hounds wearing belled collars.<p/>
E22  42 <p_>In the roadless, townless Mbabo mountains, many of the younger 
E22  43 generation had never before encountered white people. Small 
E22  44 children fled at our approach - then peered, fascinated, from 
E22  45 within the safety of their compounds. It was different during the 
E22  46 colonial period when European officials dutifully penetrated every 
E22  47 corner of Cameroon; some grandfathers proudly showed us dim 
E22  48 photographs of their juvenile selves, hand in hand with a White Man 
E22  49 on safari. The expatriates of today - generally a more effete breed 
E22  50 - tend to restrict their travels to jeepable tracks.<p/>
E22  51 <p_>Before staying in a village, courtesy requires strangers to 
E22  52 seek the Fon's or the Chief's permission. Often we were then 
E22  53 invited to spend the night in the 'palace', a larger than normal 
E22  54 compound of mud huts. To pay for hospitality is of course taboo; 
E22  55 fortunately it is not taboo to pay lavishly for one's pack-horse's 
E22  56 fodder or grazing, which costs almost nothing. No such payment is 
E22  57 ever demanded, or even hinted at - but neither is it rejected. This 
E22  58 ancient code, obliging villagers to provide food and shelter for 
E22  59 travellers, makes it possible to sponge one's way all over West 
E22  60 Africa. It sickened us to discover that many Western hitch-hikers 
E22  61 do just that.<p/>
E22  62 <p_>A hot climate dictates that cleanliness must come next to (if 
E22  63 not before) Godliness and each compound is swept with a grass broom 
E22  64 once or twice a day, depending on the density of animal 
E22  65 through-traffic. Comparing traditional Cameroonian villages with 
E22  66 their counterparts on other continents, one realizes that in 
E22  67 Cameroon - where the water supply may be even farther away - 
E22  68 everybody works much harder at keeping clean their person, 
E22  69 clothing, bedding and kitchen equipment.<p/>
E22  70 <p_>Outside of the untraditional cities, I cannot really recall 
E22  71 seeing one unclean individual in three months. This puts 
E22  72 Cameroonians at the opposite end of the spectrum from Tibetan 
E22  73 peasants, who never wash and change their clothes only once a year 
E22  74 - understandably. (When we spent a winter in Baltistan, all our 
E22  75 garments remained in situe, day and night, for three months; and 
E22  76 washing beyond our faces would have seemed like taking masochism a 
E22  77 stage too far.) Typically, in a compound at sunset, someone 
E22  78 provided for each of us a wide basin of hot water (both the water 
E22  79 and the wood to heat it having been carried for miles), and offered 
E22  80 a new cake of soap and a tiny towel, often frayed but always 
E22  81 freshly laundered. The latrine was usually in a distant corner, 
E22  82 behind raffia screen - a deep odourless hole criss-crossed by 
E22  83 bamboo poles on which one squatted. Extreme anti-fly precautions 
E22  84 are enforced, dishes being kept closely covered, even during a 
E22  85 communal meal. This could be one reason why Cameroonian villagers, 
E22  86 unless stricken by the ever-threatening malaria, look so radiantly 
E22  87 healthy.<p/>
E22  88 <p_>Leaving aside the unappealing cities - Douala and Yaounde, 
E22  89 which we ignored - there are two quite distinctive societies in 
E22  90 Cameroon: the superficially Westernized small towns on the few 
E22  91 motor roads, and the purely African villages - large and small - on 
E22  92 the many tracks through the bush. The towns are ugly, squalid and 
E22  93 cheerfully sleazy. The villages are beautiful, neat and cheerfully 
E22  94 serene. Villagers regularly visit the nearest town, with a string 
E22  95 of pack-donkeys, to buy and sell; but they seem to feel no urge to 
E22  96 compete with the town folk in architecture or possessions. In the 
E22  97 remoter compounds a reincarnated Mungo Park would notice only one 
E22  98 change: since the 18th century, brightly-coloured enamelware 
E22  99 imported from Nigeria has replaced gourds and become an important 
E22 100 status symbol and component of dowries.<p/>
E22 101 <p_>Much of our trek was through the high Grasslands: Fulani 
E22 102 territory. The Fulanis - a proud, gracious people, Caucasoid in 
E22 103 appearance - began to move into Northern Cameroon some 350 years 
E22 104 ago and by 1800 had been converted to Islam. Many are shrewd and 
E22 105 successful town merchants, distrusted in proportion to their 
E22 106 prosperity. But the majority remain on the grasslands, indifferent 
E22 107 to the cash economy though owning vast herds of superb cattle - the 
E22 108 finest I have seen, anywhere, and representing a considerable 
E22 109 fortune on the hoof. It is a Fulani characteristic, noticeable even 
E22 110 in the rich merchants' homes, to live frugally, eating and dressing 
E22 111 well but acquiring no unnecessary possessions - a way of life from 
E22 112 which Western societies have much to learn.<p/>
E22 113 <p_>Often we camped, far from any human habitation, but 
E22 114 occasionally our tracks crossed the motor road and we stayed in a 
E22 115 hotel-cum-brothel where loud quarrels about payment disturbed the 
E22 116 nocturnal peace at irregular intervals. In the pre-AIDS era I would 
E22 117 have been diverted by Cameroon's prostitutes who obviously consider 
E22 118 their profession not only old but honourable. Some are quite rich 
E22 119 and therefore locally influential and respected; we were introduced 
E22 120 to them as one might be introduced in England to an enterprising 
E22 121 young woman who had started her own business and become a pillar of 
E22 122 the local Conservative Party. In the AIDS era, this social attitude 
E22 123 is terrifying.<p/>
E22 124 <p_>The very word 'Africa' has recently come to suggest a 
E22 125 Kaleidoscope of tragic or reprehensible images: drought, erosion, 
E22 126 famine, AIDS, tribal warfare conducted with the latest inexpensive 
E22 127 weaponry, pandemic corruption contributing to grotesque national 
E22 128 debts, pretentious capital cities surrounded by disease-ridden 
E22 129 shanty-towns. As yet, few of those images match our experience of 
E22 130 Cameroon. There were of course some AIDS cases, noted by medical 
E22 131 missionaries though unacknowledged by the government, and by now 
E22 132 the virus must have spread. But the environmentally unaware 
E22 133 traveller (if such a creature exists) might spend months in 
E22 134 Cameroon all the time rejoicing to have found an abundantly fertile 
E22 135 African country showing no signs of rural poverty or serious 
E22 136 ill-health. (Cameroon is the second richest, by far, of the Central 
E22 137 African states; only Congo is ahead.) However, the danger signals 
E22 138 are there, unrecognized by the majority. One of them is delightful 
E22 139 and hard to think of as a menace; yet the swarming children - 
E22 140 happy, healthy, endearingly out-going - are precisely that.<p/>
E22 141 <p_>In the quarter century after Independence, the population 
E22 142 doubled from four and a half to nine million - an estimated 60 per 
E22 143 cent under 16. Even half that rate of increase during the next 
E22 144 quarter century will entail disaster. The awkward topic of my 
E22 145 infertility (<quote_>"Why only one pickin?"<quote/>) came up almost 
E22 146 daily without its ever occurring to anybody that a personal 
E22 147 decision might be involved. The few villagers who can grasp the 
E22 148 idea of choosing to have only one child consider it grossly 
E22 149 immoral. Or at least the men do; some women, significantly (and 
E22 150 hopefully) are more ambivalent on this matter.<p/>
E22 151 <p_>Near Mount Ocu, we came upon a scene that has haunted me ever 
E22 152 since: the inexorable consequence of a 3.2 per cent annual 
E22 153 population increase. For miles, in every direction, a section of 
E22 154 one of Cameroon's few remaining primeval forests had just been 
E22 155 murdered. The charred corpses of hundreds of mighty trees lay 
E22 156 amidst the ashes of their precious jungle undergrowth. And next 
E22 157 morning, following a night of heavy rain, we passed proof of the 
E22 158 futility of such clearings. Above our track a steep mountain had 
E22 159 recently been harnessed to cultivation, though not so recently as 
E22 160 the previous day's arboreal graveyard. Already the new season's 
E22 161 maize had been planted, but the rainstorm had ravaged the entire 
E22 162 mountainside. Countless tons of squandered soil lay on our track, 
E22 163 made still more poignant by a scattering of frail maize seedlings. 
E22 164 Under forest, such a slope loses almost no soil through erosion; 
E22 165 under crops, it can lose from 200 to 400 tons per hectare each 
E22 166 year.<p/>
E22 167 <p_>Inevitably we were impeded, at intervals, by African 
E22 168 bureaucracy; but African corruption passed us by. And this despite 
E22 169 our once finding ourselves in an alarmingly awkward situation, 
E22 170 having broken the law so seriously (though accidentally) that we 
E22 171 might legitimately have been gaoled. The scene seemed to be set for 
E22 172 bribery on a grand scale. Instead, the local police and officials 
E22 173 invited us to their homes, entertained us lavishly, restored our 
E22 174 confiscated passports after a not unreasonable delay and sent us on 
E22 175 our way with enough food to last a week.<p/>
E22 176 <p_>To refer to 'the Cameroonians' as one would to the Irish or the 
E22 177 Romanians is of course absurd. The modern state of Cameroon has all 
E22 178 the standard nationalistic trimmings - flag, anthem, parliament, 
E22 179 lines on the map - but is in fact a bewilderingly heterogeneous 
E22 180 assembly of peoples speaking over 300 languages and ranging from 
E22 181 the tall slender Muslim Fulania to the animist pygmies of the 
E22 182 rain-forest. Approximately one third of the population is pagan, 
E22 183 one-third Muslim, one-third Christian. This new country has no more 
E22 184 reason than any other European-devised state to think of itself as 
E22 185 a nation, yet it does hang together remarkably well. Is this, as 
E22 186 was suggested to me by a Yaounde academic, because the Cameroonians 
E22 187 have no sense of history? If so, I hope they never acquire one. 
E22 188 Northern Irland's all-Christian factions cannot come to terms, in 
E22 189 the 1990s, with what happened in 1690 or 1798. If the Cameroonians 
E22 190 were similarly past-obsessed, the Bantus and Fulanis might have a 
E22 191 very big problem.<p/>
E22 192 <p_>Cameroon has always been a one-party state, a more or less 
E22 193 stable and benevolent dictatorship. Its human rights record falls 
E22 194 far short of the Amnesty ideal - but not as far short as is common 
E22 195 in Africa. The Big Men are quite openly corrupt; according to the 
E22 196 journal <tf_>International News Hebdo,<tf/> pounds1.3 billion were 
E22 197 embezzled by 'public servants' between 1986 and 1990 - which 
E22 198 prompted one Cameroonian journalist to describe his government as a 
E22 199 'kleptocracy.' Sadly, the economy is now declining fast and young 
E22 200 political activists are growing bolder in their demands for a 
E22 201 multi-party system. Given a rapid fall in the average income, the 
E22 202 public's fatalistic acceptance of mega<?_>-<?/>embezzlement is 
E22 203 likely soon to change, producing tensions that cannot be without a 
E22 204 tincture of tribalism. Cameroon has enjoyed a relatively 
E22 205 stress-free post colonial childhood; a more turbulent adolescence 
E22 206 may be about to begin.<p/>
E22 207 
E23   1 <#FLOB:E23\><h_><p_>Making dreams come true<p/>
E23   2 <p_>Once again it's time to think O B-P B F. The Olave Baden-Powell 
E23   3 Bursary Fund, set up in 1979, helps Guides, Rangers and Young 
E23   4 Leaders achieve a particular project by making grants - up to a 
E23   5 maximum of around pounds100. The grants, allocated in May, are 
E23   6 intended to top-up whatever the girl has managed to raise on her 
E23   7 own - to provide that little bit extra needed to turn her dream 
E23   8 into reality.<p/><h/>
E23   9 <p_>Last year, just over 50 applicants were successful. Here are 
E23  10 some of their stories.<p/>
E23  11 <p_>Lindsay Gilbert, a Young Leader with the 7th Oakham Guides, 
E23  12 started playing the clarinet at primary school. Eight years later 
E23  13 she's still playing, and is now in two bands and an ensemble.<p/>
E23  14 <p_>For ages she made do with a plastic instrument but knew she 
E23  15 really needed a better model so started saving ... The bursary made 
E23  16 all the difference and, since last summer, Lindsay's been the proud 
E23  17 owner of a wooden clarinet. It will be going with her at Easter 
E23  18 when she tours Germany with the Rutland Concert Band.<p/>
E23  19 <p_>Apart from playing the clarinet and studying for her A-levels, 
E23  20 Lindsay is very active in Guiding - but that runs in the family - 
E23  21 even if music doesn't. At her enrolment as a Guide in 1984 she had 
E23  22 her grandmother's badge from 1924!<p/>
E23  23 <p_>Young Leader, Helen Street, from Sutton Bonington, 
E23  24 Loughborough, was selected for an international event - a Jamboree 
E23  25 in Iceland attended by 1,500 Guides and Scouts. She found sponsors 
E23  26 to cover the basic cost of the trip - pounds1,000 - but still had 
E23  27 equipment to buy, including a new rucsac<&|>sic!.<p/>
E23  28 <p_>Having read about the Bursary Fund, Helen wrote in and asked 
E23  29 for a grant. Soon, she was choosing a roomy blue and purple back 
E23  30 pack - just what she needed. And it will be going with her to 
E23  31 Austria this year and to America in 1992.<p/>
E23  32 <p_>Last summer Carolyn Otley spent ten weeks in the USA - her 
E23  33 father had a job there. Before she went, she contacted the relevant 
E23  34 Girl Scout Council and arranged to join in various activities, 
E23  35 including a backpacking trip in the Appalachians.<p/>
E23  36 <p_>An enthusiastic photographer, Carolyn wanted to be able to take 
E23  37 first<?_>-<?/>class pictures so that she could share her American 
E23  38 experience when she got back home. However, she realised 
E23  39 <quote_>"that to take good shots without the girls being 
E23  40 over-conscious of the camera"<quote/>, she needed a telephoto 
E23  41 lens.<p/>
E23  42 <p_>Carolyn already had some money from a waitressing job and 
E23  43 applied to the Fund for the balance. The lens was a terrific 
E23  44 success. She took lots of slides in the USA which have since been 
E23  45 shown to local Guide Companies, including her own. Carolyn is a 
E23  46 Young Leader with the 9th Lancaster.<p/>
E23  47 <p_>Yet another Young Leader who successfully applied to the Fund 
E23  48 was Elizabeth Downing, who is with the 1st Norton Brownies. This 
E23  49 time last year she'd just been offered a place at college to do a B 
E23  50 Ed degree course with art as her major subject - her ambition for a 
E23  51 long time.<p/>
E23  52 <p_>Elizabeth was also <quote_>"trying to buy the necessary 
E23  53 equipment"<quote/>. She got herself a weekend job looking after 
E23  54 children, and her family helped by giving her paints and brushes as 
E23  55 Christmas and birthday presents.<p/>
E23  56 <p_>But it was the money from the Fund that enabled her to buy two 
E23  57 larger items: a radial easel and a lay figure. <quote_>"Both have 
E23  58 been extremely useful,"<quote/> she says. She's already used the 
E23  59 easel for several large oil paintings <quote_>"so much better than 
E23  60 taping the picture to a table"<quote/> - and finds the lay figure a 
E23  61 great boon. <quote_>"Unlike a model it doesn't move 
E23  62 about."<quote/><p/>
E23  63 <p_>These success stories illustrate the scope of the Olave 
E23  64 Baden-Powell Bursary Fund and show that the project need not be 
E23  65 Guide-related - but it must be a genuine ambition, not just a 
E23  66 spur-of-the-moment whim. Do you know of a Guide, Ranger or Young 
E23  67 Leader who might benefit? If so, tell her about the scheme, which 
E23  68 isn't means-tested. Then persuade her to read this article - or the 
E23  69 one in February's <tf_>TODAY'S GUIDE<tf/> - and encourage her to 
E23  70 write in for an application form enclosing a sae.<p/>
E23  71 <p_>When it comes to filling in the form, the applicant has to 
E23  72 present her case convincingly: explain what the project is, why it 
E23  73 interests her, how much it is costing and what she is already doing 
E23  74 to raise money.<p/>
E23  75 <p_>Along with the completed form, a candidate has to send in a 
E23  76 letter of recommendation (from a non-Guide person) supporting her 
E23  77 application, giving background information about the girl's life 
E23  78 outside Guiding.<p/>
E23  79 <p_>Applications must be in by April 30 - so think OB-PBF <tf|>now! 
E23  80 Application forms are available from: The Secretary of the Olave 
E23  81 Baden-Powell Bursary Fund, The Girl Guides Association, 17-19 
E23  82 Buckingham Palace Road, London SW1W OPT.<p/>
E23  83 <p_>Obviously, not everybody who applies will be lucky - but as 
E23  84 Lindsay, Helen, Carolyn and the rest all agree, <quote_>"You've 
E23  85 nothing to lose, so why not have a go!"<quote/><p/>
E23  86 
E23  87 <h_><p_>RANGERS FILL THE GAP<p/>
E23  88 <p_>The Plumstead District Rangers were lucky. After all, it's not 
E23  89 every newly-formed Unit that is invested on Brownsea Island in 
E23  90 Dorset, site of the Founder's first, experimental camp way back in 
E23  91 1907. And, considering that they set off on Friday 13th, it went 
E23  92 off without a hitch. Well, almost ...<p/>
E23  93 <p_>JUSTINE CHATTING<p/><h/>
E23  94 <p_><quote_>"We did get lost on the way,"<quote/> explained Carol 
E23  95 Walker. <quote_>"We lost the car that we were supposed to be 
E23  96 following and had to ring someone to find out the address of the 
E23  97 camp. But it turned out OK for us,"<quote/> she added, 
E23  98 <quote_>"because the others had started putting the tent 
E23  99 up."<quote/><p/>
E23 100 <p_>Carol was one of seven Guides who had 'come of age' in March 
E23 101 last year - at 14 she felt too old for Guides and was too young to 
E23 102 start the Young Leader Scheme.<p/>
E23 103 <p_><quote_>"There wasn't a Ranger Unit nearby that they could 
E23 104 join. We had to do something because we didn't want to lose 
E23 105 them,"<quote/> explained Margaret Courtney, their District 
E23 106 Commissioner. <quote_>"They could still go along to Guides to help 
E23 107 out or wait and do a Young Leader course, but they decided that 
E23 108 they wanted more than that."<quote/><p/>
E23 109 <p_>So, with Margaret's help and encouragement, they put their 
E23 110 heads together and decided to form a Ranger Unit. But that was 
E23 111 easier said than done.<p/>
E23 112 <p_>Ranger Guides form the smallest section of the Movement. This 
E23 113 is often attributed to girls getting snowed under with schoolwork 
E23 114 and GCSE exams between 14 and 16 and having to sacrifice Guiding as 
E23 115 a result.<p/>
E23 116 <p_>The Plumstead Rangers are living proof that Units can find a 
E23 117 way around this problem. By meeting once a fortnight they can give 
E23 118 Rangers - and their homework - the time they deserve.<p/>
E23 119 <p_>They did have a few teething troubles. They had no Ranger 
E23 120 Guider at first but Margaret helped out, while a Ranger Guider was 
E23 121 trained. Two 'trouble makers' apparently did their best to disrupt 
E23 122 the Unit but, once they had left, it was plain sailing.<p/>
E23 123 <p_><quote_>"Once you've formed a group and it's been going six 
E23 124 months, if it's viable you can then register and keep it 
E23 125 going,"<quote/> said Margaret. <quote_>"If the girls hadn't shown 
E23 126 so much interest we would have disbanded,"<quote/> she added.<p/>
E23 127 <p_>As Margaret points out, no Unit can survive without its life 
E23 128 force - enthusiasm. And the Plumstead Rangers have plenty of that. 
E23 129 <quote_>"They get involved in everything,"<quote/> says 
E23 130 Margaret.<p/>
E23 131 <p_>Letting the girls decide their own programme seems to keep 
E23 132 spirits up and attendance high. Jenny Young found that the 
E23 133 transition between Guides and Rangers gave her independence. 
E23 134 <quote_>"At Rangers we can arrange everything ourselves. We decide 
E23 135 as a group what we want to do and then take it in turns to plan it 
E23 136 out,"<quote/> she said.<p/>
E23 137 <p_>The girls weren't tempted to join Venture Scouts instead of 
E23 138 Rangers - they feel that being in a single sex organisation has too 
E23 139 many benefits to ignore.<p/>
E23 140 <p_><quote_>"All-girl groups are better for personal 
E23 141 things,"<quote/> says Carol. <quote_>"If you're with loads of boys 
E23 142 you can't guarantee that, when things go wrong, they're going to be 
E23 143 understanding. But when there are just girls you can talk openly 
E23 144 about things."<quote/><p/>
E23 145 <p_>Carol added: <quote_>"Girls are much more tolerant than boys. 
E23 146 When we played tennis at Rangers I only hit the ball five times in 
E23 147 the whole hour and no one got fed up with me. When I missed the 
E23 148 ball we just laughed about it - but boys would probably get fed up 
E23 149 really quickly."<quote/><p/>
E23 150 <p_>She feels that being with girls boosts her confidence. 
E23 151 <quote_>"Sometimes boys can go over the top. They'll take the 
E23 152 mickey if you can't do something and that makes you feel more 
E23 153 nervous!"<quote/><p/>
E23 154 <p_>Margaret, a Guide Guider herself, recognises all the benefits 
E23 155 that Ranger Units offer the girls and feels that perseverance and 
E23 156 flexibility can iron out many of the problems that they may 
E23 157 encounter.<p/>
E23 158 <p_><quote_>"If girls want to stay in Guiding, there is nothing to 
E23 159 do between the ages of 14 and 15 and this is the age group the 
E23 160 Movement seems to be losing,"<quote/> explained Margaret. 
E23 161 <quote_>"They need something for themselves. Rangers <tf|>can fill 
E23 162 this gap."<quote/><p/>
E23 163 <p_>Rangers is an important stepping stone - it helps the girl make 
E23 164 that all<?_>-<?/>important leap from Guide to Guider. Both Carol 
E23 165 and Jenny have every intention of staying on in the Movement and 
E23 166 putting back in as Guiders all the knowledge and experience they 
E23 167 have gained from being Brownies, Guides and Rangers.<p/>
E23 168 <p_>Jenny hopes to become a Brownie Guider. She's not old enough to 
E23 169 start a Young Leader Scheme so, in the meantime, is enjoying 
E23 170 Rangers. Carol finds time to help out at the 2nd Abbey Wood 
E23 171 Brownies and Guides and still keep up her commitment to Rangers, 
E23 172 though she admits she doesn't know how she does it. <quote_>"I've 
E23 173 just about got time to sleep!"<quote/> she said.<p/>
E23 174 <p_>I met a few of the Rangers while they were helping out at CHQ 
E23 175 during their summer holidays. As tour guides, they gave visiting 
E23 176 units, many from abroad, a blast from the Guiding past, showing 
E23 177 them relics and artefacts and bringing alive the history of 
E23 178 Guiding.<p/>
E23 179 <p_>Since then, months have passed and their enthusiasm for Rangers 
E23 180 is far from flagging. Numbers are swelling, and though new recruits 
E23 181 may have missed out on that special weekend at Brownsea Island, 
E23 182 they are bound to enjoy the 'easygoing Guiding' that the Plumstead 
E23 183 Rangers can provide.<p/>
E23 184 
E23 185 <h_><p_>YOUTH FOR EUROPE<p/><h/>
E23 186 <p_>As 1992 approaches, heralding the prospect of a united Europe, 
E23 187 it's time to start thinking about the implications that this union 
E23 188 will have on young people.<p/>
E23 189 <p_>Catherine Harle, a Young Leader with 4th Droitwich Guide 
E23 190 Company, and a member of Droitwich Rangers recently attended the 
E23 191 forth European Youth Seminar in London, which focused on this very 
E23 192 subject.<p/>
E23 193 <p_>Representing Worcestershire Guides, Catherine was surprised to 
E23 194 find that she was the only GGA member there. As she felt it was a 
E23 195 good opportunity to learn about this important subject - and make 
E23 196 friends - Caroline sent us her views.<p/>
E23 197 <p_>The seminar was held to enable young Europeans to come together 
E23 198 and discuss the implications, problems and benefits of a united 
E23 199 Europe. It also gave those involved a chance to get to know one 
E23 200 another, thus providing a better understanding of each other's 
E23 201 cultures and backgrounds. And, hopefully, to form links at 
E23 202 grass-roots level which will help to build a united Europe.<p/>
E23 203 <p_>Aimed at 16-19-year olds, delegates attended from Germany, 
E23 204 Switzerland, France, Italy, Spain and the UK. Of the UK delegation 
E23 205 six of us came from England and I hope that more GGA members will 
E23 206 be inclined to take part in next year's event.<p/>
E23 207 <p_>During the week we were divided into eight groups of mixed 
E23 208 nationalities. In these groups we discussed various topics and 
E23 209 worked at certain tasks.<p/>
E23 210 <p_>In the morning we covered issues of interest to young Europeans 
E23 211 with presentations being given by various countries, usually 
E23 212 chaired by a visiting expert.<p/>
E23 213 <h_><p_>BRITISH EDUCATION<p/><h/>
E23 214 <p_>The week began with a discussion on education. After outlining 
E23 215 our system we decided that British education is deeper and narrower 
E23 216 than the systems used in other European countries. We concluded 
E23 217 that if there are to be increased job opportunities abroad and a 
E23 218 truly united Europe, then the education systems must be brought 
E23 219 closer together while still remaining individual.<p/>
E23 220 
E24   1 <#FLOB:E24\><h_><p_>More potential firsts for Britain<p/>
E24   2 <p_>In his second attempt to forecast which new species might still 
E24   3 reach Britain and Ireland, IAN WALLACE moves on from seabirds to 
E24   4 the non-passerines of the Old World<p/><h/>
E24   5 <p_>WAY back in the early 1950s, the race for the first field guide 
E24   6 at all worth the name was won by two Richards - Fitter and 
E24   7 Richardson - but unfortunately their book suffered from an 
E24   8 artificial and cumbersome grouping of birds by size. Most of us 
E24   9 continued to pray for a better one.<p/>
E24  10 <p_>Three men answered our needs. They were Roger Peterson 
E24  11 (progenitor of the genre in America and painter extraordinary), Guy 
E24  12 Mountfort (interpreter of human needs and chief author) and Phil 
E24  13 Hollom (ornithological geographer and later sound recordist).<p/>
E24  14 <p_>With the assistance of the then excellent William Collins Ltd 
E24  15 (of the New Naturalist series and many other natural history 
E24  16 works), the first classic Field Guide - it deserves its capital 
E24  17 letters - went into nearly all our pockets. Field identification 
E24  18 was truly advanced in 1954.<p/>
E24  19 <p_>By the autumn of 1990, my third copy of 'Peterson' (as the 
E24  20 Field Guide was often called) was looking pretty weary. Should I 
E24  21 buy the fourth edition?<p/>
E24  22 <p_>Lo, in the post came an invitation to help the now venerable 
E24  23 but still astonishingly active trio write a fifth edition.<p/>
E24  24 <p_>Thus for nearly a year the Field Guide has fought with my 
E24  25 column in <tf_>Bird Watching<tf/> for the small desk in my 
E24  26 bedroom-cum-study!<p/>
E24  27 <p_>The Field Guide will be up against much stiffer opposition this 
E24  28 time round. At least four more new guides are poised to hit the 
E24  29 shelves of bookshops - and our purses or wallets. It will be 
E24  30 fascinating to see how they compare. Will the bird tour leaders 
E24  31 share their knowledge at last?<p/>
E24  32 <p_>In the course of the Field Guide revision, it was necessary to 
E24  33 review the records of new European birds. This was by no means easy 
E24  34 and I must note that since the decision speed in the European 
E24  35 ornithological bureaucracy is apparently dropping year on year, I 
E24  36 have had to err on the side of caution.<p/>
E24  37 <p_>Because many non-passerines are relatively scarce, they do not 
E24  38 present - individually or as related groups - such obvious patterns 
E24  39 of vagrancy as most passerines. The detection of their migratory 
E24  40 potential depends much more on their status in their home ranges 
E24  41 and particularly the shifts in the latter.<p/>
E24  42 <p_>It is clear from recent European News, now so stimulatingly 
E24  43 assembled by Tim Sharrock, that really puzzling non-passerine 
E24  44 occurrences are fast multiplying.<p/>
E24  45 <p_>Birds of several orders appear to be pushing north round West 
E24  46 Africa and through Iberia; others seem to be pioneering new ranges 
E24  47 north-west from south-west Asia to Fenno-Scandia, and yet others 
E24  48 are struggling across almost all of Asia to scatter through Western 
E24  49 Europe.<p/>
E24  50 <p_>Could the first phenomenon be another function of the period of 
E24  51 savage Sahel drought, the second a similar response to the 
E24  52 dessification of the Aral-Caspian region, and the third a match to 
E24  53 the exploitation by small Siberian passerines of increased polar 
E24  54 air circulation?<p/>
E24  55 <p_>All three may be, but the truth is that we are almost 
E24  56 completely ignorant of why an Eleonora's Falcon from Madagascar 
E24  57 flies not to the Mediterranean but to Lancashire or what guides a 
E24  58 Little Whimbrel from Australasia to south Wales.<p/>
E24  59 <p_>Dangerously cosmetic terms like 'overshooting' and 'reversed 
E24  60 migration' are used to paper the cracks in our boggling minds. To 
E24  61 the romantic in me, the birds' achievements remain 
E24  62 near<?_>-<?/>miraculous! Anyway, here goes with my choice of new 
E24  63 non<?_>-<?/>passerines.<p/>
E24  64 <h_><p_>Herons and Storks<p/><h/>
E24  65 <p_>WITH the Cattle Egret having crossed the Atlantic and 
E24  66 successfully colonised the New World, we cannot ignore other 
E24  67 herons.<p/>
E24  68 <p_>Claims of wild Chinese Pond Herons will probably remain 
E24  69 hopelessly clouded by its high escape 
E24  70 <}_><-|>liklihood<+|>likelihood<}/> but we ought to take seriously 
E24  71 Africa's Western Reef Heron. It has fought its way out of the 
E24  72 Azores and is now reaching south-west Europe. Little Egret tickers, 
E24  73 take care!<p/>
E24  74 <p_>Another possibility is Schrenck's Little Bittern which 
E24  75 straggled to central Europe from east Asia. Its vagrancy is 
E24  76 <quote_>"quite extraordinary"<quote/>, said <tf_>Birds of the 
E24  77 Western Palearctic<tf/>, but no more so than that of the Daurian 
E24  78 Starling.<p/>
E24  79 <p_>There are now Iberian claims of Marabou Stork and African 
E24  80 Spoonbill. Having seen both full<?_>-<?/>winged in European zoos, I 
E24  81 can understand the reluctance to record committees to give them 
E24  82 full credence. In my case, I would bar the Marabou on grounds of 
E24  83 ugliness!<p/>
E24  84 <h|>Wildfowl
E24  85 <p_>HAVING been fair game for hungry humans for centuries, wildfowl 
E24  86 corpses have long presented vagrancies hidden in other families. 
E24  87 Readers of <tf_>Bird Watching<tf/> will already know that currently 
E24  88 Marbled Teal from west Mediterranean, Falcated Teal from east Asia 
E24  89 and even White-headed Ducks from south Iberia are appearing on 
E24  90 English waters.<p/>
E24  91 <p_>All three have more or less reasonable credentials. For 
E24  92 example, the first has flown the Atlantic as far as Madeira and the 
E24  93 third has wandered north to the Low Countries. The Falcated only 
E24  94 has to track the already accepted Baikal Teal from Siberia.<p/>
E24  95 <p_>To these three surface-feeders, we should perhaps add 
E24  96 Spectacled Eider which has flown along the chilly north Asian coast 
E24  97 as far as Atlantic Norway, and Baer's Pochard which has yet to 
E24  98 reach Europe but would only have to match the two teals' efforts to 
E24  99 do so. If I remember one of the more delicious tales of the 1970s 
E24 100 aright, the Eider has been glimpsed in a Lincolnshire snowstorm!<p/>
E24 101 <h_><p_>Birds of Prey<p/><h/>
E24 102 <p_>FENNO-SCANDIA, particularly where Swedish eyes are keen, 
E24 103 attracts a remarkable number of extra-limital raptors. So although 
E24 104 their kind cross the North Sea only rarely, we ought to pay 
E24 105 attention to them.<p/>
E24 106 <p_>From eastern Europe and south-west Asia have come Long-legged 
E24 107 Buzzard, Steppe, Lesser Spotted, Imperial and Short-toed Eagles and 
E24 108 Sakar Falcon. As a favourite of falconers, the last will always be 
E24 109 subject to close <}_><-|>scrutiiny<+|>scrutiny<}/> but happily the 
E24 110 others are now very rare in collections. At least three of the 
E24 111 eagles and the falcon have been claimed for Britain in the past.<p/>
E24 112 <p_>From Iberia, we may yet receive Black-winged Kite. Occasional 
E24 113 nomad rather than true migrant, it is doing well in its home range 
E24 114 and spreading. More good summers could tempt it north. Again I 
E24 115 remember an old (and convincing) report from Essex!<p/>
E24 116 <p_>From the same vector, another possibility is Booted Eagle. It 
E24 117 is accepted for Belgium, Holland and Sweden and importantly it does 
E24 118 frequently cross narrow seas. We really ought not to pour scorn on 
E24 119 claims for a bird that breeds within a mere 5 degrees of 
E24 120 longitude!<p/>
E24 121 <p_>Looking to the east, we should not ignore Pallas's Fish Eagle, 
E24 122 which has come as close as Norway, and two small species which may 
E24 123 yet sprint west from Siberia. These are the 
E24 124 <}_><-|>diminitive<+|>diminutive<}/> Japanese Sparrowhawk and the 
E24 125 entrancing Amur (Eastern Red<?_>-<?/>footed) Falcon. Neither of the 
E24 126 latter would have to do more than Pallas's Warbler to reach our 
E24 127 shores. (Regular readers, for my sins, may just have twigged my 
E24 128 belief in the falcon as a British bird in my recent 'Going for gold 
E24 129 and beyond' article).<p/>
E24 130 <p_>The main barrier to new large soaring raptors will remain the 
E24 131 North Sea. Only the Rough<?_>-<?/>legged Buzzard crosses it with 
E24 132 any confidence and it may well be that our best chance of a new 
E24 133 'broadwing' will be during the next invasion of that fine northern 
E24 134 bird.<p/>
E24 135 <h_><p_>Cranes and rails<p/><h/>
E24 136 <p_>ALTHOUGH also dogged by escapes, wild Demoiselle Crane and 
E24 137 Purple Gallinule have occurred tantalisingly close in western 
E24 138 Europe. British claims of both have failed in the past but they may 
E24 139 be taken more seriously now.<p/>
E24 140 <p_>One misty, frosty day at Hickling Broad, I waited all day for a 
E24 141 huge gallinule, only to find it was Green-backed, not Purple!<p/>
E24 142 <h|>Waders
E24 143 <p_>AS THEY make up another order of fantastic wanderers, it is 
E24 144 very unlikely that we are near the end of the queue of new British 
E24 145 waders.<p/>
E24 146 <p_>I doubt if any of my generation would have nominated Greater 
E24 147 Sand Plover, Grey-tailed Tattler and Little Whimbrel as future 
E24 148 targets but they and other equally astonishing waders have recently 
E24 149 flown up to half a world to our lands.<p/>
E24 150 <p_>Accordingly we must face up to the prospect of eight more 
E24 151 species that are already known from north Atlantic coasts and west 
E24 152 European countries. These are Lesser Sand Plover, 
E24 153 Spur<?_>-<?/>winged Plover, Oriental Plover (no joke; starting 
E24 154 possibly from the Gobi dessert, it has reached Greenland), Great 
E24 155 Knot (now reported from five countries) and Asiatic Dowitcher.<p/>
E24 156 <p_>If they can reach across the Palearctic and beyond, so could 
E24 157 Pin-tailed Snipe and just possible Far Eastern Curlew and Swinhoe's 
E24 158 Snipe. The birdwatcher who does not look closely at every snipe may 
E24 159 well pass up on more than Great!<p/>
E24 160 <h_><p_>Sandgrouse and pigeons<p/><h/>
E24 161 <p_>NOT ALL black-bellied Sandgrouse are Pallas's; some are 
E24 162 Black-bellied, of which individuals have come as close as Belgium 
E24 163 and Germany.<p/>
E24 164 <p_>We should be aware that just like Pallas's Sandgrouse, Eastern 
E24 165 Stock Dove radiates out from the Aral-Caspian region. None has been 
E24 166 identified further west than central Russia but under ecological 
E24 167 pressure, it might go a lot further.<p/>
E24 168 <h_><p_>Cuckoos, owls and swifts<p/><h/>
E24 169 <p_>ONLY one cuckoo deserves mention and that is Oriental. Two 
E24 170 recent claims have not prospered but given its migratory 
E24 171 performance in east Asia and definite records west to the south 
E24 172 Baltic, there is no logical reason for it to stay away for ever.<p/>
E24 173 <p_>The chance is slim but if Pygmy Owl can skip over narrow seas 
E24 174 to Denmark, Germany and Belgium, it might one year hop the English 
E24 175 Channel too.<p/>
E24 176 <p_>Another real flyer would be Plain Swift of the east Atlantic 
E24 177 islands off north-west Africa. Most northern birds withdraw 
E24 178 somewhere in winter and a north<?_>-<?/>bound overshoot in bad 
E24 179 Spring weather could deposit it in Ireland.<p/>
E24 180 <p_>A much more likely Swift is White-rumped. It has successfully 
E24 181 colonised Spain and could well track Little along Europe's western 
E24 182 seaboard.<p/>
E24 183 <h|>Woodpeckers
E24 184 <p_>WE DO poorly for these active and engaging continental birds 
E24 185 and every time I see Northern Great Spotted on the East coast, I 
E24 186 ponder on what other woodpeckers might occur.<p/>
E24 187 <p_>In spite of all its persistent past rejections, Black breeds 
E24 188 only 250 miles east of East Anglia and so has good credentials as a 
E24 189 future vagrant. We should be ready for Three-toed too. It has 
E24 190 irrupted south to Denmark.<p/>
E24 191 <p_>RATHER to my surprise, it has been something of a struggle to 
E24 192 put together 36 candidates for new British non-passerines.<p/>
E24 193 <p_>Our gun-toting, specimen-collecting forefathers did better (or 
E24 194 worse, I should write) with large targets than with small, so there 
E24 195 is less in the Palearctic and African cupboards in the forms of 
E24 196 non-passerines than there is with the once invisible passerines.<p/>
E24 197 <p_>If global warming does change our climate more than so far, we 
E24 198 should probably look less to the east and more to the south. We 
E24 199 could yet be astonished by more outlandish species from Africa.<p/>
E24 200 <p_>My disparagement of Marabou Stork may prove rather foolish. It 
E24 201 may well have the last laugh!<p/>
E24 202 
E24 203 <h_><p_>Survival strategies<p/>
E24 204 <p_>Integrating moult with the other main events in a bird's year 
E24 205 is vital. JOHN WYATT continues this month to examine how this is 
E24 206 achieved by different species.<p/><h/>
E24 207 <p_>IF REPRODUCTION is the main focus of a bird's existence, then 
E24 208 its life can perhaps best be described as one long fight for 
E24 209 survival between breeding seasons.<p/>
E24 210 <p_>Two of the most important aspects of this are the regular 
E24 211 replacement of feathers to ensure maximum flight and insulation 
E24 212 efficiency and, for may species, the annual movements between 
E24 213 breeding and non-breeding areas. This migration keeps the levels of 
E24 214 competition for scarce food and other resources to a year-round 
E24 215 minimum.<p/>
E24 216 <p_>Reproduction, migration and moult are all key events in the 
E24 217 avian year. They are also hugely energy-sapping and therefore ought 
E24 218 to be separated to avoid too great a strain on a bird at any one 
E24 219 time.<p/>
E24 220 <p_>The demands of the first two are probably self-evident but, 
E24 221 perhaps surprisingly, the last is equally draining not only because 
E24 222 of the actual body processes involved in producing new feathers but 
E24 223 also the necessity to counter temporarily impaired flying ability, 
E24 224 temperature control and waterproofing and to be even more alert to 
E24 225 avoid predators.<p/>
E24 226 <h_><p_>Moulting strategies<p/><h/>
E24 227 <p_>WHAT strategies do birds therefore adopt to keep these three 
E24 228 major events apart and to reduce the problems of moult?
E24 229 
E25   1 <#FLOB:E25\><h_><p_>THE AGE OF EQUALITY?<p/><h/>
E25   2 <p_>The article by Brigadier Stuart Ryder arguing that there should 
E25   3 be a new system of gallantry awards to the armed services which 
E25   4 takes no account of rank/class differences (MEDAL NEWS, May 1991), 
E25   5 has elicited a good deal of comment and correspondence, some of 
E25   6 which is published on this month's 'Letters' page. Following the 
E25   7 publication of the 'Gulf' <tf_>London Gazette<tf/> (June 28, 1991), 
E25   8 this same theme was elaborated in a lengthy editorial by Alan 
E25   9 Chochrane, Assistant Editor of the <tf_>Mail on Sunday<tf/>.<p/>
E25  10 <p_>In addition to underlining the fact that class/rank 
E25  11 differentials are also fundamental to the system of civilian 
E25  12 awards, he suggests that a disproportionate number of 'Gulf' awards 
E25  13 went to officers as compared to other ranks and cites in support a 
E25  14 recent letter in <tf_>The Times<tf/> from Major General Ken 
E25  15 Perkins, a much decorated and former senior officer, who voiced 
E25  16 concern about just this matter.<p/>
E25  17 <p_>Other commentators on the theme of 'inequality' have suggested 
E25  18 that given the number of women who served in the Gulf and elsewhere 
E25  19 overseas in support of operations there, they too are 
E25  20 under-represented, while awards to civilians who directed 
E25  21 operations from the safety and comfort of the UK are unacceptably 
E25  22 large in number.<p/>
E25  23 <p_>No doubt we would not all agree on what constitutes a 
E25  24 'well-balanced' awards list, but there is clearly a reluctance by 
E25  25 the awarding authorities to keep pace with changing times, much 
E25  26 less run in advance of Prime Minister John Major's stated aim to 
E25  27 create a classless society.<p/>
E25  28 <p_>MoD comments throw no light on these issues: comments from the 
E25  29 various Service press desks boil down to <quote_>"those who deserve 
E25  30 awards get rewarded appropriately"<quote/> -  a view not totally in 
E25  31 harmony with that of Major General Perkins nor with the knowledge 
E25  32 gained from historical records by researchers in this field.<p/>
E25  33 <p_>However, one area where there was a break with tradition was in 
E25  34 the gazetting of the Special Forces awards. In the past, even for 
E25  35 Northern Ireland, recipients serving with the Special Forces have 
E25  36 not been identifiable as such as their names have been listed along 
E25  37 with the name of their parent regiment. The 'Gulf' Gazette adopts a 
E25  38 new approach of simply stating that so many of 'such and such' an 
E25  39 award were made to personnel serving with a particular Special 
E25  40 Force -  no name, no parent regiment hence no means of verifying 
E25  41 the awards. This even applies to Mentions-in-Despatches. Why the 
E25  42 change? So far no information has been forthcoming; members of the 
E25  43 MoD press desk do not appear to understand that such a change has 
E25  44 taken place.<p/>
E25  45 
E25  46 <h_><p_>GULF CAMPAIGN MEDAL<p/><h/>
E25  47 <p_>The design of the campaign medal and ribbon for the Gulf war 
E25  48 has recently been approved by Her Majesty the Queen.<p/>
E25  49 <p_>The medal follows the precedent of campaign medals for WW2, 
E25  50 Korea and the Falklands in that it is made by the Royal Mint in 
E25  51 cupro-nickel, and is the same size, and has the same suspender, as 
E25  52 earlier medals.<p/>
E25  53 <p_>The obverse bears the David Wynne portrait of Her Majesty the 
E25  54 Queen wearing the State Crown. The reverse design is based upon the 
E25  55 Combined Operations badge of WWII, but with modifications.<p/>
E25  56 <p_>The ribbon is based upon that of the Africa Star (of WWII) with 
E25  57 the colours of each of the three services at either side of the 
E25  58 ribbon, separated by a strip of pale buff, representing the 
E25  59 desert.<p/>
E25  60 <p_>The criteria as to who will be awarded the medal are not yet 
E25  61 available but should be announced shortly. It is envisaged that 
E25  62 most of those who served in the Gulf theatre of operations will be 
E25  63 entitled to wear it.<p/>
E25  64 
E25  65 <h_><p_>COUNTY MEMORIAL PROJECT<p/><h/>
E25  66 <p_>Following a generous grant from Hampshire County Council, the 
E25  67 Victorian Military Society is now able to undertake a major 
E25  68 research project to record all memorials to the Anglo-Boer War of 
E25  69 1899-1902 in Hampshire. This county project forms part of a larger 
E25  70 initiative to record all Anglo-Boer War memorials in Britain that 
E25  71 Tony McCabe and Meurig Jones have been running for three years 
E25  72 under the auspices of the Society.<p/>
E25  73 <p_>For Hampshire the specific objectives include discovering the 
E25  74 history of the memorials as well as the men and women which they 
E25  75 commemorate. The results will be published in county and national 
E25  76 publications. Information covering details of the memorials and 
E25  77 those commemorated, together with photographs of each memorial, 
E25  78 will be prepared for the County archives.<p/>
E25  79 <p_>Project experience has shown that many memorials exist in 
E25  80 parish churches, drill halls, town halls and similar buildings. 
E25  81 Unfortunately many of these buildings tend to be locked and 
E25  82 inaccessible to surveys such as this, therefore volunteers with 
E25  83 good local knowledge are needed. To supplement the descriptions of 
E25  84 memorials which still exist, help is needed from people who know 
E25  85 about memorials which may have been lost. But for all memorials, 
E25  86 the whereabouts of contemporary pictures, postcards, newspaper 
E25  87 reports or information on a person commemorated on a memorial will 
E25  88 also be of considerable importance.<p/>
E25  89 <p_>Anyone who has information which they think will be of use or 
E25  90 anyone who is interested in helping should contact Tony McCabe at 
E25  91 21 Bassano Street, East Dulwich, London SE22 8RU, sending a SAE 
E25  92 (16x22cms) for full details.<p/>
E25  93 
E25  94 <h_><p_>SOE -  DISTINGUISHED UNDERCOVER SERVICE<p/>
E25  95 <p_>by Dave Buxton<p/><h/>
E25  96 <p_>Following my article in MEDAL NEWS (October 1990) on the 
E25  97 fiftieth anniversary of the Intelligence Corps, my attention was 
E25  98 drawn to the fact that another more combatant intelligence 
E25  99 organisation also had its fiftieth anniversary in July, 1990 -  
E25 100 albeit an organisation now no longer in existence.<p/>
E25 101 <p_>It was formed during the period of the Battle of Britain in 
E25 102 1940, as an amalgamation of several separate intelligence 
E25 103 organisations, all with a similar goal -  the overthrow of the Nazi 
E25 104 regime occupying virtually all of Europe, by covert means. This new 
E25 105 organisation was to be know as the Special Operations Executive, 
E25 106 and came under the jurisdiction of the Ministry of Economic 
E25 107 Warfare. Initial problems due to internal politics and the mistrust 
E25 108 of an 'amateur' organisation by the domestic and foreign British 
E25 109 intelligence services -  M15 and M16, who controlled it -  were 
E25 110 soon rectified by SOE becoming independently responsible for 
E25 111 subversion, and the propaganda elements transferring to the 
E25 112 Political Warfare Executive in August, 1941.<p/>
E25 113 <p_>Recruiting began in earnest and its personnel were recruited 
E25 114 from all walks of life. Training was carried out in closed 
E25 115 establishments known as STSs (Special Training Schools). Many of 
E25 116 these schools were housed in the stately homes across the 
E25 117 country.<p/>
E25 118 <h_><p_>Operations in France<p/><h/>
E25 119 <p_>The bulk of SOE activities initially were channeled into 
E25 120 operations in France. The first ones were in 1941 and after a shaky 
E25 121 and dangerous start, a project to arm the Resistance was 
E25 122 inaugurated. A secondary aim was the creation of intelligence 
E25 123 gathering networks or circuits, which in the main were successful - 
E25 124  at D-Day in June 1944 about 52 circuits were in action, some 30 
E25 125 others had been destroyed by enemy action. Of the 480 agents in 
E25 126 FSection, 130 were captured and 117 of these were executed.<p/>
E25 127 <p_>The dropping of the 'Joes' as the RAF aircrew called them was 
E25 128 primarily the function of the Special Duties Squadrons -  No 138 
E25 129 and No 161, which operated from Tempsford, and flew Lysanders, 
E25 130 Whitleys and Halifaxes (see <tf_>Flights of the Forgotten<tf/> by 
E25 131 K.A. Merrick, Arms & Armour Press, 1989) for an in depth look at 
E25 132 these and other Special Squadrons)<&|>sic!<p/>
E25 133 <h_><p_>Other European theatres<p/><h/>
E25 134 <p_>Operations were also extended into Norway and Denmark with the 
E25 135 formation of the Scandinavian section. A notable operation in 
E25 136 Norway was that of 'Gunnerside' in February 1943, when the Norsk 
E25 137 Hydro plant of Vermork was attacked and vital equipment for the 
E25 138 production of 'heavy water' -  a component of atomic power -  was 
E25 139 destroyed.<p/>
E25 140 <p_>In the Netherlands, SOE had a costly disaster, with agents who 
E25 141 had dropped into the country in 1941 being captured and their radio 
E25 142 sets being used to set up operation 'Nordpol'. The German Abwehr 
E25 143 counter-intelligence organisation ran the circuit for two years, 
E25 144 and 51 agents were captured on landing and executed.<p/>
E25 145 <h_><p_>Mediterranean operations<p/><h/>
E25 146 <p_>Following the invasion of North Africa in November 1942, an SOE 
E25 147 base was formed near Algiers as 'Massingham' or 'ISSU6'. Although 
E25 148 secret, occasionally its cover was let slip, as was the case with 
E25 149 an ex-officer, who informed me that some of his men drove around in 
E25 150 the new American Jeep with 'SOE' emblazoned on the bumper in 
E25 151 luminous paint!<p/>
E25 152 <p_>In Cairo, M04 became Special Operations Mediterranean and was 
E25 153 responsible for planning excursions into Greece, Italy and the 
E25 154 Balkans -  known respectively as Forces 133, 266 and 399. With 
E25 155 these new theatres of operation more experts were recruited and 
E25 156 trained at Ramat David in Palestine -  STS 193. Also political 
E25 157 awareness was needed, especially in the case of Greece and the 
E25 158 Balkans, where some SOE parties found themselves embroiled in civil 
E25 159 war between Royalist Fascist and Communist factions, as well as 
E25 160 trying to fight the Italians and Germans!<p/>
E25 161 <p_>With the invasion of Sicily and Italy in 1943, No 1 Special 
E25 162 Force was created to cover all operations in Italy, its base being 
E25 163 at Monopoli.<p/>
E25 164 <h_><p_>Far Eastern operations<p/><h/>
E25 165 <p_>Following the start of the retreat through Burma by the Allied 
E25 166 armies in 1942, 'stay behind' parties had been created by far 
E25 167 seeing individuals. Some of these men were recruited by SOE and 
E25 168 came under Force 136. This organisation was based first in India, 
E25 169 then at Colombo in Ceylon. Operations were conducted against the 
E25 170 Japanese in Burma, Malaya, Java, Sumatra and China in a variety of 
E25 171 missions. Some of the local population who were trained by SOE were 
E25 172 to put their training to further use in the nationalist Communist 
E25 173 Combattant Units which emerged after the war and whose activities 
E25 174 led to and continued during 'The Emergency' of 1948-60.<p/>
E25 175 <h|>Aftermath
E25 176 <p_>With the end of the global conflict, SOE was wound down and 
E25 177 finally 'closed' in January, 1946. Its members returned to their 
E25 178 own units, re-entered civilian 'normality', or joined the 
E25 179 intelligence services at home or abroad, using knowledge attained 
E25 180 during the war to cope with the new threat of the 'cold war'. To 
E25 181 keep the camaraderie of those days alive, a club was formed by the 
E25 182 head of SOE -  Major-General Sir Colin Gubbins. This was 'The 
E25 183 Special Forces <}_><-|>Cub<+|>Club<}/>', whose motto "Spirit of 
E25 184 Resistance" still flourishes today.<p/>
E25 185 <h|>Awards
E25 186 <p_>I first began to look for awards to these undercover men and 
E25 187 women back in 1980, when I purchased <tf_>'SOE In France'<tf/> by 
E25 188 M.R.D. Foot (HMSO, reprint 1976) from the local HMSO bookshop. I 
E25 189 had, through research on Airborne awards, a new interest in other 
E25 190 aspects of Special Forces and awards attained. As with all medal 
E25 191 collecting interests, reference material is paramount, and now I 
E25 192 have some 60 books on the subject, with many others still to be 
E25 193 consulted, as is evident from the Bibliography sections of the ones 
E25 194 I possess!<p/>
E25 195 <p_>On the subject of awards, I should like to thank CW, and 
E25 196 especially GC, for helping with some of the verifications, as well 
E25 197 as other members of the Special Forces Club for their assistance 
E25 198 and interest.<p/>
E25 199 <p_>I therefore list below those recipients I have found, who 
E25 200 became Companions of the Distinguished Service Order, <tf_>as a 
E25 201 tribute to all those in SOE<tf/>, who were responsible for 
E25 202 <quote_>"setting the world ablaze"<quote/> -  bringing the war to 
E25 203 the enemy's back door, in distinguished undercover service, often 
E25 204 receiving no award for their actions, which in some cases cost them 
E25 205 their lives.<p/>
E25 206 <p_>The awards are tabulated with <tf_>London Gazette date<tf/>, 
E25 207 personal Army number, rank and name. In the case of the French 
E25 208 awards, the recipient's code name is shown followed by the Circuit 
E25 209 with which he was associated.<p/>
E25 210 <p_>As a usual plea, I would most certainly welcome any additional 
E25 211 information on those listed or indeed verification of further 
E25 212 awards be they DSOs or others.<p/>
E25 213 
E25 214 <h_><p_>ARRANGING ONE'S COLLECTION<p/>
E25 215 <p_>by Alec A. Purves<p/><h/>
E25 216 <p_>PROBLEMS often arise as to the order in which a group of medals 
E25 217 should be shown in one's collection, and it is not always easy to 
E25 218 decide what is correct. As regards modern British medals there is 
E25 219 no difficulty, as the current official order of wearing has been 
E25 220 published in <tf_>Spink's Catalogue of British Orders, Decorations 
E25 221 and Medals<tf/>, and elsewhere, but in the period following the 
E25 222 Crimea War it would appear that frequently officers and men both 
E25 223 wore their medals just as they chose.<p/>
E25 224 
E26   1 <#FLOB:E26\><h_><p_>CHAPTER 7<p/>
E26   2 <p_>Your first short-wave receiver<p/><h/>
E26   3 <p_>THERE are various ways in which you can equip yourself for 
E26   4 short-wave listening.<p/>
E26   5 <p_>It may be possible for you to borrow a small communication 
E26   6 receiver for a while from a friendly local amateur who, with a bit 
E26   7 of luck, will teach you how to operate the controls. He or she will 
E26   8 certainly be able to advise you and give you a head start over 
E26   9 those who have to find out for themselves. The Radio Society of 
E26  10 Great Britain can provide you with a list of clubs in your area who 
E26  11 will help the beginner. Lots of Scout and Guide groups also have 
E26  12 radio activities. Such assistance may well be available within your 
E26  13 neighbourhood and will almost certainly enable you to visit a 
E26  14 working station and see for yourself how it is done!<p/>
E26  15 <p_>For the absolute beginner, the thought of building a short-wave 
E26  16 radio may be somewhat daunting. Nevertheless, this is how many 
E26  17 start, with a considerable degree of success due to the 
E26  18 availability of simple kits of parts. The kits most suitable for 
E26  19 your first venture come with detailed instructions on just what to 
E26  20 do and how to do it. Even though you may not yet understand the 
E26  21 circuitry or recognise all the different electronic components, it 
E26  22 is amazing how well a few pictures and step-by-step instructions 
E26  23 can help you through the project.<p/>
E26  24 <p_>Most kit suppliers appreciate the need to help the beginner and 
E26  25 will do all they can to ensure your success, including a little 
E26  26 'trouble shooting' back at their factory should you experience 
E26  27 difficulty in getting your kit up and running.<p/>
E26  28 <p_>For short waves, it is essential that all the wiring and 
E26  29 connections in the receiver should be soldered. For those who have 
E26  30 no previous experience with a miniature soldering iron, a glance 
E26  31 through the notes in appendix 1 will soon set your mind at rest. 
E26  32 Like everything else there is a simple knack for doing it right 
E26  33 first time, every time.<p/>
E26  34 <p_>To minimise any difficulty, and to get going as cheaply as 
E26  35 possible, it is recommended that you first build a simple kit that 
E26  36 will receive amateurs on just one of the bands. Such a set can be 
E26  37 equally as sensitive as a more advanced, multi<?_>-<?/>band model 
E26  38 but has the great advantage that it does not need the switches and 
E26  39 the rather complicated wiring necessary to cover all the short 
E26  40 waves from 80 to 10 metres.<p/>
E26  41 <p_>Should you have already progressed through the early 
E26  42 construction stages or, perhaps, feel unable to make your own 
E26  43 receiver, then you will obviously need to acquire a ready-made 
E26  44 commercial set.<p/>
E26  45 <p_>The market for short-wave and amateur band equipment is very 
E26  46 well supported by manufacturers all over the world and their range 
E26  47 covers just about every conceivable type of listening you may 
E26  48 require. A strong second-hand market is open to anyone who cares to 
E26  49 browse through the small advertisements in the radio magazines and 
E26  50 some real bargains can be found.<p/>
E26  51 <p_>Your local club will have surplus equipment sales where members 
E26  52 dispose of unwanted items. These sales are always the most popular 
E26  53 and best attended events on the club calendar. The 'gear' is 
E26  54 usually auctioned amidst much wit and hilarity. Prices are often 
E26  55 ridiculously low, with most of the 'lots' changing hands for a tiny 
E26  56 fraction of their market value.<p/>
E26  57 <p_>To buy yourself a new or second<?_>-<?/>hand communication 
E26  58 receiver, you will need to decide first how much you can afford to 
E26  59 pay and then what it is that you intend to do with it.<p/>
E26  60 <p_>Brand-new sets can cost from a few hundred to many thousands of 
E26  61 pounds. They can be fairly simple but effective designs for use on 
E26  62 amateur bands or an 'all-singing-all-dancing' receiver with lots of 
E26  63 push buttons and knobs, and capable of high performance in the 
E26  64 hands of an expert.<p/>
E26  65 <p_>It is advisable to choose a fairly simple model to get you 
E26  66 started. Later, it can be traded in for a more advanced receiver 
E26  67 or, as is usually the case, kept for many years as a standby 
E26  68 set.<p/>
E26  69 <p_>Rely on the advice of your amateur radio retailer and reveal to 
E26  70 him that you are a beginner and need help. He will usually do all 
E26  71 he can to see that you are properly set-up and will be hoping to 
E26  72 retain your custom as you progress in the hobby. You will probably 
E26  73 become firm friends. Even the purchase of your bits and pieces on a 
E26  74 Saturday morning tends to become a highly sociable and enjoyable 
E26  75 experience.<p/>
E26  76 <p_>Should you live too far from your nearest retail shop, then the 
E26  77 phone and mail order will see you through. Such is the friendly 
E26  78 competition within the amateur radio trade, that retailers have 
E26  79 perfected the ability to serve their customers at any distance 
E26  80 whilst keeping a very personal relationship. After all, they will 
E26  81 probably work you on the air before long and will certainly be 
E26  82 looking forward to meeting you at one of the exhibitions where they 
E26  83 set up their stands.<p/>
E26  84 <p_>When buying a ready-made set you will obviously have some 
E26  85 operating instructions, although perhaps this manual may be missing 
E26  86 in the case of a second-hand set. In any case, it might be helpful 
E26  87 if you read the next chapter so that you know which are the right 
E26  88 knobs to turn and what to expect when you turn them.<p/>
E26  89 
E26  90 <h_><p_>CHAPTER 8<p/>
E26  91 <p_>Operating a short-wave receiver<p/><h/>
E26  92 <p_>TO get the best reception from a short-wave receiver, the new 
E26  93 listener needs to have some idea of the function of each of the 
E26  94 basic controls on the front and back panels.<p/>
E26  95 <p_>Sitting in front of a short-wave set for the first time, you 
E26  96 may feel a little bewildered by the apparent complexity of the many 
E26  97 knobs, switches and push buttons. However, they all have a useful 
E26  98 function, and you will be amazed at how quickly you become 
E26  99 accustomed to using the right ones to tune in and hold the signal 
E26 100 you require. Most factory-built receivers will come to you with a 
E26 101 handbook showing how to connect the set up and operate it. Always 
E26 102 read and try to understand these instructions before you switch 
E26 103 on.<p/>
E26 104 <p_>As you may be starting out with a simple model or your homebrew 
E26 105 kit, let us take a look at a typical example.<p/>
E26 106 <h_><p_>Simple receiver<p/><h/>
E26 107 <p_>First, locate the terminal or sockets that are marked 'Aerial' 
E26 108 (or 'ANT' for antenna). If there are several aerial points, they 
E26 109 are likely to be marked 'Dipole', 'Coax', 'Balanced' or 'Long 
E26 110 Wire'. Check your handbook and, using a suitable plug or perhaps 
E26 111 one of your crocodile clips, connect up your wire aerial to the 
E26 112 terminal marked 'LW' for Long Wire if there is some. If you have an 
E26 113 earth, it goes to the terminal marked 'Ground'. The aerial you used 
E26 114 for the crystal set should do fine.<p/>
E26 115 <p_>If the receiver is powered by battery, check that you have a 
E26 116 good set of batteries in the holder. If operated from the mains, 
E26 117 make sure that your plug has a low-rated fuse in it, usually one or 
E26 118 three amps. Plug in, and you are ready to go.<p/>
E26 119 <p_>Hopefully, you will have a built-in loudspeaker. If not, then 
E26 120 your head<?_>-<?/>phones will need connecting or plugging into the 
E26 121 socket marked 'Phones'. By the way, the earpiece you used for the 
E26 122 crystal set is not suitable - use ordinary hi-fi headphones, or 
E26 123 communications headphones if you can afford them.<p/>
E26 124 <p_>Some sets made for the international market may have the 
E26 125 sockets for aerial and earth marked with the symbols that we met in 
E26 126 chapter 4.<p/>
E26 127 <p_><tf_>1. ON/OFF switch<tf/><p/>
E26 128 <p_>The front panel ON/OFF control may be marked 'Power'. It may 
E26 129 also be either a straightforward switch, or form part of the volume 
E26 130 control and require turning on by rotating the knob clockwise. You 
E26 131 will feel it click on and, with a bit of luck, the dial lights 
E26 132 should come on and the receiver should burst into life.<p/>
E26 133 <p_><tf_>2. Volume controls<tf/><p/>
E26 134 <p_>There are usually two volume controls on a communication 
E26 135 receiver. They are marked 'RF Gain' and 'AF Gain'. RF Gain (radio 
E26 136 frequency gain) adjusts the level of amplification for the 
E26 137 'front-end' of the circuit. The AF Gain (audio frequency gain) is 
E26 138 the same as the simple volume control you would find on all radios 
E26 139 and allows you to set the sound at a comfortable level.<p/>
E26 140 <p_><tf_>3. Tuning control<tf/><p/>
E26 141 <p_>To search across the dial there is the familiar tuning control, 
E26 142 that could well have two knobs on the one shaft. The rear and 
E26 143 larger control enables you to tune rapidly to a required band and 
E26 144 the smaller one is geared right down so that the operator can fine 
E26 145 tune to an exact frequency and centre on the signal perfectly.<p/>
E26 146 <p_>On a simple homebrew model, you will probably have only one 
E26 147 tuning control and one gain control. You will need to practise 
E26 148 setting them carefully and gently, using just your finger tips and 
E26 149 a keen ear.<p/>
E26 150 <p_>Some receivers will put the fine tune or 'brandspread' knob as 
E26 151 a separate control. It may also be marked 'RIT' which means 
E26 152 'receiver incremental tuning' - a technical way of saying that the 
E26 153 control will allow you to tune just a little way either side of the 
E26 154 listening frequency.<p/>
E26 155 <p_><tf_>4. Band change<tf/><p/>
E26 156 <p_>The 'band change' control is usually a rotating knob or pointer 
E26 157 that switches to different tuned circuits - yes, they are just like 
E26 158 the one in your crystal set but in miniature. Each of the coils and 
E26 159 trimming capacitors is set to cover a part of the short-wave bands 
E26 160 when tuned with the main capacitors that are varied when you spin 
E26 161 round your tuning control.<p/>
E26 162 <p_><tf_>5. BFO or mode switch<tf/><p/>
E26 163 <p_>Some sets will have a BFO control and this should be switched 
E26 164 off to listen in to the normal broadcasting station - you just do 
E26 165 not need it. However, to resolve a morse transmission the beat 
E26 166 frequency oscillator is used to mix together an internal signal 
E26 167 with the incoming signal to provide you with a 'beat' note in your 
E26 168 loudspeaker. If your BFO is variable, you can adjust the tone of 
E26 169 the note to suit your preference for a treble or a bass sound. For 
E26 170 speech, the majority of amateur stations on the short-wave bands 
E26 171 use a method or 'mode' of transmission called 'SSB' (single 
E26 172 sideband).<p/>
E26 173 <p_>Don't worry about what this means exactly at this stage, expect 
E26 174 to understand that it is a means of improving the performance of a 
E26 175 transmission and also of having many more stations on a crowded 
E26 176 band.<p/>
E26 177 <p_>If you are tuning in an SSB station without the BFO switched 
E26 178 on, the speech will sound distorted and will sound like a pretty 
E26 179 fair impersonation of Donald Duck! Switch on the BFO control, fine 
E26 180 tune the speech very carefully and you will hear the words loud and 
E26 181 clear. You may need to turn the RF gain control down for best 
E26 182 results.<p/>
E26 183 <p_>The more modern communication receivers have done away with a 
E26 184 separate BFO tuning control and have tidied up the selection of 
E26 185 'mode' or method of reception. By turning a switch you can choose a 
E26 186 variety of modes. Your receiver may offer:<p/>
E26 187 <p_><tf|>AM - This stands for 'amplitude modulation', another 
E26 188 technical term that describes the type of speech transmission that 
E26 189 is used by broadcasting stations on long, medium and short waves 
E26 190 but not VHF.<p/>
E26 191 <p_><tf|>CW - These initials stand for 'continuous wave' and mean 
E26 192 that you are ready to listen to ordinary Morse code. The term makes 
E26 193 sense when you realise that if the operator of a transmitter holds 
E26 194 his key down, the set just sends out a continuous radio wave - no 
E26 195 speech, no 'modulation', just a simple signal that can be keyed 
E26 196 into morse characters. You will find most CW at the lower frequency 
E26 197 end of every amateur band.<p/>
E26 198 <p_><tf|>USB - Stands for 'upper sideband'. This is the form of 
E26 199 SSB, or 'single sideband' speech transmission, normally selected 
E26 200 for operating on the 20, 15 and 10 metre bands. It is also 
E26 201 is<&|>sic! used on the new amateur bands of 17 and 12 metres (18MHz 
E26 202 and 24 MHz) that are alive with stations enjoying the fun of 
E26 203 operating on these excellent long-distance frequencies.<p/>
E26 204 
E27   1 <#FLOB:E27\><h_><p_>The Peril of Innocence<p/>
E27   2 <p_>By Nick Gibbs<p/><h/>
E27   3 <p_>I CAN MAKE no apology for the concentration of articles on the 
E27   4 rainforest issue in this month's <tf|>Woodworker. It hardly needs 
E27   5 the columns of this magazine to emphasise the number of football 
E27   6 pitches worth of forest that are being destroyed every minute, 
E27   7 though it is one a second for interest's sake. It is hardly 
E27   8 necessary to remind people that Britain did to its woodlands during 
E27   9 the Industrial Revolution what many tropical nations are doing to 
E27  10 their trees today. And it is certainly not the place to blame 
E27  11 woodworkers for this destruction. But then blame and responsibility 
E27  12 are not necessarily interlinked.<p/>
E27  13 <p_>Economics, of various flavours, have caused deforestation. But 
E27  14 while the actions of large corporations and rich landowners wiping 
E27  15 out vast tracts of trees have received much publicity, the most 
E27  16 prevalent motive for destruction has been poverty and 
E27  17 over<?_>-<?/>population. In south America there is certainly an 
E27  18 argument for pinning the blame on the Pope for his intransigence 
E27  19 regarding contraception and abortion. But, however hard we attempt 
E27  20 to find the guilty party, only positive action will ensure the 
E27  21 future of the timbers that we hold so dear in the workshop.<p/>
E27  22 <p_>When the rainforests, and their predicted demise, became the 
E27  23 kind of issue that generates headlines and charity pop concerts 
E27  24 some woodworkers decided the most effective action was to avoid 
E27  25 tropical timbers. This possibly brought the topic into the 
E27  26 public-thought process, but I believe that it was in part made 
E27  27 possible by the large quantity of native timbers that were brought 
E27  28 down by hurricanes in Britain.<p/>
E27  29 <p_>The industry has attempted to introduce, or at least has 
E27  30 suggested, an obligatory levy on tropical timber, to be returned to 
E27  31 the country of origin and spent on management systems. On an 
E27  32 industrial level this seems an unlikely ambition. However for us 
E27  33 woodworkers, putting a higher value on timber that is truly 
E27  34 sustainable will ensure its future. If the owners of the forest can 
E27  35 see that there is a current, and future, income to be earned from 
E27  36 their trees they are more likely to treat them responsibly.<p/>
E27  37 <p_>As yet there is no system for verifying the sources of 
E27  38 sustainable timber. Many timber merchants are claiming 
E27  39 sustainability when no such boast can be proved. Often they have to 
E27  40 pass the buck of the boast to the buyer or importer. A member of 
E27  41 the timber trade recently gave his definition of sustainability as 
E27  42 the existence of more forest ready for felling when the current 
E27  43 source is depleted.<p/>
E27  44 <p_>It is frustrating for woodworkers who want to progress but do 
E27  45 not know how. It is important not to expect some glorious answer 
E27  46 overnight. Doing a tiny bit is far better than nothing. So ask 
E27  47 questions, read articles, discuss the matter and act if possible 
E27  48 when ready.<p/>
E27  49 <p_>It is the responsibility of the wood users to demand reliable 
E27  50 information of their purchases. It is also their responsibility to 
E27  51 promote the use of these products, and be prepared to pay a higher 
E27  52 price. Pleading innocence, or ignorance, to the destruction of the 
E27  53 tropical rainforests is no longer good enough. We may not be to 
E27  54 blame now, but unless we take this opportunity to act we will be 
E27  55 the <}_><-|>guily<+|>guilty<}/> party in years to come.<p/>
E27  56 
E27  57 <h_><p_>RAINFOREST EXPLOIT<p/>
E27  58 <p_>Last summer a team went to Ecuador to help set up a pilot 
E27  59 project exploiting the resources of the rainforest sustainably, and 
E27  60 Lucinda Leech went with them<p/><h/>
E27  61 <p_>Even through the deepest tropical forest word evidently travels 
E27  62 fast. A few weeks after our arrival in Ecuador the organiser of the 
E27  63 Rainforest Information Centre there, woke our household at 7am one 
E27  64 Friday morning. He was proclaiming loudly that a Hourani Indian 
E27  65 leader had just arrived, to negotiate with us on the sale of 
E27  66 sustainably harvested timber from his tribal lands in the Amazon. 
E27  67 This man came from an area on the opposite side of the country to 
E27  68 the one where we had been working, with the whole height of the 
E27  69 Andes between us. A message had reached him that a bunch of 
E27  70 half-mad gringos were proposing new forestry methods.<p/>
E27  71 <p_>My visions of a dark-skinned gentleman with loin-cloth and 
E27  72 spear, arriving hot-foot off the overnight bus due to rumours of 
E27  73 commercial gain, proved not so very far from the truth, (though not 
E27  74 the loin-cloth I am sorry to say). Once again demonstrating that 
E27  75 those who live in tropical forests do not actually want to chop 
E27  76 them down. Nevertheless the inhabitants must have a viable means of 
E27  77 earning a living, now that they are being increasingly drawn into a 
E27  78 moneyed society. It is upon this basis premise that the Ecological 
E27  79 Trading Company (ETC) is buying timber from various tropical 
E27  80 regions. On hearing about their plans I was lured away from my 
E27  81 gainful work making furniture in Oxford by the exciting idea of 
E27  82 helping set up a pilot project, with two local communities in 
E27  83 untouched Pacific rainforest.<p/>
E27  84 <p_>A couple of weeks after leaving the security of the workshop, 
E27  85 when I was struggling over a smoking fire to make a meal for 11 
E27  86 people out of half a jungle rat and a packet of spaghetti, I was 
E27  87 not so sure that my contribution to saving the planet was 
E27  88 particularly relevant after all. At least I now know just what an 
E27  89 immense amount of work is involved in ensuring that the timber we 
E27  90 use actually does come from a properly managed source.<p/>
E27  91 <p_>It is not practical to assume that just because you stop using 
E27  92 tropical timber you will be automatically maintaining the 
E27  93 rainforest. In fact quite the opposite is often the case. Groups of 
E27  94 indigenous people who have relied upon the sale of timber to 
E27  95 survive, if deprived of their income from it, will clear the forest 
E27  96 as fast as possible to raise an alternative crop, such as coffee or 
E27  97 cocoa, or set up in cattle ranching. All these uses generally 
E27  98 degrade the land rapidly, meaning that more forest has to be 
E27  99 cleared each year to continue. How much more satisfactory for the 
E27 100 timber itself to be regarded as a crop, and harvested in such a way 
E27 101 that the forest cover remains. The trees have a natural life cycle 
E27 102 and when they fall regeneration replaces them. Man's intervention 
E27 103 can be made to more or less mimic this system and thus utilise the 
E27 104 forest's ability to renew itself. Unfortunately, all too often, 
E27 105 this does not happen - greed and expediency results in grabbing as 
E27 106 much timber as possible in the easiest way, leaving the land 
E27 107 wrecked.<p/>
E27 108 <p_>The two communities we were working with had recently acquired 
E27 109 legal title to their land. They were now looking for ways to 
E27 110 exploit it, but had not considered the timber as a possible 
E27 111 long-term resource. The normal system of exploitation is to invite 
E27 112 in a logging company, who buy the timber rights and clear the land 
E27 113 for the local people to cultivate. An example of the kind of money 
E27 114 offered was given to us: the timber company had paid Pounds1,000 
E27 115 for a rich area of forest of 5,000 hectares (12,350 acres). This 
E27 116 land was covered in untouched forest. It represents a few pennies 
E27 117 per tree. No wonder the people cannot see the point of looking 
E27 118 after the forest that surrounds them, when it has virtually no 
E27 119 value. Incidentally these particular communities are too close to 
E27 120 over-exploited areas to be in a position to live off the land in 
E27 121 the traditional sense, and too near 'civilisation' not to want the 
E27 122 advantages it provides.<p/>
E27 123 <p_>Our party was a varied one to try and provide all the necessary 
E27 124 skills. Douglas Fergusson, an Australian and leader of the 
E27 125 Ecuadorian branch of the Rainforest Information Centre, is 
E27 126 co-ordinating this project and has also been planting trees and 
E27 127 tending nurseries in Ecuador for several years. We were fortunate 
E27 128 to have two Columbian botanists whose ability in accurately 
E27 129 identifying the species of trees never failed to amaze me. Chris 
E27 130 Cox represented the ETC interests and the other Englishman, Morley 
E27 131 Reed, was not only a biologist but also a professional photographer 
E27 132 who videoed the expedition.<p/>
E27 133 <p_>Our first task in setting up a model forest management system, 
E27 134 which would allow timber extraction forever, was to establish what 
E27 135 actually existed in the proposed area at the beginning. It was thus 
E27 136 necessary to make an inventory of a representative sample. The 
E27 137 Ecuadorian Forest Dept. lays down rules about what methods should 
E27 138 be used (although we got the impression that many timber companies 
E27 139 do not abide by the rules). When I first thought about it, listing 
E27 140 the contents of five per cent of 100 hectares sounded like a 
E27 141 diverting occupation for a few days, in idyllic forest 
E27 142 surroundings.<p/>
E27 143 <p_>But 17 hours in overcrowded buses - some of it on the roof - 
E27 144 and a further five hours by motorised canoe brought us to San 
E27 145 Lorenzo, the 'metropolis' which was to be the centre of our 
E27 146 operations. It is not accessible by road and at first sight has no 
E27 147 facilities whatsoever. But four hours a day of electricity and 
E27 148 occasional access to a cold shower was soon to seem the height of 
E27 149 luxury; although an encounter with the world's most voracious 
E27 150 bed-bugs did detract from my appreciation.<p/>
E27 151 <p_>The next day another five hours in a canoe brought us to the 
E27 152 first of our two villages. In the evening as it got dark, about 20 
E27 153 men gradually collected in our hut to discover what we had come 
E27 154 for. The people of this area are descendants of negro slaves from 
E27 155 the sugar plantations who have now colonised the whole of this 
E27 156 particular river. As the faces peered intently out of the 
E27 157 flickering light cast by oil soaked rags, it was difficult to 
E27 158 believe we were in South America, not Africa.<p/>
E27 159 <p_>The village president told us of the haphazard way they fell 
E27 160 timber at the moment for extraordinarily little money. For 
E27 161 instance, when he wanted a new pair of wellingtons - price 
E27 162 Pounds3.00 - he had to sell a whole tree (up to 3cu.m.). He 
E27 163 described a recent occasion when he had intended to do this: first 
E27 164 canoeing three hours down river to hire a chainsaw then working in 
E27 165 the forest all day for three days felling the tree and cutting it 
E27 166 into manageable sized logs. Following that, he would have had to 
E27 167 drag the timber to the river and build a balsa wood raft to move 
E27 168 it, as wet trees do not float; another day's work for several men. 
E27 169 At the end of all this toil the sawmill would only offer about 
E27 170 Pounds5.00, out of which he would have to pay for the chainsaw and 
E27 171 fuel. After felling the tree he sat down on it and worked out the 
E27 172 economics - not surprisingly gave up and went home, because it was 
E27 173 just not worthwhile.<p/>
E27 174 <p_>My clearest impression of that first meeting was the utter 
E27 175 disbelief on both sides when we discussed timber prices. In England 
E27 176 we have to pay Pounds600-700 per cu.m for timber such as theirs. 
E27 177 Even allowing for the many costs involved, it was unbelievable to 
E27 178 all of us that they get only Pounds2.00 when we pay 350 times that. 
E27 179 The ETC policy is that at least 20 per cent of the final retail 
E27 180 price of timber sold in this country will go to the original 
E27 181 owners. On this basis the local men were immediately interested in 
E27 182 the idea and proved faster than us at mental arithmetic.<p/>
E27 183 <p_>Chris went on to explain that the high prices would be directly 
E27 184 linked to implementing a management plan designed to ensure that 
E27 185 the forest remained intact. If timber is extracted differently or 
E27 186 in excess of the prescribed amounts, then the scheme comes to an 
E27 187 end. We tried to explain why this was important, but I wonder what 
E27 188 the locals made of world deforestation issues?<p/>
E27 189 <p_>For people living in or near the forest, trees have always been 
E27 190 in the way of everything, from hanging out the washing to economic 
E27 191 progress. Small boys of five years-old carry machetes and rapidly 
E27 192 develop an automatic slashing movement with the right arm, which 
E27 193 remains with them for the rest of their lives.
E27 194 
E28   1 <#FLOB:E28\><h_><p_>The Art of Ruminating<p/>
E28   2 <p_>Lord Willis<p/><h/>
E28   3 <p_>Some people who see me sitting in the Lords' library after one 
E28   4 of Mr. Bibbiani's excellent lunches often jump to the erroneous 
E28   5 conclusion that I am asleep. This error occurs, no doubt, because I 
E28   6 usually have my eyes closed and am purring gently to myself. The 
E28   7 truth is that all my senses are alert and I am ruminating. I am 
E28   8 probably one of the country's greatest ruminators. At the risk of 
E28   9 seeming immodest, I might say that I have turned rumination into an 
E28  10 art form and I can tell you that it beats jogging out of sight.<p/>
E28  11 <p_>Last week, for example, I was ruminating on the subject of 
E28  12 television advertisements for politics and politicians and the sort 
E28  13 of thing we might see if these were to be permitted. Frankly the 
E28  14 idea appals me but if the dam does crack may I offer the following 
E28  15 very tentative suggestions?<p/>
E28  16 <p_>TRY ME - I'M PADDY. Take off for the Destination of Your Dreams 
E28  17 with the Democrats! Get Lift-off with the Libs! Send a large SAE 
E28  18 and 25p now for a copy of our Programme. It's perfick. (Batteries 
E28  19 not included.)<p/>
E28  20 <p_>THE KINNOCK COLLECTION. All the new season's model policies 
E28  21 presented by the New Model Labour Party. No messing, no militants! 
E28  22 The moderation is the message! (If you don't see what you want in 
E28  23 the manifesto please ask a Shadow assistant. We have a wide range 
E28  24 of off-the-peg policies to suit all tastes.)<p/>
E28  25 <p_>HIM TARZAN, ME JOHN! The team that brought you the new 
E28  26 scientifically improved Poll Tax with the sensational magic 
E28  27 ingredient - BANDING! In tests, nine out of ten fat-cats prefer it. 
E28  28 (Don't miss our Great Autumn - or Spring - Sale. Everything on 
E28  29 offer at prices which will astound you.)<p/>
E28  30 <p_>OPT OUT WITH OWEN. Put your electoral health in the hands of 
E28  31 the Doctor who cured the SDP at a stroke. The man who took the P 
E28  32 out of Party. No meetings, no membership, no programme to confuse 
E28  33 you. Just the man. Headaches a speciality. (This commercial is 
E28  34 sponsored by the British Institute for the Advancement of Solo 
E28  35 Flying.)<p/>
E28  36 <p_>I have, as regular readers will know, a sharp ear for rumours 
E28  37 and I picked up one in the Bishop's Bar the other day which both 
E28  38 intrigued and surprised me. It seems that some Peers are concerned 
E28  39 about a possible decline in the sartorial standards of the House, 
E28  40 so much so that there is talk of setting up a Special Committee to 
E28  41 investigate and make recommendations.<p/>
E28  42 <p_>It all started, I understand, when one young Peer was seen to 
E28  43 be wearing a gold ear-ring. In vain did he explain to those who 
E28  44 expressed concern if not horror that there was a long tradition of 
E28  45 ear-rings in his family, which had first achieved aristocratic 
E28  46 status as a result of successful buccaneering and bedding in the 
E28  47 days of Good Queen Bess. His adornment was seen by some as the 
E28  48 first step down the slippery slope that leads to jeans, T-shirts 
E28  49 and Austin Mitchell-type ties and action was called for.<p/>
E28  50 <p_>For my part, I find this disquiet unnecessary. Apart from the 
E28  51 odd flash of scarlet sock, the scuffed suede shoe, the purple tie, 
E28  52 their Lordships appear to me to be clothed in a style which would 
E28  53 reflect credit on a convention of undertakers.<p/>
E28  54 <p_>There is, of course, the occasional exception, usually some 
E28  55 ex-MP who having served a sentence in Another Place has not only 
E28  56 fallen into sloppy habits but taken to wearing them. I recall one 
E28  57 newly-created ex-Labour MP who arrived for his first day on our 
E28  58 benches attired in a sports-jacket which might have been fashioned 
E28  59 from a horse<?_>-<?/>blanket, socks from which no rainbow hue had 
E28  60 been omitted, a green shirt and the regimental tie of the Royal 
E28  61 Fusiliers. The tie appeared to have made a recent escape from a 
E28  62 soup tureen.<p/>
E28  63 <p_>His exhibition of sartorial defiance did not last long. Within 
E28  64 two weeks this colourful maverick had sunk without trace into the 
E28  65 prevailing background of clerical grey and blue serge.<p/>
E28  66 <p_>My heart warmed to one noble Lord who suggested that we should 
E28  67 follow the example of some restaurants and keep a supply of 
E28  68 acceptable clothing for use by those Peers who arrive unsuitably 
E28  69 dressed. This stock, he proposed, should be lodged in an 
E28  70 underground room to which offenders would be escorted by trained 
E28  71 Enforcement Officers.<p/>
E28  72 <p_>A drift of perfume from an attractive newly-ennobled Baroness 
E28  73 teased my senses the other day and distracted my attention from a 
E28  74 fascinating debate on the case for fixed term parliaments, a 
E28  75 proposal which would avoid sustained speculation about the dates of 
E28  76 General Elections. This, I must say, is a cause that has my 
E28  77 unwavering support but I am afraid that the delicious scent caused 
E28  78 my thoughts to dance in other directions.<p/>
E28  79 <p_>I am not expert enough to define the perfume and I lacked the 
E28  80 cheek to ask the Lady in question but by a coincidence an hour or 
E28  81 so later I found an item about the origin of Chanel No 5 in that 
E28  82 excellent Australian magazine <tf_>The Bulletin<tf/>. Apparently, 
E28  83 back in 1921, Mme. Chanel commissioned the aptly named Ernest Beaux 
E28  84 to develop the ultimate perfume and he came up with this magic 
E28  85 formula:<p/>
E28  86 <p_>Ylang-ylang (an aromatic tree from the Comoros Islands); neroli 
E28  87 (an oil distilled from oranges); jasmine; rose de mai (from 
E28  88 Grasse); sandalwood (from Mysore), vetiver (from Reunion 
E28  89 Island).<p/>
E28  90 <p_>From this geographical melange M. Beaux produced the perfume 
E28  91 which was to become world-famous as Chanel No 5 and bring forth 
E28  92 some enduring quotes. As, for instance, Marilyn Monroe, who when 
E28  93 asked what she wore in bed replied, <quote_>"Chanel No 
E28  94 5"<quote/>.<p/>
E28  95 <p_>But I like best this one from Mme. Chanel herself: 
E28  96 <quote_>"Perfume should be worn whenever you expect to be 
E28  97 kissed."<quote/><p/>
E28  98 <p_>I hope that they get the Census right this time. My own 
E28  99 experience does not offer much scope for optimism. I live in a 
E28 100 house which bears the name Murrabinda, an Aboriginal term which 
E28 101 means Water-Hole, and I chose it as a way of indicating that the 
E28 102 thirsty traveller would find appropriate refreshment therein.<p/>
E28 103 <p_>However, on my Census Form, the name appeared as Marrow Binder. 
E28 104 I am concerned that this might eventually appear as my 
E28 105 profession.<p/>
E28 106 
E28 107 <h_><p_>'Hung Parliament' By Julian Critchley MP<p/>
E28 108 <p_>Hutchinson pounds13.99<p/>
E28 109 <p_>Review By Austin Mitchell MP<p/><h/>
E28 110 <p_>Julian Critchley is a clever fellow. <}_><-|>Two<+|>Too<}/> 
E28 111 clever by seven eighths to be a Conservative. Not deferential 
E28 112 enough to be Labour. Far too unfashionable to be a Liberal. He'll 
E28 113 just have to be a Critchleyite. Appropriately he's now created his 
E28 114 own party and parliament. Some of us with half his wit would be 
E28 115 happy enough to devote the rest of our lives to recycling his 
E28 116 marvellous jokes. I could listen to him forever and often have to. 
E28 117 Yet Julian is far more of a Panjandrum than that. Now he's 
E28 118 challenging Barbara Cartland, Tom Wolfe and Melvyn Bragg on their 
E28 119 home ground with this novel. The animated version of Westminster 
E28 120 Blues but something far more as well.<p/>
E28 121 <p_><tf_>Hung Parliament<tf/> is not an entirely believable 
E28 122 representation of Westminster. There's much more sex, indeed it 
E28 123 could be renamed <tf_>Well Hung Parliament<tf/>. There's also 
E28 124 drugs, rent boys, murder and people missing. 'Three Line Whips' 
E28 125 without reason. How unlike the home life of our own dear 
E28 126 backbenchers. That is the triumph of the skilled novelist - to 
E28 127 invent and create a wholly imaginary world. Julian has that, as 
E28 128 well as the ability to invent such unreal characters as 'John 
E28 129 Seldom Gummer', 'Edwina Currie', 'Michael Heseltine' and a 
E28 130 particularly improbable one called 'Richard Ryder', juvenile lead 
E28 131 and boy Whip. John Major-Major is also there. Like his counterpart 
E28 132 in <tf_>Catch 22<tf/> he is also not there. Which seems 
E28 133 appropriate.<p/>
E28 134 <p_>As an inventive tour de force the creation of such people must 
E28 135 rank with Tolkein. Julian also adds a quota of much more real and 
E28 136 believable characters such as Sir Hugh Grunte (pronounced like 
E28 137 Bront<*_>e-umlaut<*/> our author Wutheringly explains). He gets 
E28 138 drunk and attacks another invented character called 'Mark Fisher', 
E28 139 a class traitor. There's David 'Spanker' Lancaster, who makes 
E28 140 sexual advances to House of Commons waiters, sex-pot Emma Kerr, who 
E28 141 climbs the ladders of power wrong by wrong, and one Robert 
E28 142 Maclennan who appears to be speaking all the time in the Chamber. 
E28 143 Indeed, it never occurred to me until I read this book just how 
E28 144 valuable the name and time on the annunciator are as an alibi for 
E28 145 anything from murder through paternity suits to cottaging of a type 
E28 146 which will become more common now the Poll Tax is being taken off 
E28 147 it. Whatever individual crimes are committed, Maclennan is clearly 
E28 148 innocent. So are Cryer and Skinner. Their crime is against the rest 
E28 149 of us.<p/>
E28 150 <p_>The action itself has nothing to do with a hung Parliament, 
E28 151 rather a hung character who dies waiting for the parliamentary 
E28 152 life. Its setting is not some mythical parliament such as the next 
E28 153 one, but here and now in Major country. Everything is packed into a 
E28 154 brief period centring on that most nightmarish of all milieus, an 
E28 155 all<?_>-<?/>night sitting - the times when a whole lifetime seems 
E28 156 to be crammed into one dreary, bleary night of enforced captivity 
E28 157 all described with wit and cynical brilliance. This is wholly 
E28 158 deceiving. I don't believe Critchley views the whole thing with the 
E28 159 weary resignation he affects. He loves it. He must. Why else put up 
E28 160 with it or the kind of people he has to mix with?<p/>
E28 161 <p_>The genre this book represents is difficult to describe. A 
E28 162 novel of Tory manners, or these days the lack of them? After all, 
E28 163 Julian is the Miss Manners of his party.<p/>
E28 164 <p_>The essence of the book is a loving invocation of a cosy Tory 
E28 165 world. It must have been quickly rewritten after the Conservative 
E28 166 Liberation Front struck the dictator down last November and freed 
E28 167 the toffs from long years of subjection to the peasantry. There's 
E28 168 no trace of post Thatcher triste and those who feel it are 
E28 169 uniformly described as unlovable and so far as Emma Kerr offers, 
E28 170 unloved. Yet as a result of the change-over after a decade and a 
E28 171 half of fighting in the resistance (Literary Squad) Julian is now a 
E28 172 happy man, oppressed only by the weight of human folly which he 
E28 173 sees around himself everywhere.<p/>
E28 174 <p_>Labour MPs don't feature in the book. Except Mark Fisher and 
E28 175 Tam Dalyell, who happen to be public school chaps. Which may 
E28 176 explain why Mark gets kissed. Neil doesn't make it, despite the 
E28 177 public school ties he wears these days. The only Liberal is Robert 
E28 178 Maclennan. Probably because he's speaking all the time. Charles 
E28 179 Kennedy tells me that this is cruel, though it certainly doesn't 
E28 180 seem so if you happen to be in the Chamber. Jealously I noted that 
E28 181 Charles himself gets a mensh. I don't. Which may be an accurate 
E28 182 measure of attendances and a clue that the whole novel centres on 
E28 183 the Chamber and its immediate vicinity. There we see the flow and 
E28 184 ebb of parliamentary life, brilliantly described by someone who 
E28 185 doesn't take it seriously enough to be a committee chairman, and 
E28 186 hasn't put on enough weight to turn into one of the ranks of the 
E28 187 living dead, the senior backbenchers; Mrs Thatcher's thousand and 
E28 188 one knights.<p/>
E28 189 <p_>Wisely, the book is described as 'an entertainment' rather than 
E28 190 a novel. So don't expect a masterpiece of literature. That would be 
E28 191 hard to find in any first novel. Even Roy Hattersley's. Nominally a 
E28 192 thriller, it is also no Jeffrey Archer. There is something to be 
E28 193 thankful for. It is as compelling as good writing always is. It 
E28 194 lures the reader on with the expectations of more wit to come 
E28 195 rather than through the sheer pace of the story. It certainly held 
E28 196 my attention in a way no other parliamentary novel of our time has. 
E28 197 Julian is always worth reading. <quote_>"This boy can 
E28 198 write,"<quote/> as Mrs Thatcher once said after reading Sir Bernard 
E28 199 Ingham's eight line summary of his last three books.<p/>
E28 200 <p_>Well done Julian. I rate <tf_>Hung Parliament<tf/> as a 
E28 201 triumph. The test of a parliamentary novel is not that it's done 
E28 202 brilliantly, but that it's done at all.
E28 203 
E29   1 <#FLOB:E29\><h_><p_>'EXTEND SHETLAND BOX'<p/>
E29   2 <p_>Document calls for tougher licensing in CFP review<p/><h/>
E29   3 <p_>SHETLAND and Orkney fishermen are calling for a major extension 
E29   4 of the Shetland Box, and a tigthening up on the numbers of vessels 
E29   5 allowed to fish there.<p/>
E29   6 <p_>They want to see:<p/>
E29   7 <p_><*_>bullet<*/>An extension of the box to the west, north and 
E29   8 east, as shown on the map.<p/>
E29   9 <p_><*_>bullet<*/>A reduction of <quote_>"at least 50 per 
E29  10 cent"<quote/> in the numbers of boats over 26m allowed to fish in 
E29  11 the box, and all boats to be specifically named vessels from each 
E29  12 member state. This would give the UK 31 licences, France 26, 
E29  13 Germany six and Belgium one.<p/>
E29  14 <p_><*_>bullet<*/>Consideration of a licensing scheme for all 
E29  15 demersal vessels between 17m and 26m fishing in the box. This would 
E29  16 be based on past fishing activity, but <tf|>every Orkney and 
E29  17 Shetland boat in this category should get a licence.<p/>
E29  18 <p_><*_>bullet<*/>All licensed vessels to report to the EC 
E29  19 commission when entering or leaving the box.<p/>
E29  20 <p_>The issue is specifically on the agenda of the review of the 
E29  21 common fisheries policy (CFP) in 1992, and a document has been 
E29  22 produced laying out the Shetlands' and Orkneys' case. It is a joint 
E29  23 submission from the Shetland and Orkney Fishermen's Associations 
E29  24 and the Shetland and Orkney councils, and was launched at a press 
E29  25 interview in Lerwick on Tuesday this week.<p/>
E29  26 <p_>Arguing for an extension of the box, the document says that its 
E29  27 practical effects up to now have been limited. If it is to be used 
E29  28 as a conservation measure for North Sea stocks, it must be extended 
E29  29 to take account of the migratory nature of fish in this 
E29  30 <quote_>"biologically sensitive"<quote/> area.<p/>
E29  31 <p_>It should be extended to cover demersal spawning and nursery 
E29  32 areas to the east and south east of Shetland, and to the west. The 
E29  33 former would protect cod and haddock stocks, both under pressure, 
E29  34 while the latter area has become important to the islands' fleets 
E29  35 for monkfish, ling and other groundfish.<p/>
E29  36 <p_>Fishing by over 26m vessels could theoretically increase under 
E29  37 the current regulations, because the 'permitted' number of boats 
E29  38 still represents a degree of fishing effort over the actual fishing 
E29  39 effort.<p/>
E29  40 <p_>Also, it is necessary to restrict boats between 17m and 26m 
E29  41 because technical advances mean that these vessels are now much 
E29  42 more efficient than when the box was first introduced, making the 
E29  43 old 26m limit obsolete.<p/>
E29  44 <p_>Fishing within a biologically sensitive area such as the box 
E29  45 could be reduced <quote_>"by means of an EC licensing scheme which 
E29  46 would apply to all those vessels which catch significant quantities 
E29  47 of fish from the area".<quote/><p/>
E29  48 <p_>Protection of coastal communities heavily dependent on fishing 
E29  49 has been and remains a major objective of the CFP argues the 
E29  50 document. Special protection of the stocks and fisheries in the 
E29  51 Shetland Box follows from this.<p/>
E29  52 <p_>Leading Shetland fisheries spokesman John Goodlad, told 
E29  53 <tf_>Fishing News<tf/> that the proposals should be regarded as an 
E29  54 important contribution to the future of the CFP, and not as a 
E29  55 threat.<p/>
E29  56 <p_><quote_>"The bulk of the recommendations in the document, 70%, 
E29  57 are in line with the policy of the Scottish Fishermen's 
E29  58 Federation,"<quote/> said Mr Goodlad.<p/>
E29  59 <p_><quote_>"There will be some differences of opinion - it would 
E29  60 be a miracle if there weren't - but I want to emphasise the extent 
E29  61 of agreement.<p/>
E29  62 <p_>"I expect that there will be some discussion of the proposal to 
E29  63 extend licensing to boats between 17m and 26m, but let's look at 
E29  64 the figures and talk before people start getting 
E29  65 alarmed."<quote/><p/>
E29  66 <p_>Mr Goodlad stressed that the overall theme of the document is 
E29  67 not parochial or selfish, but about conservation of stocks, and 
E29  68 this is in everyone's interest.<p/>
E29  69 <p_>A commitment to protect coastal communities was made in 1976 in 
E29  70 the Hague Resolution, and a proposal was made in 1978 to introduce 
E29  71 Fishing Plans under the CFP. These would relate to 
E29  72 <quote_>"endangered stocks whose exploitation is of special 
E29  73 importance to coastal populations ... and shall take into account 
E29  74 those vessels which, due to their limited range of operation, can 
E29  75 only (fish) close to the coast"<quote/>.<p/>
E29  76 <p_>The principle of protection for coastal communities was 
E29  77 recognised when the Shetland Box was included in the CFP in 1983, 
E29  78 although its provisions were 'watered down' from original 
E29  79 proposals.<p/>
E29  80 <p_>Arguing the importance of fishing to the Orkneys and Shetland, 
E29  81 the document says the fisheries sector is <quote_>"very 
E29  82 important"<quote/> to the Orkneys, and of <quote_>"fundamental and 
E29  83 overwhelming importance"<quote/> to the Shetlands. Some 80 per cent 
E29  84 of Shetland's exports is fish and fish products.<p/>
E29  85 <p_>But while fishing is vital to the islands, protection 
E29  86 <quote_>"should not create undue disruption or disadvantage within 
E29  87 the UK or the EC at large, so small are the 
E29  88 numbers.<&|>sic! While fisheries are of 
E29  89 <quote_>"absolute importance"<quote/> to the islands they are of 
E29  90 <quote_>"relative insignificance within the context of the 
E29  91 CFP"<quote/>.<p/>
E29  92 <p_>Stressing that the Shetland box is a regional, and not a 
E29  93 national measure, the document says that the CFP should be seen as 
E29  94 <quote_>"a valuable tool of regional development, no just a tool to 
E29  95 manage the EC fisheries"<quote/>.<p/>
E29  96 
E29  97 <h_><p_>Fishermen join the submariners<p/>
E29  98 <p_>- Tarbert men spend a day beneath the waves<p/><h/>
E29  99 <p_>Relations between the fishing industry and the submarine 
E29 100 department of the Royal Navy have improved dramatically of late. 
E29 101 Intense secrecy on the part of the navy has been replaced by a more 
E29 102 open and co<?_>-<?/>operative approach. But there are those who 
E29 103 argue that it has taken the tragic loss of the Carradale trawler 
E29 104 <tf|>Antares and her four crew, following the fouling of the boat's 
E29 105 gear by a submarine to bring this about. As part of the better 
E29 106 relations between the industry and the navy, a party of fishermen 
E29 107 from Tarbert, in Argyll, recently spent a day on a submarine to get 
E29 108 an appreciation of the problems the submariners face when working 
E29 109 among fishing vessels. <tf_>Fishing News'<tf/> HUGH ALLEN 
E29 110 accompanied the party.<p/>
E29 111 <p_>ON NOVEMBER 22 last year, the <tf|>Antares, a 55ft trawler from 
E29 112 Carradale, on the east coast of the Mull of Kintyre, was dragged to 
E29 113 the seabed with the loss of all hands. It was later confirmed that 
E29 114 the nuclear powered submarine, HMS <tf|>Trenchant, had become 
E29 115 snagged in her nets while on a training patrol off the Isle of 
E29 116 Arran.<p/>
E29 117 <p_>The interim report of the Department of Transport investigation 
E29 118 was made public but, apart from a brief synopsis, the navy's 
E29 119 internal inquiry remains under the cloak of secrecy which protects 
E29 120 Ministry of Defence operations from public scrutiny.<p/>
E29 121 <p_>The Fatal Accident Inquiry (FAI) is scheduled to begin on 
E29 122 September 2.<p/>
E29 123 <p_>Relationships between fishing communities and the navy fell to 
E29 124 an all time low, and conservation organisations had a field day. 
E29 125 The wealth of misinformation gathered momentum, as any subsequent 
E29 126 suspected incidents assumed the status of hard fact.<p/>
E29 127 <p_>Ironically, the skipper of <tf|>Antares, Jamie Russell, was one 
E29 128 of the 'thinking fishermen' who had frequently encouraged attempts 
E29 129 to open up lines of communication between fishermen and 
E29 130 submariners.<p/>
E29 131 <p_>There are those who feel that it has taken the death of this 
E29 132 man and his three crew<?_>-<?/>men to establish a number of reforms 
E29 133 designed to create a safer working environment for surface sailors 
E29 134 and submariners.<p/>
E29 135 <h|>Sinking
E29 136 <p_>Cynics would suggest that recently introduced 'codes of 
E29 137 practice' have more to do with the disintegration of the cold war 
E29 138 than with the sinking of <tf|>Antares. Whatever the reason, the 
E29 139 navy has gradually become more open during the last six months.<p/>
E29 140 <p_>However, it should not be forgotten that naval ships are crewed 
E29 141 by human beings, as much personalities as their critics. But unlike 
E29 142 them, they cannot speak out, constrained as they are by the 
E29 143 Official Secrets Act.<p/>
E29 144 <p_>It is known that the perpetrators of the <tf|>Antares incident 
E29 145 were just as devastated by the consequences of the mistake as any 
E29 146 of those who stand in condemnation. But they are controlled and 
E29 147 silenced by the central policy makers, so that naval public 
E29 148 relations is normally reduced to retrenchment in the aftermath of a 
E29 149 negative occurrence.<p/>
E29 150 <p_>Now, a limited change is beginning.<p/>
E29 151 <p_>All UK submarine movement in the Clyde, north Irish Sea and 
E29 152 over much of the west coast of Scotland is broadcast on VHF radio 
E29 153 by the coastguards. Information can also be obtained by telephoning 
E29 154 the naval base of Faslane. <p/>
E29 155 <p_>Last Saturday, the navy hosted a group of fishermen from 
E29 156 Tarbert, Argyll, and one press representative, taking them to sea 
E29 157 for the day aboard HMS <tf|>Ocelot, one of the five remaining 
E29 158 Oberon class diesel electric submarines.<p/>
E29 159 <p_>Skippered by Lt Cmndr John Humphreys, the 27 year old vessel is 
E29 160 due to be taken out of commission at the end of next month, as the 
E29 161 ageing Oberons are to be replaced by Upholders.<p/>
E29 162 <p_>The Oberons were based on the highly successful Type 21 World 
E29 163 War II U Boats. Even lying in repose at anchor, the sinister black 
E29 164 silhouette still evokes the aura of menace so often recreated by 
E29 165 wartime movie makers, and particularly in the television series, 
E29 166 Das Boot.<p/>
E29 167 <p_>Down below, the sense of d<*_>e-acute<*/>j<*_>a-grave<*/> vu 
E29 168 for anybody who has seen Das Boot, is heightened by the maze of 
E29 169 pipes, valves, dials, levers, jostling seamen, and cramped 
E29 170 conditions.<p/>
E29 171 <p_>Seven officers share a wardroom approximately 8sq ft for 
E29 172 eating, sleeping and recreation, and nobody's bunk is longer then 5 
E29 173 ft 1 in.<p/>
E29 174 <p_>Above all the quiet authority of the captain, his physical 
E29 175 appearance and laconic demeanor, bear an uncannily striking 
E29 176 resemblance to the character played by the German actor, Jurgen 
E29 177 Prochnow, in the TV drama. The parallel is not lost on his crew, 
E29 178 who asked us whether we had seen Das Boot.<p/>
E29 179 <p/>The captain agreed that the filming had accurately portrayed 
E29 180 life aboard a submarine of this class, <quote_>"but you will notice 
E29 181 that we no longer have bananas hanging from the deckhead,"<quote/> 
E29 182 he said.<p/>
E29 183 <p_>Modern technology has invaded certain aspects of domestic 
E29 184 management, and First Lieutenant, Lt Cmndr Richard Eedle, 
E29 185 describing himself as a <quote_>"hotel manager"<quote/>, commented, 
E29 186 <quote_>"nowadays, we eat our way into the fridge."<quote/><p/>
E29 187 <p_>The odours of overcooked rotting cabbage, tinged with diesel 
E29 188 oil and human sweat which struggled to escape from the TV screen 
E29 189 were not present. The tiny galley in which two men prepare three 
E29 190 square meals a day for the 80 strong ship's company, sometimes in 
E29 191 temperatures of 120<*_>degree<*/>F, was spotlessly clean.<p/>
E29 192 <p_>More fundamentally, the role of the hunter killer has been 
E29 193 upended since the days of the ubiquitous U Boat.<p/>
E29 194 <p_><quote_>"We no longer play the wild card, charging about on the 
E29 195 surface in all weathers, searching for an enemy,"<quote/> said the 
E29 196 captain.<p/>
E29 197 <p_><quote_>"We would hide and wait for the enemy to come to us if 
E29 198 we were at war."<quote/><p/>
E29 199 <p_>'O' class submarines carry the best part of pounds20m worth of 
E29 200 highly sophisticated torpedoes, wire guided and with an extensive 
E29 201 range. But when each is sent on its mission of destruction, the 
E29 202 expense is justified by the relative value of the target it is 
E29 203 supposed to eliminate.<p/>
E29 204 <h|>Target 
E29 205 <p_>Fired at a loaded tanker for example, the torpedo would be 
E29 206 directed beneath the keels of the shielding escorts. Following a 
E29 207 successful hit the escorts themselves would become the target, 
E29 208 hopefully before a counter attack was launched.<p/>
E29 209 <p_>Since Saturday's exercise was specifically designed to create a 
E29 210 greater mutual working practice awareness between fishermen and 
E29 211 submariners, the question was asked: <quote_>"Do submariners hide 
E29 212 behind the sonar transmissions and engine noise of fishing fleets 
E29 213 when on exercise?"<quote/><p/>
E29 214 <p_><quote_>"Not on exercise, but we would obviously use what cover 
E29 215 we could if we were at war,"<quote/> was the answer.<p/>
E29 216 <p_>The officers and crew aboard <tf|>Ocelot were at pains to 
E29 217 dispel any myths or commonly held inaccuracies. From the start, as 
E29 218 we were welcomed on board, we were told by the captain that we 
E29 219 could go where we liked, speak to whoever we liked and ask any 
E29 220 questions we liked.<p/>
E29 221 <p_>During the course of the day this promise was fulfilled to the 
E29 222 letter. The only journalistic restrictions were imposed upon the 
E29 223 reporting of information concerning the maximum operational depth 
E29 224 of the submarine, certain technical communication equipment 
E29 225 details, and the range and cost of an individual torpedo.<p/>
E29 226 <p_>Equally, the crew were eager to learn as much as possible about 
E29 227 fishing methods. A file containing descriptions of all types of 
E29 228 mobile fishing gear is now held by submarine commanders, and 
E29 229 studied by the officers.<p/>
E29 230 
E30   1 <#FLOB:E30\><h_><p_>Ingredients listing is CAMRA's new 
E30   2 target<p/><h/>
E30   3 <p_>IT IS a 'nonsense' ingredients are not listed on alcoholic 
E30   4 drinks packaging the Campaign for Real Ale is claiming.<p/>
E30   5 <p_>The pressure group is urging the government's food advisory 
E30   6 committee to include the issue in its current review of food 
E30   7 labelling law and has contacted the European Commission suggesting 
E30   8 it should bring forward a directive on ingredients listing for 
E30   9 alcoholic drinks. <p/>
E30  10 <p_>The Brewers' Society agrees in principal to the idea but said 
E30  11 any labelling scheme would have to be carefully thought out to 
E30  12 ensure it is workable.<p/>
E30  13 <p_>CAMRA's campaign manager, Stephen Cox, said: <quote_>"Customers 
E30  14 have a right to know what is in their pint, but most brewers keep 
E30  15 the ingredients of their beer shrouded in secrecy. Other foods, and 
E30  16 low alcohol drinks, have to list their ingredients, alcoholic 
E30  17 drinks do not, that is a nonsense. <p/>
E30  18 <p_>"More health conscious consumers want to know what they are 
E30  19 drinking. The brewers should have nothing to fear from 
E30  20 openness."<quote/><p/>
E30  21 <p_>The organisation also said the place where the beer is brewed 
E30  22 should be listed to show that beers are brewed at more than one 
E30  23 site for compulsory listing on whether beers or ciders are 
E30  24 processed or 'real', CAMRA said racking and bottling dates should 
E30  25 be shown because they would be more relevant that 'best before' 
E30  26 dates for beer.<p/>
E30  27 <p_>Mike Ripley of the Brewers' Society said ingredients listing is 
E30  28 being considered by the European Commission because it now deals 
E30  29 with all matters of labelling and packaging.<p/>
E30  30 <p_>He pointed out a number of changes had already been made by the 
E30  31 EC including the change from fluid ounces to millilitres, the 
E30  32 introduction of 'best before' dates and the change to alcohol by 
E30  33 volume (abv) levels instead of original gravity (OG).<p/>
E30  34 <p_><quote_>"If CAMRA is suggesting we do something in advance of 
E30  35 the EC I think that is foolish.<p/>
E30  36 <p_>"If there can be an agreed way of listing ingredients 
E30  37 practically and sensibly then we would implement it. One of the 
E30  38 reasons beer is exempt is because what is in the final product was 
E30  39 not necessarily an initial ingredient, alcohol is formed as part of 
E30  40 the brewing process. Hops are an ingredient, but if they were found 
E30  41 in the finished product consumers would not be pleased.<p/>
E30  42 <p_>"We have to get the laws right and the terminology correct. 
E30  43 Consumers may be concerned to see ascorbic acid as an ingredient, 
E30  44 if it was called vitamin C it would be more acceptable."<quote/><p/>
E30  45 
E30  46 <h_><p_>Quirky Scrumpy<p/><h/>
E30  47 <p_>SCRUMPY Jack cider has launched its first national consumer 
E30  48 advertising campaign.<p/>
E30  49 <p_>Part of a 1pound million marketing support package for the 
E30  50 premium brand, the campaign, in a wide range of magazines, conveys 
E30  51 the message 'when you know whats what and whats not'.<p/>
E30  52 <p_>Said Andrew Riley, marketing manager: <quote_>"Scrumpy Jack's 
E30  53 first advertising campaign breaks the mould of traditional cider 
E30  54 advertising. <p/>
E30  55 <p_>"The advertisements are rather quirky but clearly define the 
E30  56 quality and exclusiveness of Scrumpy Jack."<quote/><p/>
E30  57 <p_>In just 12 months the brand has become the number one premium 
E30  58 draught cider, accounting for more than half the volume sold in 
E30  59 this special sector, a staggering 200% on-trade growth, while in 
E30  60 the off-trade it has tripled its share of the premium sector.<p/>
E30  61 
E30  62 <h_><p_>Dessert addition<p/><h/>
E30  63 <p_>CAXTON Tower Wines has added an Eiswein to its range of 
E30  64 top-quality Austrian dessert wines.<p/>
E30  65 <p_>The 1990 vintage Eiswein originates from the small village of 
E30  66 Apetlon, on the east shore on Lake Neusiedl. The wine is produced 
E30  67 by Weinkellerei Burgenland and is now being sold into the trade.<p/>
E30  68 <p_>Situated close to the Hungarian border, Burgenland is renowned 
E30  69 for its dessert wines and Eiswein is a speciality of the region.<p/>
E30  70 <p_>Gerry Amdor, managing director, said: <quote_>"To produce an 
E30  71 Eiswein, grapes are left on the vines after the normal time of 
E30  72 vintage. In early December, when the first frosts arrive, the 
E30  73 frozen grapes are picked by hand and pressed to produce a delicate 
E30  74 dessert wine."<quote/><p/>
E30  75 <p_>Eiswein Neusiedlersee 1990 comes in a clear half-bottle, is 11% 
E30  76 alcohol and is being listed by Oddbins at pounds6.49 from the start 
E30  77 of October.<p/>
E30  78 <p_>Amdor said Austrian wine sales in the UK are experiencing a 
E30  79 period of sustained growth with distribution gains achieved through 
E30  80 leading grocery multiples and specialist wine merchants.<p/>
E30  81 <p_><quote_>"The new listings reflect trade and consumer interest 
E30  82 and confidence in the excellent quality of Austria's dry white 
E30  83 wines and superb dessert wines. Austrian wines have achieved a 
E30  84 major breakthrough this year and the future looks 
E30  85 exciting."<quote/><p/>
E30  86 
E30  87 <h_><p_>Guinness takes on its own distribution<p/><h/>
E30  88 <p_>GUINNESS is assuming responsibility for the selling and 
E30  89 distribution of all one-trip Guinness Original pack types in the 
E30  90 take-home trade from October 1.<p/>
E30  91 <p_>The distribution of its returnable bottles will not be 
E30  92 affected.<p/>
E30  93 <p_>Guinness Original, the third<?_>-<?/>largest take-home brand, 
E30  94 is the most widely distributed beer in the market place with 97% 
E30  95 sterling distribution. Up until now, several national and regional 
E30  96 brewers have sold and distributed it in the off-trade.<p/>
E30  97 <p_>This latest move is intended to give a more focused and better 
E30  98 co-ordinated approach to sales and promotional activity. <p/>
E30  99 <p_>Peter Philpot, director of take-home trade said: <quote_>"We 
E30 100 believe that the time is now right for us to distribute the product 
E30 101 directly. Guinness Original is an important component of our stout 
E30 102 strategy throughout the 1990s. This change, and the pounds4 million 
E30 103 marketing spend invested in the brand this year, is evidence of our 
E30 104 continued commitment to the brand,"<quote/> he added.<p/>
E30 105 <p_>The brewer's take home division has been expanded over the past 
E30 106 few years to reflect the changing face of the off-trade.<p/>
E30 107 <p_>It now features canned draught Guinness, Harp lager, Harp 
E30 108 Premier, Kaliber, alcohol<?_>-<?/>free lager and Guinness draught 
E30 109 Bitter.<p/>
E30 110 <p_>The company's commitment to its portfolio of leading brands can 
E30 111 be measured by the fact that it plans to support them this year 
E30 112 with an advertising and marketing support package costing pounds30 
E30 113 million.<p/>
E30 114 
E30 115 <h_><p_>National Trust gets cash help from Alcan<p/><h/>
E30 116 <p_>THE producer of Alcan Bacofoil, the household aluminium foil 
E30 117 and the Alcan Snappies range of plastic food wraps, has raised, 
E30 118 with the help of its customers, another pounds13,000 to assist with 
E30 119 conservation and restoration projects mounted by the National 
E30 120 Trust.<p/>
E30 121 <p_>This brings the total raised since the promotion was launched 
E30 122 in January to <}_><-|>pounds35,000,<+|>pounds35,000<}/> - over 
E30 123 halfway towards the pounds50,000 target. The funds have assisted in 
E30 124 the restoration of historic houses and gardens such as Ightham Mote 
E30 125 in Kent and Calke Abbey Kitchen gardens in Derbshire.<p/>
E30 126 <p_>The fund raising promotion is backed by an on-pack message 
E30 127 featured on all Alcan's product ranges. <p/>
E30 128 <p_>The company has also assisted in garden 
E30 129 <}_><-|>maintainance<+|>maintenance<}/> and in coastline 
E30 130 acquisition.<p/>
E30 131 
E30 132 <h_><p_>Media praise<p/><h/>
E30 133 <p_>A SERIES of features on Tyne Tees Television's 'Northern Life' 
E30 134 programme to be shown this month commends Safeway for leading the 
E30 135 way with environmental issues for food retailing.<p/>
E30 136 <p_>The multiple has been featured in the series for its work with 
E30 137 recycling, packaging and product labelling, and the company is 
E30 138 praised for taking the lead with the sale of organic products and 
E30 139 introducing Britain's first plastic bottle recycling machine 
E30 140 earlier this year. <p/>
E30 141 
E30 142 <h_><p_>Plastic turned into pennies by Sainsbury<p/><h/>
E30 143 <p_>SAINSBURY'S customers have been taking advantage of the 
E30 144 multiple's scheme to minimise the use of plastic carrier bags.<p/>
E30 145 <p_>In February the Penny Back environmental initiative was 
E30 146 launched to encourage customers to provide their own carrier bags, 
E30 147 in return for which the store refunds them one penny.<p/>
E30 148 <p_>The response has been such that the multiple reckons in the 
E30 149 first 12 months the scheme will save 59 million new plastic carrier 
E30 150 bags.<p/>
E30 151 <p_>The reduction in new bags will save some 1,000 tonnes of 
E30 152 plastic per year and the energy saved in production and 
E30 153 distribution costs is the equivalent of a million gallons of 
E30 154 oil.<p/>
E30 155 <p_>So far this year, Sainsbury has given away some 41 million 
E30 156 pennies to customers and the figure is averaging 200,000 pennies 
E30 157 per day.<p/>
E30 158 <p_>Approximately half of all the pennies given to customers are 
E30 159 being deposited in charity collection boxes which are posted at the 
E30 160 exists of each Sainsbury branch. Each branch has a designated 
E30 161 charity to which the collected money is donated. <p/>
E30 162 <p_><quote_>"The programme manages to achieve two objectives of 
E30 163 prime importance to Sainsbury and its customers; energy 
E30 164 conservation and donation to charity,"<quote/> said Mike Samuel, 
E30 165 Sainsbury's environment affairs manager.<p/>
E30 166 <p_>The company has pledged to continue the programme indefinitely 
E30 167 in all of its stores.<p/>
E30 168 
E30 169 <h_><p_>Circle C Store is a top franchisee<p/><h/>
E30 170 <p_>THE owners of a Circle C store in Herne Bay came joint third in 
E30 171 the 'Franchisee of the Year' awards.<p/>
E30 172 <p_>The competition, organised by the British Franchise Association 
E30 173 and sponsored by Midland Bank, aims to encourage commitment to 
E30 174 service and excellence in franchising.<p/>
E30 175 <p_>The Herne Bay contestants Chris and Lorraine Green have been 
E30 176 running their business since 1988 following a 14 year career in 
E30 177 retailing.<p/>
E30 178 <p_>They decided that their best route was to use the franchise 
E30 179 deal to establish their business because of the support which the 
E30 180 system allows them.<p/>
E30 181 
E30 182 <h_><p_>Fastest food<p/><h/>
E30 183 <p_>SCOTTISH bakers recently pulled out all the stops to beat the 
E30 184 record time for turning wheat growing in the field into a batch of 
E30 185 loaves.<p/>
E30 186 <p_>The time taken from the wheat being harvested at Balgonie 
E30 187 Estate, transported 6.9 miles to Hutchisons flour mill, Kirkcaldy 
E30 188 for processing, taken a further 6.6 miles to Stuart's bakery, 
E30 189 Buckhaven, where 13 loaves were baked, was two hours 43 minutes 26 
E30 190 seconds.<p/>
E30 191 <p_>The operation was scrutinised by two independent 
E30 192 timekeepers.<p/>
E30 193 <p_>Norman Stuart, president of the Scottish Association of Master 
E30 194 Bakers said: <quote_>"The setting of this record has been a first 
E30 195 class exercise done at great speed, using entirely conventional 
E30 196 methods. Furthermore it was set under the rules laid down by the 
E30 197 publishers of the Guinness Book of Records, with whom we are in 
E30 198 communication to determine whether or not our record qualifies for 
E30 199 inclusion, in their book. We are very hopeful of a positive 
E30 200 outcome.<p/>
E30 201 <p_>"There is no doubt that it is a Scottish record on which we 
E30 202 hope others will make an attempt. Perhaps the districts will take 
E30 203 up the challenge."<quote/><p/>
E30 204 
E30 205 <h_><p_>New Cuban citrus deal broadens UK market<p/><h/>
E30 206 <p_>THE MAJORITY of Cuban citrus will be sold under a new European 
E30 207 marketing agreement this season. It is being organised by 
E30 208 Liverpool-based consultant. Ken Nieto and Oceanica Chilena, 
E30 209 Santiago, on behalf of Pole Lida.<p/>
E30 210 <p_>Pole is a new company based in Cuba, formed by Agricola Las 
E30 211 Araucarias, Santiago and Unecit, of Havana.<p/>
E30 212 <p_>The companies began to put the package together over a year ago 
E30 213 and this <}_><-|>culiminated<+|>culminated<}/> in Nieto returning 
E30 214 from the island with a group of prospective customers last week.<p/>
E30 215 <p_><quote_>"Everyone was impressed with what has been done by the 
E30 216 citrus industry, and the fruit looked excellent,"<quote/> he told 
E30 217 The Grocer.<p/>
E30 218 <p_>The scale is impressive. Trade sources indicate that there is a 
E30 219 potential of 2.5 million tonnes of oranges, red and white 
E30 220 grapefruit, lemons and limes, which makes it one of the largest 
E30 221 producers in the world.<p/>
E30 222 <p_>Nieto says the expects to be handling in excess of one million 
E30 223 cartons of Marsh Seedless and Ruby Red Grapefruit up to the end of 
E30 224 February. The first vessel is due to arrive at Sheerness next 
E30 225 week.<p/>
E30 226 <p_><quote_>"New technology has been introduced by the Chilean 
E30 227 companies ensuring that all fruit is packed to EC 
E30 228 standards,"<quote/> said Nieto. He also revealed that this had 
E30 229 resulted in packhouses being modernised, with new grading 
E30 230 machinery. In addition workers had been trained in picking and 
E30 231 packing.<p/>
E30 232 <p_>All fruit is packed in high quality cartons, and palletised in 
E30 233 56's, with full height corner guards and horizontal and vertical 
E30 234 strapping. <p/>
E30 235 <p_>To maximise sales opportunities there will be two brands. Best 
E30 236 Fruits, which is Class I, and aimed at wholesale markets and 
E30 237 supermarkets, and Tropical Island, Class II, also for markets, and 
E30 238 particularly the expanding fresh juice sector.<p/>
E30 239 <p_>Northern Fruit Brokers of Preston and Allan and Anderson (Fruit 
E30 240 Importers) of Liverpool have been appointed selling agents in the 
E30 241 UK.<p/>
E30 242 <p_>Nieto said he expected this to be the first of many such 
E30 243 projects which he was expecting to develop with Pole. 
E30 244 <quote_>"There are other fruits available, apart from the wide 
E30 245 range citrus which includes tropicals like pineapples,"<quote/> he 
E30 246 says.<p/>
E30 247 
E30 248 <h_><p_>Banana safeguards urged<p/><h/>
E30 249 <p_>THE importance of safeguarding the preferential UK market 
E30 250 access for bananas grown by British Caribbean producers was 
E30 251 stressed to Agricultural Minister John Gummer, when he opened 
E30 252 Fyffes' new ripening centre at Crossways, Dartford.<p/>
E30 253 
E31   1 <#FLOB:E31\><h_><p_>LOGIC<p/>
E31   2 <p_>Sue Sillitoe visits Milan<p/><h/>
E31   3 <p_>Logic Recording Studios is located on the outskirts of Milan. 
E31   4 It is to this 48-track digital facility, owned by brothers 
E31   5 Michelangelo and Carmelo La Bionda, that people like Beautiful 
E31   6 South, Depeche Mode and Robert Palmer have been flocking, despite 
E31   7 the fact that there are plenty of similar studios much closer to 
E31   8 home. Some may argue that UK-based bands would be better off using 
E31   9 UK-based studios, if only to avoid language barriers but Logic has 
E31  10 a strong multilingual policy in force - everyone who works there 
E31  11 speaks English and some of the staff speak German, French and 
E31  12 Spanish as well. However, this still doesn't explain why Logic has 
E31  13 been attracting so much business from the UK, nor why it is 
E31  14 perceived as a success when many other studios are finding times 
E31  15 very tough indeed.<p/>
E31  16 <p_>In Logic's case the answer is obvious: they succeed because 
E31  17 they have the right attitude. They manage to combine an efficient 
E31  18 and businesslike manner with style, friendliness and a sense of 
E31  19 humour - how could they fail?<p/>
E31  20 <p_>I was shown around the facility by the funniest pair of 
E31  21 engineers I've ever met - Pino Pischetola and Antonio Baglio. They 
E31  22 were like a comedy double act, interrupting each other in their 
E31  23 excitement to point out every little thing about the studio and 
E31  24 finishing each other's sentences when their English - which was 
E31  25 pretty good as far as I could tell - ran out on them.<p/>
E31  26 <p_>The recording studio, which is housed on the first floor of a 
E31  27 large modern building, was initially built by Italian record 
E31  28 company CDG back in the early '70s. CDG constructed the studio 
E31  29 separately inside the main building so that although it has no 
E31  30 natural daylight, it does have total isolation.<p/>
E31  31 <p_>When the record company got into financial trouble it sold the 
E31  32 studio to the La Bionda brothers - former Italian pop stars who had 
E31  33 moved into music production, publishing and running their own 
E31  34 record label. The brothers have been running the studio as a 
E31  35 commercial facility for about five years. Michelangelo is the 
E31  36 business brain behind the operation while Carmelo provides the 
E31  37 artistic content, composing music for advertising and developing 
E31  38 Logic's audio-for-video post-production skills. Over the last five 
E31  39 years they have totally revamped the studio and ancillary services 
E31  40 and have built up its reputation as a major international recording 
E31  41 facility.<p/>
E31  42 <p_>Soon after they took over, Michelangelo and Carmelo called in 
E31  43 studio designer Andy Munro to redesign the control room and check 
E31  44 out the acoustics in the recording area. A lot of work had to be 
E31  45 done in the control room to bring it up to scratch including the 
E31  46 installation of a 56-channel SSL <tf_>SL 4056<tf/> console, new 
E31  47 Quested monitors and new tape machines.<p/>
E31  48 <p_>But Munro's advice regarding the studio area was to leave it 
E31  49 alone - it sounded fine and therefore why change it?<p/>
E31  50 <p_>The studio area is rather unusual. Firstly, it is huge - easily 
E31  51 big enough for full orchestral scores which do occasionally form 
E31  52 part of its workload. And, secondly, there's the acoustic 
E31  53 treatment, which really is unusual. It consists of a system of 
E31  54 large cylinders covering every wall, which revolve at the touch of 
E31  55 a button to give a live or dead atmosphere depending on what the 
E31  56 client needs. Also very interesting are the light fittings, which 
E31  57 hang like the underbelly of the <tf_>Starship Enterprise<tf/> from 
E31  58 the ridiculously high ceiling. As part of the redesign Michelangelo 
E31  59 talked about ripping the lights out. But he was persuaded to leave 
E31  60 them in because they are so unusual.<p/>
E31  61 <p_>The engineers say: <quote_>"We find bands really like this 
E31  62 studio because they can set up all their gear and still have room 
E31  63 to move around. Often they use one half of it as a recreation area 
E31  64 - they hang around in there rather than in the control room because 
E31  65 there is so much space.<p/>
E31  66 <p_>"It is a shame that there is no natural light but because of 
E31  67 its size it doesn't feel claustrophobic. Its<&>sic! very rock and 
E31  68 roll - the finishes are not fine wood and delicate things, so a bit 
E31  69 of mess is OK. We have installed tie lines everywhere and we have 
E31  70 also got an extra wide lift so bringing machines up from the ground 
E31  71 floor is not a problem."<quote/><p/>
E31  72 <p_>One reason for Logic's international success is Michelangelo 
E31  73 and Carmelo's attitude towards equipment. They happily admit that 
E31  74 they like to stay one step ahead of the competition, which is why 
E31  75 they were the first studio in Italy to install an SSL desk, the 
E31  76 first to upgrade it with a <tf|>G series computer and the first to 
E31  77 go 48-track digital.<p/>
E31  78 <p_>The studio is equipped with a Sony <tf|>PCM-3348 digital tape 
E31  79 machine and also has two Studer <tf_>A800 mkIII<tf/> 24-tracks with 
E31  80 full Dolby<tf|>SR. If clients prefer to use Mitsubishi digital 
E31  81 machines Logic rents them in - usually from Hilton Sound in 
E31  82 London.<p/>
E31  83 <p_>Pischetola and Baglio say: <quote_>"Logic chose Sony rather 
E31  84 than Mitsubishi because it felt it was a better machine and would 
E31  85 eventually be the format most people would want to use.<p/>
E31  86 <p_>"Michelangelo likes to be the first to do things and he is 
E31  87 prepared to take risks with new machines - the Sony was a risk 
E31  88 because a lot of Italian studios have been getting Mitsubishi 
E31  89 machines. But we think it's great. Not long after we got it two 
E31  90 Japanese engineers turned up from Sony and changed over the heads 
E31  91 because someone had reported a fault - we hadn't even realised 
E31  92 there was a problem but they changed them anyway."<quote/><p/>
E31  93 <p_>Apart from the Quested main monitors, Logic has Yamaha 
E31  94 <tf|>NS10s for nearfield. Pischetola/Baglio add: <quote_>"We also 
E31  95 have a pair of Alphi speakers which cost pounds7 and have to be the 
E31  96 worst speakers in the world. We play everything we do through them, 
E31  97 working on the basis that if it sounds OK through them then it's 
E31  98 going to sound OK anywhere!"<quote/><p/>
E31  99 <p_>Logic's equipment is certainly very up-to-date but that alone 
E31 100 isn't enough to stay ahead in this business so why are so many big 
E31 101 name bands choosing to record here? Surely it's not just the lure 
E31 102 of Milan?<p/>
E31 103 <p_>The engineering duo put it down to efficiency on an 
E31 104 international scale. They said: <quote_>"In Italy there are a lot 
E31 105 of studios that are frankly awful. They have cheap desks, dreadful 
E31 106 wiring and no proper acoustic treatment. They don't have proper 
E31 107 maintenance either, whereas we have 24 hour maintenance because in 
E31 108 order to run an efficient international studio you have to have 
E31 109 your equipment 100% right.<p/>
E31 110 <p_>"Also our policy is to invest in new equipment. We have the 
E31 111 usual range of outboard gear and we check with clients in advance 
E31 112 to make sure we have everything they need. If we have not got 
E31 113 something we will either buy or hire it. For example, when Robert 
E31 114 Palmer was here for the first time he asked for a Lexicon <tf|>480, 
E31 115 which we didn't have. Michelangelo said: 'Why mess around hiring - 
E31 116 let's just buy it.' The same thing happened this year when Palmer 
E31 117 wanted a Focusrite rack - we simply bought it. We want to show that 
E31 118 we care. If we have to hire it's no problem. There are no hire 
E31 119 companies in Italy so we have to bring equipment in from the UK but 
E31 120 we have done this so often now that we have found a way through the 
E31 121 customs red tape.<p/>
E31 122 <p_>"Another reason we do well with international artists is 
E31 123 because we can help out with finances. If a band comes here and 
E31 124 wants to use backing singers or specialist musicians they may have 
E31 125 trouble financing payments. Because we have the back-up of a record 
E31 126 label and a publishing company we can arrange temporary finance 
E31 127 while money transfers are being sorted out. This is a vital point 
E31 128 and comes with experience. You have to work with international 
E31 129 bands over a long period of time to fully understand the problems 
E31 130 they have when they are abroad and find ways you can help make the 
E31 131 process as smooth as possible."<quote/><p/>
E31 132 <p_>These comments were reinforced by Michelangelo La Bionda: 
E31 133 <quote_>"One of our main selling points is the staff. We have 18 
E31 134 excellent people working here who all speak English. Also the 
E31 135 studio is of a very high standard - we like to get new things in 
E31 136 fast.<p/>
E31 137 <p_>"We are attracting a lot of international business because 
E31 138 Milan is a great city. It's the centre of the fashion industry and 
E31 139 the costs of recording here are comparable with recording in the 
E31 140 UK. I think the main reason we get a lot of international work is 
E31 141 historical. Carmelo and I started out in the music business over 20 
E31 142 years ago as artists and producers so we have built up a lot of 
E31 143 contracts. Work comes here by word of mouth and once that happens 
E31 144 the whole thing spreads.<p/>
E31 145 <p_>"I have always believed in being international - both as an 
E31 146 artist and as a studio owner. I see myself as an internationalist, 
E31 147 I'm married to a Swedish woman, I have lived and worked in London, 
E31 148 in Munich and the US so I have gained a lot of experience. We try 
E31 149 to make sure the studio has the right kind of ambience and we are 
E31 150 constantly picking up new ideas, which we put into practice in the 
E31 151 studio. It seems to be paying off."<quote/><p/>
E31 152 <p_>He adds that diversification and success go hand-in-hand at 
E31 153 Logic. Apart from the recording studio, Logic also houses a copying 
E31 154 room for cassette and DAT; tape storage areas - they store all CBS 
E31 155 Italy's masters; a Sony <tf|>1630 editing room, which has recently 
E31 156 been redesigned to make it more comfortable; a cutting room; a 
E31 157 relaxation area for bands; administrative offices and a digital 
E31 158 audio/video post-production suite equipped with an AMS 
E31 159 <tf|>AudioFile.<p/>
E31 160 <p_>Logic are now moving more and more into post-production as a 
E31 161 result of a joint venture it has recently undertaken with film 
E31 162 company Zeus. The two companies have set up a new 
E31 163 post<?_>-<?/>production facility in the centre of Milan, which is 
E31 164 known as Logic West. Most of Logic's television and advertising 
E31 165 agency work is being moved across to Logic West, leaving the 
E31 166 existing <tf|>AudioFile suite free for CD pre-mastering.<p/>
E31 167 <p_>La Bionda says: <quote_>"The aim is to have everything we need 
E31 168 in<?_>-<?/>house so that we can do all our own work here and also 
E31 169 take in work from other companies. My investment in the studio must 
E31 170 be aimed at getting top quality results. When we started we had 
E31 171 very little - just one studio. But now we have opened out the 
E31 172 business to cover lots of different areas so that if one side is 
E31 173 down, due to usual market fluctuations, we are making a living with 
E31 174 one of our other activities. Having a diverse client base is vital 
E31 175 to our success."<quote/><p/>
E31 176 <p_>Apart from the existing facilities, the La Bionda brothers are 
E31 177 in the process of building a second studio on the fifth floor of 
E31 178 the complex. Once again they have called in Andy Munro to design 
E31 179 the room, which will be equipped with a 36-channel Amek 
E31 180 <tf|>Angela, a Studer <tf|>A800 and Dolby <tf|>SR. Primarily this 
E31 181 studio will be used by them for their own work, which involves a 
E31 182 lot of composing for advertising. They had been finding it 
E31 183 difficult to get into the main studio because it was so much in 
E31 184 demand by clients.<p/>
E31 185 <p_><quote_>"The new studio upstairs will be geared towards the 
E31 186 sort of work Carmelo and I do. It will have lots of keyboards and a 
E31 187 <tf|>Synclavier, which we are installing in the spring."<quote/><p/>
E31 188 <p_>There is so much to say about Logic Studios that one wonders 
E31 189 where to start. But the overriding impression you get from visiting 
E31 190 this facility is that it's the people that make the place so 
E31 191 interesting.<p/>
E31 192 <p_>But why have they never put together a brochure or gone in for 
E31 193 heavy advertising campaigns? La Bionda's answer was simple and yet 
E31 194 typical of Logic's attitude: "We have never bothered with a 
E31 195 brochure because I think the best way to sell Logic is to get 
E31 196 people over here to see it. If someone shows an interest in using 
E31 197 the studio I will fly them out to visit us at my expense.
E31 198 
E32   1 <#FLOB:E32\><h_><p_>SETTING UP ABROAD<p/>
E32   2 <p_>REVIEWS: RIBA REPORTS<p/>
E32   3 <p_>The RIBA has published the first three of its series of major 
E32   4 reports on the architectural professions of continental countries. 
E32   5 Ian Ritchie reviews the one on France, Nicholas Terry, Portugal and 
E32   6 Alex Reid, Spain.<p/><h/>
E32   7 <p_><tf_>Architectural Practice in Europe: France<tf/><p/>
E32   8 <p_>Compiled by Davis Langdon and Everest for the RIBA. 1990. 
E32   9 176pp. A4 paperback, pounds150. (members pounds95)<p/>
E32  10 <p_><tf_>Architectural Practice in Europe: Portugal<tf/><p/>
E32  11 <p_>Compiled by WS Atkins Management Consultants for the RIBA. 
E32  12 1991. 128pp. A4 paperback, pounds165 (members pounds125)<p/>
E32  13 <p_><tf_>Architectural Practice in Europe: Spain<tf/><p/>
E32  14 <p_>Compiled by WS Atkins Management Consultants for the RIBA. 
E32  15 1991. 174pp. A4 paperback, pounds165 (members pounds125)<p/>
E32  16 <p_>These reports are the first of a planned series which aims to 
E32  17 cover all the EC countries. The one on Germany will be published in 
E32  18 May and a guide to Italy is expected before the end of the year.<p/>
E32  19 <p_>Each report covers approximately the same areas of interest:<p/>
E32  20 <p_><*_>bullet<*/>background: including geography and population, 
E32  21 transport, the economy, government, education, the legal system, 
E32  22 company law and the market for building construction<p/>
E32  23 <p_><*_>bullet<*/>the building process: project participants, 
E32  24 stages of the process, comparison of UK and local processes<p/>
E32  25 <p_><*_>bullet<*/>aspects of the local system: planning, building 
E32  26 control, quality assurance, building regulations, insurance and 
E32  27 liability, standards, public procurement, and recent legislation<p/>
E32  28 <p_><*_>bullet<*/>architectural practice: education, structure of 
E32  29 the profession, architects' offices, comparison of the UK and local 
E32  30 practice<p/>
E32  31 <p_><*_>bullet<*/>other project participants: clients, technical 
E32  32 architects, contractors, suppliers, surveyors, engineers, interior 
E32  33 designers, landscape architects and town planners<p/>
E32  34 <p_><*_>bullet<*/>opportunities and constraints: differences in 
E32  35 practice, the market for architectural services, implications of 
E32  36 the single market<p/>
E32  37 <p_><*_>bullet<*/>appendices: standard forms, local words, fee 
E32  38 scales, addresses, bibliography.<p/>
E32  39 <p_>The exact contents vary a little between volumes, of course, 
E32  40 but from this list it is obvious that the coverage is meant to be 
E32  41 comprehensive. None of the volumes has an index, which is a serious 
E32  42 omission that should be remedied in later reports. The volumes are 
E32  43 complementary to the CIRIA reports on the same countries, indeed 
E32  44 they have been written by the same authors; the RIBA reports are 
E32  45 done from the point of view of the architect.<p/>
E32  46 <p_>The selling price is quite high - clearly the idea is to recoup 
E32  47 most of the cost of doing the research as well as the cost of 
E32  48 publishing a short print run.<p/>
E32  49 <h|>FRANCE
E32  50 <p_>This report represents a very thorough appraisal of the 
E32  51 situation in France for UK architects intending to set up there.<p/>
E32  52 <p_>In the section on background, it would have been useful to have 
E32  53 more direct comparisons with the UK. These would have helped one to 
E32  54 appreciate more easily some of the fundamental differences between 
E32  55 the two countries. The importance of local politics, notably the 
E32  56 role of the mayor, appears under 'The Cultural Context', when, in 
E32  57 fact, this single page would have been better placed at the very 
E32  58 beginning of the book.<p/>
E32  59 <p_>The cultural context could have been usefully elaborated 
E32  60 further. For instance, it is important to understand the length of 
E32  61 term for which a mayor is elected, and in particular the role of 
E32  62 the mayor's political office and its director. Also the 
E32  63 organisation of local government, and the administrative role of 
E32  64 the general secretary of the council could be examined. Their 
E32  65 importance in decision making should not be underestimated.<p/>
E32  66 <p_>The section on 'The Building Process' is difficult to 
E32  67 understand when read as a single chapter. It is essential to read 
E32  68 the entire book and then go back to this area.<p/>
E32  69 <p_>Public commissions are the most important area for architects 
E32  70 to obtain work. But the description in this section of the public 
E32  71 <foreign_>ma<*_>i-circ<*/>tre d'ouvrage<foreign/> (client) is a bit 
E32  72 thin with reference to the <foreign_>ma<*_>i-circ<*/>tre d'ouvrage 
E32  73 d<*_>e-acute<*/>l<*_>e-acute<*/>gu<*_>e-acute<*/><foreign/> 
E32  74 (client's representative). The book does not explain how often 
E32  75 public clients delegate to a professional public body to undertake 
E32  76 the works for them, nor does it explain the consequences of this 
E32  77 delegation with respect to the position of the architect. It would 
E32  78 be useful to know which areas the client cannot legally 
E32  79 delegate.<p/>
E32  80 <p_>There is no mention of the architect's role as 
E32  81 <foreign_>ma<*_>i-circ<*/>tre de chantier<foreign/>, which is often 
E32  82 the role adopted when the architect wishes to control the site.<p/>
E32  83 <p_>The section on the <foreign|>'Mission' (scope of the work) of 
E32  84 the architect could have been more informative in describing the 
E32  85 basic attitude of French clients, generally, to the ability of the 
E32  86 architect to undertake the complete role that we associate with the 
E32  87 architect in the UK. A very important fact being that the MOP 
E32  88 (<foreign_>Ma<*_>i-circ<*/>trise d'Oeuvre Publique<foreign/>) law 
E32  89 of 1988 formally recognises that architects are not capable of 
E32  90 doing the full working drawings. This is because, historically, 
E32  91 architects did not produce any working drawings, and this has 
E32  92 proved to be a psychological problem for UK architects working in 
E32  93 France for two reasons. First, the fee is consequently lower, and 
E32  94 second, the ability to control the quality is taken away from the 
E32  95 architect. French clients do not believe they should pay twice for 
E32  96 construction drawings, and in the past they have expected these 
E32  97 from others, notably from contractors.<p/>
E32  98 <p_>The section on 'The Profession' covers all of the important 
E32  99 issues, but does not read in a way that is easily accessible. 
E32 100 Again, the whole book has to be appreciated first. One point to 
E32 101 note is that no mention is made of the possibility of UK architects 
E32 102 extending UK insurance through their professional indemnity 
E32 103 policies, which can satisfy French insurance requirements. Because, 
E32 104 as the book states, there is no standard form of contract in 
E32 105 general use. Both architects and contractors rely to a large extent 
E32 106 on <foreign|>avenants (supplements to their contracts).<p/>
E32 107 <p_>The chapter on architectural practice could have benefited from 
E32 108 a clearer explanation of the various <tf|>missions. It could also 
E32 109 have mentioned the fact that the fee scales currently in force in 
E32 110 France are based on building costs established in the early 1970s, 
E32 111 which are, to date, not seen in France as being retroactive. This 
E32 112 is another area which leads to lower fees being available for work 
E32 113 in France, and the comparative table of the British and French fee 
E32 114 scales included is misleading. It would have been useful to have a 
E32 115 clear comparative fee table.<p/>
E32 116 <p_>There was also no mention of the fact that it is possible to 
E32 117 operate from the UK as long as one is registered for TVA (VAT) in 
E32 118 France.<p/>
E32 119 <p_>In order to make the book more accessible as a reference 
E32 120 document, it would be better to use more tables and graphic 
E32 121 comparisons. Equally, the key points, which are very good, at the 
E32 122 front of the book, could have been explained in more detail. And 
E32 123 they could be listed in an order related to the way the book is 
E32 124 written, or listed at the end of each of the chapters.<p/>
E32 125 <p_>It was interesting to note that the lower fee scale was not 
E32 126 seen as a key point. Nor was the architect's design control thought 
E32 127 to be prejudiced because of the architect's limited role in 
E32 128 producing working drawings.<p/>
E32 129 <p_>Despite these small criticisms the book represents very good 
E32 130 value for any architect thinking seriously about working in France, 
E32 131 or indeed already doing so.<p/>
E32 132 <h|>PORTUGAL
E32 133 <p_>This report was designed to provide RIBA members with the 
E32 134 necessary information to practice confidently in Portugal.<p/>
E32 135 <p_>How well it does this can be assessed from the comments I 
E32 136 received from Richard Clarke, a UK architect resident in Lisbon for 
E32 137 many years, who reviewed the document for me. He said it would be 
E32 138 very useful translated into Portuguese for local sale since it 
E32 139 contained much information that was not published in Portugal, 
E32 140 particularly on the background to European integration and the 
E32 141 adoption of various European directives.<p/>
E32 142 <p_>The background section of the report has a number of items of 
E32 143 interest on company taxation, employment law and the market for 
E32 144 building construction.<p/>
E32 145 <p_>The report is at its weakest in the description of the design 
E32 146 and building process from planning procedures to construction 
E32 147 methodologies. The authors accept this by saying that since there 
E32 148 is no formal regulation of the building process the details of 
E32 149 design and project management are not discussed in depth because 
E32 150 they depend upon individual designers' and contractors' own 
E32 151 practice. However, the framework of the design and building process 
E32 152 is outlined and it will be for individual practitioners to fill in 
E32 153 the detail once they have made the commitment to work in 
E32 154 Portugal.<p/>
E32 155 <p_>Bureaucracy is lethargic in Portugal, which makes obtaining 
E32 156 planning permission slow and complex. This is even more so now that 
E32 157 the EC directives are being introduced. The local municipalities 
E32 158 (<foreign|>camaras) do not do a thorough check on submitted 
E32 159 schemes, as is implied in the report. They work to the 'book' and 
E32 160 the latest regulation, even when that is 50 years out of date, as 
E32 161 it sometimes is. Architects accept the responsibility for the 
E32 162 design and for its compliance with the latest regulations. A formal 
E32 163 planning system is almost non-existent, there are no town planners 
E32 164 and few structure plans. Planning submissions may either be 
E32 165 rejected on bureaucratic grounds or may pass through the system 
E32 166 without difficulty. Architects in the municipalities set down 
E32 167 guidelines and requirements and because they have established them 
E32 168 they object to a different viewpoint of rejected submissions and 
E32 169 the uncertainty of obtaining planning approvals.<p/>
E32 170 <p_>The contracting process also has its drawbacks: few contracts 
E32 171 meet programme dates, liquidated damages are not acceptable, 
E32 172 fixed-price contracts go against the system, inflation clauses are 
E32 173 regulated and delays are always the fault of others. Resolution of 
E32 174 disputes by recourse to the legal system will break the resolve of 
E32 175 even the strong willed. The uncertainties of the contracting 
E32 176 process can have a great influence in regulating demand.<p/>
E32 177 <p_>Generally, contracting is very traditional and based on 
E32 178 traditional detailing, so fast<?_>-<?/>track construction, or 
E32 179 sophisticated frame-and-skin building techniques can lead to 
E32 180 implementation problems, delays and extra cost.<p/>
E32 181 <p_>In Portugal the architectural profession is striving to improve 
E32 182 its status and importance in the design and building process. The 
E32 183 report highlights the weaker position of the Portuguese architect 
E32 184 compared to his UK counterpart. Portugal is an earthquake zone and 
E32 185 engineers have traditionally dominated because of the greater 
E32 186 responsibility that they assume. It is only recently that the 
E32 187 Portuguese Association of Architects has become a legitimate 
E32 188 professional body, to represent the profession and improve its 
E32 189 status.<p/>
E32 190 <p_>There has been an increase in the number of schools of 
E32 191 architecture and, as the report points out, the requirement for 
E32 192 professional practice before qualifying is limited. Most students 
E32 193 work in architects' offices gaining practical experience during 
E32 194 their education. Many architects work in both local government 
E32 195 offices and private practice. Practices are generally small groups 
E32 196 of architects or sole practitioners who sometimes come together to 
E32 197 undertake major commissions. Large- to medium-size practices are 
E32 198 rare. The key role the architect carries out is the obtaining of 
E32 199 planning permission and this is highlighted in the lower level of 
E32 200 fees charged in comparison to the UK levels of service.<p/>
E32 201 <p_>The report does not emphasise strongly enough that once the 
E32 202 project is passed over to the contractor the architect's control is 
E32 203 lost, rights of authorship can be overridden and the result is at 
E32 204 best a close approximation of the architect's intentions. However, 
E32 205 the influence of the EC and the support of other representative 
E32 206 bodies, such as the RIBA, in other member states will help improve 
E32 207 this position.<p/>
E32 208 <p_>Because it is written from the perspective of the UK, the 
E32 209 report is a little hard on Portuguese architects who have been 
E32 210 educated into the system. They would like to improve their image 
E32 211 but there are severe drawbacks: technical journals and books are 
E32 212 few, and reference libraries and trade literature are virtually 
E32 213 non-existent, so there is an enormous gap that needs to be filled. 
E32 214 How can an architect with no ultimate liability for the building 
E32 215 process, as the report states, exist detached from the process of 
E32 216 control and supervision? Yet they do, and the quality of the work, 
E32 217 when undertaken seriously, can match that of the international 
E32 218 market.<p/>
E32 219 <p_>The section on opportunities and constraints gives a sketchy 
E32 220 outline of the opportunities and concentrates particularly on the 
E32 221 European dimension and the single market.
E32 222 
E33   1 <#FLOB:E33\><h_><p_>BREASTFEEDING<p/>
E33   2 <p_>THE MOST NATURAL FUNCTION<p/>
E33   3 <p_>Francesca Entwistle looks at some of the psychosocial and 
E33   4 cultural issues surrounding breastfeeding. In a second article, we 
E33   5 investigate ways in which milk production can be suppressed if a 
E33   6 woman is unable, or does not wish, to breastfeed<p/><h/>
E33   7 <p_>IN this technological age, there is a tendency for people to 
E33   8 forget that humans are mammals, just like zebras and gorillas. 
E33   9 Suckling is the prerogative of all mammalian young, and the milk 
E33  10 produced by the individual species is precisely adapted to their 
E33  11 growth needs.<p/>
E33  12 <p_>Breastfeeding is a very emotive subject and the mere mention of 
E33  13 the word can evoke strong responses, particularly from women. These 
E33  14 are often influenced by very deep and complex sociological, 
E33  15 cultural, psychological and psycho-sexual issues.<p/>
E33  16 <p_>Whether you were breastfed yourself, or whether you breastfeed 
E33  17 your own child, depends on many variables, including your social 
E33  18 group and economic position. In some societies, poor, marginally 
E33  19 nourished women breastfeed successfully, while other groups of 
E33  20 privileged, well-nourished women fail.<p/>
E33  21 <p_>Within modern Western society, breasts are often perceived as 
E33  22 sexual objects, yet their primary function of nurturing of the 
E33  23 young receives much less attention. An American woman's description 
E33  24 of her first impression of breasts illustrate this point: 
E33  25 <quote_>"The first idea I had that people did breastfeed was from 
E33  26 looking at Catholic missionary magazines of African women nursing 
E33  27 ... I didn't see a white person's breasts until I saw a 
E33  28 <tf|>Playboy magazine at the age of twelve."<quote/><p/>
E33  29 <p_>There appears to be a fundamental prejudice in our attitudes to 
E33  30 public breastfeeding. Television cameras turn their lens on hungry 
E33  31 women who, during a famine, are keeping their babies alive with 
E33  32 this precious fluid. As long as they are black and devastated it is 
E33  33 all right to watch. But how often does one witness white women 
E33  34 breastfeeding on television without its being received as 
E33  35 offensive?<p/>
E33  36 <p_>Within our society, if a woman's breasts are lactating, she 
E33  37 often feels obliged to withdraw to feed her baby, because to suckle 
E33  38 a baby in daily life is perceived as a disturbing sight by many 
E33  39 people. However, those people who object may well pay to watch a 
E33  40 woman expose her breasts in the form of a strip-a-gram for the 
E33  41 sexual stimulation of friends or strangers.<p/>
E33  42 <p_>The 1990s are proving to be the age of the working mother who 
E33  43 is actively encouraged to return to work. But often the very men - 
E33  44 fathers, husbands - who discover the excellence of breastfeeding 
E33  45 and recommend it wholeheartedly do nothing to provide facilities in 
E33  46 the workplace and do little to advocate the financial benefits and 
E33  47 flexible schedules which are essential for those mothers who must 
E33  48 or choose to remain in the wage-earning world. Women may now be 
E33  49 able to control their reproductive functions, but men still seem to 
E33  50 control the way our society is run.<p/>
E33  51 <p_>Those women who do decide to work and breastfeed often find 
E33  52 their loyalties and their emotions torn. Breastfeeding is not only 
E33  53 a method of physical nurturing, it is a way of communicating with 
E33  54 another human being and a way of loving. As a result, breastfeeding 
E33  55 is never just a matter of technique or just a matter of filling a 
E33  56 baby up with milk in the same way you fill up the tank of a car 
E33  57 with petrol.<p/>
E33  58 <p_>Breastfeeding involves strong emotions and feelings. If the 
E33  59 mother is not happy and relaxed in a conducive, comfortable 
E33  60 environment, the process will fail. When the mother is tense and 
E33  61 anxious the secretion of oxytocin and the subsequent flow of milk 
E33  62 is restricted. The mother needs constant support and reassurance. 
E33  63 It is not enough to say: <quote_>"Breast is best, but we always 
E33  64 have a good alternative available if you find it too 
E33  65 difficult."<quote/> The midwife, friend or companion needs to 
E33  66 believe that <quote_>"breast is not only best"<quote/> but 
E33  67 <quote_>"breast is possible."<quote/><p/>
E33  68 <p_>Palmer draws an amusing but pertinent analogy to the 
E33  69 primigravid mother who is having problems breastfeeding in the 
E33  70 hospital post<?_>-<?/>natal ward. Imagine, she says, a young man 
E33  71 embarking on his first attempt at sexual intercourse. Ask him to 
E33  72 set about his task in a strange environment, where there are 
E33  73 'experts' he has never met before, ready to tell him how it ought 
E33  74 to be done. When he starts, a busy 'expert' tells him how to do it 
E33  75 and inspects his body with a critical expression, prodding him and 
E33  76 his equally inexperienced partner in an insensitive manner. By the 
E33  77 bed is an artificial penis - 'just in case he can't manage it'. Is 
E33  78 it any wonder he fails, just as the mother so often fails and gives 
E33  79 up breastfeeding in those very early stages?<p/>
E33  80 <p_>Breasts are not genitals, but they are certainly important, 
E33  81 both erotically and reproductively. Of course, not all cultures 
E33  82 attach erotic values to breasts. In some, the breasts are purely 
E33  83 functional. In Western culture, however, they are considered as 
E33  84 secondary sex characteristics and signify qualities of 
E33  85 attractiveness and <}_><-|>feminity<+|>femininity<}/> in women. 
E33  86 Many men find breasts highly arousing.<p/>
E33  87 <p_>Regardless of the size of the breasts, their internal structure 
E33  88 varies little from one <}_><-|>women<+|>woman<}/> to another. The 
E33  89 nipple has many nerve endings and is often a source of pleasurable 
E33  90 sensations during lovemaking, masturbation or breastfeeding. Sexual 
E33  91 arousal itself tends to make the nipples stand erect and therefore 
E33  92 turn outward, and the suckling of a baby has the same effect. The 
E33  93 secretion of oxytocin from the brain is stimulated through the 
E33  94 nerves in the nipple area. Oxytocin is also involved in sexual 
E33  95 arousal and orgasm, and milk may sometimes spurt from the breasts 
E33  96 during lovemaking.<p/>
E33  97 <p_>Some women experience an erotic arousal or orgasmic reaction to 
E33  98 breastfeeding itself and may find this difficult to cope with and 
E33  99 be disturbed by it. A mother's attitude to the baby may be 
E33 100 influenced by the physical and emotional feelings during 
E33 101 suckling.<p/>
E33 102 <p_>Many women experience a loss of sexual desire and libido while 
E33 103 breastfeeding. Bailey believes this may be because many of the 
E33 104 women's sexual needs are being met by the baby. Breastfeeding 
E33 105 influences relationships and sexuality in many different ways. It 
E33 106 influences the woman's feelings about herself, her own body and her 
E33 107 relationship with her partner.<p/>
E33 108 <p_>Breastfeeding will also affect the man's feelings. Male 
E33 109 confidence should be enhanced by emphasising his role as a husband 
E33 110 and father, but if too much is expected of him, and he may not 
E33 111 reach the standards set, he might feel he has failed and feel 
E33 112 alienated from his partner and baby. Some men may feel jealous that 
E33 113 what was once 'their' domain is now shared. Couples must try to 
E33 114 communicate their needs and try and find ways of remaining close to 
E33 115 each other while the woman is breastfeeding even if, during that 
E33 116 time, there is no intercourse.<p/>
E33 117 <p_>Scott describes the other side of breastfeeding. While her 
E33 118 husband loved to watch her breastfeed and found her increased bust 
E33 119 size very attractive, leaking breasts during arousal could not be 
E33 120 prevented and were seen as something of a dampener! Some couples 
E33 121 may find breast fluid attractive, but many people are affected by 
E33 122 Victorian attitudes, where the only body fluid felt to be socially 
E33 123 acceptable is tears.<p/>
E33 124 <p_>For breastfeeding to succeed it must involve so much more than 
E33 125 a matter of personal inclination. Women all over the world, through 
E33 126 no fault of their own, are being tricked into feeding their babies 
E33 127 artificially, and this affects us all - our health, our environment 
E33 128 and the global economy. <quote_>"Just as people have come to 
E33 129 realise that forests are not simply a source for firewood ... so 
E33 130 economic planners must learn that human beings are part of the eco 
E33 131 system and that something as unnoticed as breastfeeding contributes 
E33 132 to a saner management of the earth's resources."<quote/><p/>
E33 133 
E33 134 <h_><p_>BREASTFEEDING<p/>
E33 135 <p_>SUPPRESSING LACTATION<p/>
E33 136 <p_>Some women are unable or do not wish to breastfeed for a 
E33 137 variety of reasons. Jacquie Eaton looks at methods of relief for 
E33 138 breast engorgement and pain.<p/><h/>
E33 139 <p_>DESPITE a resurgent interest in breastfeeding, there is a 
E33 140 significant number of women who do not breastfeed their babies. 
E33 141 This may be from personal choice, but may also be because of 
E33 142 maternal illness, fetal illness or abnormalities, or perhaps breast 
E33 143 disease. Some women will have experienced a stillbirth or 
E33 144 miscarriage. Not breastfeeding may lead to considerable breast pain 
E33 145 and engorgement during the days following childbirth, until the 
E33 146 time when lactation eventually becomes suppressed naturally.<p/>
E33 147 <p_>Various approaches are to be found which offer relief from the 
E33 148 symptoms of engorgement and breast pain. Midwives need to be aware 
E33 149 of these approaches and to be able to offer appropriate advice to 
E33 150 their clients.<p/>
E33 151 <p_>Currently, two types of pharmaceutical methods are being used, 
E33 152 and are compared in Table 1. Also, the use of pyridoxine has been 
E33 153 compared with a placebo. The data available shows it has only 
E33 154 limited effect on lactation.<p/>
E33 155 <p_>In the early 1960s, the effect on lactation and breast symptoms 
E33 156 of spraying synthetic oxytocin intra<?_>-<?/>nasally was studied by 
E33 157 Ryan and Brown and Winter and Robinson. This was not found to be 
E33 158 effective.<p/>
E33 159 <p_>Wong et al. studied the effectiveness of a non-pharmacological 
E33 160 method of suppressing lactation (the local application of ice and 
E33 161 wearing a tight bra) to a pharmacological therapy (using 
E33 162 bromocriptine mesylate).<p/>
E33 163 <p_>Although some subjects in both groups experienced no unpleasant 
E33 164 symptoms, most subjects experienced the lactation process. The drug 
E33 165 group had significantly less engorgement, milk leakage and 
E33 166 discomfort on the fourth day, but the lactation process was 
E33 167 prolonged until the ninth to 16th post-partum day. The protocol 
E33 168 group had more engorgement, milk leakage and discomfort on 
E33 169 post-partum day four, but the lactation process was completed 
E33 170 before postpartum day 16.<p/>
E33 171 <p_>Brooten compared four treatments (bromocriptine, tight bra, 
E33 172 restricted fluids or binder) to prevent and control breast pain and 
E33 173 engorgement in non<?_>-<?/>nursing mothers. About 38% of all 
E33 174 subjects experienced leakage, principally between days three and 
E33 175 six post<?_>-<?/>partum. The results showed that significantly 
E33 176 fewer subjects experienced leakage in the drug group than in the 
E33 177 other three groups. Subjects on fluid restriction experienced the 
E33 178 most leakage.<p/>
E33 179 <p_>The incidence of breast pain after delivery is shown in Table 
E33 180 2. Irrespective of treatment, the highest incidence of breast pain 
E33 181 occurred between the third and fifth day post-partum.<p/>
E33 182 <p_>The drug treatment involved in this study effectively prevented 
E33 183 engorgement and pain. The commercially available bra was least 
E33 184 effective in controlling engorgement and its associated pain, and 
E33 185 some women in the trial experienced pain for up to 14 days 
E33 186 post-partum. When the severity of pain was evaluated, there were no 
E33 187 significant differences between the four treatments.<p/>
E33 188 <p_>Two measures for pain relief were used - the application of 
E33 189 ice, and analgesics. Bromocriptine was found to be more effective 
E33 190 in reducing the incidence of pain and leakage of milk associated 
E33 191 with breast engorgement than the non-pharmacological methods 
E33 192 <}_><-|>studies<+|>studied<}/>. Women in all three 
E33 193 non-pharmacological treatment groups experienced pain and leakage, 
E33 194 but the differences were not significant. The use of a standardised 
E33 195 bra appeared to be least satisfactory.<p/>
E33 196 <p_>In Queensland, Australia, midwives carried out a pilot study to 
E33 197 compare the outcomes of two non-pharmacological methods. Two groups 
E33 198 were set up.<p/>
E33 199 <p_>The hospital group consisted of 57 women whose treatment 
E33 200 included the wearing of a well-fitting bra or binder, restriction 
E33 201 of fluid intake, use of analgesia and avoidance of breast or nipple 
E33 202 stimulation from heat, massage or the expression of milk.<p/>
E33 203 <p_>The experimental group comprised 95 women whose treatment 
E33 204 involved expressing engorged breasts, either manually or with a 
E33 205 breast pump. The breasts were either emptied or expressed as often 
E33 206 as required for comfort.<p/>
E33 207 <p_>Other traditional methods such as wearing a binder were also 
E33 208 permitted. The respondents were asked to rate their pain on a 
E33 209 four-point scale over a 14-day period. The hospital group not only 
E33 210 suffered higher levels of pain, but its level peaked a day later 
E33 211 than the experimental group and was slower to resolve. Both groups 
E33 212 were totally free of discomfort by day 11.<p/>
E33 213 <p_>This study raises questions about the techniques currently 
E33 214 employed in the management of the suppression of lactation in the 
E33 215 immediate post-partum period. The method of expressing milk to 
E33 216 relieve symptoms of suppression of lactation offers an alternative 
E33 217 and revolutionary approach. Additionally, the study shows that, 
E33 218 regardless of the approach employed, few women experienced severe 
E33 219 pain during this period.
E33 220 
E34   1 <#FLOB:E34\><p_>Hand-in-hand with cleansing goes moisturising and 
E34   2 it follows that women's interest in looking after and protecting 
E34   3 their skin is on the increase. Smith & Nephew's research 
E34   4 demonstrates that not only are women moisturising more frequently, 
E34   5 but that they are purchasing a variety of products to meet specific 
E34   6 needs, such as night care and eye care.<p/>
E34   7 <p_>Awareness of the effects of the environment on the skin means 
E34   8 that consumers will look for added benefits, such as the inclusion 
E34   9 of UVA/UVB sunscreens in products. This trend first caught on in 
E34  10 the higher priced ranges, such as Elizabeth Arden's Immunage, and 
E34  11 now moisturisers with sun protection factors (SPFs) are becoming 
E34  12 almost commonplace in the mass market. The new Nivea Visage day 
E34  13 care moisturisers all contain sunscreens, and many moisturising 
E34  14 ranges are starting to include them as standard, such as Pure & 
E34  15 Simple (relaunched this month), Ponds Creams, the new Rich 
E34  16 Moisturising Lotion from Simple, and the recently introduced 
E34  17 Synergie range.<p/>
E34  18 <p_>Women's awareness of the profound ageing effect that the sun 
E34  19 can have on the skin is increasing, and they are starting to think 
E34  20 about protecting the skin from their teens onwards. Many brands on 
E34  21 the market therefore now have a broad appeal across all age groups, 
E34  22 recognizing that an individual's approach to skin care is more 
E34  23 important than her age. Both Plenitude and Synergie skin care 
E34  24 ranges are aimed at a wide spectrum of women aged between 25 and 
E34  25 60, who expect more than the basics from their skin care. These 
E34  26 women are interested in trying more sophisticated products offering 
E34  27 the high performance which used to be only associated with premium 
E34  28 brands.<p/>
E34  29 <p_>As the skin care market becomes increasingly competitive, many 
E34  30 companies prefer to adopt this non<?_>-<?/>ageist approach in an 
E34  31 attempt to maximise sales. Andrew Fry, Brand Manager for Aapri, 
E34  32 believes that, <quote_>"Brand platforms are moving; they used to be 
E34  33 narrow, but now they are spreading out. Manufacturers are avoiding 
E34  34 targeting just the young, as population demographics are moving 
E34  35 away from them"<quote/>. Since its relaunch, Aapri has moved up the 
E34  36 age range and is now aimed at women aged 16 to 35. Previously, its 
E34  37 target was teens to early twenties.<p/>
E34  38 <p_>Nivea Visage is targeted more tightly at the 25-34 age group, 
E34  39 as Smith & Nephew believe that these women are big spenders in the 
E34  40 skin care market, accounting for a 23.5% share. They have also 
E34  41 identified married women as offering more potential than single 
E34  42 (married women represent 63% of the market) as well as upmarket 
E34  43 ABC1s (accounting for 59%).<p/>
E34  44 <p_>L'Oreal, too, are aware of the importance of the ABC1 
E34  45 purchaser, and recent extensions to the hugely successful Plenitude 
E34  46 range are aimed at the more upmarket woman. According to L'Oreal, 
E34  47 Plenitude now has a 6.6% sterling share (measured during 
E34  48 March/April 1991) and is the number two brand on the market behind 
E34  49 Oil of Ulay. Its success lies in bringing affordable yet 
E34  50 sophisticated products within the reach of the mass market with 
E34  51 particular emphasis on the anti-ageing claim. For example, 
E34  52 Plenitude's Contour R<*_>e-acute<*/>gard is a high performance eye 
E34  53 product with liposomes which claims to help delay the ageing 
E34  54 process.<p/>
E34  55 <p_>Like Plenitude, many other brands now boast specific eye care 
E34  56 products within their ranges. Est<*_>e-acute<*/>e Lauder's Eyzone 
E34  57 Repair Gel set the trend for specialised eye care, and is part of 
E34  58 the growing consumer need for individual products for specific 
E34  59 needs, while Vichy have addressed this trend with brands such as 
E34  60 Restructure Eye Contour Gel. Now, however, specialised eye care 
E34  61 becomes even more accessible (both in price and in distribution) as 
E34  62 Synergie launch Bio-Contour Eye Gel and Ultra Gentle Eye Make-up 
E34  63 Remover.<p/>
E34  64 <p_>Although anti-ageing claims are becoming more commonplace 
E34  65 across the whole skin care market, Vichy believe that the trend in 
E34  66 the future will be towards 'hydrators' which restore the skin's 
E34  67 natural level of moisture and act as a protective barrier against 
E34  68 the environment. Equaliance Hydra-Repair Cream is such a product 
E34  69 and, like other sophisticated moisturising products, it contains 
E34  70 liposomes claiming a 'repairing' action which works on the 
E34  71 epidermis. <p/>
E34  72 <p_>Pharmacy-only brand Vichy is renowned for its skin care 
E34  73 reputation, and this is extended into cosmetics with a range of 
E34  74 foundations which not only add colour but also care for the skin. 
E34  75 As technical advances are made both in skin care and colour 
E34  76 cosmetics, it is likely that more make-up brands will incorporate 
E34  77 skin care preparations. The recently introduced Clarins Colour 
E34  78 range promises formulations which help to protect the skin from 
E34  79 pollutants in the atmosphere as well as allowing the skin to 
E34  80 breathe. Meanwhile, Boots No.7 is being relaunched this month with 
E34  81 the introduction of Made to Measure Make-up, a foundation with the 
E34  82 addition of customised skin care treatments.<p/>
E34  83 <p_>But will these new skin care/make-up products encroach on the 
E34  84 traditional skin care market? Frederique Texier, Brand Manager for 
E34  85 Plenitude, thinks not. She ventures that <quote_>"the main action 
E34  86 of a traditional skin care product is to protect and moisturise the 
E34  87 skin - essentially, it works on the condition of the skin. The main 
E34  88 action of cosmetics is to use colours to make a person look more 
E34  89 attractive. They work primarily on the exterior appearance of the 
E34  90 skin"<quote/>.<p/>
E34  91 <p_>Smith and Nephew also believe that it is unlikely that 
E34  92 cosmetics with skin care benefits are actually detracting from 
E34  93 traditional skin care sales. This is because few consumers seem 
E34  94 prepared to forego the benefits of their usual moisturiser, but are 
E34  95 likely to choose make-up products which offer additional 
E34  96 performance benefits as a means of enhancing - rather than 
E34  97 replacing - their regular skin care r<*_>e-acute<*/>gime.<p/>
E34  98 <p_>As consumers demand more from their skin care, so too are they 
E34  99 expecting the cosmetics they buy to offer more than just colour. 
E34 100 Far from being in danger of losing out to make-up, the skin care 
E34 101 market looks set to flourish as women continue to use more products 
E34 102 on a more frequent basis, matching them to different usage 
E34 103 occasions.<p/>
E34 104 
E34 105 <h_><p_>Skin Care Notebook<p/>
E34 106 <p_>TOILETRY<p/><h/>
E34 107 <p_><tf_>Nivea Visage<tf/> (Smith & Nephew) was first launched in 
E34 108 France where it has become the No 1 moisturising range. For the UK, 
E34 109 there are eight products for cleansing, day moisturising and night 
E34 110 care, aimed at 25-35 year olds. pounds1.8 million is being spent on 
E34 111 advertising on TV and in the women's press and the range is priced 
E34 112 between rsp. pounds2.69 and pounds5.50.<p/>
E34 113 <p_><tf_>Ponds Day Creams<tf/> (Elida Gibbs) have been reformulated 
E34 114 to include UVA and UVB protection. In order to encourage consumer 
E34 115 trial, an on-pack leaflet will be attached to the 100ml sizes of 
E34 116 Light Day Cream and Dry Skin Cream detailing the importance of 
E34 117 using a day time moisturiser with sunscreens. It also offers 
E34 118 existing users the opportunity to send a friend a free 25ml trial 
E34 119 size of one of the new products.<p/>
E34 120 <p_><tf|>Simple (Smith & Nephew) has added Rich Moisturising Lotion 
E34 121 to its range of non-perfumed, non-coloured products. It provides 
E34 122 deeper moisturising and protection for drier and more mature skins 
E34 123 and incorporates UVA and UVB sunscreens. It retails at pounds2.40 
E34 124 for 150ml.<p/>
E34 125 <p_><tf|>Timotei (Elida Gibbs) is introducing a Facial Scrub to its 
E34 126 skin care range. It is based on natural ingredients and combines an 
E34 127 exfoliator with an effective cleansing lotion element thereby 
E34 128 performing a dual function. The launch coincides with a national 
E34 129 promotion to encourage trial - this consists of an on-pack collar 
E34 130 across the existing range of products which invites customers to 
E34 131 send off for a coupon redeemable against a full size Facial Scrub. 
E34 132 It will cost rsp. pounds2.24 for a 50ml tube.<p/>
E34 133 <p_><tf_>Pure & Simple<tf/> (SmithKline Beecham) is being 
E34 134 relaunched in new white and purple packaging and reformulated with 
E34 135 updated ingredients, a reduction of oiliness in the cleansers and 
E34 136 moisturisers, and the addition of UVA and UVB filters in the 
E34 137 Moisturising Lotion. Replenishing Cream for dry skin is being 
E34 138 introduced with a patented formulation which also contains 
E34 139 sunscreens. The range retails between pounds2.49 and pounds3.99.<p/>
E34 140 <p_><tf|>Cyclax (Lentheric Morny) is running a consumer promotion 
E34 141 until December this year. A luxury towelling bathrobe can be 
E34 142 obtained for a discount price of pounds9.95 plus proof of purchase 
E34 143 of Cyclax Moistura Fragrance Free.<p/>
E34 144 <p_><tf_>Vaseline Intensive Care UV Daily Defence Lotion<tf/> is an 
E34 145 interesting new proposition - in fact, described by its 
E34 146 manufacturers as <quote|>"unique" - which takes the concept of 
E34 147 everyday UV protection and incorporates it into a simple, 
E34 148 no-nonsense lotion. Ideal for use on the face and body, this light 
E34 149 moisturising lotion is easily absorbed and offers both UVA and UVB 
E34 150 protection.<p/>
E34 151 <p_><tf|>Syngergie<&|>sic! (Laboratoires Garnier) introduces 
E34 152 Bio-Contour Eye Gel (rsp pounds5.99) - a cooling hypo-allergenic, 
E34 153 opthamologically-tested gel to counteract shadows, puffiness and 
E34 154 fine lines and wrinkles. The active ingredients include plant 
E34 155 extracts (papaya and pineapple), collagen, amino acids and vitamin 
E34 156 E - the latter carried and released via hi-tech 'liquid crystals'. 
E34 157 Also new is Ultra Gentle Eye Make-up Remover (rsp pounds2.99): a 
E34 158 gentle rose-scented liquid remover with allantoin which is pH 
E34 159 balanced to that of tears and is opthamologically-tested for 
E34 160 sensitive eyes and contact lens wearers.<p/>
E34 161 
E34 162 <h_><p_>Facing Facts in the '90s<p/>
E34 163 <p_>High performance products, stylish new packaging: Pure & Simple 
E34 164 presents a new and caring promise to 'Protect skin today. For 
E34 165 tomorrow', with an integrated range designed for today's busy 
E34 166 woman.<p/><h/>
E34 167 <p_>As women move into the most health-aware decade ever, it has 
E34 168 become increasingly apparent that maintaining a healthy complexion 
E34 169 takes a long term plan of action. For smooth, supple skin in the 
E34 170 future, care has to be taken now. Thus, the new Pure & Simple 
E34 171 message is appropriately simple: <quote_>"Protect your skin today. 
E34 172 For tomorrow"<quote/>.<p/>
E34 173 <p_>The new Pure & Simple range has been developed retaining the 
E34 174 brand's existing core values of purity and naturalness. Pure & 
E34 175 Simple has always been seen as a kind, caring range and the new 
E34 176 product line-up reiterates that message perfectly. Pure & Simple 
E34 177 now sets superior new levels of performance in toiletry skin care - 
E34 178 a particularly buoyant sector of the market which currently 
E34 179 accounts for 51% of sales worth pounds378 million.<p/>
E34 180 <p_>Today's Pure & Simple user is well-educated in her knowledge 
E34 181 and attitudes towards skin care. That's why she is unwilling to 
E34 182 compromise on products which only offer short term benefits, 
E34 183 whoever luxurious they may first appear.<p/>
E34 184 <p_>By choosing Pure & Simple, she can enjoy sophisticated new 
E34 185 formulations which have benefited from the kind of hi-tech research 
E34 186 and development which only a company like SmithKline Beecham can 
E34 187 provide. And the benefits which these products offer your customer 
E34 188 - like UV filters for essential protection - are the kind of skin 
E34 189 care benefits which, previously, you would only expect to find in 
E34 190 premium or consultancy-only ranges.<p/>
E34 191 <h_><p_>So how has Pure & Simple changed?<p/><h/>
E34 192 <p_>The first difference you will notice is the outer packaging. 
E34 193 Smart cellophane-wrapped outer cartons in cool white with deep 
E34 194 purple trim and silver graphics tell you, once again, that this is 
E34 195 no ordinary skin care collection - expectations that are met in 
E34 196 whole by the products inside.<p/>
E34 197 <p_>Cleansing and toning are always important steps in facial 
E34 198 skin's fight against the outside world. In response, Pure & 
E34 199 Simple's cleansing portfolio has been streamlined to offer two 
E34 200 essential formulations, before toning with a fresh alcohol-free 
E34 201 toner:<p/>
E34 202 <p_><tf_>Deep Cleansing Lotion<tf/><p/>
E34 203 <p_>Always a favourite with Pure & Simple users, an improved 
E34 204 non-greasy formulation now boasts a deep down cleansing action for 
E34 205 healthier-looking skin;<p/>
E34 206 <p_><tf_>Facial Washing Gel<tf/><p/>
E34 207 <p_>Washing gels are currently the fastest growing type of 
E34 208 cleansing product and this soap-free gel also contains a beneficial 
E34 209 skin conditioner for improved softness and smoothness. The new 
E34 210 squat tube features a flip-top cap for increased ease of use;<p/>
E34 211 <p_><tf_>Gentle Skin Toner<tf/><p/>
E34 212 <p_>Light, gentle and alcohol-free, this toner suits all skin types 
E34 213 perfectly, with its instant refreshing action.<p/>
E34 214 <p_>Moisturising, however, is naturally the key area in any skin 
E34 215 care range, with moisturising products selling almost twice the 
E34 216 volume of cleansers and three times as many toners. In the new Pure 
E34 217 & Simple range, there are three moisturisers to choose from, 
E34 218 including a very exciting new product:<p/>
E34 219 <p_><tf_>Light Moisturising Lotion<tf/><p/>
E34 220 <p_>Easily absorbed, this lotion contains glycerin and UVA/UVB 
E34 221 filters for all-round protection and maximum moisturising. Helps 
E34 222 delay signs of ageing and encourages supple and radiant 
E34 223 complexion;<p/>
E34 224 <p_><tf_>Body Conditioning Lotion<tf/><p/>
E34 225 <p_>Equally light, this non-greasy lotion has a deeper conditioning 
E34 226 action, thus offering day-long moisturising protection;<p/>
E34 227 
E35   1 <#FLOB:E35\><h_><p_>AUNTIE'S FACIAL<p/>
E35   2 <p_>With the television marketplace ever more competitive, the BBC 
E35   3 has a new look to take it into the 90s. Dominic Murphy reports on a 
E35   4 process that is as much about consolidation as it is about design. 
E35   5 But can the corporation take the strain?<p/><h/>
E35   6 <p_>The BBC, it seems, can never do anything right. No sooner does 
E35   7 the corporation attempt to cut its costs - painfully relevant in 
E35   8 the light of the latest Price Waterhouse audit - and the public is 
E35   9 up in arms, worried about the future quality of programming. No 
E35  10 sooner does a quality drama come to the screens, at a reputed cost 
E35  11 that would buy a large Knightsbridge house, than the holders of the 
E35  12 country's purse strings claim resources are being wasted.<p/>
E35  13 <p_>However, one positive thing at least emerges from all the 
E35  14 attacks the corporation has to endure - namely the significant 
E35  15 position it has in our culture. It goes without saying, therefore, 
E35  16 that the image the BBC projects is extremely important.<p/>
E35  17 <p_>Responding to this, Michael Peters was called in two years ago 
E35  18 to redesign the corporate logo; then came the in-house designs of 
E35  19 BBC Radio, incorporating Radio 5; now it is the turn of the 
E35  20 television channels, with new looks for BBC1 and BBC2 designed by 
E35  21 Lambie-Nairn & Company.<p/>
E35  22 <p_>But this identity job is as much about organisation, drawing 
E35  23 together the disparate strands of a sprawling organisation known as 
E35  24 BBC Television and projecting it as one coherent whole, as it is 
E35  25 about pure graphic design.<p/>
E35  26 <p_>The redesign may seem simple, almost conservative, with its use 
E35  27 of a classic numeral one and a bladed numeral two (both retaining 
E35  28 the Peters' logo) for the main channels. This, Martin Lambie-Nairn 
E35  29 describes as <quote_>"almost anti<?_>-<?/>graphic 
E35  30 design"<quote/>.<p/>
E35  31 <p_>But what is beneath the simple imagery is a radicalism in the 
E35  32 comprehensiveness of the design process, extending in an 
E35  33 unprecedented fashion the new look across the BBC's television 
E35  34 output, from the on-screen identities for the two channels, through 
E35  35 the Open University and Family Television identities, to the 
E35  36 lay<?_>-<?/>out of the on-screen presentation system and the design 
E35  37 of supporting literature.<p/>
E35  38 <p_>The culmination of two year's work, the project came about when 
E35  39 Pam Masters took over as head of presentation and, on the 
E35  40 instigation of Lambie-Nairn, commissioned some research on the 
E35  41 perception of the BBC.<p/>
E35  42 <p_>The incumbent channel idents were seen to be cold and 
E35  43 alienating, though the BBC1 globe was popular. The corporate 
E35  44 identity was not used in any of the on<?_>-<?/>screen branding, 
E35  45 creating fragmented look for the television output. Also, the 
E35  46 identities did not translate to print.<p/>
E35  47 <p_>Retaining the global idea, a new, animated sequence establishes 
E35  48 a warmer, more accessible BBC1. Designed by Daniel Barber, the 
E35  49 result is a swirling, colourful one-minute sequence with nine 
E35  50 points of entry.<p/>
E35  51 <p_>BBC2, designed by Lambie-Nairn and Barber, consists of nine 
E35  52 animated vignettes using the two symbol and 
E35  53 <}_><-|>veridian<+|>viridian<}/> colour branding. Where the BBC1 
E35  54 ident is designed to endure, the BBC2 ident consist of several 
E35  55 sequences so the ideas can be developed with time. Where BBC1 was 
E35  56 required to project an image that will remain graphically 
E35  57 appealing, BBC2's ident will respond to the world around it. <p/>
E35  58 <p_>The layout of the programme promotions and menus - with the 
E35  59 logo always in the same position on a strip on the left of the 
E35  60 screen - give an essence of continuity through the channels. <p/>
E35  61 <p_>Lambie-Nairn describes the idents as continuing the tradition 
E35  62 of the BBC with no major shifts that could deny its past. 
E35  63 <quote_>"All we can do is to put on an image which is not 
E35  64 predictable,"<quote/> he says; <quote_>"which is something 
E35  65 particular to the BBC, which people will respond to and say 'I like 
E35  66 that, I enjoy that, that's the good old BBC again'."<quote/><p/>
E35  67 <p_>Despite this homely renown, pre-redesign the corporate's image 
E35  68 was in disarray. But why?<p/>
E35  69 <p_><quote_>"Television culture comes down to years of not having 
E35  70 to compete,"<quote/> says Lambie-Nairn. <quote_>"What we do in 
E35  71 presentation that is traditionally seen as some sort of backwater 
E35  72 has become a main river in the last five years.<p/>
E35  73 <p_>"People in television are now aware that there is a necessity 
E35  74 for presentation to be important, but how presentation works in 
E35  75 this new environment has not been thought through."<quote/><p/>
E35  76 <p_>Masters, however, is confident the BBC has got it right. 
E35  77 <quote_>"We have said that in the past people have been inclined to 
E35  78 change the identity of a channel, not really for strategic reasons. 
E35  79 What we have said now is that there should be a reason for doing it 
E35  80 and identities, when they get put right, shouldn't 
E35  81 change."<quote/><p/>
E35  82 <p_>This time, the reasons were abundantly obvious. Channel 4 set 
E35  83 the precedent with an identity with staying power throughout the 
E35  84 80s. ITV last year sorted out the confusion between the umbrella 
E35  85 organisation and its regional offspring. Competition will increase 
E35  86 with a more efficient, post-franchise, independent network and 
E35  87 satellite. <p/>
E35  88 <p_>This all points to more commercial pressure on the corporation. 
E35  89 As the BBC runs up to the expiry date of its Charter in 1996, where 
E35  90 its funding could be changed from the licence fee to something like 
E35  91 the subscription favoured by the Peacock Committee in the 80s, 
E35  92 viewers might then be inclined to watch the cheaper independents. 
E35  93 <p/>
E35  94 <p_>With the nature of British television irrevocably changing, a 
E35  95 sharpening of BBC Television's rambling and hoary image has long 
E35  96 been overdue. In considering the case for the new identity the 
E35  97 question is not so much whether it is appropriate, as in functional 
E35  98 terms it has a great deal to commend it. No, the real debate must 
E35  99 be over whether the BBC can live up to an image of being a unified, 
E35 100 forward-thinking organisation alert to the marketplace.<p/>
E35 101 
E35 102 <h_><p_>A STING IN THE TRAIL<p/>
E35 103 <p_>Influential video and commercials director Gerard de Thame has 
E35 104 adopted a filmic, narrative approach for his latest work, a promo 
E35 105 for Sting. Does this herald an imminent move into features for him? 
E35 106 Patrick Butler reports<p/><h/>
E35 107 <p_>This was almost Gerard de Thame's last promo. Six gruelling 
E35 108 days on a planed three-day shoot had all but convinced one of 
E35 109 Britain's top pop video directors it wasn't worth it any longer.<p/>
E35 110 <p_>A week later de Thame is enthusiastically scanning the rushes 
E35 111 of his erstwhile swan<?_>-<?/>song, and while thoughts of a 
E35 112 well-earned holiday persist, premature retirement is now far from 
E35 113 his mind. <quote_>"You can get so wrapped up in making 
E35 114 films,"<quote/> he laments with mock self-pity.<p/>
E35 115 <p_>The promo unwinding on the reels before us is Sting's 'Why 
E35 116 Should I Cry?' It's a big budget (<quote_>"big by pop video 
E35 117 standards"<quote/>), three-and-a-half minute film, stamped with 
E35 118 familiar de Thame trademarks: shot in black and white, unusual 
E35 119 camera angles and an eye for detail.<p/>
E35 120 <p_>But it also marks a development away from his early promos. 
E35 121 Perhaps mindful of the TV and film disciplines he is keen to work 
E35 122 in, 'Why ...?' has a classic, cinematic feel much removed from the 
E35 123 freestyle arrangements of his earlier work such as the 
E35 124 award-winning 'Wonderful Life' for Black, which he once described 
E35 125 as <quote|>"anti<?_>-<?/>cinematic", its languorous style 
E35 126 <quote_>"like stills but with movement in the frames"<quote/>.<p/>
E35 127 <p_>This time, de Thame insists, things are different. 
E35 128 <quote_>"Most of the stuff I did before was like stills cut 
E35 129 together but this was shot in a more filmy way."<quote/><p/>
E35 130 <p_>It was made entirely in the studio with a 45-strong crew. De 
E35 131 Thame admits to having lots of fun concocting a storm at sea on the 
E35 132 custom-built set but he also had to do his homework: <quote_>"The 
E35 133 set design, camera angles - it all had to be worked out 
E35 134 meticulously in advance."<quote/><p/>
E35 135 <p_>There is a storm, a sea burial, and a subplot involving two 
E35 136 stowaway boys. Sting gets to croon from a hammock and a group of 
E35 137 salty sea dogs in roll<?_>-<?/>neck jumpers play cards in the mess. 
E35 138 <quote_>"It should cut together as a narrative,"<quote/> promises 
E35 139 de Thame.<p/>
E35 140 <p_>The ironic, slightly self-deprecating tone betrays the level of 
E35 141 responsibility de Thame has over his work, a nervy realisation that 
E35 142 the buck stops with him. He demands a high degree of control and he 
E35 143 refuses to shoot standard 'performance' pop promos. He is 
E35 144 notoriously selective over which commissions he accepts and insists 
E35 145 it is the song rather than the artist's name which proves decisive. 
E35 146 <p/>
E35 147 <p_><quote_>"I was prepared to do this song because it is one that 
E35 148 I like,"<quote/> he says. <quote_>"I'm not hung up about working 
E35 149 with stars."<quote/><p/>
E35 150 <p_>Besides Sting, artists he has worked with include Tanita 
E35 151 Tikaram, Black and Lloyd Cole: languorous ballads and moody AOR for 
E35 152 the CD generation. Musically it's undemanding, bit this makes it 
E35 153 perfect soundtrack music, allowing him to make the song complement 
E35 154 his film. Whatever, it means his pop videos are almost invariably 
E35 155 more memorable than the songs they are supposed to promote.<p/>
E35 156 <p_>Sting, not normally an artist at ease playing second fiddle one 
E35 157 might think, accepted a low-profile part in 'Why ...?' and seemed 
E35 158 happy to hand over control to his director. <quote_>"Sting was 
E35 159 fine,"<quote/> says de Thame. <quote_>"He likes to know what is 
E35 160 happening and why, but he was no problem."<quote/><p/>
E35 161 <p_>There has been speculation for some time about de Thame 
E35 162 graduating to feature films. He talks enthusiastically, if 
E35 163 unspecifically, about 40s and 50s black and white studio system 
E35 164 classics, 'Hollywood Romanticism', and the tendency of modern 
E35 165 movies to <quote_>"make things too lifelike"<quote/>.<p/>
E35 166 <p_>More specifically he admits features are <quote_>"definitely 
E35 167 what I want to do"<quote/>. His producers, Helen Langridge 
E35 168 Associates, have taken on a project development person and only the 
E35 169 obstacles of time, money and a decent script need surmounting 
E35 170 before his ambition is realised.<p/>
E35 171 <p_>But while the crucial first feature remains elusive, de Thame's 
E35 172 star continues to ascend in the advertising world, with memorable 
E35 173 films for Pimms, McEwan's lager (<tf_>Creative Review<tf/>, July 
E35 174 1990), Alpen and Toshiba under his belt. In the past he has railed 
E35 175 against the constraints of the short film but he can also 
E35 176 appreciate the advantages: <quote_>"Commercials are good for me. 
E35 177 There's not the freedom of the pop promo, but there's a discipline 
E35 178 there that's useful."<quote/><p/>
E35 179 <p_>According to Helen Langridge, de Thame has been overwhelmed 
E35 180 with offers of work on ads and promos. Our interview was cut short 
E35 181 so he could catch a plane to New Zealand where he's shooting a 
E35 182 commercial for Citroen. <quote_>"My next project,"<quote/> he 
E35 183 exclaims optimistically, <quote_>"is a holiday!"<quote/> It could 
E35 184 be one project he may have to scrap.<p/>
E35 185 
E35 186 <h_><p_>Howard Waller and John Stoddard hit the design heritage 
E35 187 trail and search for lasting values in the ephemeral<p/>
E35 188 <p_>Flirtatious initiative<p/><h/>
E35 189 <p_>On the next to last page in <tf_>Posters of the Belle Epoque, 
E35 190 The Wine Spectator Collection<tf/> (Rizzoli, pounds45) there 
E35 191 appears a full page reproduction of Capiello's poster for rubber 
E35 192 shoes. It shows a frog sitting by a pond pulling on the shoes - no 
E35 193 caption, just the name of the shoemaker. It is a brilliant but odd 
E35 194 example of the posters of Paris at the turn of the century. 
E35 195 Although this example is witty, graphic and classic, it is all too 
E35 196 rare within the 200 or so posters in this book.<p/>
E35 197 <p_>This is because most of the posters simply use the female form 
E35 198 to sell anything from cigarette papers to coastal resorts. There is 
E35 199 an extraordinary example of a naked lady promoting a kerosene 
E35 200 lamp.<p/>
E35 201 <p_>But sexist or otherwise, this collection of posters is 
E35 202 stunning. We have to imagine a society without television and how 
E35 203 this must have put an extraordinary focus on these images. They 
E35 204 were created by individual artists such as Cheret, Lautrec, 
E35 205 Bonnard, Mucha and Capiello. Their images were transferred to 
E35 206 massive lithographic stones and printed without the benefit of the 
E35 207 four colour process. Such was the quality of the posters that print 
E35 208 runs were extended to meet the demand of collectors. There became a 
E35 209 poster cult which was fed with magazines, exhibitions and books 
E35 210 published on the subject. And it is not difficult to see why, when 
E35 211 we realise that these were the first real pictorial images in 
E35 212 outdoor advertising. The value of the posters must have been 
E35 213 enhanced by the fact that they were created not by an industry but 
E35 214 by an individual artist, often signed and with drawn lettering from 
E35 215 the same hand.
E35 216 
E36   1 <#FLOB:E36\><h_><p_>Banks, hedges and trees<p/>
E36   2 <p_>Alan Beat<p/><h/>
E36   3 <p_>The making and hanging of gates as described last issue was 
E36   4 only half the story on our smallholding. Some of the gateways 
E36   5 themselves had lacked gates or even posts for so long that the 
E36   6 passage of animals had worn away the traditional Devon earth banks 
E36   7 on either side to leave a gap of up to twenty feet wide. With a ten 
E36   8 foot gate now freshly hung between its posts, the task remained to 
E36   9 make good the banks in stockproof fashion.<p/>
E36  10 <p_>A few small gaps were blocked with wire or rail fencing between 
E36  11 the new post and eroded nose of the bank, but this looks the 
E36  12 temporary measure that it is. For a 'main 
E36  13 <}_><-|>throroughfare<+|>thoroughfare<}/>' gateway seen and used 
E36  14 daily, I decided to tackle the job of restoring the earth banks and 
E36  15 facing with dry stone walling - or stone hedging as it is known in 
E36  16 these parts. I had a quantity of stone salvaged from a collapsed 
E36  17 wall, so the raw materials were free, and so was the advice from a 
E36  18 local man with knowledge of stonework. It was commonsense really - 
E36  19 dig out a footing trench down to firm subsoil and set out a 
E36  20 foundation course of the largest stones within it, building up from 
E36  21 this with staggered joints between courses (as in brickwork).<p/>
E36  22 <p_>I set to work in this fashion, using dry earth in place of 
E36  23 mortar to bed down each stone and filling in the bank behind as the 
E36  24 wall rose. It was a long job, made longer by two factors. One was 
E36  25 the irregular shaped stone, which gave rise to much offering up and 
E36  26 trial and error before each would fit snugly on top of the previous 
E36  27 course. What little square<?_>-<?/>faced stone I had available was 
E36  28 much easier and quicker to place. The other factor was having to 
E36  29 dig and wheel-barrow the earth infill from some distance away, 
E36  30 whereas a handy pile tipped on site would have saved hours. It 
E36  31 turned out that after rebuilding the semicircular end 'nose' of the 
E36  32 bank to the gatepost each side in stonework, there was no stone 
E36  33 left to face the remaining repair work, but this coincided with a 
E36  34 request from Rosie to strip some turf from an area of rough lawn in 
E36  35 the garden to create a new bed for her plants. Cutting the turves 
E36  36 carefully in neat rectangles with plenty of soil attached gave me 
E36  37 the ideal material for turf facing my repaired bank. The same 
E36  38 procedure was used as for stone<?_>-<?/>work, setting a foundation 
E36  39 course below existing ground level courses with staggered joints, 
E36  40 ramming earth infill behind as work progressed.<p/>
E36  41 <p_>There are two schools of opinion locally on the orientation of 
E36  42 these turves; some say lay them grass upwards, as dug, thus 
E36  43 presenting an earth face to the bank which will quickly sprout 
E36  44 grass cover from all the roots it contains, others say lay them 
E36  45 grass looking outwards so that the face is instantly green. I tried 
E36  46 both, and time has shown the grass-outward method to be better, not 
E36  47 only in appearance but in withstanding wear and tear from the 
E36  48 sheep. Either way, turves are easier and much quicker to build with 
E36  49 than stone, although I have no doubt which will stand the 
E36  50 longest.<p/>
E36  51 <p_>When at last the work was finished, I removed the temporary 
E36  52 fence wire that kept the sheep away from the site area. The flock 
E36  53 came over to investigate and one of the Shetland ewes jumped 
E36  54 effortlessly to the top of the new 4ft 6in high bank to admire the 
E36  55 view! And so I have to suffer the indignity of barbed wire along 
E36  56 the top until a sufficient hedge has grown to render the bank 
E36  57 finally stockproof.<p/>
E36  58 <h|>Hedges
E36  59 <p_>This brings us on to hedges and hedgelaying, another new skill 
E36  60 with which I quickly had to grapple on account of the neglected and 
E36  61 gappy hedgerows which both surrounded and criss-crossed our 
E36  62 holding. My initial efforts were directed at blocking the gaps 
E36  63 through which the sheep had forced, and consisted of laying a 
E36  64 nearby thorn across the hole before tying firmly in position with 
E36  65 baler twine. Of course, there wasn't always a convenient nearby 
E36  66 thorn, and I soon learned that if the gap was not blocked 
E36  67 thoroughly the sheep would test the repair until it gave way. If it 
E36  68 held, the animal would then find the next weak point alongside 
E36  69 before making a new gap! Patching a strong hedge was worthwhile - 
E36  70 patching a weak one definitely wasn't, it was back to fencing to 
E36  71 contain the stock until the hedge could grow up sufficiently to be 
E36  72 relaid effectively.<p/>
E36  73 <p_>The Devon method of hedgelaying is straightforward enough. 
E36  74 Unwanted growth is removed from both faces of the earth bank, 
E36  75 surplus growth not required for laying is cut out from the growth 
E36  76 along the top, then the remainder is laid by cutting the stems 
E36  77 almost through before lowering almost horizontally to the bank top. 
E36  78 Tying with baler twine at intervals gives a firmer job. The result 
E36  79 is not the artistic woven pattern of some other counties, but it is 
E36  80 stockproof and forms a thick hedge of natural appearance again 
E36  81 within a few seasons if not trimmed too hard.<p/>
E36  82 <h|>Trees
E36  83 <p_>One thing our smallholding lacked, to our eyes anyway, was 
E36  84 woodland. There were some lovely individual trees, mainly oak and 
E36  85 ash with a few beech, in hedge<?_>-<?/>rows or along the river's 
E36  86 edge, but no copses. So we decided to plant a few field corners and 
E36  87 grow our own, motivated by a whole host of reasons - landscape 
E36  88 value, woodland plants and wildlife, coppice for firewood, timber 
E36  89 for posts and gates. Yes, it's a long term view, but we aim to be 
E36  90 here for a long time! And if we don't enjoy all the benefits, our 
E36  91 children will. I fenced off the chosen areas against stock and 
E36  92 bought our first trees, 50 ash and 50 southern beech 
E36  93 (<tf_>Nothofagus procera<tf/>, a South American relative of our own 
E36  94 beech but much faster growing). These were bare-root whips two to 
E36  95 three feet in height, small enough to be cheap, require no staking 
E36  96 and, so the theory goes, establish and grow quickly to outpace 
E36  97 larger, more expensive trees which are set back by the shock of 
E36  98 moving. I followed the advice of books by stripping an area of turf 
E36  99 (around one square yard), digging a pit about fifteen inches square 
E36 100 to accept the roots, breaking up the subsoil with a fork before 
E36 101 setting the tree vertically in position and filling around the 
E36 102 roots with soil, heeling in firmly. After watering, a sheet of 
E36 103 black plastic was set in place over the grass-free square yard 
E36 104 around the tree to supress weeds.<p/>
E36 105 <p_>Some new friends owned a former quarry, now invaded by silver 
E36 106 birch and hazel scrub, and at their invitation I also dug up a 
E36 107 number of small young trees of these two species from the woodland 
E36 108 edge. I was immediately struck by the contrast between the 
E36 109 vigorous, spreading root systems of these trees and the spindly, 
E36 110 almost rootless things I had just spent good money on. I was 
E36 111 assured the restricted roots on these were deliberate policy, for 
E36 112 better transplanting - but one year later, most of the beech had 
E36 113 died while the ash remained exactly the same size, surviving 
E36 114 without growth. The birch and hazel dug up with complete root 
E36 115 systems had flourished and made good growth. I made sure that trees 
E36 116 purchased from then on had a conventional healthy root system to 
E36 117 see them off to a good start.<p/>
E36 118 
E36 119 <h_><p_>Crossbred lambs<p/>
E36 120 <p_>Anne Crossman<p/><h/>
E36 121 <p_>We weaned our Shetland ram lambs earlier than last year, this 
E36 122 was the disadvantage of having pure and cross bred lambs.<p/>
E36 123 <p_>The pure Shetland ram lambs had horns and the ryeland cross 
E36 124 shetland ram lambs had small scurs only, all the females were 
E36 125 polled, consequently the Shetland ram lambs bullied the ryeland 
E36 126 cross shetland ram lambs. Head on encounters resulted in the 
E36 127 crosses giving way and being harrassed. Shetland ram lambs can be a 
E36 128 punchy lot. They also worried the ewe lambs. So we took all the 
E36 129 Shetland ram lambs off the ewes. This left some of the ewes to be 
E36 130 weaned as they either had single or twin ram lambs. The ewes were 
E36 131 left on short pasture to dry them off and the ram lambs put on 
E36 132 better grazing and were fed a few oats to make up for some of the 
E36 133 ewes' milk and to keep them tame. A week later we weaned off the 
E36 134 remainder of the lambs, pure females and cross males and put these 
E36 135 all on one paddock again feeding them oats. It took two days for 
E36 136 them all to feed at the trough.<p/>
E36 137 <p_>At weaning I gave all the ewes homoeopathic tablets, 
E36 138 <tf_>Lac-Can 6<tf/>, to help dry them off. I had only four who I 
E36 139 had to milk off once or twice. They are usually very milky ewes and 
E36 140 this probably helped, along with the bare pasture due to the 
E36 141 drought. Last year a couple of ewes took a long time to dry off.<p/>
E36 142 <p_>After three weeks we put the ewe lambs back with the ewes, who 
E36 143 recognised their lambs but would not let them suckle. The Ryeland 
E36 144 cross male lambs went in a separate paddock along with their sire. 
E36 145 This meant we had three out of ten paddocks with sheep on them and 
E36 146 the two heifers were on another. Another disadvantage of having 
E36 147 purebreds and uncastrated pure and crossbred lambs. The Shetland 
E36 148 ram lambs (all but two tiny ones) went off for slaughter the second 
E36 149 week in September, earlier than last year (November) but they were 
E36 150 becoming rammy and aggressive.<p/>
E36 151 <p_>The weights were very small and mostly 13lb deadweight and the 
E36 152 biggest only 14lb deadweight against last year's heaviest weight of 
E36 153 32lb. This was because they were born later and slaughtered two 
E36 154 months earlier. Perhaps too, the grass being shorter accounted for 
E36 155 the small weights. We did not creep feed any of the lambs so 
E36 156 perhaps it would in future be better to do so, as they would then 
E36 157 grow quicker earlier.<p/>
E36 158 <p_>In Autumn 1990 we have put the rams in earlier as earlier lambs 
E36 159 grow better and we are just as likely to get bad weather in April 
E36 160 as in March. Last year we had snow in April and a warm March. We 
E36 161 have noticed during the last four years the seasons seem to have 
E36 162 advanced by about three weeks, so perhaps the climate is already 
E36 163 changing.<p/>
E36 164 <p_>If we can get the ewes to lamb in March we should end up 
E36 165 getting a decent size (crossbred) gradeable lamb. This could prove 
E36 166 difficult as the Shetland does not come into season until mid 
E36 167 October at the earliest. The rams went in at the beginning of 
E36 168 September and only one ewe was seen in season by the end of 
E36 169 October! We shall know in the Spring if they came into season early 
E36 170 or not. We do not raddle our rams because of discolouring the wool, 
E36 171 which is sold to handspinners.<p/>
E36 172 <p_>All our purebred lamb was sold privately as it was very small. 
E36 173 Our four extra lambs were kept on as stores as they were tiny. This 
E36 174 year the rams will be taken out straightaway after the tupping 
E36 175 period and not left with the ewes.<p/>
E36 176 <p_>The shetland cross ryeland rams went for slaughter in October. 
E36 177 None had been castrated. The results were very encouraging. We did 
E36 178 not have them graded. Our butcher friend said if we can get them 
E36 179 slightly bigger (15-16 kilos) then we would have an excellent 
E36 180 commercial lamb. The biggest weighed 14.5 kilos (32 lb) and the 
E36 181 smallest of the batch 16lb. They would at these weights be suitable 
E36 182 for the continental small lamb market. The conformation was very 
E36 183 good and the chops on the largest one excellent, so the Ryeland 
E36 184 cross shetland does look llike a good cross.<p/>
E36 185 <p_>To transport our animals we use the back of our pick up. A good 
E36 186 tip to stop them slipping is to put an old piece of short pile 
E36 187 carpet on the floor rather than straw.
E36 188 
E37   1 <#FLOB:E37\><h_><p_>WHOLE-CROP HARVESTING<p/>
E37   2 <p_>Forage harvesters need modifying to handle large quantities of 
E37   3 whole-crop cereal forage. <tf_>John Burns<tf/> checks out some of 
E37   4 the latest practical developments.<p/><h/>
E37   5 <p_>INCREASED interest in whole-crop cereals as a cattle and sheep 
E37   6 feed has brought new challenges for machinery makers and users.<p/>
E37   7 <p_>The droughts of 1989 and 1990, together with active promotion 
E37   8 of the Ag-Bag system brought a bigger area of cereals than usual 
E37   9 being made into conventional fermented silage, cut at 30% dry 
E37  10 matter or less.<p/>
E37  11 <p_>At the same time there was a sudden upsurge in interest in 
E37  12 whole-crop cereals cut at 50% to 60% dry matter and preserved by 
E37  13 adding alkali rather than by letting it ferment to produce its own 
E37  14 preservative acids.<p/>
E37  15 <p_>This method in particular has interested dairy farmers because, 
E37  16 being alkaline, it helps the animal's rumen to function 
E37  17 efficiently. It also provides more starch energy because it is made 
E37  18 from more mature crops, almost fit to combine.<p/>
E37  19 <p_>Each method has raised its own set of problems, particularly 
E37  20 where contractors with big self-propelled foragers need to achieve 
E37  21 high work rates. For example, Chris Bishop, a contractor from 
E37  22 Steeple Claydon, Bucks, has found a standard 4.5m (15ft) wide 
E37  23 combine header was not strong enough when making fermented 
E37  24 whole-crop silage.<p/>
E37  25 <p_><quote_>"We were trying to feed 15ft of green cereal crop into 
E37  26 an 18in wide gap on the forager instead of the 3ft 6in gap you have 
E37  27 on a combine. It would build up in the middle of the auger and then 
E37  28 get jammed. The clutch wasn't heavy enough and when we put the 
E37  29 stronger version on we had to modify it to take account of the 
E37  30 difference in reversing action between a combine and a forager. The 
E37  31 reverse action on a combine is gentler than a forager's reverser 
E37  32 and unless the stronger clutch is modified you will twist the 
E37  33 shaft,"<quote/> says Mr Bishop.<p/>
E37  34 <p_>He also found it was essential to be able to adjust the height 
E37  35 and tilt of the header, particularly for laid crops. Claas UK 
E37  36 helped Mr Bishop solve his problems by strengthening the flights 
E37  37 and tube on the header auger and using the stronger clutch. Since 
E37  38 then he has had no problems whatsoever he says.<p/>
E37  39 <p_>This summer Claas UK published a leaflet pointing out that 
E37  40 fitting non-standard equipment to their models might invalidate the 
E37  41 warranty and might contravene Health and Safety Executive 
E37  42 regulations. The leaflet suggests the best way to adapt the Claas 
E37  43 Jaguar self<?_>-<?/>propelled forager for whole-crop cereal silage 
E37  44 work is to fit a 4.5m (15ft) wide header from a Claas Dominator 
E37  45 109/98/88 combine. (Earlier models might not prove strong enough.) 
E37  46 It also advises strengthening the auger and flights and clutch and 
E37  47 gives details of how to do it, along with instructions for fitting 
E37  48 the hydraulic controls.<p/>
E37  49 <p_>Claas says that by using the correct adaptor plate a header can 
E37  50 be fitted to a forager, or removed, in less than 10 minutes, and 
E37  51 there is no risk of either invalidating the warranty or infringing 
E37  52 safety regulations.<p/>
E37  53 <p_>Claas can also supply a specially strengthened whole-crop 
E37  54 header and will even supply a special rice knife which has no 
E37  55 fingers, only two sets of blades. But the knife has not been shown 
E37  56 to be necessary here so far.<p/>
E37  57 <p_>The first farmer ever to make urea-treated whole-crop wheat was 
E37  58 Francis Rea. He tried mowing it with a disc mower and then picking 
E37  59 it up with his trailed John Deere forager fitted with a standard 
E37  60 pick<?_>-<?/>up reel.<p/>
E37  61 <p_>But the mower knocked out too much grain and the forager reel 
E37  62 only picked up cleanly in one direction.<p/>
E37  63 <p_>John Deere helped him by importing a special adaptor plate to 
E37  64 allow a combine header to be fitted to the forager and it has 
E37  65 worked very well ever since.<p/>
E37  66 <p_>Other farmers have successfully adapted old combine headers for 
E37  67 their own foragers, but contractor Chris Bishop says they would not 
E37  68 be strong enough.<p/>
E37  69 <p_>Experience in the two hot, dry summers of 1989 and 1990 showed 
E37  70 that crops left to be cut for urea treatment soon dried out and the 
E37  71 grains too became hard for complete digestion of the crop unless a 
E37  72 later caustic soda treatment was given before feeding. Farmers 
E37  73 responded by starting sooner and contractors looked to increase 
E37  74 output so they could get round the work faster.<p/>
E37  75 <p_>Claas UK's service manager Alastair Tullock says there is some 
E37  76 evidence that using a corn cracker will help to break some of the 
E37  77 grains which get too hard.<p/>
E37  78 <p_>Contractor Chris Bishop has a corn cracker for maize harvesting 
E37  79 but has not tried it with whole-crop cereal. However, he says it 
E37  80 can be shut down to a 1mm gap, which he thinks would catch and 
E37  81 crack much of the grain. From his experience with maize he doubts 
E37  82 whether using the corn cracker for whole-crop cereal would make any 
E37  83 difference to work rate. Claas also reports that there is some 
E37  84 evidence from the Continent that corn crackers will also bruise the 
E37  85 nodes on the straw - making it marginally more digestible.<p/>
E37  86 <p_>With corn crackers now more widely used for maize, those claims 
E37  87 for whole-crop cereals could usefully be tested under UK 
E37  88 conditions.<p/>
E37  89 <p_>Another company showing interest in the harvesting machinery 
E37  90 requirements of whole-crop is Biocomb, in conjunction with the 
E37  91 Rotterdam-based company RDM.<p/>
E37  92 
E37  93 <h_><p_>Government 'jumps gun' over animal welfare agreement<p/>
E37  94 <p_>Marketing, animal welfare and protecting the hills were key 
E37  95 issues in the government document called <tf_>Our Farming 
E37  96 Future<tf/>, launched by agriculture minister John Gummer.<p/>
E37  97 <p_><tf_>Liz Mason<tf/> reports<p/><h/>
E37  98 <p_>A GOVERNMENT announcement that the EC has agreed key Community 
E37  99 rules on animal welfare has caused surprise and disbelief.<p/>
E37 100 <p_>The EC <tf|>has agreed general rules for the transport of live 
E37 101 animals, but no agreement has been reached on journey times for 
E37 102 individual species of farm animals.<p/>
E37 103 <p_>The government's policy document <tf_>Our Farming Future<tf/> 
E37 104 is behind the confusion. It says Community rules on the length of 
E37 105 journeys, the conditions of transport and the provision of resting, 
E37 106 feeding and watering points have now been agreed.<p/>
E37 107 <p_><quote_>"These meet our key welfare concerns,"<quote/> says the 
E37 108 document. But a spokesman for the RSPCA suggested that the 
E37 109 statement in <tf_>Our Farming Future<tf/> was a misprint.<p/>
E37 110 <p_>He said the EC had <tf|>not agreed rules on important animal 
E37 111 welfare issues and the EC Council of Ministers had deferred making 
E37 112 a decision on transport times for different species until July 
E37 113 1992, when the UK takes over the EC presidency.<p/>
E37 114 <p_>A Ministry of Agriculture spokesman said the Council of 
E37 115 Ministers reached an agreement in principle on the EC transport 
E37 116 directive at its October meeting. But additional rules would be 
E37 117 added to the framework.<p/>
E37 118 <p_>The directive is due to come into force on Jan 1, 1993, and 
E37 119 sets out conditions for animal transport throughout the EC.<p/>
E37 120 <p_>Animals travelling less than 50km from farm to market will be 
E37 121 exempt from the EC rules. Member states will be allowed to set 
E37 122 their own conditions and the UK is not expected to amend present 
E37 123 legislation.<p/>
E37 124 <p_>Under current UK legislation animals can be transported for up 
E37 125 to 12 hours before being rested, fed or watered, unless the journey 
E37 126 can be completed within 15 hours. The EC directive sets a basic 
E37 127 maximum journey time of 24 hours and the UK will be asking for this 
E37 128 to be brought into line with its own legislation.<p/>
E37 129 <p_>The EC Commission's veterinary committee will put forward its 
E37 130 proposals for maximum journey lengths, feeding and resting 
E37 131 intervals and transport conditions for individual species by July 
E37 132 1992. General rules for transport conditions have been agreed, but 
E37 133 again the details have yet to be decided. The directive says that 
E37 134 animals must have enough room to stand in a natural position, but 
E37 135 stocking densities have yet to be set.<p/>
E37 136 <p_>Other general rules include:<p/>
E37 137 <p_><*_>bullet<*/>Journey plans must be drawn up by transport 
E37 138 companies.<p/>
E37 139 <p_><*_>bullet<*/>Vehicle design must not cause unnecessary 
E37 140 suffering.<p/>
E37 141 <p_><*_>bullet<*/>All animals must be fit enough to travel.<p/>
E37 142 <p_><*_>bullet<*/>All animals must be identified throughout the 
E37 143 journey.<p/>
E37 144 <p_><*_>bullet<*/> Transport companies must ensure staff have 
E37 145 adequate knowledge to care for animals.<p/>
E37 146 
E37 147 <h_><p_>NFU condemns HLCA scale<p/><h/>
E37 148 <p_>GOVERNMENT plans to scale hill livestock compensatory payments 
E37 149 as part of its proposals to green hill farming support have been 
E37 150 condemned by the NFU.<p/>
E37 151 <p_>The Ministry of Agriculture's consultation paper plans to 
E37 152 introduce a differential between the HLCA rate paid on the first 
E37 153 1.5 ewes a hectare and that for subsequent ewes.<p/>
E37 154 <p_><quote_>"Such changes are unnecessary and will be seen by many 
E37 155 hard<?_>-<?/>pressed less favoured area farmers as a direct threat 
E37 156 to their livelihood,"<quote/> says the NFU.<p/>
E37 157 <p_>The NFU is strongly opposed to varying rates of HLCAs according 
E37 158 to stocking rates. Lower stocking rates could be encouraged where 
E37 159 necessary by an incentive payment a hectare without modifying the 
E37 160 present system of HLCAs.<p/>
E37 161 <p_>The government's proposals will deliver a blow to farming 
E37 162 confidence, but a viable farming population in the LFAs is 
E37 163 essential to maintain the environment, says the NFU.<p/>
E37 164 <p_>Plans to introduce a code of good upland management to conserve 
E37 165 environmental features are also causing concern. The code sets out 
E37 166 guidelines for upland farmers on how to maintain the character of 
E37 167 the countryside.<p/>
E37 168 <p_>The consulation paper, says the government, will reserve the 
E37 169 right to make compliance with some or all elements of the code a 
E37 170 condition of payment of HLCAs <quote_>"should this prove necessary 
E37 171 to safeguard the environment."<quote/><p/>
E37 172 <p_>The code says stockproof walls and farmbuildings should be 
E37 173 maintained using traditional materials. Hedges and water features 
E37 174 must also be maintained. The NFU is concerned that farmers will be 
E37 175 compelled to carry out these measures, at obvious cost.<p/>
E37 176 <p_>In Moorland areas farmers are advised not to cultivate, or 
E37 177 apply pesticides. Herbicide application is restricted and new 
E37 178 drainage or fencing schemes are not allowed.<p/>
E37 179 
E37 180 <h_><p_>A battery of complaints<p/><h/>
E37 181 <p_>HENS suffer more in battery cages than in well-run alternative 
E37 182 systems, says a report commissioned by the Athene Trust, the 
E37 183 educational wing of Compassion in World Farming.<p/>
E37 184 <p_>The report by Dr Mike Appleby, of Edinburgh University, reviews 
E37 185 recent research and concludes that hens suffer in battery cages.<p/>
E37 186 <p_>The current EC directive will be reviewed next year and Joyce 
E37 187 D'Silva, CIWF's director, said the report gives scientific 
E37 188 credibility to their campaign to ban battery cages.<p/>
E37 189 <p_><quote_>"This report is our first step in a major campaign to 
E37 190 overturn the directive completely and win a phase-out of the 
E37 191 battery cage."<quote/><p/>
E37 192 <p_>The report says there are consistently more problems in cages 
E37 193 than in many other systems. Bone weakness, fearfulness and 
E37 194 behavioural restriction affect most or all caged birds. Problems 
E37 195 more common in other systems, including cannibalism, affect fewer 
E37 196 birds and can be avoided by good management.<p/>
E37 197 <p_>Suffering is caused by particular features of battery cages. 
E37 198 Sloping wire floors cause foot and claw damage. Restricted movement 
E37 199 results in bone weakness and hens cannot behave normally.<p/>
E37 200 <p_>Barren cages with no bedding also frustrate <quote_>"foraging 
E37 201 and pre-laying behaviour"<quote/> and cause claw damage and feather 
E37 202 pecking.<p/>
E37 203 <p_>Prof Donald Broom of Cambridge University said the report makes 
E37 204 it clear that legislation is needed to enforce the phasing out of 
E37 205 battery cages.<p/>
E37 206 
E37 207 <h_><p_>Prince Charles gives West Country lamb producers a boost<p/>
E37 208 <p_>By John Burns<p/><h/>
E37 209 <p_>WEST Country farmers' efforts to improve their marketing were 
E37 210 given a big boost as Prince Charles launched Taste of the West and 
E37 211 West Country Lamb.<p/>
E37 212 <p_>Both new organisations are building on the pioneering work of 
E37 213 smaller more local groups, which on their own were not big enough 
E37 214 to survive independently in today's markets.<p/>
E37 215 <p_>Taste of the West is a speciality food and drink group 
E37 216 representing members from Cornwall, Devon, Dorset, Somerset, Avon, 
E37 217 and Wiltshire. It provides a range of promotional, marketing and 
E37 218 business development services to its producer members. Other 
E37 219 categories of membership include businesses selling speciality 
E37 220 foods and drink, and gourmets.<p/>
E37 221 <p_>It has the backing of the NFU and Food from Britain, which took 
E37 222 a party of potential buyers to the Taste of the West products 
E37 223 exhibition staged for the royal launch.<p/>
E37 224 <p_>Among the tasks which Taste of the West has set itself is 
E37 225 overcoming the distribution difficulties faced by scattered small 
E37 226 producers selling to scattered small retail and catering 
E37 227 outlets.<p/>
E37 228 <p_>West Country Lamb is a federal of four existing groups of lamb 
E37 229 producers: Cornwall Quality Lamb Producers, Lifton Lamb, Wessex 
E37 230 Quality Meat Producers, and the more recently formed West Country 
E37 231 Graziers.<p/>
E37 232 
E38   1 <#FLOB:E38\><h_><p_>Out And About With Ernest Cozens<p/><h/>
E38   2 <p_>Autumn is once again with us and the harvest safely gathered in 
E38   3 - with the exception of late drilled linseed, which I suspect was 
E38   4 grown for the acreage payment rather than the crop.<p/>
E38   5 <p_>With the weight tickets arriving noting the quantity of grain 
E38   6 traded and stored, most farmers are saying <quote_>"overall a much 
E38   7 better harvest was had by most of us"<quote/> in spite of the lack 
E38   8 of rain and drought conditions. The exception being the south of 
E38   9 England where I understand there are some rather poor crop yields 
E38  10 on the thin skinned land.<p/>
E38  11 <p_>With the need to achieve early crop establishment in the event 
E38  12 of there being another dry year ahead Autumn cultivations and 
E38  13 drilling are now in full swing. These have been somewhat delayed 
E38  14 through the dry, hard conditions, although some of the heavier land 
E38  15 has ploughed up reasonably well. Conditions have once again made 
E38  16 this a costly operation which has also meant a cut back in stubble 
E38  17 cleaning, with increased cost and demand for wearing parts. I 
E38  18 understand from several dealers that demand has been met with the 
E38  19 exception of a very few instances involving specialised items. Once 
E38  20 again this emphasised the importance of the local dealers.<p/>
E38  21 <p_>One interesting point made is the fall in demand for power 
E38  22 harrows despite the cloddy conditions. Is it cost or had the demand 
E38  23 been met in previous years?<p/>
E38  24 <h_><p_>John Deere<p/><h/>
E38  25 <p_>Following a 7 year period of intense development, John Deere 
E38  26 launch <}_><-|>there<+|>their<}/> new system built 6000 Series Self 
E38  27 Propelled Forage Harvesters which are being built in their European 
E38  28 factories. The three models with greatly increased power consist of 
E38  29 the 6710 with a 310 DIN HP engine, the 6810 with a 360 DIN HP 
E38  30 engine and the 6910 with a massive 410 DIN HP engine. Its<&|>sic! 
E38  31 interesting to note that the 2 largest models are fitted with 
E38  32 Cummins engines as used in the large John Deere 60 Series 
E38  33 Articulated Tractors.<p/>
E38  34 <p_>The new in line design follows a straight path for the crop 
E38  35 from the header through the feed rollers and cutter head to a 
E38  36 centrally mounted discharge spout.<p/>
E38  37 <p_>The cylinder knives can be sharpened automatically from the cab 
E38  38 while travelling between fields. Grinding and adjustment of the 
E38  39 stationary knife and adjustment of the kernol processors can also 
E38  40 be automatically controlled by switches within the cab. These 
E38  41 functions will most certainly appeal to users saving time 
E38  42 particularly for contractors.<p/>
E38  43 <p_>A newly designed cab is now fitted incorporating a master joy 
E38  44 stick which controls hydrostatic ground speed, 2 speed front end 
E38  45 equipment lift along with spout and cap control. The Multifunction 
E38  46 Info-Trak Monitor computer system displays a wide range of 
E38  47 functions and diagnostic information - similar to that used on the 
E38  48 55 series tractors.<p/>
E38  49 <p_>With farms becoming larger and the growth and demand for the 
E38  50 specialised agricultural contractor this range of Self Propelled 
E38  51 Forage Harvester will meet the needs of many.<p/>
E38  52 <p_>Many improvements have been made on the existing range of John 
E38  53 Deere Tractors, the large 4755 and 4955 now have easier cabs 
E38  54 entrance, improved vision and the exhaust system has been moved to 
E38  55 the right of the cabs with the silencer beneath the bonnet. The air 
E38  56 intake is removed by a new screen in front of this bonnet.<p/>
E38  57 <p_>With the increasing use of larger trailers over longer 
E38  58 distances the 40 KPH transmission is being offered in the 144 HP 
E38  59 3650 Tractor 4 wheel model. This is welcomed by both dealers and 
E38  60 prospective customers, as is the availability of a compressor on 
E38  61 all seven models of the SG2 range. This will enable trailers with 3 
E38  62 line air brakes to be fully and safely operated.<p/>
E38  63 <h_><p_>Discs From New Zealand<p/><h/>
E38  64 <p_>With a wealth of experience in agricultural machinery, Ron 
E38  65 Demby has returned to this country from New Zealand where he 
E38  66 emigrated some 30 years ago. He brings with him a new set of heavy 
E38  67 duty sophisticated discs, which he is planning to market in the 
E38  68 U.K., in many ways they are quite different to those we have in 
E38  69 use. Weighing 4 tonnes for the smaller set and 4.25 tonnes for the 
E38  70 larger ones, they are fitted with 26'' discs at 9 1/2 spacing and 
E38  71 are available in two sizes - 15'6'' and 18'6''.<p/>
E38  72 <p_>Incorporated in the design of the discs is the use of 9 double 
E38  73 acting rays operated by electronic valves on the discs and switches 
E38  74 in the cab. This enables the operator to control the front and rear 
E38  75 discs automatically. Weight can be transferred from the front 
E38  76 section to the rear and visa<&|>sic! versa to ensure penetration. 
E38  77 Other hydraulically electronically operated functions include the 
E38  78 slewing of the drawbars, depth control, operation of the transport 
E38  79 wheels and folding of the discs for transport purposes.<p/>
E38  80 <p_>Ron informs me that these special discs are to be manufactured 
E38  81 by an engineering company in Oakham Leics, and will be sold through 
E38  82 the normal dealers channels. Delivery is expected to begin fairly 
E38  83 soon when the price will be announced.<p/>
E38  84 <h_><p_>Ford New Holland<p/><h/>
E38  85 <p_>650 to lose their jobs at the tractor factory in Basildon. This 
E38  86 has come as a shock not only to the 650 employees but to the trade 
E38  87 in general - no doubt the downturn in tractor sales and the fierce 
E38  88 competition has done much to bring this about. Does this mean that 
E38  89 in view of the Fiat-New Holland merger there will be further 
E38  90 rationalisation and the possibility that production could 
E38  91 eventually be transferred to other factories elsewhere. A somber 
E38  92 thought, but on the other hand if a miracle does occur and tractor 
E38  93 sales improve substantially Basildon could become 
E38  94 <}_><-|>bouyant<+|>buoyant<}/> again.<p/>
E38  95 <h_><p_>Gull Trailers<p/><h/>
E38  96 <p_>Gull of Manea who are long established manufacturers of 
E38  97 trailers have been acquired by Wootton Trailers of Ancaster. This 
E38  98 does not mean the end of Gull Trailers, as Wootton Trailers are to 
E38  99 continue the manufacture and marketing of Gull Trailers as a 
E38 100 separate range explaining that this quality product fits in with 
E38 101 their existing trailer business. They are also to retrim the Gull 
E38 102 network of dealers.<p/>
E38 103 <p_>Trevor Gull has also joined the Wootton Trailer organisation 
E38 104 and will operate as the Southern Area Sales 
E38 105 <}_><-|>Managers<+|>Manager<}/>, handling the complete range 
E38 106 manufactured by Wootton.<p/>
E38 107 <p_>For those requiring Gull Trailer spares these are now 
E38 108 obtainable from Wootton Trailers at Ancaster.<p/>
E38 109 <h_><p_>East Norfolk Machinery Ring<p/><h/>
E38 110 <p_>Stephen Robertson a farmer in East Norfolk has been appointed 
E38 111 manager of the above machinery ring which has been set up by Lodden 
E38 112 Farmers Ltd. The ring is open to all and already has a membership 
E38 113 of 70, and is <quote_>"expected to rise to 100 very soon"<quote/> 
E38 114 says Stephen.<p/>
E38 115 <p_>Membership offers, in addition to the normal machinery and 
E38 116 labour demands, a wide variety of services including computer and 
E38 117 secretarial work and workshop service on the farm.<p/>
E38 118 <p_>The ring is fully operational and many requests have already 
E38 119 been completed with work beginning within 3 hours of being 
E38 120 requested. With farming still a little doubtful, machinery becoming 
E38 121 increasingly more expensive and with fewer people employed on Farms 
E38 122 Machinery Rings, particularly the efficient ones will become part 
E38 123 of our agricultural scheme and operation.<p/>
E38 124 <h_><p_>New From Bauer<p/><h/>
E38 125 <p_>For those anticipating updating irrigation equipment, Bauer 
E38 126 have brought out a new irrigation boom. It was seen working with 
E38 127 the Rainstar with hydraulic lifting support legs enabling the boom 
E38 128 to be lifted on the headland and moved to the next irrigation strip 
E38 129 without the need to fold the boom.<p/>
E38 130 <p_>The newly designed and constructed boom covered 45 metres and 
E38 131 fitted with sectoring sprinklers gave an overall coverage of 72 
E38 132 metres. Water flow rates can be varied and as a lower connection 
E38 133 pressure is required, costs can be saved.<p/>
E38 134 <p_>This system <}_><-|>say's<+|>says<}/> Tony Lount makes more 
E38 135 economical use of water. A completely new computer system is also 
E38 136 now available which accurately controls the pull in rate of the 
E38 137 machine. Should the irrigator develop a fault and fail to pull in 
E38 138 for 20 minutes, the computer shuts off the water supply, preventing 
E38 139 flooding and waste of water. This computer system is also available 
E38 140 for other makes of irrigator.<p/>
E38 141 
E38 142 <h_><p_>New Equipment & Thinking From Richard Pearson<p/><h/>
E38 143 <p_>Potato harvesting specialists Richard Pearson Ltd of Frieston 
E38 144 Nr Boston, market leaders in potato harvesters have no doubt done a 
E38 145 great deal over the last 30 yrs to expand and perfect the 
E38 146 mechanical harvesting of the potato crop. Today they enjoy 73% 
E38 147 market share which is quite outstanding.<p/>
E38 148 <p_>Richard Pearson, along with Grimme have worked extremely hard 
E38 149 to reach such a position and maintain it, but no doubt much of 
E38 150 their outstanding success is due to supplying the customer with 
E38 151 what he wants. Continued developments have improved the harvesting 
E38 152 of potatoes, reduced labour and cost requirements and more 
E38 153 importantly have significantly reduced damage and crop losses while 
E38 154 at the same time improving output and efficiency.<p/>
E38 155 <p_>A wide range of machines is available, many of which vary in 
E38 156 specification and include machines for both the 2 and 4 row 2 stage 
E38 157 system which is growing in popularity. The needs of 
E38 158 <}_><-|>todays<+|>today's<}/> potato grower be it for single or two 
E38 159 stage harvesters or other specialised ancillary equipment, have to 
E38 160 be catered for. The complete range is available from this 
E38 161 progressive company.<p/>
E38 162 <p_>Looking at the future 50 years, Managing Director Roger Pearson 
E38 163 and his team held a most informative press day at the time of the 
E38 164 National Potato Demonstration setting out quite clearly the future 
E38 165 aims of the Company and at the same time introducing some 
E38 166 interesting new potato harvesters from Grimme. It is clear to see 
E38 167 that there are some exciting developments on the way. One of these 
E38 168 is the new Pearson Megastar stone and clod separator.<p/>
E38 169 <p_>In the late 50's Pearson first pioneered the system of stone 
E38 170 and clod separation and it is now widely used. In those early days 
E38 171 webs were used which sifted the soil and conveyed the clod and 
E38 172 stone to a cross conveyor, this severely restricted output in wet 
E38 173 conditions and certain soil types. It was therefore realised that a 
E38 174 new approach was necessary.<p/>
E38 175 <p_>Following extensive testing a new stone and clod separator is 
E38 176 to be introduced at the forthcoming Royal Smithfield Show. The new 
E38 177 system involves 12 rows of plastic star shaped wheels which replace 
E38 178 the web, the shafts carrying the star wheels are chain driven in 
E38 179 pairs.<p/>
E38 180 <p_>This new approach to stone and clod separation offers a 
E38 181 dramatic increase in output, allows increased forward travelling 
E38 182 speed, a reduction in power requirement and leaves a neater and 
E38 183 more consolidated finished bed enabling more efficient planting and 
E38 184 improved productivity.<p/>
E38 185 <p_>Unique to the design of the Megastar is the automatic depth 
E38 186 control system which consists of a pneumatic rubber tyre wheel 
E38 187 running on top of the pre-formed bed. This follows the contours and 
E38 188 through a series of switches and a sensor a signal is relayed to an 
E38 189 actuator which operates a depth control ray. With its rear wheel 
E38 190 steering and quick return automatically on entering the next bed, 
E38 191 here is a machine that will capture a major share of the market.<p/>
E38 192 <p_>Also being introduced is a new single row harvester with 
E38 193 advanced design features. Special attention being given to damage 
E38 194 free separation and haulm removal. This is aimed at the early 
E38 195 potato growers.<p/>
E38 196 <p_>Another new machine seen was the new 'Q' Continental, a 2 row 
E38 197 unmanned harvester very popular with large growers which easily 
E38 198 handle large quantities of haulm.<p/>
E38 199 <p_>Two stage machines were of course to be seen with the 2 row 
E38 200 windrower working in conjunction with the new Grimme Digger Loader 
E38 201 - capable of harvesting large crop volumes with a minimum of 
E38 202 damage.<p/>
E38 203 <p_>With the investment taking place, both in personnel and 
E38 204 continued expansion, research and development, potato growers can 
E38 205 look to the future with confidence.<p/>
E38 206 <p_>How nice it was to have the founder Richard Pearson join the 
E38 207 meeting.<p/>
E38 208 <p_>Reconditioned machines are also available from one of Pearson's 
E38 209 subsidiary companies.<p/>
E38 210 
E38 211 <h_><p_>The Triennial Potato Marketing Board Harvesting and 
E38 212 Handling Demonstration<p/><h/>
E38 213 <p_>The twentieth potato harvesting and handling demonstration was 
E38 214 staged this year by the Potato Marketing Board at East Kirkby in 
E38 215 Lincolnshire this years<&|>sic! theme being 'Growing For A 
E38 216 Market'.<p/>
E38 217 <p_>The crop of records grown was on contract with Dalgety Produce 
E38 218 for making into Golden Wonder Crisps.
E38 219 

