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In the Fifties / William “Sparky” Poore. THE KEENIES, COOLIES AND NIFTIES OF THE “OXFORD VILLAGE” IN THE FIFTIES Volume 1 THE KEENIES, COOLIES.
Table of contents
- Romano-British remains: Topographical index | British History Online
- ‘Remembering Our First TV Set’
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When television first arrived in my house, it was a kind of magic! It was like a party …. I remember that I used to polish my first TV set with great care… as if it were a magical object, a big deal! In contrast, the urban citizens tended to stress to a greater extent the ideal link between modernity and having a television in their private homes. Of course, gender was a crucial issue in addressing the process of domestication of television as well: female interviewees tended to remember their first contact with the TV set as a matter of incorporating it in the home very carefully, principally as a piece of furniture, or even as a phenomenon that gave rise to new social protocols and rituals that they had to deal with and properly perform.
The TV set was so big: it occupied half the lounge. It was huge and very deep; I still remember the brand: it was a Philips. I put it in a corner of the lounge, on a mobile dolly, a piece of furniture with a space to hold drinks. And we use to cover the TV set with a lace cloth or a little ornament W 2. When people came over to watch TV, I used to make coffee for everyone.
There were more than twenty of them; I even had to buy some more cups and spoons. And then I had to tidy up after them W 3. What I remember about our first TV set was how I had to sort out the electrics, then we watched the Thursday night quiz show, Lascia o raddoppia? It is interesting to note how some promotional campaigns launched by RAI in this early stage were based on this interpretative repertoire as well: in , the public broadcaster distributed a pamphlet, Invito alla televisione , explaining how to arrange the receiver set in the domestic space. In particular, the inner parts must only be cleaned by specialist technicians, and not by the inexpert hands of the good housekeeper.
Better a little dust than the risk of damaging expensive technology. From a scientific point of view, stimulating the memory of these early witnesses of the formative stage of the medium was by no means a straightforward process: understandably, they tended very often to take long detours from the discussion guidelines interweaving what they remembered with seemingly less relevant details of their personal history.
When dealing with media history through remembering and oral storytelling by direct witnesses, subjectivity can be a major methodological issue: while recalling their life experience, storytellers tend to represent themselves in a specific way, peculiar to their personality, through which their experiences as TV consumers are filtered. They are telling a story, in some sense.
Moreover, sometimes their memory was fickle in its attempts to piece together events in the specific history of the medium, for instance by erroneously matching some crucial programmes of this early television phase to the wrong year of transmission, or misplacing the date when important television events of the time were scheduled. Of course, these memory lapses were easy to check and did not represent a problem for the purpose and the effectiveness of the research.
The first stage of Italian TV history surfaces in the collective memory as a sort of golden age of the medium, in relation both to the initial programmes and to the characters hosts, actors and journalists who marked those first seminal years. The perception of the quality standards of the time as now-unreachable distinguishes how its first audience describes the origins of the medium in Italy, often in contrast with a very pessimistic view of the contemporary TV scene.
As confirmed by the early research conducted by psychologist Lidia De Rita on the television consumption in a small village in rural southern Italy, 18 the most prominent programme of the time was undoubtedly Lascia o raddoppia? Alongside Lascia o raddoppia? Both Il Musichiere and Lascia o Raddoppia? When television first appeared in Italy, the wide distribution of the receiver sets in private households was hindered by some major economic issues, such as the high price of the technology and the license fee imposed by the public broadcaster.
Romano-British remains: Topographical index | British History Online
Therefore, the establishment of TV as a domestic medium was far from taken for granted. Such popular shows as Il Musichiere and Lascia o raddoppia? I used to take my girlfriend to see Lascia o raddoppia?
When I was a girl, it was considered inappropriate for a woman to go to a bar and watch TV by herself. So I used to peek through the windows of the only bar in my village to see what I could of Lascia o raddoppia? And we established this rule: bedtime after Carosello! There was this bar, very close to my place: on Saturday, you could see whole families gathering there to see Il Musichiere W 3.
An analysis of the Italian prime time schedules of this early stage of the medium shows the prominence of the genre of quiz and game shows, with programmes such as Duecento al secondo modelled on the US show Dollar a Second , Lascia o raddoppia? Quiz and game shows were indeed particularly suitable to the collective and playful model of consumption typical of these first years, characterised by the scarcity of domestic receivers.
The establishment of television as a fully domestic medium was accomplished. The playful and collective model of consumption rooted in public spaces was progressively discarded in favour of a private and individual culture of viewing. When we finally bought a TV set, I remember that we use to watch all the time that show performed by the Kessler twins [ndr.
Studio uno ]. He also tends to 'summer' in England to avoid the worst of the Grecian heat. The locals call him Kyrie Michali - a sobriquet he gained as a nom de geurre when he heroically assisted the Cretan resistance in World War II.
‘Remembering Our First TV Set’
It appears that he had refused this honour in , out of modesty, "I'd written a few books, that's all". Hey ho.
Sadly all good things must pass. Paddy died on the 10th June - he was He returned to his house near Evesham the day before he died and will be buried next to Joan in Dumbleton churchyard. I visited him once for tea in his lovely house near Kardamil in May Up until now I've resisted the temptation to put some photos up on this site, frankly he needed his privacy. But now I'm going to intrude. I hope his ghost doesn't mind. The cloister like connecting passage through the house which overlooks the olive tree surrounded by a mosaic of pebbles. A corner of the library, or living room, Betjeman's 'that room'.
The view from the garden towards Meropi island. A wonderful marble table.
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The book is Gibbon's Rise and Fall of the Roman Empire- Paddy, then 90 - in keen conversation with my friend Cathie- the alcove set down from the library has the air of the Ottoman era. An exterior view of the house, which tucks itself into the countryside with wonderful discretion. Oh that some of the now surrounding villas were as subtle. Paddy right, as if he's not instantly recognisable! Words of Mercury.
- G. Topographical Index!
- One Last Time!
- Salima Falls: Have faith that the universe knows what it is doing.?
- Oxford Village: In the fifties / Volume 1.
- A Princess Wish?
ISBN In this volume, edited by Artemis Cooper, who is writing Paddy's biography, was published It's now been out in paperback for some years. For the those who already have all of Fermor's books it includes little that is actually new and mostly consists of well chosen passages from his published ouevre including 'Mani'.
However there are bits and pieces which are of more than passing interest and were originally published in reviews and odd journals.
There is a description of the building of his house near Kardamili from a sixties architectural magazine and for the first time Paddy's own account from the Imperial War Museum, I believe of the kidnapping of the German General Kreipe in Crete in The best recent concise account of Paddy's life, and character, is the very fine article written by Anthony Lane in The New Yorker. There are, I can assure you, many dreadfully shallow accounts. Lane incidentally, describes Paddy's frankly heroic ability to drink hard liquor - but, perforce, I have to to cavil about Lane's twitchy disapproval of Paddy's way of imbibing Greek firewater.
Frankly, isn't the only, civilised way to drink ouzo - horis nero, ala, me pago?? That bibulous aside apart, Lane obviously knows well, and clearly loves and admires Paddy, but doesn't let this cloud his shrewd perception of his subject. I therefore commend, Anthony Lane. An Englishman abroad; Patrick Leigh Fermor's journey through the twentieth century. The New Yorker , May 22, By the way if you want a witty and perceptive overview of the entire well most of it history of travel writing about Greece - which ends with an analysis of Fermor's oeuvre see Robert Eisner , Travelers to an Antique Land.
Michigan Press. David Mason. News from the Village. Red Hen Press. Dave Mason's book is a series of reflections on his encounters with Greece in general and Mani and Kardamili in particular over the past 30 years. It's an engrossing read, extremely well written Dave is an established American poet.
Mason first arrived in Mani in his twenties, newly married and extremely innocent. The locals called him and his wife Ta paidia 'The children'. Living, in the summer months, in a hut overlooking Kalamitsi they fell in love with a very different world. As I know many of the characters he describes and naturally the locations I must admit I couldn't help but get hooked, but one doesn't need to know Mani or Kardamili to enjoy this lyrical account of how Mason's relationship with Greece, matures and deepens, as does his identity as a poet.
The book is also about loss, of innocence and people, through broken relationships, death and distance. When he leaves Kardamili in his twenties the villagers insist that he will forget them. Dave never did, in fact it is the villagers who have forgotten him when he reappears 16 years later. Also the idyll he conjured in his first visit is slowly replaced with an awareness of the darker facets of the Greek soul and the lasting legacy of both the Civil War and the time of the Colonels. There are vivid portraits of more famous people. Mason's growing reputation as a poet brings him into the circles of Greek and Turkish poets and writers such as Katerina Anghelaki-Rooke and Orhan Pamuk.
He lives in Colorado and I in England and we've never knowingly co-incided in Kardamili, but we have corresponded and my relationships with Greece and Kardamili have many intersections with his; we have mutual friends and connections. This really is one of the finest memoirs of Greece by an American or a Brit, and, believe me, I've read a fair few.