Wednesday 26 February 2020

REMEMBERING THE 80’s YUPPIES / VIDEO:PETER YORK: YUPPIES




REMEMBERING THE 80’s YUPPIES

The first printed appearance of the word was in a May 1980 Chicago magazine article by Dan Rottenberg. Rottenberg reported in 2015 that he didn't invent the term, he had heard other people using it, and at the time he understood it as a rather neutral demographic term. Nonetheless, his article did note the issues of socioeconomic displacement which might occur as a result of the rise of this inner-city population cohort. Joseph Epstein was credited for coining the term in 1982, although this is contested. The term gained currency in the United States in 1983 when syndicated newspaper columnist Bob Greene published a story about a business networking group founded in 1982 by the former radical leader Jerry Rubin, formerly of the Youth International Party (whose members were called "yippies"); Greene said he had heard people at the networking group (which met at Studio 54 to soft classical music) joke that Rubin had "gone from being a yippie to being a yuppie". The headline of Greene's story was "From Yippie to Yuppie'".[7][8] East Bay Express humorist Alice Kahn claimed to have coined the word in a 1983 column. This claim is disputed.

The proliferation of the word was affected by the publication of The Yuppie Handbook in January 1983 (a tongue-in-cheek take on The Official Preppy Handbook), followed by Senator Gary Hart's 1984 candidacy as a "yuppie candidate" for President of the United States. The term was then used to describe a political demographic group of socially liberal but fiscally conservative voters favoring his candidacy. Newsweek magazine declared 1984 "The Year of the Yuppie", characterizing the salary range, occupations, and politics of "yuppies" as "demographically hazy". The alternative acronym yumpie, for young upwardly mobile professional, was also current in the 1980s but failed to catch on.

In a 1985 issue of The Wall Street Journal, Theressa Kersten at SRI International described a "yuppie backlash" by people who fit the demographic profile yet express resentment of the label: "You're talking about a class of people who put off having families so they can make payments on the SAABs ... To be a Yuppie is to be a loathsome undesirable creature". Leo Shapiro, a market researcher in Chicago, responded, "Stereotyping always winds up being derogatory. It doesn't matter whether you are trying to advertise to farmers, Hispanics or Yuppies, no one likes to be neatly lumped into some group."

The word lost most of its political connotations and, particularly after the 1987 stock market crash, gained the negative socio-economic connotations that it sports today. On April 8, 1991, Time magazine proclaimed the death of the "yuppie" in a mock obituary.

The term has experienced a resurgence in usage during the 2000s and 2010s. In October 2000, David Brooks remarked in a Weekly Standard article that Benjamin Franklin – due to his extreme wealth, cosmopolitanism, and adventurous social life – is "Our Founding Yuppie". A recent article in Details proclaimed "The Return of the Yuppie", stating that "the yuppie of 1986 and the yuppie of 2006 are so similar as to be indistinguishable" and that "the yup" is "a shape-shifter... he finds ways to reenter the American psyche." In 2010, right-wing political commentator Victor Davis Hanson wrote in National Review very critically of "yuppies".



Yuppie Handbook: The State-Of-The Art Manual for Young Urban Professionals
by Marissa Piesman, Marilee Hartley
Yuppie or Yuppy pl. Yuppies: (hot; new name for Young Urban Professionals): A person of either sex who meets the following criteria: 1) resides in or near one of the major cities; 2) claims to be between the ages of 25 and 45; 3) lives on aspirations of glory, prestige, recognition, fame, social status, power, money or any and all combinations of the above; 4) anyone who brunches on the weekend or works out after work. The term crosses ethnic, sexual, geographic - even class - boundaries. Adj.: Yuppiesque, Yuppie-like, Yuppish. --- from book's text 



Monday 24 February 2020

OLDFIELD CLOTHING.








Our Story...

THE INSPIRATION - My Grandfather worked for Courtaulds Textile his whole working life. Starting at 18 years old as a tea boy, his association with the company continued until his retirement!  His service at the company was  interrupted by the Second World War where he commanded a fleet of minesweepers.   He was a well dressed "English Gentleman" always enjoying the fashions of the day and his other passion, Motor Cars, the two went hand in hand!  Many of our designs are inspired by what he wore both in war and peace time.

OUR STORY BEGINS IN BORANUP, WESTERN AUSTRALIA - Whilst on a road trip in W.A. I came up with an idea to get a local knitting club to knit sweaters from vintage knitting patterns.  Fast forward 8 years and now working in Brancaster, England, we had our first sweaters knitted by an elderly lady called Dorothy.  Our attention soon moved to trousers, disappointed with the way golf fashion was moving, we decided that a 1930s style high waist corduroy and moleskin was the way forward....or back, depending how you look at it !

Our first trouser order was placed with a factory in Yorkshire, we had a small space in the pro-shop at Brancaster, later that year we launched our first website.  The 1930s trouser sold well so we decided to try and make shirts from the same period. We produced a Jersey cotton shirt, with various collar styles, which was very practical and easy to wear. Over time we added more products to the range.

Always true to our core beliefs of using authentic patterns and designs to create stylish clothing taking inspiration from we consider to be the "Golden Era of Fashion" , manufacturing using only the finest British Fabrics made by craftsmen & women in British tailoring houses.  Our clothing is worn by Golfers, Motoring Enthusiasts, Hipsters, The young, The old and even the odd Television Celebrity.

"Quality & Style Never Go Out Of Fashion"






Sunday 23 February 2020

The Queen doesn't own the word 'Royal', say Prince Harry and Meghan Markle: Couple complain about their treatment in lengthy statement


Harry and Meghan's statement on their website in full
AS AGREED AND SET OUT IN JANUARY 2020:

It is agreed that the commencement of the revised role of The Duke and Duchess of Sussex will take effect Spring 2020 and undergo a 12 month review.
The Royal Family respect and understand the wish of The Duke and Duchess of Sussex to live a more independent life as a family, by removing the supposed ‘public interest’ justification for media intrusion into their lives. They remain a valued part of Her Majesty’s family.
The Duke and Duchess of Sussex will become privately funded members of The Royal Family with permission to earn their own income and the ability to pursue their own private charitable interests.
The preference of The Duke and Duchess of Sussex was to continue to represent and support Her Majesty The Queen albeit in a more limited capacity, while not drawing on the Sovereign Grant.
While there is precedent for other titled members of the Royal Family to seek employment outside of the institution, for The Duke and Duchess of Sussex, a 12-month review period has been put in place.
Per the agreement The Duke and Duchess of Sussex understand that they are required to step back from Royal duties and not undertake representative duties on behalf of Her Majesty The Queen.
As agreed and set out in January, The Duke and Duchess of Sussex will retain their “HRH” prefix, thereby formally remaining known as His Royal Highness The Duke of Sussex and Her Royal Highness The Duchess of Sussex. The Duke and Duchess of Sussex will no longer actively use their HRH titles as they will no longer be working members of the family as of Spring 2020.
As the grandson of Her Majesty and second son of The Prince of Wales, Prince Harry, The Duke of Sussex remains sixth in line to the throne of The British Monarchy and the Order of Precedence is unchanged.
It was agreed that The Duke and Duchess will no longer be able to formally carry out ‘official duties’ for The Queen or represent The Commonwealth, but they will, however, be allowed to maintain their patronages (including those that are classified as ‘royal’ patronages).
It is agreed that The Duke and Duchess of Sussex will continue to require effective security to protect them and their son. This is based on The Duke’s public profile by virtue of being born into The Royal Family, his military service, the Duchess’ own independent profile, and the shared threat and risk level documented specifically over the last few years. No further details can be shared as this is classified information for safety reasons.
In relation to the military, The Duke of Sussex will retain the rank of Major, and honorary ranks of Lieutenant Commander, and Squadron Leader. During this 12-month period of review, The Duke’s official military appointments will not be used as they are in the gift of the Sovereign. No new appointments will be made to fill these roles before the 12-month review of the new arrangements is completed.
While per the agreement, The Duke will not perform any official duties associated with these roles, given his dedication to the military community and ten years of service he will of course continue his unwavering support to the military community in a non-official capacity. As founder of the Invictus Games, The Duke will proudly continue supporting the military community around the world through the Invictus Games Foundation and The Endeavour Fund.
Based on the Duke and Duchess of Sussex’s desire to have a reduced role as members of The Royal Family, it was decided in January that their Institutional Office would have to be closed, given the primary funding mechanism for this official office at Buckingham Palace is from HRH The Prince of Wales. The Duke and Duchess shared this news with their team personally in January once they knew of the decision, and have worked closely with their staff to ensure a smooth transition for each of them.
Over the last month and a half, The Duke and Duchess have remained actively involved in this process, which has understandably been saddening for The Duke and Duchess and their loyal staff, given the closeness of Their Royal Highnesses and their dedicated team.
As The Duke and Duchess will no longer be considered full-time working Members of The Royal Family, it was agreed that use of the word ‘Royal’ would need to be reviewed as it pertains to organisations associated with them in this new regard. More details on this below.

ADDITIONAL DETAILS:
As shared in early January on this website, The Duke and Duchess of Sussex do not plan to start a ‘foundation’, but rather intend to develop a new way to effect change and complement the efforts made by so many excellent foundations globally.
The creation of this non-profit entity will be in addition to their cause driven work that they remain deeply committed to. While The Duke and Duchess are focused on plans to establish a new non-profit organisation, given the specific UK government rules surrounding use of the word ‘Royal’, it has been therefore agreed that their non-profit organisation will not utilise the name ‘Sussex Royal’ or any other iteration of ‘Royal.’
For the above reason, the trademark applications that had been filed as protective measures and that reflected the same standard trademarking requests as done for The Royal Foundation of The Duke and Duchess of Cambridge, have been removed.
While there is not any jurisdiction by The Monarchy or Cabinet Office over the use of the word ‘Royal’ overseas, The Duke and Duchess of Sussex do not intend to use ‘Sussex Royal’ or any iteration of the word ‘Royal’ in any territory (either within the UK or otherwise) when the transition occurs Spring 2020.
As The Duke and Duchess of Sussex continue to develop their non-profit organisation and plan for their future, we hope that you use this site as the source for factual information. In Spring 2020, their digital channels will be refreshed as they introduce the next exciting phase to you.


The statement Harry and Meghan sent to the press
'As shared in early January on this website, The Duke and Duchess of Sussex do not plan to start a "foundation", but rather intend to develop a new way to effect change and complement the efforts made by so many excellent foundations globally.

'The creation of this non-profit entity will be in addition to their cause driven work that they remain deeply committed to.

'While The Duke and Duchess are focused on plans to establish a new non-profit organisation, given the specific UK government rules surrounding use of the word 'Royal', it has been therefore agreed that their non-profit organisation will not utilise the name "Sussex Royal" or any other iteration of "Royal".

'For the above reason, the trademark applications that had been filed as protective measures and that reflected the same standard trademarking requests as done for The Royal Foundation of The Duke and Duchess of Cambridge, have been removed.

'While there is not any jurisdiction by The Monarchy or Cabinet Office over the use of the word 'Royal' overseas, The Duke and Duchess of Sussex do not intend to use "Sussex Royal" or any iteration of the word "Royal" in any territory (either within the UK or otherwise) when the transition occurs spring 2020.

'As The Duke and Duchess of Sussex continue to develop their non-profit organisation and plan for their future, we hope that you use this site as the source for factual information.

'In Spring 2020, their digital channels will be refreshed as they introduce the next exciting phase to you.

'The Duke and Duchess of Sussex eagerly await the opportunity to share more with you and greatly appreciate your support!'




Harry and Meghan show anger at palace over loss of royal branding
Sussexes say monarchy has no jurisdiction over use of word ‘royal’ overseas

Jamie Doward
Sun 23 Feb 2020 09.52 GMTLast modified on Sun 23 Feb 2020 09.56 GMT

The freeze in relations between the Duke and Duchess of Sussex and Buckingham Palace has become apparent after the couple were forced to drop plans to use the brand “SussexRoyal”.

Posts on the couple’s official website suggest they are angry at the way the decision was reached and how they have been treated compared with other royals. A statement on Friday night suggested that a blanket ban on the use of the word “royal” was unenforceable abroad. “There is not,” it noted, “any jurisdiction by the monarchy or Cabinet Office over the use of the word ‘royal’ overseas.”

The couple’s Instagram account uses the name SussexRoyal, as does a website they set up following their shock decision to stop carrying out official royal duties in favour of financial freedom. Both will have to be rebranded.

A spokeswoman for the Sussexes said: “While the duke and duchess are focused on plans to establish a new non-profit organisation, given the specific UK government rules surrounding use of the word ‘royal’ it has been therefore agreed that their non-profit organisation, when it is announced this spring, will not be named Sussex Royal Foundation.

“The Duke and Duchess of Sussex do not intend to use ‘SussexRoyal’ in any territory post-spring 2020.”

The spokeswoman explained that trademark applications, which were filed as protective measures “acting on advice from and following the same model for the Royal Foundation”, had been removed.

The couple’s lives as working royals will end on 31 March when they stop representing the Queen and become financially independent.

On Friday night their website was updated to provide further details of the new agreement. “While there is not any jurisdiction by the monarchy or cabinet office over the use of the word ‘royal’ overseas, the Duke and Duchess of Sussex do not intend to use ‘Sussex Royal’ or any iteration of the word ‘royal’ in any territory (either within the UK or otherwise) when the transition occurs spring 2020,” said a statement.

Their failure to agree a hybrid role within the royal family – performing some royal duties while also working on outside projects – is also a source of regret.

They wrote: “While there is precedent for other titled members of the royal family to seek employment outside of the institution, for the Duke and Duchess of Sussex a 12-month review period has been put in place.”

The Queen doesn't own the word 'Royal', say Prince Harry and Meghan Markle: Couple complain about their treatment in lengthy statement after Her Majesty forces them to drop Sussex Royal brand

Buckingham Palace told Harry and Meghan not to employ the name when they are no longer working royals
Duke and Duchess said neither the government nor the Queen herself have 'jurisdiction' over the word 'royal'
Even so, they would not use title from spring onwards as they are no longer working members of the family
Significant blow for couple, who have spent hundreds of thousands building Sussex Royal-branded website
Trademark applications, covering items from clothing to stationery and bandanas, were filed under the brand

By JEMMA CARR and JAKE HURFURT and JACK ELSOM FOR MAILONLINE
PUBLISHED: 19:36, 21 February 2020 | UPDATED: 11:05, 22 February 2020


The Duke and Duchess of Sussex have posted an extraordinary statement on their website claiming that the Queen does not own the word royal across the world after they were forced to drop their 'Sussex Royal' brand.

Harry and Meghan put a new statement on their own website hours after announcing they would stop using the word 'royal' in their branding after the Spring.

In the statement, the Duke and Duchess said that while neither the government nor the Queen herself own the word 'royal' internationally, they would stop using the title.

The statement read: 'While there is not any jurisdiction by The Monarchy or Cabinet Office over the use of the word "Royal" overseas, The Duke and Duchess of Sussex do not intend to use "Sussex Royal" or any iteration of the word "Royal" in any territory (either within the UK or otherwise) when the transition occurs Spring 2020.'

The statement continued: 'While there is precedent for other titled members of the Royal Family to seek employment outside of the institution, for The Duke and Duchess of Sussex, a 12-month review period has been put in place.

'Per the agreement The Duke and Duchess of Sussex understand that they are required to step back from Royal duties and not undertake representative duties on behalf of Her Majesty The Queen.'

They also confirmed that their office - based in Buckingham Palace - would be closed, a move they said was 'saddening for The Duke and Duchess and their loyal staff'.

The announcement follows the Daily Mail’s revelation this week that Buckingham Palace had told Harry and Meghan not to employ the 'Sussex Royal' name when they are no longer working royals.

It is a significant blow for the couple, who have spent tens of thousands of pounds building the Sussex Royal-branded website and creating a hugely popular Instagram feed.

In an unprecedented legal move, the queen has drafted in top lawyers in a bid to enforce the ban.

A string of trademark applications, covering items from clothing and books to stationery and bandanas, were withdrawn.

It comes after MailOnline yesterday revealed that Meghan has told friends there is nothing 'legally stopping' her and Harry from using their Sussex Royal name.

Meghan complained to her inner circle that using the name 'shouldn't even be an issue in the first place and it's not like they want to be in the business of selling T-shirts and pencils,' the insider said.

They added: 'Meghan said she's done with the drama and has no room in her life for naysayers, and the same goes for Harry.'

The friend added: 'Meghan said the global projects they are working on speak for themselves and they chose that name to protect the royal name, not profit off of it.'

But, the insider added: 'Meghan has told her inner circle that their success is inevitable with or without their current brand name.

'She said regardless of the name, Harry and Archie have royal blood and no one can take that away. And that as a family, they will always be considered royalty.'

Harry and Meghan are in the process of setting up a new charitable organisation after their split in August last year from the Royal Foundation Charity, which they shared with the Duke and Duchess of Cambridge.

The pair wanted to use Sussex Royal branding but a new name will now have to be found.

Meghan's friend added: 'Meghan said the name of their brand pales in comparison to the foundation they are building and the enormously positive impact it will have on people and the environment.'

Losing the name is the latest humiliation for the couple who announced last month they were stepping down as senior royals and moving to North America.

The pair have already agreed to give up their HRH titles for work purposes, and their official patronages on behalf of the queen, including Harry’s honorary military titles.

Complicated negotiations concluded that it was untenable for them to use the word ‘royal’ in their branding.

A spokesman for the Sussexes said last night: ‘While the Duke and Duchess are focused on plans to establish a new non-profit organisation, given the specific UK Government rules surrounding use of the word “Royal”, it has been therefore agreed their non-profit organisation, when it is announced this spring, will not be named Sussex Royal Foundation.

‘The Duke and Duchess of Sussex do not intend to use Sussex Royal in any territory post-spring 2020.

‘Therefore trademark applications that were filed as protective measures, acting on advice from and following the same model for The Royal Foundation, have been removed.’

Harry and Meghan first began using Sussex Royal this time last year after they split their household from that of the Duke and Duchess of Cambridge, known as Kensington Royal.

The Sussexes’ Instagram page, @sussexroyal, has amassed 11.2million followers – the same number of fans as William and Kate’s account.

But the Mail revealed this week that the Queen and senior officials had decided the couple would have to drop their name.

A source told the Mail at the time: ‘In many ways this is inevitable given their decision to step down.

‘But it must surely come as a blow to the couple as they have invested everything into the Sussex Royal brand. The Queen would have had little choice, however.

‘The Sussexes’ original plan – of being half-in, half-out working royals – was never going to work.

‘Obviously, as the Queen has made clear, they are still much-loved members of her family.

‘But if they aren’t carrying out official duties and are now seeking other commercial opportunities, they simply cannot be allowed to market themselves as royals.’

Harry and Meghan announced on Wednesday that they will step down as working royals in less than six weeks and close their Buckingham Palace office.

The statement Harry and Meghan sent to the press
'As shared in early January on this website, The Duke and Duchess of Sussex do not plan to start a "foundation", but rather intend to develop a new way to effect change and complement the efforts made by so many excellent foundations globally.

'The creation of this non-profit entity will be in addition to their cause driven work that they remain deeply committed to.

'While The Duke and Duchess are focused on plans to establish a new non-profit organisation, given the specific UK government rules surrounding use of the word 'Royal', it has been therefore agreed that their non-profit organisation will not utilise the name "Sussex Royal" or any other iteration of "Royal".

'For the above reason, the trademark applications that had been filed as protective measures and that reflected the same standard trademarking requests as done for The Royal Foundation of The Duke and Duchess of Cambridge, have been removed.

'While there is not any jurisdiction by The Monarchy or Cabinet Office over the use of the word 'Royal' overseas, The Duke and Duchess of Sussex do not intend to use "Sussex Royal" or any iteration of the word "Royal" in any territory (either within the UK or otherwise) when the transition occurs spring 2020.

'As The Duke and Duchess of Sussex continue to develop their non-profit organisation and plan for their future, we hope that you use this site as the source for factual information.

'In Spring 2020, their digital channels will be refreshed as they introduce the next exciting phase to you.

'The Duke and Duchess of Sussex eagerly await the opportunity to share more with you and greatly appreciate your support!'

The statement went on: 'Based on the Duke and Duchess of Sussex’s desire to have a reduced role as members of The Royal Family, it was decided in January that their Institutional Office would have to be closed, given the primary funding mechanism for this official office at Buckingham Palace is from HRH The Prince of Wales.

'The Duke and Duchess shared this news with their team personally in January once they knew of the decision, and have worked closely with their staff to ensure a smooth transition for each of them.

'Over the last month and a half, The Duke and Duchess have remained actively involved in this process, which has understandably been saddening for The Duke and Duchess and their loyal staff, given the closeness of Their Royal Highnesses and their dedicated team.'

They will take part in six more engagements before formally withdrawing from frontline roles on March 31.

Their final official engagement is expected to be on March 9, when they will join the Queen at Westminster Abbey to mark Commonwealth Day.

The statement also addressed the controversy surrounding the cost of the Duke and Duchess's security.

Protection for Meghan and Harry is estimated to cost taxpayers in Canada and the UK between £3million and £6million a year, as staff work round the clock two weeks at a time.

The statement read: 'It is agreed that The Duke and Duchess of Sussex will continue to require effective security to protect them and their son.

'This is based on The Duke’s public profile by virtue of being born into The Royal Family, his military service, the Duchess’ own independent profile, and the shared threat and risk level documented specifically over the last few years.

'No further details can be shared as this is classified information for safe

Friday 21 February 2020

FIVE TIMES Evelyn Waugh / Watch Five Videos below in the blog.

FIVE TIMES Evelyn Waugh
Was Evelyn Waugh a "snobbish misanthrope" ?

In the course of his lifetime, Waugh made enemies and offended many people; writer James Lees-Milne said that Waugh "was the nastiest-tempered man in England". Waugh's son, Auberon, said that the force of his father's personality was such that, despite his lack of height, "generals and chancellors of the exchequer, six-foot-six and exuding self-importance from every pore, quail in front of him".

In the biographic Mad World (2009), Paula Byrne said that the common view of Evelyn Waugh as a "snobbish misanthrope" is a caricature; he asks: "Why would a man, who was so unpleasant, be so beloved by such a wide circle of friends?" His generosity to individual persons and causes, especially Catholic causes, extended to small gestures; after his libel-court victory over Nancy Spain, he sent her a bottle of champagne. Hastings said that Waugh's outward personal belligerence to strangers was not entirely serious but an attempt at "finding a sparring partner worthy of his own wit and ingenuity". Besides mocking others, Waugh mocked himself—the elderly buffer, "crusty colonel" image, which he presented in later life, was a comic impersonation, and not his true self.

As an instinctive conservative, Waugh believed that class divisions, with inequalities of wealth and position, were natural and that "no form of government [was] ordained by God as being better than any other". In the post-war "Age of the Common Man", he attacked socialism (the "Cripps–Attlee terror") and complained, after Churchill's election in 1951, that "the Conservative Party have never put the clock back a single second". Waugh never voted in elections; in 1959, he expressed a hope that the Conservatives would win the election, which they did, but would not vote for them, saying "I should feel I was morally inculpated in their follies" and added: "I do not aspire to advise my sovereign in her choice of servants".

Waugh's Catholicism was fundamental: "The Church ... is the normal state of man from which men have disastrously exiled themselves." He believed that the Catholic Church was the last, great defence against the encroachment of the Dark Age being ushered in by the welfare state and the spreading of working class culture. Strictly observant, Waugh admitted to Diana Cooper that his most difficult task was how to square the obligations of his faith with his indifference to his fellow men. When Nancy Mitford asked him how he reconciled his often objectionable conduct with being a Christian, Waugh replied that "were he not a Christian he would be even more horrible".

Waugh's conservatism was aesthetic as well as political and religious. Although he praised younger writers, such as Angus Wilson, Muriel Spark and V.S. Naipaul, he was scornful of the 1950s writers' group known as "The Movement". He said that the literary world was "sinking into black disaster" and that literature might die within thirty years. As a schoolboy, Waugh had praised the art of Cubism but soon abandoned his interest in artistic Modernism. In 1945, Waugh said that Pablo Picasso's artistic standing was the result of a "mesmeric trick" and that his paintings "could not be intelligently discussed in the terms used of the civilised masters". In 1953, in a radio interview, he named Augustus Egg (1816–1863) as a painter for whom he had particular esteem.[n 7] Despite their political differences, Waugh came to admire George Orwell, because of their shared patriotism and sense of morality.

Throughout his literary works, Evelyn Waugh freely expressed racial and anti-semitic prejudices, especially in the books he wrote before the Second World War. The writer V.S. Pritchett said that Waugh's anti-semitism, "like Mount Everest, is there, nonviolent, but undeniable". Wykes said that anti-semitism is Waugh's "most persistent nastiness", adding that Waugh's racism was "an illogical extension of his views on the naturalness and rightness of hierarchy as the [main] principle of social organisation". As an admirer of Waugh's writing, Orwell said that Evelyn Waugh was "almost as good a novelist as it is possible to be ... while holding untenable opinions".




(…) Evelyn Arthur St. John Waugh was born in a suburb of London in 1903, the son of a busy man-of-letters. Waugh's origins were gentlemanly but in no way aristocratic, a point he seems to have been inordinately touchy about even as a boy. He was sent to Lancing, one of England's less fashionable public schools; and from there he won a scholarship to one of Oxford's decidedly less fashionable colleges. At Oxford, however, his wit, good looks, and resolute preference for the elite carried him into the company to which he aspired. There is a striking portrait of him at this time in Harold Acton's Memoirs of an Aesthete: "I still see him as a prancing faun, thinly disguised by conventional apparel. His wide apart eyes, always ready to be startled under raised eyebrows, the curved sensual lips, the hyacinthine locks of hair, I had seen in marble and bronze at Naples ..." Other Oxford contemporaries have spoken of him in a harsher vein: "A bitter little man" -- "A social climber."

After two years, Waugh voluntarily left Oxford without a degree, and, like Paul Pennyfeather of Decline and Fall, took a job in a school for backward boys. Later, he worked for sixteen days on Lord Beaverbrook's Daily Express. His ambition was to be a painter, but a stint at art school left him dissatisfied with his talent. At this time, he has said, he was a pagan and "wanted to be a man of the world" -- a well-rounded English gentleman in the eighteenth-century tradition. He joined in the whirl of Michael Arlen's Mayfair. He "gadded among savages and people of fashion and politicians and crazy generals ... because I enjoyed them." But he was a worldling who could relish all this and still find it wanting. In 1930, after instruction from the celebrated Father D'Arcy, Waugh entered the Catholic Church.

A few months earlier, his marriage to the Honorable Evelyn Gardner had ended in divorce. In 1937, he married again. His second wife was a Catholic: Laura, daughter of Lieutenant-Colonel The Honorable Aubrey Nigel Henry Molyneux Herbert, second son of the Earl of Carnarvon.

For nine years, Waugh had traveled often and widely, by preference to wild places. The best parts of the four travel books written during this period were later reprinted in When the Going Was Good, and they are still lively reading. One is periodically reminded, however, that Waugh's touch is surer and more sparkling when he is using these same materials in his comic novels.

At the outbreak of the war, Waugh joined the Royal Marines, and later, as a Commando, took part in a succession of desperate actions in which he became famous for his phenomenal courage. Years earlier, when Waugh had taken up foxhunting, his recklessness had awed even veterans.

Waugh is now settled at Piers Court in a secluded part of Gloucestershire, from which he occasionally makes sorties to his London clubs. "I live in a shabby stone house," he wrote in Life, "in which nothing is under a hundred years old except the plumbing, and that does not work. I collect old books in an inexpensive, desultory way. [His major avocation is the study of theology.] I have a fast emptying cellar of wine and gardens fast reverting to jungle. I have numerous children [three girls and two boys] whom I see once a day for ten, I hope, awe-inspiring minutes."

A few years back Randolph Churchill said of Waugh: "He grows more old-fashioned every day. He seeks to live in an oasis." Waugh himself has affirmed with pride that he is "two hundred years" behind the times, and that there is no political party in existence which he finds sufficiently (in the strictly literal sense of the word) reactionary. He has refused to learn to drive a car. He writes with a pen which has to be continually dipped in the inkwell. And he prefers to communicate even with his neighbors by written message rather than resort to the telephone. A literary friend of Waugh's once delivered a summation which neatly reflects the tenor of the anecdotes about him. As nearly as I recall, it went: " Oh, I adore Evelyn. He's so frightfully witty and so fearfully rude. Terribly conceited, of course -- and, poor sweet, rather ridiculous. But such a good writer!"

COMPLETE rejection of the modern world is the source from which springs the best and the worst in Evelyn Waugh's writings. The artist who repudiates the realities of his time must of necessity either work in the ironic key, as Waugh did in his earlier novels which transmute repudiation into blandly destructive laughter; or, if dissatisfied with a negative criticism, he must offer alternatives to the status quo which can be taken seriously. But when Waugh abandons the detached stance, when he seriously articulates his opinions and attitudes, the results are often distressing, and sometimes disastrous.

His fierce nostalgia for medievalism represents (as he himself recognizes) a yearning for an irretrievably lost cause; and as social criticism, it is therefore merely frivolous or petulant. Moreover in the Catholic content of his novels to date, there has been little accent on religious experience such and a really shocking absence of that human compassion which is so much a part of the Catholic spirit. (What ounce of compassion Waugh can muster is reserved for the few who meet with his approval.) In fact, the Catholicism of Waugh's fiction -- it is not, of course, his faith which is under discussion, but his expression of it -- is inextricably bound up with worship of the ancient. British nobility, so laden with contempt for "lesser breeds without the law," that the Church is made to appear a particularly exclusive club rather than a broad spiritual force.

At his best -- that is, when he remains detached -- Waugh is the finest comic artist to emerge since the late 1920s. His style is swift, exact, almost unfailingly felicitous. His inventions are entrancing; his timing inspired; his matter-of-fact approach to the incongruous produces a perverse humor that is immensely effective. Even that ancient comic device -- the use of suggestive names -- is boldly put to work by Waugh with the happiest results. Mr. Outrage, the leader of His Majesty's Opposition; Mrs. Melrose Ape, the phony evangelist; Lord Copper, the press tycoon; Lady Circumference, Captain Grimes, Viola Chasm, Ambrose Silk -- their names bespeak their nature.

Behind the extravagant facade of Waugh's burlesques, manners and social types are observed with a dazzling accuracy. The Bright Young People are illuminated with a glow which spotlights the fantastic -- but they are profoundly "dans le vrai." The Ministry of Information passages in Put Out More Flags are, of course, a parody; but I can vouch from firsthand experience that the parody is solidly founded in truth. In countless scenes throughout Waugh's farces, a lapidary phrase or incident brings home with terrible directness the tragic quality in the lives of his frivolous, gaily cockeyed, or unscrupulous characters. Waugh's cosmos is, in the literal sense, funny as hell.

Like Eliot, Waugh looked out on the world around him and saw it as a wasteland. His temperament and special gifts led him to transfigure the wasteland into a circus, within whose tent we are treated to a riotous harlequinade. But every so often the flap of the tent is blown open; a vista of the wilderness intrudes; and the antics of the clowns suddenly appear, as poor Agatha Runcible would say, "too spirit-crushing."

This core of tragic awareness gives to Waugh's comic vision the dimension of serious art. The paradox, in fact, is that when Waugh is being comic, he makes luminous the failures of his age, confronts us vividly with the desolating realities; and when he is being serious, he is liable to become trashy. For without the restraints of the ironic stance, his critical viewpoint reveals itself as bigoted and rancorous; his snobbery emerges as obsessive and disgusting; and his archaism involves him in all kinds of silliness.

WAUGH'S first novel, Decline and Fall (1928), depicts a world in which villainy has the innocence of man's primeval state before The Fall. The story opens on the night of the annual orgy of Oxford's most aristocratic dining club: "A shriller note could now be heard from Sir Alastair's rooms; any who have heard that sound will shrink from the recollection of it; it is the sound of the English country families baying for broken glass."

Paul Pennyfeather, a colorless young man reading for Holy Orders, is debagged by the rowdies and then expelled by the authorities for indecent exposure. Presently he is taken up by an immensely wealth young widow, whose fortune comes from a far-flung chain of bordellos; and when the police get on her track. Paul goes to prison for white slavery, and the lady marries a Cabinet Minister. The fun is incessant and the comic portraiture is pure delight, especially the hugely disreputable schoolmaster, Captain Grimes, and the inventive butler-crook Philbrick -- in his plushier moments Sir Solomon Philbrick, tycoon. Decline and Fall is an unqualified success.

Vile Bodies (1930) is almost as good. The combination of calamitous happenings and gay insouciance is marvelously sustained as the story follows the Bright Young People in their giddy dance through the condemned playground. But the farce, now, has grimmer overtones; and the climax finds Adam on history's greatest battlefield, clutching a bomb for the dissemination of leprosy.

Waugh's next novel had its origin in the "crazy enchantment" of a visit to Addis Ababa for the coronation of Haile Selassie. The Abyssinia of the early thirties -- with its ancient Christianity and its enduring barbarism; its strivings to be modern, frustrated by picturesque ignorance and limitless inefficiency; its motley foreign colony, authentic savages, and wily promoters, big and small -- provided Waugh with materials ideally suited to his talents, and he worked them into what some critics consider the most amusing of his novels, Black Mischief (1932).

A Handful of Dust (1934), the most somber of the comic novels, is memorable for its horrifying ending: the hero finds himself trapped in the recesses of the Amazonian jungle, condemned to spend the rest of his life reading Dickens to a cunning madman. In the next two books, Waugh's violent prejudices show their hand. His biography of the Catholic martyr, Edmund Campion -- in many respects a distinguished performance -- is marred by a partisanship which flagrantly distorts Elizabethan history. Waugh in Abyssinia (1936) -- the product of an assignment as a war correspondent -- is simply a piece of Fascist propaganda. Strangely enough, the Ethiopian setting is again fictionally handled in Scoop (1937) with the same detached zest as in Black Mischief. There is perhaps no more uproarious burlesque of the workings of the press.

Put Out More Flags (1942), a novel about phony war period, reintroduces Waugh's finest pirate-hero, Basil Seal, more ingeniously iniquitous than ever. His use of three loathsome evacuee children as a source of blackmail is just one of several episodes in the book which are Waugh at his best. The story ends with Basil's volunteering for the Commandos -- there was "a new spirit abroad." The war apparently aroused in Waugh high hopes that victory would open the way to return to Britain's former greatness. His deep and bitter disillusionment at its actual outcome probably explains, at least in part, the marked difference in temper between his pre-war and his post-war fiction.

Brideshead Revisited (1945) is a romantic evocation of vanished splendors, which brings into dismal relief the aridity of the present. In the first part, in which the narrator reverts to his youth at Oxford, Waugh's artistic sense seldom falters. Ryder's discovery of a magic world of freedom and intoxicating pleasures through his friendship with Sebastian, the younger son of a noble and wealthy Catholic family, and the accompanying contrast between the dryness of Ryder's home life and the charm of the Marchmains -- these passages are among the most memorable that Waugh has written. But, in the second part -- Ryder's unhappy marriage and love affair with Sebastian's sister; Sebastian's descent into alcoholism; Lord Marchmain's irregular and resplendent life in Venice, and his death in his ancestral home -- those failings of Waugh's which were discussed earlier run riot. And, as they take command, the characterization grows unreal, the atmosphere becomes sententious, the style turns overripe.

Charles Ryder is shaken out of his ill-mannered anti-Catholicism when the dying Lord Marchmain, who has lived outside the Church, makes a sign indicating his consent to receiving the final sacrament. But Ryder has been portrayed as so insensitive to religion and so sensitive to the prestige of great families that one is left, as Edmund Wilson has observed, with an uneasy feeling that it was not "the sign" that made Ryder kneel beside the deathbed, but the vision of this Catholic family's greatness conjured up in Lord Marchmain's earlier monologue: "We were ... barons since Agincourt; the larger honors came with the Georges ..." (and so on).

The Loved One (1948) is one of Waugh's most savagely amusing books. As a lampoon on the mortuary practices of Southern California, it is a coruscating tour de force. When, however, the satire reaches out to other aspects of American folkways, it is sometimes either hackneyed or crudely exaggerated. The trouble is that Waugh can no longer maintain the same innocence of observation as in the pre-war farces. The éclat of his performance in The Loved One is slightly marred by traces of spite, and smudges of acid snob-distaste for all things American. "There is no such thing as an American," he wrote in an explanatory note about the book. "They are all exiles, uprooted, transplanted and doomed to sterility."

Men at Arms (1952), the first volume of an unfinished trilogy about military life during World War II, describes Guy Crouchback's period of training for a commission in the Halberdiers. Crouchback is a lonely, frustrated man, revolted by the modern age, and the regiment -- with its proud traditions, its esprit de corps, its rituals, its severe discipline and taxing duties -- restores to him a vitalizing sense of dignity and purpose. The novel is written throughout in a much lower key than Brideshead Revisited. Its major characterizations are impressive; and though neither dramatic nor particularly moving, it is a very polished and readable work. Its great weakness is that Waugh treats with respectful admiration materials tinged with the ludicrous, which call for the saving grace of irony.

Waugh's latest book, Tactical Exercise (Little, Brown, $3.75), is a collection of short fiction which more or less spans his writing career and is very varied in range. It is probably better entertainment than any of the other books of its kind that have just come off the presses; but there is not much in it that is near to the top of Waugh's form.

One item is unquestionably unique: an edifying melodrama, entitled "The Curse of the Race Horse," which Waugh composed when he was seven; the spelling, which foreshadows Waugh's genius for bold improvision, is utterly delectable. "Excursion Into Reality" gives the movies the treatment Waugh gave the press in Scoop. "'Love Among the Ruins" is Waugh's nightmarish vision of the brave new world; but his total incompetence as a sociologist makes this fantasy a nursery effort compared with those of Huxley and Orwell. The most interesting item in this volume, "Work Suspended," consists of the two chapters of a novel which Waugh abandoned in 1941, and which has certain intriguing affinities with the book that took its place: Brideshead Revisited.

Now fifty-one, Evelyn Waugh has published twenty-two books. Considering the high quality of his artistry, it is a remarkable output. He has himself defined, with a characteristic touch of belligerence, the direction in which he plans to move: "In my future books there will be two things to make them unpopular: a preoccupation with style and the attempt to represent man more fully, which, to me, means only one thing, man in his relation to God." It sounds as though, from, now on, the "serious" side of Waugh will fully take command.

However laudable Waugh's objectives, I find it impossible to discount the evidence that he has chosen a course which runs counter to his special gifts as an artist. From the comic standpoint, Waugh's less amiable traits are actually an asset. Arrogance, snobbery, and contentiousness -- when they work hand in hand with irony -- are a corrosive solvent to satire. The religious writer requires at least four qualities of which Waugh has so far displayed only one. Faith he has; but little compassion and no humility -- and in his entire work there is not a single truly convincing trace of love.

“Evelyn Waugh: The Best and the Worst”
 by Charles J. Rolo


John Julius Norwich - The less than pleasant Evelyn Waugh (133/136)

Evelyn Waugh Face To Face BBC Interview




SEE ALSO:


Auberon Waugh remembers Evelyn Waugh 1987

Evelyn Waugh - Arena pt 1

Evelyn Waugh - Arena pt 2

Thursday 20 February 2020

The Pea Coat


A pea coat (or peacoat, pea jacket, pilot jacket, reefer jacket) is an outer coat, generally of a navy-coloured heavy wool, originally worn by sailors of European and later American navies. Pea coats are characterized by short length, broad lapels, double-breasted fronts, often large wooden, metal or plastic buttons, and vertical or slash pockets. References to the pea jacket appear in American newspapers at least as early as the 1720s, and modern renditions still maintain the original design and composition.
A bridge coat is a pea coat that extends to the thighs, and is a uniform exclusively for officers and chief petty officers. The reefer jacket is for officers and chief petty officers only, and is identical to the basic design but usually has gold buttons and epaulettes. Only officers wear the epaulettes.
Today the style is considered a classic, and pea coats are worn by all manner of individuals. The style has evolved to the addition of hoods.
A few of the jackets seen on the street are genuine navy surplus; being a classic garment, it is frequently available from retailers, though often with small design changes that reflect the current fashion trends. The standard for historical pea coats was 30 ounces (approx. 850 g) wool, most often made of heavy Melton cloth through the 1970s in the U.S. Navy. Presently coats are made from 22–32 oz (620–910 g) wool. While pea coats are offered in many colors by retailers, the US Navy-issue pea coat is dark blue.
A black leather version of the reefer jacket was worn by Kriegsmarine U-Boat officers during World War II, including Admiral Dönitz. It was also worn with a peaked cap by Red Army commissars,tank commanders and pilots.
According to a 1975 edition of the Mariner's Mirror, the term pea coat originated from the Dutch or West Frisian word pijjekker or pijjakker, in which pij referred to the type of cloth used, a coarse kind of twilled blue cloth with a nap on one side. ’’Jakker’’ designates a man’s short, heavy, coat.
Another theory, favoured by the US Navy, is that the heavy topcoat worn in cold, miserable weather by seafaring men was once tailored from "pilot cloth" – a heavy, coarse, stout kind of twilled blue cloth with the nap on one side. This was sometimes called P-cloth from the initial letter of pilot, and the garment made from it was called a P-jacket – later a pea coat. The term has been used since 1723 to denote coats made from that cloth.

Tuesday 18 February 2020

Chillingham Castle

https://chillingham-castle.com/




Its current owners market the castle as being the most haunted castle in Britain. It has been investigated on television, Most Haunted, I'm Famous and Frightened!, Scariest Places On Earth, Holiday Showdown, Alan Robson's Nightowls), The ParaPod, Ghost Hunters International, and A Blood Red Sky (2013). Some of these ghosts are referred to in a 1925 pamphlet by Leonora, Countess of Tankerville. Others, such as John Sage, are of more recent invention.

The most famous ghost of the castle is the "blue (or radiant) boy", who according to the owners used to haunt the Pink Room in the castle. Guests supposedly reported seeing blue flashes and a blue "halo" of light above their beds after a loud wail. It is claimed that the hauntings ceased after renovation work revealed a man and a young boy inside a 10-foot-thick (3.0-metre) wall. Documents dating back to the Spanish Armada were reportedly also found within the wall.





  Chillingham Castle is a medieval castle in the village of Chillingham in the northern part of Northumberland, England. It was the seat of the Grey and Bennett families from the 15th century until the 1980s, when it became the home of Sir Edward Humphry Tyrrell Wakefield, 2nd Baronet, who is married to a member of the original Grey family.

A large enclosed park in the castle grounds is home to the Chillingham cattle, a rare breed, consisting of about 90 head of white cattle. The castle is a Grade I listed building.

The castle was originally a monastery in the late 12th century. In 1298, King Edward I stayed at the castle on his way to Scotland to battle a Scottish army led by William Wallace. A glazed window in a frame was specially installed for the king, a rarity in such buildings at the time.

The castle occupied a strategically important location in medieval times: it was located on the border between two feuding nations. It was used as a staging post for English armies entering Scotland, but was also repeatedly attacked and besieged by Scottish armies and raiding parties heading south. The site contained a moat, and in some locations the fortifications were 12 feet (3.7 metres) thick.

The building underwent a harsh series of enhancements, and in 1344 a Licence to crenellate was issued by King Edward III to allow battlements to be built, effectively upgrading the stronghold to a fully fortified castle, of quadrangular form.






Anne of Denmark and her children stayed in the castle on their way to London on 6 June 1603. In 1617, James I, whose reign unified the crowns of England and Scotland (James I of England was also James VI of Scotland), stayed at the castle on a journey between his two kingdoms. As relations between the two countries became peaceful following the union of the crowns, the need for a military stronghold in the area declined. The castle was gradually transformed; the moat was filled, and battlements were converted into residential wings. A banquet hall and a library were built.

In the 18th and 19th centuries, the grounds underwent landscaping, including work carried out by Sir Jeffry Wyattville. The once extensive park is now under a separate ownership from the castle.

The Prince and Princess of Wales stayed at Chillingham Castle en route to Scotland, in 1872.


Great hall, used as a filming location for Elizabeth. The fireplaces are film props.
During the Second World War, the castle was used as an army barracks. During this time, much of the decorative wood is said to have been stripped out and burned by the soldiers billeted there. After the war, the castle began to fall into disrepair. Lead had been removed from the roof, resulting in extensive weather damage to large parts of the building.

In 1982, the castle was purchased by Sir Humphry Wakefield, 2nd Baronet, whose wife Catherine is descended from the Greys of Chillingham, and Wakefield set about a painstaking restoration of the castle.

In 1997, the castle was used as a filming location for Elizabeth, featuring as Leith Castle and as the hunting lodge.[6] The fibreglass fireplaces from the film remain in the great hall, covering 18th century white marble fireplaces from Wanstead House.

As of 2020, sections of the castle are open to the public including for late night ghost tours, and eight apartments within the castle and its outbuildings are available for holiday rentals.