Michael Colomb

[…]ourse, the RE 321, which was the EMI made in conjunction with P and ID. I think a lot of input went on into it, though they suffered a lot from their design or their input stages. Oh, they were used for sound radio, of course, close mic techniques. And if you haven't got a mixer or something to pump[…]

Nick Ardizzone

[…]hink to that, going to college as I did first off in the in the late 50s to a very good art school, where I studied initially fine art and then later design. Although I ended up doing nothing really directly concerned with the courses I did. I had in the meantime learned things like colour, composit[…]

Alexander Faris

[…]other nights of ballet at the GardenTd: Was La Vie Parisienne also Wendy ToyeAlexander Faris: Yes. We were regarded as a team and Malcolm Pride again designed it. We were a sort of 3 some.Td: How did you get into ballet conducting.Alexander Faris: I can't remember, I can't quite remember. I'd conduc[…]

Pamela Mann-Francis (nee Mann)

[…]d round to various plantations, tea plantations, the Art Department was reasonably... when Don Ashton was art director, which would now be production designer. And they did have a company of civil engineers in to actually build the bridge, because the bridge was, in fact, I mean, fairly rickety, but[…]
Scroll to Top