Friday 26 July 2024

Prince Philip, who was late Queen Elizabeth’s husband, was mentioned in FBI’s top-secret documents that are related to the 1960s Profumo affair.

 


Royal

Prince Philip Named In Sex Scandal With Christine Keeler

Prince Philip part of John Profumo affair that brought government down

By Web Desk

July 21, 2024

https://jang.com.pk/en/16457-prince-philip-named-in-sex-scandal-with-christine-keeler-news

 

Prince Philip, who was late Queen Elizabeth’s husband, was mentioned in FBI’s top-secret documents that are related to the 1960s Profumo affair.

 

According to Mail on Sunday, he was “personally involved” with Christine Keeler and Mandy Rice-Davies, who were the heart of a s*x scandal that brought the government down.

 

A memo by former FBI director, J. Edgar Hoover, made revelations surrounding this case, which ended John Profumo’s political career because of his intimate relationship with 19-year-old Christine Keeler.

 

Although the democrat had denied these allegations, he was forced to resign after proof from the affair was made public within the next few months.

 

Osteopath Stephen Ward had introduced both Mandy Rice-Davies and Christine Keeler to John Profumo so he could benefit from the “immoral” payments made to them.

 

After being convicted, he died of an overdose three days later.

 

A friend of Stephen Ward’s named Thomas Corbally made confessions about Prince Philip in 1963, saying that he was also “involved with these two girls.”

 

The royal had stayed in touch with the artist, and was even sketched by him in a portrait made at Buckingham Palace.

REMEMBERING November 2017 : The Crown links Prince Philip to the Profumo Affair: Uproar as new series implicates Duke of Edinburgh in one of Britain's most damaging sex scandals The new series of The Crown links the royal to the Profumo Affair in the early 60s .


It is known that Ward, who was a gifted artist, painted a picture of the Prince. Pictured: The drawing

The Crown links Prince Philip to the Profumo Affair: Uproar as new series implicates Duke of Edinburgh in one of Britain's most damaging sex scandals
The new series of The Crown links the royal to the Profumo Affair in the early 60s
In one scene, the Queen confronts him about his relationship with Stephen Ward – the fixer who ‘procured women’ for leading members of the Establishment
Elizabeth is also shown conspiring to keep the details out of the public domain

By CHRIS HASTINGS FOR THE MAIL ON SUNDAY
PUBLISHED: 22:00 GMT, 25 November 2017 | UPDATED: 07:32 GMT, 26 November 2017


The new series of The Crown has provoked uproar by implicating Prince Philip in the Profumo Affair which scandalised Britain in the early 1960s.

In one fictitious scene, the Queen confronts her husband about the nature of his relationship with Stephen Ward – the high-society osteopath and fixer who ‘procured women’ for leading members of the Establishment.

Elizabeth – played by Claire Foy – is also shown conspiring to keep details of Philip’s involvement out of the public domain.

The new series of The Crown has provoked uproar by implicating Prince Philip in the Profumo Affair which scandalised Britain in the early 1960s. Pictured: Claire Foy as The Queen      +6

The drama’s decision to implicate Prince Philip in one of Britain’s most damaging sex scandals comes just days after the couple celebrated their 70th wedding anniversary.

Historians last night accused the programme – made by American entertainment giant Netflix – of ‘crossing a line’.

The Profumo scandal of 1963 was sparked by the revelation that John Profumo, the then Minister of War, had had an affair with nightclub hostess Christine Keeler while she was also dating the Russian military attache, Yevgeny Ivanov.

Profumo resigned in disgrace and Ward, who had befriended Profumo, Keeler and her friend Mandy Rice-Davies, killed himself before he was sentenced for living off immoral earnings.


It is known that Ward, who was a gifted artist, painted a picture of the Prince. But the new series of The Crown, written by Peter Morgan, goes beyond historic fact in a scene where Philip reacts favourably to Ward’s offer of a weekend away with guests including Keeler and Rice-Davies.

The two men meet in April 1962 when the Prince seeks Ward’s help for neck pain. The pair quickly hit it off when they discover they have a mutual friend in Mike Parker, the Prince’s former Private Secretary who – according to The Crown – led the Prince astray on nights out and Royal visits.

Ward suggests the Prince joins them for a weekend party. Philip is drawn towards a portrait on a mantelpiece. When he asks whose portrait it is, Ward replies: ‘Oh Christine. She’ll be there and Mandy will be there too.’

Philip then replies: ‘Do you know my neck’s feeling better already.’

The episode then leaps forward to 1963 and the breaking scandal in the news. Rumours begin to grow that a ‘mystery man’ photographed with his back to the camera at one of Ward’s parties is Philip. The Queen’s worst fears are compounded when she learns that detectives found a portrait of Philip in Ward’s flat. When the Queen confronts Philip, he insists he never attended any of the parties.

Royal historian Christopher Wilson said the producers of the show were becoming ‘increasingly elastic’ with the truth. He added: ‘I think the show has crossed a line and stepped out of reality into fiction.’

Biographer Margaret Holder said rumours about Philip’s involvement in the scandal persisted to this day. But she said the episode had clearly gone beyond what was a matter of public record.

Christine Keeler was unavailable for comment. But a friend of Keeler said he was unaware that she had ever met Prince Philip.

A spokesman for Buckingham Palace declined to comment.


Duke of Edinburgh features in Profumo affair show
Prince Philip's connections to Stephen Ward, who killed himself over the Profumo affair, are to feature in Andrew Lloyd Webber's new musical.
Duke of Edinburgh features in Profumo affair show
The Duke of Edinburgh may find it hard to ignore the forthcoming show by Andrew Lloyd Webber about the Profumo aAffair
Tim Walker. Edited by Richard Eden7:30AM GMT 02 Feb 2013

The Duke of Edinburgh will, no doubt, overlook a one-woman musical opening on Saturday night, Pat Kirkwood is Angry, which quotes from private letters that he wrote to the late actress.

He will, however, find it harder to ignore the forthcoming West End show by Andrew Lloyd Webber about the Profumo affair.

Mandrake hears that the musical will feature claims about Prince Philip’s connections to Dr Stephen Ward, the society osteopath, who was accused of being a pimp. He killed himself on the last day of his trial on charges of living off the profits of prostitution.

Don Black, the Oscar-winning lyricist, who has written the musical with Lord Lloyd-Webber, claims of Ward’s prosecution: “It was all a put-up job by the Establishment to find a scapegoat and shut him up.

"He had a list of [osteopathy] clients that was like a Who’s Who of fashionable London – everyone from Prince Philip to top showbusiness stars. It was embarrassing for many at the top – he had to be shut up.”

Dr Ward boasted of a 15-year friendship with the Duke, whom he painted at Buckingham Palace in 1961.

The musical, which is due to be read for the first time this month to a select audience of West End figures, will tell the story of the 1963 downfall of John Profumo, who was the secretary of state for war in Harold Macmillan’s Conservative government.

Profumo resigned after admitting that he had lied to Parliament about his role in the scandal, which contributed to the Tories’ election defeat the following year.


Profumo was involved in a sexual relationship with Christine Keeler, a showgirl, who was also sleeping with Yevgeni Ivanov, the senior naval attaché at the Soviet Embassy. They were introduced by Ward.

Wednesday 24 July 2024

Dirty Pop: The Boy Band Scam | Official Trailer | Netflix / ‘Greed, power and fame’: inside pop music’s biggest Ponzi scheme


‘Greed, power and fame’: inside pop music’s biggest Ponzi scheme

 

A new Netflix docuseries spotlights Lou Pearlman, the man behind the Backstreet Boys and ‘NSync – and a criminal mastermind

 

Veronica Esposito

Wed 24 Jul 2024 16.02 BST

https://www.theguardian.com/tv-and-radio/article/2024/jul/24/dirty-pop-netflix-documentary-lou-pearlman

 

With hundreds of millions of records sold, careers that are still thriving in their fourth decade, and admiration from the likes of Taylor Swift, the boy bands the Backstreet Boys and ‘NSync are absolute pop royalty. They were also the creations of one of America’s biggest criminals. It’s this bizarre duality that Netflix’s new docuseries Dirty Pop: The Boy Band Scam explores with energy and style.

 

This is the strange, extremely American story of Lou Pearlman, who got the startup money for his boy band empire by crashing his own blimps, and who eventually built a fortune by masterminding what is widely believed to be the longest-running Ponzi scheme in US history. Dirty Pop masterfully captures the many facets of a man who seemed genuinely delighted to be a part of the bands he lovingly put together, even while acting as the casting director of his own reality, putting the con on everyone from his secretary to powerful politicians and bankers.

 

It begins with a daydream – while assisting New Kids on the Block with an airliner lease, Pearlman is reported to have exclaimed, “I’m in the wrong line of business!” once he learned of the staggering revenues generated by the band. From there he went on a talent search, eventually putting together the group that would become the Backstreet Boys. Once that group reached the heights of pop stardom, he very cannily reasoned that someone would eventually create the Pepsi to his Coke, so why not do it himself – thus ‘NSync became his next big project. A dizzying array of others would follow, including the chart-topping bands O-Town and LFO, Hulk Hogan’s daughter Brooke, and the tween idol Aaron Carter.

 

Yet there was a dark side to the success – all but two of Pearlman’s bands and solo acts ended up suing him, all of these lawsuits resulting in either court losses or settlements. Pearlman also eventually faced criminal charges for conspiracy, money laundering and filing false bankruptcy, being sentenced to 25 years in jail, an almost unheard of sentence for white-collar crimes.

 

Dirty Pop’s deep dive into the complicated reality of bands who owed much of their incredible success to the very genuine relationships they developed with Pearlman, yet who eventually came to see him as a Judas, comes together in the voice of Michael Johnson. A drummer in Pearlman boy band Natural, Johnson ends up becoming a close confidant of the conman, only to later revolt as Pearlman’s facade begins to wither away. (Johnson also serves as an executive producer on Dirty Pop.)

 

“He’s one of the most complex characters that I’ve ever heard of,” Johnson said in a video interview. “The person who caused the death of one of his best friends and stole people’s entire life savings, he also lent me his – or whomever’s – private jet to fly to my grandfather’s funeral, and was there for me when my girlfriend broke up with me. Everything about him was genius, but he applied it in really different ways.”

 

Johnson’s tracing of Pearlman’s arc from father figure to betrayer gives the series a very necessary and potent emotional core, the drummer’s heartfelt testimony driving home the human cost of the mogul’s deceit. “I had a front row seat to that weaponization of that greed, power and fame,” he told me, “how Lou was able to exploit everyone’s dreams. The people I started meeting and caring about in 1998, who never recovered from Lou’s crimes. That effect still really weighs on me.”

 

Pearlman’s story has been told before in various forms, and one thing that distinguishes Dirty Pop is the level of archival research that went into the project. The creators of the series have unearthed a treasure trove of “before they were stars” footage that adds a level of fun and 90s nostalgia – this is, after all, as much a story of what the 90s sounded like as it is the tale of a classic American con artist. “Digging through the archives, we had a thrill almost weekly,” said Johnson. “We’d constantly be talking to each other, saying, ‘Oh my God, did you see that!?’”

 

Dirty Pop also successfully tells the story from multiple sides, granting some insight into how a man like Pearlman could operate and what made him tick. This proves fascinating, especially when these worlds often merge. “There’s this moment when Lou and the Backstreet Boys are singing the Commodores’ Easy at the piano,” said Lance Nichols, an executive producer of the show. “It’s like this guy is running a Ponzi scheme and somehow he’s easy like Sunday morning at the piano with these kids. It’s just surreal to me.”

 

One of the most interesting choices of the docuseries is to essentially deepfake Pearlman by using AI technology to put words from his autobiography, Bands, Brands and Billions, into promo footage of him speaking from home office. “He’s absolutely so unencumbered and full of it in his book, we wanted to include it in some way,” David Fine, a director of the show, said. “This idea arose as do so many good ideas as a passing aside. Michael was like, ‘maybe we just deepfake him,’ and something kind of clicked. I was like, ‘well he was a deep fake,’ I mean he faked so many people out. So I think formally the choice is very rooted in character.”

 

These AI-rendered pieces of Pearlman offer a kind of counterpoint throughout the show, giving a side that feels less performative, and more intimately directed at the viewer, than the public-facing persona. “The words in his book show the reality that he was living in, and for us to go back and check in with Lou’s reality throughout the series was very important,” said Johnson. “Here’s this guy who, maybe he’ll lure you to sleep, maybe you’ll come to believe him,” said Johnson. “It’s like, if he offers you a deal, would you take it?”

 

Wary of the ethics of deepfaking Pearlman, the team brought on a consultant from the MIT Open Documentary Lab and tried to make use of the technology in a responsible manner. “As people who do unscripted nonfiction, I think this is a tool that we can use, if it’s done ethically,” said Nichols. “This is probably a question we’re all going to be dealing with for the rest of our lives. This technology … it’s not going back.”

 

Dirty Pop offers some opportunity to reflect on the kinds of people the celebrity culture enables, and makes one wonder if the next Pearlman isn’t already out there choreographing the rise of the next big pop act. One imagines there will be many more chances to tell this story. “This is a very American tale – you don’t hear of Ponzi schemes in that many other places,” said Johnson. “People are able to feed on the rat race of capitalism, and proximity to celebrity and power is one of the easiest ways to manipulate people. Lou had a way of using these people flawlessly. They would have done anything for him because they wanted to feel cool. He made them feel like they were cool.”

 

 Dirty Pop: The Boy Band Scam is now available on Netflix


Monday 22 July 2024

Lucy Worsley on Samuel Pepsy's dirty diary entries / Samuel Pepys: diarist, administrator … budding fashionista


Samuel Pepys: diarist, administrator … budding fashionista

New analysis of 17th-century diarist’s French fashion engravings shows he was not only a shrewd political operator but had a keen eye for new trends

 


Nicola Davis Science correspondent

Mon 22 Jul 2024 00.01 BST

https://www.theguardian.com/books/article/2024/jul/22/samuel-pepys-diarist-administrator-budding-fashionista

 

He may be best known for his juicy diary, administrative prowess and wandering eye – but new research has highlighted a different side of Samuel Pepys: that of a budding fashionista.

 

A historian from Cambridge University has conducted a fresh analysis of the diarist’s collection of French fashion engravings, arguing they not only show Pepys was keeping up with the scholarly and gentlemanly trend of collecting prints, but reflect a long-term interest in the latest styles of dress, and the link between clothes and social status.

 

“It demonstrates that Pepys had – to put it in very colloquial terms– a finger in a lot of pies,” said Marlo Avidon, whose study has been published in the journal The Seventeenth Century. “[He] was very concerned with appearing a certain way and cultivating this gentlemanly reputation – both in an intellectual capacity but simultaneously as a member of fashionable society.”

 

But Avidon added while these concerns have previously been considered separately, the prints show they are not mutually exclusive.

 

Born in London in 1633, Pepys was the son of a tailor and a washerwoman, who became an MP, secretary to the Admiralty, and president of the Royal Society.

 

But he is perhaps most famous for the diary he kept for almost a decade during the 1660s. As well as offering a first-hand account of a number of momentous events such as the plague and Great Fire of London – during which he buried his wine and parmesan cheese in the garden for safekeeping – it provides fascinating insights into more mundane aspects of daily life.

 

After Pepys’s death, his diary and other papers were bequeathed to his alma mater, Magdalene College, Cambridge. Among them were ballads referencing clothing, and two volumes that contained his collection of French fashion illustrations. Printed between 1670 and 1696 these depicted the latest styles, as modelled by the French elite.

 

While not the first time the prints have been examined, Avidon said her work considers them alongside Pepys’s diary to demonstrate that throughout his life he had a very keen interest in clothing – his own, and that of the people around him.

 

“Even when he stopped writing the diary in 1669, what these prints help us see is that that interest in clothing didn’t necessarily go away, it just manifested in another form,” she said.

 

The diary reveals Pepys could be controlling and overbearing regarding the attire of his wife, Elisabeth, while reflections on his own wardrobe are also carefully noted.

 

Avidon cites one entry of 1663, in which Pepys records a colleague approving of some of his new clothes – including a velvet cloak. As a result Pepys writes he is “resolved to go a little handsomer than I have hitherto”.

 

But not all of his clothes struck the right chord. In 1669 Pepys shelved his new summer suit “because it was too fine with the gold lace at the hands, that I was afeared to be seen in it”. When he did wear it out and about, a colleague criticised the cuffs as being too fancy for Pepys’s position. Pepys subsequently resolved to have the trim removed.

 

Yet, perhaps tellingly, he later bought a print depicting an elite Frenchman bedecked in similar lace cuffs, with ruffles and ribbons.

 

Avidon said Pepys’s diary also reveals his eye for new trends, be it the introduction of periwigs or the emergence of the vest – a precursor to the three-piece suit.

 

The prints not only tie into these interests, Avidon suggested, but provide a lens through which to consider wider social behaviour and cultural attitudes towards French fashion in the late 17th century – including economic concerns regarding textile imports, and moral worries arising from the association of French fashion with vanity and excess.

 

Yet while Pepys criticised Frenchified English fops in his diary – describing one as “an absolute Monsieur” – he also seems to have admired the styles.

 

The prints may even provide a link to Pepys’s later life, with Avidon suggesting the “unsteady, untrained hand” that coloured them could have been that of Mary Skinner, who became Pepys’s housekeeper and mistress after Elisabeth died.

 

Robert Blyth, senior curator of maritime history at the Royal Museums Greenwich, said Pepys had a fascination about the world around him and a desire to be at the forefront of knowledge.

 

“It doesn’t surprise me that this applies to fashion prints as well,” Blyth said, describing Pepys as “a man of the now”.

 

Blyth noted Pepys would not only have seen the latest trends on the streets, but had access to the court of King Charles II where he would have seen high-end fashions.

 

“During the diary, he is a young man. He’s a man about town,” Blyth said. “So he’s continuing this interest in fashion into his middle age.”


Friday 19 July 2024

REMEMBERING 1974: A Wonderful Time: An Intimate Portrait of the Good Life by Slim Aarons

 



A Wonderful Time: An Intimate Portrait of the Good Life Hardcover – January 1, 1974

by Slim Aarons (Author)

From the front flap of this 190 page book: "'A Wonderful Time' captures magnificently the life of America's elite from coast to coast, in Bermuda, the Caribbean, and Acapulco. Drawing from thousands of pictures taken since World War II on assignments for 'Holiday', 'Town & Country', 'Harper's Bazaar', 'Life'. 'Vogue', 'Travel & Leisure', and other publications, Slim Aarons has put together the best of them - many never published before - with a narrative of his experiences and impressions while photographing American aristocrats on their estates and at play at their favorite resorts. Here are the Cushings of Newport, The Fords of Grosse Pointe, and the Rockefellers of New York; here are the kings and queens of Beverly Hills playing croquet, the Cabots sailing off Boston's North Shore, and Barry Goldwarer on the range in Arizona. Here are the Whitneys entertaining on Long Island, the Armours in their pool in Lake Forest, the Klebergs on their Texas ranch. and the scions of Palm Beach, San Francisco, and New York having a wonderful time." And from the rear cover: "'A Wonderful Time' is a book about Snowmass, Tom Watson, Nonie Phipps, Harold Vanderbilt, CeeZee Guest, Commander Whitehead, Lilly Pulitzer, New Orleans, T.S. Eloit, Jamaica, Minnie Cushing, Washington, Damon Gadd, Mrs. Atwater Kent, the Rockefellers, The King Ranch, Merle Oberon, Sugarbush, Cecil Beaton, Scottsdale, Brenda Frazier, Baltimore, Angie Duke, Palm Beach, Eva Gabor, Acapulco, Burl Ives, the Duchess of Windsor, La Jolla, Peter Widener, Babe Paley, Nassau, Roger Lion Gardiner, Mary Hemingway, Stowe, Mike Phipps, Bailey's Beach, Gloria Guinness, The Exumas, Herb Caen, Romanoff's, Mrs. William Randolph Hearst, Jock Whitney, The Bath and Tennis Club, Mary Martin, Aspen, Truman Capote, Hobe Sound, Cobina Wright, Howard Hughes, The Waldorf, Fleur Cowles, Peter Pulitzer, The Myopia Hunt Club, Dolly Fritz, and a lot of other people having a wonderful time."

THE UBER-WASPS ... Slim Aarons, a shameless, wonderful, privileged life by the pool ...















Wednesday 17 July 2024

HER MAJESTY'S BODYGUARD OF THE HONOURABLE CORPS OF GENTLEMEN AT ARMS

Her Majesty's Bodyguard of the Honourable Corps of Gentlemen at Arms is a bodyguard to the British Monarch. Until 17 March 1834 they were known as The Honourable Band of Gentlemen Pensioners.


Formation
The corps was formed as the Troop of Gentlemen in 1509 by King Henry VIII to act as a mounted escort, armed with spear and lance to protect the sovereign, in battle or elsewhere. Henry decided to have "this new and sumptuous Troop of Gentlemen composed of cadets of noble families and the highest order of gentry as his personal Body Guard or "Nearest Guard"".

As his Body Guard it accompanied Henry to France in 1513 and took part in the Battle of Guinegate (better known as the Battle of the Spurs) and then at the Field of Cloth of Gold in 1520. In 1526, they became a dismounted bodyguard armed with battleaxes. They last saw service in battle during the English Civil War (during which a Gentleman Matthews saved the Prince of Wales at the Battle of Edgehill (1642) from one of the Earl of Essex's troopers). They were always intended as a primarily ceremonial unit, but were on regular duty until the 19th century.

Under Henry VIII the Troop of Gentlemen varied in size, according to funding available. As the "Nearest Guard" to the Monarch the unit attracted an aristocratic and aspiring membership, which could be utililsed as a cadre of young officers when levies were raised for overseas service[1].

Duties
Today, the duties are purely ceremonial - the Gentlemen attend the Sovereign at various ceremonies, including state visits by Heads of State, the State Opening of Parliament and the ceremonies of the various orders of chivalry, including the Order of the Garter. The Gentlemen now parade for the State Opening of Parliament, state visits, Royal Garden Parties, the Garter service, Diplomatic Corps receptions, royal weddings, coronations, the Investiture of the Prince of Wales, and lying in state. They also have three mess dinners annually.

Officers and administration
The Corps today consists of five Officers (the Captain, the Lieutenant, the Standard Bearer, the Clerk of the Cheque and Adjutant and the Harbinger) and 27 Gentlemen. The senior Officer is the Captain, a political appointee who is now always the Government Chief Whip in the House of Lords. The senior permanent officer is the Lieutenant. The Clerk of the Cheque and Adjutant issues all orders to the Corps. The Harbinger runs the Mess and assists the Clerk. The Mess, at St. James's Palace, is run by a permanent Axekeeper and Butler also assisted by The house keeper. All Officers (except the Captain) must have served in the Corps prior to promotion to officer rank. In the 1600s there was also the office of Paymaster of the Honourable Corps of Gentlemen at Arms and Co-Paymaster of the Honourable Corps of Gentlemen at Arms.

Membership and age limits
All subordinate officers, and all Gentlemen, must be under the age of 55 years on joining, and are on average 52. The Gentlemen retain their prior military ranks (currently most rank between major and colonel). They must retire at 70 years, thus giving an average age of approximately 61 years.

Although all Gentlemen are retired officers, uniquely one recent member was also a clergyman. Colonel the Reverend Richard ("Dick") H. Whittington, MBE joined the Corps in 1999 after retiring from the Corps of Royal Engineers. He had been ordained a deacon in 1993 and a priest in 1994. He was Chaplain of the Royal Hospital Chelsea.

Uniform
The uniform is that of a Dragoon Guards officer of the 1840s. It has a skirted red coat with Garter blue velvet cuffs and facings embroidered with the Tudor royal badge of the portcullis. Helmets with white swan feather plumes are worn when on duty, even in church. Officers wear, in addition, gold aiguillettes, and carry sticks of office - gold for the Captain, silver for the Lieutenant, Standard Bearer and Clerk of the Cheque, and ivory for the Harbinger - which they receive from the Sovereign on appointment. Cavalry swords are worn, and long ceremonial battle-axes, over 300 years old, are carried by all the Gentlemen.

Standard
The corps' carries a standard, similar to that carried by cavalry and infantry regiments of the British Army, upon which is mounted the corps' various accoutrements and a selection of its battle honours. In the case of the Gentlemen at Arms, this is a swallowtailed standard of crimson edged in gold. The cross of St George is at the hoist. Next to this is the royal cipher of the reigning monarch, with the name of the corps ("Gentlemen at Arms") put diagonally from top to bottom. Between the two pieces of text is the corps' portcullis badge, while at the end of the standard are a selection of battle honours.[2] In 2009, at a celebration of the Corps' 500 years of personal service to the Sovereign, HM The Queen presented a special riband to be displayed on the Standard.[3]






What happens during the State Opening of Parliament?

Monday 15 July 2024

A Gentleman’s London, Episode Sixteen: Berry Bros. & Rudd

Berry Bros. & Rudd. London.




Berry Bros. & Rudd is one of Britain's oldest wine and spirit merchant: in 1698 it opened its doors for the first time at 3 St. James's Street, London, United Kingdom, and today it continues to trade from the same premises. The company also has a discounted store in Basingstoke, Hampshire and offices in Japan, Hong Kong and Shanghai.
Founded by the widow Bourne, the company has supplied the Royal Family since the reign of King George III. Berry Brothers & Rudd was his wine supplier then. First they sold coffee, and then coco, tea, snuff, spices, anything that was considered exotic and new, and became one of London's premier grocers. The proximity to St. James's Palace and the fashionable area they were in also helped.
A first Royal Warrant of Appointment was granted in 1903 by King Edward VII. Queen Elizabeth II granted her royal warrant in 1995, Charles, Prince of Wales granted his in 1998. Customers have included Lord Byron, William Pitt the Younger and the Aga Khan.
In 1923 it created the Cutty Sark Scot's whisky. The brand was sold to The Edrington Group in 2010. Under the deal, Berry Bros & Rudd acquired The Glenrothes single malt brand from Edrington.

Simon Berry of Berry Bros & Rudd: 'We didn’t get something right in 1698 and cling to it. You have to adapt.' Photograph: Martin Godwin for the Observer



Berry Bros & Rudd: ready for new growth after maturing for 300 years
The Mayfair wine merchant, family run since 1698, is a venerable model for 'non-predatory' capitalism to follow.

Zoe Wood
The Observer, Sunday 26 February 2012


Squint through the elegant arched windows of Berry Bros & Rudd's famous store in London and you half-expect to see sombre clerks using quills to scratch orders in the giant ledgers that fill its shelves.
But while the interior of the capital's oldest wine merchant, with its high panelled walls and cosy back parlour, has changed little since the shop opened more then 300 years ago in Mayfair, the family-owned business is preparing for a new era. The swollen ranks of Berrys, Rudds and in many instances new branches of the clans called "something completely different" means the ownership structure will have to change.
"There are 50 in the next generation," says chairman Simon Berry, who is a scion of the seventh generation. "We are looking very seriously at how to cope with this and at the different models used by other family businesses."
Berry says the family motto is "never stop changing": "We didn't get something right in 1698 and cling to it. You have to adapt; that is what family businesses are good at."
The store, No 3 St James's Street, is a postcard from Georgian London with the worn, uneven floor testament to the passage of the years. The dark wood and high desks make it feel like a club you need to pass wine exams to enter.
"Some people think the shop might be intimidating and if they pronounce the name of the wine wrong we will say 'off you go to Oddbins'," jokes Berry.
The price range of the thousands of wines on sale spans "supermarket top shelf" to "sharp intake of breath": two selections at random from the burgundy list might be a "zippy and lip-smackingly fresh" Maison Roche de Bellene that would give you change from a £20 note, or a £118 bottle from premier-league appellation Charmes-Chambertin.
The political debate about "predator" capitalism has seen alternative ownership models such as employee-owned John Lewis attract renewed respect – not least as a growing number of private-equity-backed firms sink under the weight of their debts. Dr Ajay Bhalla at Cass Business School in London says family businesses typically "don't grow very fast" but their willingness to invest over the long term means there is less "boom and bust". He highlights success stories such as Merck, the German pharmaceutical giant, and Warburtons the bakers. It is important that the next generation of owners is apprenticed in the business, rather than arriving out of the blue with an MBA, says Bhalla.
Fifty-year-old Berry, who started visiting the shop when he was five, became chairman after 30 years' service, in addition to several years working for wine producers such as Moët & Chandon and Mouton-Rothschild. "Family businesses don't exist to give jobs to unemployed members," says Berry firmly.
This commitment is perhaps one reason why the company has been able to weather both the South Sea bubble and the credit crunch. The walls of the parlour at the back of the store offer a walk through history, with framed prints of Spy caricatures from Vanity Fair lampooning the politicians and aristocrats of days gone by – ranging from a prelapsarian Duke of Windsor to the Aga Khan – who were also its monied clientele. There is also a gallery of Berrys and, later, Rudds, including Berry's great-great-great grandfather George, who boasts formidable sideburns.
"For a family business to survive you have to be very professional and go out and recruit the best non-family executives," says Berry, reeling off a list of outsiders including managing director Hugh Sturges and former Allied Domecq chief executive Philip Bowman. And ideas on how to integrate future family members into the business include forbidding those who don't work for Berry Bros, which last year had sales of £215.8m, from owning shares, or drawing up a code setting out stiff conditions to be met when applying for a post.
Last year's decision to sell Cutty Sark, the whisky brand it created in 1923, was "family led", says Berry, explaining: "We sold Cutty Sark while it was still profitable. We don't have the advertising budget to support an international brand so it was likely to be squeezed out."
Now it is concentrating on a diverse portfolio of luxury brands that includes The Glenrothes single malt, "No 3" London gin, liqueur The King's Ginger and its most recent addition, Pink Pigeon: an "ultra-premium" vanilla rum from Mauritius aimed at nightclub-goers.
"In a drinks portfolio you have to spread your bets," Berry says. "We were interested to see if the team we had could create something sexier."
Berry Bros, which is predominantly a mail-order business, tends to have regarded new technology as an opportunity. In 1994 it became the first wine merchant to launch a website and over the years has embraced blogging, social networking (sales director Simon Staples, "@BigSiTheWineGuy", has 3,700 Twitter followers) and launched the Berrys' Broking Exchange, an "eBay for fine wine" that lets customers sell and buy wines stored privately in temperature-controlled cellars in Basingstoke.
The web, says Berry has made wine "more democratic". "It offered customers who were fearful of seeming ignorant grateful anonymity. They can ask their questions to a computer screen."
Bhalla says strong "family governance" is key to successful founder-run companies: "How does a family view its role in the business? Is it there to spend or be a guardian of the wealth?"
Whatever the difficulties Berry Bros may face in the future, a family schism of that type is unlikely to be a problem. "We have disagreements but tend not to have rows," Berry says. "We have never had a vote: we reach a consensus."

TIMELINE

1698 Established at 3 St James's Street, initially as a grocer.

1765 Weighing customers on the shop's giant coffee scales begins, with Pitt the Younger, Beau Brummell and Lord Byron among those taking advantage of the free service.

1903 Although the shop has supplied royalty since George III's reign, it is Edward VII that awards its first royal warrant. It creates a ginger brandy later renamed "The King's Ginger Liqueur" after the royal doctor requests something to ward off the cold when the king is out in his "horseless carriage".

1920 Major Hugh Rudd, son of a Norwich wine merchant, joins the Berrys.

1923 Firm creates Cutty Sark whisky.

1967 Becomes first independent wine merchant to open temperature-controlled cellars outside London, at Basingstoke in Hampshire.

1994 Launches website www.bbr.com.

1998 First overseas premises opened in the Old Corporation Weights and Measures building in Dublin.

2005 Simon Berry becomes chairman.

2010 Berrys' Broking Exchange (BBX) debuts on the website.









Thursday 11 July 2024

I found these trophies during my last visit to London.


 

I found these trophies during my last visit to London.

These were all found in second hand shops.

Cuff links, From Top:

  • Ireland
  • St Andrews Scotland
  • Kings College Cambridge



Christ's College was founded by William Byngham in 1437 as God's House, on land which was soon after sold to enable the enlargement of King's College. Byngham obtained the first royal licence for God's House in July 1439. The college was founded to provide for the lack of grammar-school masters in England at the time, and the college has been described as "the first secondary-school training college on record".The original site of Godshouse was surrendered in 1443 to King's College, and currently about three-quarters of King's College Chapel stands on the original site of God's House.

 

After the original royal licence of 1439, three more licences, two in 1442 and one in 1446, were granted before in 1448 God's House received the charter upon which the college was in fact founded. In this charter, King Henry VI was named as the founder, and in the same year the college moved to its current site.

 

In 1505, the college was endowed by Lady Margaret Beaufort, mother of King Henry VII, and was given the name Christ's College, perhaps at the suggestion of her confessor, the Bishop John Fisher. The expansion in the population of the college in the seventeenth century led to the building, in the 1640s, of the Fellows' Building in what is now Second Court.




Harvard Club of Boston

The Harvard Club of Boston is a private social club located in Boston, Massachusetts. Its membership is open to alumni and associates of Harvard University, Massachusetts Institute of Technology, Yale University, and Fletcher School of Law and Diplomacy at Tufts University.The Back Bay Clubhouse is located in Boston's historic Back Bay neighborhood, at 374 Commonwealth Avenue.

The Harvard Club was founded by a group of 22 Harvard University alumni in 1908. The original dues were $5.00 per year, and by the end of the year, more than 1,200 members had joined. The first president, Henry Lee Higginson, was also the founder of the Boston Symphony Orchestra. In 1909, the Club established its first scholarships, awarding grants of $200 to local high school students who would be attending Harvard. One of the first recipients of these scholarships, James Bryant Conant, went on to become the 23rd president of Harvard. In 1912–1913, the Club decided to construct a clubhouse, the Back Bay Clubhouse at 374 Commonwealth Avenue. In 1925, eight squash courts were built. During the Great Depression the Club acted as an employment agency, posting a list of positions needed by members who were out of a job. During World War II, cots were placed in these courts and lodging was offered to military officers at the cost of $1.50 per night.

 

In 1971, women, once limited to dining in the women's annex while the men dined in Harvard Hall, were welcomed as full and active members for the first time in the Club's history. In 1976, the Downtown Clubhouse was purchased at One Federal Street, providing a location more convenient to most of Boston's offices.

 

21st century

In 2003, the Downtown Clubhouse underwent a $2.5 million renovation.In 2015, a $16 million renovation of the Back Bay Clubhouse was completed, providing members with new dining spaces, a wine room, enhanced function and member spaces, renovated overnight rooms, a new elevator, and upgraded athletics center.

 

In 2016, after 108 years, the Club elected its first female President, Karen Van Winkle, a Harvard College alumnus and native of Cambridge, Massachusetts. Ms. Van Winkle's three-year term, ushered in a new era for the organization as it grows and diversifies its membership and enhances its presence in Greater Boston.

 

In 2016, the Club was named a Platinum Club of America, an award given to only the top 4% of private clubs nationwide. In 2017, Harvard Hall at the Back Bay Clubhouse was named "Best Ballroom" in the city by Boston magazine. And, in 2018 the Club was named a Platinum Club of the World – the only private city club in New England to achieve this distinction. The Club presently includes approximately 5,000 members living in 40 countries around the globe.


Wednesday 10 July 2024

Sartoria italiana. Uno sguardo nel mondo dei grandi sarti italiani.

 


Sartoria italiana. Uno sguardo nel mondo dei grandi sarti italiani. Ediz. illustrata Copertina rigida – Illustrato, 14 giugno 2018

di Yoshimi Hasegawa (Autore), Luke Carby (Fotografo), Maria Valeria Caredda (Traduttore), Flora Bonetti (Traduttore)

Italian haute couture and its major protagonists. Haute couture is a tradition of excellence in our country. The clothes, especially those of men's tailoring, are in fact real works of art, which hide the secrets and history of the city in which they are produced and are the result of a long sartorial tradition made of elegance and taste, where even the smallest detail is executed with the utmost care and attention. In fact, tailor-made clothes and shoes involve the meticulous execution of measurements on the customer and the transformation of those measurements into a perfect garment, thanks to the skilful craftsmanship of the tailors and the refinement of the fabrics. A long and masterful work for a unique style that is recognizable at first glance. Introduced by the chapter dedicated to Vitale Barberis Canonico (the famous Made in Italy company that has been producing fabrics since 1663) and divided into four sections (northern Italy, central Italy, southern Italy Naples and southern Italy Bari and Palermo), the book presents 27 historic tailors in Italy and their major protagonists (from Donnadio to Musella Dembech,  from Liverano&Liverano to Rubinacci and Attolini, from A. Caraceni to Ciardi and Pirozzi) in a complete guide through Italy, from north to south, to discover haute couture and tailors who have shaped the Italian style known all over the world.