Podcast appearances and mentions of Diana Dors

Welcome to the official Talking Pictures TV podcast - the podcast brought to you by the viewers of the nation's favourite archive tv and movie channel. Lots in store this week including classic French comedy starring Jaques Tati, classic British comedy from Sid James and Arthur Askey, 1950s British sci fi, a controverial movie from the mid sixties starring Oliver Reed and back to the 1930s for a little bit of Edward G Robinson  And wait for it, a prison escape drama starring Thora Hird. That's right -  Thora Hird behind bars in Women Without Men from 1956. Plus music from Diana Dors and Nat King Cole as well as a very special announcement for fans of the legendary Hammer studios. 

Jim reflects on the final anthology film by Amicus Productions - 1974's "From Beyond The Grave," starring Peter Cushing, David Warner, Wendy Allnutt, Rosalind Ayres, Marcel Steiner, Ian Brennen, Donald Pleasence, Angela Pleasence, Diana Dors, John O'Farrell, Ian Carmichael, Margaret Leighton, Nyree Dawn Porter, Ian Ogilvy, Lesley-Anne Down, Jack Watson, Ben Howard and directed by Kevin O'Connor. Four stories centering around a strange curio shop are woven together nto a tale of the fantastical. Find out more on this episode of MONSTER ATTACK!, The Podcast Dedicated To Old Monster Movies.    

Jim reflects on the final anthology film by Amicus Productions – 1974’s “From Beyond The Grave,” starring Peter Cushing, David Warner, Wendy Allnutt, Rosalind Ayres, Marcel Steiner, Ian Brennen, Donald Pleasence, Angela Pleasence, Diana Dors, John O’Farrell, Ian Carmichael, Margaret Leighton, Nyree Dawn Porter, Ian Ogilvy, Lesley-Anne Down, Jack Watson, Ben Howard and directed by […] The post From Beyond The Grave | Episode 406 appeared first on The ESO Network.

Diana Dors was  a unique figure in British film as her blend of glamour, personality and acting talent woved both the tabloids and cinemagoing public alike. Ian is joined by Dors biographer  Anna Cale to discuss her life, legacy and, of course, three of her best films. Tread Softly Stranger (1958). Directed by Gordon Parry. Written by George Minter and Denis O'Dell from the play by Jack Popplewell. Starring Diana Dors, George Baker and Terence MorganValue for Money (1955). Directed by Ken Annakin. Written by R.F. Delderfield and William Fairchild from the book by Derrick Boothroyd. Starring Diana Dors, John Gregson and Susan Stephen. Yield To The Night (1956). Directed by J. Lee Thompson. Written by Joan Henry and John cresswell. Based on the book by Joan Henrty. Starring Diana Dors, Yvonne Mitchell and Michael Craig. Anna Cale is an arts and culture writer who specialises in classic film and television. She has written for a number of publications and websites, including Little White Lies, Film Stories and the British Film Institute, and has also appeared on Radio 4 and Channel 5. Her writing subjects are wide ranging, but she has an interest in British cinema of the 1940s, 50s and 60s, and in particular showcasing the role of strong female voices in film culture.

This time on BTSWCE we're chatting with TV Executive Producer and King of Saturday Nights on Channel 5, Simon Withington, about his role in putting together the newly published autobiography of his best friend, actor, singer and showbiz personality - Jess Conrad OBE. The book is called “From Blitz to Glitz” and Simon talks about the collaborative writing process, his diligent research and gives us a tantalising flavour of the colourful anecdotes and vivid memories that Jess recalls from his astonishing, non-stop 70-year career in the spotlight. Diana Dors, The Krays, Cilla Black and Roger Moore are just a few of the famous faces who have featured in the life of Jess Conrad. We find out how a Teddy Boy from South London became a ‘60s pop singer, actor and the first person ever to play the lead role in Joseph and his Amazing Technicolour Dreamcoat. “From Blitz to Glitz” is published by Oak Tree Books.                                      ⁠https://www.amazon.co.uk/stores/Jess-Conrad/author/B0CSM1W12D?ref=sr_ntt_srch_lnk_1&qid=1708711707&sr=8-1&isDramIntegrated=true&shoppingPortalEnabled=true⁠ Simon's accompanying documentary can be found here: ⁠https://www.amazon.co.uk/Jess-Conrad-Blitz-Glitz/dp/B0CN95RYVX/ref=sr_1_1?crid=1O84HP6CFIERA&dib=eyJ2IjoiMSJ9.vous4XOl8utw4UJ6KTF6SQ.91_bCnloVkkW8Npd8338ID30Hu91zTIBwVURj8rwpt0&dib_tag=se&keywords=from+blitz+to+glitz+jess+conrad&qid=1708605060&s=instant-video&sprefix=from+blitz+to+glitz+jess+conrad%2Cinstant-video%2C162&sr=1-1⁠ Support the podcast by becoming a Patron: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/BEHINDTHESCENESWITHCOLINEDMONDS⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Colin Edmonds socials ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook: colin.edmonds.73⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: colinedmondsssm⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter:@ColinEdmondsSSM⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website: https://www.steamsmokeandmirrors.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Listen to all episodes of the podcast available on; ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon Music⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Audible⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ BOOKS Buy Steam, Smoke and Mirrors ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Available at Caffeine Nights⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Available at Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Available on Audible⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Buy The Lazarus Curiosity: Steam, Smoke and Mirrors 2 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Available at Caffeine Nights⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Available at Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Available on Audible⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Buy The Nostradamus Curiosity: Steam, Smoke and Mirrors 3 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Available at Caffeine Nights⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Available at Amazon

Behold – the late, great Edward Lionheart, a Shakespearean actor whose performances in Julius Caesar, Troilus and Cressida, Othello, Cymbeline, and others left him the laughingstock of London theatre critics, is dead.  And yet somehow, someone is knocking off said critics one at a time in truly Shakespearean fashion… albeit with slight alterations to the text.  Shylock may have wanted his pound his flesh – this killer takes the heart.  Joan of Arc might have burned at the stake – this killer fries his victims in a hair salon.  Peregrine Devlin, head of the London Critics Circle, is baffled, as are the police.  And yet – the order of the killings bear a striking resemblance to Lionheart's last repertory season.  What's going on with the Thames-side meths drinkers that have taken up residence in the crumbling Burbage Theatre?  And what might Edward's daughter, Edwina, have to do with everything?  Friends, Romans, Countrymen, lend us your ears – for herein lies the tale of the deceased actor who set out to exact revenge, and succeeded, and the rest – is silence. Intro, Debate Society, Hot for Teacher (spoiler-free): 00:00-26:10Honor Roll and Detention (spoiler-heavy): 26:11-1:07:38Superlatives (spoiler-heavier): 1:07:39-1:28:17 Director Douglas HickoxScreenplay Anthony Greville-Bell, based on an idea by Stanley Mann and John KohnFeaturing Harry Andrews, Coral Browne, Robert Coote, Diana Dors, Jack Hawkins, Ian Hendry, Joan Hickson, Michael Hordern, Arthur Lowe, Robert Morley, Milo O'Shea, Dennis Price, Vincent Price, Diana Rigg, Eric Sykes Ben Viccellio is an actor, writer and Associate Professor of Drama & Film at Kenyon College. His acting credits include the role of Oedipus in Frank Galati's Oedipus Complex at The Goodman Theatre; Cherry Orchard, Theatrical Essays, and the world premiere of Men of Tortuga at Steppenwolf; the role of Petruchio in Short Shakespeare: Taming of the Shrew, Macbeth in Short Shakespeare: Macbeth, and Guildenstern in Hamlet at Chicago Shakespeare Theatre.  Ben has also also acted for film and television, as well as in the odd commercial... some of them, he claims, very odd. His writing for the stage has been produced in Chicago, Los Angeles, New York and Aspen. Our theme music is by Sir Cubworth, with embellishments by Edward Elgar.  Music from Theatre of Blood by Michael J. Lewis. For more information on this film (including why the Professor chose it, on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Our Blog⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), the pod, essays from your hosts, and other assorted bric-a-brac, visit our website, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠scareupod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Please subscribe to this podcast via Apple or Google Podcasts, Spotify, or wherever you get your podcasts. If you like what you hear, please leave us a 5-star rating. Join our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ group. Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Nothing but the Night is a 1973 British horror film directed by Peter Sasdy and starring Christopher Lee and Peter Cushing. It is based on the 1968 novel of the same name by John Blackburn.A commercial failure, the film was the only production of Charlemagne Films, cofounded by Christopher Lee and Anthony Nelson Keys (producer of may Hammer films, this was his last listing on IMDB). #BigChrisLee and Charlemagne Films optioned two other books by John Blackburn, "Portrait of Barbara" and "Bury Him Darkly", which were envisioned as sequels to this movie, with Lee re-creating the role of Colonel Bingham, but it didn't work out. They also optioned some of Dennis Wheatley's books, but only "To the Devil a Daughter" was ultimately made by "Hammer."Peter Sasdy Also directed Taste the Blood of Dracula, Countess Dracula, Hands of Ripper, The Stone Tape AND both series of Adrian Mole.Screenwriter Brian Hayles Wrote six stories for "Doctor Who" and created the Celestial Toymaker (Recently brought back in the 60th anniversary episodes), the Ice Warriors, introduced in 1967, and the feudal planet Peladon (setting for 'The Curse of Peladon' and its sequel 'The Monster of Peladon').Along with Lee and Cushing the film also features:Diana Dors as Anna HarbDors (real name Diana Mary Fluck) came to public notice as a blonde bombshell, was promoted by her first husband, Dennis Hamilton, mostly in sex film-comedies and risqué modelling. After it was revealed that Hamilton had been defrauding her, she continued to play up to her established image, and she made tabloid headlines with revelations of the celebrity sex parties reportedly held at her house (with then boyfriend Bob Monkhouse). Georgia Brown as Joan FosterWho's breakthrough role was Nancy in Oliver!, a role she created in the original 1960 London production. But is most memorable to your hosts as Helena Rozhenko, Worf's adoptive mother in Star Trek: The Next Generation ("New Ground" and "Family".Keith Barron as Dr. HaynesFamous for playing David Pearce in the ITV sitcom Duty Free also featured in the Doctor Who story Enlightenment, replacing Peter Sallis who was unavailableGwyneth (Cassandra Trotter) Strong as Mary ValleyAlso appeared in the "Observation" segment about detective Samantha Smith made for the 1990 series of The Krypton Factor,Fulton (Poridge) Mackay as Cameron John (Quatermas)Robinson as Lord FawnleeMorris Perry as Dr. YeatsMichael (Dumbledoor) Gambon as Inspector GrantDuncan Lamont as Dr. KnightShelagh (Aunt Beru ) Fraser as Mrs. AlisonKathleen Byron as Dr. RoseAndrew McCulloch as Malcolm Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

We're back with another book you should have on your Christmas list - a director from the classic era of Doctor Who shares his memories. Andrew Morgan has a chat with our Kenny about his career and working on Doctor Who - as well as mentions of Diana Dors, joints and pouring gin down a sink. Kenny and Dave also share their love of Andrew's work on Time and the Rani and Remembrance of the Daleks.

Screenwriter Stuart Wright talks to author and arts and culture writer ANNA CALE about the writing of her book THE REAL DIANA DORS, the Bill Forsyth podcast series TEN THOUSAND GRAINS OF SAND and "3 Films That Have Impacted Everything In Your Adult Life"SATURDAY NIGHT AND SUNDAY MORNING (1960)HIS GIRL FRIDAY (1940)LOCAL HERO (1983)THE REAL DIANA DORS, published by White Owl Books is now available to order from your favourite independent book shops, Waterstones, Foyles and Amazon. https://www.pen-and-sword.co.uk/The-Real-Diana-Dors-Hardback/p/19091 Listen to her Bill Forsyth podcast series TEN THOUSAND GRAINS OF SAND at https://open.spotify.com/show/4Xo7IJ6eULRaaQfyvrbRNs?si=a31a68122b624413"3 FILMS THAT HAVE IMPACTED EVERYTHING IN YOUR ADULT LIFE" is a podcast by screenwriter Stuart Wright that explores the transformative power of cinema. From emotional masterpieces to thought-provoking classics, each episode delves into the films that have had a profound impact on our personal growth and perspective. Through engaging storytelling, critical analysis, and cultural commentary, Stuart aims to uncover the lasting influence that movies have had on his guests. Please join him on an emotional journey through the world of film and discover how just three movies can change the direction of a life, cement memories you will never forget or sometimes change how you see the world."3 FILMS THAT IMPACTED EVERYTHING IN YOUR ADULT LIFE is about those films that made you fall in love with film. The guest selects their trio of movies and we talk for 5 minutes, against the clock. When the ALARM goes off for five minutes we move onto the next film.Please consider leaving a five-star review wherever you get your podcasts if you enjoyed this. It really helps the Britflicks Podcast grow and others to discover it.CreditsIntro/Outro music is Rocking The Stew by Tokyo Dragons (www.instagram.com/slomaxster/Podcast for www.britflicks.com.Written, produced and hosted by Stuart WrightSupport this podcast at — https://redcircle.com/britflicks-com-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

* Mia Wasikowska talks Blueback, playing a child of environmentalists who struggles against corporations destroying ocean life * Poet Connie Norgren reads recent poems * Bro on Diana Dors vs. Marilyn Monroe * An International Women's Day arts celebration

BREAKING GLASS hosted by Dennis Broe. Tuesday and Friday at and 13:00 pm CET. Dennis Broe presents an overview of TV series shows and events. This week's Breaking Glass is on the differences between British and America cinema in the 1950s in the class solidarity of Diana Dors and the obscuring of class in the persona of Marilyn Monroe. 

‘The Poacher' - A fop arrives, our plans to work with Diana Dors, pop star bin work and jigsaws, and a magnificent wig description. Join the Iron Filings Society: https://www.patreon.com/topflighttimemachine Hosted on Acast. See acast.com/privacy for more information.

Our wonderful Government.....you couldn't make it up......I haven't got a clue what is going on and neither have they. I am enjoying the women's rugby league.......great win against France....and the England men's team were brilliant.....then we have the football with Liverpool beating Man City followed by fans throwing stuff at Klopp and him getting a red card on the touchline.............the game needs sorting ... it is slowly getting out of hand.................... stupidity is also creeping into the junior game with parents attacking the referee for giving a red card etc to one of their kids.....it's a football match...that's all....mind you one town has cancelled certain games for the rest of the season because of low life behaviour....which is one answer.... I watched the TV Awards.....what a load of rubbish.....I had to laugh at the award for the best presenter with Bradley Walsh looking confident as he presents more programmes than anyone in history.......and guess who won it for the 21st consecutive time....yes...Ant and Dec.....Bradley's face was a treat......TV doesn't get much worse. Then we have our weekly dose of Strictly Come Dancing in which I do enjoy watching the skills of the pro dancers but they always have to alter things...WHY.....now we have two blokes dancing with each other and two women dancing with each other....which is not good....PLUS we now have to be subjected to sob stories from contestants which have nothing do with the contest....the format was perfect as it was. I would like to feature the Diana Dors song this week...."I've Sen and Done it All

I find it very strange referring to our new king as King Charles ....and to hear the National anthem as God Save The King......we haven't seen a lot of him up to now but I'm sure he will find his feet.....but it's a tough act to follow. Liverpool has been chosen to host the 2023 Eurovision Song Contest in place of Ukraine.....so that should bring a few quid into the city. Ken Bruce on Radio 2 has featured Brian Blessed as his guest and he picks his favourite records each day through the week.....what an interesting bloke.....apart from his amazing acting career he has climbed Everest amongst many other adventures....I remember him starting out in Z Cars back in the day. I also watched a documentary soon Diana Dors which was fascinating......I wrote a song for her, which she recorded, when I was signed to a London record company back in the 70s which I have only recently heard for the first time.....watching this documentary was quite emotional as I actually spoke to her on the phone. There is a new series coming on the T.V. called "The Larkins"....staring guess who...Bradley Walsh.....so he is now on The Chase every day...plus Blankety Blank...plus Law and Order....plus Breaking Dad (with his son)....plus Coronation Street....not to mention Dr.Who....plus hosting the Palladium...plus a string of past quiz shows.....wont be long before it's Sir Bradders. Just when you though that Brad's diary must be full out he comes with an album of old classics.....he's not a bad singer so I thought he deserves a bit of publicity as we don't see much of him....so here is a song off his album. "Get Happy."...by Bradley Walsh and The Bradettes

In the fourteenth episode of Season 7 (Fantastical Realities) Kyle is joined by screenwriter David Gutierrez and writer August Gummere to discuss the vibrantly colorful and community driven immersion into the Jewish emigre center of Post-War London that dabbles in the preservation of fantasy in Carol Reed's lesser known A Kid for Two Farthings (1955).

Ellen and Mark examine the legacy of the quintessential blonde bombshell ahead of the release of Marilyn Monroe biopic Blonde. Mark speaks to Blonde's director Andrew Dominik and US pop culture critic Angelica Jade Bastien about the very different personal connections both feel to Monroe and the reasons for her enduring star power. Meanwhile, Ellen explores some of the bombshells compared to Monroe on this side of the Atlantic. She speaks to Diana Dors biographer Anna Cale about how the label of 'the British Marilyn' affected Dors' varied and colourful time in the spotlight. And she learns about the elusive and often tragic careers of British starlets including Belinda Lee and Sabrina, with the help of Professor of British Cinema Steve Chibnall. Also, musician Warren Ellis talks about what he was watching while composing the score for Blonde with Nick Cave. Producer: Jane Long
 A Prospect Street production for BBC Radio 4

1.Overdosing on The Commonwealth Games....all good stuff....medals everywhere. 2.B.P. have announced their 13 billion or so profits.....I'm so delighted for them.....guess which petrol stations I will be driving past. 3.Modern fashion trends for the older generation standing up against the passage of time. 4.The usual hosepipe ban is upon us which means the floods are due.....we must save water because it's August.....because we always do. 5.My connection with Diana Dors and the song I wrote for her almost 50 years ago....and I have only just heard it......so this week's song has to be "I've Seen an Done It All" by Diana Dors

Adam is your guide for Hammer's 1952 thriller Man Bait - starring George Brent and Diana Dors - a twisty tale of deceit, murder and blackmail...Elsewhere Cev examines the many differences between American and British film titles and running times, Smokey looks at the origins of blackmail itself, Ben has a little help from a special guest to learn about the lives of jobbing actors, and Adam quizzes the table on some rather unusual words...“The House Of Hammer Theme” and incidental music - written and produced by Cev MooreArtwork by Richard WellsTo download The House Of Hammer Bingo Card go to https://www.attaboyclarence.com/bingo-cardTo sign up as a patron and receive extra content go to www.patreon.com/househammerpodWhy not visit our mercy store at https://the-house-of-hammer.creator-spring.com

Fun fact finders Helen and Bill discover something curiously interesting about the former University Challenge Question Master Bamber Gascoigne, and before you know it, they are stumbling across Paddington Bear, David Bowie, Diana Dors and the last woman to be hanged in the UK.Related Links:A classic incorrect answer on University Challenge answer:https://www.youtube.com/watch?v=47SnI5GGqY8The house that Bamber Gascoigne inherited:https://www.westhorsleyplace.org/Outtakes from BBC's comedy series Ghosts (shot on location in Bamber Gascoigne's inherited house):https://www.youtube.com/watch?v=9m6DOPitdVUBamber Gascoigne penned Share My Lettuce listinghttp://www.guidetomusicaltheatre.com/shows_s/sharelettuce.htmPaddington 2 trailerhttps://www.youtube.com/watch?v=52x5HJ9H8DMPaddington 2 was co-written and directed by Paul King, but not this one:https://www.youtube.com/watch?v=YlXtrnh-EjoClip from Lady Godiva Rides Again, the 1951 film featuring Diana Dors and uncredited appearances from Joan Collins and the last woman to be hanged in the UK, Ruth Ellishttps://www.youtube.com/watch?v=waH0HyzKC7IChannel Four Television's Who Got Diana Dors' Millions? https://vimeo.com/130444535Adam and the Ants, Prince Charming video featuring Diana Dorshttps://www.youtube.com/watch?v=9p__WmyAE3gRolf Harris performs War Canoe which Prince Charming is a clear rip off of:https://www.youtube.com/watch?v=i2SOEVbKsTERolf Harris performs Tie Me Kangaroo Down, Sport with The Beatleshttps://www.youtube.com/watch?v=fd14NxZuvGgConnie Francis performs Lipstick on Your Collar:https://www.youtube.com/watch?v=V8x5cUFoDnUJohnny Cash, Fuego D'Amor (Ring of Fire in Spanish)https://www.youtube.com/watch?v=n0u5d2vQ8fwDavid Bowie performs Helden (Heroes in German)https://www.youtube.com/watch?v=nb6Gbi1MpoE Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

We may be a little late (and a little tired) but we got there in the end!  It's Episode 29 of Til Dice Do Us Part and it starts with a return to the Ask A GM mailbag.  The Mailer Daemon might be behaving a bit weird but he still brings us a letter from a player who is finding their GM's constant use of miniatures in every combat irritating.  In our answer we'll talk about the history of miniature use in RPGs, how often we've used them, and even what figure made George's little cousins make an impressed noise.Then, back by popular demand, we return to something we haven't done in many an episode: one of our X Meets Y style mashups in which we roll a D20 on a list of random DVDs, books and the like that we own and attempt to combine two different properties together to get our creative juices flowing.  This time round we're going to be combining such varied ideas as giant monster movies, eighties zombie films, sixties sci-fi masterpieces, and cosy catastrophes in strange and unconventional ways.  Some of these ideas will be better than others... and some will lead us on very strange side rambles including about King Kong Lives, All Flesh Must Be Eaten and The Two Ronnies.On top of all that we've got the usual chaos that comes with an episode of this show.  We've got recollections of student union gaming, predictions of what's more likely to be the next big news event in 2022, explaining who Diana Dors is to younger and/or non British listeners, fighting off the Inch High Incel in our usual fly-swatter equipped fashion, and our latest episode sponsor who is going to take you across time and space to share the most tasty treatos. Contact us by email on tildicepodcast@gmail.comWe can be found on Facebook, Twitter and Instagram under @tildicepodcastOur theme music is Funny Adventures by WinnieTheMoogLink: https://filmmusic.io/song/6048-funny-adventuresLicense: http://creativecommons.org/licenses/by-sa/4.0/Additional music is Fun And Games by Claus AppelLink: https://filmmusic.io/song/4690-fun-and-gamesLicense: https://filmmusic.io/standard-licenseOur logo is by Neil Slorance - check out his work on Twitter under @neilslorance or Facebook as "Art by Neil Slorance"Support the show (https://ko-fi.com/tildicepodcast)Support the Show.

John Bleasdale talks to Anna Cale author of The Real Diana Dors. The story of Swindon-born film star Diana Dors is one of fame, glamour and intrigue. From the moment she came into the world, her life was full of drama. Her acting career began in the shadow of the Second World War, entering the film world as a vulnerable young teenager and negotiating the difficult British studio system of the 1940s and 50s. Yet she battled against the odds to become one of the most iconic British actors of the 20th century.This book follows her remarkable story, from childhood in suburban Swindon, to acting success as a teenager and finding fame as the ‘the English Marilyn Monroe'. Many remember her as an outspoken and sometimes controversial figure, grabbing headlines for her personal life as often as her film roles. For Diana, image seemed to be everything, but there was more to her than the ‘blonde bombshell' reputation suggested. A talented actor, she worked on numerous film and television projects, building a fascinating career that spanned decades.Set against the backdrop of the changing social landscape of twentieth century Britain, this book charts the ups and downs of her diverse acting career and her tumultuous private life, to build a fascinating picture of a truly unique British screen icon.Support this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.

Episode 0602 and we're watching Queenie's Castle. Two hours in to a day of recording and we're feeling it. Thankfully, Diana Dors did us proud, surprising us with one of the better sitcoms we've seen to date. Queenie Shepherd (Diana Dors) plays the titular character, matriarch to her family of a bunch of wrong'uns. Forever scheming and disliked by literally everyone on her estate, the charismatic Dors turns saves her family from eviction. Was Donald Duck really in the Navy? Did Diana Dors see a monkey die? Can you kill a person with a loaf of bread? . #podcast #podcasting #spotify #podcasts #podcastersofinstagram #podcastlife #podcaster #youtube #comedy #itunes #podcasters #applepodcasts #podcastshow #newpodcast #spotifypodcast #applepodcast #repost #shitcom #sitcom #comedy #tv #tvseries #funny #sitcoms #series #classictv #television #tvshows #new

This week, the boys watch Tony Bennett being marched out for one last money grab (including Bennett's young wife and would you fuck Lady Gaga?); The Cos and R. Kelly; Old Timey Guy on how to reach TGO Radio; would you fuck Ethel Mertz?; 1950s actresses – would ya? (featuring Marilyn Monroe, Debbie Reynolds, Shirley MacLaine, Audrey Hepburn, Jane Russell, Grace Kelly, Jayne Mansfield, Kim Novak, Natalie Wood, Eva Marie Saint, Thelma Ritter, Doris Day, Diana Dors, Elizabeth Taylor, Brigitte Bardot, Sophia Loren, 1950s Lucille Ball v. 1930s Lucille Ball, Joan Collins, and Susan Heyward); and Carlos Alazraqui's peerless Gene Wilder impression. Subscribe to TGO Radio on: Apple Podcasts, Stitcher, Android Devices.

Anna Cale is Diana Dors's biographer - she discusses her 1955 film, Value for Money and Nigel Hamilton-Walker talks about his old friend, Michael Caborn-Waterfield, otherwise known as Dandy Kim who was an old boyfriend of Dors. CLICK HERE FOR SHOW NOTES

Looks Unfamiliar is a podcast in which writer and occasional broadcaster Tim Worthington talks to a guest about some of the things that they remember that nobody else ever seems to.This is a collection of highlights featuring Joel Morris on the View-Master Demonstration Reel, Joanne Sheppard on Colorado Beetle panic, Emma Burnell on the stage musical version of Dirty Dancing, Samira Ahmed on The Fun Food Factory, Jonny Morris on Battlestar Galactica action figures, Matt Lee on They Might Be Giants' 'Dial-A-Song' service, Shanine Salmon on Neopets and Anna Cale on Diana Dors' Dors' Dozen. Along the way we'll be nominating our suggestions for the View-Master Netflix Universe, revealing how to spot a supervillain transporting a ‘formula', learning about the influence a giant floating image of Patrick Swayze had on the civil rights movement, considering whether it's possible for Dirty Dancing to have too much dancing in it, revealing how not to wow the opposite sex by listening to the b-side of Birdhouse In Your Soul and debating just how many hours of airtime Graham Norton devoted to a robot dog walking very very slowly across the studio floor. Plus there's something you may not have heard before – Tim on Goon Pod talking to Tyler Adams about Peter And Sophia by Peter Sellers And Sophia Loren.You can find more editions of Looks Unfamiliar at http://timworthington.org/.

With Antonia Quirke 94 year old director Alvin Rakoff talks about giving Sean Connery his big break, why his friend Peter Sellers wired his home for sound and what it was like directing Laurence Olivier in A Voyage Around My Father Author Anna Cale and historian Matthew Sweet talk about the phenomenon that was Diana Dors and reveal how her life would have changed if she had only married Bob Monkhouse.

This week on Shackbaggerly. Howard Middleton and Katie Johnson dream of Broadway and why New York is so special. Howard has a unexpected item in his Porridge and what's the connection between Diana Dors, Katie and Camels? Betty White (Hot in Cleveland), David Hyde Pierce (Fraser) and Bette Midler (Hello Dolly) also feature as, once again, Katie and Howard go off topic! Not surprising as this is The Shackbaggerly Podcast. If you haven't already please follow us on Instagram and Facebook and click subscribe wherever you get your podcasts. Just as Barrie from New York did please feel free to get in touch - podcast@theshackbaggerly.co.uk we love to hear from you. New episodes available every Friday from 9am (UK Time)

Looks Unfamiliar is a podcast in which writer and occasional broadcaster Tim Worthington talks to a guest about some of the things that they remember that nobody else ever seems to.Joining Tim this time is writer Anna Cale, who's trying her best not to think of punning introductions to Sport Billy, Silly Games by Lindy Layton, Welsh language children's serial Joni Jones, mid-eighties romantic comedy The Girl In The Picture, blockbuster Australian miniseries Return To Eden, The Incredible Hulk Smash-Up Action Game, Trev & Simon's Stupid Video and Diana Dors' TV-am slot Dors' Dozen. Along the way we'll be finding out how to ruin a promising romance by being touchy about Camberwick Green, studying for a degree in Bruce Leeology, discussing whether The Hulk is more frightening when 'revving' and revealing what to do when confronted with a sentient out-of-control Blue Peter feature.You can find find more editions of Looks Unfamiliar at http://timworthington.org/.

Diana Rigg and blonde bombshells Diana Dors and Belinda Lee

Join Jonny Larkin and special guest star soap writer horror fanatic Steve Hughes, as we begin our dive into classic TV horror. Before Tales of the Unexpected, before Hammer House of Horror, there was THRILLER. An anthology series that ran for 6 seasons, writer Brian Clemens’ TV opus has been described as the Primark Hitchcock. Kitsch, budget-friendly but always drawing top talent, Thriller did what it said on the tin. But it veered into camp Satanic horror with ‘Nurse Will Make It Better’. Imagine The Omen, Rosemary’s Baby and The Exorcist all put through a budget meat grinder then sprinkled with blonde bombshell Diana Dors and you’re half way there. This OTT, balls-to-the-wall slice of British horror oddness goes under the Screaming Queenz microscope. Does Nurse make it better? Listen and find out. Beware spoilers, and lots of gay gushing over Donna Mills…

Born on this Day: is a daily podcast hosted by Bil Antoniou, Amanda Barker & Marco Timpano. Celebrating the famous and sometimes infamous born on this day. Check out their other podcasts: Bad Gay Movies, Bitchy Gay Men Eat & Drink Every Place is the Same My Criterions The Insomnia Project Marco's book: 25 Things I Wish I Knew Before I Started My Podcast OCTOBER 23 UNITED NATIONS DAY Ryan Reynolds, Emilia Clarke, Margaret Qualley, Sam Raimi, Kate del Castillo, Amandla Stenberg, Ang Lee , Dwight Yoakam, Beatie Edney, Diana Dors, Michael Crichton , Alfred Matthew Yankovic, Ireland Baldwin, Alex Gibney , Meghan McCain, Johnny Carson, Philip Kaufman, Una O'Connor. --- Send in a voice message: https://anchor.fm/born-on-this-day-podcast/message

This is a special extra episode of the podcast, not one of the "proper" five hundred. A book I've written, on the TV series The Strange World of Gurney Slade, has just become available for pre-order from Obverse Books, so to publicise that I've done an extra episode, on the pop music career of its star, Anthony Newley. The next normal episode will be up in a day or two. Transcript below the cut.  Erratum: In a previous version of this episode, I mentioned, in passing, my understanding that Newley was an alcoholic. This has been strongly questioned by some fans, who took offence at the suggestion, and as it was utterly irrelevant to the point I was making I have deleted those three words rather than cause further offence.   ----more---- Welcome to a special bonus episode of A History of Rock Music in 500 Songs. This is not this week's normal episode, which will be up in a couple of days, and nor is it the Patreon bonus episode, which will also be up as normal. This is an extra, full-length episode, on a song which didn't make the list of songs I'm covering. But this week, a book I've written has gone on pre-order, and it'll be out on the first of September. That book is on The Strange World of Gurney Slade, a TV show from the very early 1960s. And the star of that show, Anthony Newley, also had a very successful music career in the late fifties and early sixties -- and a career which had a real influence on many people who will be seen in future episodes. So, in order to promote my book, I'm going to talk today about some of Newley's music. If you're not interested in anything that isn't part of my "official" five hundred songs, then you can skip this episode, but I promise that other than a brief mention at the end, this is not going to be an advert for my book, but just another episode, about the music career of one of Britain's most interesting stars of the pre-Beatles era. So let's look at "Strawberry Fair" by Anthony Newley: [Excerpt: Anthony Newley, "Strawberry Fair"] Anthony Newley was someone whose career only came about by what would seem at first to be bad luck. Newley was a child in London during the Blitz, the son of an unmarried mother, which had a great deal of stigma to it in those days. When the Blitz hit, he was evacuated, and felt abandoned by his mother. That sense of abandonment increased when his mother married her new boyfriend and moved to Scotland. And then Newley was moved into a second foster home, this one in Morecambe, Lancashire. His foster father during the war was one George Pescud, a music hall performer about whom I can discover nothing else, except that he instilled in Newley a great love of the theatre and of the arts, and that as a result of this Newley started writing music, painting, writing, and, especially, acting. When the war ended, Newley was fourteen, and didn't go back to live with his mother and her new husband, choosing instead to move to London and start living an artistic life. He saw an advert in the paper for the Italia Conti stage school, and tried to become a student there. When he found out that he couldn't afford the fees, he found another way in -- he got a job there as an office boy, and his tuition was included in his wages. While there, he became friends with another student, Petula Clark, who would herself go on to stardom with records like “Downtown”. [Excerpt: Petula Clark, "Downtown"] Clark also encouraged him to start singing -- something that would definitely pay off for him later. Apparently, Clark had a crush on Newley, but he wasn't interested in her. While at the school, Newley got cast in a couple of roles in low-budget films, which brought him to the attention of David Lean, who was directing his film adaptation of Oliver Twist, and cast Newley in the role of the Artful Dodger. The film, which featured Alec Guinness, became one of the classics of British cinema, and also starred Diana Dors, with whom Newley started an affair, and who managed to get him a job as a bit player for the Rank Organisation. For the next few years, Newley had small roles in films, started a double act with the comedy writer Dick Vosburgh, had a brief spell in the army (very brief -- he was discharged because of his mental health problems), spent a couple of years in rep, shared a flat with Christopher Lee and appeared in a Hammer Horror film -- the usual things that low-level actors do as they slowly work their way up to stardom. His most notable appearance was in the West End revue Cranks, which opened in late 1955. A revue, for those who don't know, is a theatrical show that usually mixes comedy sketches and songs (though the term was, confusingly for our purposes, sometimes also used for a bill with several different musical acts). These were very popular in the fifties and sixties, and Cranks was one of the most popular. After its West End run it transferred to Broadway, and Newley was one of the cast members who appeared on the Ed Sullivan Show to promote it, though the Broadway run of the show was not a success like the British one was. It was in Cranks that Newley's singing first came to public attention: [Excerpt: Anthony Newley, "Cold Comfort"] Newley was starting to get substantial film roles, and it was with the film Idol on Parade that Newley became a star, and became drawn into the world of pop music. In that film, the first film written by the prominent British screenwriter John Antrobus, he played a pop star who was drafted into the British army, as all young men were in Britain in the fifties. The film is usually said to have been inspired by Elvis Presley having been called up, though it was likely that it was also influenced by Terry Dene, a British rock and roll star who had recently been drafted, before having a breakdown and being discharged due to ill health, and who had recorded songs like “Candy Floss”: [Excerpt: Terry Dene, "Candy Floss"] Dene's story must have struck a chord with Newley, who'd had a very similar Army experience, though you couldn't tell that from the film, which was a typical low-budget British comedy. As Newley was playing a pop singer, obviously he had to sing some songs in the film, and so he recorded five songs, one of which, “I've Waited So Long”, was released as a single and went to number three in the charts: [Excerpt: Anthony Newley, "I've Waited So Long"] Somehow, despite Newley being an actor -- and someone who despised a lot of rock and roll music -- he had become a pop star. He won the Variety Club of Great Britain Award for Most Promising Newcomer of 1959, even though he'd been making films since 1946. "I've Waited So Long" was co-written by Jerry Lordan, who wrote "Apache", and Len Praverman, but two of the other songs in the film were written by Newley and Joe 'Mr. Piano' Henderson, and this would soon set Newley on the way to a career as a songwriter -- indeed, as the most important singer-songwriter in pre-Beatles British pop music. He had seven UK top ten hits, two of them number ones, in the years from 1959 through 61, and he had a few more minor hits after that. Most of those hits were either cover versions of American hits like Lloyd Price's "Personality", or were written for him by people like Lionel Bart. One odd example shows where he would go as a music-maker, though. "Strawberry Fair" is a traditional folk song, which was collected, and presumably bowdlerised, by the Rev. Sabine Baring-Gould -- the lyrics, about a young woman offering a young man the chance to pluck the cherries from her basket, read as innuendo, and Baring-Gould, who wrote "Onward Christian Soldiers", was well known for toning down the lyrics of the folk songs he collected. Newley rewrote the lyrics under the pseudonym "Nollie Clapton": [Excerpt: Anthony Newley, "Strawberry Fair"] But Newley was someone who wanted to do *everything*, and did so very well. While he was a pop star, he starred in his own series of TV specials, and then in his own sitcom, The Strange World of Gurney Slade. He starred in the classic British noir film The Small World of Sammy Lee. And he recorded a satirical album with his second wife, Joan Collins, and Peter Sellers, mocking the Government over the Profumo sex scandal: [Excerpt: Fool Britannia, "Twelve Randy Men"] That album went top ten, and was co-written by Newley and Leslie Bricusse. Bricusse would go on to collaborate with Newley in writing a series of songs, mostly for musicals, that everyone knows, though many don't realise that Newley was involved in them. Newley mostly wrote the music, while Bricusse mostly wrote lyrics, though both did both. Their first major collaboration was on the play Stop The World, I Want To Get Off!, a semi-autobiographical starring vehicle for Newley, which displayed the life of a selfish womaniser called Littlechap, who would regularly stop the action of the play to monologue at the audience in much the same way as Newley's TV character Gurney Slade. Much of Newley's work seems to be trying to be three different things at the same time -- he seems to want to write self-flagellating autobiography about his own selfish and sometimes misogynistic behaviour -- this is a man who would later write a song called "Oh What a Son of a Bitch I Am", and mean it -- while also wanting to create work that is formally extraordinary and involves a lot of metafictional and postmodern elements -- *and* at the same time wanting to make all-round family entertainment. For a while, at least, he managed to juggle all three aspects very successfully, and Stop The World, I Want to Get Off! became a massive hit on stage, and was adapted for the cinema once and TV twice. Stop The World introduced two songs that would become standards. "What Kind of Fool Am I?" became a big hit for Sammy Davis Jr, and won the Grammy for "Song of the Year" at the 1963 Grammy Awards: [Excerpt: Sammy Davis Jr., "What Kind of Fool Am I?"] Davis also recorded another song from that show, "Gonna Build a Mountain", as the B-side, and that too became a standard, recorded by everyone from Matt Monroe to the Monkees: [Excerpt: The Monkees, "Gonna Build a Mountain"] Newley and Bricusse followed that up with another musical, The Roar of the Greasepaint, The Smell of the Crowd, which again introduced a whole host of famous songs. "Who Can I Turn To?" was the big hit at the time, for Tony Bennett, and has since been performed by everyone from Miles Davis to Barbra Streisand, Dusty Springfield to the Temptations: [Excerpt: Temptations, "Who Can I Turn To?"] But the song from that musical that is now best known is almost certainly "Feeling Good", which you've almost certainly heard in Nina Simone's staggering version: [Excerpt: Nina Simone, "Feeling Good"] They also wrote the theme to "Goldfinger", with John Barry: [Excerpt: Shirley Bassey, "Goldfinger"] That song was one that Bricusse would use in interviews to demonstrate the almost telepathic rapport that he and Newley had – when Barry played them the beginning of the melody, they both instantly sang, without looking at each other, “wider than a mile”. Barry was unimpressed, and luckily for all concerned the rest of the melody wasn't that similar to “Moon River”, and the song became arguably the definitive Bond theme. But at the same time that Newley was having this kind of popular success, he was also doing oddities like "Moogies Bloogies", a song in which Newley sings about voyeuristically watching women, while Delia Derbyshire backs him with experimental electronic music: [Excerpt: Delia Derbyshire and Anthony Newley, "Moogies Bloogies"] That was recorded in 1966, though it wasn't released until much later. Newley's career was a bizarre one by almost every measure. Possibly the highlight, at least in some senses, was his 1969 film Can Hieronymus Merkin Ever Forget Mercy Humppe and Find True Happiness? [Excerpt: "Can Hieronymus Merkin Ever Forget Mercy Humppe and Find True Happiness?" trailer] On one level, that film is a terrible sex comedy of the kind that the British film industry produced far too much of in the late sixties and seventies, featuring people like Bruce Forsyth and with characters named Hieronymus Merkin, Filligree Fondle, and Polyester Poontang. On the other hand, it's a work of postmodern self-commenting autobiography, with Newley co-writing the script, starring as multiple characters, directing, producing, and writing the music. Roger Ebert said it was the first English-language film to attempt the same things that Fellini and Godard had been attempting, which is not something you'd normally expect of a musical featuring Milton Berle and Joan Collins. The film has at least four different layers of reality to it, including a film within a film within the film, and it features Newley regularly stepping out of character to talk about the problems with the film. It's a film of his midlife crisis, basically, but where Ebert compares it to Fellini and Godard, I'd say it's closer to Head, 200 Motels, or other similarly indulgent rock films of the era, and it deals with a lot of the same concerns -- God and the Devil, sexual freedom, and the nature of film as a narrative medium. All of Newley's career was like that -- a mixture of lowbrow light entertainment and attempts at postmodernist art, both treated by Newley as of equal value, but each being offputting to an audience that might have enjoyed the other. If you want songs and pretty women and dirty jokes, you probably don't want metafictional conversations between the main character of the film and the director, both of whom are the same person. If you want a film that Roger Ebert will compare to Fellini, you probably don't want it to be a musical including a song that starts out as a fairy-tale about a lonely princess named Trampolena Whambang, and ends up with the princess having sex with a donkey: [Excerpt: Heironymus Merkin soundtrack, "Princess Trampolena"] The film also was one of the things that led to Newley's breakup with Collins -- she decided that she didn't like the aspects of his character, and his attitudes towards women, the film revealed -- though Newley claimed until his dying day that while the film was inspired by his own life, it wasn't directly autobiographical. Given that the film's main character, in one sequence, talks about his attraction to underage girls, that's probably for the best. (And Newley did have a deplorable attitude to women generally -- I'm not going into it in detail here, because this podcast is about the work, not the person, but Newley was a thoroughly unpleasant person in many respects.) Hieronymus Merkin was a massive flop, though the critical response to it was far kinder than its reputation suggests. Unfortunately, Joan Collins so detests the film that it's never been available on DVD in the UK, and only sporadically elsewhere -- DVD copies on Amazon currently go for around three hundred pounds. That was, largely, the end of Anthony Newley's career as an auteur. It wasn't, though, the end of his career in songwriting. With Leslie Bricusse he wrote the songs that made up the soundtrack of Willie Wonka and the Chocolate Factory -- songs like "Pure Imagination": [Excerpt: Gene Wilder, "Pure Imagination"] That film also featured "The Candy Man", which became a number one hit in a cover version by Sammy Davis Jr: [Excerpt: Sammy Davis Jr, "The Candy Man"] After that, though, Newley didn't have much more success as a songwriter, but by this point his biggest influence on rock and roll music was already very apparent. David Bowie once said "I never thought I could sing very well, and I used to try on people's voices if they appealed to me. When I was a kid, about fifteen, sixteen, I got into Anthony Newley like crazy, because a couple of things about him -- one, before he came to the States and did the whole Las Vegas thing, he really did bizarre things over here. Now, a television series he did, called the Strange World of Gurney Slade, which was so odd, and off the wall, and I thought, 'I like what this guy's doing, where he's going is really interesting'. And so I started singing songs like him... and so I was writing these really weird Tony Newley type songs, but the lyrics were about, like, lesbians in the army, and cannibals, and paedophiles" If you listen to Bowie's earliest work, it's very, very apparent how much he took from Newley's vocal style in particular: [Excerpt: David Bowie, "Rubber Band"] There is a whole vein of British music that usually gets called "music hall" when bad critics talk about it, even though it owes nothing to the music that was actually performed in actual music halls. But what it does owe a great deal to is the work of Anthony Newley. One can draw a direct line from him through Davy Jones of the Monkees, Bowie, Syd Barrett, Ray Davies, Ian Dury, Blur... even a performer like John Lydon, someone who would seem worlds away from Newley's showbiz sheen, has far more of his influence in his vocal inflections than most would acknowledge. Every time you hear a singer referred to as "quintessentially British", you're probably hearing someone who is either imitating Newley, or imitating someone who was imitating Newley. Newley is one of the most frustrating figures in the history of popular culture. He was someone who had so much natural talent as an actor, singer, songwriter, and playwright, and so many different ideas, that he didn't work hard enough at any of those things to become as great as he could have been -- there are odd moments of genius scattered throughout his work, but very little one can point to and say "that is a work worthy of his talents". His mental and emotional problems caused damage to him and to the people around him, and he spent much of the last half of his career making a living from appearing in Las Vegas and as a regular on Hollywood Squares, and appearing in roles in things like The Garbage Pail Kids Movie -- his last starring role in the cinema. He attempted a comeback in the nineties, appearing with his ex-wife Joan Collins in two Noel Coward adaptations on TV, taking the lead role in the hit musical Scrooge, written by his old partner Bricusse, and getting a regular role in East Enders (one of the two most popular soap operas on British TV), but unfortunately he had to quit the East Enders role as he was diagnosed with the cancer that killed him in 1999, aged sixty-seven. Anyway, if this episode has piqued your interest in Newley, you might want to check out my book on The Strange World of Gurney Slade, which is a TV show that has almost all the best aspects of Newley's work, and which deserves to be regarded as one of the great masterpieces of TV, a series that is equal parts Hancock's Half Hour, The Prisoner, and Waiting for Godot. You can order the book from Obverse Books, at obversebooks.co.uk, and I'll provide a link in the show notes. While you're there, check out some of the other books Obverse have put out -- they've published two more of my books and a couple of my short stories, and many of their writers are both friends of mine and some of the best writers around. I'll be back in a couple of days with the next proper episode.

This is a special extra episode of the podcast, not one of the “proper” five hundred. A book I’ve written, on the TV series The Strange World of Gurney Slade, has just become available for pre-order from Obverse Books, so to publicise that I’ve done an extra episode, on the pop music career of its star, Anthony Newley. The next normal episode will be up in a day or two. Transcript below the cut.  Erratum: In a previous version of this episode, I mentioned, in passing, my understanding that Newley was an alcoholic. This has been strongly questioned by some fans, who took offence at the suggestion, and as it was utterly irrelevant to the point I was making I have deleted those three words rather than cause further offence.   —-more—- Welcome to a special bonus episode of A History of Rock Music in 500 Songs. This is not this week’s normal episode, which will be up in a couple of days, and nor is it the Patreon bonus episode, which will also be up as normal. This is an extra, full-length episode, on a song which didn’t make the list of songs I’m covering. But this week, a book I’ve written has gone on pre-order, and it’ll be out on the first of September. That book is on The Strange World of Gurney Slade, a TV show from the very early 1960s. And the star of that show, Anthony Newley, also had a very successful music career in the late fifties and early sixties — and a career which had a real influence on many people who will be seen in future episodes. So, in order to promote my book, I’m going to talk today about some of Newley’s music. If you’re not interested in anything that isn’t part of my “official” five hundred songs, then you can skip this episode, but I promise that other than a brief mention at the end, this is not going to be an advert for my book, but just another episode, about the music career of one of Britain’s most interesting stars of the pre-Beatles era. So let’s look at “Strawberry Fair” by Anthony Newley: [Excerpt: Anthony Newley, “Strawberry Fair”] Anthony Newley was someone whose career only came about by what would seem at first to be bad luck. Newley was a child in London during the Blitz, the son of an unmarried mother, which had a great deal of stigma to it in those days. When the Blitz hit, he was evacuated, and felt abandoned by his mother. That sense of abandonment increased when his mother married her new boyfriend and moved to Scotland. And then Newley was moved into a second foster home, this one in Morecambe, Lancashire. His foster father during the war was one George Pescud, a music hall performer about whom I can discover nothing else, except that he instilled in Newley a great love of the theatre and of the arts, and that as a result of this Newley started writing music, painting, writing, and, especially, acting. When the war ended, Newley was fourteen, and didn’t go back to live with his mother and her new husband, choosing instead to move to London and start living an artistic life. He saw an advert in the paper for the Italia Conti stage school, and tried to become a student there. When he found out that he couldn’t afford the fees, he found another way in — he got a job there as an office boy, and his tuition was included in his wages. While there, he became friends with another student, Petula Clark, who would herself go on to stardom with records like “Downtown”. [Excerpt: Petula Clark, “Downtown”] Clark also encouraged him to start singing — something that would definitely pay off for him later. Apparently, Clark had a crush on Newley, but he wasn’t interested in her. While at the school, Newley got cast in a couple of roles in low-budget films, which brought him to the attention of David Lean, who was directing his film adaptation of Oliver Twist, and cast Newley in the role of the Artful Dodger. The film, which featured Alec Guinness, became one of the classics of British cinema, and also starred Diana Dors, with whom Newley started an affair, and who managed to get him a job as a bit player for the Rank Organisation. For the next few years, Newley had small roles in films, started a double act with the comedy writer Dick Vosburgh, had a brief spell in the army (very brief — he was discharged because of his mental health problems), spent a couple of years in rep, shared a flat with Christopher Lee and appeared in a Hammer Horror film — the usual things that low-level actors do as they slowly work their way up to stardom. His most notable appearance was in the West End revue Cranks, which opened in late 1955. A revue, for those who don’t know, is a theatrical show that usually mixes comedy sketches and songs (though the term was, confusingly for our purposes, sometimes also used for a bill with several different musical acts). These were very popular in the fifties and sixties, and Cranks was one of the most popular. After its West End run it transferred to Broadway, and Newley was one of the cast members who appeared on the Ed Sullivan Show to promote it, though the Broadway run of the show was not a success like the British one was. It was in Cranks that Newley’s singing first came to public attention: [Excerpt: Anthony Newley, “Cold Comfort”] Newley was starting to get substantial film roles, and it was with the film Idol on Parade that Newley became a star, and became drawn into the world of pop music. In that film, the first film written by the prominent British screenwriter John Antrobus, he played a pop star who was drafted into the British army, as all young men were in Britain in the fifties. The film is usually said to have been inspired by Elvis Presley having been called up, though it was likely that it was also influenced by Terry Dene, a British rock and roll star who had recently been drafted, before having a breakdown and being discharged due to ill health, and who had recorded songs like “Candy Floss”: [Excerpt: Terry Dene, “Candy Floss”] Dene’s story must have struck a chord with Newley, who’d had a very similar Army experience, though you couldn’t tell that from the film, which was a typical low-budget British comedy. As Newley was playing a pop singer, obviously he had to sing some songs in the film, and so he recorded five songs, one of which, “I’ve Waited So Long”, was released as a single and went to number three in the charts: [Excerpt: Anthony Newley, “I’ve Waited So Long”] Somehow, despite Newley being an actor — and someone who despised a lot of rock and roll music — he had become a pop star. He won the Variety Club of Great Britain Award for Most Promising Newcomer of 1959, even though he’d been making films since 1946. “I’ve Waited So Long” was co-written by Jerry Lordan, who wrote “Apache”, and Len Praverman, but two of the other songs in the film were written by Newley and Joe ‘Mr. Piano’ Henderson, and this would soon set Newley on the way to a career as a songwriter — indeed, as the most important singer-songwriter in pre-Beatles British pop music. He had seven UK top ten hits, two of them number ones, in the years from 1959 through 61, and he had a few more minor hits after that. Most of those hits were either cover versions of American hits like Lloyd Price’s “Personality”, or were written for him by people like Lionel Bart. One odd example shows where he would go as a music-maker, though. “Strawberry Fair” is a traditional folk song, which was collected, and presumably bowdlerised, by the Rev. Sabine Baring-Gould — the lyrics, about a young woman offering a young man the chance to pluck the cherries from her basket, read as innuendo, and Baring-Gould, who wrote “Onward Christian Soldiers”, was well known for toning down the lyrics of the folk songs he collected. Newley rewrote the lyrics under the pseudonym “Nollie Clapton”: [Excerpt: Anthony Newley, “Strawberry Fair”] But Newley was someone who wanted to do *everything*, and did so very well. While he was a pop star, he starred in his own series of TV specials, and then in his own sitcom, The Strange World of Gurney Slade. He starred in the classic British noir film The Small World of Sammy Lee. And he recorded a satirical album with his second wife, Joan Collins, and Peter Sellers, mocking the Government over the Profumo sex scandal: [Excerpt: Fool Britannia, “Twelve Randy Men”] That album went top ten, and was co-written by Newley and Leslie Bricusse. Bricusse would go on to collaborate with Newley in writing a series of songs, mostly for musicals, that everyone knows, though many don’t realise that Newley was involved in them. Newley mostly wrote the music, while Bricusse mostly wrote lyrics, though both did both. Their first major collaboration was on the play Stop The World, I Want To Get Off!, a semi-autobiographical starring vehicle for Newley, which displayed the life of a selfish womaniser called Littlechap, who would regularly stop the action of the play to monologue at the audience in much the same way as Newley’s TV character Gurney Slade. Much of Newley’s work seems to be trying to be three different things at the same time — he seems to want to write self-flagellating autobiography about his own selfish and sometimes misogynistic behaviour — this is a man who would later write a song called “Oh What a Son of a Bitch I Am”, and mean it — while also wanting to create work that is formally extraordinary and involves a lot of metafictional and postmodern elements — *and* at the same time wanting to make all-round family entertainment. For a while, at least, he managed to juggle all three aspects very successfully, and Stop The World, I Want to Get Off! became a massive hit on stage, and was adapted for the cinema once and TV twice. Stop The World introduced two songs that would become standards. “What Kind of Fool Am I?” became a big hit for Sammy Davis Jr, and won the Grammy for “Song of the Year” at the 1963 Grammy Awards: [Excerpt: Sammy Davis Jr., “What Kind of Fool Am I?”] Davis also recorded another song from that show, “Gonna Build a Mountain”, as the B-side, and that too became a standard, recorded by everyone from Matt Monroe to the Monkees: [Excerpt: The Monkees, “Gonna Build a Mountain”] Newley and Bricusse followed that up with another musical, The Roar of the Greasepaint, The Smell of the Crowd, which again introduced a whole host of famous songs. “Who Can I Turn To?” was the big hit at the time, for Tony Bennett, and has since been performed by everyone from Miles Davis to Barbra Streisand, Dusty Springfield to the Temptations: [Excerpt: Temptations, “Who Can I Turn To?”] But the song from that musical that is now best known is almost certainly “Feeling Good”, which you’ve almost certainly heard in Nina Simone’s staggering version: [Excerpt: Nina Simone, “Feeling Good”] They also wrote the theme to “Goldfinger”, with John Barry: [Excerpt: Shirley Bassey, “Goldfinger”] That song was one that Bricusse would use in interviews to demonstrate the almost telepathic rapport that he and Newley had – when Barry played them the beginning of the melody, they both instantly sang, without looking at each other, “wider than a mile”. Barry was unimpressed, and luckily for all concerned the rest of the melody wasn’t that similar to “Moon River”, and the song became arguably the definitive Bond theme. But at the same time that Newley was having this kind of popular success, he was also doing oddities like “Moogies Bloogies”, a song in which Newley sings about voyeuristically watching women, while Delia Derbyshire backs him with experimental electronic music: [Excerpt: Delia Derbyshire and Anthony Newley, “Moogies Bloogies”] That was recorded in 1966, though it wasn’t released until much later. Newley’s career was a bizarre one by almost every measure. Possibly the highlight, at least in some senses, was his 1969 film Can Hieronymus Merkin Ever Forget Mercy Humppe and Find True Happiness? [Excerpt: “Can Hieronymus Merkin Ever Forget Mercy Humppe and Find True Happiness?” trailer] On one level, that film is a terrible sex comedy of the kind that the British film industry produced far too much of in the late sixties and seventies, featuring people like Bruce Forsyth and with characters named Hieronymus Merkin, Filligree Fondle, and Polyester Poontang. On the other hand, it’s a work of postmodern self-commenting autobiography, with Newley co-writing the script, starring as multiple characters, directing, producing, and writing the music. Roger Ebert said it was the first English-language film to attempt the same things that Fellini and Godard had been attempting, which is not something you’d normally expect of a musical featuring Milton Berle and Joan Collins. The film has at least four different layers of reality to it, including a film within a film within the film, and it features Newley regularly stepping out of character to talk about the problems with the film. It’s a film of his midlife crisis, basically, but where Ebert compares it to Fellini and Godard, I’d say it’s closer to Head, 200 Motels, or other similarly indulgent rock films of the era, and it deals with a lot of the same concerns — God and the Devil, sexual freedom, and the nature of film as a narrative medium. All of Newley’s career was like that — a mixture of lowbrow light entertainment and attempts at postmodernist art, both treated by Newley as of equal value, but each being offputting to an audience that might have enjoyed the other. If you want songs and pretty women and dirty jokes, you probably don’t want metafictional conversations between the main character of the film and the director, both of whom are the same person. If you want a film that Roger Ebert will compare to Fellini, you probably don’t want it to be a musical including a song that starts out as a fairy-tale about a lonely princess named Trampolena Whambang, and ends up with the princess having sex with a donkey: [Excerpt: Heironymus Merkin soundtrack, “Princess Trampolena”] The film also was one of the things that led to Newley’s breakup with Collins — she decided that she didn’t like the aspects of his character, and his attitudes towards women, the film revealed — though Newley claimed until his dying day that while the film was inspired by his own life, it wasn’t directly autobiographical. Given that the film’s main character, in one sequence, talks about his attraction to underage girls, that’s probably for the best. (And Newley did have a deplorable attitude to women generally — I’m not going into it in detail here, because this podcast is about the work, not the person, but Newley was a thoroughly unpleasant person in many respects.) Hieronymus Merkin was a massive flop, though the critical response to it was far kinder than its reputation suggests. Unfortunately, Joan Collins so detests the film that it’s never been available on DVD in the UK, and only sporadically elsewhere — DVD copies on Amazon currently go for around three hundred pounds. That was, largely, the end of Anthony Newley’s career as an auteur. It wasn’t, though, the end of his career in songwriting. With Leslie Bricusse he wrote the songs that made up the soundtrack of Willie Wonka and the Chocolate Factory — songs like “Pure Imagination”: [Excerpt: Gene Wilder, “Pure Imagination”] That film also featured “The Candy Man”, which became a number one hit in a cover version by Sammy Davis Jr: [Excerpt: Sammy Davis Jr, “The Candy Man”] After that, though, Newley didn’t have much more success as a songwriter, but by this point his biggest influence on rock and roll music was already very apparent. David Bowie once said “I never thought I could sing very well, and I used to try on people’s voices if they appealed to me. When I was a kid, about fifteen, sixteen, I got into Anthony Newley like crazy, because a couple of things about him — one, before he came to the States and did the whole Las Vegas thing, he really did bizarre things over here. Now, a television series he did, called the Strange World of Gurney Slade, which was so odd, and off the wall, and I thought, ‘I like what this guy’s doing, where he’s going is really interesting’. And so I started singing songs like him… and so I was writing these really weird Tony Newley type songs, but the lyrics were about, like, lesbians in the army, and cannibals, and paedophiles” If you listen to Bowie’s earliest work, it’s very, very apparent how much he took from Newley’s vocal style in particular: [Excerpt: David Bowie, “Rubber Band”] There is a whole vein of British music that usually gets called “music hall” when bad critics talk about it, even though it owes nothing to the music that was actually performed in actual music halls. But what it does owe a great deal to is the work of Anthony Newley. One can draw a direct line from him through Davy Jones of the Monkees, Bowie, Syd Barrett, Ray Davies, Ian Dury, Blur… even a performer like John Lydon, someone who would seem worlds away from Newley’s showbiz sheen, has far more of his influence in his vocal inflections than most would acknowledge. Every time you hear a singer referred to as “quintessentially British”, you’re probably hearing someone who is either imitating Newley, or imitating someone who was imitating Newley. Newley is one of the most frustrating figures in the history of popular culture. He was someone who had so much natural talent as an actor, singer, songwriter, and playwright, and so many different ideas, that he didn’t work hard enough at any of those things to become as great as he could have been — there are odd moments of genius scattered throughout his work, but very little one can point to and say “that is a work worthy of his talents”. His mental and emotional problems caused damage to him and to the people around him, and he spent much of the last half of his career making a living from appearing in Las Vegas and as a regular on Hollywood Squares, and appearing in roles in things like The Garbage Pail Kids Movie — his last starring role in the cinema. He attempted a comeback in the nineties, appearing with his ex-wife Joan Collins in two Noel Coward adaptations on TV, taking the lead role in the hit musical Scrooge, written by his old partner Bricusse, and getting a regular role in East Enders (one of the two most popular soap operas on British TV), but unfortunately he had to quit the East Enders role as he was diagnosed with the cancer that killed him in 1999, aged sixty-seven. Anyway, if this episode has piqued your interest in Newley, you might want to check out my book on The Strange World of Gurney Slade, which is a TV show that has almost all the best aspects of Newley’s work, and which deserves to be regarded as one of the great masterpieces of TV, a series that is equal parts Hancock’s Half Hour, The Prisoner, and Waiting for Godot. You can order the book from Obverse Books, at obversebooks.co.uk, and I’ll provide a link in the show notes. While you’re there, check out some of the other books Obverse have put out — they’ve published two more of my books and a couple of my short stories, and many of their writers are both friends of mine and some of the best writers around. I’ll be back in a couple of days with the next proper episode.

It's been a few years, but he's back with us, comedian, barber, friend to the podcast and all round good guy Wil Hodgson's back with us to talk about...well everything nostalgic, weird and wonderful, really.  Please join us as we talk about subjects as diverse as Diana Dors, the Green Cross Code Man, Littledean Jail and much more! Also, just to be clear without going round the houses: Black Lives Matter.  Back to the Eighties @ Twitter: @BTTEPOD Back to the 80's on Facebook: facebook.com/bttepod

Welcome to the latest edition of the Talking Pictures TV podcast. Lots in store for you this time around with some Hammer horror, some Powell and Pressburger and some classic British TV science fiction. With vocal support from Diana Dors, Anthony Newley and even Elsa Lanchester we will also be bringing you a crime thriller featuring Frank Sinatra, family drama with James Mason and bit of good old fashioned British sauciness from Terry Thomas and Leslie Phillips.   You can follow us on Twitter @tptvpodcast Or why not join us over at the Facebook group https://www.facebook.com/groups/TPTVPodcast If you fancy submitting a review yourself, get in touch at talkingpictures@attaboyclarence.com for details of how to get involved. And to sign up as a supporter, and to receive bonus audio go to www.patreon.com/tptvpodcast

Welcome to the latest edition of the Talking Pictures TV podcast.Lots in store for you this time around with some Hammer horror, some Powell and Pressburger and some classic British TV science fiction.With vocal support from Diana Dors, Anthony Newley and even Elsa Lanchester we will also be bringing you a crime thriller featuring Frank Sinatra, family drama with James Mason and bit of good old fashioned British sauciness from Terry Thomas and Leslie Phillips.You can follow us on Twitter @tptvpodcastOr why not join us over at the Facebook group https://www.facebook.com/groups/TPTVPodcastIf you fancy submitting a review yourself, get in touch at talkingpictures@attaboyclarence.com for details of how to get involved.And to sign up as a supporter, and to receive bonus audio go to www.patreon.com/tptvpodcast

Join us for Episode 9 of Series 3, where we chat about Diana Dors, "Doctor Who", Jonathan's age, Victoria Wood's "Pat and Margaret", "Howards' Way" (again!), and what inevitably happens to a case full of money. Oh, and we talk about this episode too! John Nettles Jim Bergerac Terence Alexander Hungerford Deborah Grant Deborah Alan Lake Jack Broughton Marianne Borgo Marie Brouac Stephen Yardley Ken Lewis Shirley Stelfox Pam Lewis Edwin Richfield Julian West Mary Tamm Leslie West Mela White Diamante Lil Joan Scott Mrs Jenson Sean Arnold Crozier Annette Badland Charlotte Timothy Stark Geoff Lindsay Heath Kim Director:  Laurence Moody Writers:  Paul Wheeler (by), Robert Banks Stewart (series created by) Music is the Bergerac theme by George Fenton, performed by Youngr (many thanks to Youngr for permission to use the track!)

EPISODE 32 – CONVERSATIONS with Mark Olden. In this episode I chat with my cousin Mark from London. We discuss his early life in Rhodesia and what it was like having famous parents who were in the spotlight – and their often, very vocal opposition to Ian Smiths government. Ashrams, Arthur C. Clarke, Brian Jones, Diana Dors and more.Photo: Mark Olden bringing the traffic to a halt with his mohawk and safety pins on First street, Harare, circa 1981. He was arguably the only punk in the country at the time. © Mark OldenIntro music ©AudioJungle 

** A THIRD STUNNING COLLECTION OF NEW RECORDINGS FROM HALL OF FAME INDUCTEE **This year (2019) The Zombies were inducted into the Rock and Roll Hall of Fame in a British invasion alongside Radiohead and The Cure. On stage with the rest of the band was Chris White; the man who co-produced and wrote more than half of the seminal Odessey & Oracle album, who composed (the now standard) This Will Be Our Year and who penned and co-produced the worldwide hit Hold Your Head Up for Argent. His acceptance speech from the night, widely quoted in Rolling Stone, beautifully summarised the golden age of recording: “Music and songs are the bookmarks in all our lives, it’s the language that binds us all together”. The Chris White Experience is an incredible collection of unreleased recordings from the last 50 years.After The Zombies, Chris White produced records for a number of diverse artists (Colin Blunstone, Argent, Marti Caine, Doris Troy, Matthew Fisher, Duffy Power, and others) with more sessions (Diana Dors, Dire Straits, Charlie Dore) filled with unreleased material. The popularity of his songwriting has been celebrated by various artists (Beck, Paul Weller, Tom Petty, The Foo Fighters) recorded in a number of languages, and reached number one worldwide (Japan, Europe, and America). This collection of demos, co-writes, and unreleased gems is the third in an acclaimed series detailing his work as a songwriter and producer between 1969-2019.Most of these songs have never been heard, with Volume Three spanning half a century from an unreleased 1969 Zombies demo, right up to an October 2019 recording from Et Tu Brucé. With collaborations featuring Rod Argent and Colin Blunstone (Unhappy Girl) and London band Et Tu Brucé (Can’t Seem To Fall In Love) as well as performances from Joe Lee Wilson (Archie Shepp) Russ Ballard (Argent) Stuart Elliott (Cockney Rebel, Kate Bush) and many more. Following on from the much-celebrated Volumes One and Two, it is a brilliant and vital document in the history of British music and analogue recording. The Chris White Experience - Volume Three features 13 tracks to showcase more of his considerable songwriting catalogue, with so much beyond to discover. There are three further albums to be released in 2020. Find out more at: thechriswhiteexperience.comTwitter: https://twitter.com/TheChrisWhiteExAudio Advertise, Music PromotionSan Diego, CAPAZADIV MUSICwww.pazadiv.comhttps://www.positivephil.com

In this month's show there's some sad news, but some good news too!Special guests include Dean Martin, Kenneth Williams, Dinah Sheridan, Christopher Lee, Lynne Frederick, Laurence Naismith, Diana Dors, Bing Crosby and Derek Farrrrrrrrrrrrrrrrrr...rrr...

In this month's show there's some sad news, but some good news too! Special guests include Dean Martin, Kenneth Williams, Dinah Sheridan, Christopher Lee, Lynne Frederick, Laurence Naismith, Diana Dors, Bing Crosby and Derek Farrrrrrrrrrrrrrrrrr...rrr...

There was an interesting item on the morning news regarding gun crime in the U.S.A.....they had an ex policeman talking about how he runs courses teaching young kids how to protect themselves should someone come into the school and start shooting at everybody.... Boris is still hanging on in there trying to sort the country out despite being accused of touching a woman's knee 20 years ago....if this was part of a novel you would never believe it....what the hell this pathetic allegation has to do with politics is beyond me.. I recently ordered two tee shirts from Amazon....only one arrived so I contacted them...they told me they would refund the money for the two tee shirts and I could keep the one I had.....was Wetherspoon....don't you just love it....how's that for a two finger salute. If you ever visit the Roman City of Chester you can actually find some Romans still there....they work for the council and are disguised as traffic wardens....and you don't even have to park on a yellow line to get a ticket....I know...I GOT ONE!!.. The song this week has an interesting story behind it....it is called "Strangle My Boss".....which I originally wrote in the 70s and through s friend I met Leapy Lee.....he took the song to Evolution Records (who he was with at the time) and they signed me up as a songwriter....this particular song was recorded by The Bonzo Dog DooDah Band....I also wrote a song for Diana Dors who recorded it...then like a lot of companies back then they went under....I later recorded the song myself in a studio in Clapham and another chap I knew took it to Australia where it was recorded by a DJ called Barry Mundi and The Fishcakes .....that was the last I heard of it until this week when I was looking through YouTube and there it was in all its glory.Some country singer called Johnny Shilo has recently recorded it and put it on YouTube...I don't know the guy or where he heard the song but it's a great version....so here it is "Strangle My Boss"

There was an interesting item on the morning news regarding gun crime in the U.S.A.....they had an ex policeman talking about how he runs courses teaching young kids how to protect themselves should someone come into the school and start shooting at everybody.... Boris is still hanging on in there trying to sort the country out despite being accused of touching a woman's knee 20 years ago....if this was part of a novel you would never believe it....what the hell this pathetic allegation has to do with politics is beyond me.. I recently ordered two tee shirts from Amazon....only one arrived so I contacted them...they told me they would refund the money for the two tee shirts and I could keep the one I had.....was Wetherspoon....don't you just love it....how's that for a two finger salute. If you ever visit the Roman City of Chester you can actually find some Romans still there....they work for the council and are disguised as traffic wardens....and you don't even have to park on a yellow line to get a ticket....I know...I GOT ONE!!.. The song this week has an interesting story behind it....it is called "Strangle My Boss".....which I originally wrote in the 70s and through s friend I met Leapy Lee.....he took the song to Evolution Records (who he was with at the time) and they signed me up as a songwriter....this particular song was recorded by The Bonzo Dog DooDah Band....I also wrote a song for Diana Dors who recorded it...then like a lot of companies back then they went under....I later recorded the song myself in a studio in Clapham and another chap I knew took it to Australia where it was recorded by a DJ called Barry Mundi and The Fishcakes .....that was the last I heard of it until this week when I was looking through YouTube and there it was in all its glory.Some country singer called Johnny Shilo has recently recorded it and put it on YouTube...I don't know the guy or where he heard the song but it's a great version....so here it is "Strangle My Boss"

John celebrates the life of JASON DORS-LAKE, the son of Diana Dors, who passed away in early September. It's an archive from 2013.

Today’s Duel is on whether prostitution should be legal. Our Duelers today are Leo Glaze from and Diana Dors from Los Angeles. Leo thinks prostitution should be legalized, because will get women and men off the streets and into safer environments with testing and protection and put “pimps” and other dangerous individuals out of business. Diana believes it should remain illegal. Before we jump into let’s review the rules of a Duel. This week's episode is sponsored by Gold Diggers, a new audio drama about four women who must learn how to support their wealthy men or pay a devastating price. If you are a female who interested in learning the tricks and trades to landing a wealthy man and keeping him listen to Gold Diggers. It’s told in dramatic fashion to gives you’re the tea and the fo. Find Gold Diggers:iTunesSpotifyGoogle PodcastStitcher

On this week's Duel Podcast we debate feminism and how it has affected men, women, and our personal lives. Diana Dors returns to explain how feminism has upset the gender roles in relationships, families, and the workplace. Our host, T.R. Simms, takes a different perspective detailing how race and history has shaped the current fractured and disjointed ideologies of feminism. This week's episode is sponsored by Oolagah Lake Publishing, publisher of the political thriller "The Last Romanian" by T.R. Simms. Available on Amazon!amzn.to/2WsBGsi

Episode 34 sees Martin exploring the varied worlds of George Kitchener Bulman, then Andy Priestner takes a look at 'Fingerbobs'. Paul and Nick review two episodes of the Diana Dors series 'Queenie's Castle' and Andy P joins us for a chat on the sofa. Next, we travel to Amsterdam in the 1970s where 'Van der Valk' is investigating a 'Destroying Angel' and to round off, Paul and Nick are joined by Andy Ching to talk about one of Shane Rimmer's appearances in 'Tales Of The Unexpected'.

In which Nick regales The Dear Listener on the big picture nature of financial planning! Don’t sweat the small stuff: take action now and refine later.   In this episode of what his mother calls the UK’s leading personal finance podcast, Nick also rambles on about:   Fascinating factoids featuring the fine figure 45; Aeroplanes falling out of the sky; A 100% genuine “Lincoln’s Listener Letter” from a Mrs Diana Dors of Dorking.   LINKS: None: go search your own intraweb!   ==========   Any comments or feedback gratefully received. Likewise with suggestions for future shows. Get in touch with Nick on Twitter or via good old email.   CLICK HERE TO LEAVE A FIVE STAR REVIEW ON iTUNES - OR ELSE.   @HatTipNick   info@v2vfp.co.uk   www.v2vfp.co.uk

Comedian, actor and TV aficionado Toby Hadoke delves into Doctor Who's 53 years of televisual history to find another person connected with the show who talks now about their career in this free download and podcast:

Underworld just might be the worst Doctor Who story of the 1970s, which is why we spend this episode discussing Hellenistic epic, orgies in Diana Dors’s house, and the reason why you might choose to wear a bag on your head. Enjoy!

In honour of the new Godzilla movie, we celebrate everything that scaly, greenish and 50 foot tall. All together now UP FROM THE DEPTHS, 30 STORIES HIGH, BREATHING FIRE, HIS HEAD IN THE SKY P.S. GOJIRA!! Diana Dors, Head to head. Now that would have been a movie!!!

As part of BBC Radio 3's Sound of Cinema, a week of essays written and presented by historian and columnist Simon Heffer on classic British taboo-breaking films which depicted a society changed profoundly by war.In Heffer on British Film, he puts the case for five films from the decade after the war which show British cinema dealing with gritty social issues and dramatic high standards before the 60s were underway - including It Always Rains on Sunday (1947), The Browning Version (1951), Mandy (1953), The Long Memory (1952), and Yield to the Night (1956), the subject of his final essay in the series.Yield to the Night was widely regarded as the pinnacle of Diana Dors' career - the film on which her reputation as a serious actress rests. She plays a murderess Mary Hilton sentenced to hang, spending her last days in the condemned cell in a British women's prison. It was released a year after Ruth Ellis was executed and bore an uncanny resemblance to her case but it was actually based on a novel of 1954 - a year before Ellis murdered Blakely.Mary is a married woman who drifts into an affair with a good-looking piano player Jim Lancaster (Michael Craig) The problem is the affair is one-sided. Jim is smitten with another - Lucy Carpenter - who is way out of his league. But Mary is so hopelessly in love, she starts to believe Lucy deserves to die. And she has Jim's gun. But she shoots not her boyfriend, but her boyfriend's lover.The story of events leading to murder is told in flashback and there is little doubt that the screenplay draws liberally on the Ellis case - the murderess withdrawing her revolver from her handbag in the street, and emptying its chambers into her victim with shocking calmness. A glamorous, bottle-blonde young woman, Mary, like Ellis, had difficulties with men all her life and makes no attempt to escape justice.The film focuses almost entirely on her experience of prison - the British equivalent of Death Row - awaiting execution, and on her relationship with the various female prison warders, and in particular with MacFarlane (Yvonne Mitchell). Mary is a likeable young woman and the warders grow fond of her. Decidedly anti-capital punishment and downbeat in mood, the film won critical acclaim, particularly for the skilled acting of Dors, who had previously been cast solely as the stereotypical "blonde bombshell".Producer: Mohini Patel.

I made a lovely podcast with Sir Paul McCartney's step-mother Angie McCartney, via an introduction from Don. ....http://vincetracy.com/angiemac.html Don first met Angie through a friend called Mike Banks who asked him if he would like to meet Leapy Lee …Leapy is a regular on my shows. They all arranged to meet at the New Brighton Rugby Club and Leapy rolled up with Lee and Angie with her daughter, Ruth…Leapy ended up getting Don a publishing deal with Evolution Records who had a few big names on their books. Don wrote a song for Diana Dors and The Bonzo Dog Doodah Band….then the company went under….a few years later Don was pushing his stuff to various publishers and one of them told him that a guy from his company had moved up North and set up a company in Birkenhead…so round he went…walked in and who was part of the company? - Angie and Ruth who signed him up….they managed Gary Glitter (long before his demise) and Don learnt so much from them that he ended up in 1980 setting up his own company....that's how showbiz works, folks! Don is also a friend of another of my podcast guests, Mike McGear. Mike is Paul McCartney's brother. On one occasion Mike was going down to London to RCA Records to push some of his stuff and asked Don to go along and push some of his own songs.….At that time Don had just produced a single for his wrestling mate Adrian Street . During the visit he played it to one of the bigwigs and watched his eyes slowly glaze over….... he said It was possibly the worst record in the history of music…Don asked him if hecould quote him on that..he agreed…so that went on the label….when Adrian moved to the States he made a video of the song. This is on Youtube along with the others Don did for him…it got MTV play and went into a film…..and paid off Don's mortgage…… ….Don had to laugh at the concert Paul McCartney did recently in New York….the show was running over time and he was halfway through a duet with Bruce Springsteen and they switched the mikes off! …. finally….Don's been working on a doowop song for a new friend in the States….His name is Doowop Joe Conroy and he has a internet radio station in North Carolina...he checked out Don's website and noticed Don writes novelty songs. He asked Don to write one about all the doowop groups….….the song is called “DooWop Days” and can be found on YouTube……http://www.youtube.com/watch?v=83mEgF9W5VU

Ein verschnupfter Podcast unter größten körperlichen Anstrengungen, mit blutigstem Gekröse und der Unterstützung eines Potts heißer Zitrone. Daniel steht mir - ebenfalls leicht kränkelnd, aber unerschütterlich - zur Seite, wenn sich diese Woche zuerst alles um Lucio Fulcis Klassiker des Terrorkinos Das Haus an der Friedhofsmauer (OT: Quella villa accanto al cimitero aka The House by the Cemetery) dreht. Nachdem der Großmeister des verletzten Augapfels unsere Blutlust geweckt hat, setzen wir uns im zweiten Teil mit Theater des Grauens (OT: Theatre of Blood) auseinander, in dem ein verkannter Shakespeare-Mime mit größtmöglicher Theatralik Rache an seinen Kritikern nimmt. Mit Vincent Price als schauspielendem Rächer, Diana Rigg, Robert Morley, Diana Dors und vielen weiteren Größen aus den britischen Hammer- und Amicus-Schmieden. Großes Schmierentheater, mit dem wir eine MENGE Spaß hatten. Bitte beachten: Dies ist eine Classic-Episode anno 2012. Wir bitten, die mangelhafte Tonqualität zu entschuldigen. Ein aktuelleres Gespräch zwischen Patrick und Heiko Hartmann findet ihr unter https://www.bahnhofskino.com/2018/10/haus-friedhofsmauer-fulci-podcast.html und als Episode #12 im Feed des Bahnhofskino Extended Edition (verfügbar bei iTunes, Spotify, Stitcher und überall, wo es Podcasts gibt).

Roy Plomley's castaway is actress Diana Dors.Book: Autobiography by Diana Dors Luxury: Chocolates

Roy Plomley's castaway is actress Diana Dors. Book: Autobiography by Diana Dors Luxury: Chocolates