[…]e telling me the trouble he had with him. But he be he produced a satisfactory schmaltzy sort of visuals. Yes. Which became it was played a lot on it radio played two and three. And ifTeddy Davis 34:31 you stop me just for a second, can you Dave, can you stop it just for a second?Norman […]
[…]rica. Colour, show on film, rather than a tele recording. Or they may have gone to, I mean, Belgium television. Unless you’re a film researcher RTBF [Radio Télévision Belge Francophone] has the most incredible archive of musical, including a great deal of jazz. He’s got John Coltrane, some of the be[…]
[…] and work elsewhere so I’ll need a ticket’, you know what I mean. So, so there were those areas of friction and there was some friction in commercial radio a bit but it wasn’t very, very significant so that’s what they were like. And NATKE was really, what was NATKE? NATKE was really just [Paus[…]
[…]them. We weren't able to prove that there was any increased risk of cancer in the future in the future, but we could do to evidence from the National Radiological Protection Board and submit evidence from Sweden, but we were able to recover compensation for the injuries that they suffered. I also de[…]
[…]terviews became part of what the Sound Archive was able to give access to and the result of that has been some joint programming as part of the BBC’s Radio Centenary programming over the last four years.Before we leave oral history I should also complete the circle and say that another of Kay Gladst[…]
[…]d film. (TIME 27.09)DARROL BLAKE: Simon Cherry, The Man in Black even before PC.49. RENÉE GLYNNE: Ahh, even before. So, they were radio spin-offs and amusing and competently shot, well lit. The rest of the film industry laughed at us. Youcouldn’t say you were working for Hammer. […]
[…]y connections with it. I’m sure there were. The Shiers Trust, S-h-i-e-r-s? That’s it. Administered by The Radio, mm, Television Society’s History, History Group? No. No. I can’t... Okay. That means not[…]
