Podcasts about roedean

In this edition of In The Ring, I am joined by Sunday Times investigative reporter Sabelo Skiti who wrote the story about the recent bullying scandal at Roedean including a fracas involving parents ( https://www.timeslive.co.za/sunday-times/news/2022-11-27-parents-of-roedean-bullies-in-ugly-school-fight/ )We explore a number of issues including: a) damning findings from an educational psychologist about institutional failure on the part of Roedean; b) corporate creep or corporatism on the part of the school board; c) the danger of political overreach in how schools are engaged when there are complaints; d) teachers who are invisble in this narrative; e) wealthy and politically connected parents who are entitled; f) centering the paramount interests of the children (or failing to do so).Enjoy and share it widely

Luke Lamprecht (   https://www.lukelamprecht.co.za ) is an excellent  and well-respected expert in child protection and child development. He has worked with and in countless schools, tackling the very issues we are exploring in this series. In this episode- the second in the series focusing on bullying at Roedean, he educates us all on the complexity of bullying. It is a difficult concept to get a clear definitional grip on, and he helps us to navigate our way through  these complexities. We focus on children who may have fallen foul of school codes of conduct, including anti-bullying policies, and ask how best to go about dealing with such children. In the details of the Roedean there appears, on the face of it, to be evidence of an adversarial, criminal law-like, approach that had been adopted, and Luke gives a comprehensive and compassionate but practical view of where and how it seems Roedean has done the children an injustice, institutionally speaking. 

In the recent edition of Sunday Times ( https://www.timeslive.co.za/sunday-times/news/2022-11-27-parents-of-roedean-bullies-in-ugly-school-fight/ ), the paper reported on a horrible incident at a well-known independent school in Johannesburg, Roedean. It even allegedly involved fighting between parents that necessitated police being dispatched.The backdrop to the fights are guilty bullying verdicts and punishment for these: the alleged bullies' families feel the school had not dealt with the issues properly nor fairly, while the parents of the alleged victim also feel aggrieved. What is fact and what is fiction? That is hard to tell as all the people involved are passionately asserting their individual truths, and evidence is slowly and partially emerging. I have seen some of it. And engaged many people privately. My own digging is ongoing. In a series of episodes here on In The Ring With Eusebius McKaiser, I will help you navigate the story: we start off with setting the scene and isolating the main themes, as well as an interview with the provincial department of education. In subsequent episodes we deal with other apsects of the story.Why should you care? Bullying is rife, and schools have an enormous role to play in the development of our children. If we understand what is happening and what is not happening at Roedean, we can help to think, collectively, through the institutional duty of all schools, whether independent or public, to guarantee and create environments that are conducive to learning without fear and, in fact, environments that are so healthy that children -  ideally - should be excited to enter the school gates.This is the first episode in this special series. 

After matriculating as Deputy Head Girl of Roedean, Angel obtained a double major BA in Economics and English at UCT. She then spent seven years working for M&C Saatchi Advertising in London, where she heard Mandela speak at Trafalgar Square. She was inspired by his words, “I love you all so much. I want to put you in my pocket and take you home”.

 Angel returned home to South Africa in 2000 and found Homecoming Revolution to bring the talents and skills of African people back to Africa. She also co-founded Morrisjones Advertising, where she created the kulula.com brand. In 2013, Angel stepped full-time into Homecoming Revolution as CEO, turning it into a global Executive Search & Advisory firm for Africa. In October 2022 Angel launched Homecoming's evolved, on-demand African Expertise platform, HomecomingEX. Read the full story here:

After matriculating as Deputy Head Girl of Roedean, Angel obtained a double major BA in Economics and English at UCT. She then spent seven years working for M&C Saatchi Advertising in London, where she heard Mandela speak at Trafalgar Square. She was inspired by his words, “I love you all so much. I want to put you in my pocket and take you home”.

 Angel returned home to South Africa in 2000 and found Homecoming Revolution to bring the talents and skills of African people back to Africa. She also co-founded Morrisjones Advertising, where she created the kulula.com brand. In 2013, Angel stepped full-time into Homecoming Revolution as CEO, turning it into a global Executive Search & Advisory firm for Africa. In October 2022 Angel launched Homecoming's evolved, on-demand African Expertise platform, HomecomingEX. Read the full story here:

“You get used to it with practice”. “Take-over”, one of the most popular episodes of the series! Congratulations to President-Elect Biden/Harris! You’ve all done very well! Important Board Room discussions (*looks up*) wreck havoc for the staff of Grace Bros. The Grace Bros competitor: “Lally and Willits”, a Bristol firm, is rife with polari and Cockney rhyming slang jokes. Professor Jeff explains. What is “a take over” exactly? Our Gladys’ trip to death and back. Mr. Grainger could be a deck chairman. Young Mr. Grace has been watching tele again. Capt. Peacock recites Scotish National Party’s theme song “Scots Wha Hae”. Somerset accents, American accents, and the hard “R” that Captain Hook enjoyed. An appropriate joke that deals with race, courtesy of Mr. Rumbold. Finally, the staff emerge in their roles as kitchen staff and Grace Bros shareholders. Lady Weeble-Able Smith, Livinia Stableforth and parents. Mr. Jeff was a clumsy teen especially with soup. Mr. Humphries plays a hysterical chef who just can’t take it. ..and what -was- on that menu, exactly? Trifle, Yorkshire pudding, and Mr. Brandon’s granny’s “ambrosia salad”. Mr. Lucas breaks and bursts out as “Sir Richard Ryan” makes his entrance. Mr. Brandon tries to make a female Eaton accent for the private school Roedean in Essex. Mr. Humphries’ war with his Yorkshires. Peacock’s pinny. Leave the show a voicemail at the Peacock Hotline: (662)-PEACOCK (662-732-2625) and find us on Facebook at fb.me/ThatDoesSuitMadame, on Twitter @DoesSuitMadame #AYBS #AreYouBeingServed #ImFree #Britcom #comedy #MrHumphries #ThatDoesSuitMadame #GraceBros #podcast #LGBTQ #LGBT #AYBS #BlackLivesMatter #WashYourHands #WearAmask

In 1937, Englishwoman Ursula Graham Bower became fascinated by the Naga people of northeastern India. She was living among them when World War II broke out and Japan threatened to invade their land. In this week's episode of the Futility Closet podcast we'll describe Bower's efforts to organize the Nagas against an unprecedented foe. We'll also consider a self-censoring font and puzzle over some perplexing spacecraft. Intro: In 1822 the Yorkshire Observer published the schedule of a bachelor's life. In 1988 philosopher Edward J. Gracely offered a dilemma regarding a flight from hell. Sources for our feature on Ursula Graham Bower: Vicky Thomas, Naga Queen: Ursula Graham Bower and Her Jungle Warriors 1939-45, 2011. Ursula Graham Bower, Naga Path, 1950. Christopher Alan Bayly and Timothy Norman Harper, Forgotten Armies: The Fall of British Asia, 1941-1945, 2005. Nicholas van der Bijl, Sharing the Secret: The History of the Intelligence Corps 1940–2010, 2013. Montgomery McFate, Military Anthropology: Soldiers, Scholars and Subjects at the Margins of Empire, 2018. Annamaria Motrescu-Mayes and Heather Norris Nicholson, British Women Amateur Filmmakers, 2018. Alex Lubin, Romance and Rights: The Politics of Interracial Intimacy, 1945-1954, 2009. Margaret MacMillan, History's People: Personalities and the Past, 2015. Andrew Jackson Waskey, "Bower, Ursula Graham," in Bernard A. Cook, ed., Women and War: A Historical Encyclopedia From Antiquity to the Present, 2006. Paul Cheeseright, "Queen Without a Throne: Ursula Graham Bower and the Burma Campaign," Asian Affairs 45:2 (June 2014), 289-299. Ajailiu Niumai, "Rani Gaidinliu: The Iconic Woman of Northeast India," Indian Journal of Gender Studies 25:3 (August 2018), 351-367. Stuart Blackburn, "Colonial Contact in the 'Hidden Land': Oral History Among the Apatanis of Arunachal Pradesh," Indian Economic & Social History Review 40:3 (October 2003), 335-365. Charles Allen, "Spirit of Roedean," Spectator, April 14, 2012. dipanita nath, "Woman Who Came in From the Wild," Indian Express, Aug. 12, 2017. Esha Roy, "My Mother, The Naga Warrior," Indian Express, Oct. 27, 2013. Ved Mohendra, "A Bloody Battle to Remember," [Kuala Lumpur] New Straits Times, June 28, 2014, 16. "Rays of a New Dawn in Nagaland," Assam Tribune, Nov. 26, 2012. Mary Johnson Tweedy, "A Troubled, Far-Off Land," New York Times, Oct. 18, 1953. "Blond Englishwoman, Naga Queen, Helped Fight Japs," Wilmington [N.C.] Morning Star, Dec. 8, 1944, 14. Melissa van der Klugt, "Warrior Queen Ursula Graham Bower's Is Staged for Her Tribal Comrades," Sunday Times, Dec. 30, 2017. Neha Kirpal, "Ursula the 'Jungle Queen': The Extraordinary Story of the Englishwoman Who Led Naga Soldiers in WWII," Scroll, Jan. 10, 2018. "The Nagas: Hill Peoples of Northeast India," Cambridge Experimental Videodisc Project. Martin Gienke, "Film Interviews With Leading Thinkers: Ursula Graham Bower," University of Cambridge, Nov. 4, 1985. "Central Chancery of the Orders of Knighthood," Supplement to the London Gazette, April 20, 1945, 2166. Listener mail: Wikipedia, "Sydney Harbour Bridge" (accessed June 4, 2020). Sydney Harbour Bridge coat hanger. "A Short History of the Sydney Harbour Bridge," New South Wales Government (accessed June 4, 2020). Damien Murphy, "Sydney Harbour Bridge Celebrates 85th Anniversary," Sydney Morning Herald, March 16, 2017. Scunthorpe Sans. Alex Hern, "Anti-Porn Filters Stop Dominic Cummings Trending on Twitter," Guardian, May 27, 2020. This week's lateral thinking puzzle was contributed by listener Jeremy Vander Munnik. Here's an (intermittently!) corroborating link. You can listen using the player above, download this episode directly, or subscribe on Google Podcasts, on Apple Podcasts, or via the RSS feed at https://futilitycloset.libsyn.com/rss. Please consider becoming a patron of Futility Closet -- you can choose the amount you want to pledge, and we've set up some rewards to help thank you for your support. You can also make a one-time donation on the Support Us page of the Futility Closet website. Many thanks to Doug Ross for the music in this episode. If you have any questions or comments you can reach us at podcast@futilitycloset.com. Thanks for listening!

Another chance to listen to the founder of the Hospice Movement speaking to Sue Lawley in 1995. Dame Cicely Saunders talks about her schooldays at Roedean, how she trained as a nurse and much later, as a doctor. When she was 29 she fell in love with a young patient dying of cancer, who bequeathed her a legacy of £500. Starting with that bequest, she raised enough money for a new kind of hospice dedicated to care for the dying. Favourite track: Symphony No 7 in A Major by Ludwig van Beethoven Book: The Oxford Dictionary of Quotations Luxury: Pen and paper

Lashings of jolly japes, inedible food, schoolgirl crushes... but no education! A captivating book reveals what really used to happen at girls’ boarding schools Author Ysenda Maxtone Graham tells us about her bestselling book; Terms & Conditions Life in Girls' Boarding Schools 1939 -1979. Buy the book: Terms & Conditions: Life In Girls’ Boarding Schools 1939-1979 by Ysenda Maxtone Graham (Slightly Foxed, £17.50). https://foxedquarterly.com/shop/termsconditions-plain-foxed-edition-ysenda-maxtone-graham Photo: Girls at Roedean in 1955 Want to meet more gels? Go to www.radiogorgeous.com to meet some super ones #school #boardingschool #girls #women #stoicism

Verity Ann Lambert, ( – ) was an and . She is best known as the founding producer of the , a programme which has become a part of British . Lambert was a pioneer woman in ; when she was appointed to Doctor Who in 1963 she was the youngest producer, and only female drama producer, working at the . Lambert began working in television in the 1950s, and continued to work as a producer up until the year she died. After leaving the BBC in 1969, she worked for other television companies, notably and in the 1970s and 80s. She also worked in the film industry, for , and from 1985 ran her own production company, . In addition to Doctor Who, she produced , , , , , , and . The 's website describes Lambert as "one of those producers who can often create a fascinating small screen universe from a slim script and half-a-dozen congenial players." The website of the hails her as "not only one of Britain's leading businesswomen, but possibly the most powerful member of the nation's entertainment industry ... Lambert has served as a symbol of the advances won by women in the media". News of her death came on the 44th anniversary of the first showing of Doctor Who. Contents [] // [] Early career in independent television Lambert was born in , the daughter of a accountant, and educated at . She left Roedean at sixteen and studied at the in for a year, and at a secretarial college in London for eighteen months. She later credited her interest in the structural and characterisational aspects of scriptwriting to an inspirational English teacher. Lambert's first job was typing menus at the Kensington De Vere Hotel, which employed her because she had been to and could speak . In , she entered the television industry as a secretary at 's press office. She was sacked from this job after six months. 's studios at in , where Lambert worked in the late 1950s. Following her dismissal from Granada, Lambert took a job as a typist at . She soon became the secretary to the company's Head of Drama, and then a production secretary working on a programme called State Your Case. She then moved from administration to production, working on drama programming on ABC's popular anthology series . Armchair Theatre was overseen at the time by the company's new Head of Drama, producer . On , while Lambert was working as a production assistant on Armchair Theatre, actor died off-screen just prior to a scene in which he was to appear during a broadcast of the hour-long play "Underground". Lambert had to take control of directing the cameras from the as director hastily worked with the actors during a commercial break to accommodate the loss. In 1961 Lambert left ABC, spending a year working as the personal assistant to television producer at the independent production company in . Returning to England, she rejoined ABC with an ambition to direct, but got stuck as a production assistant, and decided that if she could not find advancement within a year she would abandon television as a career. [] BBC career In December 1962 Sydney Newman left ABC to take up the position of Head of Drama at , and the following year Lambert joined him at the Corporation. Newman had recruited her to produce , a programme he had personally initiated. Conceived by Newman as an educational science-fiction series for children, the programme concerned the adventures of a crotchety old man travelling through space and time with his sometimes unwilling companions in . The show was a risk, and in some quarters not expected to last longer than thirteen weeks. Although Lambert was not Newman's first choice to produce the series — and had both declined the position — the Canadian was very keen to ensure that Lambert took the job after his experience of working with her at ABC. "I think the best thing I ever did on that was to find Verity Lambert," he told in 1993. "I remembered Verity as being bright and, to use the phrase, full of piss and vinegar! She was gutsy and she used to fight and argue with me, even though she was not at a very high level as a production assistant." When Lambert arrived at the BBC in June , she was initially given a more experienced associate producer, , to assist her. Doctor Who debuted on and quickly became a success for the BBC, chiefly on the popularity of the alien creatures known as . Lambert's superior, Head of Serials , had strongly advised against using the script in which the Daleks first appeared, but after the serial's successful airing, he said that Lambert clearly knew the series far better than he did, and he would no longer interfere in her decisions. The success of Doctor Who and the Daleks also garnered press attention for Lambert herself; in 1964, the published a feature on the series focusing on the perceived attractiveness of its young producer: "The operation of the Daleks ... is conducted by a remarkably attractive young woman called Verity Lambert who, at 28, is not only the youngest but the only female drama producer at B.B.C. TV... [T]all, dark and shapely, she became positively forbidding when I suggested that the Daleks might one day take over Dr. Who." Lambert oversaw the first two seasons of the programme, eventually leaving in 1965. "There comes a time when a series need new input," she told Doctor Who Magazine thirty years later. "It's not that I wasn't fond of Doctor Who, I simply felt that the time had come. It had been eighteen very concentrated months, something like seventy shows. I know people do soaps forever now, but I felt Doctor Who needed someone to come in with a different view." In the 2007 Doctor Who episode "", the Doctor (as John Smith) refers to his parents as Sydney and Verity, a tribute to both Newman and Lambert. She moved on to produce another BBC show created by Newman, the swashbuckling action-adventure series (1966–67). The long development period of Adam Adamant delayed its production, and during this delay Newman gave her the initial episodes of a new , , to produce. Further productions for the BBC included a season of the crime drama Detective (1968–69) and a twenty-six-part series of adaptations of the stories of (1969). During this period, Lambert was obscurely referenced in 's 1969 sketch "Buying a Bed," which featured two shop assistants called Mr. Verity and Mr. Lambert, named after her. In 1969 she left the staff of the BBC to join , where she produced (1970–72) and Between the Wars (1973). In 1974, she returned to the BBC on a freelance basis to produce Shoulder to Shoulder, a series of six 75-minute plays about the movement of the early . [] Thames Television and Euston Films in , where several dramas overseen by Lambert, such as , were produced in the 1970s. Later in 1974 Lambert became Head of Drama at , a successor company of her former employers ABC. During her time in this position she oversaw several high-profile and successful contributions to the network, including (1975), (1976–77), (1978–92) and (1978). In 1976 she was also made responsible for overseeing the work of , Thames' subsidiary film production company, at the time best known as the producers of . In 1979 she transferred to Euston full-time as the company's Chief Executive, overseeing productions such as (1979), (1979–94) and (1983). At Thames and Euston, Lambert enjoyed the most sustained period of critical and popular success of her career. The Naked Civil Servant won a (BAFTA) for its star as well as a Award and a prize at the ; Rock Follies won a BAFTA and a Award, while Widows also gained BAFTA nominations and ratings of over 12 million — unusually for a drama serial, it picked up viewers over the course of its six-week run. Minder went on to become the longest-running series produced by Euston Films, surviving for over a decade following Lambert's departure from the company. Television historian Lez Cooke described Lambert's time in control of the drama department at Thames as "an adventurous period for the company, demonstrating that it was not only the BBC that was capable of producing progressive television drama during the 1970s. Lambert wanted Thames to produce drama series 'which were attempting in one way or another to tackle modern problems and life,' an ambition which echoed the philosophy of her mentor Sydney Newman." , the writer of Rock Follies, also later praised the bravery of Lambert's commissioning. "Verity Lambert had just arrived as head of drama at Thames TV and she went for broke," he told newspaper in 2002. "She commissioned a serial, Jennie: Lady Randolph Churchill, for safety, but also Bill Brand, one of the edgiest political dramas ever, and us... Before we had even finished making the first series, Verity commissioned the second." Lambert's association with Thames and Euston Films continued into the 1980s. In 1982, she rejoined the staff of parent company Thames Television as Director of Drama, and was given a seat on the company's . In November 1982 she left Thames, but remained as Chief Executive at Euston until November of the following year, to take up her first post in the industry, as Director of Production for . Her job here was somewhat frustrating as the British film industry was in one of its periodic states of flux, but she did manage to produce some noteworthy features, including the 1986 film . Lambert later expressed some regret on her time in the film industry in a feature for newspaper. "Unfortunately, the person who hired me left, and the person who came in didn't want to produce films and didn't want me. While I managed to make some films I was proud of — 's , and Clockwise with John Cleese — it was terribly tough and not a very happy experience." [] Cinema Verity In late 1985 Lambert left Thorn EMI, frustrated at the lack of success and at restructuring measures being undertaken by the company. She established her own independent production company, . The company's first production was the 1988 feature film , starring and and based on the "" case in . Cinema Verity's first television series, the BBC1 , debuted in 1989 and ran until 1994. The company also produced another successful BBC1 sitcom, , which ran from 1992 to 1994. Lambert executive produced 's hard-hitting drama serial for in 1991, winning critical acclaim and several awards. Lambert's relationship with Bleasdale was not entirely smooth, however — the writer has admitted in subsequent interviews that he "wanted to kill Verity Lambert" after she insisted on the cutting of large portions of his first draft script before production began. However, Bleasdale subsequently admitted that she was right about the majority of the cut material, and when the production was finished he only missed one small scene from those she had demanded be excised. A less successful Cinema Verity production, and the most noted mis-step of Lambert's career, was the soap opera , a co-production with the BBC set in a British community in . At the time it was the most expensive commission the BBC had given out to an independent production company. Launched with a major publicity campaign and running in a high-profile slot three nights a week on BBC1, the series was critically mauled and lasted only a year, from 1992 to 1993. Lambert's biography at Screenonline suggests some reasons for this failure: "With on-location production facilities and an evident striving for a genuinely contemporary flavour, Lambert's costly Euro soap Eldorado suggested a degree of ambition ... which it seemed in the event ill-equipped to realise, and a potentially interesting subject tailed off into implausible melodrama. Eldorado's plotting ... was disappointingly ponderous. As a result, the expatriate community in southern Spain theme and milieu was exploited rather than explored." Other reviewers, even the best part of a decade after the programme's cancellation, were much harsher, with Rupert Smith's comments in in 2002 being a typical example. "A £10 million farce that left the BBC with egg all over its entire body and put an awful lot members back on the dole... it will always be remembered as the most expensive flop of all time." In the early 1990s, Lambert attempted to win the rights to produce Doctor Who independently for the BBC; however, this effort was unsuccessful because the Corporation was already in negotiations with producer in the . Cinema Verity projects that did reach production included (BBC1, 1991) and (BBC One, 2001), the latter co-produced by actress , whose idea it was to adapt the novels by . Lambert continued to work as a freelance producer outside of her own company. She produced the popular BBC One comedy-drama series , by writer , ever since taking over the role for its second series in 1998. From then until 2004 she produced eighteen episodes of the programme across four short seasons, plus two Christmas Specials. She and Renwick also collaborated on another comedy-drama, , starring and transmitted on BBC One in the autumn of 2005. In 1973, Lambert married television director Colin Bucksey (a man ten years her junior), but the marriage collapsed in 1984, and they divorced in 1987. She had no children, once telling an interviewer, "I can't stand babies — no, I love babies as long as their parents take them away." In 2000 two of her productions, Doctor Who and The Naked Civil Servant, finished third and fourth respectively in a poll of the of the . In the 2002 Lambert was appointed an (OBE) for her services to film and television production, and the same year she received BAFTA's Award for Outstanding Contribution to Television. She died of cancer five days before her 72nd birthday. She was due to have been presented with a lifetime achievement award at the Women in Film and Television Awards the following month.

The castaway in Desert Island Discs this week is the founder of the Hospice Movement Dame Cicely Saunders. She'll be talking to Sue Lawley about her schooldays at Roedean, how she trained as a nurse and much later, as a doctor. When she was 29 she fell in love with a young patient dying of cancer, who bequeathed her a legacy of £500. Starting with that bequest, she raised enough money for a new kind of hospice dedicated to care for the dying. There are now 190 similar hospices throughout the country. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Symphony No 7 in A Major by Ludwig van Beethoven Book: The Oxford Dictionary of Quotations Luxury: Pen and paper

The castaway in Desert Island Discs this week is the founder of the Hospice Movement Dame Cicely Saunders. She'll be talking to Sue Lawley about her schooldays at Roedean, how she trained as a nurse and much later, as a doctor. When she was 29 she fell in love with a young patient dying of cancer, who bequeathed her a legacy of £500. Starting with that bequest, she raised enough money for a new kind of hospice dedicated to care for the dying. There are now 190 similar hospices throughout the country.[Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Symphony No 7 in A Major by Ludwig van Beethoven Book: The Oxford Dictionary of Quotations Luxury: Pen and paper